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America
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3 min read

America: two nations under God?

Red, blue, and rarely purple.

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. 

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Film & TV
5 min read

I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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