Column
Awe and wonder
Creed
Film & TV
Re-enchanting
4 min read

The great pie mystery

Some unusual graffiti give insight into reality’s mysteries.
A green bridge spans a motorway, on its side is graffiti that reads 'PIES'
The view on the M6.
drgillybean, Creative Commons.

Do you have a favourite piece of graffiti? I used to.  

If you're travelling on the M6 around Cheshire, at some point you’ll come to one of those green motorway bridges. And on the side of it, overlooking the tarmac, you'll see in massive writing the word “PIES”.  

When I was a kid, I used to be fascinated by this. It raises so many questions. Who wrote the graffiti? How did they do it? Was this person in favour of pies or against them? Was it about all pies or just some pies? What had happened in this person's life to make them have such strong opinions about pastry?  

And it was just me. For nearly 30 years, people were left nonplussed about the graffiti as more and more instances of it began to crop up across the North-West of England. 

And then, in 2016, the mystery was solved. Apparently, it wasn't really to do with pies at all. It was all the result of a Liverpool band called The Pies trying to promote their music. After getting stuck on the motorway one day, they decided to write the name of their band on the side of the motorway bridge because, well, what else are you going to do when you’re broken down?  

It's fair to say, I was a little bit gutted to learn about the origins of the graffiti. 

What was once an intriguing mystery that kept me up at night and haunted my every thought (okay, perhaps a slight exaggeration) was revealed to be something so … boring. With hindsight, I wish I'd never learnt the truth about what happened. I thought wanted to know the origins of the pastry-based vandalism but, as they say, ignorance sometimes is bliss.  

You see, we sometimes need a little bit of mystery in life.  

Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness. 

This is evident in lots of different ways, but perhaps most apparent when it comes to entertainment and art. TV series Lost, for example, was a huge hit when it first came out. Why did the plane crash? What is the island? What is the smoke monster? Viewers were hooked and demanded answers.  

But then answers came and everyone was upset. As Lost went through series after series, and explained more and more about what was happening, the audience slowly became more and more disenchanted with the program. The finale – where the programme’s biggest mysteries were finally revealed – was almost universally panned. 

The same to be said of the recent HBO hit Westworld. Its first series was by far and away its best. But season two and three trailed off significantly as there was simply no mystery left in the programme after its spectacular first series. I wonder if this is precisely why the works of the late David Lynch were as compelling as they were? The still-incredible Twin Peaks holds up so well precisely because it categorically refuses to explain itself. 

Elsewhere there is a growing tendency in video games, for example, for the narrative of the story to be hidden away, shrouded in mystery and atmosphere. Think of From Software games like Dark Souls and Elden Ring, massively successful in part because they are so mysterious. In both instances, it’s entirely possible to complete the game and have no clue whatsoever that there was even a story in the game, let alone to understand it. The player becomes captured by the mysteries of the worlds they find themselves in, and it’s these mysteries, rather than any answers, than compel them forwards. 

The reason why programmes like Lost and Westworld begin to lose their allure as they explain more and more about their world is that this jars with the reality of the world around us. Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness.  

Peel back the world around us, however, and reality goes all the way down. And this is precisely what we would expect from a world created by a God, who is infinitely Infinite. Reality is not paper thin; goes all the way down. It is mysterious, unfathomable, and resists easy answers. 

And so, when we get disappointing explanations about a plane crash in a TV programme, or the origins of our favourite graffiti, it rightly leaves us feeling unsatisfied. Because we are made to be at home in a world that is deeply real. We are made to be at home in a world where the reality has unfathomable, unimaginable depth to it. A world that cannot simply be explained away. 

And this is why mystery is so important in our life. In the post-Enlightenment culture in which we find ourselves, a culture that demands every question be answered and every Scooby-Doo villain be unmasked, the notion of boundless mystery might seem somewhat disquieting. 

But we are made for mystery. And this is why the best works of art trade more on the mysteries they introduce, rather than the answers that might be behind them. And this is why mystery can be found all around us. Even in a pie.

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Snippet
Belief
Creed
3 min read

Does a creed create a truth?

Declaring truth is an unmodern act.

Alex lectures in theology at St Mellitus College.

A typewriter holds a piece or paper reading 'truth'
Markus Winkler on Unsplash.

2025 marks the 1700th anniversary of ratification of a statement, a form of which the Church continues to say to this day. Around the world, Christian community's are responding to this landmark by thinking again about the content of that statement and also about its form: a creed. 

The Church is not a source of truth. The Church might confess that which is true, but truth is not its possession to do with as it pleases. Arising from Jesus’ comments in John 14.6 the Christian tradition has thought of truth in an inflected way. If truth is primarily caught up with the person of Jesus Christ, then truth is something more fundamental than the Church. The Church has its ground in the truth rather than the truth having its ground in the Church. 

A creed is an expression of belief that this is the state of affairs. More than that, it is a statement of the commitment of oneself of this state of affairs. To say a creed is an existential act, a decision, for this. It is a decision for that which we did not create and over which we have no control. Beyond even that, it is a decision which we did not even make! It was a decision made by Christians before us who determined this and not that. 

It is hard to think of an act that is less compliant with a ‘modern’ human spirit. If Immanuel Kant was right that enlightenment is humanity’s ‘emergence from his [sic] self-incurred immaturity’, with this immaturity defined as ‘the inability to use one’s own understanding without the guidance of another’, then the practice of confessing a truth we have not personally determined is analogous to never quite advancing beyond a dummy and pram. 

Closer to home, the creeds speak in manner that won’t always align with our experience. There is a truth that is more fundamental even than what I induce to be true based on the particular thrownness of my being. On a mode of cultural analysis that is particularly attentive to power, this could be seen as hegemonic. The creeds are tools of establishing a common apprehension across tribes and tongues. A common adherence to truth that is basic (as in non-derivative) and universal irrespective of the particularity of experience.  

Beyond that, the claims that the creeds make may not be seen to be true. Experience may, in fact, trend in a different direction. The world with all its problems and pains may not appear to be the creation of an almighty and benevolent Lord. The Spirit who is Lord and giver or life may not appear to be breathing new vitality of the age to come into the present. The Church may not always appear to be one and holy. 

Why then, creeds? 

That what we have and know is that which we have received is baked in to the very nature of the Christian claim to know something about God rather than nothing.   

At that time Jesus said,

“I praise you, Father, Lord of heaven and earth, because you have hidden these things from the wise and learned, and revealed them to little children. Yes, Father, for this is what you were pleased to do. “All things have been committed to me by my Father. No one knows the Son except the Father, and no one knows the Father except the Son and those to whom the Son chooses to reveal him. 

To know God is not something grounded in ourselves. God the Son has become a human and known the Father as one of us and for all of us. It is on the strength of his confession of God as Father that we confess God as Father.  

The continuous and repeated practice of reciting the creed reminds us that the possibility of speaking about God and the work of God is not a human possibility. It is a possibility for us based on the given event of God’s speech to us. We attend to that which is given. It is an act of faith through which we return again and again to the Word of God as the Church has received it.   

 

 

To find out more about the McDonald Agape Nicaea Project being held by St. Mellitus College in London, come and join the public lectures, or look out for other Nicene celebrations in 2025. 

Participants will hear from some of the world’s leading scholars on various issues related to Nicaea, including Professor Khaled Anatolios, Dr. Beverly Roberts Gaventa, Professor Ilaria Ramelli, Professor Bruce McCormack, Dr. Willie James Jennings, and many more.   

A significant part of the Nicaea conference in 2025 will be a call for papers, expanding dialogue on the topic and hearing from a wide array of voices.   

For more information or to register for these events, you can visit the Nicaea Project website