Article
America
Creed
Justice
6 min read

Is it okay to be mean as long as you are mean and right?

Here's what a mean street preacher really taught me.

Nathan is a speaker and writer on topics related to faith, life and God. He lives near Seattle, Washington. His writing is featured frequently in The Seattle Times. nathanbetts.com

Behind a passer by a street peacher holds up a large yellow sign with a message on it.
Street preachers on the Hollywood Walk of Fame.
LaTerrian McIntosh on Unsplash.

A few months ago, my cousin was visiting my hometown of Seattle for work. We planned to meet one evening for a Mariners baseball game during her visit. I suggested that we meet near the wonderful Ken Griffey Jr. statue near the stadium gates. What I hadn’t realized was that this was the precise spot a street evangelist had also decided to station himself in order to share (mostly shout) his message of judgement and destruction the same evening. Kind of like a pre-game verbal hors d'oeuvres. I arrived at the meeting point a few minutes before my cousin, giving me ample time to hear the preacher preach.  

Now, I grew up in church, and, in fact, am myself a speaker and writer on topics involving faith and God. In other words, I’ve had over 40 years to experience the church’s, umm, “quirks”. I’d like to think that very little coming from the mouths of faith preachers could shock me. Alas, I was wrong. 

As I began to listen to the preacher, lines like “weeping and gnashing of teeth” scorched through the preacher’s megaphone. Yep, nothing new there. The preacher used the word “judgment” a lot. Actually, impressively a lot. I’ve never before heard the words “God” and “judgment” used in conjunction more times within a two-minute span. There was a raging intensity to the sermon, but still in the range of normal for street preaching. 

Then, my cousin texted me that she was outside the ballpark but might have gotten the location wrong. I realized she and I were at two different locations. While I texted my cousin back, I tuned out the preacher’s message. That is until I heard him shout through his megaphone, “He hates you.” I stopped texting. I looked up at the preacher. Did he just say that God the Almighty hated all of us outside the ballpark? Families, little boys and girls, and elderly? Did God hate all of us lining up for the game? It was “bark at the park” night so even the dogs were casualties in the preacher’s line of fire. If nothing else was gleaned from the man’s message, it seemed, we were all to understand that God hates us. 

Minutes later, when my cousin and I finally found each other, I told her that she had had the good fortune of missing out on the street preacher informing her that God hates her. She replied, “Oh, I have plenty of others who tell me that!”  

Sadly, many of us have received that negative message from different sources in our world and too often from people sharing some association with God.  

In America, as election season comes to the boil, I’ve noticed (and maybe you have too) the not-so-subtle attitude that it’s okay to say mean things about another person as long as that person is on “the other side”. A verbal dig here, an eyeroll there, name-calling and slanderous nick-naming the enemy for the sake of ridicule have become all too common, if not a soft virtue in political discourse. It has become hard to discern where the moral line is, or if such a thing still exists within political dialogue.  

Conversations like the following happen so frequently following a political debate or interview, they’ve become cliché: “I almost cannot believe he said that!” Response: “Well, yes, that was pretty bad. But he’s right, isn’t he?” Translation: it’s okay to be mean as long as you are mean and right.  

Evangelicalism has gained a hard edge with little resemblance of the good news from which it has its very name.

The meaning of the word ‘evangelical’ here in America is a complex thing, to be sure. But perhaps one of the reasons it is understood as a political word more than a religious one is because the combative and rude nature of discourse seen in politics has become increasingly acceptable even in Christian settings. As a friend of mine said to me years ago, “It feels as though Christians have turned rudeness into a spiritual gift.”  

The thing is, you probably don’t know the preacher I heard in downtown Seattle, but you’ve probably heard or know a person who makes Christian claims in the same kind of rude ways.  The result is that evangelicalism has gained a hard edge with little resemblance of the good news from which it has its very name.  

I’ve had the privilege of speaking to audiences on topics of faith and God for around 20 years now and I’ve lost count of the number of people I’ve met who feel unlovable, already hated, and unforgivable for the decisions they’ve made in life.  

So when I hear a preacher shouting a message through a bullhorn in the name of God and I hear not words of hope, peace, grace, love, and forgiveness, but strictly judgement and burning, I fail to see how this God can be the one who came to earth out of love for people in the person of Jesus Christ.  

It’s true that the Bible does depict God enacting justice and judgement. But equally true is that the Bible not only displays, but out-and-out defines God as being love. My concern with the street preacher’s message is that although he might have communicated the justice of God (albeit in a warped way that would make old-time revivalists look tame), his message left little room for hearing about and feeling the love of God.  

If there is anything we need to hear today, it is the message that God, in his very nature, is love. One particular writer of antiquity, and a close friend of Jesus Christ, once penned a letter to first century churches. In attempting to explain what God is like and what people of faith should be like he wrote: “Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. Whoever does not love does not know God, because God is love.”   

For those of us who have never been to a church, we only need to watch or attend an American football game to see a sign with the words John 3:16. That reference, taken from one of Christ’s biographies states that, “This is how much God loved the world: He gave his Son, his one and only Son. And this is why: so that no one need be destroyed; by believing in him, anyone can have a whole and lasting life.”  

This is a message we need to hear. It’s something we need to let into our bones—that those of us who feel beyond the reach of love, are in fact loved by God.  

In a strange way, I can’t help but admire the guts those street preachers have, banging out an unpopular message to strangers in crowds. The problem lies in the fact that often their message, so boldly proclaimed, is God’s disappointment, disapproval, or outright hate for people. 

Because this is the truth and too important to miss: God doesn’t hate you. He loves you. He always has and he always will. 

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief