From transferring footballers to AI talent, we over-value each other

Building our value on cashflow crumbles our self-esteem

Jamie Mulvaney

Jamie is Vicar of St Michael's Chester Square, London.

Three Manchester United footballers with their arms around each others backs.

Mert0804, CC0, via Wikimedia Commons.

Premier League footballers not only have millions of pounds, but millions of accountants. Yes, that's right: I've had my morning coffee and the editor didn't miss that sentence. There are millions of armchair accountants. You know, the bean counters many of us effortlessly transform into when it's transfer season.

Pick your channel - everyone seems to be asking 'is Rasmus Højlund really worth that much?' Your heart mightn't bleed for him - as he is handsomely compensated - but at least spare a thought for him and the crushing weight of critics and their expectations of his performance.

Footballers aren't alone. Whether it's bankers' bonuses, the excesses of the offers to top AI engineers… OpenAI CEO Sam Altman claims that Meta have offered his employees bonuses of $100 million to recruit them. Other recent valuations of companies have raised $1 and $2 billion. The Economist says that AI valuations are 'verging on the unhinged’.

Armchair accountants actually look a lot like jurors. But who are we to judge? The figures might seem silly money, but the stakes are higher than fantasy football or Monopoly. In Build the Life You Want, Arthur Brooks and Oprah Winfrey call out the way we objectify people at work over performance or pay:

'It’s pretty easy to see why we shouldn’t objectify others. Less obvious but equally troubling is when the objectifier and the person being objectified are one and the same—when you objectify yourself.'

Building our value on cashflow, Instagram likes and the like crumbles our self-esteem and all the health and social issues that come with that. In the arena of our own workplace, they write that self-objectification 'is a tyranny. We become a terrible boss to ourselves, with little mercy or love.’

You only have to peer into the comments section any any online article (not just sport) to see how callous and unforgiving apparently polite, middle-class society has become. It's hard not to have the sneaking suspicion that our devaluing of others thinly veils the way we've devalued ourselves.

The way out of this is to detach our value from our pay and work. So, take Rasmus Højlund, transferred to Manchester United in 2023 for £64million. I would argue his worth is a lot more than £64 million. But that is because his performance, for this exercise, is irrelevant. This is not a new notion. For millennia, the Christian notion of grace is not only the entry-point of faith, but the operating system, with perfect performance already having been achieved by a saviour. The 'ultimate price', paid by God, is of such immeasurable worth and value that Rasmus, or any of us, are worth significantly more than £64million.

But then the problem arises that Christians can still struggle with feeling like an expensive disappointment, unable to live up to the spiritual 'transfer fee'. Is it really worth me accepting the biblical claims of the price paid by Jesus on the cross if I just pile on guilt? Well, if you feel like a star signing, you've probably missed the point. But equally, if you feel like a flop, there's the need to recognise that value and worth was never rooted in your performance in the first place. There's a very different set of rules. It's not a zero-sum game of competition where players and managers are ruthlessly eliminated. The Bible paints the picture of a God not so much ruthless as he is reckless.

When Jesus tells the parable of the prodigal son, squandering his father's wealth, only to be welcomed, restored and celebrated with open arms, the word 'prodigal' that's been attached to this parable even more appropriately describes the father: 'recklessly extravagant' and 'having spent everything'. Whatever our own estimations – or those of others – actually don't matter. £64million might feel like an absurd and unreal amount of money – but it isn't Monopoly money. Those figures have actually been transferred. And just because we can't see or feel the price that has been paid, doesn't make it any less real or consequential. Not only is your guilt traded away from you, but your rights to self-judge.

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Faith

15 August 2024

4 min read

Faith is no longer a dirty word in publishing

Sarah Perry’s comments suggest a reawakening of concern for its observation.

George Pitcher

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

A woman being interviewed gestures with a hand in front of her

Sarah Perry.

Waterstones.

If there’s one thing anyone who has ever written a novel can’t stand, it’s having to congratulate a successful novelist. So, it’s through gritted teeth that I warmly welcome the words of Sarah Perry (The Essex Serpent) that religious faith is ceasing to be a subject of embarrassment in published fiction.

It’s about time. Perry told the Edinburgh International Book Festival that, for her latest book Enlightenment, she was asked to put in more theology: “I assumed that everybody knew what the doctrine of predestination meant.” Bless.

The cause of my pathetic envy as I applaud her is that I had my first (and, to date, only) novel published in 2017, to almost universal disinterest. I like to tell people that it was well received – all three people who actually read it said they enjoyed it and only one of them was a family member. It actually did a bit better than that, but you get my drift.

It was an unashamedly religious psychological thriller, titled A Dark Nativity. Brace position, here comes a one-sentence synopsis: The narrator, Reverend Natalie Cross, is a frustrated former aid worker who undertakes a mission to Israel, is kidnapped and held hostage, murders her way to freedom, discovers she was the victim of an Anglo-American plot, wreaks her terrible revenge and (spoiler alert!) gives birth to a son of uncertain paternity.

See what I did there? As well as the latter-day Nativity resonance, thematically I was interested in what redemption looks like in Israel and Palestine. I know, I know – but even I thought it would be distasteful to try to cash in on what’s happened there since.

Enough of the plug for a seven-year-old novel. My point is that its religious themes actively militated against it at the time. Novels addressing Christian faith (or any other kind) occupied a particular publishing niche – a harsher word might be ghetto. To try to break out of it was pointless. The great Christian novelist Penelope Wilcock told me (very kindly) that my book was too religious for the secular market and too secular for religious readers.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation.

The restricted area to which religion was confined had its stylistic rules. There was the cathedral close romp, which authors such as Catherine Fox had made their own. The vicarly whodunnit (lately updated by Reverend Richard Coles). Magic realism with its daemons and Philip Pullmans. And anything, in the wake of Dan Brown’s The Da Vinci Code, involving ancient plots that might make a movie, with hooded figures walking in slo-mo through cloisters.

Vicars had to be evil or silly. I may be both those things at times, but I’d like to think there is other stuff going on here for cultural exploration. My narrator, Nat Cross, was driven, often funny and more than a little mad. So like a lot of Anglican clergy.

If she’s right – and I very much hope she is – it’s why what Perry has to say is so hopeful. Because it begins to suggest that religious faith is slowly beginning to be accepted back into polite society. Whisper it softly, it might even become a cultural norm. If Richard Dawkins can describe himself as a “cultural Christian” and the historian Tom Holland, in his book Dominion, can claim that Christianity is the entire foundation of western civilisation, then there is everything to play for. And, indeed, write for.

It’s not as if cathedral frolics and the revelation of Jesus’s wife in Leonardo’s Last Supper was anything other than a fictional diversion of post-modernism. Religion and specifically Christianity had been a staple of the novel in English.

I hesitate to mention their names in the same column as the authors above (including me, most obviously), but Graham Greene’s exposition of Catholic guilt in The End of the Affair and Evelyn Waugh’s of the impossibility of moral reformation in Brideshead Revisited are probably the best religious novels of the twentieth century.

Further back towards the birth of the English novel, the Reverend Edward Casaubon in George Eliot’s Middlemarch is perhaps the most tragic portrait of a clergyman who is neither evil nor silly. He stand as a warning from history to today’s Church of England.

And it’s to that, the established Church, that Perry’s remarks ultimately turn our attention. We’re told that there has been a five per cent spike in church attendance recently, but that of itself isn’t sufficient to suggest a renaissance in our religious culture. Our arts and culture will only ever really reflect what we care about.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation. If so, that’s good news for the religious, as well as for religious authors. And I might just get a sequel out of it.