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Sorry, Danny Kruger, a Christian nation is a bad idea

Quite simply you cannot build a nation-state on the teaching of Jesus

Sam Tomlin is a Salvation Army officer, leading a local church in Liverpool where he lives with his wife and children.

An English flag flies on a church tower.
Different Resonance on Unsplash.

Danny Kruger has become one of my favourite politicians in recent months. His contributions in parliamentary debates on assisted suicide and abortion have endeared him to many Christians including myself as he has led the charge (along with other notable parliamentarians and thought leaders) against what has been dubbed the ‘parliament of death,’ exposing the shaky ethical foundations on which they lie. 

He entrenched this reputation with many Christians with a recent speech on the ‘Christian foundations’ of England (‘out of which the United Kingdom grew’) and a passionate plea to recover such foundations. This speech went viral in Christian circles as it articulated the aspirations of many to re-establish Christianity as a national force, specifically in the physical representation of power, the House of Commons. The speech ticked all of the ‘Christian nationalist’ boxes: Christianity should be the ‘common creed’ of the country; England was founded ‘uniquely among the nations’ on ‘the basis of the Bible’; it is the ‘oldest Christian country’; ‘the story of England is the story of Christianity operating on a people.’ A remarkable set of claims to make the butterflies flutter in any Christian’s stomach, surely? 

This vision of a ‘Christian nation,’ however, typically represented by Kruger is based on an understanding of Christianity which bears little resemblance to its central character: Jesus. There is much talk of ‘nationhood’ and ‘biblical values’ in such thinking, but tellingly little about Jesus himself (Kruger’s speech makes one passing reference to him). The reason is not complicated. Quite simply you cannot build a nation-state on the teaching of Jesus. 

Every nation-state (including England, the ‘prototype’ of such a concept, according to Kruger) was formed though violent subjugation of rival tribes and narratives, establishing a monopoly on the means of legitimate violence to centralise power for princes to wage war and protect private property. Jesus’ commands to love one’s enemies, pray for those who persecute you, not resist evildoers and give away possessions are not simply an inconvenience to such a programme, but are profoundly impractical. Like an embarrassing and awkward family member turning up uninvited to a wedding, they stand opposed to a ‘civilisational Christianity’ which seeks to be the ‘chaplain of nations’ as Kruger suggests, resisting any attempt at baptising and polishing a version of what remains Machiavellian statecraft. 

These two forms of Christianity are in fact little more than two sides of the same coin and there is a more fundamental distinction to be made. 

Like a cricketer putting on extra padding to face a fast bowler, Christian ethics softens the blow of such radical expectations by suggesting that Jesus can’t really have meant what he said, especially for modern, enlightened folk today. Perhaps Jesus expected the Kingdom of God to arrive more quickly than it did and as time progressed, we needed a more practical ethic. Not wanting to abandon Jesus, his teaching is reduced to general ‘values’ like ‘love’ or ‘justice,’ the content of which in fact become the precise opposite of what Jesus taught. ‘Jesus may have said to love enemies, but we will be less safe if we do, so we had better kill them.’ ‘Jesus may have said not to love money, but our economic systems which seem quite good at alleviating poverty rely on this, so greed isn’t so bad.’ 

It may sound as if I am opposing Kruger’s vison for the alternative option in the culture wars. It is often suggested that there are two ‘Christianities’ at work in the West: one represented by Kruger might be called the ‘Christian right,’ which emphasises family values, patriotism and the importance of place, the other (at which Kruger takes aim in his speech), a left-wing or ‘woke’ Christianity which stresses welcoming the stranger, economic justice and identity politics. 

This is a red herring, however. These two forms of Christianity are in fact little more than two sides of the same coin and there is a more fundamental distinction to be made. For while they might disagree on content, the method is remarkably similar. Left-leaning Christians may disagree with Kruger on his definition of a Christian nation but would uphold the desire for the nation-state to be founded on values they consider Christian. The common assumption is that Christianity is a ‘civilisational’ force, ideally enacted by Christians and their narrative taking hold of the levers of power and influence and dominating the ‘public square.’ 

If Jesus’ teaching is not supposed to be embodied by the nation-state, however, what is its purpose and does this not leave the public square to malevolent forces, as Kruger suggests? Jesus’ teaching is indeed directed at a particular body of people who are supposed to embody it publicly, and that is the community explicitly committed to follow and structure social life around the living presence of Jesus; this is the church. The New Testament even suggests the language of nationhood is appropriate for this body as a new nation is being formed around the person of Jesus who commands the allegiance that modern nation-states claim for themselves. 

Kruger’s vision of the Church of England’s parish system is where ‘we are all members, we all belong, even if you never set foot in your church from one year to the next, even if you don’t believe in its teachings, it is your church, and you are its member.’ This is a million miles away from the vision of the New Testament where entry into this newly formed community implies active repentance and a collision with the ways of the world represented by mere ‘values.’ If that makes me part of ‘another eccentric denomination’ according to Kruger, then so be it. 

To suggest that this alternative vision cedes the ‘public square’ to malevolent forces also betrays a lack of imagination around the public nature of the church. It is assumed that if Christians retreat from the ambition to explicitly and directly make our nation-state Christian then we relegate our religion to the realm of the ‘private’ and succumb to the worst elements of Enlightenment fears about religion in the public square. The earliest Christians had no explicit desire to ‘transform the Roman empire and make it Christian’ but simply took Jesus at his word on wealth, forgiveness, welcome of the stranger and proclamation of salvation and the life made possible by Jesus’ death and resurrection. This was their public witness and it just so happened that it utterly transformed the communities in which these followers of Jesus were situated at the same time. This vision certainly has a place for Christians engaging in politics as Kruger has in debates on assisted suicide for instance, exposing the shaky foundations of any form of life not founded on the life made possible in Jesus. This is most appropriately done, however, without reaching for language that implied the state has salvific qualities, language Christian teaching rightly reserves only for God himself. 

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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