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Race
5 min read

How reconciliation underpins acts of reparation

The case for reparations is criticised for looking too much to the past. Anthony Reddie argues that the ancient roots of reconciliation are vital for today’s debate.

Anthony Reddie is Professor of Black Theology at the University of Oxford, and Director of the Oxford Centre for Religion and Culture.

A diagram plan of a slave ship showing hundreds of body outlines.
Diagram of the ship ‘Brookes’ from Regulated slave trade: reprinted from the evidence of Robert Stokes. (London, 1849)
Lambeth Palace Library.

Reconciliation is the key theological motif that runs through the scriptures and across Christian Tradition - Reconciliation between God and humankind, reconciliation between human beings across the cultural, social, political, ethnic and economic divide, reconciliation between our warring selves within us. 

Paul’s writings form the earliest documented texts in the New Testament canon. His writings are full of references to God’s reconciling work in Christ on the cross. This theme, however, needs to be read in terms of Jewish thought. This will correct the over-spiritualising of this in Christian practice. 

To make sense of the notion of reconciliation one also must understand the Jewish antecedents that inform Paul’s writing, given Paul himself was a Jewish man. In the Hebrew scriptures and in Jewish thought, atonement and salvation are collective and corporate concepts. This is very different to much of what constitutes post-Reformation Evangelical Protestantism where the emphasis is on individual salvation in Christ, by grace, through faith. 

The Hebrew Bible traditions of the Sabbath and Jubilee were moments for system re-set and dismantling inequalities which had accrued. 

Essentially, being in right-standing with God necessitated that one should be in right relationships with others. In fact, one could argue that it appears to be the case that one cannot be in a right relationship with God unless you were doing right by the other. The above can be seen in the Old Testament book of Leviticus. The early verses of its sixth chapter clearly state the notion of restorative justice for that which was wrongly taken and used, which is described as a “sin against God”. 

One can also see this concept or formula evident within the book of Deuteronomy 15:12–18. The key is verse 12 which states:  

“If any of you buy Israelites as slaves, you must set free after six years. And don’t just tell them they are free to leave – give them sheep and goats and a supply of grain and wine.”  

As Peter Cruchley’s work on the Zacchaeus Tax campaign has shown, the Hebrew Bible traditions of the Sabbath and Jubilee were moments for system re-set and dismantling inequalities which had accrued. They were moments of breaking the cycling, ongoing basis of debt and economic enslavement. It’s worth reminding ourselves that not one penny has been given to any of the descendants of enslaved Africans for the wrong done to them and yet Christian communities in the West still want to talk about redemption that is affirmed by their Judeo-Christian roots! 

Understanding the scriptures in their historical context enables Christians to discern a theological pattern for using money and other resources for enacting restorative justice. Modern interpretive theories on how we read biblical texts take full account of the fact that the New Testament was written within the context of the Roman Empire, where the Emperor claimed divine honours which faithful Jews could not affirm. Today’s reader must recognise that the context in which ALL of the New Testament canon was composed was one that echoed to the restrictive strains of colonialism and cries for justice against oppression. Judea, in which Jesus’ ministry was largely located, was an occupied colony of the Roman Empire. 

Contemporary scholars have shown that in the Jewish tradition, issues of reconciliation, redemption and salvation have a corporate ad a collective dimension to them as well as an individualistic one. 

Scholars such William R. Hertzog II have shown the extent to which wealth in the Roman Province of Palestine was always connected with economic exploitation. So, when Jesus challenges the ‘Rich Young Ruler’ to follow him, he says this in knowledge that the young man’s accumulation of wealth was not amassed in a neutral context. The reason why this encounter is so compact is because both the Rich Young Ruler and those first hearers knew the expectation of how he should behave. 

The Three Cs (commerce, civilisation and Christianity) were the underlying rationale on which the British Empire was based. The Three Cs were coined by David Livingstone (a London Missionary Society ‘Old Boy’) in Oxford in 1857. The exporting of Christianity via the European missionary agencies in the eighteen and nineteenth centuries was largely undertaken under the aegis of empire and colonialism. Christian mission, therefore, has had a difficult relationship with non-White bodies or the ‘subaltern’ for centuries as they are the ‘other’ and have been exploited for economic gain. There was no ethic of equality between missionaries and the ‘natives’. 

One can see that Jesus’ teachings around wealth and its relationship to discipleship and living the “Jesus way” has political and economic implications. Scholars such as Musa W. Dube, Catherine Keller, Michael Nausner and Mayra Rivera, have all shown the similarities between first-century Palestine, the slave epoch of the sixteenth to eighteenthcenturies, the eras of colonialism and our present globalized, postcolonial context. Each context is based upon imperialistic/colonial expansion, capital accumulation, forced labour and exploitation of the poor by the rich. 

Pharaohs on Both Sides of the Blood-Red Waters is the title of a 2017 book by the famed anti-apartheid activist and scholar Allan Boesak, who reflects on the contemporary ‘Black Lives Matter Movement’ largely in the US and post-Apartheid South Africa. In this context he speaks of the corporate reality of ‘Cheap Grace’ as outlined by the famous German theologian Dietrich Bonhoeffer. The West has attempted transformation WITHOUT sacrifice or restorative justice. Bonhoeffer chided Western Christians for wanting to have discipleship without radical commitment to God’s word, and forgiveness and redemption without struggle and sacrifice. Boesak reminds us that there is no redemption without the cross. Reconciliation must cost us something! 

Due to the influence of post-Reformation Evangelicalism, we have largely interpreted Jesus’ words in a purely individualistic way. Contemporary scholars have shown that in the Jewish tradition, issues of reconciliation, redemption and salvation have a corporate and a collective dimension to them as well as an individualistic one. 

I believe that institutions like the Church of England can set a prophetic lead to other Christian institutions, and beyond it, to other civic bodies and indeed governments.  ‘Cheap Grace’ NEVER leads to redemption and reconciliation. Without restorative justice there is no reconciliation, and the mission of Christ is diminished.

Article
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Film & TV
8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta, 

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job. 

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia. 

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death. 

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life. 

So, with all this in mind, these are my five tips for how to create a great Narnia series: 

1. Understand the thinking behind the books 

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental. 

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation. 

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales.  His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced. 

2. Recreate the distinct atmosphere of each book 

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates. 

As Ward writes, quoting Lewis: 

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ” 

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’  

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for. 

3. Embrace Narnia’s spirituality 

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books.  Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions.  I would advise Netflix to be bold and as true to Lewis’ thinking as possible. 

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption.  In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’. 

However, Disney never got to attempt some of the most theologically challenging scenes in the series.  Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen.  These scenes will not work without confidence and clarity about what Lewis was trying to get across. 

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’.  He is trying to 

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’ 

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’. 

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story. 

4. Get the central character right 

The character of Aslan stands right at the heart of the books.  He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.  

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise. 

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes: 

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’. 

This is why Aslan’s victories lead to riotous partying.  As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings. 

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right. 

5. Interpret it for a new audience 

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’. 

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.  

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny. 

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.  

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience. 

The Great Story… 

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book: 

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.” 

I wish you all the best with the production of the series and I look forward to seeing the result.  

Thanks, 

Jon Kuhrt, Narnia fan, South London (aged 51). 

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

 

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).