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Assisted dying
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Assisted dying: ethical and theological perspectives

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Nick is the senior editor of Seen & Unseen.

A open hand is held out and up towards a strong source of light

The bill introduced early in the new parliament to allow assisted dying in the UK raises many complex ethical, medical and practical questions. It is an emotive and vexed issue on all sides and raises strong feelings. We are told that the public mood has shifted since the last time such a bill came to parliament in 2015, in that the majority of the population now support assisted dying, and that a majority of MPs would back it too. However, the arguments around it have not always been understood, and will no doubt be rehearsed in a debate which is likely to continue over the coming months.

Christians do not all agree on assisted suicide, however it is probably true to say that many Christians in the UK have serious questions about the possibility of adopting it legally. For many Christians, this means that many vulnerable people will feel under pressure to end their lives before their time, and force an unfair choice upon them. It may lead to many lives palliative care which seems a much better approach to easing the suffering of those coming towards the end of that lives. It seems like a line that once crossed, will be hard to go back on.

Seen and Unseen is a website established in 2023 by the Centre for Cultural Witness based in Lambeth Palace. It seeks to offer Christian perspectives on a wide range of issues in contemporary life. Over recent months the site has published a number of articles relating to assisted suicide and some of them are reproduced here to give a range of resources for people thinking through the ethical and theological issues around assisted suicide. They are not the last word on the topic and do not cover all the arguments but hopefully they give a starting point for thinking about these issues. Our hope is that they can be used by many people, for example, clergy in preaching on the topic, sharing with others to stimulate debate and helping people understand the arguments against assisted suicide and to help Christians think through the ramifications of this step.

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2 min read

Do we feel guilt for Liam Payne’s death?

We want the celebrity world to exist, but it returns terrible violence.
A crowd of teenagers gather by a Peter Pan statue to mourn a dead pop star
A fan vigil beside a Peter Pan Statue, London.
Sky News.

It’s no secret that fame is a poisoned chalice. Those reading about Liam Payne, the former One Direction star who died last week, will have noticed the theme: denied privacy, loaded with unbearable expectations, in a milieu where illegal substances were too much to hand - what chance did he have? The word ‘tragedy’ is scattered across multiple headlines. 

One young Telegraph writer sees it as a generational trauma: “our first celebrity-induced reminder that life can be cruel, and fleeting”. Formerly Elvis, or John Lennon, now Payne; plus ça change. But what really haunts our society about Payne’s death is not a feeling it was unavoidable. It is, rather, our guilt: did we do this? Our rapacious appetites, consumer needs, and reckless licensing of rock-’n-roll form - did we tie this teen idol to the sacrificial altar? 

Religious language is not inappropriate: thousands in cities around the world are holding vigils to Payne’s memory, and these shrines would have interested René Girard, who had a theory about how society works. While staying “a few pages ahead of the students” in French novels at Indiana University during the late 1950s, Girard noticed that humans want things, but not because of innate desires. We want things because other humans want them. There is always this undercurrent of rivalry to our world, even amongst close friends - in fact, especially for those whose goals are most similar. 

What becomes of this collective aggression? It has to be banished through scapegoating. It’s everyone against one; a victim is butchered. For Girard, culture is what happens when a group achieves temporary peace in the wake of a sacrificial death. The bubble of built-up tension has burst, and an epoch of nonviolence means we get on with civilisation. We raise the kids, build some structures, or write a poem. 

Religious mourning for Payne reveals these sacrificial contours of our culture. We want the celebrity world to exist, for its fantasies, desirable bodies, and danger. But it returns terrible violence - exploitation, harassment, and rejection (Payne’s own solo career had not kept him at the thrilling toppermost of the chart). The death of a victim sobers us up, momentarily, from our intoxication. But how long until we repeat it again? 

Girard converted to Catholicism in 1959, after he encountered in the Gospels a religion that acknowledged these human trends, and offered a solution. It still required imitation - of Jesus Christ - but without the threat of rivalry. But in the crucifixion was a scapegoating that did not seem to leave things open to repetition. It had finished something, for good. Sunday morning yielded a new kind of peace.