Column
Comment
War & peace
4 min read

Looking evil in the face

After viewing a new documentary on the Holocaust in Ukraine, a harrowed George Pitcher ponders his duty not to look away.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A mother cradles a child while another stands close by. They wear winter clothes of the 1940s and are amidst others waiting.
A Jewish family at Lubny, Urkaine, prior to the massacre there.
Hamburger Institut für Sozialforschung.

It’s a commonplace to remark that Ukraine has a troubled history. It’s almost a means of assimilating its current Russian conflict; Ukrainians are used to suffering and fighting, so here we go again. 

But, lest we forget, it’s as well to be reminded on a regular basis of the nature of Ukraine’s suffering. This week, Channel 4 broadcast a documentary called Ukraine: Holocaust Ground Zero, which traced through contemporaneous photography, academic commentary and survivors’ witness how Ukrainian Jews suffered and died in their hundreds of thousands, perhaps as many as 1.6 million, at the hands of Nazis, Soviets and Ukrainian nationalists. 

Vocabulary fails. Harrowing doesn’t begin to touch the experience of watching a programme like this. But, I think, watch it we must, especially those with a religious faith who use words like hope and faith. 

The “problem of evil”, known in scholastic circles as theodicy, has been a stumbling block for the Christian faith for centuries. If God is all-powerful, the problem states, he cannot love us if he allows this to happen; if he loves us, he cannot be all-powerful for it to happen. Ergo, he cannot both be all-powerful and all-loving. 

Counter-arguments, which needn’t detain us here, are many and varied: That the gift of free will includes the freedom to abandon God for evil; that the light of love shines brightest in darkness; that the world is fallen – lapsarian – and has to find its way back to the Garden; that God is joined to the suffering of humanity on the cross. 

After Channel 4’s film, I have to say that I’m less interested in all that than in what it actually means for us in a practical sense. I’m left wondering less why than how. I don’t want to know why God allows it. I want to know how we respond. 

Allow me to say, as honestly as I can, how I literally responded to this documentary. I had to watch it alone, on Channel 4’s website. I wonder why that is. Perhaps watching it with someone else is too much like entertainment. Perhaps there’s a fear that the act of sharing is dissipating in some way. Perhaps it’s a dirty little secret that I wanted to watch it, through clenched fingers. 

The second literal reaction I’d record is that when a photograph appeared of one of the most grotesque (though relativity here is invidious) perpetrators of the mass-murders, SS-Obergruppenführer Friedrich Jeckeln, I found myself saying at his image on the screen “rot in hell”.  

I find it hard to believe in a place of unending torment to which a benign God despatches human souls. I do believe in the hells, like this one in Ukraine, that men like him can create on earth. But I knew I’d found the limit of a human forgiveness and this was infinitely beyond it. And somehow I wished there was an eternal damnation to which Jeckeln could be consigned. 

A third reaction to identify is more passive. I had to watch it – or, rather, I couldn’t look away. Please God, may that not be said to be curiosity. Surely not, when you know how scarring it will be.  

It contained (and here perhaps I should issue a trigger warning for the rest of this paragraph) details of how the death squads moved on from men of military age to women and children, because they were too expensive to feed; how 90 orphaned children were murdered in one massacre for the same reason; how Jeckeln developed a system of execution to maximise space in mass graves called “sardines”. 

I’m conscious of the title of the site for which I’m writing when I say that what is seen can’t be unseen and the horror must stay with anyone who watched this programme. To look away is to conspire with a pretence that it isn’t there or couldn’t have happened.  

I wonder whether that means the Christian bears a duty not to look away, any more than we can look away from an innocent, naked young man left hanging in the midday sun, nailed to a cross. In witnessing these horrors, we’re not being brave, we’re acknowledging human reality. 

And that human reality means that it really is no good saying “never again”. From the ethnic cleansing of Muslims in the Bosnian war, to the Rwandan genocide of the Tutsi minority in the Nineties, to the Iranian mass graves of dissidents being revealed even today, that is a failed resolution. 

So is a faith in vain? It’s hard to argue a case for the divine in the face of 91-year-old Janine Webber, who says quietly on Channel 4:  

“They killed my brother. They buried him alive. He was seven.”  

Meanwhile, 86-year-old Bella Chernovets says of that countless million-plus:  

“God keep them in paradise.”  

Perhaps, we pray like that. I don’t know. 

It’s impossible to conclude a column like this without being glib, or fumbling for closure. Because there are no conclusions. So I’ll just stop here.  

 

Snippet
Character
Comment
Digital
Film & TV
3 min read

Here’s why we play judge and jury on social media

Discovering the truth about celebrity feuds.

Rosie studies theology in Oxford and is currently training to be a vicar.

A montage shows two celebrity faces in opposition
Lively and Baldoni face off.

Depending on your Instagram algorithm, you might have seen that Hollywood actors Blake Lively and Justin Baldoni continue to make news with their ongoing feud, which is soon to reach litigation in the US civil courts. Then again, maybe you haven’t – in which case kudos to your scrolling habits and for avoiding celebrity clickbait (unlike me). 

What interests me about their dispute – and others that have gone before it – is how it spotlights our need, as the general public, to search out the truth. And to make ourselves judge and jury on the matter. 

Having starred together last summer in It Ends With Us, Lively soon after accused Baldoni of sexual harassment and of orchestrating a smear campaign against her during the film’s press tour. Baldoni responded by suing the New York Times for libel, and Lively for civil extortion and defamation. Cue some biased media reporting, and conflicting evidence being released by their legal teams, and both actors’ reputations have been significantly damaged by the dispute.  

With their accounts remaining at complete odds with each other, the question Instagram’s pundits keep coming back to is: which one of them is telling the truth? 

The reality is we’ll probably never fully know (and, obviously, it’s not actually any of our business, so I won’t speculate).  

But it makes me reflect on how, in lots of instances of conflict, the answer can be blurrier than we’d like. 

The judges and juries of Instagram rarely, if ever, offer us this kind of impartiality in their search for the truth.

So often, in disagreements and disputes, both parties’ accounts have a seed of truth in them. But as we ruminate on the event afterwards, the risk is that we re-interpret it according to our values, biases, and past experiences. That seed of truth is watered by the stories we tell ourselves, growing and morphing into something that can become hard to untangle. 

Over time, as we centre ourselves in the narrative, we become the ultimate arbiters of our truth.  

But when the stories we tell ourselves become the stories we also tell others, and we discover that our respective truths are in fundamental conflict with each other, it exposes how our perception of a situation might differ from is reality. 

Which is why, so often, we have to defer to impartial third parties to search out the ultimate truth. Judges and juries who seek to understand each person’s story but who also inhabit the fuller narrative, and who can untangle the layers of interpretation we unknowingly heap onto our experiences. 

The judges and juries of Instagram rarely, if ever, offer us this kind of impartiality in their search for the truth. 

But they remind us that truth is, ultimately, found outside of ourselves. And that, in discovering the truth, we can also find the justice we’re so often longing for. 

Maybe we’re all just suckers for a bit of clickbait. But perhaps the need to make ourselves judge and jury also points to a deeper part of our humanity. We’re all seeking after truth in this world – if only we can find it. 

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