Article
Culture
General Election 24
Politics
4 min read

Ultra-processed politics fails to satisfy

No-hope manifestos, full of ugly policies, leave us craving something better.

Yaroslav is assistant priest at Holy Trinity, Sloane Square, London.

Three piles of ready-meals sit on a shelf. One stack is blue, the next yellow and the third red.
Party food.
Nick Jones/Midjourney.ai

There are now less than two weeks to go before polling day, and the nation appears to have simultaneously reached the highest fever pitch of emotion and the absolute nadir of political scruple. The Tory campaign has been comically, awfully inept - announcements in the rain, D-Day, gambling fraud. The Labour campaign has been an odd blend of quasi-Confucian aphorisms (‘Stability is Change’…what is that!?) and a blank refusal to give much detail on any future plans and actions - almost offensive from a party that seems guaranteed to win a majority that would give it little resistance. The Lib Dem campaign has resembled a Centre Parks holiday, and I’m here for it!  

The recent Question Time of political leaders perfectly encapsulated the grim reality of this election campaign. The anger towards Rishi Sunak was palpable, and his pathological inability to not be defensive and snippy shone through. A total lack of any emotion was shown towards Kier Starmer (a void that again was filled with more anger towards Rishi Sunak), and his militantly practiced refusal to actually say anything of substance. Ed Davey was quite charming actually; but not enough to make the whole viewing process anything but depressing. 

Yet… 

This is our situation, and we must deal with it. This is OUR election, and WE MUST engage with it. Alastair Campbell - one half of the most listened to political podcast in the UK - regularly calls for compulsory voting. The ad campaign reminding people (especially young people) to register to vote has been incessant. Even the Archbishop of York has written an open letter in the Sunday Express encouraging everyone to register and to exercise their democratic duty. Why? What for? I find the entire cadre unappealing to the point of being odious. Reading the manifestos I was struck by two realisations: the space between so many of the policies was miniscule, and they were so bloody ‘ugly’.  

I don’t mean ugly like the loveless, jingoistic, cruel ramblings of Reform. The two main parties have produced manifestos that inspire no hope. They equate the fullness and completeness of the human social condition to the subtle movements of financial resources from one area to another. They are each proposing a almost identical economic foundation, with a few nods to the fact that ‘society’ and ‘human relations’ exist, like a Potemkin village designed to impress the visiting dignitary, ‘the voter’. Not only do they read like they were written by someone who cannot think five, maybe ten, years ahead; they read like they were written by someone who has a cold indifference to the transcendental concepts of ‘TRUTH’, ‘BEAUTY’, ‘GOOD’. The whole tenor of our political culture and conversation is the same three riffs on post-modern liberalism, played with dexterity and enthusiasm of a corpse. 

If you feel passionately about your community, and you know the issues, and you have a candidate you believe in, vote. If none of this applies, don’t worry, and don’t let anyone shame you. 

And yet I MUST vote? What for? Why must I be shamed into preforming the perfunctory routine of soul-destroying civic duty? Why must I be bullied into giving the correct sacrifice to the great and terrible God of ‘DEMOCRACY’ in the vain hope that this vicious, nihilistic titan of bureaucratic ineptitude might yet again bless the polis with five more years of alienation and sublimated resentment. 

The Christian message, the Gospel, is not antithetical to politics. The Gospel of Christ is about one’s whole life - body, spirit, soul, relationships, friends, family, enemies, strangers, work, play, sickness, death - and so it cannot be divorced from politics, because as people who live in a society we must encounter the ‘political’ every day. However, the Kingdom of God is a Kingdom and not a Republic. Jesus does not answer the devious questions of the Pharisees with a markedly uninformative screed on updating tax legislation, he says to ‘Render therefore unto Cæsar the things which are Cæsar’s; and unto God the things that are God’s.’ He speaks to the people about radical charity, freedom from worry and stress about today, about a community of absolute loving relationship where everyone is a mother, and sister, and brother to everyone else.  

I am called - just like I believe all people, as beloved creatures who’s end is being united with God in all eternity - to keep my eyes on the horizon of the absolute, the beautiful and peaceful Kingdom of Christ which is not for this world. This does not mean apathy towards politics or even to the current election. It does, however, mean that I cannot and will not be persuaded that finding this pathetic display of ineptitude, silence, exaggeration, and unpleasant divisiveness which we call a campaign, anything other than a waste of my time and energy. If you feel passionately about your community, and you know the issues, and you have a candidate you believe in, vote. If none of this applies, don’t worry, and don’t let anyone shame you. The Kingdom of God will not be built by the winner of the General Election. It will be built by Christ working through the love and relationships that form a community of charity and service…and you can’t legislate for that. 

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.