Review
Belief
Books
Culture
Music
1 min read

Belle and Sebastian's suffering singer on the struggle and the hope

On the edge of ‘Nobody's Empire’: something good will come.

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

A singer, wearing a hat, pulls his head back holding a note, and a mic.
Stuart Murdoch performs, St. Paul, Minnesota, 2024.
Andy Witchger, CC BY 2.0, via Wikimedia Commons.

Nobody's Empire: A Novel is the fictionalised account of how Stuart Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.  

The book has two Belle and Sebastian songs as its keystones. The first, ‘Nobody's Empire’, gives the book its title and is a description of how it feels to have ME: 

‘I clung to the bed and I clung to the past 

I clung to the welcome darkness 

But at the end of the night there's a green green light 

It's the quiet before the madness’ 

Murdoch has been living with ME since the 1980s and is an outspoken advocate for those who have the condition. His experience, as described in ‘Nobody’s Empire’, has been that ‘We are out of practice, we're out of sight / On the edge of nobody's empire’. That is also the experience of Stephen, the central character in Nobody’s Empire, a music loving romantic in Glasgow in the early 1990s who has just emerged from a lengthy hospital stay having been robbed by ME of any prospects of work, a social life or independent living. In Glasgow, he meets fellow ME strugglers who form their own support group and try to get by in life as cheaply and as painlessly as possible.  

As the story progresses, he finds he has the ability to write songs and wakes to the possibility of a spiritual life beyond the everyday. Later, he leaves Glasgow with his friend Richard in search of a cure in the mythic warmth of California. Because Murdoch is fictionalising his own experience, Nobody’s Empire offers its readers compelling insights into the experience of ME, particularly the experience of having the condition in the early days when it was little understood. He writes, too, with an engaging ingenuous and childlike curiosity about life and his own experiences. 

Nobody’s Empire adds to the conversation about what faith means to rock’s stars.

The second song ‘Ever Had a Little Faith?’ is included towards the end of the novel as one of the early songs written by Stephen. This song, in which the line ‘Something good will come from nothing’ is repeated, is actually an early Belle and Sebastian song that was only recorded for a later album Girls in Peacetime Want to Dance. It is a song that was inspired by a sermon preached by Rev John Christie, Minister at Hyndland Parish Church in Glasgow, the church Murdoch attends. He has said of the song: "The sentiment was based on a sermon that our then minister, John Christie, preached about simply getting through a dark night, and the hope of morning."  

This Easter morning sense that good will come from the nothingness of being on the edge of nobody’s empire is an experience of transfiguration. Revd Sam Wells, Vicar of St Martin-in-the-Fields has preached perceptively on prayer in terms of incarnation, resurrection, and transfiguration. The prayer of incarnation is a prayer for God to be with us in our difficult circumstances. The prayer of resurrection is a prayer for God to change and fix our difficult circumstances. Then, in response to a possible situation of need, Wells says of a prayer of transfiguration:  

“God in your son’s transfiguration we see a whole new reality within, beneath and beyond what we thought we understood. In their times of bewilderment and confusion show my friend and her father that they may find a deeper truth to their life than they ever knew, make firmer friends than they ever had, find reasons for living beyond what they ever imagined and be folded into your grace like never before. Peel back the beauty and strength of their true humanity, transform and transfigure from this chaos and pain something new, something good, something of life.”   

This is where Stephen’s story and Murdoch’s experience takes us as there is no fix for ME, as for many other health conditions or disabilities, and Stephen/Murdoch ultimately has no desire to be fixed, as ME becomes an important part of identity for them. Instead, Nobody’s Empire takes us up the mountain through Stephen and Richard’s California experiences, as was the case for Jesus and his disciples at the Transfiguration, so we can see beyond and come to know a deeper reality. As Wells puts it, the prayer of transfiguration is to “Make this trial and tragedy, this problem and pain a glimpse of your glory, a window into your world, where I can see your face, sense the mystery in all things, and walk with angels and saints.” 

Faith has featured compellingly in a significant number of relatively recent books by rock stars including, among others, Surrender by U2’s Bono, Walking Back Home by Deacon Blue’s Ricky Ross, and Faith, Hope, and Carnage, the record of conversations by Nick Cave and the journalist Sean O'Hagan. Murdoch’s Nobody’s Empire adds to the conversation about what faith means to rock’s stars and how that is expressed through their music but offers an alternative take both as fiction and as a story in which faith and music combine to transfigure life and ME in ways that enable good to come from nothing: 

“Do you spend your day? 

Second guessing faith 

Looking for a way 

To live so divine 

Drop your sad pretence 

You'll be doing fine 

You will flourish like a rose in June 

You will flourish like a rose in June 

Ever had a little faith? 

Ever had a little faith?” 

  

 

Nobody’s Empire: A Novel, Stuart Murdoch, Faber & Faber, 2024.

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Article
Culture
Death & life
Politics
3 min read

Is a funeral the right backdrop for diplomacy?

Where there's an unavoidable collision between the universal and the individual.

Jamie is Vicar of St Michael's Chester Square, London.

Trump and Zelensky sit and face each other.
Ukrainian Presidential Press Service.

There’s an episode of Yes, Prime Minister where a state funeral provides an opportunity for negotiations with the French over the Channel. As ever, this particular satire has aged well. Most of the coverage of Pope Francis’ requiem mass has focused on either the ‘spectacle’ or the chance for world leaders to connect. It's tempting to think that the main stage of St Peter's Basilica was actually a sideshow to the fringe events of politicians carving up the world. With all the planning and confections that go into usual geopolitical summits, Vatican City has provided a spectacular impromptu backdrop. 

As an Anglican priest, I have mixed feelings about this. All the photos world leaders have been pushing out seem not a million miles away from the shocking taste of selfies in front of an open casket (any casket, for that matter). On the other hand, when there’s matters of life and death to discuss, there’s no better venue than a funeral. 

Of course, this presupposes that leaders have the presence of mind to acknowledge the dead body before them (not 'passed away'), rather than simply going through the motions and thinking about the photo op. But the cogs of death cannot be avoided. 

Tim Hamer, writing for the Lowy Institute, says, ‘bitter rivals can acknowledge the rituals of mortality.’ Some of the figures about leaders attending recent funerals are staggering. Pope Francis' funeral was no different. Along with those Francis prioritised - those pushed to the margins - there was also a critical 'mass' of those at the very centre of society. There were 170 delegations, including 50 heads of state, 15 heads of government and 12 reigning monarchs. Emeritus Professor of International Relations at the University of Leicester, Geoff R. Berridge writes that: 

 “Because death is always with us … there is little doubt that the working funeral is now the most important ceremonial occasion in the world diplomatic system”.   

Therefore, the off chance of bilateral diplomacy must be taken to its full advantage. 

It is precisely because, while the bodies are lowered, funerals elevate us out of the everyday, the 24 hour news cycle and the doomscrolling, that they provide us with an opportunity to connect with what really matters. Less than 24 hours before he died, the pope delivered the words on Easter Sunday: 'Christ is risen! These words capture the whole meaning of our existence, for we were not made for death but for life… God created us for life and wants the human family to rise again!' As our multilateral world order falters, the human family just might be able to rise again when the powers-that-be meet at a funeral.  

We will have to wait and see if there is any fruit from the geopolitical meetings that have taken place. We can live in hope. If world leaders learnt any lessons from the enigmatic late pontiff, they would see that he was like Teflon to the political labels people tried to pin on him. You get the impression that he was aiming for something more lasting than soundbites, quick wins and popularity. 

I would also add that funerals are for the living. Once we've brushed aside any theological quibbles over the efficacy of praying for the dead, funerals are there to help us to grieve. They help us to process loss, which is why the 'mortal remains' remain. The ancient declarations, the homily, the breaking of bread and pouring of wine, yes even the theatrics help us to situate our own lives on a world stage where we are both bit parts as well as worthy of the undivided attention of many onlookers.  

In a world where geopolitics threatens to depersonalise and dehumanise countless millions of people, funerals unavoidably collide the universal with the individual. The context of worship and thanksgiving also lifts us out of the orbital pull of the ephemera of nation-states and our own lives to discover the possibility of revolving around Someone far grander and steadfast. Just like conducting diplomacy, there's no better place to consider death than a funeral. 

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