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4 min read

Theology isn’t just for believers – and that’s the problem

As spiritual curiosity among the young rises, let’s change how they explore it

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

Quizzical-looking students look across a tutorial to others.
Nick Jones/Midjourney.ai.

The Cambridge don told us calmly but firmly in answer to a question, probably mine, that: “You don’t need to have a commitment to study theology here, but it helps.” It was 1972 and I looked around me. I was surrounded by young blokes, dare I say it, of a certain type – tall, pale-though-uninteresting, spotty and a bit chinless. Very much like me in fact in those respects but unlike me, I thought, in one key respect: Blimey, they’re all going to be vicars! 

I ran a mile – well, about 100 – to study something more fun at a redbrick, something that was also being studied by young women, which was important for me at that moment. 

Little did I know that I’d take a theology degree some 30 years later, when I trained for priesthood. And, as it happens, very much alongside women, though this column really isn’t about that. 

What it is about is the lingering academic assumption that theology is for the committed, the faithful; that it’s vocational and for people who are called to make a career of it. I wanted to study it as an adolescent only because I was academically interested (yes, how we laugh now). 

I’m with C.S. Lewis when he says faith is either a fraudulent trick or an absolute truth but can’t be anything in between (“He has not left that open to us”). Either way, I thought, that’s a great story, a curiosity for stories that led me to journalism, since the latter choice – absolute truth – seemed to be the matriculation requirement for theology at university. And the idea that theology is for committed Christians still prevails.  

It’s been on the news agenda again lately that religious studies at A-level and theology in further education have been collapsing as course choices, even as Gen Z (18-28) has shown an increasing propensity for a return to faith and church-going – the “quiet revival”. 

That apparent paradox may be explained in a number of ways. The current college generation may not equate religious interest with academic study (as I didn’t, in a way). It may be that young men, in particular, are drawn to church by a resurgent conservative Christian nationalism. Or it may simply be that a spiritual consciousness is seen as a self-improvement technique that gets dropped by their thirties. 

But there’s another possibility. Maybe we’re just not teaching theology very well. Maybe, perish the thought, we’re making it boring. Perhaps it’s like wanting to make music as a child and being sat down in front of a blackboard to be taught theory, bars and crotchets and whatnot. 

Maybe the young are interested in the subject but not in the Church Fathers, scriptural hermeneutics and ancient Greek. They may be intensely interested in whence our western ethics, morality and culture derive, but then they have history and philosophy for that. Theology is dying on its feet even as the young are wishing to make it live again. 

I have a proposed solution and it’s this: Contextual Theology. This is a school that examines the meaning of religious faith in its contemporary cultural and social contexts. It values human experience – otherwise revelation – as a valid theological source and recognises that scripture emerges from its own cultural circumstances and must be viewed with reference to our own.  

What Contextual Theology emphatically isn’t is an attempt to make theology “fit” post-modern mores and fads. The fount of divinity is unchangeable – impassable, as theologians say – but we’re invited to interpret it through the prism of the world in which we live. It’s not so much about how theology works in the world as how theology makes the world work.  

Contextual Theology is as demanding as it is illuminating. It’s the degree I took, as it happens, when I trained for priesthood in the early Noughties and it never did me any harm (Discuss). 

This isn’t a replacement theory for classical theology. We need to understand it in its ancient context to re-interpret it in our technocratic political climate. The curiosity of our young generation seems to suggest that’s an appealing prospect. 

Yet search for a Contextual Theology degree course and you search in vain. They’re only available on courses for ministerial training (like mine), validated by a university rather than taught by it. That means you can only really study Contextual Theology if you’re training for ministry. Which takes me back to that summer of 1972. 

As Graham Tomlin, of this parish, asserts, we need theologians as well as ministers if the quiet revival among the young is to be properly supported. But we need theologians of all sorts, classical and contextual. 

I like to think of the theologian who, struck by lightning, arrives at the Pearly Gates. “But I taught that God sends famine and floods on all those who sin,” complains the theologian. “Ah,” replies St Peter, “but I think you took him out of context.” 

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Article
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Film & TV
5 min read

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. 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 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