Article
Comment
Freedom of Belief
Gaza
Middle East
Migration
7 min read

What the Gaza conflict and the asylum seeker row have in common

Iran’s persecution drives its Christians here. This is their story.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Rows of soldiers march away from the camera, two in the back row turn their heads back.
Officers at Iran’s Sacred Defence Week parade, 2023.
Tasnim News Agency, CC BY 4.0, via Wikimedia Commons.

The Israel-Gaza war and the recent row between the church and the UK government over asylum seekers don’t seem on the surface to have much to do with each other. But they do have a common denominator: Iran.  

Iran may not have directly sponsored Hamas’ infamous attacks on Israel on October 7th but without Iranian support for Hamas, it is unthinkable that they would have happened. Iran remains on the list of those countries who sponsor terrorist organisations across the Middle East, such as the Houthis in Yemen, and are widely regarded as a force for instability and undermining democracy across the region.  

It is also one of the most repressive nations on earth. It counts in the top ten of countries where freedom of religion or belief are restricted. According to the Open Doors’ World Watch List, list, Iran is the ninth most dangerous country to be a Christian in 2024, just behind Sudan and ahead of Afghanistan. With 1.2 million Christians in the country, they make up just 1.4 per cent of Iran’s population, and yet, they are considered to be a risk to national security and a means by which the West is seeking to undermine the Iranian government. This inevitably makes life incredibly hard for the Christians who call Iran home; to be a recognised Christian means to live your life as a second-class citizen, under constant surveillance, and enduring endless discrimination. 

Given that Iran is hardly a friend of the UK, the USA and its allies, you might have thought western governments would do all they could to support people seeking to escape the country, or a movement that draws people away from the influence of the mullahs. Which makes the attack on asylum seekers seeking baptism in UK churches all the more perplexing. 

Over the past week, Seen & Unseen has spoken to several Iranian Christians in the UK. These are definitely not bogus Christians. Some came to Christianity in Iran after a Muslim upbringing. Others were born into the small Christian community in Iran. Some are training to be ordained in the Church of England, and many of them have been imprisoned for their faith in Iran before coming to the UK. 

“The persecution that Christians are facing in Iran is absolutely real. Does that mean that some of them are leaving the country? Yes. I had to. I’m here. I had to leave my home.” 

One man, Mehdi (his name has been changed to protect his identity) became a Christian in Iran at the age of 18. His older brother converted to the new faith first and Mehdi, having seen his big brother struggling with violence, anger, depression and drugs, was curious about the complete and immediate change in his brother’s life. That curiosity led him to believe in Jesus. It became immediately obvious to these two brothers that their new faith was going to make their life complicated; and at the age of 20 and 26, they found themselves being arrested for the first time.  

He explains what drew him, and many others to Christianity. “It’s the same for many Iranians. There were people around us who are who were, and still are, dealing with lots of difficulties because of the economic situation, because of the oppression and corruption of the government. It feels like there’s no hope, no solution. The only solution can be found in the hidden places. It’s Jesus. He is the hope of a new life.” 

He tells us how Iran sees Christians: “They believe that Christianity is a weapon of Western countries, with a long-term plan to convert Islamic countries like Iran so that they can alter the culture and take the power.” 

After years in prison, much of it in solitary confinement in degrading conditions and yet more threats from the authorities, he was forced to leave Iran. He is now living in the UK with his wife, and at the midway point in his training to be a priest.  

We wanted to know what he thought of the comments concerning the church and ‘bogus asylum claims’: 

“The violation of human rights, the right to both free speech and freedom of belief, in Iran is real, it’s true, it’s happening. The persecution that Christians are facing in Iran is absolutely real. Does that mean that some of them are leaving the country? Yes. I had to. I’m here. I had to leave my home. And there aren’t enough legal routes, there aren’t enough ways to seek asylum in countries like the UK.  

So, it’s true that Christians are leaving Iran. I’m one of them. And I was incredibly lucky, I got here safely and securely.”  

Another convert, Hassan (also a false name to protect identity) while at home in Iran, went though the usual teenage angst, wondering about his place in the world, and whether God really exists. He delved into Islamic theology but says it left him ‘feeling empty’.  

After a few months of praying that God would somehow reveal himself, Hassan had a dream of a figure on a cross. This was the beginning of a journey that led him to faith in Jesus Christ. Hassan talks about his experience with the immigration system: “It’s hard for the Home Office, but the church has an important role to play – to support the people who have been persecuted, who have never before had a place to learn about or worship God. Those who have never had the freedom to express their faith, or live in their faith.”  

They are habitually religious people, so are not naturally drawn to atheism or agnosticism. On arriving in the UK, which they assume to be a Christian country, they naturally want to explore the faith of the country that they have arrived in. 

An Iranian refugee Darbina, unlike the others, was born as a Christian into a Christian family. Yet she speaks of how Christians are persecuted in Iran. She says they are treated like second class citizens, unable to sell food because they are regarded as unclean, unable to enter many professions because they are Christian. She describes the open surveillance of Christians. Her father, a pastor, was imprisoned for ‘acting against national security’ by organising small groups and illegal gatherings. Eventually Daria herself was imprisoned for a year. She experienced degrading treatment as a woman in a predominantly male prison, and frequently had to listen to the torture of others.  

There is another common story. Many Iranians leave Iran not yet as Christians, but seeking a better life from an economically depressed nation and disillusioned with the form of Shia Islam found in the country. They are habitually religious people, so are not naturally drawn to atheism or agnosticism. On arriving in the UK, which they assume to be a Christian country, they naturally want to explore the faith of the country that they have arrived in, even when they find the UK church more lukewarm than they expected. Of course, there are a number of Iranian Christians already in the UK such as Mehdi, Nasir and Daria, ready to help them discover a faith which has become vital to them. This would seem a much more common explanation of Iranian Christians wanting baptism, then simply a cynical attempt to manipulate the asylum system.  

Of course, there are Iranian and migrants from other countries claiming false conversion as a means of advancing their case for asylum. No-one doubts that. Yet the problem has been exaggerated. A recent Times report found that since January 2023 only 28 cases were heard at the Upper Tribunal Court in which a claimant cited conversion to Christianity as a reason to be granted asylum – in other words, just one per cent of cases heard. And of those 28, seven appeals were approved, 13 were dismissed and new hearings were ordered in eight cases. Hardly an ‘industrial scale’ operation. Yet there is a great deal of evidence of numerous people like those we spoke to, who have genuinely converted to Christianity, either in Iran itself, or in the west.   

More significant than the comparatively small number of fake claims, is evidence of a genuine religious revival amongst Iranian Muslims, drawn to Christianity as a more attractive option than the oppressive form of Islam they find in their homeland. Attacks on Iranian and other migrants, with the implication that all Iranians seeking conversion are bogus, or at least feeding suspicion of such claims to conversion is undermining exactly the kind of movement that you would have thought that the British government would be wanting to encourage. 

If there is something of a spiritual revival taking place amongst Iranian Muslims then this should be something to be celebrated rather than penalised or tarred with the brush of deception. We owe it to these people who have risked their lives to find a better way of living and believing.  

Article
Comment
Film & TV
8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta, 

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job. 

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia. 

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death. 

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life. 

So, with all this in mind, these are my five tips for how to create a great Narnia series: 

1. Understand the thinking behind the books 

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental. 

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation. 

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales.  His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced. 

2. Recreate the distinct atmosphere of each book 

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates. 

As Ward writes, quoting Lewis: 

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ” 

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’  

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for. 

3. Embrace Narnia’s spirituality 

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books.  Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions.  I would advise Netflix to be bold and as true to Lewis’ thinking as possible. 

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption.  In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’. 

However, Disney never got to attempt some of the most theologically challenging scenes in the series.  Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen.  These scenes will not work without confidence and clarity about what Lewis was trying to get across. 

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’.  He is trying to 

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’ 

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’. 

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story. 

4. Get the central character right 

The character of Aslan stands right at the heart of the books.  He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.  

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise. 

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes: 

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’. 

This is why Aslan’s victories lead to riotous partying.  As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings. 

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right. 

5. Interpret it for a new audience 

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’. 

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.  

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny. 

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.  

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience. 

The Great Story… 

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book: 

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.” 

I wish you all the best with the production of the series and I look forward to seeing the result.  

Thanks, 

Jon Kuhrt, Narnia fan, South London (aged 51). 

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

 

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).