Article
Culture
Digital
4 min read

What's good – and bad – about cancel culture?

An ancient story of compassion inspires an ethical response to social censure.

Erin studies and explains modern churches. She is an Adjunct Professor of Biblical Studies at Gordon-Conwell Theological Seminary.

Torn fly posters layered under graffiti on a wall.
Ripped-off posters and graffiti.
Jazmin Quaynor, via Unsplash.

You cannot ignore cancel culture today.  In her 2022 BBC Reith Lecture, the writer Chiamanda Ngoni Adichie called it “social censure”.  Even beyond universities and other public forums, many of us worry about the effects of cancel culture in everyday social settings.  Saying the wrong thing, or trying to respond well when someone else does, can quickly lead to awkward family gatherings, strained meetings, and broken friendships, or awaken the ever-present social media trolls.  In a post-pandemic moment, when people are already struggling to re-establish healthy human interactions, cancel culture can make social engagement seem even more challenging.  How can we navigate this moment well? 

Behind the fraught discussions and growing angst around cancel culture, we can perhaps detect something well worth preserving: compassion.  Some of the most heated controversies today involve language concerning people who have been historically disadvantaged.  Genuine compassion motivates many who want society to speak more kindly, with more understanding, in order to avoid perpetuating harm to people who have already suffered.  People who have been hurt deserve to be acknowledged, and that means taking their pain seriously.  This compassion is an important and noble instinct.  Many faith traditions call us to honor the vulnerable and pursue justice.  

'Silence out of fear of ending a relationship itself ends the relationship.'

At the same time, resistance to cancel culture also includes an element of compassion.  Within the voices expressing concern about cancel culture can often be heard a humble awareness that we all are prone to say the wrong thing at times.  We cannot hope to learn or grow without honest risk and mutual, human grace.  A brief period of silence to let emotions cool can be helpful; ending a relationship permanently seems less helpful.  It might seem easier to say nothing than to risk offence, but silence out of fear of ending a relationship itself ends the relationship.  Seeking to continue a difficult but important conversation can also be an important and noble instinct.  Many faith traditions also encourage humble self-assessment and generous engagement with others.  As the Bible records Jesus saying, “Let the one among you who is without sin cast the first stone.”  None of us is wholly above reproach, and we all need a bit of compassionate grace.   

So how do we balance these conflicting calls of justice and grace?   

This conflict might seem peculiarly modern, but in the story we re-tell every Christmas, we see a young man named Joseph wondering how to balance justice with gracious concern for someone who had deeply disappointed him.  Joseph is engaged to Mary, but she has been found to be pregnant.  Joseph is sure the baby isn’t his.  In their culture, a woman who was pregnant outside of marriage brought shame to her fiancé, her family, and the whole community.  Matthew’s gospel tells us that Joseph was “a righteous man,” which means that he appreciated the demands of justice.  Ignoring her situation meant ignoring the pain they all felt, papering over a grave offense which they wanted no part of.  At the same time, though, the text also tells us that Joseph was “unwilling to put her to shame.”  Like many people today, Joseph wanted to leave Mary some way to move forward with her life, but their culture did not provide people much opportunity to learn from tragic mistakes.  Sometimes, it can feel as if ours doesn’t, either.  If you’re familiar with the story, you already know how it ends, but it’s important not to skip too quickly past Joseph’s dilemma.  It feels strangely modern, Joseph’s desire for justice coupled with his equally strong desire not to see someone condemned because of a single mistake. 

'Courageous compassion creates much needed opportunities to heal, learn, and grow.'

Thankfully, the story also describes a way forward from Joseph’s dilemma: the baby in Mary’s womb, Jesus.  In Jesus, we see the depth of God’s compassion for all who suffer.  Jesus never ignored the painful consequences evil can create. Indeed, he allowed himself to experience the absolute worst of humanity.  As an adult, Jesus was thrown out of his home village and religious community. According to the gospels, he endured one of the most unjust trials ever recorded.  Jesus was tortured, beaten, and sentenced to a cruel death.  When we suffer injustice, we are not experiencing something alien to Jesus, and therefore, alien to God.   

But there is another side to Jesus’ suffering that is equally important: Jesus also demonstrates profound compassion for people have made terrible mistakes.  Jesus never mis-stepped or said a single cruel word, but he allowed himself to experience the full shame and isolation of being cast out of society. Crucifixion was the ultimate censure, being publicly put to death outside of the walls of the city.  Yet even in this moment, Jesus demonstrated compassion for people who had harmed him.  While on the cross, he forgave those who put him there.  Jesus offered forgiveness to the man dying on the next cross to his own, who by his own admission deserved his fate.  In contrast to aspects of cancel culture, Jesus’ actions at that moment of extreme injustice tell us that human redemption is always possible.  Jesus created a compassionate way forward from guilt and shame.  Whatever our situation, we can find life-giving grace and healing in Christ. 

Compassion isn’t easy.  It cost Jesus dearly, and at times it will cost us, too.  Courageous compassion creates much needed opportunities to heal, learn, and grow.  When we suffer and when we err, cruelty and failure do not get the last word.  As it says in the last few pages of the Bible, Jesus is making all things new.  Cancel culture ends conversations and damages relationships, but a better balance between the righteous demands of justice and the need for redemptive grace remains possible.   

Review
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

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