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War & peace
6 min read

On war fighting

Why do soldiers go to war? There are a thousand different answers writes Owen, a serving soldier.

Owen is an officer in the British Army.

Soldiers silhouetted by dust and sunshine work at a fence with tools.
British soldiers dismantle a fence line in Afghanistan.
Jamie Peters RLC/MOD via Wikimedia Commons.

The car bomb went off at 0630, rudely awakening me from a deep sleep. The noise, big and bassy, was followed by silence, followed by the wailing of the camp attack alarm. I felt a range of emotions in those moments, but definitely present was a sense of relief. “So that’s what it sounds like…”. I had been in Kabul for two or three months by that point, and had always been slightly on edge whenever I walked between buildings, knowing that an explosion was inevitable at some point, but not knowing how loud it would really be. Afghanistan was my first operational tour – it was 2014 and the British presence in country was shrinking rapidly, and my reward for a good performance on my intelligence officer’s course was assignment to a unit deploying to the Afghan capital. It might seem a strange reward, but it was sincerely meant, and gratefully received. 

Why does a soldier go to war? You could ask a thousand men and women in the armed forces and get a thousand different answers. The most straightforward (and superficial) answer is “Because I was ordered to”, but delve below the surface and you find all manner of motivations and justifications. All I can offer you is why I think I wanted to join the British Army and fight (there are reasons that are probably hidden even to me) and how as Christian I make sense of war. 

I joined the Army at a time when what were known as Blair's Wars were stuttering to an unsatisfactory conclusion. We had withdrawn from Iraq, leaving behind a broken country and unwittingly paving the way for Islamic State, and soldiers were still fighting and dying in Helmand Province, Afghanistan. While I was going through the selection process for the Royal Military Academy Sandhurst there were a plethora of war documentaries on television that had been filmed using helmet cameras, giving an unprecedented first-person view of conflict. A normal person might have watched those programmes and thought they wanted no part on it whatsoever. I saw them and wanted in. Why? 

What appealed to me most was the responsibility; of deploying to a dangerous place with your fellow soldiers and doing everything in your power to keep them alive.

I look back and think there were all sorts of reasons floating round my head. There was undoubtedly a slightly boyish sense of adventure – it seemed like most of my peers at university were off to be bankers, lawyers or management consultants, and I wanted to do something a bit less grey. There was a desire to challenge myself too – a worthier reason, but still not the full story.  What appealed to me most was the responsibility; of deploying to a dangerous place with your fellow soldiers and doing everything in your power to keep them alive and to complete your mission. I saw soldiering as less a job than a calling. 

Throughout my career much has changed but that sense of responsibility is still there. It is at the heart of how I understand being a Christian in conflict zones, my personal ‘theology of war’, if you like. When I came home from Afghanistan, I was asked by a friend whether I had killed anyone. I said I hadn’t. He then asked if I thought I could bring myself to do so should the situation arise. I said that I hoped so, because I had been on armed sentry duty multiple times and so was the only person standing between my colleagues and the enemy. If I had identified a suicide bomber but decided not to shoot in that moment, then I would have been betraying the responsibility I had to my friends. Indeed, I doubt that any suicide bomber would have thought worse of me had I shot him – he would have recognised that I had my job to do, just as he had his. 

Who is anyone to judge between us, and who am I to claim the morality of what I do for a living?

Of course, this line of thinking is problematic. If I am just doing my job and the suicide bomber is doing his, then in moral terms we are surely are only as good, or as bad, as each other. His God calls him to do his duty and look after his brothers and sisters, and so does mine, and we are therefore equally right or equally wrong. Who is anyone to judge between us, and who am I to claim the morality of what I do for a living? 

And yet sincerely holding a belief does not make you right. The failings of moral relativism are well-documented, yet too often we act as the sort of people who treat Pilate’s question “What is truth?” as a viable philosophical position rather than as the moral evasion that it is. We in the West are jaded by complex and bloody counterinsurgencies with no clear end state, affirming Bart Simpson’s dictum that “There are no good wars, with the following exceptions: the American Revolution, World War II, and the Star Wars Trilogy”. But the conflict in Ukraine has shown that binary wars between an obvious aggressor and a nation defending their homeland are not merely history, and that today people can still take up arms for justifiable reason.  

I'm a Christian so I am a pacifist in the sense that peace is vastly preferable to war, and I have seen first-hand the suffering and misery it causes. Yet as a Christian too I cannot affirm peace at all costs when it means that rights and lives of innocent people can be callously disregarded by an oppressor who can only be resisted by force. I look at pictures of bombed-out apartment blocks in Ukraine, of kidnapped schoolgirls in Nigeria, of civilians murdered in Afghanistan and cannot affirm anything less than this, that there are things in this world worth fighting for.  

I would reflect too that both my calling as a soldier and my faith have given me a sense of the value of life not as something not to be clung too at all costs, but as a gift to be made the most of. One of the things we did in our first week of Sandhurst was to make a will. There I was, fresh out of university, deciding who should inherit my meagre possessions (I didn’t even have a car), and asking the bloke next to me, who I’d only met 24 hours ago, to witness my signature. To be honest, it didn’t really feel real. What felt much more real was posing for a photo in the unit sports hall two years later, arms crossed, Union Jack and regimental flag behind me, knowing that it was the photo that would be used in the newspapers if I was blown up in Afghanistan. 

You see that mutual love in tight-knit units where one soldier is prepared to die for another.

When you’re forced to confront the fact that you might die, you start to realise what it is that you are living for. I believe in the sacredness of life as a God-given gift, which makes the idea of sacrifice which lies at the heart of the Christian faith all the more powerful. “Greater love has no one than this” Jesus says in John’s Gospel, "to lay down one’s life for one’s friends”, and you see that mutual love in tight-knit units where one soldier is prepared to die for another. I think it’s that idea of living and possibly dying for something or someone more than just me is what keeps in the Army, when many of those who made their wills in that room at Sandhurst have left for civilian jobs.  

Which brings me back to my initial reflection, that there are myriad different reasons why people join the armed forces and go to war. My Christian faith is at the heart of my reason(s), but I'm realistic to know that many of my colleagues do not share that faith and so would have a different motivation (though perhaps not quite as different as one might think). We all have stories to tell about why things matter to us, and matter to us so much that we think they are worth fighting for, in whatever guise 'fighting' takes. You have heard my story. What’s yours? 

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Culture
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War & peace
6 min read

Watching Bonhoeffer from below

Does a new biopic capture a compelling and complex character?

David Emerton is Director of St Mellitus College, East Midlands.

Two men, dressed in the style of the 1940s look around shocked.
Jonas Dassler as Dietrich Bonhoeffer.
Angel Studios.

Dietrich Bonhoeffer did not live to see his 40th birthday. 

Sentenced to death in a sham trial at Flossenbürg concentration camp, he was stripped naked, led to the gallows, and executed on the direct orders of Adolf Hitler in April 1945, essentially for treason. Ever since, Bonhoeffer’s life and thought has been subject to projects in wish fulfilment. Bonhoeffer has been secularised, liberalised, radicalised, and popularised by people across the religious and political spectrum, and in ways that evidence only casual concern for historical fact and little (or no) comprehension of his literary estate. Most recently and remarkably—in fact, repulsively—Bonhoeffer’s name has even been used by the right-wing Heritage Foundation to denounce the so-called “open-borders activism” and “environmental extremism” of the American Left in its Project 2025 wish list for the presidency of President-elect Donald Trump. 

It was with mixed feelings, therefore, that I sat down in a movie theatre in downtown San Diego a few weeks ago to watch the new film Bonhoeffer: Pastor. Spy. Assassin. Released by the Christian production company, Angel Studios, and written and directed by Todd Komarnicki (producer of Elf and writer of Sully), the film (coming to UK cinemas in early 2025) is trailered thus: 

“As the world teeters on the brink of annihilation, Dietrich Bonhoeffer is swept into the epicenter of a deadly plot to assassinate Hitler. With his faith and fate at stake, Bonhoeffer must choose between upholding his moral convictions or risking it all to save millions of Jews from genocide. Will his shift from preaching peace to plotting murder alter the course of history or cost him everything?” 

The accompanying image has the pacifist-preaching Bonhoeffer holding a gun. 

Like any big-screen biopic, Bonhoeffer mixes fact and fiction with a healthy dollop of artistic and cinematic license. This license is of course necessary for the screenwriting art: time needs compressing; biography needs enlivening; peoples’ character needs demonstrating; ultimately, the film needs watching. 

There is no doubt that Bonhoeffer spent time at Union Theological Seminary in New York and that whilst there he bemoaned the state of American theology, actively participated in the Abyssinian Baptist Church in Harlem, and became close friends with an African-American student, Frank Fisher. 

But learning to play jazz piano at a Harlem nightclub? Being beaten by a racist hotel owner with the butt of a rifle? And becoming an ardent advocate for African-American civil rights? 

There is no doubt, too, that, as Hitler rose to power, Bonhoeffer spoke out against the dangers inherent in the Führer concept and that throughout the 1930s he steadfastly critiqued Nazism and national socialist ideology. 

But were his words ever these? 

“I can’t keep on pretending that praying and teaching is enough.” “Dirty hands ... It’s all that I have to offer.” Or, in response to being asked by his friend and student, Eberhard Bethge, if Hitler is the first evil leader since Scripture was written: “No. But he’s the first one I can stop.” 

No one is going to dispute, either, that Bonhoeffer led an underground seminary at Finkenwalde to train future pastors of the Confessing Church in Germany; or that he said, “When Christ calls a man, he bids him come and die.” (Even if, in German, he more literally said, “Every call of Christ leads into death”). 

But what is disputable is that (as the film suggests) Finkenwalde was a safe haven from which a plot to assassinate Hitler was launched, and that Bonhoeffer’s most memorable aphorism of Christian discipleship was intended to be spliced (as it is in the film) into footage of a conspirator preparing a suicide bomb. 

And Bonhoeffer certainly did join the German Military Intelligence and act as something akin to a double-double-agent. He certainly did pass information about the conspiracy to international church leaders on his travels outside of Germany. He certainly did know about both “Operation Seven” (a plan to smuggle a small group of Jews and Jewish Christians out of Germany to safety in Switzerland), and the planned plot to assassinate Hitler. 

But to suggest (as the film does) that Bonhoeffer was central to these plans and personally involved in them, or that he asked Bishop George Bell to lobby Winston Churchill to supply a bomb that the conspirators could use to kill Hitler, is nothing more than highly contentious, even conspiratorial, conjecture. 

In a panoply of embellished facts, the film’s final scenes are in equal measure harrowing, arresting, and deeply moving.

Bonhoeffer’s life and thought is obviously compelling. 

It is also complex. 

Bonhoeffer left behind an array of books, essays, sermons, unfinished manuscripts, working notes, and letters, all of which are notoriously difficult to interpret, especially in the round. Bonhoeffer rides roughshod over this difficulty and complexity, and thereby trivialises the legacy of a modern-day, martyred Christian saint. It also tells in part an untrue story—the story of a man destined, indeed determined, to disavow a life of prayer, teaching, and diplomacy to become a would-be assassin and engage in violent political espionage and activism at any cost. 

This is a (very) far cry from the man who, in 1930, urges American Christians to remember that they have brothers and sisters “in every people,” not just in their own, and that if the people of God were united then “no nationalism, no hate of races or classes can execute its designs and ... the world will have its peace.” 

It’s a far cry from the man who, in November 1940, writes that “radicalism,” and “Christian radicalism” in particular, “arises from a conscious or unconscious hatred ... toward the world, whether it is the hate of the godless or of the pious.” 

And it’s a far cry from the man who, at Christmas 1942, reflects on the “incomparable value” of having learned “to see the great events of world history from below, from the perspective of the outcasts, the suspects, the maltreated, the powerless, the oppressed and reviled, in short from the perspective of the suffering.” 

Bonhoeffer therefore risks exposing Bonhoeffer’s legacy, as a theologian, pastor, and man of resistance, to yet further abuse. At a time when political and religious discourse is increasingly laced with xenophobic, authoritarian, and nationalistic rhetoric, and at worst Christian nationalistic rhetoric, this is not what is needed. It is not surprising that Bonhoeffer scholars across the world and Bonhoeffer’s own descendants have registered concern. 

But is Bonhoeffer nevertheless worth the price of a ticket? 

Perhaps surprisingly, I think that it is: if only for its denouement. 

In a panoply of embellished facts, the film’s final scenes are in equal measure harrowing, arresting, and deeply moving. Shortly before his execution, Bonhoeffer leads his fellow prisoners in morning prayer, breaking bread and drinking wine with them in commemoration of the death of Jesus Christ. Bonhoeffer then walks to the gallows in peace, knowing that for him, as a disciple of Jesus Christ, his death is but the beginning of life. 

It is such steadfast hope, in the face of all the humiliating absurdity of human contradictions (to borrow some words from Fyodor Dostoevsky), that the church and our world today is perhaps most desperately in need of. 

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