Column

Atheism

Creed

29 September 2023

6 min read

Confessions of an atheist philosopher. Part 6: making the leap

In her series’ final article, philosopher Stefani Ruper offers a new vision we all need.

Stefani Ruper

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 skydiver in a space pressure shoot leaps from a capsule above the earth.

Felix Baumgartner leap set the record for freefall parachuting.

Red Bull Stratos.

Faith is irrational. Faith is against evidence. Faith is a threat to progress. Faith will bring about the downfall of civilization.

I used to think this, and I wasn’t alone.

In 2004 Sam Harris wrote that faith

“allows otherwise normal human beings to reap the fruits of madness and consider them holy.”

This quote appears in his book The End of Faith, which was on the New York Times bestseller list for 33 weeks.

Fellow pop atheist AC Grayling says that faith

“directly controverts canons of intellectual integrity…’Faith’ is not a respectable or admirable thing; having been so long paraded as a virtue and worthy of respect, the truth is otherwise… it is irresponsible, lazy, and too often dangerous.”

The real danger

When I was about 20, I realised that I had dismissed faith as irrational without ever engaging it. I had prided myself on open-mindedness while at the same time refusing to hear what people of faith had to say. This struck me as deeply hypocritical, so I went to seminary. I asked religious people about faith. I studied what theologians and philosophers said about it. I did this for about twelve years.

In this time, I confirmed my earlier belief that there are extreme examples of irrationality and close-mindedness in religion. Of course there are! But there are extreme examples of irrationality and close-mindedness in secularism, too. The danger isn’t “faith.” The danger is what I used to do: over-simplifying and reducing one another to easy targets so we can tear each other down.

Faith, I now know, looks very different to many people. Some forms of it are healthier than others. Some are toxic.

But after more than twelve years of study, I’ve come to believe a specific way of defining or practicing faith is not just acceptable for our society but crucial. I consider it the answer to many of our shared needs--especially for more love, generosity, justice, resilience, progress, and hope.

It's this:

a choice.

Faith is a choice.

Our society is unique among all societies that have ever existed. It is the first society where we must choose: to trust and believe just a little bit, or to distrust and believe nothing at all.

This is what “don’t believe” looks like:

Distrust. Stick to the “bare facts” of physical reality and science. Live as though there is no possibility of any dimensions existing beyond material reality as we understand it today.

There is no Creator, no ultimate love, no ultimate home. There is only the here and now. When you die, nothing happens.

I subscribed to this option for thirty years because I thought it necessary to be loyal to the truth. I thought that being a good person meant resisting the temptations of faith. I felt proud of myself for bravely accepting the emptiness of the world. But it was poor consolation.

Another reason I followed this option was because I—like most people in our culture—had a deeply rooted habit of suspicion and distrust. Authorities of all kinds have so routinely deceived and disappointed us that most of us live habitually expecting to be attacked, hurt, let down, duped, used, manipulated, and misled. We must always expect there’s a trick behind any promise. Every offering has a catch. We subconsciously live by the slogan “it’s too good to be true.”

This predisposes us to experiencing a specific kind of harm: when we anticipate being hurt, we often hurt ourselves first so that we get to be in control of the pain. For the first thirty years of my spiritual journey, part of my resistance to God was that I was so afraid of finding out He didn’t exist I never let myself take seriously the possibility that He might.

Here’s what “believe” looks like:

Trust. Take a look at your options and say “yes,” to the better one, the one rich in possibility and hope and light.

Embrace the possibility that there are dimensions of reality beyond our imagining that we cannot see or touch. Embrace the possibility that your story may be a part of some larger story. Embrace the possibility that what you do matters ultimately, and is a part of the great unfolding of a narrative beyond your comprehension.

Do this with lightness. Have a bold vision, but let a part of that boldness be its ability to change and grow. Trust the community of spiritual seekers all around the world. Hold all your opinions as hypotheses, and seek to refine them in community with others as different from you as possible.

Open yourself to the possibility that you might be able to experience the love of God and walk into greater peace, joy, resilience, and generosity than previously.

Responsible faith

Harris and Grayling say faith is belief against evidence.

However: faith can be deeply evidentiary. Done right, faith never contradicts evidence or quality reasoning. Indeed, to me, faith means being loyal to every scrap of evidence, including any that God may provide us, and constantly revising my views of everything.

There are two kinds of evidence for transcendent beliefs: intellectual evidence, which includes historical, archaeological, and philosophical reasons to believe (or not to believe), and experiential evidence, which comes from believing in God and seeing what happens.

For each of us, experiential evidence is personal, but we can, and should, always talk about our experiences with others. We should get feedback, compare, and learn from one another. I consider my experiences to be data points for God, but I’m open to being incorrect.

Faith of the sort I’m advocating doesn’t mean putting your head in the sand. It means walking simultaneously with trust and with your eyes wide open. It means embracing your own limitations and learning to delight in being proved wrong or revising your perspective.

The obligation to have faith

Many people come to faith in God through a major religious experience. They have a sudden shift. They go from skeptic to Believer with a capital “B” seemingly overnight.

That is not how it’s worked for me. I decided to see if I could believe. When I first set out to cultivate faith, I didn’t believe anything at all.

Why did I do it?

I had one very specific reason: it would make the world a better place.

I already knew that belief in God was reasonable, and that God might exist. I already knew that I could get evidence for God if I dared to believe a little bit first.

But what convinced me to finally try believing was an argument William James makes in his essay Is Life Worth Living? He says:

if there is something you can believe in that is reasonable, and that will make you either a happier or better person, or both,

then you are not just licensed, but obliged to believe it.

Not just licensed, but obliged. Believing in God was not just reasonable but would also make me more of all the things I always wanted to be: more joyful, more peaceful, more generous, more resilient.

Thus, I was facing a dual realization:

God might be real, and

Trying to see if I could believe—that is, intentionally opening myself to God’s potential presence in my life—would be an act both of exploring truth as well as making me a better person.

Put like this, the next step for me was obvious:

Do it.

Choose faith. Choose trust. Take a chance on God, and see what happens.

That was eleven months ago now, and I can honestly say it was the best thing I’ve ever done. My belief is far from certain, but it doesn’t have to be—indeed, in some ways it shouldn’t be.

I just keep saying yes to trust, and my heart is lighter and more free than I ever imagined possible.

Taking a chance on God

The secular poet Mary Oliver once famously asked us:

“What will you do with your one wild and precious life?”

What will I do? What will you do?

If faith means taking a chance on God and seeing what happens – and in doing so stepping into lives of greater peace, joy, resilience, and generosity, together –

What are any of us waiting for?

Article

Art

Creed

31 March 2025

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 Gray

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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