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.

Review
Art
Culture
Identity
6 min read

How the incomer’s eye sees identity

A re-invigorated art gallery highlights synergies between ancient texts and current issues.

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

A painting depicts a round table in a room. Those sitting around it rise up as a Christ figure enters.
Horace Brodzky, Supper at Emmaus.
Ben Uri Gallery and Museum.

Ben Uri was founded in 1915 in London’s Whitechapel and was named after Bezalel Ben Uri, the craftsman who designed and built the Ark of the Covenant.  

Originally it was an art venue for Jewish immigrant artists who were unable to gain access to mainstream art societies at that time. Today it has been reimagined and relaunched, becoming an expansive digital platform designed to be the first stop for information on Jewish, refugee and immigrant artists, designers, dealers and scholars who have made significant contributions to the rich and diverse British cultural mosaic.  

In 2023, I curated an online exhibition for Ben Uri exploring migration themes in Biblical images drawn from their Collection.  

Themes of identity and migration feature significantly in both the Hebrew and Christian Bibles and images from these Bibles are a substantive element of the Ben Uri Collection. As a result, the exhibition that I curated, Exodus & Exile: Migration Themes in Biblical Images, includes a range of Biblical images from the Collection. This is in order to explore migration themes through consideration of the images, the Bible passages which inspired them and the relationship between the two. The images are presented broadly in the order that the stories on which they are based appear in either the Hebrew or Christian scriptures. 

The combination of images and texts I selected from the Ben Uri Collection enabled a range of different reflections, relationships and disjunctions to be explored. These include the aesthetic, anthropological, devotional, historical, sociological and theological. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration. This was important in writing for an audience including people of all faiths and none, and in writing for an organisation which seeks to surpass ethnic, cultural and religious obstacles to engagement within the arts sector. 

“Most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs.” 

Sam Wells

Engaging in a dialogue between images and texts and with an audience made up of people of all faiths and none, can be revelatory for all involved, particularly those doing the writing. In an essay related to the exhibition, about which I will say more shortly, I discuss the impact of émigré artists, many of whom were Jewish, who contributed artworks that greatly enriched British culture and churches. Another example of someone impacted by the insights of those from another faith community is that of Lord Maurice Glasman, who has written of the part played by Catholic social thought in restructuring his politics, ethics and orientation of thought. He writes that: “It established the Common Good – a negotiated settlement between estranged interests – as the ultimate end of politics. It is Catholic social thought that has guided me through the 2008 crash, Brexit and now the coronavirus. It has been my inspiration and I will be eternally grateful to Catholics and the Church. It was a very generous gift. In the darkest moments, it lights the way.” 

Sam Wells, Vicar of St Martin-in-the-Fields, argues that the Bible itself is founded on six journeys, all of which have a bearing on themes of migration: “Jacob and his entourage migrate to Egypt in the midst of famine. This is an economic migration, but really it’s a journey of survival. Moses and the children of Israel migrate from Egypt to the Promised Land. They leave as refugees to flee slavery. They take 40 years to reach their destination, and, when they get there, they face a very hostile environment indeed. Judah loses a battle and is displaced 500 miles to Babylon. There, as Daniel shows, exiles play a vibrant role in public life, and bring unique qualities, represented by the ability to interpret dreams. Jesus travels from Galilee to Jerusalem. He’s living during the occupation by an invading power, Rome. Finally, Paul migrates from Jerusalem to Rome. He’s searching for legal protection in an empire where citizenship transcends geography.” His conclusion is that “most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs”. As a result, we don’t get Judaism or Christianity without migration. 

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. 

Wells’ approach is one that I adopted in exploring migration themes through Biblical images in the Ben Uri Collection and many of the journeys he mentions feature in the exhibition images. The images I chose, begin with an L. Michèle Franklin watercolour of Adam and Eve. In her image they are naked with heads in hands, lamenting their loss, as they leave Eden. This is an archetypal image of forced migration, with those who have become migrants mourning the loss of the home they loved. The creation stories contained in the Bible quickly lead to a founding act of exile as Adam and Eve are banished from the Garden of Eden. One reading of this story suggests that we are all migrants, outside of a truly harmonious relationship with the world we inhabit but looking to return to our harmonious origins. 

The exhibition ends with Horace Brodzky’s 'Supper at Emmaus', an image which comes at the end of a journey and depicts the moment of realisation that the one who had been lost and mourned had in fact been with the travellers throughout their journey. As a result, the realisation comes that what we seek may be with us on the journey or Exodus we undertake, rather than awaiting us at the end. This realisation results in a new journey for the exiles and a return to their people and purpose.  

In between come stories of migration in the lives and experiences of the artists who created the images included in the exhibition, with aspects of those stories becoming entwined with the Biblical narratives depicted. Attention is drawn to René Girard’s mimetic theory, whereby imitation of one another gives rise to rivalries and violent conflicts that are then temporarily solved by scapegoating others. Some artists of Jewish origin included in the Collection addressed their experience of persecution through crucifixion imagery and, thereby, played their part in exposing and subverting this scapegoating mechanism.  

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. After the Second World War, there was an almost unprecedented expansion of the number of church buildings containing works of art, as churches were repaired or built with new work installed in them. This was a time of impassioned artistic activity, in which the catalyst for the Church was, to a significant extent, émigré artists, many of whom were Jewish. I explore the contribution made by this group of artists in a related essay called Debt Owed to Jewish Refugee Art which is also available through Ben Uri Online.  

Will Hutton, writing in The Guardian in 2015, noted that refugees “are, as migration specialist Ian Goldin characterises them, ‘exceptional people’”. He continued: “Over centuries, as [Goldin] painstakingly details, it has been immigrants and refugees who have been part of the alchemy of any country’s success: they are driven, hungry and talented and add to the pool of entrepreneurs, innovators and risk-takers. The hundreds of thousands today who have trekked across continents and dangerous seas are by any standards unusually driven. They are also, as Angela Merkel says, fellow human beings. To receive them well is not only in our interests, it is fundamental to an idea of what it means to be human.” The history of émigré artists in the twentieth century, and the part of that story I explore in this essay and exhibition, reiterates and demonstrates the continuing relevance and significance of that message.  

In relation to the story told in my essay, it is a story in which the Church is at the heart of welcome and hospitality, combined with awareness of the immense contribution that refugees make to the culture and economy of their host countries. Our current lack of appreciation for that story, these artists, and their works, is, perhaps, symptomatic of the place in which our nation’s conversation about immigration is currently stuck. My hope is that this exhibition and essay can play a small part in changing that situation. 

 

View the Exodus & Exile: Migration Themes in Biblical Images exhibition.