Raw politics: any room for hope?

The high stakes of Easter can confront the natural order.

Owen Gallacher

Owen is a Pastor to Postgraduate Students at St Aldates Church, Oxford.

Preisdent Putin stands behind a lectern with a gold door and Russian flag behind him.

They say Putin is not in touch with reality. But when it comes to raw fundamental political reality, maybe he is? It could well be true that all our chat about goodness and beauty and love and faith is mere decoration. That it’s just a layer of fake grass that we use to cover over the harsher, concrete facts of our existence.

Things like the basic violence of the natural ‘order’ and the raw power politics inherent in our competing systems. We even have a habit of bestowing the prefix ‘real’ on such politics.

So is this ‘real’ stuff the concrete base layer of our existence? Is it the deepest truth? Is it the uncompromising reality that is always there, even as we prefer to cover it over with the fake grass of our stories of the beautiful and sweet songs of love?

Most of the evidence points that way: The stockpiles of nukes, the cutthroat colleagues, the succession of bullies intent on becoming the next big dog in the raw struggle for power.

I remember witnessing a violent assault at the tender age of eight. And the impact of encountering this ugliness on my young heart was a new shadow of fear. Suddenly the world was a colder and darker place. Then I grew up and became a priest. Which raises the question of whether I am spending my life just “whistling in the dark” to feel better? Am I just tending to the fake grass?

The celebration of Easter does not deny the darkness. It does not cover over the concrete. It claims, instead, that the ugly concrete base has in fact been cracked open to reveal a deeper subsoil, that there is something even more ‘real’, more true, more fundamental than the brutal struggle for power we currently all suffer within.

This is the high stakes of Easter.

it could be that our intuitions of beauty and experiences of love are, gloriously, not the stuff of fake grass and psychological coping mechanism

And here lies the deep and central significance of an obscure death on a Roman cross. It is the moment in which God, who is primordial love, faces up to the violent worst of murderous evil. Not with angel -armies to crush our sorry war-torn mess under a new almighty domination, which would only serve to confirm the lasting truth of the dark concrete layer, but by contradicting it, undermining it, through a humble death followed by resurrection.

I write it out and, to be honest, it is kind of surprising to me just how many people keep believing this unlikely story to be literally and deeply and seriously true.

It could be because most of us are not prepared to be as clear sighted as Putin (and all the others). That for some reason, we remain relatively unable to cope with being so brutally in touch with the cold, dark facts of the ugly concrete.

Or it could be that our intuitions of beauty and experiences of love are, gloriously, not the stuff of fake grass and psychological coping mechanism, but actually have their roots down deep into the subsoil of an infinite beauty and an ultimate love?

If so, it could also be that the strongest counter evidence available to us, countering all the nukes and bullies and violent domination, is noticing what lifts our hearts and moves us to tears? Beauty can do that. Violence cannot.

And so I keep whistling.

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Morality

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21 October 2024

2 min read

Do we feel guilt for Liam Payne’s death?

We want the celebrity world to exist, but it returns terrible violence.

Jack Chisnall

Jack Chisnall is a former gag teller and Oxford Theology graduate, combining the two at Holy Fooling.

A crowd of teenagers gather by a Peter Pan statue to mourn a dead pop star

A fan vigil beside a Peter Pan Statue, London.

Sky News.

It’s no secret that fame is a poisoned chalice. Those reading about Liam Payne, the former One Direction star who died last week, will have noticed the theme: denied privacy, loaded with unbearable expectations, in a milieu where illegal substances were too much to hand - what chance did he have? The word ‘tragedy’ is scattered across multiple headlines.

One young Telegraph writer sees it as a generational trauma: “our first celebrity-induced reminder that life can be cruel, and fleeting”. Formerly Elvis, or John Lennon, now Payne; plus ça change. But what really haunts our society about Payne’s death is not a feeling it was unavoidable. It is, rather, our guilt: did we do this? Our rapacious appetites, consumer needs, and reckless licensing of rock-’n-roll form - did we tie this teen idol to the sacrificial altar?

Religious language is not inappropriate: thousands in cities around the world are holding vigils to Payne’s memory, and these shrines would have interested René Girard, who had a theory about how society works. While staying “a few pages ahead of the students” in French novels at Indiana University during the late 1950s, Girard noticed that humans want things, but not because of innate desires. We want things because other humans want them. There is always this undercurrent of rivalry to our world, even amongst close friends - in fact, especially for those whose goals are most similar.

What becomes of this collective aggression? It has to be banished through scapegoating. It’s everyone against one; a victim is butchered. For Girard, culture is what happens when a group achieves temporary peace in the wake of a sacrificial death. The bubble of built-up tension has burst, and an epoch of nonviolence means we get on with civilisation. We raise the kids, build some structures, or write a poem.

Religious mourning for Payne reveals these sacrificial contours of our culture. We want the celebrity world to exist, for its fantasies, desirable bodies, and danger. But it returns terrible violence - exploitation, harassment, and rejection (Payne’s own solo career had not kept him at the thrilling toppermost of the chart). The death of a victim sobers us up, momentarily, from our intoxication. But how long until we repeat it again?

Girard converted to Catholicism in 1959, after he encountered in the Gospels a religion that acknowledged these human trends, and offered a solution. It still required imitation - of Jesus Christ - but without the threat of rivalry. But in the crucifixion was a scapegoating that did not seem to leave things open to repetition. It had finished something, for good. Sunday morning yielded a new kind of peace.