Giles Coren dips his toe in the water - will he take the plunge?

In a disembodied digital age, he's made a decision to participate instead.

Jamie Mulvaney

Jamie is Vicar of St Michael's Chester Square, London.

A casually dressed man strides down the aisle of a church between the pews.

Danique Godwin on Unsplash

It takes a lot of courage to write about what you don’t know. Newspaper columnists and restaurant critics are paid to be omniscient, and Giles Coren is very good at channeling observation and insight into his articles in an acerbic and amusing way.

He recently wrote in The Times about what he does and doesn’t know about Christianity. He wrote with humility and humour, which amongst other things made me wonder how many of us who are part of the church would do well to be honest about what we don’t know.

The journey that Coren tells about his “not not believing” is staked along the way by the language of the church and its buildings. In other words: worship.

Belle Tindall recently wrote about the prejudice met by Kate in White Lotus when she tells her friends that she finds going to church “very moving.” To them it is “self-defeating”, but perhaps it opens us up the possibility that there is a greater centre of gravity than our own selves. Going to church has been associated with so many unhelpful divisions and distractions and often the church is to blame.

But believers and non-believers alike run the risk of missing out on so much of faith. We limit it to information and observation, when the full benefit is found in participation. Whether pilgrims, prodigals or someone else altogether, we can analyse and stand on the sidelines as much as we want, but Coren and his son are taking part:

“I gave up not going to church some time ago. Most Sundays I am there, praying and singing — another lapsed atheist hoping that the non-existent God he was brought up not to believe in doesn’t see.”

Perhaps this act, and writing about it in The Times, is even braver given our seemingly disembodied, digital, post-pandemic individualistic lives. A podcast may give you propositional truths you can accept or reject, but being caught up in worship is in a different order altogether. Coren writes:

“And I have a sense that God is there — in the tradition, the words, the 2,000 years of conviction, the imagination of all the people who came before me…”

God is the interesting thing about Christianity, and Christians believe that this God became human. Amidst all that we don’t know and don’t see, going to church makes tangible what can feel intangible.

Coren writes that the only moment he feels left out is in Communion, and that perhaps one day he will get baptised. The Greek word where we get ‘baptism’ from means to overwhelm. In an overwhelming world, more and more people are seeing the merit in being overwhelmed with God. If we are to experience this, it means that at some point we need to dive into the water.

Review

Belief

Culture

Film & TV

20 September 2024

4 min read

Kate Winslett delivers the performance of her life, in a film that doesn’t look away

The true quality of witness shines in Lee Miller’s biopic.

George Pitcher

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

Two war photographers creep along a shadowy corridor.

Kate Winslett and Andy Samberg in Lee.

Sky Cinema.

If we might indulge an absurd anachronism, I wonder what the American photojournalist Lee Miller would have done, had she been one of the women at the foot of the cross. To my mind, she would have held her nerve to record – on her German-made Rolleiflex camera held at her abdomen – not only the horror of the crucifixion of Jesus of Nazareth and the criminals beside him, but also the suffering of his mother and the other women who looked on.

I’ve had these ruminations since I watched Miller’s biopic, Lee, on its UK premiere. In passing, I should record that Kate Winslet delivers the performance of her life in the title role, because it’s in the quality of her interpretation that I’m led to consider the nature of what it means to witness, which is an act at the heart of humanity as well as central to the Christian faith.

Witnessing is what reporters, at their best, do if they are to honour their vocation. Especially war reporters. But the act of witnessing isn’t confined to journalists. The case for professional witness can be made for other jobs – police officers, aid workers, medics, lawyers all come to mind.

It’s just that this movie shows witness at its sharpest end. “Even when I wanted to look away, I knew I couldn’t,” says Lee Miller. That imperative, not to look away, is central to our human story and I would argue that this is because it’s central to my faith, which has at its centre a God who doesn’t look away.

That’s why Lee Miller made me think of the historical event of the crucifixion. The Church down the ages has been inclined to turn the cross into the Christ’s great victory – rather as reportage of the Second World War has concentrated on its conclusive victory rather than the horrors that Miller recorded.

Her magazine employer, Vogue, at first declined to publish her photos of the liberation of concentration camps Dachau and Buchenwald, in part because it detracted from the joy of that victory (though they were subsequently published in the US). If you will, Vogue looked away.

I’ve found that to go down this path with Miller, accompanied by faith, a kind of terrible road to Emmaus, delivers some unexpected reactions.

We’re called to refuse to look away from the grotesque horrors of the cross, to resist it becoming simply a jewellery symbol on a pendant, to acknowledge its centrality in man’s inhumanity to man and, ultimately, our God’s choice to share that experience. “Jesus Christ,” mutters Miller at the door of a room, possibly a gas chamber, stacked with skeletal corpses, before entering to take her photographs. Jesus Christ, indeed.

This is not to make a claim for Miller as a figure of faith. It is rather to make the claim that those of us of faith should be highly alert to where we might find the witness to it. Over the past week, I have to say I’ve found it in the work of Miller, not only in the hell of the camps, but in the shaven heads of collaborator women, the frightened children and even in that bath in Hitler’s Munich apartment.

In the last of those, there she is, naked, washing herself clean from the dirt of Dachau, which stains the bathmat from her boots in the foreground. Here is a witness to a spiritual defiance, the portrait of Hitler propped on the bath edge as she is cleansed. It’s not just that he hasn’t won, it’s that death itself hasn’t won.

I’ve found that to go down this path with Miller, accompanied by faith, a kind of terrible road to Emmaus, delivers some unexpected reactions. And they’re not the kind of reactions normally associated with faith.

The first is anger. It clearly accompanied Miller throughout her work: Anger at military discrimination against her womanhood; rage that Vogue censored her work. We could all do with being more angry at injustice, especially those of us of religious faith. Note that when American Vogue published her photos, they headlined them “Believe It!” True belief, arguably, is angry.

My second takeaway is the danger of real witness. Miller described her work as "a matter of getting out on a damn limb and sawing it off behind you". Discipleship can, maybe should, be like that.

The third is the cost of witness. Miller’s war left her with depression and what today would be called PTSD. Not looking away has its price. The cost of witness to disciples may not be as extreme as it was in the first century of its practice, but we should also be aware that it’s not a cosy lifestyle choice either.

For Miller, part of the price of her witness was alienation from her son, Antony. In the movie, though (spoiler alert), he discovers after her death how devoted to him she was. At a stretch I would say he was a son in whom she was well pleased.

That’s not to imbue her with something messianic. It is perhaps to say, with the poet Philip Larkin, that what will survive of us, especially those who have witnessed the worst of humanity and come through, is love.