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Belief
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2 min read

Graham Tomlin's summer reading list

Seen & Unseen Editor-In-Chief shares his recommendations for a much-needed moment of pause

Nick is the senior editor of Seen & Unseen.

Graham Tomlin's Summer Reading List
Take a much-needed moment of pause this summer

I'm so glad that my Summer Reading List caught your eye. Whether you've got time now to dig into a new recommendation or want to bookmark this for an upcoming holiday, I hope at least one of these picks offers you some respite.

đź“– Paul Bradbury, Why We Should Mourn The Death of the Semicolon 

I studied English at university, so I have always been interested in the way language works. I love how Paul Bradbury takes this tiny thing - a semicolon, and the evidence of its demise in English, and uses it as a sign of our need for pause, space, and reflection in our daily lives.

đź“– Graham Tomlin, Blaise Pascal - The Man Who Made the Modern World

I have been fascinated by Blaise Pascal ever since I read him as a teenager. I always wanted one day to write a biography of him, explaining his extraordinary life and piercing insights into human life and Christian faith. Maybe this might be a good book to take away on holiday; read on the beach, in the campsite or wherever you are!

đź“–Niall Williams, John

From the author of History of the Rain and This Is Happiness, John is a wonderful novel depicting the elderly apostle as a man steeped in the simple yet extraordinarily revolutionary message that God is Love and that therefore we should not just tolerate, but love one another.

đź“–Hartmut Rosa, Uncontrollability of the World 
The sequel to Rosa’s path-breaking work on social acceleration and resonance, this short book is a penetrating exposé of our cultural project to control everything and how it kills beauty and even ourselves in the end.

đź“– Alan Kreider, The Patient Ferment of the Early Church
If you're interested in history and what gave birth to the extraordinary Christian movement that transformed the world, then this is a great guide to those early years.

đź“–Paul Kingsnorth, Against Christian Civilisation

I read this lecture earlier in the year. It's a fascinating argument about the future of cultural Christianity. You might or might not agree with it, but it will make you think.

 

đź“–Iain McGilchrist, Re-Enchanting Season 4, Ep 10

Iain McGilchrist is such an interesting thinker whose work spans such a large area – neuroscientist, philosopher, historian, and much more, all expressed with a humility and sense of wonder. I loved his conversation with Belle and Justin. This would be a great one to listen to on the journey to your summer holiday this year.

đź“–Benjamin & Jenna Silber Storey, Why We Are Restless: On the Modern Quest for Contentment

A brilliant, insightful and beautifully written account of modern discontentment through the lens of four crucial French thinkers - Montaigne, Pascal, Rousseau, and de Tocqueville.

 

Column
Books
Character
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Time
4 min read

The true myths we tell about how we got here

Memoirs are the stories that make us who we are

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

A jumbled pile of old photographs.
Jon Tyson on Unsplash.

I’ve been asked to write a memoir. It’s because I’ve been an Anglican priest for 20 years and it’s been quite a ride – deployed to a tube station when the terrorist bombs went off on 7 July 2005, served the Archbishop of Canterbury as the child-abuse catastrophe unfolded, been the religion editor of a national newspaper and helped countless people to die and to marry as a rural parish rector. 

So, I suppose it meets the minimum criterion that a memoir shouldn’t be about me so much as the events through which I passed. But it also raises questions about what a memoir is for, as well as what it’s about. I wonder about its purpose and that leads to choices of style. 

I had in mind a hybrid fiction model, in which the only made-up character was me, heightening the drama of it all by being maybe bisexual and a cokehead (neither of which I have been) who encounters all the real and interesting people that I have. That might at least make it a bigger challenge for libel lawyers. 

A publisher at lunch this week persuaded me that this is a very bad idea. Commercial fiction is where the action is and literary fiction (even if I could do it) is dead. It has to fit in one of the silos that people will buy – crime, romance, fantasy and so on. And I’m an old, white man, to boot. 

But memoir is a good stable, she said, and it didn’t need to be a dull, linear narrative. In fact it mustn’t be that. I’m beginning to think it must be a drama and, as such, as creative an act as fiction. 

So, not history. Or maybe, like history, it depends on how you look at it and how we remember. As someone quite famous remarked recently, recollections may vary. And we all have an agenda in relating them. Memoir is not a record, it’s about experience, emotion, interpretation and score-settling (I’m looking forward to that last bit). 

The most obvious exemplar of this is the political memoir, which lately has ticked towards being written by the spouses of politicians. Salacious revelation seems to be the currency here, all the better if a former prime minister is alleged to have said he’d like to drag you into the undergrowth and give you one. 

Memoir is also the embarrassing uncle of autobiography. It amounts only to what we remember, as we wave a glass about in the pub. 

One rather hopes, for reasons of aesthetics as much as decorum, that this indicates that memoir is as much about what times were like as about being a simple record of them. This makes sense as I face the prospect, for example, of relating being with a 26-year-old mother of two as she died. 

If it’s such an essentially subjective exercise, then memoir is a poor country cousin of history. Some have made it consciously so in their titles – Clive James’s Unreliable Memoirs and Python Graham Chapman’s A Liar’s Autobiography come to mind. 

Incidentally, memoir is also the embarrassing uncle of autobiography. It amounts only to what we remember, as we wave a glass about in the pub, rather than the marshalling of peer-approved facts. This is what makes it so sensationally subjective. I remember standing alone in a boorish institution, heroically speaking truth to power. You remember a blithering idiot. The difference is I’ve got a publisher. 

In this sense, memoirs are the stories that make us who we are. Or, naturally, who we’d like to be, or like to be seen as. In ancient Greek terms, we deploy our mythos rather than our logos, our allegory rather than our empirical reality. 

But, again, these stories make us who we are. And not just the stories we tell. The stories of our nations are similarly formative. The stories that the world’s major faiths tell also define us, whether we believe them or not.  

The Christian gospels are memoirs. The first three of them attempt to describe what happened. The fourth, John, is rather more allegorical. But they all, in the Jewish tradition of storytelling, in one way or another seek to describe what it was like to be in the insurgent Nazarene movement, as much as what actually happened. 

Matthew, the tax-collector, writes for his audience of Jews. Luke is concerned with what it all means for the poor – and not just those economically so. Mark, first out of the trap, wants to consider what it all means for non-Jews. Their recollections may vary. But it’s reckless to suggest that this invalidates their testimony. 

My memoir will contain no gospel truth. But there’s no point in embarking on an exercise that is only about what happened over 20 years of priesthood. It has to be about what it was like too.  

I think that its epigraph may read: “Nothing in this book happened. Everything in it is true.”