Celibacy, the Pope and the dating app

There’s a desperate need for a new sexual revolution.

David Bennett

David is a postdoctoral research fellow at Oxford University’s Theology and Religion faculty.

An advert on a Underground platform shows a person next to the slogna: Thou shalt not give up on dating and become a nun.

Bumble's controversial ad campaign.

Recent news has sparked a furore over celibacy, and, as I will explain, the need for a new sexual revolution. Feminist theologian, Sarah Coakley, points to in her book, The New Asceticism, points to why we need this new sexual revolution

“the problem with desire is that it has become so heavily sexualised in the modern, post-Freudian period as to render its connection with other desires (including desire for God) obscure and puzzling.”

A glance at the media on both sides of the Atlantic provides evidence. Senator Tim Scott’s singleness is derided on the US news cycle, and London Underground adverts for dating app Bumble undermined the choice to be a nun or make a vow of celibacy.

For decades, the bowdlerised notion that Freud saw celibacy as a form of suppression, has created a deeply damaging myth that if you are not having sex, you are not just repressed, you are not even human. In its inaner, but still hurtful forms, if you are celibate, you are not trustworthy, a repressed pervert, or worse, worthy of being socially excluded. Of course, bad celibacy has had terrible results in and outside the Church, but so has bad marriage, and yet we do not treat the married or marriage this way.

You would expect to turn to the Roman Catholic, Anglican or mainline churches for a nuanced and profound contradiction to a culture obsessed with what they see merely as a ‘lack of sex.’ Instead, the Pope was recently reported to have made the comment that there was already too much “frociaggine” in some seminaries. The Italian word roughly translates as “faggotness”. Matteo Bruni, the director of the Vatican’s press office stated: “As he [the Pope] has stated on more than one occasion, ‘In the Church there is room for everyone, everyone! Nobody is useless or superfluous, there is room for everyone, just the way we are.’”

“The Pope never meant to offend or to use homophobic language, and apologises to everyone who felt offended [or] hurt by the use of a word,” Mr Bruni concluded in the Vatican statement.

The Pope has made other comments about celibacy, dissuading gay people from entering the priesthood just on the basis of sexual orientation. It is hard to argue that this is anything but discrimination. If the Pope wanted LGBTQI+ people to inhabit a traditional ethic, then provide a way constructively for them to do so.

This billboard ad reveals a culture which is erotically moribund and which has lost the fact that love is inevitably sacrificial in nature.

Now to turn to the dating app world, Bumble, aware of the new rise of singleness and celibacy (around 51 per cent of the American population is single), particularly among young women, struck out against this choice with controversial adverts.

This billboard ad reveals a culture that is erotically moribund and which has lost the fact that love is inevitably sacrificial in nature. My heart sank as I saw this billboard on the Underground. As someone who wrote their doctorate on celibacy, and has chosen to be dedicated to a love greater than sex and marriage, and who chose to be consecrated and vowed to celibacy, I felt angry at the notion that my choice, and that of millions of people, was derided as fanciful. This felt like another chip off the liberal project that I want to believe in of true diversity of opinion, and a shared city and society.

However, the value of sacrificial love at the bedrock of late modern and post-secular society was revealed as still as powerful as ever with Bumble receiving a wide response of outrage, and the marketing manager responsible being subsequently fired.

If we are to love someone, we must learn to deny choices and narrow our field of volition where we choose them over other pressing concerns.

In reading this I felt that some justice had been served. I could not escape the words of Pope Benedict XVI : “When Jesus speaks in his parables of the shepherd who goes after the lost sheep, of the woman who looks for the lost coin, of the father who goes to meet and embrace his prodigal son, these are no mere words: they constitute an explanation of his very being and activity. His death on the Cross is the culmination of that turning of God against himself in which he gives himself in order to raise man up and save him. This is love in its most radical form.”

For a moment, this radical love reflected in a healthy, non-repressive celibacy, which gives itself up for God and the other, and marriage as its sacrificial counter-part, was vindicated and, for a moment, was given the value it deserves, and which Bumble, and even at times, that God’s own church, have betrayed.

If we are to love someone, we must learn to deny choices and narrow our field of volition where we choose them over other pressing concerns. Such a view of love has been lost both inside and outside the Church.

Only a new asceticism, as Sarah Coakley avers, can purify “desire in the crucible of divine love, paradoxically imparting true freedom through the narrowing of choices.”

The fact we have gained such an impoverished ascetical or moral imagination for our loves does not bode well for how not just single people, but all people can flourish. A life of flourishing which does not involve sexual acts or in which a love beyond sex can be expressed in friendship speaks to a hope beyond sex and marriage, without which the human heart will remain restless and unsatisfied.

As Pope Benedict XVI states in his essay, Deus Caritas Est: “God is the absolute and ultimate source of all being; but this universal principle of creation—the Logos, primordial reason—is at the same time a lover with all the passion of a true love. Eros is thus supremely ennobled, yet at the same time it is so purified as to become one with agape.” Our society, from Pope Francis all the way to Bumble needs a new sexual revolution, which sees that sex is a clue to this deeper love of God for which we were created and which beckons us as with a faithfulness and passion no other lover can provide.

Article

Books

Comment

Community

15 October 2024

6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

Elizabeth Wainwright

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A book's front cover beside a portrait of the author, JD Vance

J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.”

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear.

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.