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From councils to conclaves, there's a vital common ingredient

Church and state alike need pluralism.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A gate to a churchyard displays a sign saying polling station.
A polling station through a churchyard.
Southwark Diocese

Rumours that Donald Trump may suspend the US constitution in order to seek a third term as president and yet darker threats that his regime may even harbour autocratic ambitions have reminded the West that we should not take democracy for granted. 

Parliamentary democracy, we have widely assumed, is A Good Thing. It’s so good that we not only want to share it but impose it on other populations. The Iraq war on which the UK and US embarked in 2003 was fought, we were told, for freedom and democracy, but it didn’t quite work out like that. 

By democracy, we tend to mean political accountability, through which parties of government exercise power through the will of the people they serve, expressed in regular plebiscites which ensure that no one can cling unchallenged to power. The recent English council elections are a small example of what we mean by that. 

The Trump phenomenon, though, begins to point towards the prospect of a popular will that is in favour of a form of government that doesn’t correspond to our usual liberal assumptions. There are voices, among them that of the writer Margaret Atwood, which anticipate a suspension of US democracy as a consequence of the President’s insanity. 

Most of us in the UK might argue that democracy need to be more than a system in which majorities have their way. We want our governments to be under the law too. And then we have to decide not only what law, but whose law. For those of religious faith, that question will partly and significantly be answered by God’s law, on which arguably western civilisation is built. 

This is where pluralism comes in, without which democracy can’t operate effectively. A state is a collection of political and civic communities, in which individuals have rights and duties, which are protected in law. 

This model is based on Roman legislature, intensely centralised and systemically suspicious of private societies, which is why early Christians were persecuted under it. The collapse of that empire left a legalistic vacuum, into which stepped nation-state kingdoms and the early medieval Church.  

Unlike political parties, we don’t compete for control, but form a community that points towards a saved and healed world. 

It was this latter organ of state that inherited the basic principles of Roman law, centralised, universal and sovereign, under the Pope. And it is that organ that will meet in conclave to elect a new Pope. To describe that election as democratic is more than a stretch, in that the demos, as in common people, are uninvolved and arguably unrepresented. 

So the Church is not a democracy, any more than God is accountable to his creation. Rather the other way around – some denominations speak of God’s “elect”, those he chooses for salvation. In Christian thought, God is a servant king, but nonetheless an absolute and, some who oppose the divine might say, tyrannical authority. 

How are we to respond to an undemocratic deity? One answer to that might be found in that pluralistic characteristic of democracy. We’re not good, frankly, as recognising pluralism in our faith systems. At best, we operate in a kind of absolute duopoly – you believe, or you don’t. A pluralistic model would be one in which we learn of the divine will through the entirety of creation, all manifestations of belief and unbelief, rather than simply our own. 

Pluralism is healthy, in secular politics as well as in religious observance. It has been observed that the old UK political duopoly of Labour and Conservative has been broken in these local elections by Reform UK and resurgent Liberal Democrats and Greens. It’s the polar opposite of the gathering autocracy in the US and gives a voice to a range of worldviews. 

This is not an argument for theocracy, but it is to claim that the Christian tradition rests on the principle that no political order can claim the authority of God other than the Body of Christ. And the Body of Christ incorporates all members of the human race. Unlike political parties, we don’t compete for control, but form a community that points towards a saved and healed world. 

The choice here is between a kind of secular citizenship, a form of multi-culturism which strikes an accord between varied communities on universally enlightened principles. Or we can respond to the energy on which that secular utopia might be founded, in building communities of the willing towards global justice and peace. That is a diversity mission for the Church. 

So, it’s less about democracy than pluralism. And that pluralism has to become a recognisable characteristic of the body of the faithful, which it all too often historically hasn’t been. One can only hope and pray that it might be a mission that is also at the heart of the deliberations that lead to a puff of white smoke from the Sistine Chapel in the coming days. 

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4 min read

Anna Politkovskaya took on the Kremlin and she paid the ultimate price

The Russian journalist who became a martyr for truth

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A journalist wearing a body armour and a helmet looks defiant
Maxine Peak plays Anna.
Rolling Pictures

While truth recedes as a global public good, a war on journalists is taking shape. In 2024, the Committee to Protect Journalists recorded the highest number of journalists killed since collecting data thirty years ago. A large number of these were killed in Gaza, but there were deaths elsewhere: in Mexico, Syrian, Pakistan, Haiti, Myanmar.  Many more than these at least 124 journalists were physically threatened and abused online; an unknown number have been imprisoned and abused by state authorities, shadowy militias or criminal gangs. 

The illiberal tide is more powerful than the flow of liberal ideas today in the unregulated online market of opinion. A groundswell of distrust in so-called mainstream media has been effortlessly generated by sources with no obligations to impartiality and fewer professional standards round fact checking and evidence gathering. While every news source needs to be assessed for accuracy and fairness, the labelling of journalists as ‘enemies of the people’ by President Trump in his first term strayed into language used by the world’s despots. Territory occupied for many years by Vladimir Putin’s Russia. 

The 2025 film Words of War tells the story of Anna Politkovskaya, reporter for the Russian independent newspaper Novaya Gazeta who rose to fame, and therefore to the attention of the Kremlin, through unvarnished despatches from the first Chechen war that uncovered terrible war crimes. Moscow learned its lesson for the second war in Chechnya by declaring the whole region off limits to reporters. For Politkovskaya, this provided an extra incentive to be there, returning to the country over forty times to document ever more awful crimes of disappearance, rape, and torture. 

‘I witness very grave events and no-one else is reporting on them. I can’t not write about it’, Politkovskaya told the BBC’s Sarah Rainsford when they met. The meeting ended with some blunt Slavic advice: instead of interviewing a journalist about the war in Chechnya, the interviewer should be going there herself.   

Words of War has an unreal quality to it. The actors are English, but the scenes are entirely Russian. It is a reminder of Armando Iannucci’s dark comedy The Death of Stalin and even shares an actor in Jason Isaacs, who swaps General Zhukov’s blunt Yorkshire accent for the more cultured tones of Politkovskaya’s anxious husband, Sasha.  

Politkovskaya was a force of nature, and a devout Christian. She knew the kind of people she was messing with and what they were capable of, but she carried on the same, driven by an implacable will to truth. On flying to cover the appalling school siege at Beslan in 2004 – a scene the film begins with - she became violently ill, almost certainly a targeted poisoning like Alexei Navalny suffered on a plane over Siberia. 

I get intimidating calls, people hovering in my hallway, she observed. There’ve been so many threats, there was a time when my editors decided my life really was in danger.  But I’m used to it.  If the FSB is so opposed to me, it only proves that what I’m doing is effective. 

On October 7, 2006, Anna Politkovskaya was shot dead as she entered her block of flats with a handful of groceries. It was Vladimir Putin’s birthday. Five men were eventually found guilty of organising and carrying out the murder, but the person who ordered the killing was never found out. Speculation round how high the order came from is, in a way, superfluous: this is the nature of Russia’s state in the twenty first century.     

Elena Kostyuchenko is a millennial writer who features in the film as a young Novaya Gazeta intern and was inspired by her contact with Politkovskaya, ensuring a legacy in a younger generation: 

She was the first person I saw when I came to the Novaya Gazeta editorial offices. Tall, radiant, with silver-white hair, flying down the hall. I didn’t recognise her. I was just struck by her beauty. 

Stalin’s alleged mantra: no person, no problem, remains barely deniable Kremlin policy. The late politicians Boris Nemtsov and Alexei Navalny are simply the highest profile of a large cohort of individuals barely known in the west who have opposed Putin with stunning levels of bravery. Caricaturing Russians as corrupt, rapacious and violent – as well as being a lazy trope - is to abuse the names of an untold number who retain their dignity, integrity and agency. 

New histories are written in nations where regimes fall, but whether they tell a truthful story about the past depends on the environment the new authorities allow. The human rights group Memorial began this work in the early post-Soviet era, only to be shut down by Putin’s police officers. Words of War should have been made in Russia by Russians. One day maybe it will be, and Anna Politkovskaya will be seen across Russia for what she is: a martyr for truth.  And not an enemy of the people. 

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