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?

Review

Culture

Film & TV

7 August 2024

9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James Lawrence

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.

'A desert of criticism and a wasteland of cynicism.'

Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time.

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed. 

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips.

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film.

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too.

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine).

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story.

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time.

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends.

I had such a strange set of emotions as I watched this part of the story unfold.

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.”

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story.

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago.

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world.

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death.

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted.

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.