Article
Culture
Re-enchanting
4 min read

The falcon’s call

Awed by an encounter with a bird of prey high above a Texas river, Anthony Baker ponders both the place and his place.

Anthony Baker is a theology professor at Seminary of the Southwest in Austin, Texas. He is currently exploring the intersection of classical accounts of Christian holiness with current issues in ecology. 

A view of a lightly misted valley to mountains in a desert area.
The view from the South Rim of the Big Bend National Park.
National Park Service Digital Image Archives, Public domain, via Wikimedia Commons.

Seeing God in Big Bend

The scream from the sky shattered the quiet calm of my cliffside campsite. I'd never heard such a sound—it was like a large crow had decided to try and quack. I rushed out of my tent, where I'd collapsed after making the seven mile trek up the mountain, to find the source of this alarming noise.

I was up on the rim of Big Bend National Park in southwestern Texas, where I'd come on a solitary backpacking retreat. The "big bend" is the abrupt L-turn of the Rio Grande river, as it changes course from southeast to northeast. At the heart of the park rise the stark and severe Chisos Mountains, and the crown jewel of the Chisos is surely the South Rim. A thousand feet beneath me, a sheer drop from where I've staked my tent, there is a whole other mountain range. And ten miles away to the southeast I could see gorgeously striped limestone ridges across the river in northern Mexico.

It's a place that puts you in the presence of the sublime.  Everett Townsend, the pathfinder responsible for bringing the region under the protection of Franklin Roosevelt's government, was particularly awed by this view. As a biographer put it, the view from the South Rim allowed him to

"see God as he had never seen Him before and so overpoweringly impressed him that he made note of its awesomeness…"

What does it mean, though, to see God in a place? Do I need to be up high and far away, staring into sublime depths? The South Rim gives me the impression that I'm hovering like an eagle over the earth, not standing on it like a human. Why are these the places that we think we sense the divine? 

I'd like to think that seeing God in a place can be just as much about close and near attention as it is about sublime distances. What does God look and sound like here, if I stand on the ground and pay as much attention as I can to what I see and hear around me?

The Falcon's cry

I had no Internet connection on the Rim, so when I heard that bird cry out over my head I tried to burn the sound into a mental audio file. Jumping from my tent, I saw a large predator bird shooting directly above me and out over the cliff's edge. The size and shape—a large flying crossbow—told me that I'd been hailed by a peregrine falcon. A sign near my site told me that the section of the ledge where I was camping—where the South and East Rims meet—is in fact a protected nesting ground for the birds, closing to human trekkers each spring.

The peregrine is the world's fastest animal of any kind. They can dive at 200 miles per hour. That means they can only hunt birds in flight, since if they attacked anything on the ground at that speed they would both wind up, as my Granny would put it, "nothing but a greasy spot on the pavement."

A display down at the park's visitors' center had already filled me in on the near demise of the remarkable bird. DDT, a killing-machine of a pesticide that Rachel Carson called out in her book The Silent Spring in the 60s, triggers an immuno-response in female birds who have ingested it into their bodies. This response limits the calcium they can supply to their eggshells. As a result, the eggs were too vulnerable to predators or simply weather, and the embryos were not surviving.

We gave the Nobel Prize to the scientist who discovered how to use DDT to kill insects. It made so much sense, after World War II, to find ways to kill the pests who were spreading disease among the wounded soldiers and other victims of the war. But we were not yet thinking, in those days, about what else we might be killing. Now we're at least thinking, even while we're still killing.

Sin and redemption on the mountain 

What does the falcon, soaring off the Rim, reveal to me about God? Consider, for instance, the doctrine of sin. Taken as an abstraction, sin is what theologians call the manifold ways that humans can turn from their holy God.  But what if we fill that doctrine in with attentiveness to the story the falcon tells us? Here on the Rim, sin looks like failing to be awed enough by this remarkable life form to notice, until almost too late, that we are killing it. 

Similarly, redemption, in the Christian telling of things, refers to the way that God overcomes sin and restores holy relationship. Here on the rim, redemption looks like a shared grief over the damage we've done. It looks also like the effort to protect this space as a bird sanctuary—literally a "holy place." It looks like a hope that falcon and human, like the bird and its own prey, can find a balance of mutual respect and coexistence.

The warning call of God

When I came down the mountain, I got on the Wi-Fi at the lodge outside the park and went searching for bird calls. I found a match for the sound that I'd heard - that caw-quack of a scream. It was the warning call of a peregrine falcon who has found predators in its nesting grounds. The bird was talking about me! Maybe somewhere in her DNA she recognized me as one of the DDT users that ruined her ancestors' eggshells. Hearing that call, as the bird flew off into sublime depths and distances, I suspect I was hearing about the mystery of life, the damage of sin, and the beauty of redemption. In other words, I was hearing the voice of God.

Review
America
Culture
Film & TV
5 min read

Cutting America to the bone

Civil War warns against worshipping civic and political violence.

Chris Wadibia is an academic advising on faith-based challenges. His research includes political Pentecostalism, global Christianity, and development. 

An explosion occurs at the Lincoln Memorail
Civil War's finale in Washington DC.
A24.

The president of the United States is dead. The film Civil War culminates with soldiers of the Western Forces (a fictional secessionist group composed of California and Texas) posing for pictures with a presidential corpse just minutes after executing him. It’s a chilling climax, with optics reminiscent of American soldiers capturing deposed president of Iraq Saddam Hussein in 2003. The film ends with a warning. No democratic country, no matter the perceived strength of its institutions, is immune from tyranny, civil violence, and the bloody process of state failure. Collapse follows when states lose the capacity to provide solutions to the linchpin challenges negatively affecting their citizens. 

A strength of Civil War is the way it articulates a universal political message without defiling itself with the toxic hyper-partisanship asphyxiating real-world American society.  

It features a number of loyalist and secessionist geopolitical groups each motivated by a distinctive combination of social, economic, and political interests and goals. These groups include the Western Forces, Florida Alliance, New People’s Army, and Loyalist States.  

The film’s storyline prioritises a violently unfolding near future civil war in a United States whose president bucked constitutional tradition by remaining in office for a third term. The president, whose character is modelled after Donald Trump, is the villain of the film, despite being supported by over half of the 50 American states. The Western Forces function as the film's hero group. Unlike the mercilessly murderous and viciously xenophobic soldiers affiliated with the Loyalist States, the soldiers of the Western Forces treat an eclectic team of journalists and war photographers (the film’s main protagonists) with kindness and respect, allowing them to accompany them during the final stages of their assault on the White House and entrance into the belly of the beast, the Oval Office. 

The film includes shocking scenes that would make the most patriotic Americans shudder. Shortly after it begins, a suicide bomber associated with the Loyalist States, proudly carrying a large American flag, sprints into the centre of a group of vulnerable people, pleading with agents charged with guarding a water tanker, and detonates a bomb. Dozens of people including children are killed, many of whom were non-White Americans. This scene's power is that it bring home the threats Americans associate with foreign lands. Suddenly the menaces Americans instinctively link with states like Afghanistan, Burkina Faso, and Venezuela exist in cities like Charlottesville, New York, and Washington DC. America is no longer safe, and the threats have come from within instead of from abroad.  

The message of Christ applies to theocracies and secular states alike. Every state, regardless of its attitudes toward religion, has an interest in its people living together peacefully.

As an American watching this film from a cozy cinema in Oxford, I thought about how the violence, polarisation, and civic rage depicted in the film already exists in many forms in the country I love from a distance. Shootings, many of them mass in nature, happen every day in an America whose citizens are comfortable with violence but afraid of each other. The United States suffers from an embarrassingly high association with mass shootings, far more than whichever county manages to claim an ignominious second place. Whilst it is unlikely tanks and attack helicopters will surround the White House anytime soon, the casual spirit of violence that has overtaken American society already fosters a level of violence far above the threshold any twenty first century democratic state should tolerate.  

I watched this film as a proud American and as a committed Christian, a faith I share with many of my fellow American citizens. My Bible, and theirs, does say we are citizens of heaven” destined to enjoy an eternal posterity in a New Creation marked by perfect peace and prosperity. However, until Christ returns, and God remakes the cosmos, Christians do have a vital role to play in their everyday civic communities. Whilst Civil War offers a grim view of America’s immediate political future, that message of Christ contains the content needed to cure the gravest challenges bedevilling the United States. I remain optimistic. 

Not all Americans identify as Christians or even with organised religion; nevertheless, twentieth century history confirms that states that altogether ignore God will soon wither into an ecosystemic abyss of state-sponsored moral relativism that endorses the use of violence for an increasing, arbitrary range of unsuitable, injudicious, and illegitimate purposes. The message of Christ applies to theocracies and secular states alike. Every state, regardless of its attitudes toward religion, has an interest in its people living together peacefully. Humans need a moral system to provide them (as well as their societies at large) with at least a perceived sense of moral structure. Christ’s message articulates a concept of civic love that challenges the existing worship of civic and political violence. Christ argues that violence in moments of disagreement or dismay is never the appropriate option; the mark of genuine Christian devotion is revealed in the avoidance of violent action even when the use of violence would not categorically be condemned by observers. 

Civil War explains how multiple, competing Americas exist. These Americas have different cultures, economic capacities, and sociopolitical ideologies. It teaches that America’s main problem is Americans only love other Americans like them. A number of enclaves exist across American society. Cut off from each other, the development of these enclaves has led to the emergence of micro-Americas so distinctive from each other that some of them no longer view formal geopolitical ties with other micro-Americas as in their best interest.  

The same enclavisation portrayed in Civil War exists in the nonfictional, real-life America. However, unlike in the America depicted in the film, the real-life America still has time to solve its sociopolitical troubles and stop the American state from collapsing. I recommend Civil War to anyone interested in being entertained and warned by what a dystopian, worst-case-scenario of near-future American political activity might actually look like.