Explainer
Creed
Time
Trauma
4 min read

The unusual power of silently remembering together

The collective silence of remembrance acts is unusual. Listen to its powerful lesson.

Christie Gilfeather writes about the Old Testament/Hebrew Bible and its relevance to culture. She has a PhD in Biblical Studies from the University of Cambridge and is a parish priest in Hertfordshire.

Princes and army officers walk away from a war memorial while others look on.
Then Prince Charles at the Cenotaph war memorial, 2017.
Number 10, CC BY 2.0, via Wikimedia Commons.

Every year on the 11th of November at 11am, people across the UK stop whatever they’re doing and keep a two minutes silence in honour of those who have died in war. This collective silence provides the opportunity to reflect on the loss of life and cost of peace. It gives us the chance to consider the conflicts raging around the world today.   

Collective silence is an unusual thing in our culture. There are few, if any, other opportunities for silence which are as widespread as the tradition at the centre of Remembrance Day. Silence is, however, a powerful tool in relation to suffering and death. It acts as a reminder that in the face of some horrors, there is simply nothing to say. Presence becomes all that we have to offer, because words simply cannot capture the depth of the sadness to which we bear witness. And we must bear witness to them.  

No words are said. People stand alongside each other and bear witness both to the grief and to the light of hope represented by the flickering candle.   

Remembrance Sunday is one part of the wider season of remembrance in the church. This season begins with the feast of All Soul’s, when the church gathers to remember by name those who have died.  

A powerful tradition lies at the heart of All Soul’s services: the priest reads out a list of names of the dead. If you are grieving a loved one, it is a great relief to hear someone else say their name. Grief can be intensely lonely and easily forgotten by others. But the church promises not to forget, honouring the beloved memories of those missing from our communities on the feast of All Souls. In many churches, after the list of names is read a silence is held in which the congregation comes forward to light a candle in memory of their loved one. No words are said. People stand alongside each other and bear witness both to the grief and to the light of hope represented by the flickering candle.   

The value of silence is easily lost in this world which prompts us to rush to speak about everything that is happening. The Bible, though, offers us examples of the power of times of silence and the wisdom that can emerge from them. 

They did not speak, because this was not a place for words. They remained with him to bear witness to his suffering without trying to resolve it.

At the beginning of the book of Job in the Old Testament, we find the protagonist in the midst of disaster. Job has lost everything, his home, his livestock, his family and his health. When Job’s friends hear about what has happened to him, they seek him out to be with him amid his suffering. The story tells us that  

‘They sat with him on the ground seven days and seven nights, and no one spoke a word to him, for they saw that his suffering was very great’.  
There are no platitudes here. No hastily put together explanation of why this might have happened or what Job needs to do about it. The friends saw that Job’s suffering was ‘very great’ and they allowed their presence to be enough. They did not speak, because this was not a place for words. They remained with him to bear witness to his suffering without trying to resolve it. In the story this silence eventually gives way to unhelpful words, but it is striking, nonetheless.  

We find another example of silence during grief in the New Testament. John’s gospel recounts the death of a friend of Jesus. Lazarus becomes ill and quickly dies, and upon hearing the news Jesus makes haste to join Lazarus’ sisters and bear witness to their pain. There is some dialogue in the story, but the most striking part of it comes when Jesus reaches the grave of his friend. The shortest verse in the Bible is found here. It simply says, 

‘Jesus wept’.  

At this point, Jesus doesn’t say anything. He simply weeps, moved as he is by the death of his friends and the grief of those around him. Jesus weeps, even though he knows that before long Lazarus will rise from the dead.  

But Jesus does not rush to the surprise and joy of resurrection. Jesus’ silence and his weeping is an example of what it means to grieve well alongside others when they are hurting. In what is perhaps one of the purest expressions of the human condition, Jesus responds to the weight of loss and the fragility of life in his silent bearing witness to the loss of his friend.  

When we bear witness to the suffering of others without seeking to fill it with our own explanations or opinions, we honour the loss that is before us.

Within the Christian tradition there are also many examples of protest and speech in response to injustice. Silence is vitally important, but at some point, it must give way to speech and action when questions about human dignity are at stake.  

But in order to know how to engage in resistance to that which diminishes others, periods of silence are necessary. When we bear witness to the suffering of others without seeking to fill it with our own explanations or opinions, we honour the loss that is before us. That is at the heart of the national two-minute silence for Remembrance Day. In remembering those who have died in war, and considering the conflict that marks our world today, we bear witness to the fragility of the human condition. Out of silence, comes the resources to know how to speak with wisdom.  

 

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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