Column
Belief
Creed
Education
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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Review
Belief
Culture
Music
Romance
3 min read

Is Alex Warren singing a love song, or a worship song?

Ordinary's lyrics speak to a fundamental human desire, even when we don’t realise.

Ed is a Research Fellow at the Faculty of Theology and Religion at Oxford University.

A singer holding a guitar raises his head with closed eyes.
Warren on stage.
Mike M. Cohen, CC BY 3.0, via Wikimedia Commons.

Alex Warren’s Ordinary is number one in the UK charts. At first glance the song appears to be a love song, and I would guess this is how it’s been heard during its 400million streams.

Spend more time with the song, though, and it becomes hard to ignore the theological imagery. “stayin’ drunk on your vine,” sings Warren – a conscious (he’s a Catholic) borrowing of St John’s image of the human person as united to God like a branch to a vine. “You’re the sculptor, I’m the clay,” is a direct reference to St Paul. Warren adds to these biblical allusions images primarily associated with Christian worship, including references to ‘holy water’ and ‘kissing the sanctuary.  

So, Ordinary is certainly a love song, it’s just not clear who Warren is singing to. A human lover? Or a song to the Triune God, the One revealed in Jesus Christ? 

I’m not really interested in the meaning Warren intended to convey. But I am interested in what the popularity of the song might say about the human heart. 

As St Paul stood before the Athenians he told them he came with news of the ‘Unknown God’; one whom the Athenians did not know but who they deeply desired to know. Might the popularity of songs like Ordinary reveal the deep desire that human beings have for a God they do not yet know? To my mind, the 400,000,000 streams of Ordinary speak of a desire to meet with the God who is Love, the God who invites us into a union, a love, more intimate than the branch and the vine.  

In one of my favourite songs, Florence + the Machine insightfully explores what it might mean to love someone without knowing it. In South London Forever, she tells us about a time when she was ‘young and drunk and stumbling in the street’. The tone is light, and the regular refrains of ‘it doesn't get better than this’ capture the (sometimes literal) ecstasy which often accompanies youth.  

Yet the song also captures a real sense of loss. Florence describes how ‘I forgot my name, And the way back to my mother's house’. As the song builds, the refrain becomes deeply melancholy, with Florence moving from belting out that life had never been better to describing how: 

 ‘Everything I ever did, was just another way to scream your name, over and over and over and over again’. 

 It is with these words that the song finishes. 

But whose name is Florence screaming?  

The song does not say. But, might it be God’s name? Indeed, Florence hints at this with a singular reference to God at the heart of the song. On this reading, South London Forever becomes a story about recognising one’s own failed attempts to find happiness as an attempt to find God. It becomes a story about seeking God without even knowing it. 

Intriguingly, the great North African Bishop, St Augustine of Hippo tells a similar story in his Confessions. Augustine’s spiritual autobiography is, at least in part, a story of his deep struggle with a desire for sexual intimacy. It is a story of seeking out fulfilment in strange places such that Augustine slowly becomes a stranger to himself, and as Florence puts it, loses the way back to his mother’s house. Looking back over these attempts to find happiness, Augustine comes to recognise that it was God all along that he was looking for ‘how deeply even then, the depths of my heart were sighing for you’.  

The story of songs like Ordinary and South London Forever is that the human heart always desires God, even when the heart is looking for God in strange places. 

Celebrate our 2nd birthday!

Since Spring 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