Explainer
Creed
Wisdom
3 min read

Discover the seen and unseen

What does it all look like in the light? The vision for Seen & Unseen.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Meter telescope scanning the night sky
The IRAM 30-meter telescope under the night sky.
IRAM-gre, via Wikimedia Commons

As someone once said, everyone has an angle, so it's a fair enough question to ask what our angle is. 

In 325 AD a conference of bishops, many of whom carried in their bodies the scars of persecution, met in a small town called Nicaea in what is now northern Turkey. They slowly hammered out a visionary statement that described what the early Christians believed - a whole new way of looking at the world based around the belief that God the Creator had entered the world in the person of a Jewish teacher, Jesus of Nazareth.

That document, commonly known as the Nicene Creed, is the one Creed that is accepted and used across the entire Christian Church, so it’s good enough for us.

Our conviction, however, is that this framework, rather than closing down thinking, opens up a much more expansive and energising space for thought and acting than secular visions can offer.  

For example, the Nicene Creed also describes God as the maker of all things, 'seen and unseen', picking up a phrase St Paul had written three hundred years before. We thought that summed up pretty well what we're about - we're interested in the Seen - what we all know and talk about all the time - economics, politics, society, law, the arts, the planet and its future - but also the Unseen realities that make sense of the seen - the mysterious, the numinous, the reality of the spiritual realm, the kingdom of heaven. 

This Christian framework is not one that can be simply tacked onto a secular mindset but is a different way of viewing the world. Therefore, our aim is not to debate with those who don't share our faith as to who can prove their case, but to do our best to describe the world as Christians (of many kinds and perspectives) see it. Our task on this website is not to answer simplistic questions with simplistic answers, but to ask ourselves and others: what do politics, economics, the arts, technology, biology, leisure, geography, housing - in other words everything - look like in the light of the coming of Jesus into the world. And if we can do that well, we can be both a window and mirror to the societies we live in. 

We believe there is wisdom in the two thousand years of Christian reflection on what it means to be human, and what it means to be good - on God, nature, community, work, and everything else - wisdom that has been discarded too quickly in western societies. We also think that the rapid discarding of Christian faith, and the failure to replace it with any kind of convincing common story is a disaster for our culture, leaving it open to fragmentation and culture warfare. Not that we’re advocating a return to Christendom - the Church made too many mistakes for misty-eyed nostalgia about that. But we do think Christian faith has the intellectual and spiritual depth to help renew and revive cultures today. Whether it does or not is beyond our pay-grade. Our job is just to tell the story as best we can.  

Christians think a great deal about their faith and the cultures in which they live. Yet much of that wisdom is locked up inside long books that few people read. We want to make that wisdom accessible to a much wider audience. So, what you'll find here is material that is thoughtful, accessible to non-specialists, the fruit of deep thinking both about the Christian tradition and contemporary life, and can help you not only think more clearly, but live a better life.   

We may critique ideas, but will try not to attack people. We want to be generous, curious, confident about the faith, open to criticism and new ideas, intelligent, accessible, and patient. We don't want to be competitive, aggressive, reactive, fearful, or closed-minded.  

Read our articles. Listen to our podcasts. Expand your thinking. Feed and satisfy your curiosity. Discover a world that is greater, more full of meaning and sense than you ever imagined.   

Review
Culture
Film & TV
4 min read

The Zone of Interest’s peripheral vision of evil

Director Jonathan Glazer bests Spielberg thanks to a quality of attention.
in an immaculate garden a family play in and around a small swimming pool. Beyond the garden wall, a barracks is visble with crematorium smoke rising beyond it.
The Höss family at play at their Auschwitz home.

This has been a tremendously difficult review to write. I’ve written and re-written this review for two weeks now. You will see why. 

The Zone of Interest begins idyllically. A family is picnicking by a lake. The men swim, the women pick berries in the woods. It's a gorgeous sunny day. The family happily drive home down an evocatively headlamp-lit country road. The father walks through their palatial house, turning off every light. The next morning the family are gathered outside to give the father his birthday present: a canoe. Two boys lead their blindfolded father gently down the steps from the house to the garden. The garden is magnificent: filled with flowers and immaculately kempt. 

The father is wearing an SS uniform. The camera pans round the garden. Behind the garden wall you see glimpses of barbed wire, belching chimneys, rows of dormitories. You hear shouts, moans, cries, gunshots. This is no ordinary house, no ordinary garden, no ordinary family. This is the home of SS-Obersturmbannführer Rudolf Höss, his wife Hedwig, and their five children. This is Auschwitz. Höss runs it. Hedwig runs their beautiful home. The children run around. That is the next 100 minutes of film. It's a realist family drama from the 1940s. The children are children, the wife is house-proud to a fault, and the husband is hard-working, ambitious, and keen to do a good job. I don’t want to say much more. You simply need to go and see the film. 

When Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil it was controversial. Many commentators misunderstood or misrepresented her point. Evil acts - especially an evil act as totemic as the Holocaust - are not ‘banal’. The people who commit evil on such a scale often can be. A genocidal machine of such scale and complexity needs a tremendous number of cogs… they can’t all be murderous sociopaths. Eichmann was banal in himself - he was of average intelligence, uncreative in his thinking, a follower of fads and joiner of organisations. 

This is exactly how Rudolf and Hedwig are presented. Christian Friedel plays Höss with an almost continual ambience of low-level boredom. Pillow-talk with his wife, reading to his children, a discussion about the most efficient way to incinerate the Jews in his camp, is all spoken with roughly the same expression and tone. He clearly wants to do well in his work, but it doesn’t matter what the work is. Sandra Hüller gives Hedwig a marvelous, slightly nervous energy. She always seems to be keeping a combination of grasping envy and slimy smugness just barely contained beneath the surface of her features. She can’t think of much beyond the order of her house, the beauty of her garden, and her status among other SS wives. Their quality of attention is essentially absent.  

Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it. 

Not to be flippant, but they would be dreadful dinner-party guests, and not just because they are Nazis: they seemingly have no capacity for a thought that goes beyond themselves, and their immediate environment, and their immediate needs and wants. They are banal. 

Between them Jonathan Glazer (director), Łukasz Żal (cinematographer), and Mica Levi (musician) give a remarkable demonstration of the power of restraint. The camerawork is naturalistic and almost never showy. The performers look like they were given the latitude simply to be in the scene: no over-direction. The soundscape is hauntingly bare. There is little music or sound beyond the ambient. The mood is, of course, set by the fact that the ambient sounds are roaring furnaces, gunshots, and desperate screaming. The film does not attempt to make a point or demand a response; Glazer simply gives you a slice of domestic life that just happens to be located next door to a death-camp. 

Steven Spielberg has suggested this is the best film tackling the dreadful subject of the Holocaust since Schindler's List. He is wrong. The Zone of Interest is a far superior film. I love Spielberg, but Schindler's List is offensively bad. It takes a subject of such abject depravity and then tries to emotionally manipulate you into feeling bad: the music, the speeches, the more-is-more approach to showing you the pinnacle of human cruelty. Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it.  As Augustine says, evil is nothing in itself. Evil is the corruption and annihilation of what is good and lovely. Evil isn’t some great monster that forever battles with God. God is good…no…God is Good. So evil is literally nothing - goodness in decay to nothingness.  

Glazer, whether intentionally or not, recognises this theological truth. Looking at the full abyssal nothingness of evil is beyond human comprehension. But if you see it in the periphery, then you see it. When you hear the screams of the innocent and at the same time see a woman cheerfully ignore them while she plays in a flowerbed with her infant daughter, then you recognise the potential for human depravity. You can’t truly encounter the nothingness of evil, and the dangers of letting its parasitical and destructive hunger spread, until you’ve watched others ignore it without missing a beat. I’ve never cried while watching Schindler's List. I cried while watching The Zone of Interest. Twice. 

Glazer et al have done the world a great service with this film. They’ve reminded us that the weapon against evil is the rejection of empty banality. Banality is loving yourself. To reject banality is to embrace a quality of attention that is truly outward looking. Rejecting banality is loving your neighbour as yourself.