Explainer
Atheism
Belief
Creed
Epistimology
7 min read

The difference between Richard Dawkins and Ayaan Hirsi Ali 

How we decide what is true rests on where we start from.

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

A man and woman speaker on a stage greet and embrace each other.
Friends reunited.
UnHerd.

If you want a deep dive into some of the big questions of our time, and a fascinating clash of minds, just listen to the recent conversation between Richard Dawkins and Ayaan Hirsi Ali.  

In case you haven’t heard the story, as a young devoutly Muslim Somali-Dutch woman, Ayaan Hirsi Ali turned her back on Islam to become a poster-child of the New Atheist movement, often mentioned in the same breath as the famous ‘four horsemen’ of the movement – Dawkins, Dennett, Harris and Hitchens. When she announced she had become a Christian (or, as she described herself, a ‘lapsed atheist’) in November 2023, it sent shock waves through atheist ranks. A public meeting with her old friend Richard Dawkins was therefore eagerly anticipated. 

As the conversation began, Ali described a period in the recent past when she experienced severe and prolonged depression, which led her even to the point of contemplating suicide. No amount of scientific-based reasoning or psychological treatment was able to help, until she went to see a therapist who diagnosed her problem as not so much mental or physical but spiritual - it was what she called a ‘spiritual bankruptcy’. She recommended that Hirsi Ali might as well try prayer. And so began her conversion. 

Of course, Dawkins was incredulous. He started out assuming that she had only had a conversion to a ‘political Christianity’, seeing the usefulness of her new faith as a bulwark against Islam, or as a comforting myth in tough times, because, surely, an intelligent person like her could not possibly believe all the metaphysical mumbo-jumbo that vicars preach from the pulpit. 

He was then somewhat taken aback by Ali’s confession that she did choose to believe the reality of the incarnation, that Jesus was the divine Son of God born of a virgin and that for a God who created the world, resurrecting his Son Jesus was no big deal. With a rueful shake of the head, Dawkins had to admit she was, to his great disappointment, a proper Christian.  

Yet he was insistent he didn’t believe a word of it. The nub of the issue for Dawkins seemed to be his objection to the idea of ‘sin’. For him, all this is “obvious nonsense, theological bullshit… the idea that humanity is born in sin, and has to be cured of sin by Jesus being crucified… is a morally very unpleasant idea.”  

Of course it’s unpleasant. Crucifixions generally were. It’s where we get our word excruciating from. And from the perspective of someone who has no sense whatsoever that they need saving, it is distasteful, embarrassing, not the kind of thing that you bring up in Oxford Senior Common Rooms, precisely because it is just that – unpleasant. I too find the notion that I am sinful, stubborn, deeply flawed, in desperate need of forgiveness and change unpleasant. I would much rather think I am fine as I am. Yet there are many things that are unpleasant but necessary - like surgery. Or changing dirty nappies. Or having to admit you are addicted to something. 

And that is ultimately the difference between Dawkins and Ali. They are both as clever as each other; they have both read the same books; they both live similar lives; they know the same people. Yet Ayaan has been to a place where she knew she needed help, a help that no human being can provide, whereas Richard, it seems, has not.  

It is like trying to measure the temperature of a summer’s day with a spanner. Spanners are useful, but not for measuring temperature. 

Dawkins responded to Ali’s story by insisting that the vital question was whether Christianity was true, not whether it was consoling, pointing out that just because something is comforting does not mean it is true. True enough, but then it doesn’t mean it is not true either. The problem is, however, how we decide whether it is true. Dawkins seems to continue to think that science - test tubes, experiments and the rest - can tell one way or the other. Yet as the great Blaise Pascal put it: 

If there is a God, he is infinitely beyond our comprehension, since, being invisible and without limits he bears no relation to us. We are therefore incapable of knowing either what he is or whether he is. 

Science can’t really help us here. It is like trying to measure the temperature of a summer’s day with a spanner. Spanners are useful, but not for measuring temperature.  

Whether Christianity makes sense or not cannot be determined by asking whether it is scientifically plausible or logically coherent – because that all depends on which scientific or logical scheme you are using to analyse it. It is all to do with the place from which you look at it, your ‘epistemic perspective’ to give it a fancy name. From the perspective of the strong, the super-confident, the sure-of-themselves, Christianity has never made much sense. When St Paul tried to explain it to the sophisticated first century pagans of Corinth – he concluded the same - it was ‘foolishness to the Greeks’.  

Christianity makes no sense to someone who has not the slightest sense of their own need for something beyond themselves, someone who has not yet reached the end of their own resources, someone who has never experienced that frustrating tug in the other direction, that barrier which stands in the way when trying and failing to be a better version of themselves – that thing Christians call ‘sin’.  

Why would you need a saviour if you don’t need saving? Would you even be able to recognise one when they came along? No amount of brilliant argument can convince the self-satisfied that a message centred on a man who is supposed to be God at the same, time, much less that same man hanging on a cross, is the most important news in the world. It is why Christianity continues to flourish in poorer than more affluent parts of the world, or at least in places where human need is closer to the surface. 

She found the atheist paradigm that she used to believe, and that Dawkins still does, was no longer adequate for her.

The philosopher of science Thomas Kuhn described what he called ‘paradigm shifts’. They happen when a big scientific theory of the way things are gets stretched to breaking point, and people increasingly feel it no longer functions adequately as an explanation of the evidence at hand. It creaks at the seams, until an entirely new paradigm comes along that better explains the phenomena you are studying. The classic example was the shift from Newtonian to Einsteinian physics, which was not a small shift within an existing paradigm, but a wholesale change to a completely new way of looking at the world.  

That is what Christians call conversion. This is what seems to have happened to Ayaan Hirsi Ali. What marks her out from Dawkins is not that she has found a crutch to lean on, whereas he is mentally stronger, so doesn’t need one. It is that she found the atheist paradigm that she used to believe, and that Dawkins still does, was no longer adequate for her – it no longer could offer the kind of framework of mind and heart that could support her in moments of despair as well as in joy. It no longer made sense of her experience of life. It could no longer offer the kind of framework that can resist some of the great cultural challenges of the day. This was not the addition of a belief in God to an existing rationalist mindset. It was adopting a whole new starting point for looking at the world. When she first announced her conversion she wrote: “I ultimately found life without any spiritual solace unendurable — indeed very nearly self-destructive. Atheism failed to answer a simple question: what is the meaning and purpose of life?” This is a classic paradigm shift.  

Of course, Dawkins can’t see this. He is still in the old paradigm, one that still makes perfect sense to him. It’s just that he thinks it must make sense to everyone. It is surely the one that all right-thinking people should take.  

As the conversation continued, Ayaan Hirsi Ali often seemed like someone trying to describe the smell of coffee to someone without a sense of smell. Dawkins in turn was like a colourblind person deriding someone for trying to describe the difference between turquoise and pink, because of course, anyone with any sense knows there is no real difference between them.  

No amount of proof or evidence will ever convince either that the other is wrong. They are using different methods to discover the truth, one more analytical and scientific, the other more personal and instinctive. The question is: which one gets you to the heart of things? It’s decision every one of us has to make.

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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