Essay

America

Comment

Leading

Politics

31 October 2024

6 min read

Democracy, hypocrisy and us

A deep dive into the pitfalls of political vision and our response to them.

Josh Richards

Josh is a curate in London, and is completing a PhD in theology.

Donald Trump holds his arms out to his side while speaking.

Trump addresses a faith leader event.

x/realdonaldtrump.

Coverage of the Republican candidate for Vice-President, J.D. Vance can't help but return again and again to his Christian intellectual influences. Whether it's an interview with Rod Dreher or an analysis of Patrick Deneen and other 'New Right' thinkers, many US political journalists are having to give their readers a crash course in some of the most controversial ideas in contemporary theology. One recent Politico article stands out because it didn't just introduce an unsuspecting audience of political obsessives to an obscure theologian, it also told them (us) about contradictory ways one might read said obscure theologian. And yet these contradictions force us to confront a difficulty facing anyone engaged in democratic debate.

In the article , Ian Ward sought to explore the impact of Rene Girard's scapegoat mechanism on Vance. In doing so, Ward underlines the importance of Girard's ideas in the intellectual circles around J.D. Vance and his mentor, Peter Thiel.

Girard, a French academic who died in 2015, is remembered foremost for his analysis of the relation between desire and conflict. Girard proposes that desire is ‘memetic, that is to say, it mimics; I want what I see that others want. This naturally leads to conflict, a conflict that can only be resolved by a scapegoat. Identifying a scapegoat, an out-group, is a force powerful enough to create a sense of solidarity between those would otherwise be in conflict over shared desires.

The Politico take considered how Vance's reading of Girard might relate to Vance's defence of his running mate's false suggestion that Haitian immigrants are eating their neighbour's pets in Springfield, Ohio. It went as far to suggest that—rather than a rejection of Girard's analysis— Vance could be understood to be applying a pragmatic reading of Girard. Ward writes:

Though Girard never said so outright, some of his interpreters have argued that Girard’s idea of the Christian ethic — which in theory offers an alternative to ritualistic violence as a basis for social cohesion — cannot in practice serve as the basis for a large, complex and modern society.

Scapegoating is inevitable, deploy it to your advantage. We cannot know how exactly this or any reading of Rene Girard factors into his political tactics. What we can know is that Vance's public fascination with big ideas opens him up to a charge upon which a healthy democracy depends: hypocrisy.

In contrast, there is often a surprising transparency to Trump's appeals to self-interest, Addressing a audience in July, Trump declared:

Christians, get out and vote, just this time. You won't have to do it anymore. Four more years, you know what, it will be fixed, it will be fine, you won't have to vote anymore, my beautiful Christians.

As much as Vance and others try to change this, there is little ideological content, no substance behind ‘Make America Great Again’ insofar as Trump tells it. It is politics at its most transactional and what Trump offer his supporters, beautiful or otherwise, is so often a scapegoat. Trump tends to be pretty open about this and, as ugly as this kind of politics is, there is a strange kind of honesty to it. But Vance is different. He has big ideas. And however weird you may think these ideas are, and however much tension there seems to be between his love of Rene Girard and his scapegoating of Haitian immigrants, democracy is better for that tension. Constructive democratic debate, in some sense, depends on hypocrisy. Without it, democracy would be nothing more than a negotiation around mere self-interest.

A politician with an ideological vision is one that can be held accountable. Keir Starmer's recent decision to pay back £6,000 worth of gifts is a case in point. Had he not sought to set himself as a contrast to the Boris Johnson of Partygate, the criticism of his accepting clothes and tickets would not have had the same bite.

Stumbling into politics haunted by a sense that things could be better will make us hypocrites on impact.

The first generations of Christians encountered a similar problem. The law they believed that they had received from God showed them a vision for the good life just as it revealed all the ways they fell short. As the early church leader Paul wrote: “through the Law comes the knowledge of sin.” We might add that through political ideology or aspiration comes the knowledge of political hypocrisy.

Had Vance never publicly explored Girard's theory, if he were only an opportunist more like Trump, we would have one less means by which to hold him to account. Every politician will be found lacking when judged by their public ideological aspirations. And the more ideological aspirations, the greater the charge of hypocrisy. Hypocrisy will always be found wherever we find people debating and aspiring to ideas more perfect than they are. I'm not defending any individual hypocrisy; the residents of Springfield, Ohio and newcomers across the US deserve so much better. Hypocrisy is always disappointing, but it is less disappointing than the alternatives: either a naked pursuit of self-interest or a naïve expectation of ideological purity.

The question for each of us in a democracy is how we live with hypocrisy, expecting it while still expecting more from those who wish to serve us in public office. And a moment's introspection reveals that it is a charge that confronts each of us also: the shaming gap between my aspirations for my life and the reality. To ask how we live with these hypocritical politicians is really to ask how we live with ourselves?

With that we return to Girard. He claimed that Jesus Christ willingly became a transparently innocent scapegoat and in doing so undermined the mechanism. In the Politico article, Vance is quoted as follows:

In Christ, we see our efforts to shift blame and our own inadequacies onto a victim for what they are: a moral failing, projected violently upon someone else. Christ is the scapegoat who reveals our imperfections, and forces us to look at our own flaws rather than blame our society’s chosen victims.

The exacting logic of the crucifixion prevents us from scapegoating even the scapegoating politicians.

But Jesus’ death is more than an embodied social critique. In coming to us and dying in the person of Jesus, God showed his love for imperfect people struggling under the weight of perfect ideas. He came to give the home and safety we all desire, offered freely to hypocrites. The point of Christ's death is not, at least in the first instance, to inspire me to treat others better. It is God's unconditioned offer to the broken and hypocritical, as the broken and hypocritical, not as he'd rather we be.

Paul puts it like this: "God demonstrates his own love for us in this: While we were still sinners, Christ died for us." Yes, God's grace is too dramatic, too strong not to provoke us and empower us to change, but his love comes to us before any change. It comes to us as we are, nursing our pitchforks and that self-righteous sense that it's all really someone else's fault.

Stumbling into politics haunted by a sense that things could be better will make us hypocrites on impact. We must not excuse this hypocrisy; we should hold ourselves and our leaders to account. And yet we can do so gratefully haunted and gratefully held by a God who came for hypocrites.

Article

Culture

Film & TV

Monsters

Weirdness

Zombies

24 October 2024

5 min read

Zombies: a philosopher's guide to the purpose-driven undead

Don’t dismiss zombiecore as lowbrow.

Ryan Stark

Ryan is the author of A Guidebook to Monsters: Philosophy, Religion, and the Paranormal.

A regency woman dabs her mouth with a bloody hankerchief.

Lilly James in Pride and Prejudice and Zombies.

Lionsgate.

Writing from his new book, A Guidebook to Monsters, Ryan Stark delves into humanity’s fascination for all things monsterous. In the second of a two-part series, he asks what and where zombies remind us of, and why they caught the eyes of C.S. Lewis and Salvador Dali

On how Frankenstein’s monster came to life nobody knows for sure, but he is more urbane than zombies tend to be. Nor do Jewish golems and Frosty the Snowman count as zombiecore. The latter sings too much, and both are wrongly formulated. Frosty comes from snow, obviously, and the golems—from mere loam, not what the Renaissance playwrights call “gilded loam,” that is, already pre-assembled bodies, which is a zombie requirement. Tolkien’s orcs function likewise as golem-esque monsters, cast from miry clay and then enlivened by the grim magic of Mordor. We do not, for instance, discover scenes with orc children.

And neither is Pinocchio a zombie, nor Pris from Blade Runner, but dolls, automatons, and C3POs border upon the land of zombies insofar as they all carry a non-human tint. Zombies, however, carry something else as well, a history of personhood, and so in their present form appear as macabre parodies of the human condition writ large. They are gruesome undead doppelgangers, reminding us of who we are not and perhaps—too—of where we are not. Hell is a place prepared for the Devil and his angels, Christ tells us in the book of Matthew. And maybe, subsequently, for zombies.

Kolchak, in an episode of Kolchak: The Night Stalker aptly titled “The Zombie,” correctly discerns the grim scenario at hand: “He, sir, is from Hell itself!”

C.S. Lewis pursues a similar line of thinking in The Problem of Pain: “You will remember that in the parable, the saved go to a place prepared for them, while the damned go to a place never made for men at all. To enter Heaven is to become more human than you ever succeeded in being on earth; to enter Hell is to be banished from humanity. What is cast (or casts itself) into Hell is not a man: it is ‘remains.’” Lewis makes an intriguing point, which has as its crescendo the now-famous line about the doors of Hell: “I willingly believe that the damned are, in one sense, successful, rebels to the end; that the doors of Hell are locked on the inside by zombies.” I added that last part about zombies.

I make this point—in part—to correct those in the cognoscenti who dismiss zombies as a subject too lowbrow for serious consideration.

Not everyone believes in Hell, of course, yet most concede that some people behave worse than others, which also helps our cause. Indeed, part of zombiecore’s wisdom is to show that bad people often produce more horror than the zombies themselves. Such is the character of Legendre Murder, a case in point from the film White Zombie. Not fortunate in name, Mr. Murder runs a dark satanic mill populated by hordes of zombie workers, which is the film’s heavy-handed critique of sociopathic industrialization. The truth to be gleaned, here, is that zombies did not invent the multinational corporation; rather, they fell prey to it.

We might think, too, of Herman Melville’s dehumanized characters from Bartleby the Scrivener: Nippers, Turkey, Ginger Nut, and the other functionaries whose nicknames themselves indicate the functions. From an economic standpoint, their value becomes a matter of utility, not essence, which is Melville’s reproach of the despairingly corporate drive to objectify personhood—of which zombies are an example beyond the pale. They might as well be fleshy mannequins, in fact, and as such provide the perfect foil for the human being properly conceived.

Here, then, is why we do not blame zombies for eating brains, nor do we hold them accountable for wearing white pants after Labor Day, as some inevitably do. They cannot help it—in ethics and in fashion. Perhaps especially in fashion. The best we can hope for in the realm of zombie couture is Solomon Grundy, the quasi-zombie supervillain who holds up his frayed pants with a frayed rope, a fashion victory to be sure, however small it might be, though “zombie fashion” is a misnomer in the final analysis. They wear clothes, but not for the same reasons we do.

The point holds true for Salvador Dali’s zombies as well, most of whom find themselves in nice dresses. I make this point—in part—to correct those in the cognoscenti who dismiss zombies as a subject too lowbrow for serious consideration. Not so. Exhibit A: the avant-garde Dali, darling of the highbrow, or at least still of the middlebrow, now that his paintings appear on t-shirts and coffee mugs. Burning giraffe. Mirage. Woman with Head of Roses. All zombies, too ramshackle and emaciated to live, never mind the missing head on the last one, and yet there they are posed for the leering eye, not unlike those heroin-chic supermodels from Vogue magazine in the late 1990s. Necrophilia never looked so stylish.

The zombie’s gloomy predicament bears a striking resemblance to that of the Danaids in the classical underworld, those sisters condemned to fill a sieve with water for all eternity...

But never let it be said that zombies are lazy. They are tired, to be sure. Their ragged countenances tell us this, but they are not indolent. Zombies live purpose-driven undead lives. They want to eat brains, or any human flesh, depending on the mythos, and their calendars are organized accordingly. No naps. No swimming lessons. Just brains.

But we quickly discern that no amount of flesh will satisfy. There is always one more hapless minimart clerk to ambush, one more sorority girl in bunny slippers to chase down the corridor. In this way, the zombie’s gloomy predicament bears a striking resemblance to that of the Danaids in the classical underworld, those sisters condemned to fill a sieve with water for all eternity, an emblem of the perverse appetite unchecked, which has at its core the irony of insatiable hunger. And as the pleasure becomes less and less, the craving becomes more and more. The law of diminishing returns. So, it is with all vices. The love of money demands more money, and the love of brains, more brains.

And so, in conclusion, a prayer. God bless the obsessive-compulsive internet shoppers, the warehouse workers on unnecessarily tight schedules, and the machine-like managers of the big data algorithms. God bless the students who sedate themselves in order to survive their own educations, taking standardized test after standardized test. And God bless the Emily Griersons of the world, who keep their petrified-boyfriend corpses near them in the bedroom, an emblem of what happens when one tries too mightily to hold on to the past. And God help us, too, when we see in our own reflections a zombie-like affectation, the abyss who stares back at us and falsely claims that we are not the righteousness of God, as Paul says we are in 2 Corinthians. And, finally, Godspeed to Gussie Fink-Nottle from the P.G. Wodehouse sagas: “Many an experienced undertaker would have been deceived by his appearance, and started embalming on sight.”

From A Guidebook to Monsters, Ryan J. Stark. Used by permission of Wipf and Stock Publishers.