Column
Atheism
Creed
6 min read

Confessions of an atheist philosopher Part 5: leaping for truth

In the fifth of a series, philosopher Stefani Ruper recalls the night she decided to do something, to get data about God.

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.

A black and white close up of a women in a street at night, turning to look around at a neion 'open' sign.
Trevin Rudy on Unsplash.

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 and 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.  Read part 1 here. 

 

Inhale…two, three, four… Exhale... two, three,  four…. Inhale… two, three, four… exhale… two, three four… 

I was laying in bed, staring at the ceiling, doing breathing exercises trying to calm my body and mind. The clock on my bedside table flashed 3:59. I had a lecture on twentieth century French metaphysics to attend in four hours. But I couldn’t sleep.  

Night time anxiety had been my habit for as long as I could remember. It all started when I was four years old and first asked myself what would it be like to be dead? while trying to fall asleep one night. Since then, my anxiety often started with normal, day-to-day worries (did I complete enough items on my to-do list today?). But they almost always spiraled into bigger concerns. I always found my way to questions like Is this really all there is?  

I sighed and kept on with my breathing exercises. Inhale… two, three, four… exhale… two, three, four… 

But then… 

Then, I had an idea

I blinked and sat up.  

God might be there!, I thought to myself. 

 God might have been there all along!  

I started to laugh, incredulous. 

Here’s the two things I had just learned that made me finally wake up to this extraordinary possibility. 

Interpretation is a choice 

When I was an atheist, I often said that if God existed and wanted us to believe in Him, God would make it obvious. God would write something like 'Believe in Me!' in letters in the sky.  God would give us indubitable evidence of His existence. 

But interpretation is a matter of choice.  

It’s like a story a man once told at my church. He was out walking in the woods at night. He said, God if you’re there, give me a sign! A shooting star went through the sky. He then shrugged and said to himself, oh, it’s a coincidence.  

I had always told the story of my life as a string of coincidences. No matter how uncanny an event, I always assumed it was pure chance. But what if I had been ignoring the underlying narrative and purpose to things all along? God could be communicating with us and steering the course of our lives all the time, but if we never took the initiative to interpret our experiences with Him in them, we would never see Him. 

The only way for me to assess God’s possible role in my life would be to start interpreting events as if God were the author. I wouldn’t have to get rid of my “pure coincidence” view. I would only have to add this new one. Then, I could compare the two.    

Openness to evidence is a choice 

The philosopher William James makes the extraordinary, underappreciated point that there are certain kinds of beliefs you can’t get the evidence for unless you believe them first. One example is jumping over a chasm or gap on a hiking trail. You can’t successfully jump over the chasm and get the evidence that you’re capable of jumping it unless you believe you can do it first.  

God is similar in a very specific sense: evidence of God’s presence in your life is only available to you if you believe first.  

Imagine your heart is a room with a door. God could be shining a floodlight at the door all the time, but if you don’t open the door a crack, God’s light will never be able to shine through. I now believe that God can do a lot of amazing things, but God doesn’t impose. It’s up to all of us to crack open our doors. 

Once you do, you can start to get experiential evidence. This might be feeling loved, experiencing peace and joy that surpass your previous understanding, or unusual confidence or resilience amidst troubles. It might be a sense of forgiveness beyond what you’ve known before. Or it might be experiences of healing and personal growth—often of issues that you’ve tried to heal multiple ways. 

The greatest hypothesis of all was out there waiting to be tested—and I wasn’t participating! 

The leap of faith is a leap for truth 

I used to think that faith was a betrayal of the truth. If I wanted to be loyal to the truth, I needed to stick to the “bare facts” provided by science. I shouldn’t ever claim anything beyond them, on the off chance the claim might be false.  

However... 

When it comes to God (as well as many other things, such as what it means to be a good person), the only way to find out what’s true is to put the belief into play. It’s to embrace a hypothesis, act on it, and see what happens.  

When I jolted up out of bed that night, I realised that throughout my entire life I had thought that I was being loyal to the truth, but what I was actually doing was standing on the sidelines. The greatest hypothesis of all was out there waiting to be tested—and I wasn’t participating! The human species is in its infancy. There’s so much we don’t know about existence. What if the universe is lovingly Created? What if there are dimensions beyond what we can see and touch?  

The truly courageous thing, I now believe, is the opposite of what I’d always thought. It isn’t to refrain from belief. It’s to dare to believe.  

The verdict 

That night, I decided I would try to get data about God. I’d walk into a life of prayer, worship, and faith. I’d work on re-interpreting my story with God in it. I’d identify biases or misconceptions I had about faith and educate myself about them. I’d ask God to help me see, feel, and believe, if He was there. 

I’m less than a year in. But today I’m sleeping better, healing deep emotional wounds, overcoming unhealthy habits, finding peace, stepping deeper into joy, and experiencing feelings of invulnerability where I used to feel the most vulnerable. This sense of invulnerability is beyond anything I’ve ever experienced before, like a spring of confidence and peace welling up from depths beyond me. I consider this data for God. 

Might I be wrong? Absolutely. But at the end of the day I am just one person. All I can do is go out and get some data and share what I find, contributing my little piece to the species-wide quest for the truth of things.  

So go out and get your data. Take a chance on God, if you like. Crack open your door. See if light shines through. Let me and others know what you find.  

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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