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.

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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