Column
Atheism
Creed
7 min read

Confessions of an atheist philosopher. Part 1: born to be atheist, born to be anxious

In the first of a series, Stefani Ruper tells of the first steps on her journey from secular philosopher to a person of faith.

Stefani Ruper is a philosopher specialising in the ethics of belief and Associate Member of Christ Church College, Oxford. She received her PhD from the Theology & Religion faculty at the University of Oxford in 2020.

Cartoon God over painting

My name is Stefani. I was a committed atheist for almost my entire life. I studied religion to try to figure out how to have spiritual fulfillment without God. I tried writing books on spirituality for agnostics and atheists, but I gave up because the answers were terrible. Two years after completing my PhD, I finally realised that that’s because the answer is God. 

Today, I explain how and why I decided to walk into Christian faith. 

Here at Seen & Unseen I am publishing a six-article series highlighting key turning points or realisations I made on my walk into faith. It tells my story, and it tells our story too. 

I began having panic attacks about dying and the meaning of life when I was four years old. I would lay in bed at night and beat my head against the mattress while imagining what it would be like to stop existing. What would it be like to cease to be? I had no idea, but it seemed too horrible to fathom. I literally tore my hair out with the dread of it. 

Like many people in my generation, my parents had been raised in the church but left it as soon as they were able. They raised my brothers and me completely without God or other spiritual things. I had no idea of anything beyond what we could see or touch. My first exposure to God was through the TV, as He makes a few guest appearances on The Simpsons

As a child raised in today’s world, God was what Charles Taylor calls “unthinkable” to me. By “unthinkable” he means literally unthinkable. It was impossible for me to think God; it remains difficult for me to think God. But here’s the thing: this unthinkability of God—the sheer impossibility, the ridiculousness, the strangeness, the preposterousness of God, to me—was a bias I inherited from being born into this specific place and time.  

I was pre-wired to disbelieve in God.  

The thing is, every society is founded on tacit assumptions about the nature of reality. Ours, the modern West, assumes that nothing is real except for physical stuff. Philosopher Charles Taylor calls this the immanent frame. Inside the immanent frame, you can, if you like, believe in more than just what we can see and touch. But that’s a choice, and it’s one you make while others consider the things you hold most sacred as like cartoon characters lounging on clouds in the sky.  Such beliefs are difficult to maintain with grace, and people often hold them with either too much timidity or too much obstinacy; many, like my parents, eschew belief altogether. This is a recipe for a tumultuous, confusing, and often unfriendly spiritual landscape.  

The great existential trade-off 

We are the first society in the history of societies to be founded on nothingness.  A child born 500 years ago would not have been able to imagine a world without God. Back then, God was not just real but number one on the list of possibly real things. Atheism was unthinkable. God was the singular, unchanging reality upon which all material things—constantly changing and subject to decay and death—depended. You can read a little about what it was like in this review of Pentiment, an adventure game set in medieval Bavaria. 

Today, faith is, even for Christians, typically cordoned off in a little corner of life, maybe squeezed into 15 minutes on a Bible app on the way to work. But back then faith was what scholar Timothy Fitzgerald appropriately labels encompassing. God was not a hypothesis to be posed, a belief into which you could opt. God suffused the world. The transcendent encompassed all.  

Here’s how it flipped.

In 1451 Johannes Gutenberg invented the printing press, which made printing books faster and cheaper than ever before. New ideas about God began to spread faster than the then dominant Church could stomp them out. Within a lightning-quick five hundred years, the number of versions of the faith in Europe multiplied from one to literal thousands. 

No one was prepared for the shock of it all. People began to differentiate themselves according to their beliefs, and authorities exploited burgeoning fault lines for the sake of conflict. Between 1517 and 1648, ten million people died in the Wars of Religion. 

The things that seem the most real to us are those we share and discuss. The whole realm of the transcendent began to lose its status as unshakably real. 

What was to be done? Philosophers like John Locke offered a solution: separate the church and the state. That seemed simple enough. And in some ways, it was. But this meant our European ancestors stopped sharing and talking about their beliefs in public. The problem is that humans are social animals. The things that seem the most real to us are those we share and discuss. The whole realm of the transcendent began to lose its status as unshakably real.  

Over time, people discussed their fundamental beliefs less and less. Society even developed the notion that sharing beliefs at social gatherings like dinner parties is impolite. So religious beliefs became deeply private things, and it started to seem like people were choosing to believe them due to personal feelings or needs. This eventually made it seem to many that beliefs were mere  wishful thinking—flights of fancy, silly, and weak.  

On the opposing side, people who abstained from religious belief started to see their nonbelief as noble resistance to the temptations of wishful thinking. The idea was that being willing to view the universe as cold and uncaring was the difficult but right and brave thing to do.  Nobody wants to seem weak, and everybody wants to seem noble. The transcendent faded out of our collective consciousness. 

Or, to use Nietzsche’s terms, God died. 

Thus, God and material things swapped places in our understanding of reality. God, once the most real thing in existence, became something you could believe in if you felt like it. Material things, once viewed as constantly decaying and thus only real through God, became the unquestionably real.  

 

This isn’t normal, we weren’t made for this. We weren’t made to live without hope or homecoming or a bigger story of which we are a part. 

Today, the immanent frame reigns. But it’s not inert. It has its own compulsive, even hypnotic, powers, arguably with as strong a grip on our souls as God once had. It locks our attention on the here-and-now (as that’s all there is), and in doing so elevates the status of things like food, fashion, and entertainment in our quests for fulfillment. We throw ourselves into pleasure, hoping for relief. But immanence leads nowhere except back into itself, like an Ouroboros, the snake that eats its own tail.   

Immanence is so pervasive we take for granted that this is just the way things are. And yet young children do things like tear their hair out trying to make sense of what seems like an absurd existence. This isn’t normal. We weren’t made for this. We weren’t made to live without hope or homecoming or a bigger story of which we are a part. Characters in today’s novels are always buying sportscars and asking Is this all there is? Maybe it’s not. 

What if all of us are grasping at the same ultimate truth, getting little bits of it right and wrong?

Betting on transcendence 

My panic attacks made me obsessed with finding answers. The horror I felt at living in a cold and dark universe was relentless. But I also couldn’t lie to myself. A solution wouldn’t be real if it were imaginary. So as much as I wished I could believe in God, I couldn’t.  

When I learned this history of immanence however, I realised that my automatic inclination to disbelief was a bias—an inheritance of our culture, and nothing more. 

I then asked myself: 

What if, as our culture sloughed off the transcendent, it didn’t move into greater nobility, truth, and progress like it tells itself, but pre-emptively gave up on the most important thing in existence? What if all of us are grasping at the same ultimate truth, getting little bits of it right and wrong? What if some of us are on the right path, exploring relationship with a Creative power beyond our imagining that loves us, helps us, saves us?  

The fact is, when it comes to transcendence, we don’t know what’s true. No one knows with certainty. 

But we do know that immanence is a bias. And we know the first step to finding the truth is to free ourselves from bias. We must identify and untangle presumptions, then rebuild our mental frameworks as carefully as we are able.  

As for me, I’ve spent more than a decade in the academy doing this work. And in the end? Spoiler alert: I’ve thrown my hat in with transcendence.  

Review
Awe and wonder
Creed
Easter
Film & TV
5 min read

Heading Home: a pilgrimage that breaks out beauty along the way

We can learn a new language together as we travel.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A shaft of light from an opening in a dome lights a cross on a pedestal.
Church of the Holy Sepulchre.
Kieran Dodds.

This film, this pilgrimage, this story begins in Jerusalem in the rotunda of the Church of the Holy Sepulchre with its Aedicule, a small chapel, containing the tomb from which Jesus rose.  

Jesus' resurrection was revolutionary because it is the first fruits of a wider resurrection into a new heaven and a new earth, the new Jerusalem, where all that is harmful on earth is transformed into eternal glory and beauty. 

The Church of the Holy Sepulchre holds that vision within its walls, a vision that was then transported throughout the world through pilgrimage and creatively replicated in other locations so that all who entered their local church or cathedral would be transported through art and architecture to the New Jerusalem.  

US philanthropist and author Roberta Ahmanson thinks that American Protestants, in particular, have neglected this story because of the Reformation's preference for word over image. As a result, in 2022, she gathered an eclectic group of Christian college presidents, church pastors, and Christian creatives taking them on a pilgrimage from Jerusalem to London via Italy and Aachen while filming their responses to the visual history of the New Jerusalem as found in the churches they visit. In their two-week journey, the group cover almost 2,000 years of church art and architecture. 

Ahmanson explains that this search for the reality of the Kingdom of God as it is to be realised in the New Jerusalem at the end of time did not mean that pilgrims were to abandon the world. On the contrary, she says, "their job was to serve this world to make it more like the heavenly home where their ultimate citizenship lay." That remains the aim of this art and architecture as:  

“By studying the nature of that promised place, as artists and architects and writers of the past have sought to express it, we are schooled to live lives of wholeness and beauty right here on earth. The longing for beauty is ultimately a longing to be Home, to be in the place where we are whole.” 

The beauty of the churches visited on this pilgrimage provided a vision of the New Jerusalem to those who entered in order that they took that vision into their everyday lives when they left. Along the way, the pilgrims on this trip learnt how artists, architects and theologians worked in parallel for many centuries – from Saint Augustine’s vision of a New Jerusalem to Dante’s admonitions about the Last Judgment. 

The film combines scenes of beautiful interiors with explanations of their significance from Ahmanson and others, plus it shows the reactions of various of the pilgrims as they allow their sense of wonder and understanding of Church history to be expanded. David and Joy Bailey, founders of Arrabon which cultivates Christian communities to pursue healing and reconciliation in a racially divided world, are two of those to have spoken about the impact the trip had on the group of pilgrims.   

Joy said: “Everybody was very literate coming from these strong traditions of faith being either oral or written but to see it so visually impacting, it was breaking us all open and trying to find language for that took the entire trip.” David suggested that: “What the trip was helping you to see was this deeper rootedness, this long tradition that, I think, could actually be very helpful for us today because some of the things that were there were the understanding of humanity as plain on the outside and beauty on the inside, the glory that comes with the inward journey that reflects on Heaven as it is on Earth.”  

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience 

As we travel further from Jerusalem in the film, we are surprised to find that the template of the Holy Sepulchre continues to inspire and shape the experience of pilgrims. Ahmanson explains that: “In churches across the old Roman Empire, from Africa and Palestine to the furthest reaches of Britain, liturgy was created to tell the story and to bring the spaces alive in the telling. Pilgrimages to Jerusalem and later to Rome and then to the tomb of Saint James in Spain became a kind of geographic liturgy. When the trip became too long or … too dangerous, believers found alternative destinations. Across the continent, from Magdeburg in Germany and Constance in Switzerland, to Bologna and Pisa in Italy and London and Cambridge in England, round churches or smaller models replicating the Church of the Holy Sepulchre became pilgrim destinations.” 

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience, particularly during Lent and Holy Week. Walking labyrinths, Palm Sunday processions and Passion dramas, praying the Stations of the Cross, washing feet on Maundy Thursday, sharing a Passover meal, the Good Friday three-hour devotional, and the Dawn Eucharist on Easter Day are among the many ways Christians continue to follow in the footsteps of Jesus while remaining where they are during this most special season.  

Many of these practices provide the opportunity to go on pilgrimage while remaining at home. Just as with images of the New Jerusalem brought from Jerusalem to the churches of Europe, so with, for example, the practice of praying the Stations of the Cross which originated in medieval Europe when pilgrims were unable to visit the Holy Land, so instead “visited” the Holy places through prayer.  

The film, and other creative off-shoots including exhibitions of photographs from the pilgrimage taken by Kieran Dodds and performances by spoken word poet Street Hymns (one of the pilgrims), with his fellow poets Hanna Watson, Jasmine Sims, and Lo Alaman, in response to images of the New Jerusalem, provide viewers with a similar opportunity to experience, reflect and pray. The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”. 

 

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