Article
Creed
Mental Health
5 min read

It’s OK to be angry about this, right?

Anger's real gift is the desire for action.

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. 

In a darkened room, a man's angry face is lit as he rests on arms folded tightly around it.
Abhigyan on Unsplash.

When is anger appropriate? When we hear of hideous acts of war in civilian villages, shouldn't we be angry? When I read about a shell exploding in a Gaza hospital, I get angry. I do also when something unjust happens to me, or to someone close to me. Some moments seem to call for anger as the right, and perhaps righteous, response.  

But I often don't feel very "right" when I'm angry. In fact, I feel a bit out of control, like some other force or energy has taken over my body and my will. This is especially true when my anger leads me to say or do something that is hurtful to someone else.  

Is there such a thing as Christian anger? If so, what does it look like? How can anger be the sort of emotive response that deepens, rather than erodes, my connection to God, myself, and others?  

It is the act, and especially the amalgamation of acts into habits, that leads to virtue or to vice. 

Anger is a passion 

The ambiguity of anger stems from its grouping within what Thomas Aquinas, here as usual following Aristotle, calls "the passions." A passion is a creature's reaction to either the loss of something or to a gaining of something. We are passive, or receptive, to this giving or taking. Sickness is a loss of health; sorrow is a lack of happiness. When on the other hand a friend sees me sick or sad and brings me a bowl of soup, I am receptive not only of the soup but of a passion, or a feeling—a receiving rather than a losing in this case— of pleasure.  

The passions are morally neutral: we cannot really be praised or blamed for being sad or pleased any more than for being sick. They often do, though, lead to actions, and this is where virtue and vice come into play.  

Love, for instance, is a passion: it identifies a desire within me, received through contact with something or someone beyond me. The act that this gives birth to might be virtuous: kindness or affection toward that something or someone. In these cases, the passion becomes the catalyst to the greatest of the theological virtues, caritas, or charity, translating the Greek word "agape", used by St Paul. It may also, however, be vicious, as when my desire leads to me to attack someone whom I perceive to be standing in its way (think “crimes of passion” here).  It is the act, and especially the amalgamation of acts into habits, that leads to virtue or to vice.  

Anger originates in such a taking or giving. Something or someone is taken from us, and we get angry: something that I perceive—rightly or wrongly—as belonging to or with me. Or perhaps something inappropriate (which literally means "not my property") is given to me which is not mine to have: a false accusation, say, or a punch to the jaw.  

When anger leads me to hurt someone as a result of that loss or addition, I commit sin. But sometimes it also leads to virtue. How does this happen?  

But this next act, as any parent or teacher knows, is likely not to be the right one. That's because I will be tempted to simply to act, rather than to seek counsel to ensure that I act prudently. 

Prudence is the virtue anger needs 

The key to understanding how anger about such losses or gains could lead to a virtuous, or let's say a righteous act, is in another virtue - the one Thomas calls prudence. Prudence is the form wisdom takes on within human practices. Its goal is wise action shaped by the particular context in which it is needed. The prudent person knows how to calibrate the next thing she does so that it leads will to the specific end she is pursuing.  

This "know how" in turn comes through counsel. I know the next practical step not because I have memorized formulas in right action, but because I can learn from others, past or present, in ways that will instruct me in the art of finding the next right thing.  

Prudence is the key to understanding righteous anger because anger is supremely a passion that demands activity. Anger wants action, as the therapists teach us. It pumps blood through my body, it makes my muscles flex and my jaw clench, and so prepares me for some bold and likely aggressive act.  

But this next act, as any parent or teacher knows, is likely not to be the right one. That's because I will be tempted to simply act, rather than to seek counsel to ensure that I act prudently. Most likely I will act out of a desire for revenge: to cause equal or greater harm. What I need in that moment is the outside input that can help me shape my act in accordance with reason. This is how, Thomas says, the neutral passion becomes meritorious passion: anger becomes righteous.

Righteous anger has a gift to give 

Anger's desire for action is in the end its real gift. Notice how anger and sorrow are different sorts of passions. In sorrow, what is taken from me is joy. I long for the lost joy and am tempted to become even more passive. Depression takes me to the zenith of inactivity. Even getting out of bed or calling a friend feels like too much action.  

Anger though is all about action. Yes, to act too brashly, too quickly, to seek revenge on the one whom I perceive to have harmed me. Or even to harm the nearest one to me regardless of their involvement (the sin of kicking a dog or abusing a child). Still: anger calls me to act, and for all its risky unhinged-ness, this is potentially a good thing. 

Disordered, which is to say un-counseled by practical wisdom, anger can lead to harm. In these cases we make matters worse by calling our anger righteous: that self-justifying claim may in fact be blinding us to the real price of our next act.  

But well-ordered, anger can draw us into deeper community with God, ourselves, and others. First comes the passion itself: I am angry and primed for action. Then comes the seeking of counsel, so that my desire for action can shift from the immediate to the prudently discerned. Finally comes the act itself, which anger was calling for in the beginning, now tempered by practical counsel. In such moments I am enacting a right and righteous anger.  

And on those days when a loss or an unwanted gain is enough to make me wish to withdraw from the world of human activity, anger may be just the gift I need.  

Review
Culture
Film & TV
4 min read

The Zone of Interest’s peripheral vision of evil

Director Jonathan Glazer bests Spielberg thanks to a quality of attention.
in an immaculate garden a family play in and around a small swimming pool. Beyond the garden wall, a barracks is visble with crematorium smoke rising beyond it.
The Höss family at play at their Auschwitz home.

This has been a tremendously difficult review to write. I’ve written and re-written this review for two weeks now. You will see why. 

The Zone of Interest begins idyllically. A family is picnicking by a lake. The men swim, the women pick berries in the woods. It's a gorgeous sunny day. The family happily drive home down an evocatively headlamp-lit country road. The father walks through their palatial house, turning off every light. The next morning the family are gathered outside to give the father his birthday present: a canoe. Two boys lead their blindfolded father gently down the steps from the house to the garden. The garden is magnificent: filled with flowers and immaculately kempt. 

The father is wearing an SS uniform. The camera pans round the garden. Behind the garden wall you see glimpses of barbed wire, belching chimneys, rows of dormitories. You hear shouts, moans, cries, gunshots. This is no ordinary house, no ordinary garden, no ordinary family. This is the home of SS-Obersturmbannführer Rudolf Höss, his wife Hedwig, and their five children. This is Auschwitz. Höss runs it. Hedwig runs their beautiful home. The children run around. That is the next 100 minutes of film. It's a realist family drama from the 1940s. The children are children, the wife is house-proud to a fault, and the husband is hard-working, ambitious, and keen to do a good job. I don’t want to say much more. You simply need to go and see the film. 

When Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil it was controversial. Many commentators misunderstood or misrepresented her point. Evil acts - especially an evil act as totemic as the Holocaust - are not ‘banal’. The people who commit evil on such a scale often can be. A genocidal machine of such scale and complexity needs a tremendous number of cogs… they can’t all be murderous sociopaths. Eichmann was banal in himself - he was of average intelligence, uncreative in his thinking, a follower of fads and joiner of organisations. 

This is exactly how Rudolf and Hedwig are presented. Christian Friedel plays Höss with an almost continual ambience of low-level boredom. Pillow-talk with his wife, reading to his children, a discussion about the most efficient way to incinerate the Jews in his camp, is all spoken with roughly the same expression and tone. He clearly wants to do well in his work, but it doesn’t matter what the work is. Sandra Hüller gives Hedwig a marvelous, slightly nervous energy. She always seems to be keeping a combination of grasping envy and slimy smugness just barely contained beneath the surface of her features. She can’t think of much beyond the order of her house, the beauty of her garden, and her status among other SS wives. Their quality of attention is essentially absent.  

Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it. 

Not to be flippant, but they would be dreadful dinner-party guests, and not just because they are Nazis: they seemingly have no capacity for a thought that goes beyond themselves, and their immediate environment, and their immediate needs and wants. They are banal. 

Between them Jonathan Glazer (director), Łukasz Żal (cinematographer), and Mica Levi (musician) give a remarkable demonstration of the power of restraint. The camerawork is naturalistic and almost never showy. The performers look like they were given the latitude simply to be in the scene: no over-direction. The soundscape is hauntingly bare. There is little music or sound beyond the ambient. The mood is, of course, set by the fact that the ambient sounds are roaring furnaces, gunshots, and desperate screaming. The film does not attempt to make a point or demand a response; Glazer simply gives you a slice of domestic life that just happens to be located next door to a death-camp. 

Steven Spielberg has suggested this is the best film tackling the dreadful subject of the Holocaust since Schindler's List. He is wrong. The Zone of Interest is a far superior film. I love Spielberg, but Schindler's List is offensively bad. It takes a subject of such abject depravity and then tries to emotionally manipulate you into feeling bad: the music, the speeches, the more-is-more approach to showing you the pinnacle of human cruelty. Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it.  As Augustine says, evil is nothing in itself. Evil is the corruption and annihilation of what is good and lovely. Evil isn’t some great monster that forever battles with God. God is good…no…God is Good. So evil is literally nothing - goodness in decay to nothingness.  

Glazer, whether intentionally or not, recognises this theological truth. Looking at the full abyssal nothingness of evil is beyond human comprehension. But if you see it in the periphery, then you see it. When you hear the screams of the innocent and at the same time see a woman cheerfully ignore them while she plays in a flowerbed with her infant daughter, then you recognise the potential for human depravity. You can’t truly encounter the nothingness of evil, and the dangers of letting its parasitical and destructive hunger spread, until you’ve watched others ignore it without missing a beat. I’ve never cried while watching Schindler's List. I cried while watching The Zone of Interest. Twice. 

Glazer et al have done the world a great service with this film. They’ve reminded us that the weapon against evil is the rejection of empty banality. Banality is loving yourself. To reject banality is to embrace a quality of attention that is truly outward looking. Rejecting banality is loving your neighbour as yourself.