Events
Belief
Creed
Digital
6 min read

The wisdom of living with the question not googling the quick answer

Are we trading wisdom for apparent certainty?

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A person sits on a window sill with one raise knee.

In much of the work I’ve been involved in, whether writing, coaching, hillwalking, local politics, or international development, I’ve learned to ask questions I don’t have answers to, and sometimes neither do the people I’m with. We sit with the question, decide whether it’s the right one, try to discern what else emerges in our peripheral vision as we focus on it. It takes effort to come to something like an answer, and in doing so, we peel off layers of unknowing. It has taken practice, and it can be slow work. But in searching for good questions, I see they can be an entry point into not just information but wisdom too. And there are many places that are hungry for wisdom.  

I longed for better questions and more curiosity when I was a district councillor. Curiosity that made space for residents to share their stories and opinions, curiosity about different political positions and what might happen if we work across divides, about what might be possible if we could get past the way things had always been and imagine what they could become.  But the desire to save face, to be seen to be in control, was strong, and I felt it often got in the way of real conversation. To be committed to the process more than the product takes courage, I think. The courage of uncertainty, of saying, “I don’t know”, of putting humility and honesty before status. Sitting with questions can be difficult, perhaps even feeling like a luxury, but they show us ourselves and the world a bit more clearly, offering a pathway to relationship, to collaboration, to humanity, to wisdom.  

I have been thinking about the temptation to trade the wisdom of questions for the apparent certainty of instant answers, even wrong answers. It is a temptation that, in our age of one-click everything and the importance of image, is only quickening. It is a temptation that I have been thinking about, wondering if it started with that old temptation in the Garden of Eden. Staring at a painting of Adam and Eve in the Prado gallery a while back, I wondered whether that original temptation set us on a path of instant information but also of depleted wisdom.  

As I peered into the painting, a thought sparked: what if God told Adam and Eve they could eat fruit from any tree except the tree of the knowledge of good and evil not because he wanted us to stay ignorant or innocent (something that Philip Pullman explores in his Northern Lights books) but because he knew it was too easy for us to eat from that tree. He wanted us to live, and to search for knowing and wisdom ourselves. Eating the fruit would bypass experience, there’d be no need to develop muscles of thinking and discernment. And he wanted us to be wise, to keep creating and tending the world with him. When those first pulled-from-the-earth humans ate the fruit, it was like us still-dependent-on-the-earth humans asking Artificial Intelligence to write us an essay: we might get what we want, but we’ve bypassed the experience of thinking, creating, discerning what’s ours to say.  

This analogy creaks when pulled too far, but it lingers all the same. There’s a quote I’ve long appreciated, from the biologist E.O.Wilson:  

“We are drowning in information, while starving for wisdom. The world henceforth will be run by synthesisers, people able to put together the right information at the right time, think critically about it, and make important choices wisely.”  

Picking the fruit, becoming reliant on AI, gives us information but perhaps not the ability to think, and not the wisdom to make good choices. God wants us to be wise. The Bible’s Book of James says we can ask for wisdom. It is not withheld from us; it is not hidden. It’s everywhere, waiting to be called on.  

There are no digital shortcuts to the difficult work of community, no AI-shortcut to loving well, just as there was never a shortcut to complete knowledge of good and evil. 

It’s so easy to find answers now — Google solves problems and democratises access to information, unless of course you’re in a part of the world that has no digital access. In rural mid Devon and in rural Zambia, both places I’ve worked deeply with communities, you can’t simply access an online meeting or find the answer to a question you might have. Sometimes this feels a life-giving challenge: it increases the need for relationship, for trust, for community conversation. Other times is hinders progress: it means people can’t access jobs, or basic health knowledge, or government decisions that affect them. Google has changed who can access the world, how we interact with it, how we think and learn. Historically, people memorised poetry and scripture and news. The printing press changed that; words were pulled from minds and printed on paper. Our online existence has accelerated that: I don’t need to stretch my memory if I don’t want — I can find and store what I need digitally. We’ve outsourced our memory, and I wonder whether we’re also outsourcing our capacity to think and discern. 

In doing so, we risk disconnecting from ourselves, our relationships, our communities, our places. No longer do we need to rely on each other for knowing and wisdom — we can trust faceless digital forces that profit from us doing so. We risk too our unique ability to think creatively, to discern good sources, to think deeply and with nuance about a topic. If AI learns from everything that has been, it can synthesise and perhaps even extrapolate from that and project forward, but it can’t creatively imagine. It can’t reflect and speak wisdom.  

There is an ease and convenience to Google, to AI. There was an ease and convenience to picking the fruit to gain knowledge. But we are not called to ease and convenience. I think we are called to love, to care for our neighbours, and these things are necessarily inconvenient. Digital access to information is a tool, a resource, a gift that benefits many of us in many ways. But it could easily blunt our humanity, becoming a temptation that bypasses the work of truly living.  There are no digital shortcuts to the difficult work of community, no AI-shortcut to loving well, just as there was never a shortcut to complete knowledge of good and evil. With information available at the tug of a fruit — a click, a download, a request to an artificial intelligence — I am curious how our ability to sit with questions will change, whether we’ll feel beauty or fear in not having all the answers, whether we’ll lose our ability to discern, and to “have faith in what we do not see.”  

Sitting with questions, with curiosity, is I think an entry point to faith and to mystery. 

Jesus calls us to questions, to relationship, to love, not to answers that might be easily won but little interrogated. He knew that questions, not answers, were often the best response to questions. Questions to sit with, to hold up as a mirror, to walk as a path to wisdom. He asked a lot of them. Who do you say I am? How many loaves do you have? Do you love me? What do you want? Why are you afraid?  The Bible records Jesus asking questions, and sometimes offering answers too. But the point often seems to be the question itself, giving endless chances for people to question their assumptions, and their judgements, and to deepen their faith and make it personal. In doing so, Jesus offered a path to deeper and more meaningful knowledge of God, the world, others, and ourselves. And by asking questions he gave dignity to people, listening deeply to them, loving them, calling them into themselves. 

Sitting with questions, with curiosity, is I think an entry point to faith and to mystery. And we have companions as we do this: Jesus, early Christian mystics, prayer, the Psalms, each other – these are all places I turn to dig deeper into the knowing that comes through unknowing. To live with questions and within mystery, to listen deeply to each other, to speak the language of soul rather than certainty, might be difficult and countercultural. But in an age where the future is becoming less certain despite the whole world seemingly at our fingertips, I think it is where our hope is. After all, “what good is it for a man to gain the whole world but forfeit his soul?”

Review
Culture
Film & TV
9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.
'A desert of criticism and a wasteland of cynicism.'
Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!  

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time. 

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed.  

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips. 

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.  

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film. 

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too. 

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners. 

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.  

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine)

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story. 

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners. 

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time. 

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends. 

I had such a strange set of emotions as I watched this part of the story unfold. 

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.” 

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. 

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.  

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago. 

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.  

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world. 

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death. 

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted. 

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.