Explainer

Creed

Death & life

1 November 2023

7 min read

How Christianity transformed attitudes towards death

Once we buried bodies outside cities. Then we started burying loved ones inside them. This is why.

Andrew Davison

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

Dozens of candles in cloured jars and holders litter the ground of a cemetry.

Commemorative candles at cemetery in Srebrniki, Gdańsk, Poland.

Ludomił Sawicki on Unsplash.

‘The last enemy that shall be destroyed is death.’

Seeing things two ways at the same time doesn’t mean ambivalence. Christianity has two things to say about death, and it says both forcefully. They particularly come to mind during November, as the season of the year when we remember the dead. In this month we get the modern secularised rituals of Hallowe’en, but we also get Remembrance Sunday, when we think of those who fell in war; and on 2 November, we have All Souls’ Day, when ‘the faithful departed’ are recalled, and in many traditions, prayed for.

Christianity’s two entwined attitudes to death are lament and hope. On the one hand, death is a shadow; on the other, a light has dawned that will banish that shadow. Both aspects are in that line from St Paul:

‘The last enemy that shall be destroyed is death.’

Death is our enemy; death is slated for destruction.

Whatever a popular funeral poem might claim, death is not ‘nothing at all’. That poem has been suggested a few times when I’ve been planning a funeral. It’s never stayed in the draft order of service longer than it’s taken me to ask the question ‘But do you really think that death is nothing at all?’

Unlike our benighted predecessors, ancient and mediaeval, don’t we now understand that death is natural, just part of being the sort of creatures we are?

I take the opposite approach to funerals. I do not treat death as ‘nothing at all’. I wear black vestments: I do not assume that mourners are ready, only a week or two into their bereavement, to skip to the bright hope of white as a liturgical colour. I make the liturgy solemn. I avoid circumlocutions like ‘he’s moved on’ or ‘she has passed’ (somehow popular at present). No: someone has died, and even if that came after a long illness or a long life, a death is a loss.

The idea of death as enemy, though – ‘the most fearful of bodily evils’ (Thomas Aquinas) – might look out of date in the twenty-first century. Unlike our benighted predecessors, ancient and mediaeval, don’t we now understand that death is natural, just part of being the sort of creatures we are?

It’s almost always a mistake to underestimate our forebears. They knew that we are animals, but also said that we are animals of an odd sort: we are ‘rational animals’. That left them with a conundrum (and here I continue to have Aquinas in mind). On the one hand, we are animals, and animals are mortal, so that makes death natural. On the other hand, Christianity also insists that death is a wrench, a disjunction, an affront.

Reconciliation for this tension rests on that odd status of the human being, as a rational animal. We are animals, but also the sort of self-aware animals who are made for a relationship with God: suited for it, called to it. One model for that relationship, remarkably, has been friendship, with Moses as an example: ‘So the Lord used to speak to Moses face to face, as one speaks to a friend.’ That sort of relationship, that sort of seeing God face to face, would confer immortality on our naturally mortal bodies (‘when we see him, we shall be like him, for we shall see him as he is’). Thus, both parts of the conundrum are true: as animals, we are naturally mortal, yet our animality is called to a destiny beyond its nature. Our tragedy is not that we are animals, but that we are rational animals foolish enough to turn from God, and from the light of immortality.

The message of the Incarnation and the hope of the resurrection turned something around for early Christians. They no longer found dead bodies frightening.

That’s the first half of our opening phrase: death is our enemy because, although mortal by nature, we were originally called to something beyond nature, but lost it. God was turned towards us, but we turned away. However, enmity, tragedy, and loss are not the whole story, and they are certainly not the end of the story. There is also death’s destruction. That’s what the life, death, and resurrection of Christ were about. If death is our enemy, then it’s a routed enemy, overcome, although not fully destroyed, until God recreates the world.

Christians can be so excited about the prospect of death’s destruction that they forget that this destruction is still a promise, and we still live under its sway. For now, the hope and the sadness lie woven together. That is why we read in the New Testament about ‘not grieving as others do who have no hope’. I don’t take that as a blanket injunction against grieving (death is still our enemy, after all), but as standing only against the kind of grief that has no hope (because death’s destruction is assured). Again, here are the two strands, woven together. We also see that two-sidedness in a funeral prayer used by Eastern Orthodox Christians (and at the funeral of the HM Queen Elizabeth II), the kontakion of the dead. Its final lines put place wrenching tears right next to the church’s great word of praise and celebration, ‘Alleluia’:

All we go down to the dust;

weeping o’er the grave we make our song:

Alleluia, alleluia, alleluia.

This duality in Christian attitudes to death shows up in how Christians treat the bodies of the dead. We probably take burial practices for granted, but the idea of treating the bodies of the dead with utmost care and dignity was a point that Christianity really belaboured. Christ, for instance, had given a list of six good deeds in the Parable of the Sheep and the Goats: feeding the hungry, giving drink to the thirsty, clothing the naked, sheltering travellers, visiting the sick, and visiting prisoners. It would be a bold decision to add to any list draw up by Christ, but the church did it, adding a seventh ‘act of corporeal mercy’: burying the dead.

Christianity is definitively the religion of the Incarnation: of God taking up human flesh. Bodies therefore matter. Talk of casting off the body, as if the body were just some old cloak that the soul has outgrown, is not something Christians say. We are bodily creatures, so Christian hope is for the resurrection of the body. (So also – I should add for completeness – is Christian doom also bodily. Those who die at enmity with God and the good, the faith insists, turning down the offer of reconciliation, face the consequences in the resurrected body.)

The message of the Incarnation and the hope of the resurrection turned something around for early Christians. They no longer found dead bodies frightening. In the ancient world, bodies were to be buried outside the city, cast out from the human community. Christians changed that, and started burying their loved ones inside the city. Bodies were to be treasured, not feared. The bodies of their heroes – those who excelled in virtue, and especially the martyrs – were brought right into their churches. Before long, no altar (the communion table) was quite proper unless it was built over the body of a martyr or other saint, or at the very least contained some part or relic.

Veneration of relics has not been so common in the Church of England (the church to which I belong) since the Reformation, nor in the wider Anglican Communion. Slowly, however, it has edged its way back. In 2002, the cathedral where I’m a canon, St Albans, received a shoulder blade of St Alban, England’s first martyr, the gift of one of the dozen remarkable Romanesque churches in Cologne. That bone gets considerable honour on the weekend closest to his feast day (22 June). Relics are also familiar in the church in Philadelphia where I currently celebrate the Eucharist once or twice per week. The altars are usually at least lightly decked with relics. During Eastertide, they groan under the weight of them, including some impressive whole-bone affairs. Only in Advent and Lent – penitential seasons – do the relics disappear to the sacristy, replaced with statues of the prophets in Advent.

It’s easy to grow accustomed to relics after a while. I should remind myself of their strangeness. Defying any trend in religious thought down the ages to denigrate the body in favour of the soul, here the body is holy, recognised as the site of God’s great works. Here, dead bodies are no longer to be feared. They are the most precious things the church owns, and threaten no contamination. Or, rather, if they suggest any contagion, it is a contagion of the good.

Care towards the bodies of the dead reflects both poles of Christian attitudes to death. On the one hand, Christians have preserved the bodies of the dead with great care because death is an affront. Death is the enemy that falls upon us all, even the most holy among us. Lamenting that loss, we keep bodies safe until it is reversed. And there is also the other side of the Christian attitude to death: alongside lament there is hope in death’s destruction.

Christianity, at its wisest, has not skipped through lamentation too quickly, but neither has it given lamentation the final word. Day-by-day funeral practice probably connects most clearly with the sadness, although the hope is woven through. The place of relics in many strands of Christianity (although by no means all), swings more towards an emphasis on death’s defeat. It rejoices in having among us, in all those slivers of bone, fragments poised towards Resurrection, when ‘death shall be no more’.

Review

Culture

Film & TV

7 August 2024

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 Lawrence

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.