Explainer
Aliens
Christmas culture
Creed
5 min read

Star of wonder and beyond

From the Christmas star, humankind has been fascinated by astronomical possibilities.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A star nebula of gas clouds and stars.
Tarantula Nebula, by the James Webb Space Telescope.
NASA, via Wikimedia Commons.

The James Webb Space Telescope was launched on Christmas Day 2021. After hair-raising maneuvers to unfurl its tennis-court-sized mirrors, it has been sending back breathtaking images of the cosmos since July of last year.   

Christmas was a good day for the launch, given its astronomical connections. ‘Glory to God in the highest heaven’, the angels sang to the shepherds, ‘and peace to his people on Earth.’ Meanwhile, the wise men were above all diligent observers of the heavens. ‘Where is the child who has been born king of the Jews?’, they ask, ‘For we observed his start at its rising, and have come to pay him homage.’  

Quite what that ‘star’ might mean there is open to debate. Comets have been popular with artists. Giotto painted one, for instance, in his Adoration of the Magi in the Scrovegni Chapel in Padua. It is almost certainly Halley’s Comet, which had appeared just a few years before, in October 1301. But why would anything in the heavens be interpreted as a birth in Judea? It would probably involve something in a constellation associated with the nation of the Hebrews. Pisces seems to be favoured, for some reason. A nova of some kind is one possibility: what would look like a temporary new star because, in fact, a previously invisible star was undergoing a spectacular death. Chinese records suggest a nova in 5 BC, which fits the likely date for for Christ’s birth of 7–2 BC. 

The problem with both comets and novae is that they were more likely seen as harbingers of doom than good news. The better candidate for suggesting something joyful is a planetary conjunction, and there would have been a rather spectacular conjunction of Jupiter, Saturn, and Mars at the right time. None of that, admittedly, explains what it means for the star then to have led the wise men. Coming up against that challenge, we might think that looking into the astronomical detail is the wrong way to approach the story. Nonetheless, Matthew had something in mind when he wrote about a start in his gospel, and it’s worthwhile to ask what that might have been. 

It might be fitting for God to deal with other species as intimately as God has dealt with us, so that they might see ‘God made visible’ in their own nature, as we see God made visible in ours. 

More recently, the Christmas story has intersected with astronomy in questions about how to think about Christian theology now that we are aware quite how big the universe is, especially if it may contain a great deal of other life. We don’t know whether that’s true, of course, but given we now know that planets common around stars, and there are billions of billions of stars in the universe, the probabilities seem to tilt towards other life, at least as I see it. 

Suggestions surfaces from time to time that the world’s religions have arrived late to the party, when it comes to thinking about life beyond Earth. The astronomer and broadcaster Carl Sagan made that claim, for instance, in his best-selling book Pale Blue Dot. In fact, the earliest discussions of life beyond Earth I know about from Christian writers come from the mid-fifteenth century (and they stretch even further back in Judaism and Islam, to give two other examples). Christian writers have written on the subject ever since. If few gave us more than a paragraph here or a page there, that’s usually because the prospect of other life did not worry them enough to warrant more. They noted the prospect cheerfully, and moved on.   

Until the twentieth century, the prospect of parallel Nativities on other planets was rarely in view. In a sense, it didn’t need to be. It’s a consistent Christian position to say that God joined his life to all creation in joining it to one species of rational animal on Earth, just as God joined his life to all humanity in being born in a stable, in a wayside town, in a backwater province of the Roman Empire.  

One erudite early exploration of multiple Incarnations comes in a poem from the 1920s by the Roman Catholic poet Alice Meynell, entitled ‘Christ in the Universe’. More recently, Meynell’s topic has become perhaps the central theme in thinking theologically about life beyond Earth. My own book (Astrobiology and Christian Doctrine, 2023) looks at the prospect of life beyond Earth from the perspective of all of central topics in Christian doctrine (creation, sin, redemption, revelation, the Trinity, and so on), but the largest section is on Christmas and possible parallels. I am sympathetic to the idea that God would also unite himself to another natures, alongside the human nature he took up in Christ: not because I think that would be necessary, but because it might be fitting. It might be fitting for God to deal with other species as intimately as God has dealt with us, so that they might see ‘God made visible’ in their own nature, as we see God made visible in ours. 

Hiding in plain sight in the Nativity stories is another key to Christian thinking about life beyond, namely the angels. It’s not that I think that angels are aliens, or that alien life is angelic. In fact, being a disciple of St Thomas Aquinas, I’m inclined to view angels as entirely immaterial, and so very much not examples of biological life. But angels are useful for thinking about other biological life beyond Earth nonetheless, because of what they mean for the Christian imagination. The angels show that there’s always been space in that imagination for rational creatures other than human beings. They show that Christianity has never imagined that we’re the sole object of God’s love, or even the most glorious of species.  

The Christmas story has its cosmic elements: the star, glory in the highest heavens, and the angels, reminding us that wonderful though humanity is, it has no monopoly on rational life. My hunch, as much as my hunch matters, is that if there is other life then they too may see God face-to-face in their own Incarnation. Even if we find evidence of life beyond Earth, however, it’s not going give us much detail. The balance of gases in the atmosphere of a planet around another star might indicate life, but not much else about it. The prospects for interplanetary comparative religion are far off indeed. Alice Meynell had the right idea, when she recognised that one of the joys of the life of the world to come will be learning the stories of God’s dealings elsewhere: 

  

But in the eternities, 

Doubtless we shall compare together, hear 

A million alien Gospels, in what guise 

He trod the Pleiades, the Lyre, the Bear. 

  

O, be prepared, my soul! 

To read the inconceivable, to scan 

The myriad forms of God those stars unroll 

When, in our turn, we show to them a Man. 

 Alice Meynell 

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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