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
Creed
Monsters
5 min read

The short road from normality to evil

The Liverpool’s parade ramming reveals society’s watermark
Aerial view of a yellow-jacketed police forming a cordon within a crowd.
Aftermath of the Liverpool parade incident.
ITN.

Sometimes football is interrupted by real life, and you remember how trivial it ultimately is.  

On 26 May, the city of Liverpool was gearing up to do what it does best: celebrating. Specifically, celebrating the parade for Liverpool’s lifting of the Premier League trophy the day before. I’ve written before about the day it was confirmed that Liverpool would win the league. The joy, the relief, the tears; the community of it all. Cody Gakpo with his top off.  

Here the whole city would be involved, and many more besides who had travelled just to be there. Not even torrential rain can dampen scouse joie de vivre. The city alive in red, joined in adulation of its team as the Premier League Champions’ bus paraded across the city. What a day. 

And then, an interruption. Reports begin to emerge that someone had driven a car into people on the parade route. You fear the worst. And then it’s confirmed, and you fear even more.  

Suddenly the parade feels trivial; football feels trivial. You’re just waiting for news that everyone is okay. 109 people are injured and it’s a miracle that no-one is killed, although you imagine many more will live with the trauma of the day for years to come. 

The immediate and (quite literally) uninformed commentary and misinformation spread by many on the far right was as predictable as it was racist. The same people seemed genuinely disappointed when the perpetrator turned out to be, not an immigrant or an asylum seeker driven by ‘non-British’ values, but a 53-year-old white British man from the city. As ever, the far right demonstrating once again that the first reaction is very rarely the right reaction. 

We still don’t know the full details of what happened and why, but the man’s neighbours described him as “normal” and expressed their surprise at him being caught up in something like this.  

I was surprised by how surprised everyone was at this. 

The Christian Bible is full – full – of ‘normal’ people committing abnormally evil acts. David, Israel’s most beloved and highly praised king, rapes a woman called Bathsheba resulting in her getting pregnant. He then tries to convince the woman’s husband to sleep with her so people will think the baby is his. He doesn’t, so David has him killed. Israel’s most beloved and highly praised king. 

David may be one of the starkest examples from the Christian Bible, but he’s certainly not the only instance of a normal, or even seemingly ‘good’ person performing unspeakable acts of violence and evil. Time would fail me if I tried to recount them all here.  

People are fundamentally good. I will die on this hill. People are fundamentally good. But the road from normality to evil is shorter than we often care to admit. 

The Slovenian philosopher and professional eccentric Slavoj Žižek tells a joke in his helpful little book Violence. Workers are suspected of stealing from a factory and so have their wheelbarrows checked every day at their shift’s end. Only when it’s too late do the factory owners realise they’re stealing wheelbarrows.  

We have so many frameworks and watermarks for identifying what constitutes ‘violence’ in society. And yet Žižek’s point is that these frameworks and watermarks are themselves upheld by violence. There’s violence inherent in the system.  

This is one of the central points in Christopher Nolan’s The Dark Knight, too. In one memorable scene, the Joker is talking to Harvey Dent while strapped to a hospital bed. He says:  

“Nobody panics when things go ‘according to plan’, even if the plan is horrifying. If tomorrow I tell the press that a gangbanger will get shot or a truckload of soldiers will be blown up, no one panics, because it’s all ‘part of the plan.’ But when I say that one little old Mayor will die? Well then everyone loses their minds!” 

But the Joker’s point is that none of this is normal. Not really. 

This is the true crime of the world we live in today, that it has convinced us of the normality of evil while undermining the normality of loving one another. 

But they are all symptoms of the same sickness. The repulsion we feel towards the ‘normalcy’ of the driver at the Liverpool parade is the repulsion we ought to feel towards any act of violence, be it the violent persecution of immigrants and asylum seekers, the enforced annexation of sovereign territories, or the attempted genocide of unwanted people groups (to conjure up some obviously hypothetical situations …). 

To be surprised at the violence seen in Liverpool on 26 May at the hands of a ‘normal’ man is to miss the fact that society’s very norms and standards are, themselves, deeply violent. Fashion business built on modern slavery and child labour; banking corporations paying their bosses obscene bonus wrung from the pockets of people barely able to make ends meet; at least 354,000 people homeless in England alone by the end of 2024.  

All these things are acts of violence. All these things are normal. They are the norms and standards against which we look for violence in our world today. But they themselves are deeply violent evils. They are the violence inherent in the system. They are the workers’ wheelbarrows. They are the Joker’s truckload of soldiers.  

We live in a society that functions precisely because of deeply unjust and violent systems and structures. The violence is necessary for the functioning of the system. 

But while Liverpool’s Champions League parade demonstrates this, it also shows us the correct response to the normality of evil: love. 

In the aftermath of the incident, people took to social media to offer beds for the night, lifts home, food, drink. Anything and everything that anyone might need. And do you know what the most remarkable thing about this was? It was all so … normal.  

Of course this is what you do in situations like this. You love, and you care, and then you love, and then you care. What else is there to do? It’s the most normal things in the world. People are fundamentally good. I will die on this hill.  

And this is the true crime of the world we live in today, that it has convinced us of the normality of evil while undermining the normality of loving one another. In such a world, to love one another, to care deeply and meaningfully for those around, is nothing short of an act of resistance to the violent established order.  

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