Review
Books
Culture
4 min read

Remembering red on red

The cultural revolution's factions have a disconcertingly contemporary feel.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A Chinese stamp depicts a map of the country from which people march holding a little red book
Long Live the Overall Victory of the Great Proletarian Cultural Revolution, stamp, 1968.
Public domain, via Wikimedia.

Modern era China has suffered human loss on an unimaginable scale.  The Taiping Rebellion in the mid-nineteenth century cost over 20 million lives, more or less the global total from the Great War of 1914-18.  The vicious Japanese occupation in the 1930s led to 15 million Chinese deaths.  The famine begun in 1958, precipitated by the Great Leap Forward, caused around 40 million deaths.   

For one nation, however large, these are appalling losses.  By contrast, the fatalities in the Cultural Revolution (1966-1976) amounted to one million or more.  But the impact of this communist insurgency within a communist state is profoundly felt today, for its generation is still alive.  The trauma of those years has wounded the bodies and minds of millions; people who are unsure how to come to terms with it because of the uncertainty of what can be safely talked about.   

Mao’s incitement to younger people to turn on their teachers and elders in vitriolic criticism and violent attack, including torture and murder, was an attempt to re-boot the revolution by exterminating elements of western capitalism and traditional Chinese authority – the so-called Four Olds of ideas, culture, customs and habits.  The humiliation of teachers and parents was profoundly at odds with the Confucian culture of respect for elders, and it was embedded in young minds whose frontal lobes had not fully developed and where empathy was unformed.  The ensuing violence, pain and hardship was sickening, encompassing millions. 

Many of the bereaved and injured, the perpetrators and the victims, are still alive.  Some bury their memories as a way of coping; others search for meaning, but run up against an authoritarian government with new digital tools that make totalitarianism possible.  In her book Red Memory (Faber and Faber, 2024), Tania Branigan has produced a masterpiece of literature.  Interviewing survivors, bystanders and instigators of the violence, she has produced a history of their guilt and trauma, while reflecting on the uses of memory.   

The collateral from this is human rights abuses on an industrial scale, to ensure there is no opposition to the CCP as the true expression of being Chinese.   

The word remember is coded with meaning.  When we piece together our memories of the past, we re-member them and the members are frequently not put back together again in the way an event happened.  This becomes more pronounced with the passage of time and the known tendency for people to make themselves more central to a story than they were at the time.  We also narrate the past in ways that burnish our reputation and preserve our conscience.  The Cultural Revolution has been reassembled in fragments; there is, and there will be, no initiative like South Africa’s Truth and Reconciliation Commission.  People can make of it what they want; but without justice, the losses fester. 

The lack of a shared public memory also means the Cultural Revolution can be made to service any goal.  Detached from the moorings of truth, it becomes a malleable symbol.  Xi Jinping suffered himself.  His father was purged, denounced as a counter-revolutionary, and sent to hard work in rural Shaanxi Province.  This is his creation myth, and how it made a man out of him.  But there are other lessons to be taken from that time which he has strategically and wilfully ignored.  The leaders of the Chinese Communist Party (CCP) who followed Mao were determined that never again would one man develop a cult of personality like his, by ensuring limited presidential terms.  Xi Jinping has abolished this limit and introduced Xi Jinping Thought in an echo of Mao’s Little Red Book.  If there is one thing Xi has taken from his experience, it is the terror that chaos unleashes and the need to avoid it at all costs.  The collateral from this is human rights abuses on an industrial scale, to ensure there is no opposition to the CCP as the true expression of being Chinese.

Idolatry is much harder to identify in our own culture, yet it is here we need to do this work

The cult of Mao was idolatrous, usurping Christ.  Jesus said he would divide families: ‘father against son…mother against daughter…mother-in-law against her daughter-in-law’.  This divisiveness was located in his claim to be the way, the truth and the life.  He did not seek to divide families, but knew his claims would do so.  Mao intentionally turned families against themselves - the foundation of a civil society - to ensure loyalty to him would not be compromised.          

It is easy to identify this several decades on and at the safe distance of several thousand miles.  Idolatry is much harder to identify in our own culture, yet it is here we need to do this work.  It is also sloppy to make links between the ideological fervour and purity of Maoism and today’s social media culture.  There is no direct link, despite some claims.  But the story of how groups coalesce righteously and are manipulated into ever more extreme forms of factional purity has a disconcertingly contemporary feel. 

Review
Culture
Film & TV
Monsters
4 min read

How to do the Devil’s work in modern America

The Bondsman ‘literal evil’ fits so easily into today.

Giles Gough is a writer and creative who hosts the God in Film podcast.

A bondsman looks to a colleague.
Kevin Bacon and Jolene Purdy star.
Amazon Studios.

The Bondsman looks like the kind of story we’ve seen many times before, but look closer and you’ll see some fascinating insights.  

The show dropped on Amazon Prime last Thursday, starring Kevin Bacon as murdered bounty hunter Hub Halloran, who is resurrected by the Devil to hunt demons that have escaped from the prison of Hell. Hub learns how his own sins got his soul condemned, which pushes him to seek a second chance at life, love, and bizarrely enough, country music. 

After being murdered in an all-too visual pre-credits sequence, Hub is resurrected, and after seeing some supernatural horrors he can’t explain, Hub is quickly sent chasing down those demons with the help (and often hinderance) of his mother played by Beth Grant. They receive instructions on which demons to capture via fax. The demons are suitably unsettling, with their red pinprick-of-light eyes and gravity defying leaps. As scary as they are, they are also helpful enough to get themselves killed with conventional weapons and burst into flames as soon as they die, saving Hub the inconvenience of having to dispose of the bodies.  

In the first few episodes, it would be easy to dismiss The Bondsman as schlocky genre fiction. Kevin Bacon easily leans into the laconic, foul-mouthed cynic, more comfortable with ultra-violence than discussing his emotions. The Southern Gothic is an aesthetic we’ve seen in more Amazon Prime shows than we care to remember at this point, and the gore is at the level you would expect from horror experts; Blumhouse, and the setting of rural Georgia, is reminiscent of The Walking Dead. You could be forgiven for leaving this show at the pilot and not returning to it. But if you can make it through the formulaic first few episodes (which are mercifully short, 35 minutes at the longest) your patience is likely to be rewarded.  

For any viewers familiar with Angel or Constantine, the idea of a hero who fights evil but is still damned to hell for their past actions, is well worn territory. But if we look at Hub’s ‘co-ordinator’ Midge (Jolene Purdy) we get a small insight into the banality of evil. Midge is coerced into selling her soul to the devil in order to save her dying infant son. This highlights how often people are drawn into corruption because they were forced to pick the lesser of two impossible evils. As Midge’s own ‘co-ordinator’ tells her: “The fastest path to hell: selling your soul to help someone you love”. Midge’s son is ‘miraculously’ healed, so long as she continues to meet her quota of convincing people to sell their souls. It seems the devil has a better health plan than corporate America. 

Those subtle jabs at corporate America make the show quietly subversive. The devil’s minions here appear as the ‘Pot O’ Gold’ company, a slimy operation that preys on the weak and perpetuates misery in order to benefit a faceless boss. What’s interesting is how ‘literal evil’ fits so easily into the model of a capitalist corporation. Whilst many US politicians may decry the evils of socialism, it seems that as far as evil in America in The Bondsman is concerned, the call is coming from inside the house.  

It's true that God is largely absent from this story. In the same way that competent, protective parents are absent from children’s novels. If he was present, that would undercut a lot of the narrative tension. Despite this, it’s interesting how even in a world where characters reference and believe in the existence of God, virtually none of the characters think to pray or ask for his help. It brings to mind the C.S. Lewis quote about how “the doors of hell are locked on the inside". 

This might possibly be the show’s greatest contribution. What we can see from The Bondsman is God in the inverse, a negative image. Instead of the hope of an eternal life, they’re faced with the numbing despair of lasting torment. Hub and Midge are sent out on missions by a faceless, uncaring ‘boss’ rather than a loving intimate father, forced into being corporate co-workers rather than found family. Once it moves past the adolescent gore-for-gore’s sake of the first few episodes, it seems The Bondsman might have a fantasy world worth exploring. 

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you enjoy Seen & Unseen, would you consider making a gift towards our work?
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.
Graham Tomlin
Editor-in-Chief