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Jim McCrory

Learning to Walk in Another’s Shoes

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Edited by Jim McCrory, Friday 31 October 2025 at 10:54

 

I cried because I had no shoes until I met a man who had no feet.”

 Helen Keller

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Learning to Walk in Another’s Shoes

I was driving my wife to work this morning when I saw a child and her father waiting at the traffic lights. The girl stood quietly, her small hands clasped together as if in prayer. More likely, she was cold. Yet, in that simple posture, there was something sacred; a child’s instinctive response to life’s chill.

On my way home, I saw them again, walking along the pavement. The little girl’s legs worked hard against the distance, her father walking patiently beside her, adjusting his stride to hers. She could not have been more than five. The scene touched me deeply, stirring memories of a winter long ago.

I grew up in Govan, Glasgow, where the Atlantic wind from the west could cut through any coat. I remember The Big Freeze of 1962–63, when temperatures fell to -22°C in parts of Scotland and the ground stayed iron-hard for weeks whilst the Elder Park pond became a skater's paradise. My mother would rise before dawn to light the coal fire, the smell of smoke and porridge filling our small kitchen. She would pull a balaclava over my head, wrap a scarf tight around it, and send me off to school with a kiss and hug. 

Perhaps it was those winters that kindled empathy in me, for genuine empathy is not born in comfort but in shared struggle. It is, as the Bible says, the ability to “rejoice with those who rejoice; mourn with those who mourn” (Romans 12:15). The Greek word used in the New Testament, sumpatheo, means to “suffer with.” It suggests more than pity; it is an entering into another’s experience with the heart.

In truth, empathy, or entering another's experience is also cultivated through stories. Reading has been one of the surest ways we learn walk in another’s shoes. Roll of Thunder, Hear My Cry showed me what it felt like to be a young Black girl navigating prejudice in the American South. Dostoevsky’s The Idiot revealed the quiet agony of being too tender-hearted in a harsh world and I feel the aching of the writer's soul.  Dickens taught me that justice is not a cold principle but a human pulse beating beneath the grime of industrial London. And Othello exposed the pain of being victimized by envy and deceit, the terrible loneliness of being misunderstood. Dostoevsky, in The Brothers Karamazov also taught me the challenges of being a believer and facing existential paradoxes.

Each story, like a window opened on a frosted morning, lets in warmth from another life. To read is to thaw the ice around one’s own heart. Empathy, then, is not merely an emotion but a light that burns through coldness—the kind a father carries as he slows his steps for his child on a winter’s morning.

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Jim McCrory

The Foolishness of Goodness: Reflections on The Idiot

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Edited by Jim McCrory, Thursday 21 August 2025 at 23:03

 

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When Dostoevsky set out to write The Idiot, he wanted to create a man “positively good and beautiful.” The result was Prince Myshkin, a gentle, openhearted figure who wanders through a world of deception, pride, and hunger for power. The novel asks a question that still unsettles us today: what happens when true innocence and compassion step into a corrupt society?

From the outset, Myshkin is dismissed as a fool. He speaks with a candour that unsettles, he refuses to play the games of status and manipulation, and he treats even the most broken souls with tenderness. In a society built on masks, such transparency seems idiotic. Yet it is precisely this guileless love that makes him a Christ-like figure. Myshkin does not condemn; he forgives, he sees the image of God even in the most damaged lives.

And yet Dostoevsky does not give us the triumph we might hope for. Myshkin’s goodness, instead of transforming those around him, becomes unbearable. His kindness exposes hypocrisy, his innocence shames the calculating, and his mercy unsettles those who would rather live in the comfortable shadows of deceit. The world has no place for such a man. Like Christ himself, Myshkin is rejected, mocked, and finally broken by the weight of the world’s incomprehension.

Here lies the novel’s paradox. Goodness is the highest wisdom, yet to a fallen world it looks like madness. Strength, cunning, and ambition are admired; humility, compassion, and honesty are despised. In this way, The Idiot whispers the same truth that the Apostle Paul declared: “The foolishness of God is wiser than men” (1 Corinthians 1:25).

The tragedy of the novel is not that Myshkin fails. His goodness does not fail—it shines steadily, consistently, to the end. The tragedy is that the people around him cannot accept such goodness. Nastasya, caught between self-loathing and longing for love, flees into ruin rather than rest in Myshkin’s compassion. Rogozhin, consumed by passion without redemption, descends into violence. Each character is confronted with a light too bright to bear.

So the moral of The Idiot is not a simple lesson of “be good.” It is something far deeper and more unsettling: true goodness may look like foolishness, and the world may destroy it, but it remains the only thing worth living for.

This moral speaks to us as individuals. It asks: when faced with innocence, do we receive it or recoil from it? When confronted by mercy, do we welcome it or resist it because it exposes our pride? The novel turns the mirror on us, reminding us that the beauty that could save the world must first be allowed to save us.

Perhaps, then, Dostoevsky’s “idiot” is not Myshkin at all. Perhaps it is the world—so blinded by its own wisdom that it cannot recognize love when it stands before it.

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