Explainer
Creed
Language
Politics
6 min read

The language of politics can’t domesticate religion

Political life’s Left-Right structure fails when it tries to co-opt religious perspectives. Graham Tomlin outlines why it misses so much of what makes them interesting.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

an aerial view down in to the parliamentary chamber shows MPs sitting on benches on the left and right hand side
The UK Parliament's House of Commons chamber manifests the left-right divide.
House of Commons Twitter.

The New Statesman recently released their ‘left power list’ – “the 50 most influential people shaping Britain’s progressive politics.” As I read it through, one name caught my eye – Justin Welby. He comes in a comfortable mid-table position at no. 27, behind Gary Lineker and JK Rowling, and ahead of Gordon Brown and Marcus Rashford.  

The Archbishop of Canterbury may perhaps be a strange addition to a list of left-leaning figures. Not all his predecessors have been so - his predecessor but two, George Carey, is often seen espousing views from the right. It is not accidental that the present Archbishop has served in times of a Conservative government, while George Carey held the role during the latter years of New Labour. It is perhaps the job of Archbishops to hold the government of the day to account, so perhaps not surprising that Welby is seen as a critic of the Conservatives. If the government of his time had been Labour, perhaps he would be seen very differently.  

However, what got me thinking was not so much the identification of the Archbishop as left-leaning but the co-option of the Church’s voice into the wider narrative of the left-right political spectrum. The language of ‘left’ and ‘right’ dates back to the French Revolution, where, in the National Assembly, the supporters of the king sat to the right of the President, and the revolutionaries sat to his left. Subsequent governmental institutions in France continued the seating arrangements and the language became embedded in political discourse far beyond France. Since then the ‘left’ has always been associated with ideas such as freedom, progress, equality and reform. The ‘right’ has valued older institutions of social life such as family, locality, individual responsibility, duty, tradition and so on.  

Left and Right... shoe-horns religion into the procrustean bed of a political ideology that cannot do justice to its true nature.

Left and Right is a structure of political life with which we are very familiar. But when it comes to co-opting religious perspectives, it misses so much of what makes them interesting. It has no place for God, for revelation, for prayer, the mystical and the miraculous, the hosts of angels, the language of virtue or the surprising delight of grace. It shoe-horns religion into the procrustean bed of a political ideology that cannot do justice to its true nature. It emasculates it of all that makes it interesting and distinct. 

This attempt to domesticate religion has a long pedigree. The Christian Church was born into a world dominated politically by the Roman empire, and religiously by paganism. This new claim that the God behind all things had revealed himself in the person of Jesus Christ was definitely awkward, but by and large, pagans were happy to fit it into their view of the world, if only the Christians were happy to regard Jesus as yet one more god alongside the other gods – a private option for those who preferred that kind of god, as opposed to Jupiter, Mercury or Aphrodite. The early Christians however refused to comply. They insisted Jesus was God, not just a god. They resisted their founder being co-opted into the pagan pantheon, or even the Roman imperial regime, refusing by and large to serve in the army if that meant killing their enemies in defiance of Jesus’ command to love them, or offering worship to the gods in civic festivals, even when their contemporaries could not understand the refusal to join in what to them was some harmless ritual to keep the gods happy. 

Even more, early Christian thinkers such as Athanasius argued that the coming of Christ into the world was too seismic an intervention to be simply co-opted into existing paradigms. In particular, the Resurrection of Christ was either a gigantic hoax, or an invitation to re-think reality all over again from a new starting point - that humanity’s greatest enemy - death itself – had been defeated once and for all. As the theologian Lesslie Newbigin put it:  

“At the heart of the Christian message was a new fact. God had acted in a way that, if believed, must henceforth determine all our ways of thinking. It could not merely fit into existing ways of understanding the world without fundamentally changing them. According to Athanasius, it provided a new arche, a new starting point for all human understanding of the world. It could not form part of any worldview expect one of which it was the basis.”  

Thus, Christianity was bound to transcend the political structures of its time - or any time for that matter. A bold Christianity, true to itself, could not just be co-opted within an alien political or social structure – it was always going to be an awkward bedfellow with the empire.  

In more recent years, a number of theologians have made the same point. Philosopher and theologian John Milbank wrote a ground-breaking book in the 1990s, Christianity and Social Theory, where he criticised the whole venture of the Sociology of Religion as domesticating Christian faith into an alien structure of thought, where society was taken as a given, and religious faith explained away by secular theoretical categories. Sociology for him was its own non-neutral theology, a rival discourse to Christianity, ‘a secular policing of the sublime’, domesticating it and reducing it to fit with the narrow categories of sociological theory.  

Christianity just refuses to fit into foreign categories that try to tame it

More recently, James Mumford, in his short book Vexed, written with half an eye to the American experience, shows how again Christianity just refuses to fit into foreign categories that try to tame it, and how it consistently blows apart the moral and political packages that both left and right offer us in modern life. So, for example, the deeply Christian notion of the sanctity of life – that human life is sacred, to be respected in all its forms, and cannot be taken away by another human being - leads both to an abhorrence of unwarranted abortion (the American right cheers at this point), yet also to a restriction of the right to carry guns that take life (not so popular among the Republican base.) Conservatives prize family values, yet are happy to allow economic competition to permit zero-hours contracts that make desperate parents vulnerable to shifts in the market that mean they cannot feed their children. Christians might agree with the first, but disagree with the second. Similarly, the left prizes inclusivity, yet at the same time, promotes assisted dying, baulking at extending this inclusivity to the elderly person who would have to make an active choice to go on living, when pressure may mount to leave their money to their offspring and vacate the scene early. Again, the left champions the sexual revolution yet, despite its suspicion of economic liberalism, holds back from a critique of the consumerism of much sexual culture, that values being able to move onto new sexual partners as desire dictates.  

So, Mumford argues, Christians may find themselves adopting a strange mix of beliefs and opinions – or perhaps only strange when seen from the perspective of a secular mindset – opposed to unwarranted abortion, yet in favour of gun control; in favour of family life, yet wanting economic intervention to the labour market to ensure proper pay for workers. 

The point here is not so much to argue that Christians have a unique political viewpoint that is distinct from left or right, but that Christianity is more than politics. Beneath the surface of Christian political convictions, such as those that come from the Archbishop, lie (or should lie) a whole host of deeper commitments – to God, to the insights that come in prayer, to the most vulnerable in society, to a sense of a deep order and structure to the world that cannot be toyed with by progressive political fantasies, to the reality of Resurrection. None of these quite fit the simple left-right equation. The bishops may or may not be right in their political pronouncements – and there is room for debate on that, but trying to make them fit into the narrow categories of mere politics just doesn’t work. God is too big for that. 

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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