America: two nations under God?

Red, blue, and rarely purple.

Graham Tomlin

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

a tattered American flag flies against a blue sky.

Mario Sessions on Unsplash.

I've just come back from the USA. A few days on the east coast was a chance to take the temperature of America after its recent election, a brief impressionistic sense from conversations, reading the runes – and the blogs. In short, I had heard much about the divided state of America. I didn’t realise quite how divided it was.

America has always made a great deal of unity. The vision for the USA imagined immigrants from different nations across the world invited to forge a new life in a new continent, leaving behind the divisions of the old world. It was the coming together of varied States across the vast continent into one Union. The language is everywhere. Most cities have a ‘Union Square’, Street or Turnpike. The chosen name itself was the United States of America. The slogan E pluribus unum – “out of many, one” was first featured on the original 1776 design of the Great Seal of the United States and formally adopted by the U.S. Congress as the nation's official motto in 1782. The American civil war of the nineteenth century was such a trauma for the nation precisely because it threatened that union. “One nation under God” says the pledge of allegiance, recited by every American child. Yet today it feels that a more realistic description would be two nations under God. The Disunited States of America.

The split is pretty even. 73.7m people voted Democrat. 76.4m voted Republican. That itself is no great cause for alarm. What does cause alarm is the utter divide between the two groups. New York, for example. is pretty solidly Democrat. Someone who voted Trump told me they would never admit to it publicly because of the public shame it would bring. The same is true in the red states. To admit you voted Democrat in some Southern Baptist churches in Texas would be to invite social ostracism. Many Evangelical pastors who have their doubts about Trump have to keep quiet otherwise they would lose the support of their congregations and quite possibly their jobs. As a result, the only Evangelicals that tend to criticise Trump will be academics or journalists who have little to lose.

As a taxi driver joked, if a young Democrat goes out on a date with someone they've met on Tinder, and discover their partner voted Republican, there is unlikely to be a second date. A Christian visitor centre in Washington DC tells me that they are looking forward to Trump being President again, because the flow of evangelical Republicans visiting the capital dried up during the past four years as they felt it was Biden’s town. It’s well known that nearly 80 per cent of white Evangelicals voted for Donald Trump. Such families were more likely to come to DC to see the seat of government if they knew ‘their guy’ was in the White House.

It seems that in the current version of the USA, who you voted for is the number one identity marker. And the two groups rarely talk. In New York I preached in an Episcopal church. The Bible readings for the day spoke of ‘wars and rumours of wars’ – ‘everything will be thrown down’ – apocalyptic texts that invited me to talk about the election in the light of Jesus. Beforehand I asked the Rector what the voting pattern of the church was. “It’s genuinely purple” he said – “a mix of red and blue, Republican and Democrat, Trump and Harris. At least here they do talk to each other.” That seemed a rare thing in this deeply divided country.

Jesus once said: “Every kingdom divided against itself will be ruined, and every city or household divided against itself will not stand.” Trump may well fix the economy and illegal immigration. Yet such deep division, especially in a nation whose identity rests of unity is perhaps a more existential threat.

Review

America

Culture

Film & TV

Race

9 February 2024

4 min read

What do we want from our stories?

New film release American Fiction satirises storytelling and the expectations placed on authors. Jamie Smith records his reactions to watching the movie.

James K.A. Smith

James is a philosopher, cultural critic and author.

A man sitting at a restaurant table turns and looks aside.

Jeffrey Wright as Thelonious "Monk" Ellison aka Stagg R. Leigh.

Orion Productions.

This article was first published on the author’s Substack Quid Amo, December 16 2023.

On a recent visit to Los Angeles, my wife Deanna and I went to see Cord Jefferson’s new satire, American Fiction, playing in only seven theaters nationwide right now. The film is a smart, beguiling adaptation of Percival Everett’s novel, Erasure.

Part of the fun of watching movies in L.A. is being reminded what a company town LA still is. We were slightly puzzled when, as a production company splash screen opened the film, a ripple of hoots and applause bubbled up from the audience. When, at the end of the movie, we saw an entire group video-recording the rolling credits, we realized a production team was in the house, seeing their work on the public screen.

Watching this particular movie in L.A. was especially entertaining because of its meta commentary on our storytelling industries, including film. The winks & nods about screenwriting, adaptation, and philistine studio executives occasioned knowing guffaws in the audience.

The movie asks important, uncomfortable questions about the stories that “we” (scare quotes will become obvious in a second) want to hear today, and why.

What’s supposed to be a farce is embraced by white marketing executives as the latest Black trauma porn for awards season.

The key facet of the plot is relatively simple: a Black novelist (Thelonious “Monk” Ellison, played cagily by Jeffrey Wright) has published several works of deft, critically-celebrated literary fiction. But he can’t sell his latest novel. His agent informs him why: “It’s not Black enough.” The Black novelist is puzzled (“But I’m Black!”) until he wanders into a reading from a new bestseller, the latest by a Black novelist celebrated by some famous white woman’s Book Club. Written in dialect, with flat characters and tired tropes, the novel panders to and perpetrates horrendous stereotypes dusted with a hint of redemption. But it does so with just the right dose of guilt-induction for white readers to feel morally assuaged just by reading the book. The publishing industry has seized upon the mad, pretzeled formula: You can sell a lot of books to white people by offering them the thrill of a little enlightened guilt that actually depends on their continued racist stereotypes.

In a fit of disgust, rage, and desperation, “Monk” begins banging out just such a novel, determined to play a kind of Sokal-hoax on the publishing industry. Just one problem: the market clamors to buy this dreck and even turn it into a movie. What’s supposed to be a farce is embraced by white marketing executives as the latest Black trauma porn for awards season. You can imagine the comedic possibilities here. It’s a funny movie.

As a white viewer of this movie, if I laugh at all the right points and get all the inside jokes, am I being offered a little absolution?

But it is also tender. What’s playing out on screen—the story surrounding the creation of the novel’s story—is a very different kind of Black story. Monk, it turns out, is the black sheep only because he’s a PhD in a family of MDs. Here is a Black family with a massive Victorian home in Boston and a beach house on the Cape—which is just to say, they are a family of accomplished professionals like so many others. Are we surprised? Like any human family, of course, their life is not without pain, loss, heartbreak, and animosity. But like any human family, there is also achievement, pride, joy, connection.

Here’s a Black family. Here’s their story. Is this a “Black story?” Is it “Black enough?” What do we want from our stories?

Jefferson’s endeavor here is fraught, and he knows it. The last part of the movie “goes meta” as a way to concede that there’s no “clean” way to raise these questions without slipping back into being part of the problem. As a white viewer of this movie, if I laugh at all the right points and get all the inside jokes, am I being offered a little absolution? To his credit, Jefferson never quite lets a viewer like me off the hook. Something about this story will, and should, remain unavailable to me.

But also to his credit, Jefferson had me thinking of the Roman poet Terence when we walked out of the cinema. Homo sum: humani nihil a me alienum puto. “I am human: nothing human is alien to me.” Jefferson tells a story that, in this climate, is willing to risk a claim to human solidarity.