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Belief
Creed
Wildness
6 min read

The Wild God we can't coerce

Weird and increasingly encountered beyond the wilderness.
A pianist raises his arms while sitting at a grand piano amid recording equipment.
Nick Cave recording Wild God.
nickcave.com

Christianity is a wild thing.  

I say this, even while only half-understanding what I’m saying. It’s something that I’m learning. Or perhaps it’s more appropriate to say that it’s something that I’m unlearning. Because, admittedly, I’m far more familiar with a somewhat domesticated view of my own faith tradition. The kind that allows me to fashion fences out of my expectations; to put parameters around God’s presence and boundaries upon his behaviour. Both of which are a farce, of course - but a comforting farce, none the less.  

You see, there is nothing ‘comfortable’ about a God who cannot be wholly predicted or comprehended, let alone controlled or contained. A wild God is always going to be a challenge to a culture that has enthroned comfort. We’re too easily spooked and too unused to the sensation of being cosmically baffled.  

But, affronting as it may be, I am trying my best to sit in the knowledge that the God I believe in is a wild God. And I’m finding this wildness increasingly hard to ignore. Perhaps it’s all the Rowan Williams I’ve been reading, or my newfound interest in the Romantics (as in, the eighteenth and nineteenth century poets, not the 1970’s American rock band). Or maybe it has more to do with Nick Cave and the Bad Seeds’ new album, which I have been listening to relentlessly over the last week. 

In this musical offering, Nick Cave introduces us to his ‘Wild God’, who I think is my God too. It’s just that ‘wild’ has never been the first adjective I reach for when describing him.  

Until now, I suppose.  

Let me clarify what I mean by wild, because what I’m not saying is that God is inherently chaotic, unruly, reckless or irrational. Wild Gods, as we know them from the myths and legends, act on tempestuous whims, and are more than a little havoc prone. They are perilous, largely because one can never truly know where they stand with them. That couldn’t be further from what I mean. The entire Old Testament - as complex, nuanced and masterful as it is - can be understood as a collection of ways in which the God at its centre is saying – this is who I am, this is what I desire, this is what I’m going to do, this is where you stand with me. If you were to read the Bible, it would become pretty clear pretty quickly: God is insistent that those who seek to know him will never have to second guess him. God’s wildness does not mean that we cannot know the essence of who he is or how he feels towards us. I like to think that we can endeavour to know him accurately, but never exhaustively.  

Rather, what I’m trying to get my head and heart around is the knowledge that God, and therefore Christianity, cannot be wholly domesticated. Despite my best efforts, it cannot be made into an entirely comfortable and cozy thing. To make it so, one would have to dilute it, shrink it, bleed any truth out of it. In his poem - Sometimes a Wild God -Tom Hirons writes, 

Oh, limitless space. 
Oh, eternal mystery. 
Oh, endless cycles of death and birth. 
Oh, miracle of life. 
Oh, the wondrous dance of it all’. 

There’s an innate weirdness to the Christian worldview, a pure wildness at the heart of it. It’s brimming with mystery and mysticism. As Hirons hints, it’s bigger and more consequential than our comfort-zones would like it to be. And, what’s more, much of it is communicated through the natural world. Biblical narratives and poetry are endlessly pointing us toward the places and spaces that are outside human cultivation – the stars, the mountains, the oceans – the things that pre-date and will outlive us.  

Christianity is wild in that there’s an alluring organic-ness about it. Its truth sits beyond human manipulation and coercion.  

For millennia, whole lives have been given over to this truly wild and, I believe, wildly true story. Can I give you just two recent examples? Two people who have (utterly unexpectedly) adventured their way into this wild and wonderful way of seeing the world? Two people I’ve had the joy of learning from over the past year? 

First up is Paul Kingsnorth.  

Paul is an award-winning poet and a best-selling author of both fiction (including the Buckmaster Trilogy: Wake, Beast and Alexandria) and non-fiction (including Real England, Confessions of a Recovering Environmentalist and his ongoing Sub-Stack series: Abbey of Misrule). He is, and always has been, an advocate for treating the natural world as if it were far more than a machine to be used or a resource to be obtained. Such behaviour is, according to Paul, nothing short of sacrilegious. As well as an enchantment with what he can see and sense in the natural world, he also has a long-standing fascination with all things mystical.  

Buddhism, Witchcraft – you name it, he’s tried it. 

He told Justin Brierley and I the story of how he his adventures have led him to arrive at the wildest possible destination: Christianity.   

And then there’s the renowned mythologist, Dr Martin Shaw, who decided to do a 101-day wild vigil in Dartmoor. Despite not being a Christian, on the very last night, he prayed. While praying, he looked up and saw something utterly unexplainable, something ‘properly Old Testament’. And that was it – after a night of dancing, several other ‘odd’ experiences, and eighteen months of deep pondering – he was able to say, ‘I went into the forest expected to be wedded to the wild and I came out wedded to Christ’

Thinking about it, it’s probably no accident that ‘Christianity’ began on the margins, and from there, worked its way into the cities. There was a time where the prediction of Jesus’ arrival was being yelled out into the countryside, so loudly that people were emptying the surrounding towns to come and hear more. A time when rumours of redemption were being whispered in the rural hills. A time when its chief messenger was an inexplicably weird man named John the Baptist; who shunned his prestigious priestly heritage to live in the wilds, to dress in camel skins, to eat honey and insects and insist upon the imminent coming of the long-awaited Messiah. This Messiah, by the way, who would be born where animals are kept, sleep on mountains, retreat into deserts, walk on water, speak to storms, and break people (including himself) out of stone graves.  

You see what I mean, Christianity is a wild story to believe and live in accordance with.   

It’s the story that drove the ‘Desert Mothers and Fathers’ of the Third Century AD to reject civilisation and all its comforts, in order to seek God in the silence and solitude of the desert. It’s the story that is still inspiring people to live in caves on Mount Athos, secluded islands just off the coast of Wales and forests in the heart of Ireland. An uncontainable message has, since its inception, been lived out in uncontainable places.  

Honestly, you want weird? Christianity can darn-well give you weird.  

Don’t be fooled by over-familiarity or be swayed by that pesky left-side of your brain, the part that wants to convince you that you know all that there is to know. Christianity is a story that I, myself, had forgotten was quite this wild. 

Column
Culture
Digital
Film & TV
Justice
4 min read

Data scientists should stop watching Minority Report and start watching The Shawshank Redemption

A justice ministry’s prejudicial database leaves no room for redemption.

George is a visiting fellow at the London School of Economics and an Anglican priest.

Tom Cruise gestures with his fingers in an e-glove in front of his face
Tom Cruise takes the measure.
20th Century Fox.

The go-to for any news item about using AI to predict crimes before they happen is Steven Spielberg’s Minority Report from 2002, starring Tom Cruise as a futuristic cop, who employs human “precogs” as clairvoyants to get ahead of the villains. 

So, I’m far from the first to name-check it as showing the dystopian future that the UK’s Ministry of Justice heralds with its test project to “explore alternative and innovative data science techniques to risk assessment of homicide.” 

That use of “homicide”, rather than the more British “murder”, is telling, almost like the Ministry wonks have just watched the movie. The pressure group Statewatch has no doubt where they’re heading, with data being used on people who may never have been convicted of an offence and “will code in bias towards racialised and low-income communities.” 

Spielberg was always ahead of the curve. But my fear is less the chilling dystopia that Statewatch sees in its precog. Actually, I’m more worried about the past in this context, or rather in how we treat the past. 

If I haven’t to date done anything wrong, then I have committed no offence. I am literally innocent. And that’s an absolute. An interpretation of data that indicates that I’m more likely to commit a crime than others is neither here (in my conscience) nor there (in the judicial system). 

Furthermore, there’s a theological point. If it is so, as we’re told, that no one is without sin, then we’re all culpable in the pasts that we have lived so far, but the future contains all we have to play for.  

To suggest that some of us are more likely to screw up in that future than others is very dangerously deterministic. It’s redolent of Calvinism’s doctrine of the “elect”, those who have already been marked for salvation and eternal bliss, regardless of what they do or don’t do in this life, while the rest of us, however virtuous our mortal deeds might be, will rot in hell. 

Neither Calvin’s determinism nor the Ministry of Justice’s prejudicial database leave any room for redemption. They’re just trying to identify events that will definitely (the former) or are likely to (the latter) happen. Conversely, we live in hope (for some of us a sure and certain hope) of a future in which we can be redeemed, whatever we have done in the past. 

And that’s why I find Minority Report an unsatisfactory analogy for the development of real-life precrime technology. It is a film that is only about determinism, which leaves no room for either free-will or redemption. And that’s applying a form of intelligence that is truly, er, artificial. 

The vital thing is that hope is fulfilled, the prisoners make it to their paradise after worthless lives spent in jail. Justice is seen to be done.

A more helpful movie, richer in its development of these themes – and not just because it’s got the word that I favour in its title - is 1994’s The Shawshank Redemption, based on a novel by Stephen King. Here we have the idea explored that the past isn’t only irrelevant to our futures, but doesn’t even really exist in time in relation to the future. 

It’s bursting with more religious themes even than Clint Eastwood’s spaghetti westerns, which are really only the righteous saviour turning up to defend flawed goodies from evil baddies, again and again. For a start, The Shawshank Redemption is set in a prison, where whole lives are spent atoning for crimes that have or haven’t been committed. See? 

Lifers who are released after decades struggle to cope or kill themselves. The central character, a messianic figure, lives in hope with his convict friend of reaching a beach in the Virgin Islands, while the prison warden describes himself as “the light of the world”, but is assisted by his prisoners in money-laundering – washing clean – his ill-gotten gains. 

I could go on. But the vital thing is that hope is fulfilled, the prisoners make it to their paradise after worthless lives spent in jail. Justice is seen to be done. But the important thing here is that there is no pre-crime determinism. The future, which often looks hopeless, is rolling out towards the possibility of redemption, which ultimately becomes the only certain reality. 

One can dwell on movie plots too long. They are only, if you’ll excuse the pun, projections of life. But it is nonetheless irritating both that a government department with Justice in its title can believe it worthwhile to explore how it might deploy AI to predict who tomorrow’s criminals are likely to be and its critics condemn it by using the wrong dramatic analogies. 

Minority Report was a dystopian thriller that suggests that the future can only be changed by human intervention. The Shawshank Redemption showed us that inextinguishable human hope is in a future we can’t control, but can depend on.     

Anyone who is interested in justice, especially those who work in a ministry for it, might benefit from downloading it.  

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