Column
Atheism
Belief
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5 min read

Defining cultural Christianity 

There’s already a backlash against Dawkins and the New Theists.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A speaker turns from the podium against a backdrop reading 'Centre for Sckeptical Inquiry
Richard Dawkins speaking at a sceptics event, 2022.
CSI

“Richard Dawkins says he’s a cultural Christian,” I said over breakfast.  

“What’s that?” she asked.  

I had a stab at it. “Someone who doesn’t buy the Christian faith, but likes hymns and churches and to live in a nominally Christian country, because it’s decent. Apparently.”  

“So what’s new?” she said.  

She has a point. I’ve just completed a decade as a rural parish priest and plenty of people came to church because it’s a respectable, middle-class thing to do. It’s as comforting as it is comfortable.   

But cultural Christianity is a thing of the moment not just because of the pop-atheist Dawkins. To be honest, he’s struggled to retain his increasingly embarrassed atheist flock over the past decade, so in the public sense he’s not much of a trophy. But there are those of higher and more surprising profiles, who have come out for Christianity as the very essence of our culture and the bulwark against something much worse (for which read Islam).  

The backlash against New Theism has been swift. And, strangely, most of it hasn’t come from humanists and atheists.

A key text for cultural Christians is Tom Holland’s Dominion: The Making of the Western Mind. It posits, inter alia, that Christianity is the foundation of our civilisation, even the bits that try to destroy the faith. Holland has more recently experienced a miraculous cure from cancer through intercession (which sounds suspiciously like deal-making prayer, but never mind).  

Then there’s Ayaan Hirsi Ali, whose journey from Islam to atheism to Christianity traces her developing conviction that secular humanism is a reed in the wind against the threat to the West from militant Islam. Holland and Ali, among many others, including women’s rights activist Louise Perry in her apologia for traditional Christian morality, The Case Against the Sexual Revolution, fuel the enthusiasm of Justin Brierley for a new renaissance in his joyful book, The Surprising Rebirth of Belief in God.  

Collectively, these are called the New Theists, who ride against the four horsemen of the atheist apocalypse (more accurately, perhaps, the four hacks of the new millennium), Dawkins, the late Christopher Hitchens, Daniel Dennett and Sam Harris.  

The backlash against New Theism has been swift. And, strangely, most of it hasn’t come from humanists and atheists, but from what one might call established Christians. I have heard the likes of Ali and Holland called cosplay Christians and their faith derided as Christianity-lite.  

Dawkins still says the Christian faith is nonsense, but who’s to say the spirit isn’t moving in him?  

Robert Thompson, a north London priest, has posted that “we will be in the midst of Christian revival… when we actually reorder our lives around the abused Christ and raise the abused Christ’s body”. He argues against Brierley’s championing of London’s oldest church, St Bartholomew the Great, because it’s “the gayest church in town” (no, I didn’t follow this line of argument either) and critiques Brierley’s account of Holland’s witness (if not conversion) by comparing it with “the worst Easter Day sermon I’ve ever heard”.  

I accept that this is a savage paraphrase in its brevity. But it’s all there and it comes not from any of the (now old) New Atheists, but from someone ordained to the priesthood. Meanwhile, Chine Macdonald, director of the Christian think tank Theos, writes in relation to his claims of cultural Christianity that “Dawkins isn’t actually a fully paid-up follower of Jesus” and that she’ll save her excitement over New Theists until they start “talking about the ways in which their lives have been turned upside down by the radical love of Jesus Christ.”  

Frankly, all this sounds a bit snobbish and patronising, as if there’s a minimum bar for Christian entry, as if it’s cosplay Christians indulging in Christianity-lite. Sure, Dawkins still says the Christian faith is nonsense, but who’s to say the spirit isn’t moving in him? Frankly, I have people at my communion rail who say the same thing. And, to be brutally honest, I can count on one hand those of my very many Christian friends who claim that their world has been turned upside down by the radical love of Jesus Christ.   

To be clear, Thompson and Macdonald have important things to say. Thompson writes movingly about his pastoral experience of cystic fibrosis patients in hospital, to take theological issue with Brierley for writing about “an unbiblical God who simply does not exist” as he waited with his patients “until they died… generally well before their 40th birthday.” No Holland miracle cures, please.  

Macdonald writes usefully about the difference between the word “Christian” as an adjective and a noun, the New Theists being Christian adjectives in action. She also speaks of Dawkins’ talk of Christianity as a “decent” religion (as opposed to Islam) and his feeling “at home” in a Christian country as code for “whiteness”. To my shame, I hadn’t thought about that.  

This would all be an ecclesiastical spat, like arguing about angels on a pinhead, if it weren’t for a darker danger beneath it. I think of former nun Karen Armstrong’s work on the dangers of religious fundamentalism when outsiders are excluded. In that context, I worry even more about those who claim that the New Theists are the work of “the enemy”, or Satan, because they “hollow out” our faith more insidiously than atheists.  

In contrast to that, Bishop Graham Tomlin gave a sermon at Lambeth Palace the other day in which he referenced Dietrich Bonhoeffer’s claim to a faith that proclaims Christ at its centre, rather than worrying too much about the boundaries of the Christian community, which are always a bit fuzzy. I like that, because with fuzzy boundaries it becomes harder to exclude New Theists.   

It’s tough being a Christian, whether new or old. When a rich young man comes to the Nazarene and asks how he can acquire the kingdom of heaven, he’s told to sell all he has, give the money to the poor and follow him.  

None of us can reach that bar. But the implication I hold on to is that he’ll walk alongside us anyway. And that applies to everyone in this column, without exception. Now that’s what I call radical love.  

Review
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

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