Explainer
Confession
Creed
6 min read

Sorry seems to be the hardest word

We all find ways of not simply saying sorry. Not just former prime ministers. Graham Tomlin unpacks why it’s getting harder to say sorry in our culture.

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

A politican stands holding a bible, in front of a committee room table. Behind him an audience waits expectantly
Boris Johnson prepares to give evidence to the House of Commons Privileges Committee.

Why is it so hard to say you’re sorry? Over recent weeks we have watched the story unfold of Boris Johnson and the Downing Street parties, his disdain towards the Privileges Committee report suggesting he misled parliament, and his resignation as an MP, insisting he was the victim of a witch-hunt rather than saying he had made a mistake and owning up.

And it’s not just Conservative Prime Ministers. Tony Blair has never quite come clean to say it was a mistake to lead the UK into war against Saddam Hussain on the basis of faulty intelligence on weapons of mass destruction.

Church leaders don’t escape either. Too often in the past, abusers have been shielded and moved on, and when the avoidance is revealed, ways have been found to avoid simply saying sorry. And then we all know the kind of apology that goes “I’m sorry you feel that way” which of course is not an apology at all. 

Saying sorry has always been difficult, but our culture seems to make it even harder. We may not conduct literal witch hunts any more, but we do metaphorical ones.

Confession is difficult. Try it sometime. Next time you make a mistake, resolve to come clean before your friends, your spouse, your partner, your team at work. Confess your sins. Not straightforward, is it? If you find it as hard as I do, then join the club.  

Saying sorry has always been difficult, but our culture seems to make it even harder. We may not conduct literal witch hunts any more, but we do metaphorical ones. If you are found out to have said the wrong thing, admit you have changed your mind, or that you made a horrible mistake, you are likely to get accused of inconsistency, cancelled on social media, sacked from your job, vilified at the court of Twitter. It could mean losing your reputation, your job, your friends and, well, everything.  

A line of books have come out in recent times, pointing out that we live in one of the most censorious of cultures. Andrew Doyle wrote a book called The New Puritans, arguing that identity politics and the social justice movement has spawned a quasi-religious form of cultural revolution, driven by claims to moral purity and tolerating no dissent. Similarly, Noah Rothman wrote The Rise of the New Puritans, identifying progressivism as a movement whose primary goal is to limit happiness. 

They had a strong notion of divine grace which interrupts normal human processes, unlocks hard hearts and kindles new desires in twisted souls. 

Yet perhaps the problem is not so much that we have become too much like the post-reformation Puritans, but that we are fundamentally unlike them. Puritans were a group of Protestants who first emerged in the 16th century, who wanted to ensure that Reformation in England was carried out thoroughly, broadly according to the agenda of John Calvin in Geneva, and not (as they saw it), half-heartedly. The word ‘Puritan’ was in fact invented by the group’s enemies, accusing them of a joyless obsession with purity, an insistence on keeping rules, confessing sins and avoiding pleasures. As always, caricatures tell half, or less than half, of the truth. Of course there were censorious and frowning Puritans, but they also had a profound and ambitious notion of grace and goodness alongside a nuanced moral ecology that we have largely lost.  

The Puritans had a strong notion of the nexus of sin, confession, grace, forgiveness, absolution and the possibility of moral reformation. If your conscience tells you that you had done something wrong, you had best confess it sincerely to God (and possibly to other people as well), which would be followed by the promise of divine forgiveness, which in turn had the potential to bring about a deep change of heart and habit, so that the fault was not repeated again. They had a strong notion of divine grace which interrupts normal human processes, unlocks hard hearts and kindles new desires in twisted souls.    

Now we have lost most of this. If you confess a sin in public, you are very unlikely to receive absolution in the court of Twitter or public esteem. The passing of time may mean people forget what you did and enable some rehabilitation, but forgiveness? Never.  And if you think the likelihood of forgiveness is remote, what is the incentive for confession? You might as well brazen it out, pretend you’ve done nothing wrong, deny all charges, as the alternative is to see your career go down the tubes. 

Moreover, we don’t tend to believe moral change is possible. A leopard never changes his spots, we say with a knowing look. Ex-offenders find it hard to find jobs with a criminal record behind them, and disgraced politicians are unlikely to find a way back into public life.  

We are creatures capable of deep cruelty, malice and selfishness, but also that we are capable of kindness, grace and true humility - that spiritual and moral change is possible.

Now of course there are good reasons for our nervousness about this. Someone with a weakness for booze, sex or vulnerable children might never lose that tendency, and it’s often better to be cautious than to allow an abuser to abuse again. Yet at the same time, Christian moral theology has always held together in some tension a savvy awareness of the depth of human fallibility and self-deception, with a belief in the possibility of deep spiritual and moral change. Christian faith paradoxically holds at the same time the most pessimistic and the most optimistic view of human nature – that we are creatures capable of deep cruelty, malice and selfishness, but also that we are capable of kindness, grace and true humility - that spiritual and moral change is possible. It’s not always easy to spot the genuinely reformed character from the charlatan, but that is where wise discernment and character judgement comes in, holding the tension between naivete and cynicism.   

Back in the day when more people went to church, they at least once a week had an occasion where they were invited to reflect on their sins of the past week, to confess them and receive absolution. That pairing is perhaps the key to the whole thing, and why saying sorry is so hard in contemporary life – because we have not only lost the ability to say sorry, we have also lost the ability to forgive.  

Of course, it’s possible to go through the motions in church of saying you are sorry for your sins. It can be a means of ‘cheap grace’ as the German theologian Dietrich Bonhoeffer used to call it. But we are creatures of habit. Being forced to think back over the past week, the time you spoke to your kids in a harsh way, told a white lie to get out of trouble, or forgot to phone someone who needed help because you were just too busy, somehow alerts you to your own inner mess. Add to that the promise that a heartfelt confession will be met with the pronouncement of genuine pardon, then it makes it just a little easier to say an abject apology to someone else when you need to, not evading the truth, not excusing yourself, just saying you messed up and got it wrong, because you know what’s coming afterwards – forgiveness.  

The dynamic of confession, forgiveness and the possibility of moral change doesn’t take away the need for shrewd judgement of character, but its loss arguably makes it much harder for us to say we are sorry, and are truly repentant.  

Politicians, pundits and other public figures may find it hard to say sorry. And we are perhaps right to expect them to do so. But unless we learn how to forgive, then we will reap a harsh society where ‘sorry’ is not just the hardest, but the rarest word.  

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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