Explainer
Creed
Easter
Resurrection
5 min read

Beyond immortality there’s restoration

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

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.

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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