Column
Awe and wonder
Creed
Film & TV
Re-enchanting
4 min read

The great pie mystery

Some unusual graffiti give insight into reality’s mysteries.
A green bridge spans a motorway, on its side is graffiti that reads 'PIES'
The view on the M6.
drgillybean, Creative Commons.

Do you have a favourite piece of graffiti? I used to.  

If you're travelling on the M6 around Cheshire, at some point you’ll come to one of those green motorway bridges. And on the side of it, overlooking the tarmac, you'll see in massive writing the word “PIES”.  

When I was a kid, I used to be fascinated by this. It raises so many questions. Who wrote the graffiti? How did they do it? Was this person in favour of pies or against them? Was it about all pies or just some pies? What had happened in this person's life to make them have such strong opinions about pastry?  

And it was just me. For nearly 30 years, people were left nonplussed about the graffiti as more and more instances of it began to crop up across the North-West of England. 

And then, in 2016, the mystery was solved. Apparently, it wasn't really to do with pies at all. It was all the result of a Liverpool band called The Pies trying to promote their music. After getting stuck on the motorway one day, they decided to write the name of their band on the side of the motorway bridge because, well, what else are you going to do when you’re broken down?  

It's fair to say, I was a little bit gutted to learn about the origins of the graffiti. 

What was once an intriguing mystery that kept me up at night and haunted my every thought (okay, perhaps a slight exaggeration) was revealed to be something so … boring. With hindsight, I wish I'd never learnt the truth about what happened. I thought wanted to know the origins of the pastry-based vandalism but, as they say, ignorance sometimes is bliss.  

You see, we sometimes need a little bit of mystery in life.  

Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness. 

This is evident in lots of different ways, but perhaps most apparent when it comes to entertainment and art. TV series Lost, for example, was a huge hit when it first came out. Why did the plane crash? What is the island? What is the smoke monster? Viewers were hooked and demanded answers.  

But then answers came and everyone was upset. As Lost went through series after series, and explained more and more about what was happening, the audience slowly became more and more disenchanted with the program. The finale – where the programme’s biggest mysteries were finally revealed – was almost universally panned. 

The same to be said of the recent HBO hit Westworld. Its first series was by far and away its best. But season two and three trailed off significantly as there was simply no mystery left in the programme after its spectacular first series. I wonder if this is precisely why the works of the late David Lynch were as compelling as they were? The still-incredible Twin Peaks holds up so well precisely because it categorically refuses to explain itself. 

Elsewhere there is a growing tendency in video games, for example, for the narrative of the story to be hidden away, shrouded in mystery and atmosphere. Think of From Software games like Dark Souls and Elden Ring, massively successful in part because they are so mysterious. In both instances, it’s entirely possible to complete the game and have no clue whatsoever that there was even a story in the game, let alone to understand it. The player becomes captured by the mysteries of the worlds they find themselves in, and it’s these mysteries, rather than any answers, than compel them forwards. 

The reason why programmes like Lost and Westworld begin to lose their allure as they explain more and more about their world is that this jars with the reality of the world around us. Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness.  

Peel back the world around us, however, and reality goes all the way down. And this is precisely what we would expect from a world created by a God, who is infinitely Infinite. Reality is not paper thin; goes all the way down. It is mysterious, unfathomable, and resists easy answers. 

And so, when we get disappointing explanations about a plane crash in a TV programme, or the origins of our favourite graffiti, it rightly leaves us feeling unsatisfied. Because we are made to be at home in a world that is deeply real. We are made to be at home in a world where the reality has unfathomable, unimaginable depth to it. A world that cannot simply be explained away. 

And this is why mystery is so important in our life. In the post-Enlightenment culture in which we find ourselves, a culture that demands every question be answered and every Scooby-Doo villain be unmasked, the notion of boundless mystery might seem somewhat disquieting. 

But we are made for mystery. And this is why the best works of art trade more on the mysteries they introduce, rather than the answers that might be behind them. And this is why mystery can be found all around us. Even in a pie.

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Column
Church and state
Creed
Feminism
Leading
4 min read

Why Sarah Mullally’s appointment is about more than just breaking the stained-glass ceiling

Not just history-making, it’s a challenge to the Church to rediscover its soul

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

Sarah Mullally.
Sarah Mullally.
Church of England.

Every new Archbishop of Canterbury has a honeymoon period, before this impossible job ends in tears. The priority should not really be who does it, as what it is they’re doing. As it is, they’ll have to spin too many plates, until one or more fall off their poles and it all ends in tears again. 

Sorry to be such a Jeremiah, such a prophet of doom. This column isn’t going to be a gloomy one, promise. Rather, I’d just like to say that Sarah Mullally, in her translation from the bishopric of London to the archbishopric of Canterbury, represents something more than a triumph in a gender war. 

Very little coverage of her appointment so far has got beyond the historicity of it. Wow, it’s a woman for the first time in the Church of England’s half-millennium. Yes, that’s the news hook, and yes it’s astonishing, both in good and less good ways. But we should scrutinise for a moment what a female distinctly brings to the Anglican party. 

Without this becoming a rehearsal of the past 30 years of women’s ordained ministry in the Church of England, it may be sufficient to say that it must be a whole lot more than having a primate for the first time without a Y chromosome. So what is it when we ask a woman, specifically, to perform this role?  

We have to look to history to scrutinise the question. First of all, if we accept scripture as history – either as metaphor or literal record – then women’s apostleship has been there from the very beginning. The first witness to the risen Christ on the first Easter morning, Mary of Magdala, was instructed to go and tell her brothers and sisters what she had seen. You don’t get a bigger apostolic mission than that, the apostle to the apostles. 

Women facilitated and bankrolled the nascent Jesus movement in Asia Minor. Wealthy people such as Lydia, a purple-dye merchant. Others get name-checked for financial and material support such as Joanna and Susanna. There was no word “deaconess” in the early Church, only deacons, and Phoebe was one in Rome, to whom St Paul wrote. These were the very foundations, the cornerstones on which women’s priesthood was built. I couldn’t be a priest in a Church that didn’t ordain women. 

But, again, that only gets us so far. It doesn’t tell us what is distinct about women’s witness, let alone women’s episcopacy. For that, one might need to look to the tradition of medieval mysticism, women such as the anchoress Julian of Norwich, or Margery Kempe whom she mentored. When the latter wasn’t annoying everyone by wailing in ecstasy (the “gift of tears”), they and others opened a via feminina as a route to encountering the godhead. 

The self-sacrificial nature of Christ was consequently co-extended, along with the foundational figure of Mary and the divinity of her motherhood, with nurturing and the bringing forth of new life. The Church Fathers couldn’t hold on forever to gender specificity (though it took long enough) and the women brought us a more holistic experience of the divine.  

It may be that a first woman Archbishop of Canterbury has to step up to this plate. No pressure then. What I think I mean is that there is a distinctive and authentic thread of women’s witness throughout history. So this isn’t just about a historic moment for women, it’s about womanhood. When Teresa of Avila founded a tradition of reformed Carmelite monasteries in the 16th century, she wasn’t just an indefatigable woman, she was standing up to and against the patriarchy of Rome. 

It’s anachronistic to call these Mothers of the Church feminists, but they point to the feminity of God and that is something ontological for Mullally to consider, not just a chromosomal novelty. It makes her job very different from the political sphere. From Margaret Thatcher to Kemi Badenoch, Angela Rayner and Shabana Mahmood, top political women have not exactly had to pretend they’re men, but have had to emulate them. Wisecrackers used to say of Thatcher’s all-male cabinet that she was the best man amongst them. 

That is not Mullally’s task. Women’s sacramental ministry is distinct from men’s and inauthentic if not lived as such. She needs to find a voice that is congruent with some of those mentioned above and it’s a prophetic voice, not simply priestly. 

To do so, she’ll need to break with the bureaucracy and managerialism of the Church, which led to our churches being locked up during the covid pandemic and the parlous state of its safeguarding, which cost her predecessor his job. Mullally led on both those issues. 

So this is a big moment for our Church, not just because she’s a woman, but for women’s prophecy. Can she do it? We hope so.     

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