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
Joy
Death & life
Wildness
7 min read

Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.
A singer, wearing headphones, turns from a microphone in front of him.
Listen with Nick.
nickcave.com

In the fourteenth and fifteenth centuries, there lived an anonymous mystic who we’ve since come to know as Julian of Norwich. After coming chillingly close to death at the age of thirty, she spent the subsequent decades of her life in a small side room of St Julian of Norwich church (the inspiration behind her pseudonym), speaking to people only through windows and writing masterfully about her supernatural visions of God. 

Her anonymity, modesty, and creativity meant that she was free to write about God without the pressure of being theologically or doctrinally ‘correct’. She wasn’t too interested in making her writing academically bulletproof, nor was she too bothered with institutional rightness.  

Rather, she experienced, and she wrote. She pondered and she wrote. She suffered and she wrote. She rejoiced and she wrote.  

She was utterly captivated by God, and that meant that she was free.  

I think that Nick Cave is free, too.   

His latest album reminds me of Julian of Norwich’s work; baffling, subversive, mystical, rooted in a truth that can’t be proven. A truth he wouldn’t be interested in proving, anyway. It, too, swerves ‘rightness’. It, too, refuses to dilute the oddness of faith. It, too, is irresistibly intense. I pressed ‘play’ at around 8:03am this morning, assuming that this album would be the soundtrack to my mundane morning. But two songs in, I found myself sitting on my kitchen floor with my coffee, a notebook, and the album turned up to a volume that would have justifiably annoyed the neighbours.  

This is not a casual album. Any true Nick Cave fan would scold me for ever expecting it to be. 

The album is a ten-track-long ode to a Wild God who has met Nick in the darkest of places. Places, I’m sure, he never wanted to go. Places, I’m sure, he will never fully leave. Such a wild God is a challenge to a culture that has enthroned comfort. We’re too easily spooked. But Cave, through a combination of circumstance and intentionality, appears to have entirely shunned comfort. And so, he’s in prime position to introduce us to a God who will confound us.  

Julian of Norwich’s book and Nick Cave’s album are centuries apart – yet, somehow, it feels as though they have been made from the same materials: profound discomfort and raw wonder. 

Suddenly, you’re reminded that you’re eavesdropping on a man who has lost his son, conversing with a God who lost his too. 

This is Cave’s eighteenth album with the Bad Seeds. Together, they have created a soundscape to get lost in, a changeable climate controlled by their instruments: you get caught up in a cyclone during the title track, the cymbals crash like waves on the shore in ‘The Final Rescue Attempt’, you can hear the gentle droplets of rain fall in ‘Frogs’, the strings somehow sound like a sunset in ‘As The Waters Cover The Sea’.   

It’s music that baffles your senses. 

And then there are the stories that the songs are telling.  

The album opens mid-way through a bar, its first song – ‘Song of the Lake’ - sounds as if it was playing before you hit play. In 2015, Nick and his wife Susie lost their teenage son. In 2022, Nick lost another son. The last two albums offered up by Nick Cave and the Bad Seeds – Skeleton Tree and Ghosteen – they have an address, and the address is grief. They’re laced with palpable agony. And so, beginning this album mid-way through a bar, it’s as if Nick is telling us that we’re picking up a conversation where we left off in 2019. This album wouldn’t exist if the previous two didn’t exist.  

He uses the opening song to remind us of the tragic circumstances in which he lost his teenage son, Arthur, by referencing the nursery rhyme character, Humpty Dumpty – who, of course, ‘had a great fall’. Nick quotes, ‘… and all the king's horses and all the…’ before cutting himself off with ‘… oh never mind. Never mind.’ 

What’s the meaning of this recurring ‘never mind’? Is it agony or acceptance? Maybe it’s both. Maybe it’s neither. Maybe Nick, as usual, doesn’t want to be too knowable.  

Some of his thoughts feel finished and firm, others feel unexplored and new – like we’re hearing them at the same time that Nick is. On occasion it feels as though he’s teaching us something, on other occasions, he’s the one asking the questions. It’s about him, and then it’s not about him. It is intensely personal and then it’s cosmically minded. It’s sturdy, then it’s fragile. It’s from the point of view of a deity, then it’s from the perspective of a frog in his pocket.  

It is pretty uncontainable.  

But the song that my mind seems to have gotten snagged on is ‘Joy’, which sits about a quarter of the way through the album. Again, he begins the song by telling us how he ‘woke up this morning with the blues all around my head… I felt like someone in my family is dead,’ he speaks of his ‘pain and yearning sorrow’ – all of which hits you in the stomach, because such lines are wholly unexpected in a song entitled ‘Joy’.  

You could read a 100,000-word long thesis on the theology of joy. Or you could just listen to this song. I think it would teach you everything you need to know.  

The way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. 

Despite the references to his grief, Nick recently shared that he nearly titled the album ‘Joy’. And I get why. If you think of joy as some kind of light and fluffy thing, you might not spot it. But if you, like Nick and his band of Bad Seeds, perceive joy to be something that can hold tension, confusion, and even sorrow – you will see that it is all over this project. As Nick has already taught us, faith and hope can be found amid carnage. And Nick’s new(ish)-found faith has quite obviously turned him upside down.  

His wild God has clearly swept him off his feet.  

The remaining songs on the album - the ones that I don’t have the wordcount to do justice - they take God/death/life, and they ponder them from every angle. There is a childlike wonder to this album, a pure kind of excitement. The kind that you'd think would be irreconcilable with the realities of grief but is somehow able to sit right alongside it. Nick isn’t trying to explain the God that he has found, or the ‘conversion’ he’s experienced – he’s just celebrating it, and inviting us all to listen.  

He's simply loving God and enjoying being loved right back. It really is all very ‘Julian of Norwich-esque’. It will offend you if you try too hard to put it into a neat box.  

But then there’s the last song, which is where I’ll bring this gush-a-thon to an end. It is a hymn. Like, an actual, albeit tweaked, hymn – the last song is a rendition of ‘As the Waters Cover the Sea’.  

All of a sudden, there’s a gear change to grapple with. Nick is placing himself in a church, he’s tying himself to a particular religious tradition, he’s joining a particular community and affiliating with a particular history. It turns out the God of whom he speaks is not abstract, he’s the Christian God. You’re reminded that you’ve been eavesdropping on a man who has lost his son, conversing with a God who lost his too. The lyrics have been hinting at this all the way through the album, but the way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. He is basically saying -

If you’re intrigued by the Wild God, here is where precisely I have found him…  

And this kind of religious specificity being used to tie up an album so full of metaphor and mystery. An album I thought I had worked out, an artist I thought I had finally cracked, a message I thought I had deciphered… 

… Oh, never mind. Never mind.