Review
Books
Comedy
Culture
Trauma
5 min read

Miranda Hart's diagnosis of the unseen

Beyond a medical illness she's on to something supernatural.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

On a TV chat show, guests look to one of their own talking to the audience.
Mirnada regales a chat show.

There I was, standing in the book aisle with a choice before me. One that would dictate my mental state for the week ahead: I could pick up Boris Johnson’s hotly anticipated autobiography (although, at £30, it would mean putting the bottle of wine in my basket back on the shelf) or I could choose Miranda Hart’s latest literary offering.  

Externally, all seemed calm. Internally, an almighty battle of the books was raging within me. The price of Boris’ ruled out the option of buying both. So, which should I pick? Whose voice should I invite to live inside my brain for the next five days? Both books were offering me a cultural bandwagon to hop on, I just had to decide which wagon looked like the better option.  

Boris… Miranda… Boris… Miranda… Boris… Miranda…  

After some intense deliberation, I popped BoJo’s memoir back on the shelf and became the proud owner of Miranda Hart’s new book. And I must admit, after hearing from friends who chose Boris to be the victor of their own battle of the books, I am very happy with my decision.  

Miranda Hart, the deeply beloved comic actor, sit-com writer, and stand-up comedian, hasn’t been entirely honest with us. For decades, she has been suffering with what she now knows to be Lyme Disease. In her book, she draws back the curtain and reveals a lifetime worth of suffering with illness after illness – bronchitis, tonsillitis, pericarditis, gastroenteritis, labyrinthitis – as Miranda succinctly puts it, ‘too many itises’. Despite illness being her body’s default state, Miranda kept calm(ish) and kept on. That is, until around a decade ago when her symptoms became simply unbearable.  

She tells the story of collapsing onto her living room floor, extreme fatigue rendering her utterly unable to pick herself up. This was the beginning of months of being bedbound and years of having to press pause on her life. Miranda recalls how she wept with relief at being able to crawl to the bathroom, of how she had to watch the television with sunglasses on because of neurological symptoms, and how she would ‘look at a cup of tea on the table and wonder if I had the strength to take a sip’.  She also paints a terrifying picture of not being believed - of living with an illness that nobody can understand, of suffering with symptoms that have no explanation. Miranda contracted Lyme Disease when she was fourteen, and had it diagnosed when she was in her forties.  

It seems that Miranda Hart is trusting that all that she can see is not all that there is – that her suffering is not the truest thing about her and that she doesn’t need to be the source of all of her healing. 

For those with no experience of living with a chronic illness, Miranda’s honesty will open your eyes to the pain and frustration that comes with your body not allowing you to live the life you crave. If you do have experience of chronic illness, this book will make you feel seen. 

But, alas, this is Miranda Hart we’re talking about. If you’re looking for a woe-is-me book, this isn’t it (maybe you’d have more luck trying Boris?). This book is brimming with:  

A) End-of-chapter dance breaks 

B) Jokes about wind (obviously)  

C) Theology 

I kid you not.  

Each of her chapters outline a ‘treasure’ that she has found in the depth of her suffering, the ‘watchwords’ that she uses to encapsulate these treasures are: love, faithfulness, peace, self-control, kindness, goodness, joy, gentleness and patience.  

I got to chapter four of the book and had myself a real – ‘hang on a minute…’ - moment. As a Christian, I’ve grown up with another way of grouping those words together: I call them ‘the fruits of the Spirit’. 

By chapter five I was convinced: Miranda Hart has released a spiritual book.  

She has, quite excellently, trojan-horsed a bunch of Bible into the Sunday Times best-seller’s chart. And nobody seems to have noticed, I almost feel a little guilty for outing her. All the book reviews I’ve read note the hard-won warmth and wisdom included in this book (both of which are there, by the way) and conclude that it is a truly lovely self-help manual. And that’s where they’re wrong.  

This is precisely not self-help.  

In fact, I get the subtle sense that the self-help industry is one that irks Miranda a little bit, and understandably so – the idea that we can ice-bath ourselves into wellness must sound odd to someone who can’t pick themselves up off their living room floor. So, I’ll say it again: self-help is not what this book is.  

Instead, it seems that Miranda Hart is trusting that all that she can see is not all that there is – that her suffering is not the truest thing about her and that she doesn’t need to be the source of all of her healing. She mentions, again and again, that the truest thing about her (and us, her 'Dear Reader Chums') is that she, and we, are loved. Deeply, unconditionally, unshakably loved. We haven’t earnt it and therefore can’t lose it. In her darkest moments, she had lost everything – her career, her social life, her home, her hopes and dreams - but she never lost that love. Everything else she has to say in the book flows from that belief.  

I happen to think she’s dead right – but that is, undeniably, a faith statement. This book is built upon them.  

And listen, you could read this lovely book – giggle and weep your way through it – without ever sensing anything supernatural within it. But, make no mistake, there is the supernatural within it. 

What Miranda has affectionately called her ‘treasures’ and the Bible calls ‘the fruits of the Spirit’ are just that; they’re what grow when one lives a life informed by and infused with God’s spirit. They’re the tangible symptoms of putting yourself in God’s presence, of keeping company with him. They are him rubbing off on us.  

What I’m trying to get at is this: these ‘fruits’, they’re seen in us, but they’re all God. They’re not the fruits of the self and so the way to obtain them cannot be self-help.  

Miranda obviously appreciates that belief in any divine/supernatural/transcendent thing can be complex, that the notion of ‘god’ can come with baggage, and religion can be an all-out no-no. And so, she is incredibly subtle with what she has to say. This book is not self-help, but it’s not evangelism either. She uses her beloved ‘ists’ (phycologists, neurologists, sociologists etc.) to unpack the ‘treasures’/’fruits’, showing how recent research and ancient religion have many of the same things to say.  

And listen, you could read this lovely book – giggle and weep your way through it – without ever sensing anything supernatural within it. But, make no mistake, there is the supernatural within it. From the opening page to the closing one, God’s there, hidden in plain sight.  

I really am unspeakably glad I didn’t pick Boris.  

Article
AI
Culture
Music
4 min read

As creativity and AI battle, greed is the true enemy

Every string plucked, stitch sewn, brushstroke painted, is a sign we’re made for more than utility.
A black and white list of music tracks reads: IS THIS WHAT WE WANT. THE BRITISH GOVERNMENT MUST NOT LEGALISE MUSIC THEFT.
1,000 artists, one message.

 

Is the battle between AI and creativity over before it began? A collective of 1,000 musicians have released a silent album to protest new government copyright laws that would make it easier for companies to train AI models without paying artists. The album, titled “Is This What We Want?,” has a tracklist that reads “The British Government Must Not Legalise Music Theft To Benefit AI Companies.” 

But this isn’t the first time that new technology has threatened the livelihood of musicians, nor the first time musicians have fought back. And the lesson to be learned from the past is that the real enemy of creativity isn’t technology- it’s greed. 

Musicians on strike 

The invention of the record player forever changed the music industry. It’s difficult to imagine a time when you could only hear music if someone was playing a live instrument. As music records grew rapidly in popularity, payments to the musicians behind the records lagged behind.

Up until the 1940s, record companies paid studio musicians only for the time in the studio. Playing records on live radio was cheaper than hiring big bands (which had previously been the norm) because the musicians wouldn’t see any revenue from their repeated use. But in August 1942, fed up at the lack of royalties paid from music records, the American Federation of Musicians went on strike. 

The silence lasted nearly 2 years. During the strike, musicians were allowed to play for live radio but banned from playing on records.

At first, record companies relied on releasing music they had already recorded. But when it became clear that the strike would last longer than expected, they began to rely on acapella voices in place of big bands for new releases. The strike concluded in 1944 as record players conceded to the American Federation of Musicians and set up a system of paying royalties to musicians. The battle was over. 

The technology creativity face-off

Technology has often seemed to be at odds with human creativity despite emerging from it. Human creativity invented the record player, but the record player threatened the human creativity of all those musicians playing live.  

In a similar way, artificial intelligence was both invented by creative humans and trained on the work of other creative humans. And yet, its very existence seems to threaten the work of thousands. AI’s threat is felt in every corner of the creative industries- in music, illustration, art, film and photography. And it’s not just a worry for Top 40 singers. Generative AI threatens to replace graphic and web design for small businesses, music in the background of commercials and videos, illustrations on mass produced birthday cards and souvenirs- all areas of creative work where artists receive a modest income and don’t become household names.

Companies use technology as a mirage to hide the real threat behind its computer generated glow- the greed of the human heart.

 

he Christian faith offers a few truths that make sense of this tension between AI and creativity. The first is human creativity is not mere ornamentation- it is at the very heart of what it means to be made in God’s image. At the very beginning of the Bible, God is Creator. Unlike God, humans cannot make something from nothing. But we can produce wonders that inspire, that reflect the goodness, truth and beauty of the world God created for us. Every string plucked, stitch sewn, brushstroke painted, is a sign that humans were made for more than utility. We were made for transcendence.  

The Christian faith also teaches that human selfishness gets in the way of the transcendental vision God has for us. 

The invention of the record player created problems for musicians, but it was the unwillingness of companies to pay musicians fairly for their work that posed the real threat. Companies use technology as a mirage to hide the real threat behind its computer generated glow- the greed of the human heart. 

As AI continues to be adopted, executives join the chorus speaking about the “threat of AI” and the need to prioritise human creativity. Yet the decisions of the same executives value human creativity in financial terms by the compensation (or lack thereof) that real artists receive. 

Companies treat new technologies as inevitable– they might even tell employees that those who can’t learn to use new technology will be left behind. But the reality is that companies shape the direction of technological advancement. There is no “neutral” or “inevitable” direction to technology. Technology can solve human problems- but first humans decide what problems need solving. AI may help us solve problems that benefit all of us- like the work being done to synthesise proteins that can have great impacts in medicine and science.

But there is no reason companies must use generative AI for creative work. People may point to money and time saved, shareholder value created. And this is where the real contradiction lies. For creativity is not a problem that needs to be solved, but a gift for us to partake in. 

Is This What We Want? 

The album by “1000 UK Artists” contains the sound of empty music studios- a future the group fears if musicians are replaced with AI who were trained on their talent. Session musicians, cover artists, violinists who busk in the streets or play in weddings, all are in danger from AI being trained on their hard work for free. 

Knowing that technology is never neutral, the album’s title “Is This What We Want?” poses a good question. What kind of world do we want to live in? What should our technology be building towards? 

For me, I want a world that encourages real human creativity– the kind given to us by God, the original creative. I want a world where technology isn’t a way for the rich to become richer but for our communities to become better places for human connection. Technology should give us more time to create art, not less. The battle between creativity and AI is in the hands of lawmakers for now. But the battle to end human greed? That’s eternal.