How do you drink religiously?

A Dry January ad catches the eye.

Jonny Torrance

Jonathan is a priest and theologian who researches theology and comedy.

A subway billboard ad show a nun cradling a beer.

Lucky Saint.

On a recent trip across London, I was slightly surprised to be exhorted multiple times to “Drink Religiously.” For those of you, like me, not from the capital, this is an ad campaign for Lucky Saint non-alcoholic beer. It features an image of a nun in a classically pious pose, cradling in her hands a bottle of the apparently blessed brew.

Further research (by which I mean a quick Google search), revealed the beer is a new arrival on the scene, and is the “official” beer of dry January. And the name? Well the website claims it is “a wry nod to the virtuousness of drinking alcohol-free.”

Christian nerd that I am, this ad got me thinking. What should we make of the suggestion to “drink religiously”?

Well firstly using the imagery of religion to advertise beer feels a little new. Doing things “religiously” has not tended to be seen as a positive, and so it hasn’t been a key part of the advertising strategy of brewers: an advert that tells you to drink sinfully sounds a lot more plausible. Maybe this is over-reading things, but the ad is emblematic of what we are increasingly observing – our culture feels more open to God, or at least to religion, than it was. Even if all we do with that openness is sell stuff.

That said, the ad also works because it assumes we all know what religion is, so much so that we know what “drinking religiously” would involve. Religion, in the language of the ad, is concerned with moral uprightness. Obviously religious people, if they are going to drink, are going to drink alcohol free beer, because we all know that alcohol is morally bad, or so the implied argument goes. They even use that rather unfashionable word virtue. There’s more than a hint on the website that drinking this beer makes you just a little bit better than everyone else.

But what might Christian religious drinking be? Well, I can only speak for myself, but the ad made me think about Communion – that strange moment in church services where Christians drink wine to remember, and somehow partake in, Jesus’ blood.

Now, Communion is an incredibly rich topic and has layer upon layer of meaning. But one thing we remember as we eat bread and sip wine, is that we are precisely not better than other people. That to be “religious”, or better still to be Christian, is not to be more virtuous than others, if anything it is to be more aware of our need.

When we come to take Communion, we come with empty hands, and are fed. We come acknowledging not our luck but our weakness, and are given drink. We come with our need and are met by the God who gives us more than we can imagine, because he gives himself.

What might it mean to “drink religiously”?

Call me a cynic, but I think it might be something other than just enjoying the taste of beer without risking a hangover.

Perhaps it might mean to meet with Jesus Christ in a sip of wine on a Sunday morning.

But then I haven’t actually tried Lucky Saint, so who knows, maybe drinking it really is a religious experience.

Cheers.

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Faith

15 August 2024

4 min read

Faith is no longer a dirty word in publishing

Sarah Perry’s comments suggest a reawakening of concern for its observation.

George Pitcher

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

A woman being interviewed gestures with a hand in front of her

Sarah Perry.

Waterstones.

If there’s one thing anyone who has ever written a novel can’t stand, it’s having to congratulate a successful novelist. So, it’s through gritted teeth that I warmly welcome the words of Sarah Perry (The Essex Serpent) that religious faith is ceasing to be a subject of embarrassment in published fiction.

It’s about time. Perry told the Edinburgh International Book Festival that, for her latest book Enlightenment, she was asked to put in more theology: “I assumed that everybody knew what the doctrine of predestination meant.” Bless.

The cause of my pathetic envy as I applaud her is that I had my first (and, to date, only) novel published in 2017, to almost universal disinterest. I like to tell people that it was well received – all three people who actually read it said they enjoyed it and only one of them was a family member. It actually did a bit better than that, but you get my drift.

It was an unashamedly religious psychological thriller, titled A Dark Nativity. Brace position, here comes a one-sentence synopsis: The narrator, Reverend Natalie Cross, is a frustrated former aid worker who undertakes a mission to Israel, is kidnapped and held hostage, murders her way to freedom, discovers she was the victim of an Anglo-American plot, wreaks her terrible revenge and (spoiler alert!) gives birth to a son of uncertain paternity.

See what I did there? As well as the latter-day Nativity resonance, thematically I was interested in what redemption looks like in Israel and Palestine. I know, I know – but even I thought it would be distasteful to try to cash in on what’s happened there since.

Enough of the plug for a seven-year-old novel. My point is that its religious themes actively militated against it at the time. Novels addressing Christian faith (or any other kind) occupied a particular publishing niche – a harsher word might be ghetto. To try to break out of it was pointless. The great Christian novelist Penelope Wilcock told me (very kindly) that my book was too religious for the secular market and too secular for religious readers.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation.

The restricted area to which religion was confined had its stylistic rules. There was the cathedral close romp, which authors such as Catherine Fox had made their own. The vicarly whodunnit (lately updated by Reverend Richard Coles). Magic realism with its daemons and Philip Pullmans. And anything, in the wake of Dan Brown’s The Da Vinci Code, involving ancient plots that might make a movie, with hooded figures walking in slo-mo through cloisters.

Vicars had to be evil or silly. I may be both those things at times, but I’d like to think there is other stuff going on here for cultural exploration. My narrator, Nat Cross, was driven, often funny and more than a little mad. So like a lot of Anglican clergy.

If she’s right – and I very much hope she is – it’s why what Perry has to say is so hopeful. Because it begins to suggest that religious faith is slowly beginning to be accepted back into polite society. Whisper it softly, it might even become a cultural norm. If Richard Dawkins can describe himself as a “cultural Christian” and the historian Tom Holland, in his book Dominion, can claim that Christianity is the entire foundation of western civilisation, then there is everything to play for. And, indeed, write for.

It’s not as if cathedral frolics and the revelation of Jesus’s wife in Leonardo’s Last Supper was anything other than a fictional diversion of post-modernism. Religion and specifically Christianity had been a staple of the novel in English.

I hesitate to mention their names in the same column as the authors above (including me, most obviously), but Graham Greene’s exposition of Catholic guilt in The End of the Affair and Evelyn Waugh’s of the impossibility of moral reformation in Brideshead Revisited are probably the best religious novels of the twentieth century.

Further back towards the birth of the English novel, the Reverend Edward Casaubon in George Eliot’s Middlemarch is perhaps the most tragic portrait of a clergyman who is neither evil nor silly. He stand as a warning from history to today’s Church of England.

And it’s to that, the established Church, that Perry’s remarks ultimately turn our attention. We’re told that there has been a five per cent spike in church attendance recently, but that of itself isn’t sufficient to suggest a renaissance in our religious culture. Our arts and culture will only ever really reflect what we care about.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation. If so, that’s good news for the religious, as well as for religious authors. And I might just get a sequel out of it.