Column
Assisted dying
Care
Comment
4 min read

Proposed euthanasia safeguards insult our NHS

We must defend a collective sense of care and generosity.

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

A gable end mural depicts a nurse in scrubs and a mask turning and looking towards the viewer.
A mural of an NHS nurse during COVID, Manchester.
Mural Republic

It was, I believe, the late political satirist Simon Hoggart who coined the Law of the Ridiculous Reverse, which held that, if the opposite of a statement is plainly absurd, then it was not worth making in the first place.  

This law comes to mind when Labour MP Kim Leadbeater promises that her Assisted Dying Bill will have the “strictest safeguards in the world”, one of which is that those patients who have ordered their fatal dose “would be allowed to change their mind at any time.”   

Where, exactly, has it ever been suggested that an individual, having asked for an assisted death, would not be allowed to change their mind? I’m just wondering which legislator or medical professional has proposed that once a lethal draught has been prescribed then there is no turning back.  

I’m struggling to picture the circumstance in which a terminally ill patient is pinned down and killed, the last words that they hear being: “I’m sorry Mrs Simpkins, but everyone’s gone to a lot of trouble. You asked for it and you’re jolly well going to get it.” 

This is important because, apparently, being able to change your mind about asking for help to kill yourself is one of the strictest safeguards in the world. I hope Ms Leadbeater will forgive me for pointing out that this doesn’t really stack up. 

 And what’s serious about it is that it’s also a massive straw man argument. The clear and rather devious implication is that one of the arguments being made against the introduction of an assisted suicide law is that patients won’t be able to change their minds about it, which I think we can all accept simply isn’t a fact at all. It’s absurd – a Ridiculous Reverse. 

So I’ll defend the NHS with a religious fervour. To my mind, healthcare is a holy mission. We meddle in law with the Hippocratic Oath at our very deep peril. 

It’s also hugely contemptuous of the medical profession in general and rude to the NHS in particular. That’s because there’s a snide impression behind Leadbeater’s comment there may be hundreds of budding Harold Shipman out there, but her powerful safeguards are going to protect us from them. 

We’re in danger of becoming inured to this kind of insult from politicians directed at the NHS. And it’s worth exploring why they might think we need to be protected from unscrupulous doctors and nurses. In this case, one possible reason is that the NHS isn’t being particularly helpful in giving the euthanasia enthusiasts what they want. 

Doctors and their staff have plenty of ethical objections to assisted suicide. But leave those aside for a moment. At the practical level, the NHS has made it clear that it doesn’t have the infrastructure to operate a policy of assisted deaths safely. And it can’t afford to set one up. So a government that introduces assisted suicide is going to have to organise and regulate its own assisted death agency. 

“Oh,” the assisted dying lobbyists seem to exclaim, “we’d presumed you’d do as you’re told.” Just hand out the hemlock. Take your instructions from the legislature. 

But the NHS is better than that. And it’s that kind of high principle that so infuriates feckless politicians. It was the late Nigel Lawson who said, somewhat ruefully, that the NHS “is the closest thing the English have to a religion”. The right wing of politics regularly tells us it’s time to renounce that religion. 

To worship the NHS as a religion would, literally, be idolatrous. But it’s not so to acknowledge its religious qualities. Just look at the word – the Latin religio means something like “good faith”, the essence of who we are, what makes us good. 

The NHS, in its post-war incarnation, has been central to who we are as a people and what defines us. It’s something to do with our collective sense of care and generosity to one another. Its members, like our national Church, make up a single body. 

This is not to co-opt the NHS as the medical wing of the Church. It’s no part of the NHS’s brief to proselytize – rather the reverse; Christian medical staff have been in deep disciplinary trouble for evangelising. It is a profoundly secular organisation. 

So the NHS emphatically isn’t in the business of propagating the gospel. But that’s not to say that we can’t be in the same business. Many priests have stories of their most affirming work being in the company of people of other faiths or of none. 

The NHS’s proud heritage is to offer treatment free to anyone at the point of access. Put another way, it will seek to heal anyone who comes to it. I make no apology for saying that sounds familiar. 

So I’ll defend the NHS with a religious fervour. To my mind, healthcare is a holy mission. We meddle in law with the Hippocratic Oath at our very deep peril. 

And when NHS professionals tell us where we can stick our assisted suicides, I respectfully suggest we give it our solemn attention, rather than patronisingly offering a Law of the Ridiculous Reverse.

Review
Awe and wonder
Culture
Death & life
Music
4 min read

Natalie Bergman brings grief and joy to Union Chapel

A soul-soaked set turned personal tragedy into communal celebration

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A musician wearing black sits on a chair in a desert holding her guitar.
Natalie Bergman.
Natalie Bergman.

In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel. 

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever.    

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter. 

As a result, tonight, she takes us down paths of sorrow into the wilderness to find the light of God shining on us. At Union Chapel, a series of subtly lit arches ascend behind her and her band guiding our eyes upward until they reach the central back-lit rose window. The beauty of that light is where she takes us through the soulful spirituality of her songs. By the end, the joint is jumping with joy as we sing and dance to ‘Keep Those Teardrops From Falling’. 

Why? Her super-melodic songs draw inspiration from the deep sources of sixties soul, including Motown, while being infused also with the rhythms of reggae and highlife. Her voice ranges from childlike wonder floating on a sea of sound to smoky sultry spirituality. In common with Nick Cave on Wild God, the source of her spirituality is a vulnerability and openness occasioned by the grief she has endured, an experience common to all of us, whether now or in the future.  

She has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.” As she concludes, “How could anyone have a problem with someone processing grief in a harmless way?” At Union Chapel, it’s clear that they don’t. Instead, what resonated with Bergman in her loss, also resonates with us.  

‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that: 

‘When you are scared, reach out your hand 

Talk to the Lord, talk to the Lord 

If you are sad, He'll dry your tears 

Talk to the Lord, talk to the Lord’ 

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that: 

‘In this pain, you make me sing 

When I am blue, you take me in 

My little ways, they feel strange 

You give me a little bit, and you take it away 

You paint the rain’ 

In these ways, she has been enabled to live again and to find joy in family life, with My Home Is Not In This World finding its inspiration in the birth of her son, Arthur. When not lamenting lost loves, My Home Is Not In This World is grounded in the realities of home and natural life. The song ‘My Home Is Not In This World’ contrasts a prior life of glitzy glamour – her home no longer being there - with the life she has now found: 

‘My home 

My home is not in this world 

My home 

My home is not in this world  

 

I want to go outside 

Tell the trees that I love them 

Open my eyes 

See the children in the garden 

Dancing underneath the sunshine 

Swinging underneath the moonlight 

Sing away your sorrow my little one’ 

It’s been said that her ‘greatest achievement is choosing to go against the grain’, a decision that includes her spiritual focus and proves the value of going counter to the culture. It’s also been said that her universal music ‘lives in the hearts and minds and souls of her fellow travelers; born again believers in love, joy, and music’s role as guiding light and lightning rod’. That was certainly the case at Union Chapel where she ‘let the sunshine in’ and we all experienced the everlasting light of love shining on us. 

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