Article
Creed
Eating
Seven Deadly Sins
Sin
7 min read

Gluttony’s unconscious self-image of emptiness

In the seventh of a series on the Seven Deadly Sins, Graham Tomlin digests gluttony’s distorting obsession with food.

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

Ramen

A recent report highlighted the problem of obesity in our society. The percentage of British adults who are overweight has risen by 11 per cent since 1993 to a whopping 64 per cent of the population, with almost one in four British adults classified as obese. In the USA it is even worse with 36 per cent of people classified as obese. And that has a knock-on effect on an already creaking NHS and healthcare systems elsewhere in the western world. The bill for the taxpayer for obesity is rising to unsustainable levels.  

There are many causes of obesity, some of them physiological, some genetic, some economic, with poverty often linked to poor diet. Eating healthily costs. Yet Christianity has always seen a spiritual side to the problem, relating to our relationship with food. As part of this diagnosis, Christian moralists have typically called out the sin of gluttony. 

Strange though it may seem, in the earliest lists of the deadly sins, gluttony used to head the list as the worst of them all. Pope Gregory in the sixth century wrote: “unless we first tame the enemy dwelling within us, namely our gluttonous appetite, we have not even stood up to engage in the spiritual combat.”  

Later assessment of the rank of gluttony in the list of deadly sins has taken a kinder view. Thomas Aquinas was easier on gluttons, because, for him, like lust, overeating mainly concerns the body rather than the soul, and as we have to feed ourselves anyway, it is understandable and less serious than the other sins. When Dante’s pilgrim arrives in hell, he finds the gluttons in the third circle of upper hell, not far from the top, tantalisingly within sight of the most succulent tree whose “crop of tempting fruit ambrosial odours spread”, but unable to climb to taste them. For him, gluttons are certainly better than the prideful, the envious, wrathful, slothful or covetous. The only sin that seems less harmful to him is lust.   

Obsessive dieting can be just as much a sign of gluttony as overeating. 

Our image-conscious society tends to look down on people who are overweight. Yet gluttony denies a simple rule that the fat are sinful and the thin are virtuous. When we think of gluttony, we maybe think of stuffing food into our mouths with no thought of tomorrow, over-indulgence to a huge degree. Yet the sin of gluttony has always been seen as wider than that, including that fastidiousness about food that obsesses over what you can and cannot eat. C.S. Lewis writes about the kind of old lady who simply asks for ‘a cup of tea, weak but not too weak, the teeniest, weeniest bit of really crisp toast’, adding, ‘Because what she wants is smaller and less costly than what has been set before her, she never recognises as gluttony her determination to get what she wants, however troublesome it is to others.’ Obsessive dieting can be just as much a sign of gluttony as overeating.  

Gluttony then is an inordinate obsession with food, drink or plain consumption. It is allowing food to take up a distorted place in our lives, just as lust is allowing sex to become an unhealthy obsession. 

We have a fascination with food. A TV advert lingers slowly over a picture of a chocolate sponge, soaked in brandy, with rich cream being poured over it, all with a soft, seductive voiceover describing the scene – a culinary striptease. The cookbook section of my local bookshop is far larger than the religious section – who had ever heard of celebrity chefs thirty years ago? Now they are everywhere. The politics of food is also an area of tricky choices and legislation. Fine food and wine costs both time and money, and poorer families tend to eat less healthily. Should they be banned from doing so for their own good? Should we replace chips and hamburgers with healthy salads in school canteens despite what the kids and their parents want? Where does the health of the nation override personal freedom to eat what you feel like?  

There is one story in the Bible that sheds some light on gluttony. It is the one where Jesus was tempted by the devil. During the temptations, Jesus deliberately goes without food. One of the enticements of the devil is to persuade Jesus to feed himself by the magic trick of turning the desert stones around him into bread. After all, that should be no problem to the Son of God, and it would of course demonstrate his true identity by a display of miraculous power. Jesus replies with some words from the Old Testament:  

“It is written: ‘Man does not live on bread alone, but on every word that comes from the mouth of God.’”  

The point is that when food becomes a god it becomes dangerous. Food, like sex, has the ability to skew things, and so it must be kept in its proper place, and the evidence of that is all around. The irony of our western problem with obesity is that it occurs at a time when still half the world, three billion people can't afford a healthy diet. one in ten people worldwide go to bed hungry at night and nearly half the deaths of children across the world under 5 are related to undernutrition. In 2006, for the first time, the number of overweight people in the world (1 billion) overtook the number of malnourished people (800 million). First world gluttony is anomalous when related to third world poverty and hunger. 

Gluttony is trying to fill a spiritual vacuum with a physical remedy. It is like taking penicillin for a broken heart. 

But overeating is not the only way of abusing food. Obsessing about quantities is also a sign of bad soul health. Bulimia and Anorexia are not as common as obesity, but they still blight the lives of around 10 per cent of college-age girls in the USA, and in the UK, more young people than ever before are receiving treatment for eating disorders. Suffering from Anorexia, Bulimia or a Compulsive Eating Disorder are not sins, but they are an indicator of something that has gone wrong. Food is not a neutral thing, and in a complex way, our attitudes to food are all bound up with our spiritual and emotional health.  

This begins to point us to the reasons why Christianity has found gluttony a sin. Why do people overeat, or starve themselves? Many studies suggest that these disorders often emerge from a sense of lack of worth. We all know the pattern of comfort eating. When you feel a bit low, a slice of chocolate cake or apple pie can make you feel a whole lot better. Ten pints of lager or a couple of stiff whiskies can help you forget why you felt bad in the first place. Similarly, anorexia or bulimia often emerge out of patterns of unhappiness or self-dislike. The Eating Disorder Association says that such patterns of self-abuse are usually caused by such things as “low self-esteem, family relationships, problems with friends, the death of someone special, problems at work, college or at university, lack of confidence, sexual or emotional abuse. Many people talk about simply feeling ‘too fat’ or ‘not good enough’”. 

Now these of course are extreme cases. Yet they point to the ease with which we use food and drink to fill something missing in our lives, to comfort us when we feel lonely, to satisfy us when we are not just physically, but also spiritually hungry.  

The Ethicist Peter Kreeft puts it well:  

“The motivation for gluttony is the unconscious self-image of emptiness: I must fill myself because I am empty, ghostlike, worthless.”  

Gluttony is trying to fill a spiritual vacuum with a physical remedy. It is like taking penicillin for a broken heart – there’s nothing wrong with penicillin, but it doesn’t do much good for a restless soul, and too much of it can lead to all kinds of problems.  

Gluttony strikes when the connection between food and its proper purpose is broken. Food is given to sustain the body, to enrich our communal life and to give pleasure to the taste. It is not there to comfort the isolated and lonely, to bolster a fragile self-image or to substitute for mediation or prayer. If you begin to recognise that you are regularly eating alone for spurious reasons, for reasons that seem different from the purpose of food itself, that may be when you need to watch out for the place of food in your life, or to get some help.  

Gluttony rears its head when we begin to get food out of proportion. They key issue here is control. The overeater loses control over how much she eats. She is unable to stop herself taking the extra large Coke, the extra cream on the pudding, to finish off the packet of biscuits rather than stop at one. She believes the lie that it is impossible for her to control his eating. For the anorexic or bulimic, the issue is the other way round. For many sufferers from such diseases, or those who might have a tendency in that direction, the problem is too tight a control over what they eat, and their very identity becomes bound up with their illness. So here, the remedy is to learn to give up control, to re-form their identity around something other than eating habits, so that food can take its normal place as something to be enjoyed.  

If the abuse of food often comes from a deep sense of dis-ease, a loss of self-worth, then the Christian answer to finding a true sense of being worth something can come only from the source of life himself, the one described in the Bible as the ‘bread of life’ - the one who gives food for the soul. Speaking of the emptiness that gluttony tries to fill with food, Peter Kreeft goes on to give the Christian answer to that emptiness:  

“Only a knowledge of God’s love for me can fill that emptiness, make me a solid self, give me ultimate worth.”  

When our desperate search for love is met by the deepest and most satisfying love of all, the love of a God who is Love, these deepest hurts can begin to be healed.

  

Review
Culture
Film & TV
9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.
'A desert of criticism and a wasteland of cynicism.'
Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!  

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time. 

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed.  

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips. 

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.  

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film. 

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too. 

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners. 

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.  

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine)

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story. 

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners. 

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time. 

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends. 

I had such a strange set of emotions as I watched this part of the story unfold. 

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.” 

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. 

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.  

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago. 

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.  

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world. 

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death. 

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted. 

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.