Article
Comment
Trauma
5 min read

Bitterness and weaponised words can’t soften scars

Finding peace for Daniel Anjorin, Salman Rushdie and Bishop Mar Mari.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A man sits being interviewed and holds a hand to the side of his face, one lens of his glasses is tinted black.
Salman Rushdie discusses his attack.
BBC.

Knife crime around the world is unacceptably high, and with around 50,000 offences expected this year in the UK, it is sadly no surprise when we hear tragic news stories involving knives and sharp instruments. Recently, it was the terrible circumstances of the death of Daniel Anjorin that made the headlines. The gentle, much-loved, 14-year-old boy was on his way to school in East London when he, along with several others, was randomly attacked by a man with a sword. He died from his wounds shortly after being taken to hospital.  

I happened to be in the middle of listening to Knife, a memoir by Salman Rushdie, when the news broke of that tragedy. It is another heart-rending story. Rushdie describes how, in 2022, during a speech he was giving about the need to protect writers, a man ran onto the stage and frantically stabbed him 15 times. Rushdie was airlifted to a hospital and survived the attack but lost an eye. Then began his difficult physical and emotional journey towards recovery, documented in the book he never wanted to write. 

It was not the first time Rushdie had been the victim of aggression. In 1988, following the publication of his novel The Satanic Verses, the Iranian government called for Rushdie’s death by issuing a fatwa against him. His book was perceived to be blasphemous to the Islamic faith, and despite ten years of round-the-clock police protection in London, he faced several serious assassination attempts.   

The fatwa was lifted in 1998, but twenty-four years later, Rushdie was clearly still not safe. He recounts the moment when he saw the man running at him in the darkness as he gave his lecture.   

“My first thought when I saw this murderous shape rushing towards me was: So it is you. Here you are…. It struck me as anachronistic. This was my second thought: Why now? Really? It’s been so long. Why now after all these years? Surely the world had moved on, and that subject was closed. Yet here, approaching fast, was a sort of time traveller, a murderous ghost from the past.” 

I can’t imagine how I would cope in his shoes. I have not had to experience the daily fear of assassination for decades as Rushdie has. In all my years of delivering speeches and sermons on stages around the world, I have never had cause to even contemplate the possibility of an attempt on my life.  Nevertheless, I was surprised to hear in Rushdie’s voice, the words he chose to say to his attacker:  

“If I think of you at all in the future it will be with a dismissive shrug. I don't forgive you. I don't not forgive you. You are simply irrelevant to me, and from now on, for the rest of your days, you will be irrelevant to everyone else. I'm glad I have my life and not yours and my life will go on.”  

Rushdie admits that his words are his weapons – and he certainly uses them to good effect. They are sharp. They are designed to eviscerate. They are calculated to cause pain. They express derision towards his attacker. Part of me cheers him on: a defenceless man in his seventies who walked into a lecture hall expecting to give a speech to rapturous applause but left barely alive as the victim of a brutal frenzied attack. Like the plot of every action movie I have ever seen, the story seems to have a happy ending – the hero is saved, the bad guy is locked up and justice is seen to be done.  

But there is another part of me that knows these Hollywood endings can’t be trusted. Those 27 seconds of violence have clearly left Rushdie reduced to spitting insults at a young man in prison. He claims his life now is “filled with love”, but sadly there is little evidence of it in the way he addresses the radicalised 24-year-old. Bitterness and weaponised words, however eloquent, can’t soften the scars, nor do they make the world a safer place.

Indeed, I have found it difficult to forgive the comparatively trivial experience of being metaphorically stabbed in the back. 

I can’t help but compare Rushdie’s reaction with that of Bishop Mar Mari Emanuel. The day before Knife was published, the Iraqi-born bishop was preaching at his church in Sydney, Australia, when he too was attacked by a young man with a knife, and, like Rushdie, ended up losing an eye. The attack was an overt terrorist act against Bishop Mar Mari, a controversial figure who has spoken dismissively about the Islamic, Jewish and LGBTQ+ communities.  

 Despite the striking similarities between the two men’s terrible ordeals, the contrast in their response couldn’t be starker. Speaking just two weeks later at a Palm Sunday service, Bishop Emanuel affirmed that he had forgiven his teenage assailant: 

 ‘I say to you, my dear, you are my son, and you will always be my son. I will always pray for you. I’ll always wish you nothing but the best. I pray that my Lord and Saviour Jesus Christ of Nazareth, to enlighten your heart and enlighten your soul your entire being to realise, my dear, there is only one God who art in heaven…. the Lord knows it is coming from the bottom of my heart. I’ll always pray for you and for whoever was in this act. In the name of my Jesus, I forgive you. I love you, and I will always pray for you.” 

Woven into the fabric of every form of Christianity is a commitment to love and forgiveness, clearly exemplified for us here by Bishop Mar Mari. His words resonated around the world this week as he returned to the pulpit where he was stabbed, bandage over one of his eyes, to speak out with kindness and compassion.  

I am deeply challenged by the bishop’s response. I have never experienced the physical pain and emotional trauma of a knife attack. Indeed, I have found it difficult to forgive the comparatively trivial experience of being metaphorically stabbed in the back. I know how hard it is, to be gracious to those who deliberately cause pain to me or to my family members through their actions. Like Rushdie, I sometimes I would like nothing more than to see them locked up, living a loveless, meaningless, irrelevant life. But this is not the Christian way. I follow Jesus who forgave the soldiers driving nails through his hands and feet, so I must strive to be compassionate to those who do us much lesser harm, as well as seek, in his name, to tackle the underlying causes for the greater dis-ease in society.  

The issues that lead to knife crime are many and complex. They include poverty, fear of victimisation, gang culture, radicalisation, distrust of authorities, lack of education, experience of violence in childhood, and much more. Whatever we can do to tackle these problems, we do for the sake of love and peace in our world. Perhaps as we seek to overcome these things together, we can work towards a day when what happened to Daniel Anjorin on 30th April can never happen again.  

Article
Books
Comment
Film & TV
Morality
6 min read

Murder we wrote: how cosy crime and psycho-thrillers carve our minds

Our reactions have changed from heart-wringing cries to merely puzzle-solving

Theodore is author of the historical fiction series The Wanderer Chronicles.

Elderly amateur sleuth stand by their pinboard.
The Thursday Murder Club convenes.
Netflix.

We love murder. 

That seems to be the only reasonable conclusion when you look at the sales figures of Richard Osman’s record-busting murder mystery series, which opened with The Thursday Murder Club back in 2020. In UK sales alone, it sold over a million copies within the same year as its release, something no other book has ever done.  

This was more than a bestselling debut novel, this was a cultural event in UK publishing. And no doubt Netflix are hoping for something equally seismic when their film adaptation of The Thursday Murder Club goes live. 

The combination of light humour, a clutch of charismatic octogenarians, tea and cake, and the odd violent death or two to keep them entertained, seems to have struck the motherlode of British cultural appeal. I can only imagine the stellar cast they have assembled for the film adaptation, led by Helen Mirren and Pierce Brosnan, will take the series’ success to new heights. 

As an author currently puzzling my way through my own contemporary murder mystery, I can only look on at the phenomenon in wonder and sigh for what may yet be.  

But murder has always been a tricky one for me as a) an author, and b) a Christian. Do those two facts mean I have to be a “Christian author”? And if so, what kind of limits does that put around what I should be writing about? It may not sound like much of a conundrum to you, but honestly I have wrestled with this question for a long time. There is darkness in the world: how much darkness should I explore in my books? (So far, if you ever read any of my historical novels, you’ll see the answer is: quite a lot.) 

Maybe I’m taking it all too seriously and murder is mere light entertainment now. Death is to be enjoyed with a nice cup of tea; evil, with slice of Victoria sponge cake. 

But somehow, I don’t think so. 

Recently, I was helped in my moral quandary by another crime author, Andrew Klavan. In his book, The Kingdom of Cain, published last month, Klavan explores the question of evil and specifically murder in what he terms a ‘literature of darkness’. It is a fascinating, if unusual, book. His approach is to take three murders that actually happened, and demonstrate how each has influenced a long succession of murder novels (and movies) up to the present day.  

Through this exposition, we witness the changing attitudes to murder over the last century and a half and in particular how those changes seem strongly linked to the ebbing tide of Christian faith in the West. 

For example, Dostoyevsky’s great novel, Crime and Punishment, was published in 1866. The double-murder, central to the plot, is carried out by a young student named Raskolnikov. He is an intellectual who is seeking to prove that the moral boundary beyond which murder lies is nothing more than a mere concoction, a social construct (or worse, a religious one) which he, being of superior intelligence, can transcend and therefore ignore. The entire novel is the story of how his conscience will not allow him to get away with this. Near the end, he confesses his crime to the young prostitute, Sonya, who responds to his confession in fearful horror: 

“What have you done? What have you done to yourself?” 

The second question is key. 

Dostoyevsky based the plot of his novel on a real axe-murderer, a Frenchman called Pierre François Lacenaire, who went to the guillotine in 1836. Lacenaire became an international sensation when, in court, he aired many of his own pseudo-intellectual justifications for his actions – that the murders he committed were a strike against the injustice of the elites and the iniquitous power structures of the day. Rather than what they appeared to be: a grubby little double murder for the sake of a few francs. Lacenaire set the tune which many still whistle today, I’m sorry to say. 

But Dostoyevsky was prophetic. He foresaw long before Nietzsche and others who would follow, that the tide of Christian faith was going out in Western civilization. And so it continued to do through the back end of the twentieth century and into this one. 

Before that, the notion that murder is wrong because every human being is made in the image of God was a long-held axiom, going back arguably to the first chapters of Genesis. And in killing the image of God, any image of God, this may therefore be the closest we can come to killing God himself. Seen in that light, murder is sacrilege on an appalling scale.  

But there’s the rub. That light has dimmed. The secular philosophies of the nineteenth and twentieth centuries have turned down the dimmer-switch, so that it is no longer axiomatic that humans possess an inherent sacred value. Instead, in varying guises and to varying degrees, the conclusion has been that humans are nothing but self-conscious lumps of meat. We (the state, the law) may ascribe them some value. “We are all equal,” yes - but as George Orwell anticipated, “some are more equal than others.” (Is intersectionality, for example, anything but the manifestation of that prediction?) 

Maybe this explains how the horror of murder has diminished from Sonya’s heart-wringing cry, into something more akin to a crossword puzzle. Don’t get me wrong, I love a good Agatha Christie. But her murder mysteries don’t waste much time on the philosophical implications of, say, the local doctor bumping off the parish priest. 

And from there, the genre of the murder mystery has split into two strains. On the one hand, we get the psycho-thriller, in which the horror of the act of murder is of less interest than the dark psychological state of mind of the killer themselves. But if that’s too dark, don’t worry. We can do light, too! And so on to cosy crime blockbusters, in which, if a murder was committed, it was because the victim had it coming – so let’s all calm down and have another slice of cake. 

There is no space here in which to explore how, as a culture, our collective historical experience may have helped to steer us in this direction, as well as our changing philosophy. But there is no doubt where we have ended up. We see death cults all around us. We see legislation being passed in our Parliament which would have been unthinkable until very recently. We see social justice where before we saw crimes.  

Think about how often the arch-crimes of history have been perpetrated on the ground of viewing the “other” as less than human, and certainly less than sacred. Then ask yourself, why should we see any human as more than a lump of meat? At what point does the rubber hit the road? - as surely it will. 

What have we done? What have we done to ourselves? 

I do wonder where all this goes. And yet, if the spiritual bellwethers are to be believed, perhaps we have reached low tide at long last – certainly it has revealed some pretty ugly creatures lurking at the bottom of the rock pool. Many, myself included, must hope that the tide of faith is truly on the turn. Let’s see. Certainly, if this proves to be the case, it seems to follow that our attitude to murder will change with that on-rushing tide. And so with it, the literature of darkness. 

Beyond The Thursday Murder Club, there may yet be other great stories told of murder; they, like Crime & Punishment, will be far truer, and in a paradoxical sense, far more beautiful. After all, at the heart of the gospel, there lies a murder. If God himself can take such a dark event and turn it into light, then, at a far inferior level perhaps, as His image-bearers, so might we. 

Which reminds me… back to my draft.

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