Explainer
Belief
Creed
4 min read

Hold or cut the golden thread?

There's a ‘mysteriously beautiful’ vision threaded through our world, writes Stephen Cottrell. In an extract from his Dear England book, the Archbishop of York considers the Beatitudes.

Stephen Cottrell is Primate of England and Archbishop of York. He has authored 20 books.

A CGI render of a grid of golden lines receding into the perspective
The golden thread.
Joshua Sortino on Unsplash.

The heart of Jesus’ teaching is found in the longest teaching passage in the Gospels, it is known as the Sermon on the Mount. 

It begins with a mysteriously beautiful passage known as the Beatitudes. 

Here Jesus sets out a series of maxims that at first sight seem to be his equivalent of the Ten Commandments. Like Moses, the Old Testament prophet who received the latter, when Jesus receives the Beatitudes he has gone up a mountain. 

And like Moses he has a series of short, pithy things to say that will then need a lifetime to work out. 

However, the Beatitudes are not a moral code. They are not things you can either do or not do. They are attitudes to which we can aspire. Rather than describing the moral life, a code by which we can justly live alongside each other in society, they describe what it looks like to 'go the second mile’. They describe what perfect love in action looks like. 

Here they are: 

Blessed are the poor in spirit, for theirs is the kingdom of heaven. 

Blessed are those who mourn, for they will be comforted. 

Blessed are the meek, for they will inherit the earth. 

Blessed are those who hunger and thirst for righteousness, for they will be filled. 

Blessed are the merciful, for they will receive mercy. 

Blessed are the pure in heart, for they will see God. 

Blessed are the peacemakers, for they will be called children of God. 

Blessed are those who are persecuted for righteousness sake, for theirs is the kingdom of heaven. 

I don't propose to spend ages unpacking these. But alongside the Ten Commandments themselves, the Lord's Prayer and the Creed, the Beatitudes have become one of the central documents of the Church. 

Living by them is the work of a lifetime. 

They are the centre of Jesus' teaching. Their meaning, however, isn't always self-evident. Like his stories, they need inhabiting. 

They are very challenging. It isn't easy to be merciful. It isn't easy to make peace. Especially if the likely outcome is the persecution we usually make efforts to avoid. Not that there is anything good about persecution. As we know, mockery and ridicule hurt. How much more hurtful is it to be hunted down because of your witness to peace? Nevertheless, it is witnesses to peace that Jesus is recruiting here. His own life, and everything that he teaches, led this way: to the peace that is beyond the world's understanding and is about a wholeness and totality of giving and receiving love. 

Jesus is inviting us to live with a different set of attitudes. And he does not baulk from acknowledging that these attitudes will bring us into conflict with the carefully protected interests of those who secure power and influence for themselves at the expense of peace. They exchange it for what is little more than a truce. At best, an absence of war, what we live in our jealously guarded siloes and forcibly protect our borders, repelling intruders and stamping on those who even dream differently. 

In our own society, thankfully, we enjoy freedoms of speech and action. This means that we rarely meet with much opposition beyond people's unreflective apathy or polished disdain. But these freedoms we enjoy should not be taken for granted. They have been hard won. They could easily be lost. Especially if we fail to see where they have come from; precisely this realisation of the dignity and worth of every person and our responsibilities to each other that arose through Christ. 

Unfortunately, these things that underpin what is best in our society are not self-evidently the best. We've got so used to them that we easily imagine they are. But actually, we don't observe them in the world around us. Nature, for instance, is not democratic. Nor particularly caring. The weakest usually die first. The fittest survive. Nor is it much different in human communities. Our history - always written by those who win - is one bloody story of conquest after another. 

Empires rise and fall, and there is very little to suggest that there might be another kingdom where a different set of values prevails, and where the king turns out to be the servant of all. But that is precisely the Christian narrative. It is a golden thread running through human history. In every age it can either be held on to, or cut away; left to our own devices, especially when our backs are to the wall, we find that the human compass is usually set towards self-preservation. Our empires and systems are usually designed to keep others out. Or at least in their place, so that they can serve us. In this so-called ‘real world’, shepherds do not go in search of one lost sheep, as Jesus suggested God does, in one of his parables. That would be uneconomic. Like the rest of us, they play a percentages game, and for the sake of the ninety-nine, we accept the loss of the one. The strongest and the wiliest prevail. That's just how it is, we say. If we can help the weak, we will. But if we can't, or if it affects us badly, we won't and we don't. 

This is why the world needs a set of values - and a story - that will save us from ourselves, and our worst instincts. This is why we need a set of values that are rooted in a tradition whose stories and whose very heart are, gloriously, the life and teaching of a person who is himself the revelation of God's love and purposes for the world he made and loves - who even laid down his life to search out those who are lost: the very image of the invisible God. More than that: someone who loves us and knows what it is like to be us, who has experienced from the inside just what it is like to inhabit a divided and compromised world. 

Therefore, the Beatitudes are a set of values and attitudes by which we can inhabit the world differently and through which we can begin to see what matters in the world and what must be done. 

 

Dear England: Finding Hope, Taking Heart and Changing the World is published by Hodder & Stoughton.  

Review
Culture
Film & TV
4 min read

The Zone of Interest’s peripheral vision of evil

Director Jonathan Glazer bests Spielberg thanks to a quality of attention.
in an immaculate garden a family play in and around a small swimming pool. Beyond the garden wall, a barracks is visble with crematorium smoke rising beyond it.
The Höss family at play at their Auschwitz home.

This has been a tremendously difficult review to write. I’ve written and re-written this review for two weeks now. You will see why. 

The Zone of Interest begins idyllically. A family is picnicking by a lake. The men swim, the women pick berries in the woods. It's a gorgeous sunny day. The family happily drive home down an evocatively headlamp-lit country road. The father walks through their palatial house, turning off every light. The next morning the family are gathered outside to give the father his birthday present: a canoe. Two boys lead their blindfolded father gently down the steps from the house to the garden. The garden is magnificent: filled with flowers and immaculately kempt. 

The father is wearing an SS uniform. The camera pans round the garden. Behind the garden wall you see glimpses of barbed wire, belching chimneys, rows of dormitories. You hear shouts, moans, cries, gunshots. This is no ordinary house, no ordinary garden, no ordinary family. This is the home of SS-Obersturmbannführer Rudolf Höss, his wife Hedwig, and their five children. This is Auschwitz. Höss runs it. Hedwig runs their beautiful home. The children run around. That is the next 100 minutes of film. It's a realist family drama from the 1940s. The children are children, the wife is house-proud to a fault, and the husband is hard-working, ambitious, and keen to do a good job. I don’t want to say much more. You simply need to go and see the film. 

When Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil it was controversial. Many commentators misunderstood or misrepresented her point. Evil acts - especially an evil act as totemic as the Holocaust - are not ‘banal’. The people who commit evil on such a scale often can be. A genocidal machine of such scale and complexity needs a tremendous number of cogs… they can’t all be murderous sociopaths. Eichmann was banal in himself - he was of average intelligence, uncreative in his thinking, a follower of fads and joiner of organisations. 

This is exactly how Rudolf and Hedwig are presented. Christian Friedel plays Höss with an almost continual ambience of low-level boredom. Pillow-talk with his wife, reading to his children, a discussion about the most efficient way to incinerate the Jews in his camp, is all spoken with roughly the same expression and tone. He clearly wants to do well in his work, but it doesn’t matter what the work is. Sandra Hüller gives Hedwig a marvelous, slightly nervous energy. She always seems to be keeping a combination of grasping envy and slimy smugness just barely contained beneath the surface of her features. She can’t think of much beyond the order of her house, the beauty of her garden, and her status among other SS wives. Their quality of attention is essentially absent.  

Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it. 

Not to be flippant, but they would be dreadful dinner-party guests, and not just because they are Nazis: they seemingly have no capacity for a thought that goes beyond themselves, and their immediate environment, and their immediate needs and wants. They are banal. 

Between them Jonathan Glazer (director), Łukasz Żal (cinematographer), and Mica Levi (musician) give a remarkable demonstration of the power of restraint. The camerawork is naturalistic and almost never showy. The performers look like they were given the latitude simply to be in the scene: no over-direction. The soundscape is hauntingly bare. There is little music or sound beyond the ambient. The mood is, of course, set by the fact that the ambient sounds are roaring furnaces, gunshots, and desperate screaming. The film does not attempt to make a point or demand a response; Glazer simply gives you a slice of domestic life that just happens to be located next door to a death-camp. 

Steven Spielberg has suggested this is the best film tackling the dreadful subject of the Holocaust since Schindler's List. He is wrong. The Zone of Interest is a far superior film. I love Spielberg, but Schindler's List is offensively bad. It takes a subject of such abject depravity and then tries to emotionally manipulate you into feeling bad: the music, the speeches, the more-is-more approach to showing you the pinnacle of human cruelty. Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it.  As Augustine says, evil is nothing in itself. Evil is the corruption and annihilation of what is good and lovely. Evil isn’t some great monster that forever battles with God. God is good…no…God is Good. So evil is literally nothing - goodness in decay to nothingness.  

Glazer, whether intentionally or not, recognises this theological truth. Looking at the full abyssal nothingness of evil is beyond human comprehension. But if you see it in the periphery, then you see it. When you hear the screams of the innocent and at the same time see a woman cheerfully ignore them while she plays in a flowerbed with her infant daughter, then you recognise the potential for human depravity. You can’t truly encounter the nothingness of evil, and the dangers of letting its parasitical and destructive hunger spread, until you’ve watched others ignore it without missing a beat. I’ve never cried while watching Schindler's List. I cried while watching The Zone of Interest. Twice. 

Glazer et al have done the world a great service with this film. They’ve reminded us that the weapon against evil is the rejection of empty banality. Banality is loving yourself. To reject banality is to embrace a quality of attention that is truly outward looking. Rejecting banality is loving your neighbour as yourself.