Column
Atheism
Creed
7 min read

Confessions of an atheist philosopher. Part 1: born to be atheist, born to be anxious

In the first of a series, Stefani Ruper tells of the first steps on her journey from secular philosopher to a person of faith.

Stefani Ruper is a philosopher specialising in the ethics of belief and Associate Member of Christ Church College, Oxford. She received her PhD from the Theology & Religion faculty at the University of Oxford in 2020.

Cartoon God over painting

My name is Stefani. I was a committed atheist for almost my entire life. I studied religion to try to figure out how to have spiritual fulfillment without God. I tried writing books on spirituality for agnostics and atheists, but I gave up because the answers were terrible. Two years after completing my PhD, I finally realised that that’s because the answer is God. 

Today, I explain how and why I decided to walk into Christian faith. 

Here at Seen & Unseen I am publishing a six-article series highlighting key turning points or realisations I made on my walk into faith. It tells my story, and it tells our story too. 

I began having panic attacks about dying and the meaning of life when I was four years old. I would lay in bed at night and beat my head against the mattress while imagining what it would be like to stop existing. What would it be like to cease to be? I had no idea, but it seemed too horrible to fathom. I literally tore my hair out with the dread of it. 

Like many people in my generation, my parents had been raised in the church but left it as soon as they were able. They raised my brothers and me completely without God or other spiritual things. I had no idea of anything beyond what we could see or touch. My first exposure to God was through the TV, as He makes a few guest appearances on The Simpsons

As a child raised in today’s world, God was what Charles Taylor calls “unthinkable” to me. By “unthinkable” he means literally unthinkable. It was impossible for me to think God; it remains difficult for me to think God. But here’s the thing: this unthinkability of God—the sheer impossibility, the ridiculousness, the strangeness, the preposterousness of God, to me—was a bias I inherited from being born into this specific place and time.  

I was pre-wired to disbelieve in God.  

The thing is, every society is founded on tacit assumptions about the nature of reality. Ours, the modern West, assumes that nothing is real except for physical stuff. Philosopher Charles Taylor calls this the immanent frame. Inside the immanent frame, you can, if you like, believe in more than just what we can see and touch. But that’s a choice, and it’s one you make while others consider the things you hold most sacred as like cartoon characters lounging on clouds in the sky.  Such beliefs are difficult to maintain with grace, and people often hold them with either too much timidity or too much obstinacy; many, like my parents, eschew belief altogether. This is a recipe for a tumultuous, confusing, and often unfriendly spiritual landscape.  

The great existential trade-off 

We are the first society in the history of societies to be founded on nothingness.  A child born 500 years ago would not have been able to imagine a world without God. Back then, God was not just real but number one on the list of possibly real things. Atheism was unthinkable. God was the singular, unchanging reality upon which all material things—constantly changing and subject to decay and death—depended. You can read a little about what it was like in this review of Pentiment, an adventure game set in medieval Bavaria. 

Today, faith is, even for Christians, typically cordoned off in a little corner of life, maybe squeezed into 15 minutes on a Bible app on the way to work. But back then faith was what scholar Timothy Fitzgerald appropriately labels encompassing. God was not a hypothesis to be posed, a belief into which you could opt. God suffused the world. The transcendent encompassed all.  

Here’s how it flipped.

In 1451 Johannes Gutenberg invented the printing press, which made printing books faster and cheaper than ever before. New ideas about God began to spread faster than the then dominant Church could stomp them out. Within a lightning-quick five hundred years, the number of versions of the faith in Europe multiplied from one to literal thousands. 

No one was prepared for the shock of it all. People began to differentiate themselves according to their beliefs, and authorities exploited burgeoning fault lines for the sake of conflict. Between 1517 and 1648, ten million people died in the Wars of Religion. 

The things that seem the most real to us are those we share and discuss. The whole realm of the transcendent began to lose its status as unshakably real. 

What was to be done? Philosophers like John Locke offered a solution: separate the church and the state. That seemed simple enough. And in some ways, it was. But this meant our European ancestors stopped sharing and talking about their beliefs in public. The problem is that humans are social animals. The things that seem the most real to us are those we share and discuss. The whole realm of the transcendent began to lose its status as unshakably real.  

Over time, people discussed their fundamental beliefs less and less. Society even developed the notion that sharing beliefs at social gatherings like dinner parties is impolite. So religious beliefs became deeply private things, and it started to seem like people were choosing to believe them due to personal feelings or needs. This eventually made it seem to many that beliefs were mere  wishful thinking—flights of fancy, silly, and weak.  

On the opposing side, people who abstained from religious belief started to see their nonbelief as noble resistance to the temptations of wishful thinking. The idea was that being willing to view the universe as cold and uncaring was the difficult but right and brave thing to do.  Nobody wants to seem weak, and everybody wants to seem noble. The transcendent faded out of our collective consciousness. 

Or, to use Nietzsche’s terms, God died. 

Thus, God and material things swapped places in our understanding of reality. God, once the most real thing in existence, became something you could believe in if you felt like it. Material things, once viewed as constantly decaying and thus only real through God, became the unquestionably real.  

 

This isn’t normal, we weren’t made for this. We weren’t made to live without hope or homecoming or a bigger story of which we are a part. 

Today, the immanent frame reigns. But it’s not inert. It has its own compulsive, even hypnotic, powers, arguably with as strong a grip on our souls as God once had. It locks our attention on the here-and-now (as that’s all there is), and in doing so elevates the status of things like food, fashion, and entertainment in our quests for fulfillment. We throw ourselves into pleasure, hoping for relief. But immanence leads nowhere except back into itself, like an Ouroboros, the snake that eats its own tail.   

Immanence is so pervasive we take for granted that this is just the way things are. And yet young children do things like tear their hair out trying to make sense of what seems like an absurd existence. This isn’t normal. We weren’t made for this. We weren’t made to live without hope or homecoming or a bigger story of which we are a part. Characters in today’s novels are always buying sportscars and asking Is this all there is? Maybe it’s not. 

What if all of us are grasping at the same ultimate truth, getting little bits of it right and wrong?

Betting on transcendence 

My panic attacks made me obsessed with finding answers. The horror I felt at living in a cold and dark universe was relentless. But I also couldn’t lie to myself. A solution wouldn’t be real if it were imaginary. So as much as I wished I could believe in God, I couldn’t.  

When I learned this history of immanence however, I realised that my automatic inclination to disbelief was a bias—an inheritance of our culture, and nothing more. 

I then asked myself: 

What if, as our culture sloughed off the transcendent, it didn’t move into greater nobility, truth, and progress like it tells itself, but pre-emptively gave up on the most important thing in existence? What if all of us are grasping at the same ultimate truth, getting little bits of it right and wrong? What if some of us are on the right path, exploring relationship with a Creative power beyond our imagining that loves us, helps us, saves us?  

The fact is, when it comes to transcendence, we don’t know what’s true. No one knows with certainty. 

But we do know that immanence is a bias. And we know the first step to finding the truth is to free ourselves from bias. We must identify and untangle presumptions, then rebuild our mental frameworks as carefully as we are able.  

As for me, I’ve spent more than a decade in the academy doing this work. And in the end? Spoiler alert: I’ve thrown my hat in with transcendence.  

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.
Graham Tomlin
Editor-in-Chief