Column
Culture
Politics
4 min read

After Angela: why Christian Democracy still works

Feeling somewhat labelled, George Pitcher unpacks why Christian Democracy still appeals to him, even in the UK, and explores its philosophical roots in the breathless thought of Jacques Maritain.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A politician stands a labelled lectern speaking and gesticulating with a hand.
Angel Merkel, addresses her political party.

When I’m accused of being a “leftie” in the predominantly Conservative area of East Sussex in which we live – though there are signs of automatic Tory support fragmenting – I usually reply that actually I’m a Christian Democrat. 

At one level, this is a case of simple literal determinism: I’m a Christian and a democrat. Tick. But Christian Democracy is more complicated than that – not least because its continental European iteration was built on the re-building of a pan-national concord after the Second World War and the establishment of the European Union, a narrative from which the UK has largely excluded itself.  

Former German chancellor Angela Merkel’s Christian Democratic Union (CDU) was a paragon of this ideology, growing out of the re-unification of Germany that began in 1989. It’s unlikely that her political ideology would have prospered in Britain. 

The so-called three Fs of social conservatism are family, faith and flag. I sign up to the first two. But not the nationalism of the third. Here, I’m squarely in Christian Democrat territory. 

It’s that ideology that appeals to me. Essentially, Christian Democracy is rooted in an attempt, since the 19th century, to reconcile Catholic social teaching with democracy and capitalism (tick, again). In that context, it combines left-wing economics with social conservatism. 

I awoke with a start some years ago with the realisation that I’m socially conservative. My divergence from my socially liberal friends had been so gradual as to be imperceptible. But here I stand, I can do no other.  

I oppose assisted suicide – a liberal standard – not, as I’m accused, because of some vague commitment to the sanctity of life but because I believe there’s extreme moral jeopardy in the state endorsing in its legislature that some lives are not worth living. I believe that same-sex unions should be blessed in Church (and I have done so), but I also believe that’s a definitional difference from marriage as celebrated in church. 

The hard right uses woke as a term of abuse when all it really means to many of us is being "awake" or "quite nice". By this ascription, for instance, someone who holds that refugees should be treated with dignity can be described as woke. But I also believe that a male cannot become a woman – and be recognised by the state as such – simply by declaring that he is so. Nor do I think that history can be judged by contemporary mmores,and I find cancel culture abhorrent. That makes me anti-woke in some circles. 

By these criteria, I’m socially conservative. So be it. The so-called three Fs of social conservatism are family, faith and flag. I sign up to the first two. But not the nationalism of the third. Here, I’m squarely in Christian Democrat territory. 

As for a social economy, I believe in a state big enough to provide free health care at the point of delivery, education as a right and not a privilege and a welfare state robust enough to support the marginalised and vulnerable – in scriptural terms, “the poor”. Again, that’s Christian Democracy, at least as Merkel might understand it. 

But ideologies need ideologues and Christian Democracy’s problem in the UK is that we have not too few, but too many and too varied.

All of which will guide my vote this year’s general election. There won’t be a CDU on the ballot paper and, even if there were, our ridiculous first-past-the-post electoral system mocks our democracy. When the Liberal Democrats struggle to maintain a toehold in parliament, despite being a widely credible alternative in many Tory seats, what chance for a more esoteric political initiative? 

An argument may be mounted that with the Church of England established in law, 26 bishops sitting in the legislature of the House of Lords as a consequence, and the head of state as the Church’s supreme governor, Christian Democracy is already pretty well served in the UK. 

Wisely, British Christian Democrats have endeavoured over the past three decades and more to be a movement within politics, rather than a political party (though no disrespect is intended here to the Christian People’s Alliance). This is Christian Democracy as an idea, rather than a voting option. 

For this idea to have traction, it needs a political ideology, which may or may not be along the lines of the one I’ve adumbrated. But ideologies need ideologues and Christian Democracy’s problem in the UK is that we have not too few, but too many and too varied. So it may be as well to look to a contemporary historical leader of thought. 

The nearest thing that European Christian Democrats have to a uniting figure is the French Catholic philosopher Jacques Maritain, who died in 1973. To read Maritain at length is to leave one breathless with anticipation for what could be. 

An albeit dangerous summation of Maritain is that he calls the West to a “New Christendom” that defines the state not by Christian faith, but attempts to define our faith through a secular prism, to make it active in the public square. 

I particularly like the way this is described by American theologian William T, Cavanagh: “[T]his means in effect that there is trash to be picked up, businesses to be run, wars to be fought. These things are not our ultimate end, but neither are they simply cut loose from any spiritual significance.” 

If we’re able to unpack that sense of purpose, then just maybe we can approach an election with this unifying political slogan: Vote Christian Democrat. 

Review
Culture
Film & TV
Monsters
5 min read

Here’s what Death of a Unicorn gets very wrong

‘The unicorn was a Christ-allegory’ and other lies.

Iona is a PhD candidate at the University of Aberdeen, studying how we can understand truth. 

A tapestry depicts a unicorn resting within a fenced enclosure.
The Unicorn Rests in a Garden (from the Unicorn Tapestries).
Public domain, The Met Museum.

I don’t do horror or gore. And yet, I just saw the gory creature feature comedy horror Death of a Unicorn. I have not seen such a clichéd movie in a very long time (probably since Don’t Look Up…). Death of a Unicorn gives us a strained father-daughter relationship, the artsy young girl with silver rings on every finger and dyed hair, cartoonishly evil rich people, their creepy but stupid blonde son, the put-upon butler… and… the unicorn. However, the biggest cliché of them all is perhaps the desperate attempt to subvert expectations and tell a new story about a familiar trope… and failing.  

Given the title of the film, one would be forgiven for assuming that unicorns play a significant role in it. One would be mistaken. The conceit of killer-unicorn is a fun one. I wish the film had played with it more. Instead, the unicorns themselves barely feature and are not particularly interesting or subversive. The perception of the unicorn that is put forward by the characters likewise is trite and tired.  

The film features another classic scene: the ‘plucky young woman digs out her laptop and falls down a google rabbit hole to research paranormal/fantastical phenomenon’. In her research Ridley comes across a set of medieval tapestries depicting a unicorn hunt. These tapestries do exist in real life and are indeed now housed at The Met. The Met’s fictional website in the film informs Ridley that the fifth tapestry in the series ‘The Unicorn Surrenders to a Maiden’ only survives in fragments (true) and that scholars believe the missing part of the tapestry most likely showed the unicorn going on a murderous rampage (very much not true). From this, Ridley deduces that, since unicorns do indeed appear to be real, the warnings of old ought to be heeded. In the film, Ridley is proved right, the unicorns do turn out to be murderous monsters out for the blood of those who would abuse the remains of their dead foal.  

While the real Met website does indeed show us the torn tapestry, it features no such conjecture about the gory violence the unicorn might have inflicted prior to being subdued by the maiden.  

In one of her desperate attempts to reason with the megalomaniacal pharmaceutical tycoons, Ridley slips in a sentence about the unicorn serving as an allegory for Christ. This is a claim that is repeated all across the internet in various fora, fan sites, even some old scholarship. But that is exactly what this theory is: outdated scholarship… mixed with a healthy (unhealthy?) dose of paternalistic attitudes towards the past and half-misremembered folklore about Christian symbolism. It is true that medieval art is rich in symbolism. It is also true that medieval European cultures were deeply steeped in Christian religious traditions. However, as Barbara Drake Boehm writes in her recent book on the tapestries ‘the Cloisters Hunt for the Unicorn tapestries have … fallen victim to a tendency to perceive Christianity in every stitch’. The fact that one of the hunters has a scabbard that invokes the ‘Queen of Heaven’ (the Virgin Mary), or that another carries rosary beads, are most likely simply indicative of the fact these were common items ‘within the majority-Christian society in which the tapestries were created’. (A Blessing of Unicorns, The Metropolitan Museum of Art, 2020).

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. 

One doesn’t need a degree in art history to figure out that such an allegorical relation would make no sense either. If the unicorn was representative of Christ and the hunt of his Passion, why does the unicorn fight back? If the untouched maiden in whose lap the unicorn reposes is the Virgin Mary, mother of Christ, why does she help the hunters trap and kill the unicorn? The tapestry that supposedly shows the unicorn resurrected and at peace in its captivity does not even appear to belong to the same narrative as the other tapestries. And why would a resurrected Christ-figure be shown in supposed captivity?  

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. ‘Ah, well, back then they were all religious fanatics that believed in silly things like Jesus and unicorns.’ The implication being that in our modern, enlightened state we couldn’t possibly be accused of believing in silly simplistic mythical accounts of the world… Yeah. Not only is this of course false, it also distract from the very real things we could learn from the past.  

The film in the end wants to have it both ways. It wants to ridicule medieval people (based on lazy stereotypes) as well as perpetuating some of the most backward attitudes woven into the tapestries. So, what is the real true meaning of the tapestries and of unicorns? I don’t know. I can’t offer ‘real true’ interpretations (because they don’t exist). What I can offer is a careful and close engagement.  

What strikes me about the myth of the unicorn is what the unicorn does stand for. Over the centuries the unicorn has been used as a symbol for purity, innocence, humility, and sometimes fertility. In medieval poetry the (male) bard would often cast himself as the unicorn, beguiled by his beautiful lady, desiring nothing more than to rest his head in her lap. Little of this particular metaphor has survived into the modern pop-culture. What seems to have survived is the strong connection with young virgins. This particular trope features heavily in the film too though the film makers attempt to gloss over the sexual implications of ‘virgin’ by speaking only of ‘maidens’ (which still means the same thing but doesn’t have the same sexual baggage for modern ears).  

Now, that is indeed an interesting aspect worth unpacking. Why is it that unicorns are so attracted to young women who have not had sex? Why the obsession with virginity and the implied association that – for a woman! – having sex sullies something pure? What does it mean that both the hunters in the tapestries and the rich people in the film use a woman’s body and sexuality to trap the unicorn and commit their violence? Where’s the film that deals with those questions? Until they make that one maybe I’ll stick with My Little Pony, I’m told that has significantly less disembowelment.  

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