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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Article
Creed
Easter
Resurrection
4 min read

Easter is almost too big for our human minds to grapple with

How can we 'go figure' the seemingly incomprehensible?

George is a visiting fellow at the London School of Economics and an Anglican priest.

A star constellation resembles a cross.
Adrian Mag on Unsplash.

Forgive me for getting a bit ahead of myself, but I’d like to say something of the Resurrection. We’ve barely even started the Triduum and the Jesuit saying rings in my ears: “If we don’t die with him on Good Friday, we can’t rise with him on Easter morning.” 

But part of the problem this epigram presents is that it’s not so much Good Friday that we skip over, but Easter morning. In our determination to focus on the Passion of the Christ, Easter can perhaps be a joyful sermon, a jolly good lunch, an exclamation that “He is risen!” and we move on. 

So when it comes to miracles, too often it’s the Big One from which we avert our attention. And we can even skip the entire thing. I encountered two of my erstwhile Church primary-school children on a Holy Week dog walk. “Father George!” they cried. I’m afraid I spoke to them and their parents about clues for an Easter-egg hunt. 

Like the size of the universe, Easter is almost too big for our human minds to grapple with. So we confine ourselves to reciting facts and beliefs. Our universe is 13 billion light years wide and came from literally nothing. Jesus Christ was raised from the dead and appeared to his disciples. 

There is a real fear of the Resurrection among the faithful. Not in the way that scripture speaks of the fear of God, but a much more basic fear of the schoolchild that we’re not getting it right. It’s as if we’re meant to believe but can’t, with a dash of the awful dread that those who say that - rather like Donald Trump - it’s not to be taken literally but seriously might just be right. 

It’s the fear of the yawning abyss between literal truth (in Greek, logos) and metaphorical or allegorical truth (mythos). And it’s as if we’re being forced to make a choice that, in conscience, we can’t. As such, it becomes what St Paul might call a stumbling block, something that gets in the way rather than illuminates. And it’s one we quietly ignore. 

I think I want to say that we need to be liberated from the worry that there’s a right way to interpret it, or that there’s a binary choice to be made between literal and metaphorical truth. In the events of Easter morning, we’re being offered a both/and response rather than an either/or choice. 

In this model, historicity is useful but insufficient. We know as a historical fact that Jesus of Nazareth was crucified by the Roman authorities and we can very reasonably assume, in historical terms, that one of his disciples, a woman from Magdala called Mary, went to his tomb after the Jewish sabbath and found it empty. 

Thereafter the experience of the Resurrection becomes harder, if not impossible, to describe. Not just for us, but especially for the first witnesses to it. That’s partly why this gospel scripture is written in a way that is unlike any other, more breathless, more personal, more anecdotal and more experiential. It’s as if the insurgent Jesus movement is seeing in colour for the first time. 

If we’re looking for a miracle, incidentally, here it is. Whatever has happened, the utter defeat and dispersal of this small, provincial band of rebels in death and despair has been irreversibly transformed within three days. The two-word modern term for this phenomenon might be: Go figure. 

But we should not avert our eyes from less convenient phenomena, evidence that is not just metaphorical or allegorical but which may be downright worldly and motivated by expedience. It isn’t controversial to observe that there is a difference between the empty-tomb narratives and the apparitions (as the Roman Catholic catechism calls them) of the risen Christ, the latter in part arising from competing factions for patriarchal authority the earliest formation of Church. 

The empty tomb isn’t just evidence of the risen Christ. It’s there to show us symbolically where God is not. In John’s gospel, Mary sees cherubim sitting at the head and foot of the slab on which the body lay, echoing the mercy-seat of the ancient ark of the covenant, the empty throne of the invisible Jewish God, Yahweh. The Christ has “gone ahead” to continue the living work of God in his nascent Church of the new covenant. 

Above all (and those two words can be read literally), this dualistic approach to the Resurrection calls its observers to relax about it, to let go of our understanding of it. The words and actions of the risen Christ often seem to confirm as much: "Don't hang on to me", "Shalom" (Peace be with you), "Come and eat", "Feed my lambs". 

So, struggling to comprehend the Resurrection isn’t a deal-breaker. In a way, the divine message is that the biggest miracle of all is no big deal. Life really does go on. 

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