Article
Assisted dying
Comment
Culture
Politics
5 min read

The assisted dying debate revealed the real role of Parliament

MPs from areas where people are vulnerable and at risk were more sensitive to the dangers.

Mehmet Ciftci has a PhD in political theology from the University of Oxford. His research focuses on bioethics, faith and politics.

An MP stands and speaks in a parliamentary debate.
MP Diane Abbott speaks in the debate.
Parliament TV.

What would be the effect of allowing assisted suicide for those ‘people who lack agency, the people who know what it is to be excluded from power and to have decisions made for them’, asked Danny Kruger MP, as he wrapped up his speech? ‘What are the safeguards for them? Let me tell the House: we are the safeguard—this place; this Parliament; you and me. We are the people who protect the most vulnerable in society from harm, yet we stand on the brink of abandoning that role.’  

His words capture an important aspect of Friday’s debate: what is the point of Parliament? Do MPs meet to turn public opinion polls into policies? If the majority are in favour of something, do MPs have nothing left to do but to follow the public and sort out the fine details? We might instinctively say ‘Yes!’ It seems right and democratic to treat those whom we elect as people we select and send to do our bidding. And the polls do seem to show the majority of people supporting assisted suicide, at least in principle – although there are good reasons to be sceptical about those figures and about the conclusions drawn from them.   

But there are numerous times when the majority are known to be in favour of something but politicians refuse to endorse it. Polls repeatedly show that a majority are in favour of reintroducing the death penalty. Why might it be right for MPs sometimes to ignore what the purported majority thinks and to use their own judgement?  

Because Parliament is not just a debating chamber.  

An older way of referring to it was to call it the ‘High Court of Parliament’ because ‘parliament, classically, was where individuals could seek the redress of grievances through their representatives,’ as law lecturer Dr Robert Craig writes. It performed its function admirably in response to the Horizon scandal: a legitimate grievance was brought to its attention, and it responded to redress the wrongs done to the sub-postmasters by passing a law to ‘overturn a series of judgments that could only have been obtained, and were only obtained, by a toxic, captured and wilfully blind corporate culture’.   

Friday’s debate featured many MPs who understood what they were there to do. They acknowledged the ‘terrible plight of the people who are begging us for this new law’ as Danny Kruger said. But they also spoke up for those who were in danger of being harmed and wronged by the bill: the disabled and the dying, and all the vulnerable who were not there to speak on their own behalf.  

Many echoed the concerns expressed by Diane Abbott about coercion: ‘Robust safeguards for the sick and dying are vital to protect them from predatory relatives, to protect them from the state and, above all, to protect them from themselves. There will be those who say to themselves that they do not want to be a burden. …  Others will worry about assets they had hoped to leave for their grandchildren being eroded by the cost of care. There will even be a handful who will think they should not be taking up a hospital bed.’ And evidence of coercion is hard to find and trace: ‘Coercion in the family context can be about not what you say but what you do not say—the long, meaningful pause.’  

An analysis shared on X by law lecturer Philip Murray found an association between the level of deprivation in a constituency and how likely a Labour MP was to vote against the bill. He also shared figures showing that 2/3 of MPs from ethnic minorities voted against it. In other words, MPs from areas where people are vulnerable and at risk were more sensitive to the dangers of helping people to kill themselves.  

The second reading of the bill on Friday was a crucial moment for them to decide whether the bill would fix an injustice or whether it would itself cause harm.

But it seems that many MPs did not appreciate what the debate was about or what they had gathered to do. Layla Moran MP said: ‘The media are asking all of us, “Are you for or against the Bill?”, but I urge hon. Members to think about the question differently. The question I will be answering today is, “Do I want to keep talking about the issues in the Bill?”’ But James Cleverly MP intervened: “she is misrepresenting what we are doing at this point. We are speaking about the specifics of this Bill: this is not a general debate or a theoretical discussion, but about the specifics of the Bill.” He was right to be impatient. Unlike the Oxford Union, the vote has consequences. Parliamentarians are not there merely to debate. As the term ‘High Court of Parliament’ suggests, when MPs (either on their own initiative or as a government) propose bills, what they are often doing is conveying a plea to redress some grievance, and their debates are to decide whether to respond by making laws to grant justice to the wronged.  

The second reading of the bill on Friday was a crucial moment for them to decide whether the bill would fix an injustice or whether it would itself cause harm, because the scrutiny that the bill will undergo in the following stages is not likely to be as rigorous as with government bills. As a Private Member’s Bill, the assisted dying proposal is free to be scrutinised by a committee selected by the MP who has proposed the bill, i.e. Kim Leadbeater. When the bill reaches the stage for a final vote in the Commons at the third reading, no further amendments can be made and the time for debate is likely to be short.   

It is rare but bills are sometimes defeated at the third reading. With eighteen abstentions on Friday and at least thirty-six MPs claiming they might change their minds later, there is still hope.  

Each sitting of the Commons begins every day with a prayer by the Speaker’s Chaplain, who prays that MPs ‘may they never lead the nation wrongly through love of power, desire to please, or unworthy ideals but laying aside all private interests and prejudices, keep in mind their responsibility to seek to improve the condition of all mankind.’  

We can only hope and pray that at their next opportunity, MP will consider this bill in light of their responsibilities as the country’s High Court, charged with protecting the most vulnerable in society from harm. 

Review
Art
Culture
5 min read

Genesis Tramaine: the painter whose faces catch the spirit

New York's expressionist devotional artist

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

AN experessionist painting shows a face with a large open smile and many eyes.
Oh! Ye’ Faithful, 2024
Almine Rech.

Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA. 

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends. 

She speaks about having met the Gospel before meeting God, as she attended a strict Southern Baptist Church while growing up. She drew from the back of the church and also wrote thoughts and impressions in notebooks. She says that she loved church but that it fell out of place in her life as she grew up. 

One day, far from home and needing help, she called her Nana on the phone, who said to seek first the kingdom of God. She found quiet in herself and prayed more, finding herself in conversation with herself. On one occasion, disturbed, she couldn't sleep and was experiencing physical manifestations. At this time, she says, she saw all of herself and surrendered to God. In the morning, she read Matthew’s Gospel - seek ye first the kingdom of God. 

The words in the Bible started to make sense to her as a story reading itself to her and she began drawing faces. Her Bible had white images of Christ and Mary, so the words didn't match the images, and this was a spur to paint the women and children of the Bible revealing the beauty of black women in particular. She read the Bible in the King James Version, stopped trying to fit in and found the strength to play with and disrupt narratives. The tools and materials to do this were all one’s that she found in the Bible. 

Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. 

Her current exhibition at the Consortium Museum, Dijon, France, is entitled Facing Giants’ and addresses these issues head-on. She has said of the exhibition: ‘I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us...[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.’  

She has explained that: ‘These are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others.’ She feels these energies literally, speaking of entering the room where she paints with a sense of a whole other people - silent saints – being present with her when she is at the canvas.  

While Tramaine emphasises the inspiration of the Holy Spirit in her work, critics have noted her stylistic closeness to graffiti art and she herself has explained that she was familiar with graffiti in her childhood in Brooklyn. Eric Troncy, Director of the Consortium Museum, relates her work stylistically to the expressionism of George Condo, Jean-Michel Basquiat, and Willem de Kooning. Tramaine, though, speaks of other influences including Sister Gertrude Morgan, Romare Bearden, and David Hammond. In the McDonald Agape Lecture, she spoke of Hilma af Klimt and Jack Whitten as inspirations, as well as gaining inspiration from the significance of the Iyoba Idia of Benin in Nigerian culture. 

One of the distinctive features of Tramaine’s portraits is the plethora of eyes that often feature. Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. Some more recent images have also featured a plethora of open mouths and teeth. Troncy writes that: ‘Her figures, it seems, have started to smile. To shout, perhaps; to sing—why not?; and to talk—most definitely.’ 

This is interesting, in part because, when I asked her in an earlier interview about her influences, she began by speaking about her love of gospel music, including that of Jonathan McReynolds and Le’Andria Johnson. She says this Jesus focused music ‘encourages me to praise from the depth of my soul; to paint, let go and trust from that space’. While she’s ‘not quite sure what happens’ then, ‘Black folk say I catch the spirit’. She speaks of losing time as you paint, saying that you can't be present when painting as you have to trust yourself to the process, surrender, and play in the space. 

This is, in part, why she began her McDonald Agape Lecture presentation by singing. 

Her testimony is essentially simple, direct and profound: ‘I've wanted to be an artist since I was a child. I took my prayers seriously, which means I began to develop a relationship with Jesus Christ, my Lord and Savior … I asked God if I could paint and pray, help and give, as an offering of service for the rest of my life. And the paintings began to mature. I committed to the relationship that painting offers spiritually, in Jesus’ name.’ 

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