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Conviction politics is changing morality

Political dialogue gives way to animal-like culture war.

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

A severed doll head, resembling Donald Trump, lies on dirty ground.
Max Letek on Unsplash.

“We're gathering 100 MILLION signatures to OVERTURN Trump's wrongful conviction!” 

I received this SMS message, along with a link, on Monday 10th June. It was the fourth message of its kind I’d received since the verdict convicting former US President Donald Trump of felony. This time, out of curiosity I followed the link. I found a lot of words in capital letters conveying a sense of extreme urgency, but I did not find any evidence or argument for the injustice of the verdict. 

Trump’s conviction has been met with a torrent of reactions from people across the political spectrum. Everyone sees the event as an episode in the upcoming US election in which Trump plans to run for president. For those on the left, it’s final and conclusive proof that he is unfit for office; the evidence is clear, the courts have decided, end of story. For those on the right, it’s a further sign of the depraved depths to which the Democrats will go to discredit him; the jury was rigged, and the whole thing was a political stunt to win the election. The legitimacy of the court ruling is something nobody on the left questions and nobody on the right admits. 

To me, these responses are another sign of the ever-widening gap between left and right that eats up all common ground, even the rule of law. Political victory now takes priority over truth or justice – or perhaps more accurately: victory for my side is identical with truth and justice. To concede anything to the opposing side is seen, not as praiseworthy, but as betrayal.  

My comments in what follows are nonpartisan: I want to point to what is true of both sides equally: the failure of dialogue and its replacement by a warfare mentality. This change affects even what we consider moral and admirable behaviour. It is not only a problem in the US. Ever since Brexit, things have become increasingly polarised in the UK as well. 

That is what “culture war” means. War and dialogue are opposites; war is what happens when dialogue has failed.

Formerly in Western nations, rival political parties offered different means to achieve the same end: a flourishing society of justice, peace, prosperity, and freedom. Politicians disagreed but they respected each other. They had faith in the political process in which they all participated. Consider as an example the letter George Bush Senior left Bill Clinton after losing the 1992 US election.  

“Your success now is our country’s success,” he wrote. “I am rooting hard for you. Good luck.”  

The fact that he was now president was more important than which political party he belonged to. 

In such a cohesive society, the legal system was a trusted arbitrator whose decisions would be accepted by victor and loser alike. This does not mean the system was perfect. Everyone knew that justice could sometimes miscarry. But the public did not see themselves as qualified to judge that either way. How could they expect to know more than the jury? 

What we are witnessing now is a return to a more animal-like state in which the goal is that my team wins no matter what. If the arbitrator rules in favour of my tribe, they are seen as executing justice. If they rule against my tribe, their ruling must by definition be unjust. 

That is what “culture war” means. War and dialogue are opposites; war is what happens when dialogue has failed because both sides have been unable even to “agree to disagree.” 

Reasoned debate is seen as no longer effective in light of the vile underhanded tactics of the other side (but not, of course, of my side). 

In dialogue, both sides aim to uncover the truth even if the truth turns out not to be what I wanted or thought. Prioritizing the truth means that I might realise I was wrong and concede the point, even at some material cost. For example, in a property dispute, I might become persuaded of the truth of my opponent’s case and give up my claim. That may be painful, but winning was less important than justice being done. In dialogue, both ‘sides’ are really on the same side because they both ultimately want the same thing. 

In war, on the other hand, the goal is to defeat the enemy and it makes no difference whether they are right or wrong – or rather, it is assumed without question that they are wrong. If words are used in war, they are weapons in disguise, not meaningful communications. 

This transformation from dialogue to war changes morality itself. You are now judged, not by the sincerity of your pursuit of truth, but by how loyal you are to your tribe. Even to take seriously the opposing position is viewed like reading a propaganda flyer dropped from a Nazi airplane: don’t even read it, it will only twist your mind! 

Even seven years ago, fans of Jordan Peterson were fond of the phrase “all I want is to have a reasoned debate.” Regardless of your opinion of Peterson or of whether he exemplified this, those who used this phrase revealed a desire for dialogue rather than war. But today, many of those same followers no longer say that. Now they say, “the left is out to get us and must be stopped” and their counterparts say, “the right is out to get us and must be stopped.” Reasoned debate is seen as no longer effective in light of the vile underhanded tactics of the other side (but not, of course, of my side).

What do we want from our political opponents? We want them to listen to us and to take our arguments seriously. 

What role can Christianity have in this polarised society? Sadly Christians are often seen as part of the problem rather than the solution: sold out to one political party. But we should be clear that Christianity does not sit neatly on either side of the divide. That does not mean Christians should be moderate or “centrist,” as if none of the issues matter much. Christianity comes down strongly on many things, but those are spread across the political spectrum. The way Christians vote depends on which issues they judge to be the most important or pressing in the current circumstances. 

Second, Christians are called to make peace in time of war. “Blessed are the peacemakers,” Jesus said, “for they will be called children of God.” Christians are called build bridges rather than burn them, to seek common ground rather than trying to obliterate their opponents. This can start with showing love and respect for the person behind the argument; by celebrating our common humanity before trying to argue a point. 

Third, it means exemplifying the kind of attitude we want to see in our opponents. “In everything do to others as you would have them do to you,” Jesus told his disciples. What do we want from our political opponents? We want them to listen to us and to take our arguments seriously. We want them to stop making cheap caricatures of us and represent us at our best. We want them to break out of their echo chambers and read news from a variety of political leanings. We want them to open themselves to persuasion and be prepared to change their minds. Jesus suggests leading by example and doing those things first.  

Fourth and finally, the Christian’s allegiance is to truth and justice above any tribe, any agenda. The real political situation is almost certainly complex, with much to be said for and against both sides. There are awkward facts that don’t fit our own political position; let’s admit them. The Christian commitment to truth means being ready to acknowledge the weaknesses, failings, and faults on our own side before we point the finger. It’s hard, I know. I am not perfect at it myself. But it’s a more Christlike moral standard to aim for than that of the culture warrior who excels at demolishing the enemy.  

Restoring dialogue won’t be easy and may come at a high personal cost. But the cost is greater if we don’t try. My own desire is to see Christians taking the lead in the restoration process and showing the world what Christlike peacemaking can accomplish. 

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1 min read

Never Let Me Go: 20 years on

Ishiguro’s brilliant novel is the perfect Frankenstein story for today.

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

Four young people peer through a window.
Carey Mulligan and Keira Knightley in the 2010 film adaption.
Fox Searchlight Films.

This article contains spoilers. 

Human beings are creative. For good or for evil, making new things out of raw materials is something that we can’t help doing, whether that’s writing new books, creating new recipes, or building new houses. Why are we born this way? Christians would say it’s because of the imago Dei: because according to the book of Genesis, the first book in the Bible, we are made in the image of God. If God created the world and every one of us, and if we’re made in his image, then it follows that all of us have this creative impulse within us, too.  

But if creating is something natural to us, does it follow that it’s also core to our identity as human beings? In other words, is making something that we do, or something that we are? Are we different from all other living creatures in this world by being creators ourselves?  

Although he doesn’t call himself a Christian, these are precisely the kind of theological questions the novelist Kazuo Ishiguro asks time and time again in his books. And nowhere does he ask them more powerfully than in Never Let Me Go, which was published 20 years ago. 

Never Let Me Go starts off as the story of three children at a boarding school. Kathy, one of three friends, serves as our first-person narrator; it’s through her eyes that we slowly realise something sinister is taking place. As Kathy, Tommy, and Ruth grow into teenagers and then young adults, it’s finally revealed that they are clones, brought into being thanks to advancements in cloning technology in a dystopian post-World War II Britain. They are brought up for the sole purpose of being organ donors. Or, to put it more bluntly, they’ve been raised for slaughter.  

Kathy, Ruth, and Tommy have a happy childhood at their boarding school, Hailsham. Their future is hinted at by their teachers, but they’re largely shielded from the truth. All around the country, we later find out, clone children are being raised in horrific conditions. But Hailsham is different, because its Headteacher, Miss Emily, is part of a group that believes the clones deserve to be treated humanely – at least until someone needs a kidney transplant.  

But, though treated in a ‘humane’ way, society doesn’t see the Hailsham clones as ‘human’, and that’s precisely what Miss Emily is trying to prove: that they are not unlike real, normal people. So, she encourages the children to make art. ‘A lot of the time’, Kathy tells us, ‘how you were regarded at Hailsham, how much you were liked and respected, had to do with how good you were at “creating”’. The children don’t understand why they must always paint and draw, but they’re told that Madame Marie-Claude, a mysterious figure, will collect their best artworks for a seemingly important ‘gallery’.  

Years later, Tommy and Kathy have become a couple. Before dying – or ‘completing’, as they call it – after her second ‘donation’, Ruth tells them that she believes a deferral is possible for couples that are truly in love. Kathy and Tommy go to Miss Emily’s house, their former Headmistress, certain that, as children, they were encouraged to produce art precisely to be able to prove, one day, their true feelings.  

They are quickly disappointed. Miss Emily reveals that Hailsham has now closed down, but that while the school stood, it was meant as an experiment, aimed at convincing the public to improve living conditions for the clones: 

‘We took away your art because we thought it would reveal your souls. Or to put it more finely, we did it to prove you had souls at all…we demonstrated to the world that if students were reared in humane, cultivated environments, it was possible for them to grow to be as sensitive and intelligent as any human being.’ 

Equating creativity with human identity does make sense, to an extent at least. In The Mind of the Maker (1941), Christian novelist and critic Dorothy L. Sayers argued that the closest we can get to understanding God as our Creator is through engaging ourselves in creative acts: ‘the experience of the creative imagination in the common man or woman and in the artist is the only thing we have to go upon in entertaining and formulating the concept of creation’. In creative acts, from a Christian perspective, we partially grasp God’s creation of us.  

Ultimately, however, being creative in imitation of God, is not enough to get to the very core of what defines a human being. There are all kinds of factors, from old age to mental or physical disability, that make any form of traditionally creative act highly unlikely for some people. By that definition, someone in a coma or a newborn baby is not fully human. 

That’s exactly the definition of humanity that underpins the cruel society of Ishiguro’s Never Let Me Go. We need a better definition, and Christianity provides a unique tradition to help us on the way. A Christian concept of the human person is one that looks both at why we were made, and what we were made for. Christians believe that God made us out of love, and for the purpose of being in communion with him. He made each one of us as a special and irreplaceable individual, and for each of us our telos – the end or aim of our life – is to join him in heaven.  

If we embrace this definition of what it means to be human, then the extent to which we are able to express our intelligence or creativity while on earth doesn’t really matter anymore. If we believe that merely to exist is good – not to exist and fulfil our potential through this or that accomplishment, but just to exist – then we can’t deny that each member of the human family is, in fact, a ‘person’ in the fullest sense of the word.  

It is precisely this God-shaped hole that makes the concept of human dignity so fragile and slippery in Never Let Me Go. Ishiguro’s brilliant novel is, ultimately, the perfect Frankenstein story for the modern day. It warns us about the consequences of what might happen if we try to treat other human beings as things we have paid, but even more powerfully it shows us the danger of valuing human life for its creativity, instead of loving it as the creation of God. 

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