Essay
Belief
Creed
8 min read

Questioning the question

Seemingly rational questions can suck the oxygen from the room. Andrew Steane was in such a room when it happened.

Andrew Steane has been Professor of Physics at the University of Oxford since 2002, He is the author of Faithful to Science: The Role of Science in Religion.

A modern staging of King Lear has the cast across the page. King Lear is front of stage gesturing while the others look on
A 2012 production of King Lear at Hamburg State Opera.
rinkhoff-Moegenburg, professional photographers from Lüneburg, CC BY 3.0, via Wikimedia Commons

We all know that asking questions is important. Asking the right questions is at the heart of most intellectual activity. Questions must be encouraged. We know this. But are there any questions which may not be asked? Questions which should not be asked?  

Many a young adult might instinctively say “no: never! All questions must be encouraged!” but when invited to think it through, they will come to realise that there is a little more to it than that. There are, for example, statements which present themselves in all the innocent garb of questions, but which smuggle in nasty and false assertions, such as the phrase “why are blond people intellectually inferior to dark people?” There are questions which mould the questioner, such as “will I feel better if I arrange for this other person to be silenced?”  

Questions can serve horrible purposes: they can focus the mind down a channel of horror, such as, “what is the quickest way to bulldoze this village?” Even more extreme examples could be given. They make it clear that not all statements that appear to be questions are primarily questions at all, and not all questions are innocent.  

Every question is a connector to all sorts of related assumptions and projects, some of them far from morally neutral. 

On reflection, then, it becomes clear that every question you can ask, just like every other type of utterance you can make, is not a simple self-contained thing. Every question is a connector to all sorts of related assumptions and projects, some of them far from morally neutral. This makes it not just possible, but sometimes important and a matter of ethics and duty, not just to refuse to answer, but to raise an objection to the question itself. More precisely, one objects to the assumptions that lie behind the question, and which have rendered the question objectionable. 

“Have you stopped beating your children?” 

“Tell me, my daughters … which of you shall we say doth love us most?” 

“How do you reconcile your rationality with your religious faith?” 

In all three cases the question is itself faulty. It is at fault because it has brought in an unjustified and untrue assumption. Such questions have no answer except to object to such assumptions and try to help the questioner see the situation more truthfully.  

In the first case, if the question is pressed, and I am hauled up before the judge in a court of law, then I will protest, with a clear conscience and as forcefully as I can, that I never did beat my children in the first place and therefore the question is itself at fault. (Such a question is like the unethical practice called “leading the witness” which a good judge will rule out of order in a court of law.) 

The second example is the question asked by King Lear in Shakespeare’s play. The play revolves around the fact that Lear has misunderstood the very nature of love. The one who loves him best will not, and cannot, reply in the way he anticipates. His daughter Cordelia chooses largely silence, and to show her love by her behaviour.  

The third question is the one that prompted this article. I have been asked it, either explicitly or implicitly, many times. Every time I have been aware that the very atmosphere of the question has prejudged the issue. It is like being asked whether you have stopped beating your children.  

To be fair, it is not as bad as the children example, but I use the comparison to help the reader get some sense of the issue. In the case of faith and reason, for any reasonable person, no reconciliation is required because their faith was never divorced from their rationality in the first place. Rather, the two have walked along together, each moulding the other from the start. Being asked to explain this is like being asked to explain that you are honest.  

This is not to say that a dishonest or confused person might well have cognitive dissonances - muddles and inconsistences between what they tried to trust and what they had sufficient reason to believe. So, they would have some intellectual and spiritual work to do. And none of us is perfectly honest and clear-headed so we all have some learning to do. But most of us are not starting out from a place of complete dishonesty or contradiction. In particular, our scientific understandings and religious commitments are not pulling in different directions, as the dubious question seems to assume they are. Rather, the deeper our understanding of each, the deeper our appreciation of their roles as two aspects of a single dance becomes.  

I recall clearly a discussion with a friend by the side of a football field where our children were playing in a match. The subject turned to religious matters and, with a view to briefly describing his position, my friend said he based his conclusions on reason, and then gestured to some vague idea that I had something else called faith. The obvious implication was that his conclusions had a basis in reason and mine did not. This was not argued or demonstrated; it was the very starting-point of the way he thought the conversation should operate. This floored me. What could I say? It was like being told you are a sub-species, some sort of childish person who does not appreciate reason and therefore should shut up while the adults are talking. (It was also a bit like an amateur wrestler thinking he could advise Muhammad Ali on how to box).  

What about the questions which betray assumptions which are themselves questionable, but which we don’t recognise as such, because of the assumptions of our culture and the intellectual habits it promotes?

Now we have arrived at the point of this article, which is not, I will admit, the general issue of questioning the question, but the specific issue of religion and rationality. I want to focus attention on where the issue of questioning the question really lies. The issue is not, “are there questions which are objectionable?” (we already settled that). Nor is it, “let’s have some intellectual amusement unpicking what is objectionable about some ill-posed question which we find it easy to tell is ill-posed.” No, the heart of this issue is: what about the questions which betray assumptions which are themselves questionable, but which we don’t recognise as such, because of the assumptions of our culture and the intellectual habits it promotes? 

For example, where do you start in response to a question such as “how do you reconcile science and religion?” 

I think you start by pointing out that if one has a healthy version of both then they are not estranged in the first place.  

In order to show this, the discussion has to unpack the difference between a valid and invalid grasp of the nature of scientific explanation, and the difference between healthy and unhealthy religion. It will also include some effort to clarify what a person means by the term ‘religion’. The discussion may include some consideration of the history of science, and the lived experience of a research scientist. It should also bring in the brave efforts of reformers down the ages to realise fairer forms of human society. 

In the room when it happens 

But in order for this discussion to get going, there has to be some oxygen in the room. I have been in rooms where the question, “how do you reconcile science and religion?” has made me feel every bit as queasy as the “beating your children” one. The hollow feeling of having been pigeonholed before you can open your mouth. The feeling of being in the presence of people whose mental landscape does not even allow the garden where you live. The feeling of being treated like a mental underling - it is all there.  My reaction is strong because rationality is a deeply ingrained part of my very identity. It is every bit as important to me as it is to the self-declared ‘rationalists’, so that to face a presumption of guilt in this area is to face a considerable injustice.  

On the other hand, religion is a broad phenomenon, having bad (terrible, horrendous) parts and good (wonderful, beautiful) parts, so the question might be a muddled attempt to ask, “what type of religion is going on in you?” It still remains a suspicious question, like “are you honest?” but in view of the nastiness of bad religion, perhaps we have to live with it. Perhaps we should allow that people will need to ask, to get some reassurance, and to help them on their own journey. But we can only make a reply if the questioner does not come over like an inquisitor who has already made up their mind. The question needs to be, in effect, “I realise that we are both rational; would you unpack for me the way that rationality pans out for you?”  

We all go forward in our lives with some sort of reliance on the ultimate well-spring of reality, whatever that is. We can’t do anything else.

Faith, in its healthy forms, is a kind of willingness. It is a willingness based on a combination of suggestive evidence, value, and lived experience. We all go forward in our lives with some sort of reliance on the ultimate well-spring of reality, whatever that is. We can’t do anything else. The faith which is called religious may include willingness to acknowledge this ultimate well-spring of reality in personal terms. We may express gratitude, for example, and objection, and we may ask for forgiveness or renewed hope. We thus behave in ways which cannot be addressed to a machine or a mere set of principles, worthy though those principles might be. When discussing science and religion we need the questioner at least to be open to the idea that this willingness can be a thoroughly rational willingness. It can be as subtle and deep as great poetry, not just shallow and thoughtless like greetings-card doggerel. Its relation to reason can be compared to the attitude we adopt when we recognize other humans as agents with aspirations and their own concerns. That is, it is in tune with reason, not unreason, but it is larger than reason. It is larger in the sense of richer, engaging more not less of us, as the arrival of the Nimrod movement in Elgar’s Enigma Variations is larger than a single melody.  

This article is a re-write based on one originally written in 2014 for the OUP blog. 

Review
Belief
Culture
Film & TV
4 min read

Heretic: Hugh Grant’s brilliance wrestles this tranquilized take on holy horror

If not original, a dissection of belief needs to be sincere and agile.
A man looks scarily upwards.
Hugh Grant prepares to eviscerate the script.

Halloween night: the perfect setting for a horror film. Religious horror: the perfect horror sub-genre. The supernatural invading the natural, darkness swallowing the light, tension and suspense assaulting the placidity we all crave, and doubt gnawing away at faith. All these reversals of the order we try to live in are on offer in Heretic. This is a ghoulish and ghastly offering from writer/directors Scott Beck and Bryan Woods, who are no strangers to the genre. In Heretic they bring the best that horror cinema has to offer: simplicity.  

The plot and script are lean enough to effortlessly perform the twists and contortions needed to keep the viewer off-guard and on the edge of their seat. The script is tight, with some wonderful opportunities to soliloquise and dialogue that is deliciously awkward and painful. The camera work is almost cruel in its relentlessness. This is not a film of jump scares. Here the camera lingers, and lingers…and lingers. Tight close ups on frightened faces and sinister smiles. Slow pans round a room, promising a sudden shock of relief that never comes – only more anxiety.  

The camera refuses to make the experience easy, but insists on letting the atmosphere and semiotics drive the audience to the point of tears. Such a focused and aggressive camera needs performers who won’t shy away but will grab it and wrestle with it! Thankfully, the performances are superb across the board. It's basically a three-hander, carried by Sophie East, Chloe Thatcher, and the indominable Hugh Grant (more about him later).  

East and Thatcher play two young Mormon missionaries – Sister Paxton and Sister Barnes - who spend their days walking the streets of a small American town in the mountains. In between dispiriting attempts to communicate their faith with an apathetic and even derisive public, they wile away the hours discussing their faith, their hopes and dreams, the perception of Mormonism in the popular culture, and the marketing of ‘magnum condoms’. Sister Paxton is earnest and zealous, desperate to prove herself as a missionary by converting at least one person. Sister Barnes is a little more reserved, almost cynical. There is less fervour, a hint of weariness, even the lurking sense of doubt? 

The two young ladies end an exhausting day with a visit to an isolated mountain-top cottage where they believe the seemingly kindly and bumbling English gent, Mr. Reed, is a prospective convert. Who else bumbles like Hugh Grant? It’s a joy to watch. What they hope will be a pleasant chat about their faith slowly descends into a horrifying and twisted psychological torture session, where the concepts of faith, doubt, religion, prophesy, and institutional thinking are all examined.  

I dare not say much more. This is a film which hides its twists well and uses the mundanities of blueberry pie and Monopoly to chillingly hilarious effect.  

However… 

Having heaped praise upon praise, I must admit that I left the cinema feeling slightly disappointed. I love horror cinema. I love religion – so much so that I’ve made it my day job. I love them in combination that appears pretty frequently, from the giddy heights of The Exorcist to the drudgery that is The Exorcist: Believer. This means that most of the themes that can be explored have been explored. Originality is nearly impossible, and not really necessary – but exploring the themes with sincerity and agility would be nice. The script might be acrobatic, but the thematic exposition is about as plodding as a tranquilised elephant with a limp. 

It is bad. 

Again, I don’t want to give the twists and turns away, but quite quickly a dissonance between the brilliance of the dialogue and the turgidity of the theme appears, and it doesn’t…go…away! What is faith and what is doubt? Good. What is belief and what is disbelief? Good. No. Scrap that. ‘RELIGION IS ALL JUST MAN MADE!’ Okay, we could explore that. ‘NO. JESUS IS BASICALLY HORUS.’ Right, but let’s tease out the nuance. ‘NO! RELIGION IS JUST A SYSTEM OF CONTROL!’  

Mr Reed suddenly morphs into the most tiresome bore. A cross between the theological illiteracy of Dawkins and the pathological obsession with power of Foucault. It is possible that this is part of the point – that this was intended to be a witty and incisive invective against institutionalism (especially institutionalised misogyny), and the ladies do land some philosophical counterpunches which expose the emptiness of Mr Reed’s rantings – but it just wasn’t done subtly or adeptly enough. What promises to be a thematic exposition of the nature of belief turns into a fairly lumbering and ponderous lecture on how belief full-stop is a ‘system of control’. We get it. We’ve been hearing this for centuries, and at a new fever pitch since the early noughties. Again…originality isn’t essential if the same old theme is explored well. I just didn’t feel it was. I felt it was a chore. 

Yet (another twist coming!), Mr Reed is still compelling. However boring the thematic content, I was never bored. Hugh Grant is superlative as the sinister, fanatical, hateful, charming, charismatic, hilarious Mr Reed. He delivers lines filled with acid yet dipped in honey. He smiles that singular smile as both wolf and lamb at once. His eyes twinkle with light that is both warm and yet dead and cold. He delivers laugh out loud speeches with absolute relish. The theme might be being butchered, but when the butcher is Hugh Grant you sort of forgive it all.  

I would advise you see this film. It's excellent on every technical level and an almost perfect tension builder. It's not perfect, and those who are genuinely interested in the theme are likely to roll their eyes as the early promise of interesting study devolves into something sub-Sam Harris. But ignore that and just enjoy the twists and turns. Ignore it and focus on Hugh Grant. He’s never been better. 

 

**** Stars.