Article
Change
Character
Purpose
Virtues
6 min read

Life is messy, take part

James Baker's political vocation sheds light on why character counts in this networked world.

Emerson Csorba works in deep tech, following experience in geopolitics and energy.

Two men in seats adress a pyjamap-clad Ronald Regan.
James Baker, left, briefs a recovering Ronald Reagan, right, in hospital .
White House via Wikimedia Commons.

Few White House Chiefs of Staff have been better than James A Baker III. Nicknamed the ‘Velvet Hammer,’ Baker was originally a Democrat, and only introduced to politics in his forties. But he made up for lost time, serving as the original catalyst behind President Ronald Reagan’s time in the Oval Office. He later served as Secretary of State, helping maintain peace following the Cold War.  

In their recent biography of Baker, The Man Who Ran Washington, Peter Baker (no relation to James) and Susan Glasser write that, when called out of his retirement to lead the Republican strategy in the Bush-Gore 2000 Florida vote recount, ‘Baker’s reputation was so formidable that Democrats knew they would lose the moment they heard of his selection.’ More precisely, Baker ‘was not defined by his era; he helped to define it.’  

And yet, the calm, cool and collected former Texas lawyer was – by the end of his tenure as White House Chief of Staff – broken. In Chris Whipple’s The Gatekeepers, a history of American White House Chiefs of Staff, a former Reagan staffer reflects that in a conversation long after their tenures, ‘Baker’s eyes filled with tears. He told me what it had been like for him to be chief of staff in a White House riven by different philosophies and ideological outlooks. And every day various people would try to take Jim Baker out.’  

Baker, a problem-solver and political moderate, battled with his more ideological counterparts for the ‘soul’ of the Reagan presidency. This battle was ‘more emotionally grueling and deeply painful than almost anyone around him knew.’ His struggles were a harbinger of the more divisive American politics to come. Surrounded by long-time Reagan loyalists, he was an unexpected selection for the Chief of Staff role. He ran the Gerald Ford and George Bush presidential campaigns against Reagan but was recognised by the Reagans as the right person for the job. Baker kept focused within the Reagan Administration despite team members undermining him.  

Baker shows that responding to a call requires that a person engage in the world as it is. This realism helps us to reform the world through service. 

Through his participation in the world, Baker reminds us that life is messy. This is especially the case when engaging in communities involving competition between multiple worldviews, philosophies, or ideologies. Keeping the ship steady amid such variation comes with emotional cost. But participation is better than withdrawal from the scene of action, and into the safety of technology.  

Balancing between perspectives requires a personal sense of restraint. Peter Baker and Glasser note, for instance, that ‘one of the keys to Baker’s success over the years was knowing when to back off’ in meetings. This balancing is difficult. Baker succeeded in his political vocation in part because he participated in this swirling mix of perspectives, but the balancing involved suffering.  

What can we learn from Baker on the messiness of life? What does he show us about the living-out of a vocation? Baker was clear-eyed about his calling: that of serving his friend Reagan (and afterwards his close friend George Bush). He put his strategy and negotiating skills to good use as part of a larger life project. This calling strengthened Baker’s persistence, despite the trials and tribulations of participation in the world. Baker shows that responding to a call requires that a person engage in the world as it is. This realism helps us to reform the world through service.  

‘Once we remove ourselves from the flow of physical, messy, untidy life… we become less willing to get out there and take a chance.’ 
 

Sherry Turkle 

How did Baker discover his political vocation? And what is a vocation? The philosopher Robert Adams defines vocation in his Finite and Infinite Goods as ‘a call from God, a command, or perhaps an invitation, addressed to a particular individual, to act and live in a certain way.’ The theologian Oliver O’Donovan defines vocation somewhat differently in his Finding and Seeking. He describes it as ‘the way in which the self is offered to us…. The course of our life that will come to be our unique historical reality.’ O’Donovan focuses on service, where vocation is ‘not a single function, but an ensemble of worldly relations and functions through which we are given, in particular, to serve God and realise our agency.’  

Sometimes, as O’Donovan suggests, a calling captures our attention, even if we only know the immediate next step, as if stepping from a quayside onto a boat (a helpful metaphor used throughout O’Donovan’s work). For Baker, it was the death of his first wife that precipitated a call from his friend George Bush. In this conversation, Bush asked whether Baker would be interested in volunteering for a campaign, to help take his mind off his grief. What was initially a way to help keep his mind off a trauma became, over time, a life project.  

Baker thought carefully about the world and the people around him as precursor to action. He epitomised the thinking of Dietrich Bonhoeffer, who writes that individuals should participate ‘in the times and places which confront us with concrete problems, set us tasks and charge us with responsibility.’ We must remember that people are multidimensional. This is not easy, Baker as a case in point through his political vocation. 

Unfortunately, while recognising this is a realm of considerable debate, aspects of our culture discourage genuine engagement in the world. Sherry Turkle, Professor of the Social Studies of Science and Technology at MIT, describes ‘networked life,’ where individuals use technological devices (we might think today of WhatsApp or Instagram) to withdraw from hard, in-person conversations. She says that people nowadays tend to communicate with others on their own terms. It is easy for people to engage – or disengage – others whenever convenient.   

Yet, as Turkle writes, ‘Once we remove ourselves from the flow of physical, messy, untidy life… we become less willing to get out there and take a chance.’ Networked life is for Turkle an escape from the messiness of life. It prevents encountering others as they really are. This leads to weak personal foundations: personal characters built on sand rather than on rock. It helps to be tested by conflict with others that are different than ourselves. This testing helps to reduce narcissism, in which we think more about ourselves than about the wider world.  

Marshall McLuhan, in his Understanding Media, reflects on the Greek word narcosis meaning numbness. The service of networked technologies, to which Turkle alludes, is in McLuhan’s eyes a worshipping of these technologies as God. This numbing via the worshipping of technology is contrary to Baker’s more engaged way of life – encountering others in person in their complexity.  

We can remind ourselves that life is messy. What we think we see upon first impressions may evolve upon continuous examination. And what is previously unseen may become evident over time. Jesus states that ‘For nothing is hidden that will not be disclosed, nor is anything secret that will not become known and come to light’ and later, that ‘Nothing is covered up that will not be uncovered, and nothing secret that will not become known.’   

The genius of James Baker was found not in academic intellect, but in his ability to understand others through real engagement in the world. This understanding of others, serving them, was the cornerstone of his vocation. Former White House speechwriter and now-columnist for the Wall Street Journal Peggy Noonan once commented – as reported in The Gatekeepers – that Baker ‘was a guy who didn’t seem to move forward with a lot of illusions about life or people or organizations or systems.’ Baker embraced the messiness of life, but also the importance of taking part to serve others and help restore the world.

Article
Character
Comment
Film & TV
5 min read

Traitors reflects an age of deceit and disappointment

Behind the game play, we're yearning for authenticity and connection.

Alex Stewart is a lawyer, trustee and photographer.  

A montage shows a Scottish castle, the host of the V show the Traitors and a dark scary scene.
BBC.

‘What a tangled web we weave when first we practise to deceive.’ 

Some people, it seems, are not cut out to be liars. I felt for Freddie, one of the last contestants to survive on The Traitors, who found out the hard way. A fumbled recounting of a fabricated conversation with fellow Traitor Minah was enough to seal his fate, and soon he too was banished from the castle. The sad irony was that until his last-minute recruitment as a Traitor, Freddy had in fact been a Faithful for most of the show, insistently proclaiming his innocence and now cruelly denied his chance of vindication. But that’s all part of the game: shifting identities and alliances mean nothing is at it seems, and trusting is fraught with risk.  

Part of the success of The Traitors is that it has very successfully tapped into a pervasive national mood: the feeling that we are constantly being deceived, misled, spun or manipulated. This is hardly surprising. Trust in politicians and institutions is at an all-time low, eroded by scandals, misinformation and truth dodging. From the Post Office and the contaminated blood scandals to the manipulation of unpalatable facts to the non-apologies of the guilty, the British public has become increasingly sceptical of those in power.  

The 2024 British Social Attitudes survey, conducted by the National Centre for Social Research, revealed that public trust in the UK's system of government has reached a record low, while a similar survey by the OECD reported that only 27 per cent of people in the UK reported high or moderately high trust in government, well below the OECD average of 39 per cent.   

But it’s not just politicians and institutions that we distrust. The new world of deep fakes, misinformation, and AI-generated content seems also to have had a corrosive effect on our ability to trust one another.  A recent CREST Insights report indicates that only 41 per cent  of respondents now trust their neighbours, while the Edelman Trust Barometer tells us that this distrust has, for some, moved from resignation to outright hostility, with one in two young adults approving of hostile activism as driver of change - including attacking people online and intentionally spreading disinformation.  

With this backdrop, it is hardly surprising that the contestants of The Traitors are susceptible to high levels of paranoia, and see Machiavellian deceit and betrayal as their only way to survive and have any chance of winning.   

But the human cost of betrayal is high and psychologically taxing. The constant need to fabricate stories, remember lies, and manage the stress of potential exposure requires huge cognitive and emotional effort. The effects are tangible as the contestants suffer variously from anxiety, paranoia, and emotional exhaustion.   

Meanwhile the building paranoia is stoked by regular invocations of the dark supernatural as cloaked figures and effigies shift the atmosphere from wink murder to The Wicker Man, and Claudia presides over proceedings with the authority of a pagan high priestess. Even the game operates within a quasi-religious framework of sin, confession, and punishment. Players who lie and deceive will eventually face judgment, from their fellow contestants and the millions watching at home

What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was.” 

Although everyone knows it’s just a game, the prolonged deception has real world repercussions that continue beyond the show's end.  Many of the contestants struggled to reintegrate into their daily lives, facing challenges in rebuilding trust with loved ones and grappling with their actions during the game. The vicar, Lisa, told of the discomfort of having to explain away her absence on the show as a ‘retreat’, while the winners, Jake and Leanne, both said how difficult it had been to adjust post-show, pointing to a lingering paranoia and the strain of having to keep their victory a secret. 

And yet, while betrayal and deceit define the show, it is often the genuine friendships and moments of trust that resonate most. Few will forget the ‘mother to mother’ pact made by Frankie and Leanne in the kitchen and the emotional final banquet when the suspicion and distrust were briefly lifted. Behind all the game playing, the yearning for authenticity and connection as an antidote to isolation could not be suppressed. 

There are also inspiring moments of hope, vulnerability and redemption. Alexander, the charming diplomat, tells his heartfelt story about his late brother, who had developmental disabilities, which prompted his fans to donate over £30,000 to Mencap. Jake, who suffers from cerebral palsy, overcomes great odds to become one of the winners, and Leanne and Charlotte open up about their struggles to conceive. Each contestant had a back story that humanised them. Even the aloof high priestess herself shed tears, albeit in unaired footage, over her contestants’ traumas.  

But it was Charlotte’s struggles that I found most inspiring. As the final Traitor, she seemed at first to relish her role with a very convincing series of lies, even turning on her fellow Traitor Minah. But it became apparent towards the end that, inside, she was in turmoil. What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was,” she said later. “I felt so cruel. How I had to be to stay in the game – it was an immense pressure.”   

Catharsis, when it came, was through forgiveness, especially from Frankie, the contestant who perhaps more than any other had reason to be hurt by Charlotte’s betrayal; they had after all been best friends within the confines of the castle. Charlotte later admitted to badly needing her forgiveness, which gracious Frankie was only too happy to give.  

In an age of deceit and disappointment, Charlotte’s honesty, vulnerability and willingness face up to her actions and be reconciled with her victims, rather than justify them or offer a hollow non-apology, and Frankie’s willingness to forgive - offer us the hope that there can be a way out of the doom loop of deceit and broken trust.   

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