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Faith, chaos and carnage

Remembered rituals comforted many who mourn. As Easter comes around again, Graham Tomlin examines the underlying hope found when all is carnage and chaos.

Graham Tomlin

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

A photographer, standing next to a tripod, atop a pile of rubble is a destroyed factory.
Chaos.
Peter Herrmann on Unsplash.

One afternoon in that week after the Queen died back in September, I spent a short while watching the live video footage from Westminster Hall of people filing past the Queen’s coffin as it lay in state. Ordinary members of the public, after their nine hour wait in the queue, stopped for their precious few seconds in front of the coffin before being ushered on to allow others to have their moment. It was clear that many of them were not quite sure what to do. Some just stood silently, but most felt they needed to do something. Some bowed or curtsied, others seemed to utter a quiet prayer, others crossed themselves in a slightly awkward fashion as if it was something they weren't really used to doing.  

It was clear that people needed some kind of gesture of respect, and it was significant how many turned to some kind of religious action to do that, whether bowing a head, signing the cross or muttering a few words of prayer. 

Throughout that week, at every turn, from the ceremony to recognise the new king, to the lying in state, to the funeral itself, everything seemed to happen in a context of Christian prayer. They were all deeply religious ceremonies and came in for surprising little resistance, despite our increasingly secular frame of mind as a nation. It was as if at that moment, in that difficult week, it felt as if the Christian faith held the nation’s grief for a short while. 

Having taken many funerals in my time, I recognise the same dynamic in more ordinary circumstances. Many people who maybe have a dim recollection of Christian faith from their background find the rituals and ceremonies of the church - a hymn vaguely remembered from school, a vicar saying prayers, the rich and hopeful words of resurrection in the presence of death - a valuable handrail to hold onto at a time of deep instability and profound change.  

It might seem that this outbreak of religious observance at the death of the monarch was just a temporary thing before life returned to normal, but perhaps it pointed to something much more significant.  

It always feels a little odd with the beginnings of spring, daffodils and sprouting flowers in the garden, but Good Friday is the bleakest moment of the Christian year. It is the moment when we remember how, for Christians at least, the most complete human being who ever walked the planet, Jesus of Nazareth, was executed in a huge miscarriage of justice. If this really was the day we killed God, it was the darkest moment in human history. 

And maybe that is part of the genius of Christianity – its ability to hold people in moments of grief and pain, when there aren’t easy answers to be found.

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Good Friday is followed by Holy Saturday, the day when Jesus’ body lay still and decaying in a cold grave, and everything seemed to be at an end. Of course, we know that Resurrection and the joy of it was just around the corner, but they didn’t know that on the first Good Friday, and you have to go through Good Friday and even sit with the devastation of it all through Holy Saturday before you get to the joy. And maybe that is part of the genius of Christianity – its ability to hold people in moments of grief and pain, when there aren’t easy answers to be found. 

Nick Cave’s recent book, co-authored with Sean O’Hagan, has as its title, not the traditional trio of Faith, Hope and Love, but Faith, Hope and Carnage. The book explores Cave’s re-discovery of faith in part through the tragic death of his 15-year old son Arthur, and the capacity of faith to hold and sustain him in the middle of carnage, despair and tragedy. As Rowan Williams put it in his recent interview with Nick Cave: “The book reveals the way in which faith, without ever giving a plain, comforting answer, offers resources to look at what is terrible without despair or evasion.” 

The Christian understanding of evil is not that is it good dressed up in dowdy clothing. It does not tell us to believe that somehow premature death, cancer, or childhood leukaemia are somehow good for us. It says that they have no point because that is the nature of evil – that it is pointless. It has no meaning because it is the absence of meaning. It has no purpose because it is the absence of purpose.  

That is why Christians gladly say they have no neat answer to the problem of evil. Because evil is the absence of answers. It is nonsense because it makes no sense. Instead, we believe, not because we have found an answer to the problem of suffering, but despite that fact that we haven’t. We believe because we have heard a more compelling story that does make sense of everything else - the unlikely and sometimes scarcely believable hope of Resurrection, which makes sense of so much else – even the mysterious rebirth of nature that emerges from the seeming death of winter into new life in the Spring. Only unlike pagans, Christians see the natural rhythms of the world as an echo of the central story of the Resurrection of Jesus, rather than the other way round. 

Christians see in the events of the first Easter the turning point of history. That when we tried to kill God on the first Good Friday, he did not stay dead, but rose again, bringing with him the promise that those who face death or tragedy hand in hand with Christ, will somehow come through the carnage and the chaos with a life and a future.  

When you’re in agony you don’t need an explanation, you just need someone to hold you.

Of course, when you’re in the middle of pain, it’s hard to see that. When you’re in agony you don’t need an explanation, you just need someone to hold you. And that’s exactly what Christianity offers – someone to hold you. Someone who has been through the worst that life and history can throw at him and knows the worst that can happen. It offers the presence of God in the Jesus who is no stranger to pain – as it says over and over again in the Bible “I will never leave you or forsake you.” It is, as Sian Brookes explains in her excellent review of the film Allelujah! on Seen & Unseen, what we will all need at the end of our lives - someone to be with us.  

Christian faith still holds out the hope of Resurrection. Easter Sunday does come around after Good Friday. But even when you’re stuck on Saturday, waiting for a Sunday that never seems to come, when Resurrection is hard to believe in, when all around you is carnage and chaos, you are invited to hold tightly and determinedly to that mysterious presence that stands with you in the darkness, whether you feel it or you don’t, while you wait for the light to dawn. 

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9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan. 

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.” 

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography” 
 

C.S. Lewis. 

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ. 

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”. 

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.  

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”  

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.  

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”. 

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.” 

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith. 

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”  

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”  

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.” 

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.” 

 

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.

 

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