Beyond immortality there’s restoration

The resurrection strikes at the heart of the cold reality of the human condition.

Barnabas Aspray

Barnabas Aspray is Assistant Professor of Systematic Theology at St Mary’s Seminary and University.

A fine art painting depicts a risen Jesus hold a flag in one hand and raising his other hand above his head, against a dark background

Caravaggio's The Resurrection, detail.

Art Institute of Chicago, Public domain, via Wikimedia Commons.

No one on the planet can pretend not to care about death or about a way to overcome it. The heart of the Christian message is that death has been overcome. This isn’t just about immortality. It’s about Resurrection: the triumph of life over death. If we want to see why that matters we need first to face the reality of death squarely and without flinching. The best person to help us do that is Martin Heidegger.

It is unfortunate that one of the most influential philosophers of the twentieth century is also among the hardest to understand. There are even philosophy professors who avoid Heidegger’s work and refuse to talk about it (his associations with Nazism and antisemitism don’t help either). Yet for all that, his fame and influence continue unabated. Why? Perhaps it is due to the bold way he points to realities at the heart of the human condition. Realities like death.

Nobody can avoid death. No matter how rich, healthy, successful, or famous you are, death comes to you as it came to everyone before you.

If you dare to open Heidegger’s most renowned work, Being and Time, you will find a description of human existence as being-towards-death. What on earth does that mean? It starts with Heidegger’s claim that time is part of our very essence. We are time-bound beings. And the way in which we are time-bound has a direction: the future. Anxiety about the future constitutes our existence. We never stop being anxious: about where our lives are going, whether we will achieve our goals and dreams, whether our loved ones will be safe and happy, even (for some) whether we will survive another day. Only the most downtrodden and dehumanised in society have lost this forward-looking drive. The rest of us live most of our lives in our own projected future. Earning money, getting engaged, buying a house, getting a secure job, raising children: almost everything we do is future-oriented.

Yet our ultimate future faces us all as a horrifying reality we can’t avoid, that we spend most of our lives trying to ignore. We are all going to die.

Nobody can avoid death. No matter how rich, healthy, successful, or famous you are, death comes to you as it came to everyone before you. The greatest emperors, the wealthiest entrepreneurs, and the most famous superstars in literature, music or art have no advantage over the lowliest peasant. Death is the great leveller. And what of all that achievement then? What does it mean?

Death puts an end not only to ‘worldly’ ambitions like the above, but also to more meaningful pursuits like love, family, and relationships. Whoever you love will die too. This was the terrible truth that the Russian novelist Leo Tolstoy learnt. After decades of promoting family as the true meaning of life, he realised that he was simply passing the buck to the next generation. Unless each individual life had its own meaning, he had nothing to offer his children: like him they would end their lives six feet under the ground. He could neither stop them from dying nor give them a meaning to their lives that outlasted their death.

Heidegger said we should spend more time in graveyards. He believed that facing the inevitability of our death would make us live more authentic lives. No doubt he was right. But wouldn’t something else change how you lived your life? Namely, if you believed death was not the end?

There’s a point being made here that goes far beyond immortality: it is about the restoration of life by the author of life who defeated death.

The Christian tradition is founded on an event with a unique promise. Christians claim that Jesus defeated death by dying and rising again. This means that even though we still die we will one day rise with him and never die again. There is no greater hope on offer. Nothing could be more relevant, more urgent, more meaningful than this central Christian claim. It is equally relevant to someone gasping for breath on a sinking ship and to someone bursting with health in the prime of life.

If Heidegger is right, the Christian message strikes at the heart of the most horrifying and cold reality of the human condition. The event of the Resurrection has the power to transform every anxious future-oriented human being facing their inevitable death. The reality is cold and horrifying no more. Jesus’ death broke the curse of death and robbed it of its power. If we follow him in dying, we will also follow him in rising. Just as Jesus rose again (and because Jesus rose again), we will rise again one day and death will be no more.

But is the Christian claim really unique? Don’t other religions believe in life after death?

Not like this. Not bodily resurrection. We must not confuse the Christian claim with a general belief in immortality, though that is an essential part of it. Other religions hold that our souls continue after death. Some teach reincarnation, an endless cycle of birth and death. But there’s something more to the Christian claim. The Gospel accounts tell that Jesus died and was buried in a tomb. If all Jesus wanted to prove was that the spirit outlives the body, then his body could have remained in the tomb. No big deal: it’s just a dead body. His ghost could have still wandered around and appeared to people.

All four Gospel accounts begin their scandalous news with the inability to find Jesus’ dead body. Three days after he dies, the women go to his tomb, and the tomb is empty. When the risen Jesus appears to the disciples, he takes pains to prove he is not a ghost. He invites them to touch him. He eats breakfast with them. He walks among them as flesh-and-blood. There’s a point being made here that goes far beyond immortality: it is about the restoration of life by the author of life who defeated death.

That’s why the Christian teaching on immortality is unique: because immortality is just the beginning. It’s about far more than that. It’s about restoration to life in the world God made: the bodily world in which we live. God created it. He doesn’t want us to leave it after we die. He wants us still to live in it. Jesus’ death empowered us so that we can live in it forever.

Review

Culture

Film & TV

6 March 2024

7 min read

Perpetually present in Palm Springs

A movie's time loop explores the meaning in the mundane.

Beatrice Scudeler

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here.

A young couple lounge on floating rings in a swimming pool.

Cristin Milioti and Andy Samberg ponder time.

Hulu.

I first watched Palm Springs on the evening of my wedding day. It was the very beginning of what would be a peaceful and relaxing honeymoon, sandwiched in-between planning a pandemic wedding and finishing graduate degrees, and planning a move across the Atlantic to Canada, where my husband had just got a job – which was quickly followed by getting pregnant for the first time. Those two weeks were the only restful time we got in the whole of 2021 -- and arguably to date! It felt like time stood still for a while. We walked on Cornish beaches, talked about our future, ate ice-cream. It’s the closest I’ve ever felt to a deep sense of peace.

It’s quite fitting that, at such a quiet moment in our lives, we watched a film about getting stuck in a time loop at a wedding. Palm Springs’ time loop premise is familiar from cult classics like Groundhog Day. Tala and Abe are getting married on 9th November. An earthquake opens up a strange cave that traps any unwary visitors into a time loop. Nyles, one of the wedding guests and the boyfriend of Tala’s friend Misty (yes, these are their actual names), enters the time loop by accident. Every day, Nyles wakes up in Palm Springs, and every day is 9th November, again, and they’re celebrating Tala and Abe’s wedding, again. He can leave Palm Springs and travel anywhere he likes. But if he falls asleep or dies, the time is reset to the morning of the wedding.

An undetermined amount of time passes, until two more guests get stuck in time: Abe’s cousin Roy, a middle-aged, disillusioned family man, and later Sarah, Tala’s sister. Roy takes revenge on Nyles by torturing and killing him every few ‘days’; he was lured into the cave by a Nyles high on drugs and is furious that he’ll never get to see his kids grow up. In one iteration of the wedding day, Roy finds Nyles and shoots him with a crossbow. As Nyles re-enters the cave to make the day reset and escape another gruesome death at Roy’s hands, Sarah follows him in, not heeding his warning to stay away. She gets stuck in time, too.

And here is where the story actually begins. All of this we find out as a shocked Sarah, having woken up on her sister’s wedding day for the second time, goes to Nyles for answers. For the rest of the film, the sci-fi premise is fairly incidental. Palm Springs is really about Nyles and Sarah coming to terms with their brokenness and their longing for permanence as they get stuck in time – and stuck in love. At first, Nyles acts very cynically. He’s been in the time loop for quite a while and fails to see the purpose of his existence. ‘Today, tomorrow, yesterday, it’s all the same’, he says. His advice to newly stuck-in-time Sarah is to simply ‘embrace the fact that nothing matters’. Sarah accepts the invitation, beginning to act erratically. She and Nyles drive around Palm Springs aimlessly, spend their time choreographing an 80s dance, and she even throws him a ‘millionth’ birthday party. In a darker moment, she intentionally gets run over by a truck, hoping – to no avail – to finally escape. They see their lives just like the lost souls in Dante’s Inferno, condemned by sin to relive the same punishment over and over and over again, for all time.

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity.

But something happens in the process. Because they know they can’t leave, Nyles and Sarah lower their defences. Their relationship essentially works as a marriage: they are stuck in it for the long term, and so they become honest. They get to know each other more deeply than they have ever known anyone, and they come to love each other deeply, too. Suddenly, they are no longer waking up dreading more of the same, but excited to see each other again, and spend another day together.

Nyles’ disenchantment slowly disappears. When he first met Roy, drinking at the wedding bar, he cynically quoted from T. S. Eliot’s Four Quartets, ‘What might have been and what has been/ Point to one end, which is always present’. But Eliot’s poem is not actually about the dull, hellish, infinite repetition of time. Rather, it’s about our desire to reach out to God’s eternity in heaven. It reminds us that, when we receive God’s grace, we stop experiencing our lives in a linear way, always looking ahead to new experiences and greater achievements, and instead start finding joy in the mundane. Nyles is finally learning this. He now enjoys Eliot’s perpetual ‘present’, because loving Sarah has allowed him to regain a childlike wonder at the world. As G. K. Chesterton argues in his wonderful book Orthodoxy, ‘Because children have abounding vitality’ they do not tire of repetition, but rather ‘want things repeated and unchanged’:

They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony.

Roy has learnt this, too. He stops trying to torture Nyles, and rather starts appreciating being able to spend every day – albeit the same day – with his wife and children. When Nyles visits him at his family home, it’s clear that Roy no longer sees repetition as a punishment, and that he’s found a sense of peace.

Finally, Nyles and Sarah realise that the time loop has instead given them the chance to mend their wounds, and come to terms with their mistakes. In a moment of despair, Sarah runs Roy over, causing him several injuries. ‘Nothing matters’, she tells Nyles as an excuse. But Nyles no longer agrees. ‘No. Pain matters!’, he tells her. ‘What we do to other people matters…It doesn’t matter that everything resets and people don’t remember. We remember. We have to deal with the things that we do.’

That’s exactly what Sarah spends the rest of the film doing. She deals with the consequences of her actions and attempts to repair her relationship with her sister Tala, whom – without giving away exactly what happens – she had deeply hurt and betrayed.

I won’t spoil for you whether Nyles and Sarah ever manage to escape the time loop and return to ‘real’ life, but that’s almost besides the point. But I will tell you that they stay together through it all (this is a rom-com as well as a sci-fi film after all…).

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity, but are rather looking ahead to the kind of eternal peace we hope to find in heaven, just like I did on my honeymoon.

I recently rewatched Palm Springs, a newborn baby girl in my arms, and it reminded me of when my other child, my son, was first born back in 2022. I remember walking down the street in downtown Toronto, where I was then living, and telling my mother that I felt like I was experiencing a taste of eternity. She was understandably confused by my sleep-deprivation-induced philosophical musings, but there was a reason I said that. Just as time had expanded on my honeymoon, each day feeling like everything stood still, and yet each day so full of variety, so the newborn days of my first experience of motherhood were both very busy and very quiet. But while my honeymoon had decidedly felt like a foretaste of heavenly peace, motherhood has been more complex than that. Sometimes it’s so repetitive that it can seem aimless – ‘how is his nappy full again?’ I often ask myself – and in this it can appear as static as Dante’s hell. As adults, it is very difficult to recapture the kind of joy and delight in repetition that Chesterton writes about. It can really feel like you’re stuck in a loop, every day bringing more of the same, more nappies, more bath time, and more baby food thrown at the wall. But motherhood is also full of the endlessly new little joys. When my son says a new word for the first time, or when my newborn daughter looks at me and smiles, I think that I’d be happy to relive this day forever, just like Roy.

Although I’m not actually stuck in a time loop like Sarah and Nyles in Palm Springs, it can sometimes feel that way. But perhaps it’s good thing. Perhaps that’s what reminds me that being a good parent means getting tired of your kids by the end of the day, then waking up the next morning, and loving them all over again. That’s what being a parent means, and that’s what marriage means, too. As Nyles says to Sarah right before they enter the cave for the last time, unsure if they’ll see each other, and whether their relationship can survive the mundane reality of domestic life, ‘We’re already sick of each other. It’s the best.’