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Hospitality
5 min read

How a nation opened its arms to refugees

Fascinated by Polish hospitality extended to Ukrainian refugees, Tory Baucum delves into its nature.

Tory Baucum is the director of the Benedictine Center for Family Life, Benedictine College, in Atchison, Kansas.

A helper in a yellow vest reaches up to a open train carraige window while offering a bottle. The side of the carraige is covered in graffiti.
A Polish volunteer hands water to Ukrainian refugees at Przemyśl, Poland.
Mirek Pruchnicki, CC BY 2.0, via Wikimedia Commons.

How does one explain three million refugees in Poland but not one refugee camp? Even the experts find it hard. Dr Marc Gopin of the Carter School for Peace and Conflict Resolution at George Mason University, and a world expert on refugee crises, says in 30 years of work among refugees he has never seen anything like it.  

In December 2022 I was visiting early responders near the Ukrainian-Poland border. One man (whom I’ll identify as Slawomir) was particularly heroic in his efforts to whisk fleeing Ukrainians to safety. Upon introduction, he asked if I wanted to know how he did it. I replied,  

“What I really want to know is why? Why did you risk your livelihood, even your life, to rescue people whom you did not know? Indeed, even people with whom you share a hard and sometimes bitter history?”  

He had no answer. He could only manage a shrug and murmured,  

“I just had to.” 

This conversation, with variations, could be told repeatedly. By all the accounts I’m aware of Poles are acting inexplicably heroically. It merits investigation and understanding beyond the anecdotal.  

So why then has Poland played such a heroic role in this global crisis? 

One answer I’ve by given Poles, is that they have experienced what the Ukrainians themselves are now going through. Their own history of PTSD has primed them to empathize with effects of the shock and awe of an aggressor’s invasion - indeed, of Russian invaders. A scholar at the Jagillonian University said to me of their two 20th Century invaders - the Germans and Russians - most Poles preferred the Germans. Having just visited Auschwitz I found that incredible. “Oh, the Nazi’s were wicked, but they were civilized in their wickedness. Russians show no constraint whatsoever,” she said.  

Poles also know abandonment, such as when they fended for themselves as the neighbourhood bullies took turns pounding them. The 1944 Warsaw Uprising, ending in the razing of Warsaw, could have been averted if the West had intervened. But Poles were betrayed by those they believed were friends, or at least, allies. We weren’t. So, Poles are constitutionally unable to simply stand by and watch atrocities. But other European neighbours can and still do.  

So what makes the Poles’ response so extraordinary beyond its rarity?  

As we probe deeper - beyond collective experience - we hit Polish character. Character is durable. Ever since the late 18th century when Poland was partitioned by three neighbouring Empires (Prussian, Russian and Austria-Hungarian), Poles have been in survival or nearly survival mode. In the 1770s Swiss political theorist Jean Jacques Rosseau wrote an epistolary tract warning the Polish government that if these empires succeeded in “eating you then you must never let them digest you.” For nearly two hundred years the Poles learned that culture and faith keep a people together when even the state buckles. Culture and faith make a people indigestible. These lessons, learned in the crucible of multiple failed uprisings and even death camps, steel the Polish people to do the truly remarkable deeds the world now witnesses.  

Poland’s long partitioning and occupation baked in their collective experience. At his recent visit to Kyiv and Warsaw American President Joe Biden singled out the Poles for their heroism. It was a first in this particular crisis.  

But can we dig deeper still for an answer to why Poles have acted in such a remarkably generous manner?? For it’s not only singular and durable but it’s also a theological response. This answer requires a little history to absorb.  

Many Polish people possess a heroic - even radical - hospitality. The ultimate cause of Polish homes, hostels and hotels welcoming the stranger can be proffered: their faith in God. The Poles have a saying:  

“When a neighbour is under your roof then God is under your roof.” 

 In the 12th century Boleslav the Bold had Bishop Stanislav murdered while celebrating mass (let the English understand). The Poles turned against their king and embraced Stanislav as their martyr and patron. To be received back into the good graces of his people, Boleslav placed a Benedictine foundation in every Cathedral of the land. Rule 53 of Benedict’s Rule states that monks are to receive every stranger as Christ. The common saying of the Poles (if a neighbour is under your roof then God is under your roof) has its roots in this ancient act of royal penance. This Christian practice of hospitality was the core strategy of the Christianization of Poland. In the history of Benedictine evangelization through Christian hospitality we’ve finally hit the bedrock of the Polish response. 

They understand people need not only justice but also transcendence in order to flourish. Or even survive.

However, it would be a stretch to say the Poles’ extraordinary response to their neighbours in need of shelter is simply the triumph of the distinct Benedictine character or even more genetically of Catholic sensibilities. Nothing this complex is that simple. All these factors are integrated in this moment. But after five visits to Poland since the third day of the initial invasion, I’ve concluded the Poles are, by and large, a uniquely virtuous people. Not morally virtuous - original sin is distributed evenly, even amongst Poles. But they are theologically virtuous: they are people shaped by faith, hope and love. They understand people need not only justice but also transcendence in order to flourish. Or even survive. 

Their great 20th Century saint, Pope John Paul II, during the Stalinist occupation, taught them the practices of Domestic Church. The domestic church is nothing less than the family faced outward in love. Christianity began as a domestic movement. Writing to residents of Rome, St Paul greets the Christians who gather weekly in each other’s homes). In moments of great distress Christians have been known to revert to these root realities, these primal instincts. Not always, of course. But in February of 2022 and for the many following months they have. In Poland.  

We are sitting on the most amazing story the world has mostly not heard about. I’m grateful to tell the world what I’ve seen unfold before my very eyes. I wish my telling was adequate to the Poles’ heroism. For as they modestly tell it “we just have to.”  

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Film & TV
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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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