Jonathan Aitken: I’m in my 80s and here’s what I’d tell Joe Biden

Don't succumb to this politicians' fantasy.

Jonathan Aitken

Jonathan is a former politician, and now a prison chaplain.

President Biden sits at a desk, holding his balled hands to his mouth.

Biden in the Oval Office, 2022.

The White House.

I am the same age as President Biden. So part of my heart went out to him as I watched his catastrophic confrontation with Donald Trump last week.

As we octogenarians know, or should know, our physical and mental faculties simply don’t work as well as they used to. If tested in the white heat of a Presidential debate, or at a multitude of far lower-level challenges, it is all too easy to slip, stumble or fall.

These human weaknesses have been almost unchanged for time immemorial. They were painfully if poignantly expressed some 2,500 years ago in the Psalms of David:

“The days of our age are threescore years and ten; and though men be so strong that they come to fourscore years: yet is their strength then but labour and sorrow; so soon passeth it away, and we are gone.”

Modern optimists may try to argue with the ancient psalmist. In our 21st century era of vitamin pills, workouts in the gym, macrobiotic diets and intermittent fasting, we are all too willing to believe that we can postpone the arrival of the grim reaper or at least prolong our youthful vitality.

Politicians are particularly susceptible to the fantasy that they can stay on their best form into old age longer than anyone else. “Age shall not weary us” they whisper to themselves, citing elderly successes such as Winston Churchill who became Prime Minister in 1940 aged 67, leaving Downing Street at the age of 80; William Gladstone who formed his last administration when he was 82; or Ronald Reagan who rode off into the sunset aged 77.

There are many reasons why political leaders have a tendency to hold on to power beyond their sell by date. Their egos make them believe they are indispensable. Their courtiers, their staff and their appointees like to stay in power too. When the White House changes hands approximately 30,000 people lose their jobs, from mighty Cabinet Secretaries in Washington to humble rural postmasters in Hicksville. So there is a built-in bias for preserving the status quo, by fair means or by flattery.

What President Biden now needs is loving, personal advice from his nearest and dearest, and wise political advice from disinterested friends whose candour he really trusts. Will he get it?

My late wife, Elizabeth, was brave in giving what she called “frank notes” to all three of her husbands when she watched them perform on stage, on screen, or, in my case, in pulpits.

Her movie star spouses, Rex Harrison and Richard Harris, were not always pleased when her notes criticised them for forgetting their lines, failing to sound consonants, or dropping their voices at the end of sentences. I, too, was sometimes less than appreciative, but I always took Elizabeth’s advice. Would that Jill Biden might now imitate such similar Elizabethan candour.

In his perceptive article on this subject for Seen & Unseen, young Bishop Graham Tomlin (he’s about 20 years younger than me!) made excellent points about the calling of old age. To which I can cheerfully shout, as if I was still in the House of Commons: “Hear! Hear!”

For, since being ordained at 74, I have found enormous fulfilment in the calling of prison chaplaincy, pastoral care, and preaching. These are not to be compared to the fastest tracks in competitive careers like politicians or investment bankers. Yet they have brought me great joy and I hope they have sometimes helped my prisoners and parishioners.

The race is not always to be swift.

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Faith

15 August 2024

4 min read

Faith is no longer a dirty word in publishing

Sarah Perry’s comments suggest a reawakening of concern for its observation.

George Pitcher

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

A woman being interviewed gestures with a hand in front of her

Sarah Perry.

Waterstones.

If there’s one thing anyone who has ever written a novel can’t stand, it’s having to congratulate a successful novelist. So, it’s through gritted teeth that I warmly welcome the words of Sarah Perry (The Essex Serpent) that religious faith is ceasing to be a subject of embarrassment in published fiction.

It’s about time. Perry told the Edinburgh International Book Festival that, for her latest book Enlightenment, she was asked to put in more theology: “I assumed that everybody knew what the doctrine of predestination meant.” Bless.

The cause of my pathetic envy as I applaud her is that I had my first (and, to date, only) novel published in 2017, to almost universal disinterest. I like to tell people that it was well received – all three people who actually read it said they enjoyed it and only one of them was a family member. It actually did a bit better than that, but you get my drift.

It was an unashamedly religious psychological thriller, titled A Dark Nativity. Brace position, here comes a one-sentence synopsis: The narrator, Reverend Natalie Cross, is a frustrated former aid worker who undertakes a mission to Israel, is kidnapped and held hostage, murders her way to freedom, discovers she was the victim of an Anglo-American plot, wreaks her terrible revenge and (spoiler alert!) gives birth to a son of uncertain paternity.

See what I did there? As well as the latter-day Nativity resonance, thematically I was interested in what redemption looks like in Israel and Palestine. I know, I know – but even I thought it would be distasteful to try to cash in on what’s happened there since.

Enough of the plug for a seven-year-old novel. My point is that its religious themes actively militated against it at the time. Novels addressing Christian faith (or any other kind) occupied a particular publishing niche – a harsher word might be ghetto. To try to break out of it was pointless. The great Christian novelist Penelope Wilcock told me (very kindly) that my book was too religious for the secular market and too secular for religious readers.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation.

The restricted area to which religion was confined had its stylistic rules. There was the cathedral close romp, which authors such as Catherine Fox had made their own. The vicarly whodunnit (lately updated by Reverend Richard Coles). Magic realism with its daemons and Philip Pullmans. And anything, in the wake of Dan Brown’s The Da Vinci Code, involving ancient plots that might make a movie, with hooded figures walking in slo-mo through cloisters.

Vicars had to be evil or silly. I may be both those things at times, but I’d like to think there is other stuff going on here for cultural exploration. My narrator, Nat Cross, was driven, often funny and more than a little mad. So like a lot of Anglican clergy.

If she’s right – and I very much hope she is – it’s why what Perry has to say is so hopeful. Because it begins to suggest that religious faith is slowly beginning to be accepted back into polite society. Whisper it softly, it might even become a cultural norm. If Richard Dawkins can describe himself as a “cultural Christian” and the historian Tom Holland, in his book Dominion, can claim that Christianity is the entire foundation of western civilisation, then there is everything to play for. And, indeed, write for.

It’s not as if cathedral frolics and the revelation of Jesus’s wife in Leonardo’s Last Supper was anything other than a fictional diversion of post-modernism. Religion and specifically Christianity had been a staple of the novel in English.

I hesitate to mention their names in the same column as the authors above (including me, most obviously), but Graham Greene’s exposition of Catholic guilt in The End of the Affair and Evelyn Waugh’s of the impossibility of moral reformation in Brideshead Revisited are probably the best religious novels of the twentieth century.

Further back towards the birth of the English novel, the Reverend Edward Casaubon in George Eliot’s Middlemarch is perhaps the most tragic portrait of a clergyman who is neither evil nor silly. He stand as a warning from history to today’s Church of England.

And it’s to that, the established Church, that Perry’s remarks ultimately turn our attention. We’re told that there has been a five per cent spike in church attendance recently, but that of itself isn’t sufficient to suggest a renaissance in our religious culture. Our arts and culture will only ever really reflect what we care about.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation. If so, that’s good news for the religious, as well as for religious authors. And I might just get a sequel out of it.