Review
Comment
Politics
4 min read

Truth decay: lying will destroy us

The British way of doing things extends to more than an unwritten constitution. Simon Burton-Jones argues it includes how we lie.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A Pinnochio figure stands on a window sill beside some net curtains.
Milk Chan on Unsplash.

"Why are things so ***t?"

This was the question veteran journalist Gavin Esler was asked as he walked down a Devon street one day by a member of the public who recognised him. It was a very British kind of question, crudely expressing a common underlying feeling. Esler has set out to answer it in his book: Britain Is Better Than This. It isn’t a pretty picture and will be contested. When a government has been in power for thirteen years, blame for the current state of affairs is hard to refute. There are some who do, but not many these days.  

Gavin Esler’s previous book, How Britain Ends, looked at the demise of the Union, propelled by Brexit. Esler himself was a member of Change UK, so his position as a remainer is well documented. Scotland’s vote to remain contrasted sharply with an English nationalist vote to leave. Northern Ireland’s fragile peace was put greatly at risk by deepening the divide between the island’s north and south. As a political movement, the Conservative and Unionist Party seemed to defy their name. 

Telling fibs in politics is as old as politics, but he and others identify newly organised patterns of lying; untruths being told as a deliberate strategy.

Britain Is Better Than This exposes the lack of a codified constitution as a developing risk. The UK’s deliberately vague and amorphous unwritten constitution has often been a source of its proud exceptionalism. We do it differently because we can, and we pull it off. Esler notes the almost sacred tones in which this is expressed.  It is a mystery, using rarefied, opaque language similar to eucharistic liturgy to inspire reverential awe. But when the constitution is essentially unwritten, commentators rather than judges take precedence as interpreters. And there is elasticity: the constitution is what those with power say it is at any given moment. The Crown, the government and the State seem to be used interchangeably, according to the need. If this has worked in the past, it is because of Britain’s ‘good chap’ theory of government, so called because whatever uncertainty may prevail, decent, well-educated, public-spirited people can be relied upon to make it work. 

Esler’s point is that the cracks are showing, and more people are poking their fingers through the holes to make them bigger. The Queen’s proroguing of Parliament in 2019 at the request of Boris Johnson was ruled unlawful by the Supreme Court, showing the system can rectify issues, but it also demonstrated the risk of future, unscrupulous leaders exploiting those cracks. Benjamin Netanyahu’s attempted curtailing of judicial power in favour of executive authority has set a model which others may follow. Esler’s case for a written constitution and also for electoral reform to introduce fairer systems of proportional representation are not panaceas and he while he recognises this, he prefers them.   

As a journalist he is on assured ground in the assessment of what the Rand Corporation has termed truth decay: the growing ascendency of the lie in public debate. Telling fibs in politics is as old as politics, but he and others identify newly organised patterns of lying; untruths being told as a deliberate strategy. This is murky territory for the democratic world. Across global, digital media, we disagree more about facts, blur fact and opinion, prefer personal experience to facts and trust historic sources of information less. Esler’s wants to see media literacy taught more effectively, as Nordic countries do. Deep fake technology is only going to make judgments harder.  Courses and syllabuses with a ‘media’ prefix are still considered unserious in some circles, but without this kind of literacy, Britons may become prey for some ugly predators. 

We have an uneasy, open marriage with the truth in public and in private (where research shows we all lie far more than we realise). 

In 2020, the Edelman Trust Barometer put the UK in twenty-seventh place out of twenty-eight OECD nations for trust in democratic institutions; only Russia lay below. Britain’s mythical capacity for ‘muddling through’ is based in part on our ability to ignore bad news until we can do so no longer; kicking the can down the road may be a truer expression. Gavin Esler has done us all a favour by showing what is at stake. The book’s opening question: Why are things so ***t?, however, only takes us so far.  By the end we may know why. What we are able to do about it is the defining question. 

In 1998, Jonathan Freedland’s book Bring Home The Revolution struck a nerve. The UK was transitioning from a tired government to a younger, more energetic one; the tech revolution was taking off, millennial optimism was off the leash. Freedland believed the time was right for the UK to become a republic with a written constitution like the USA. A lot has happened since then, and where Freedland’s book captured the hopefulness of the time, Esler’s feels more like a lament; a cry for a better world in the face of the facts. 

His implicit call for us to live in truth (as the late Czech president Vaclav Havel would put it) carries most conviction. We have an uneasy, open marriage with the truth in public and in private (where research shows we all lie far more than we realise). The traction of ‘my truth’ rather than, more accurately, ‘my story’ may show how close we have come to a precipice.  My truth does not set me free. If we believe the truth sets us free, we also get what David Foster Wallace meant when he observed: 'the truth will set you free, but not until it has finished with you'. Words Christ perhaps left unsaid. Big ideological changes are not afoot in Britain today, but culture is formed of a million daily interactions, where the glue of trust sticks and the power of imitation prevails. Telling porkies when others don’t becomes a tougher gig.  

Article
Belief
Books
Comment
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