Explainer
Creed
Old Testament
Politics
Weirdness
6 min read

Lady Mary's guide to Old Testament gangsters

How the weirdest characters in the Bible's ancient story apply to today's politics.
A renaissance picture depitcs Jacob and Esau, in contemporary clothing, around a table
Jacob and Esau.
Matthias Stom, Public domain, via Wikimedia Commons.

Have you looked at the Old Testament lately? In terms of how much better it can make you feel, I mean – particularly in the face of modern politics? No, me neither. Or at least not until a few days ago. Having not been a Christian for most of my life, I’d fought shy of the Bible rather, and the oldest bit in particular. Too remote, too ferocious, too weird, it seemed to me. Full of unpronounceable names and lists of strange rules. How could those be applicable? And then I made the mistake of going to evensong with my friend Alice, an agnostic animal lover, and we got a reading from the book of Judges about that heroic strongman Samson tying foxes together, setting fire to their tails and letting them loose in the Philistines’ crops. Which sent us both running out of the service and finished off Alice’s church career, terminally I think! 

But as always in life, exploring new territory can be made enjoyable or otherwise by who you go exploring with. And a couple of weeks ago in a second-hand bookshop, I found a thin volume entitled Unread Best-seller: Reflections on the Old Testament by someone called Mary Stocks, which looked interesting. So I bought it and started reading it that day. I finished it that day. Then I read it again the next day, and I might read it again this week actually.  

Mary Stocks, it turns out, was extremely posh (she became a baroness eventually, and a life peer in the House of Lords); extremely scholarly (she did a whole series of talks for the BBC in the 1950s, when not many women did such things), and extremely funny. She also adored the Old Testament. Not only is it full of glorious language she said, but it also offered great emotional resonance and satisfaction – particularly since she was writing during the Second World War, and finding many parallels between her own time and the fierce and far-off past. ‘Deborah was, I think, the Winston Churchill of her people’, she said of one outspoken prophetess, who inspired dispirited Israel (‘a remnant against the mighty’) to new efforts – and ultimate victory – over the King of Canaan. The battle of Megiddo that they won was the very same Megiddo fought over by General Allenby in the First World War, alongside some of Lady Mary’s own family. Echoes upon echoes. Elsewhere she described seeing a young serviceman, clearly not a regular church goer, listening to the Song of Deborah during ‘one of the blackest weeks of the war’ and saying ‘quite loudly, because he couldn’t help it, “Splendid”.’ ‘People are not often provoked to behave like that in Church’, she continued. ‘But there are lines in the Bible which, coming suddenly right at one, might prompt that sort of outburst.’ 

With all that as precedence, it doesn’t half shed a different light on the awful new sorts we’re coping with at the moment. 

From my point of view though, the most thought-provoking insight I gained from Lady Mary was centred around how dreadful a lot of the Old Testament heroes were. Jacob, for example. Jacob – the founding father of the tribes of Israel! He swindled his brother Esau out of his birthright, by pretending to be him in front of their poor old father Isaac, who was blind. ‘Esau was an hairy man’, we are told. So smooth Jacob magically became an hairy man too, by strapping sheepskin to his arms, which Isaac fell for and pronounced his blessing upon him, the cheating git. And Samson, cruel to foxes as we saw above, was also vain, selfish and violent to boot. Not to mention David. Shiny King David, glorious poet, heroic defeater of the giant Goliath and ancestor of Christ himself, was first a voyeur (spying on beautiful Bathsheba while she was washing) then a date rapist (seducing same Bathsheba) then a murderer (seeing off Bathsheba’s husband Uriah by ordering his comrades to abandon him in battle). Even Noah, who I’d assumed to be a good sort (seeing as he’d rescued all of creation from the Great Flood in his ark) was given to drunkenness, and behaved very badly to his grandson who’d seen him flopped on his bed without his clothes. 

In fact from the time that Adam and Eve disastrously ate the forbidden apple onwards, the whole book contains a litany of cowardice, lying, stealing, cheating, bullying, fighting, stupidity, killing and I don’t know what else. But this is where it’s got weird for me. Suddenly, I can see Lady Mary’s ‘emotional resonance’ – because our world today also contains exactly that: a litany of cowardice, lying, stealing, cheating, bullying, fighting, stupidity, killing and I don’t know what else.  

But the point is that God doesn’t seem to mind this terribly: he engaged directly with all those awful old sorts – and despite their flaws, they became the heroes of the Old Testament and the agents of his will upon the earth. Moses might have murdered an Egyptian overseer and run away and hidden because of it, but he also was chosen by the Lord to lead the Israelites to the promised land. God’s actual game plan didn’t get corrupted, just because the pieces on the board were bent and chipped. 

So with all that as precedence, it doesn’t half shed a different light on the awful new sorts we’re coping with at the moment. A menacingly orange person with a foul mouth and an unpleasant attitude towards women need not be a source of dismay – even as the new president of America. A friend once described Mr Trump as ‘God’s wrecking ball’, which made me roll my eyes. But perhaps that’s exactly what he is. If David could be ‘a man after God’s own heart’ as the book of Samuel calls him, sexual misdemeanours notwithstanding, there is no reason why Donald couldn’t be a force for good, when wielded by the Lord. Bad manners and a felony conviction are small beer compared to other things God has tolerated in his servants. 

‘Let not your hearts be troubled, neither let them be afraid,’ says Jesus in the New Testament, about a thousand years after David’s death. Having been keeping company with Mary Stocks and seeing the big picture of what the Old Testament has to tell us, I might now manage not to be so troubled – at least not by Mr Trump. And the Bible has some tremendous stories about what happens to the seriously wicked. King Saul killed himself when he realised the battle was lost. Well, you know, so did Hitler. And the appalling dictators of Romania in the 1980s – Nicolae and Elena Ceaușescu – came to an end not unlike wicked Queen Jezebel’s, who was thrown from the windows of her palace and trampled by Jehu’s army. Bad King Nebuchadnezzar ‘was driven from the sons of men; and his heart was made like the beasts, and his dwelling was with the wild asses’, says the book of Daniel. Which makes me remember Saddam Hussein being dragged out of a muddy sort of burrow at the end of the Iraq War in 2003, looking completely dishevelled. And come to think of it, didn’t Osama bin Laden – architect of the Twin Towers attack – also spend a lot of time hiding in caves in the wilderness of Swat before he was eventually caught?  

Mr Putin, Kim Jong Un and the other bad hats of the world might like to watch themselves: it is odds on that the Lord ‘shall also blow upon them, and they shall wither, and the whirlwind shall take them away as stubble’. It says so in the Old Testament.  

‘Splendid!’ as Lady Mary would say. 

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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. 

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