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Hinduism
7 min read

Rishi Sunak’s wealth and why he doesn’t apologise for it

Commentary on wealth prompts Rahil Patel to explore Hindu, and Christian, attitudes to prosperity.

Rahil is a former Hindu monk, and author of Found By Love. He is a Tutor and Speaker at the Oxford Centre for Christian Apologetics.

A red carpet lies on a grand entrance to a newly constructed Hindu temple.
A £86m Hindu temple newly constructed in the UAE.

When Rishi Sunak was on the verge of becoming the UK’s first Asian Hindu Prime Minister much of the British media was hounding him about his extraordinary wealth . At the time, the BBC’s North America editor Jon Sopel had just returned to London from Washington DC and commented on Twitter/X that the media commentary on Mr. Sunak’s wealth were ‘very British’ in nature. After considerable time covering the America’s financially seismic politics we might sympathise with Mr. Sopel’s diagnosis. 

However, the question of money and wealth in politics or elsewhere for that matter is not just a cultural divide between Britain and America. It is a significant religious divide between those of the Christian faith and those from a Hindu background.  

A startling truth that many Christians is that in Christianity you can’t serve God and Money. In Hinduism, you can. In fact, you must! Dharma (moral duty), Artha (wealth), Kama (pleasure) and Moksha (liberation of the Self from birth and rebirth) are the four ‘spiritual paths’ all Hindus of all traditions must pursue (unless one decides to take a more monastic route of course)! 

PM Sunak could have shot back at the press by simply saying, ‘could you please not offend my Hindu faith!’ Frankly, he would have been one hundred percent right. And as a minority faith believer in today’s United Kingdom  that volley response to a hawkish media would have halted them in their tracks. For better or worse, Christian political leaders can’t get away with that sort of thing… 

Wealth is a sign that ‘God is on your side.’ The only catch I must hasten to add is that when money is asked from a Hindu, one must not hesitate to give it away. 

It is true, along with all the intricately meditative, contemplative and devotional teachings across various Hindu traditions, nearly every single Hindu Guru will encourage and guide their followers to pursue money. After all, that’s how one builds beautiful temples and grows the Hindu faith. The Swaminarayan Hindu Movement for example have spent close to $700m building temples in North America over the last twenty years alone. Temples and shrines line the streets and sideways of India supplying its one billion Hindus plenty of space for belonging, prayer and worship. 

The Hindu concept of a temple to house the images of god is a Greek import into Hinduism during the fourth century AD. It is now a central spiritual pillar across all Hindu religions and money plays a key spiritual role lying  primarily on the shoulders of the Hindu believer. 

Temples tend to attract more wealth. The famous Tirupati Balaji Temple in South India’s Andhra Pradesh State has a net worth more than the market capitalisation of companies like Nestle, Wipro or Indian Oil Corporation.

Yes, it can be very transactional for Hindus at times but then there is a beautiful reminder in the minds of many Hindus that says, “it’s not mine anyway.” 

Tithing is a huge part of a devout Hindu’s life and so making money to give away is equally important. Wealth is a sign that ‘God is on your side.’ The only catch is that when money is asked from a Hindu, she must not hesitate to give it away. That’s the spiritual trick that reveals the attachment or detachment to money in a devout Hindu’s life. This spiritual test almost gives the guru the upper hand. His or her work will always flourish.  

In my life as a Hindu monk I have witnessed time and again how Hindus have been struck by the selfless giving of Christians and more so to causes that would never cross the mind of a Hindu.  

Giving to the downtrodden and marginalised in India is a very Christian action as it contradicts how a Hindu must play out their karma if they are destined to be poor or destitute. Hindus prefer to give to temples and earn god's direct blessing. Yes, it can be very transactional for Hindus at times but then there is a beautiful reminder in the minds of many Hindus that says, “it’s not mine anyway.” 

Every Hindu seeks Moksha (a liberation of the Self from birth and rebirth), not Salvation. One of the four key practices for that ultimate liberation from birth and rebirth is Vairagya which is to remain detached from earthly pleasures. Hindu doctrine does not say one can’t enjoy wealth but does say that if it is not in your possession one day for any reason one mustn’t lose Stita Pragnata (a still and balanced mind). Staying unaffected is the aim. If you are unaffected at the loss, your Atma (the Self) is very much on the path to Moksha.  

Famous stories of detachment to wealth are often woven into Hindu teachings as a healthy reminder. The ancient Hindu king Janaka sat rooted to the spot listening with rapt attention to his guru whilst his palace in the famous city of Mithila south of the Himalayas was burning. Ironically, it was the monks that stood up and ran to fetch their burning robes and food bowls revealing how detachment is an internal affair. 

Whilst money might deal with the ideas of detachment and attachment in a Hindu world it doesn’t really deal with the deep longing in the human heart which is to be able to trust in someone who is a good Father for all one’s needs. The deep but unknown longing that God has your back and will provide even when you falter or fail is never fulfilled. This is where and when Karma puts the final nail in hope’s coffin for a Hindu and this is why there is always a sense of restlessness and striving simmering underneath the face of spiritual detachment at all times. “All my worth in God’s eyes and man lies in this accumulation of wealth” is quite a common but subtle heart posture. This is not articulated in the mind of course but it is the engine driving the relentless hard work. 

Yes, Indians are a very successful community at every level of western society. The culture of family and frugality plays a good role in that success but if we were carefully and respectfully to place a microscope over the heart and mind of a Hindu the intricate mechanism behind the ‘success’ is running on the pistons of striving and performance. It is a tiring and gruelling inner world.  

Detachment from the world or money does not bring the rest, joy and hope that the heart  truly cries and craves. 

Jesus often talks about money because it’s probably the best tool for revealing the heart. It highlights the obvious pitfalls of the prosperity gospel whilst equally but more subtly exposes the false spiritual facade of the poverty gospel. “It’s very spiritual to be poor” can sneak into our hearts under the guise of humility quite often. Apologising for the Father’s blessing in life is one of many signs of the poverty gospel. To revert back to Jon Sopel's transatlantic perspective, the prosperity gospel is quite obvious in parts of the American church but the poverty gospel not so much. And, in my view it is quietly hidden in parts of the British church.  

You can give money because you are genuinely generous while others may part with money because they are guilty for having it! And yes, there are those of us who give away money because we are simply bad stewards of money. It all looks very much the same but Jesus is interested in the heart and what this profound tool amplifies in that deep and protected place.  

One very awkward question Hindus tend to ask a Christian when they feel a level of trust has been developed is ”why aren’t you financially blessed by your God?” It’s a fair question now that we know a Hindu’s general worldview on the matter. A Christian can answer by offering the security and sense of significance that Christ offers not just intellectually through eastern-style self-talk but by His Spirit who dwells in the heart of a believer. If wealth is added to that, so be it but one doesn’t chase after or apologise for it.  

Detachment from the world or money does not bring the rest, joy and hope that the heart  truly cries and craves. An “unaffected mind” brought forth with striving and performance is not the same as the deep Peace th that Jesus wants to offer.  

When Mahatma Gandhi was fasting during his ‘Quit India Movement’ he wasn’t fasting in the Hindu context of immolation of the body’s desires. Instead he fasted for those in the British administration, who he believed from his knowledge of the Christian faith, were slaves to money and power. He made this very clear in a letter to Lord Irwin who was the Viceroy of India during the Independence struggle.  

He knew that Christians should have one master uncoupled from mammon and if he used Christian principles against a civilisation based upon the message of the Messiah he would stand a far better chance.  A Hindu was fasting, for a Christian result. In short, he was fasting in the most un-Hindu way… 

Prime Minister Rishi Sunak recently in January 2024 revealed his weekly fasting routine in the aim of a ‘balanced lifestyle’ so that he can indulge in ‘sugary treats later in the week.’ Not quite the same as Gandhi’s desired result but still a devout Hindu at that and quite unapologetic about his wealth.

Article
Comment
Film & TV
8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta, 

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job. 

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia. 

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death. 

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life. 

So, with all this in mind, these are my five tips for how to create a great Narnia series: 

1. Understand the thinking behind the books 

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental. 

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation. 

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales.  His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced. 

2. Recreate the distinct atmosphere of each book 

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates. 

As Ward writes, quoting Lewis: 

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ” 

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’  

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for. 

3. Embrace Narnia’s spirituality 

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books.  Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions.  I would advise Netflix to be bold and as true to Lewis’ thinking as possible. 

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption.  In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’. 

However, Disney never got to attempt some of the most theologically challenging scenes in the series.  Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen.  These scenes will not work without confidence and clarity about what Lewis was trying to get across. 

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’.  He is trying to 

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’ 

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’. 

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story. 

4. Get the central character right 

The character of Aslan stands right at the heart of the books.  He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.  

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise. 

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes: 

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’. 

This is why Aslan’s victories lead to riotous partying.  As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings. 

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right. 

5. Interpret it for a new audience 

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’. 

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.  

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny. 

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.  

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience. 

The Great Story… 

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book: 

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.” 

I wish you all the best with the production of the series and I look forward to seeing the result.  

Thanks, 

Jon Kuhrt, Narnia fan, South London (aged 51). 

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

 

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).