Did God tell Joe Biden to stand down?

His story teaches us to listen a little more intently to what comes our way.

Graham Tomlin

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

President Biden, at his desk after announcing his decision.

Biden reflects after announcing his decision.

The White House.

Joe Biden has finally quit. After weeks of resistance to the clamour of Republican voices telling him to withdraw from the race to be re-elected, he finally gave in and pulled out. A tweet was followed by a press conference where a stiff and weary looking Biden told the world that his campaign for a second term was over.

Just a few weeks ago, when asked if he would step down, he had said that “If the Lord Almighty comes down and tells me that, I might do it." Joe Biden is a man of faith. And so, it was a strange kind of prayer - perhaps just a throwaway line intended to reassert his determination to stand - but it raises an intriguing question. Did the Lord Almighty do just that?

I'm not sure what President Biden had in mind when he raised this possibility. Perhaps he envisaged some disembodied voice from the clouds, like Moses on Mount Sinai, booming out a personal message that it was time to step back? A vivid dream where God appeared to him? Maybe he was looking for mysterious handwriting on the wall, as happened to the Babylonian King Belshazzar? Was Joe waiting for something similar on the wall of the Oval Office as he drank his morning coffee?

As far as we know, none of those things took place. What did happen was more mundane. Struck down with COVID, holed away with his family and key advisors he was presented with evidence that there is no way he could beat Donald Trump and so he decided to pull out.

God normally speaks to us through ordinary human Interaction, through commonplace events that might happen to everyone.

Perhaps when most people think of God speaking, they have in mind a kind of Monty Python booming voice from the clouds, a message that is inescapably and undoubtedly divine. Yet the evidence of Christian history and the testimony of numerous Christians throughout the world and previous centuries suggest that that kind of communication is vanishingly rare. God usually delivers his message through more ordinary methods – so ordinary that it is very easy to miss it. In fact, the most definitive time God spoke to the human race, it wasn't in a booming voice from the skies, but in the words of a scruffy looking Jewish rabbi who looked as human as the rest of us.

Despite the mediaeval imagery, Jesus did not walk around with a golden halo around his head that served as a sign saying, ‘this is the Son of God!’ It was quite possible to meet Jesus, listen to him speak, even shake his hand, and entirely miss the fact that you were speaking to God.

As the early Christians thought through their Christology, in other words their understanding of how God and humanity came together in the person of Jesus, the main conclusion was that Christ’s divine nature did its work through, rather than apart from his human nature. It is not that some of his actions and words were divine (for example miracles, inspired teaching etc.) and some human (eating, sleeping and asking for directions) but rather that both human and divine natures were involved in all that he did - the human nature passively allowing itself to be the vehicle through which God did his work. So that when you met Jesus you could see God working perfectly through a human being in the way that we were always meant to.

For those who had the eyes to see it and the ears to hear it, although he looked and spoke just like an ordinary human, Jesus was far more than that - he was the one through which God definitively spoke to the human race.

All that suggests a very different way of God speaking to us. God normally speaks to us through ordinary human interaction and through commonplace events that might happen to everyone.

Joe's story perhaps teaches the rest of us to listen a little more intently to what comes our way.

So, when Joe Biden started to listen to the voice of his family and friends rather than stubbornly persisting with his doomed attempt to be re-elected, perhaps his secret prayer was being answered? Perhaps the Lord Almighty was telling him to step down, through the very ordinary voices of his friends and advisers. How do we know it was God? As I've argued elsewhere, in the question of whether God saved Trump from an early death, we can only definitively tell when God has intervened while looking backwards. Looking back on the past few weeks and months, might this be a case where we can begin to say with some confidence that Joe Biden was listening to the one voice that could have told him to step back?

It sounds like he obeyed unwillingly. In his speech from the Oval Office, he continued to claim that he deserved a second term (does any leader in a democracy deserve election? Is it not always a gift and a privilege?) He continued to proclaim a rather fantasy-laced vision of the USA: “we are the United States of America and there is nothing beyond our capacity”, claiming the limitless power of his nation at a time when he should have been more aware of his own limits and finitude.

But maybe we all do that from time to time. Let us give credit where credit is due. He did finally, reluctantly, perhaps grudgingly, listen to the voice of the Lord Almighty telling him to quit.

Listening for the voice of God is an art and not a science. Wisdom comes to us usually through very ordinary human means and it takes a lifetime of listening, reading of Scripture, discerning the difference between the kind of thing God would say - which is the kind of thing Jesus would say - and the things that he wouldn't. Joe's story perhaps teaches the rest of us to listen a little more intently to what comes our way, to hear when God might actually be speaking to us - through the ordinary events and voices that surround us every day.

Interview

Books

Creed

S&U interviews

9 February 2024

9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan.

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.”

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”

C.S. Lewis.

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ.

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”.

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”.

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.”

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith.

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.”

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.”

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.