Article
Culture
Re-enchanting
4 min read

A prophet in springtime

A visit to a spring, surrounded by marks of belonging, prompts Andrew Rumsey to consider the purpose of property.

Andrew Rumsey is the Bishop of Ramsbury. He is also an author whose writing centres on themes of place and local identity.

An oak tree stands over a field and fence, behind which, in the distance, rises a man made hill with a flat top.
Swallowhead Spring with Silbury Hill in the distance.
Jim Champion, CC BY-SA 2.0, via Wikimedia Commons.

After weeks of winter the land awaits its consolation. Unfurling woes roll out so regularly that media feeds read like lament, a psalmody of untethered sorrow. The temptation is to withdraw into immediacy, of course, and purely field the incoming as if sat in a gaming chair of perpetual reaction, spotting and batting away the next insurgent.  

When we cry for strategy perhaps what we really mean is prophecy – strategy being inorganic, mechanistic, hardly adequate for the times. After all, how do you map a scene that is constantly changing? Our present panic seeks good words from the world to come, where no one but God has been. But in an age that sniggers away divine possibility the Lord is afforded the past tense alone. We shall, I suspect, come to regret being so confident of our own purposelessness.  

What if our absent-minded land were a place of promise, and we had simply forgotten?

What characterizes this world is a kind of dogged amnesia: collapsing past and future into a monotonous present. ‘There is no remembrance of former things; neither shall there be any remembrance of things that are to come with those that shall come after’. Like the rivers, he suggests, that run into the sea before their ascension and condensation start the cycle again. But what if repetition is not our destiny, and we inhabit instead an ecology that is radically open? What if our absent-minded land were a place of promise, and we had simply forgotten? 

What is clear, however, is the enduring need to mark territories where meaning or identity has been found: our arrow-hearted initials notched into the bark.

Prophecy returns to the origins of things in order to seek and sketch what is to come. So, after its overflow last week, I am drawn to revisit Swallowhead Spring, near Avebury in Wiltshire, where the River Kennet rises and begins to drain down into the Thames. Like many such sites round here, the signage indicates conflicting claims on this landscape. A ‘Pagan Britain’ sticker has been slapped upon an anti-littering notice and the trees are frilly with ribbons and dangling dream catchers, the symbolism of which escapes me. What is clear, however, is the enduring need to mark territories where meaning or identity has been found: our arrow-hearted initials notched into the bark. Lovers and villagers would apparently come to Swallowhead Spring for Good Friday picnics, before shinning up the then-accessible Silbury Hill. When I last visited in October, it was just a dry basin with a slightly sludgy brook, but now I can hardly approach for the cataract. 

Back home, a bubble-wrapped book has arrived, being the proceedings of the 1941 Malvern Conference: a source I am exploring for clues to the current and future condition of the beleaguered English Church. Under the shroud of total war, Archbishop William Temple gathered an eclectic range of prelates, poets and politicians to devise a route by which the Church might offer a lead to society in the new world that would, at some point, emerge. It is immediately striking in its erudition and reach, addressing the fundamental concern that ‘the true end of man’ had lately been obscured by the pursuit of wealth.  

The purpose of work, and education, therefore, needed recovering – but with personality, not product, at its heart. Progress was, however, almost derailed by a Christian Socialist attack on private property, which T. S. Eliot, among other conservative delegates, rebuffed. Hard, perhaps, to imagine the same debate stirring such feeling today, although any consideration of social justice surely must. As H. G. Wells once observed, from the earliest times society was a mitigation of ownership – the mutual recognition that co-operation needed to override competitive possession if humanity was to flourish. The matter was finessed at Malvern in fine Anglican style, with the following resolution: 

It is a traditional doctrine of Christendom that property is necessary to fulness of personal life; all citizens should be enabled to hold such property as contributes to moral independence and spiritual freedom without impairing that of others; but where the rights of property conflict with the establishment of social justice or the general social welfare, those rights should be overridden, modified, or, if need be, abolished. 

This was synthesis, not fudge, I choose to think – and helpful in reaching a similar conclusion lately, while trying to locate my true north, politically speaking. The conservative in me tends towards continuity, local institutions and the Parable of the Talents, in its acknowledgement of unequal gift and yield; the radical abhors squandered privilege and exploitation of the poor for personal gain. Naboth’s vineyard may be the place, therefore, given that I am firmly in favour of covenantal ownership, which either serves the common good or is reckoned to be in deficit. 

The conservative fallacy is to recycle the sins and sinecures of our forebears and call it tradition; the equivalent on the Left is to be perpetually uprooting and call it liberty. Amid their own peculiar failings, the Christian has – somehow – both to belong and not belong, to possess all and yet nothing, in search of a country that is forever ahead. 

Article
Books
Culture
Morality
5 min read

Never Let Me Go: 20 years on

Ishiguro’s brilliant novel is the perfect Frankenstein story for today.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

Four young people peer through a window.
Carey Mulligan and Keira Knightley in the 2010 film adaption.
Fox Searchlight Films.

This article contains spoilers. 

Human beings are creative. For good or for evil, making new things out of raw materials is something that we can’t help doing, whether that’s writing new books, creating new recipes, or building new houses. Why are we born this way? Christians would say it’s because of the imago Dei: because according to the book of Genesis, the first book in the Bible, we are made in the image of God. If God created the world and every one of us, and if we’re made in his image, then it follows that all of us have this creative impulse within us, too.  

But if creating is something natural to us, does it follow that it’s also core to our identity as human beings? In other words, is making something that we do, or something that we are? Are we different from all other living creatures in this world by being creators ourselves?  

Although he doesn’t call himself a Christian, these are precisely the kind of theological questions the novelist Kazuo Ishiguro asks time and time again in his books. And nowhere does he ask them more powerfully than in Never Let Me Go, which was published 20 years ago. 

Never Let Me Go starts off as the story of three children at a boarding school. Kathy, one of three friends, serves as our first-person narrator; it’s through her eyes that we slowly realise something sinister is taking place. As Kathy, Tommy, and Ruth grow into teenagers and then young adults, it’s finally revealed that they are clones, brought into being thanks to advancements in cloning technology in a dystopian post-World War II Britain. They are brought up for the sole purpose of being organ donors. Or, to put it more bluntly, they’ve been raised for slaughter.  

Kathy, Ruth, and Tommy have a happy childhood at their boarding school, Hailsham. Their future is hinted at by their teachers, but they’re largely shielded from the truth. All around the country, we later find out, clone children are being raised in horrific conditions. But Hailsham is different, because its Headteacher, Miss Emily, is part of a group that believes the clones deserve to be treated humanely – at least until someone needs a kidney transplant.  

But, though treated in a ‘humane’ way, society doesn’t see the Hailsham clones as ‘human’, and that’s precisely what Miss Emily is trying to prove: that they are not unlike real, normal people. So, she encourages the children to make art. ‘A lot of the time’, Kathy tells us, ‘how you were regarded at Hailsham, how much you were liked and respected, had to do with how good you were at “creating”’. The children don’t understand why they must always paint and draw, but they’re told that Madame Marie-Claude, a mysterious figure, will collect their best artworks for a seemingly important ‘gallery’.  

Years later, Tommy and Kathy have become a couple. Before dying – or ‘completing’, as they call it – after her second ‘donation’, Ruth tells them that she believes a deferral is possible for couples that are truly in love. Kathy and Tommy go to Miss Emily’s house, their former Headmistress, certain that, as children, they were encouraged to produce art precisely to be able to prove, one day, their true feelings.  

They are quickly disappointed. Miss Emily reveals that Hailsham has now closed down, but that while the school stood, it was meant as an experiment, aimed at convincing the public to improve living conditions for the clones: 

‘We took away your art because we thought it would reveal your souls. Or to put it more finely, we did it to prove you had souls at all…we demonstrated to the world that if students were reared in humane, cultivated environments, it was possible for them to grow to be as sensitive and intelligent as any human being.’ 

Equating creativity with human identity does make sense, to an extent at least. In The Mind of the Maker (1941), Christian novelist and critic Dorothy L. Sayers argued that the closest we can get to understanding God as our Creator is through engaging ourselves in creative acts: ‘the experience of the creative imagination in the common man or woman and in the artist is the only thing we have to go upon in entertaining and formulating the concept of creation’. In creative acts, from a Christian perspective, we partially grasp God’s creation of us.  

Ultimately, however, being creative in imitation of God, is not enough to get to the very core of what defines a human being. There are all kinds of factors, from old age to mental or physical disability, that make any form of traditionally creative act highly unlikely for some people. By that definition, someone in a coma or a newborn baby is not fully human. 

That’s exactly the definition of humanity that underpins the cruel society of Ishiguro’s Never Let Me Go. We need a better definition, and Christianity provides a unique tradition to help us on the way. A Christian concept of the human person is one that looks both at why we were made, and what we were made for. Christians believe that God made us out of love, and for the purpose of being in communion with him. He made each one of us as a special and irreplaceable individual, and for each of us our telos – the end or aim of our life – is to join him in heaven.  

If we embrace this definition of what it means to be human, then the extent to which we are able to express our intelligence or creativity while on earth doesn’t really matter anymore. If we believe that merely to exist is good – not to exist and fulfil our potential through this or that accomplishment, but just to exist – then we can’t deny that each member of the human family is, in fact, a ‘person’ in the fullest sense of the word.  

It is precisely this God-shaped hole that makes the concept of human dignity so fragile and slippery in Never Let Me Go. Ishiguro’s brilliant novel is, ultimately, the perfect Frankenstein story for the modern day. It warns us about the consequences of what might happen if we try to treat other human beings as things we have paid, but even more powerfully it shows us the danger of valuing human life for its creativity, instead of loving it as the creation of God. 

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