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General Election 24
Politics
4 min read

What small boats tell us about belonging

Do I belong to these politics? And do these politics belong to me?

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

A grainy surveillance picture of an rusty boat overloaded with people
A small boat overloaded with migrants.
BBC.

Our son used to say that “home is where the dogs are”, as he was greeted by them. It’s a variation on “home is where the heart is”. Either way, it means that a sense of home isn’t just about place or geography, so much as family and, relatedly, the familiar. 

If home were simply an address, candidates in an election campaign wouldn’t bother knocking on doors to meet people. To be familiar is to meet people where they are, circumstantially as well as literally on their doorstep. 

To date, the solution to the refugee crisis has been to “stop the boats”, as if our principal concern is with rubber dinghies. We’ve still not addressed the people in those boats; we’re not familiar with them, their circumstances and motivations. 

I’d hazard a guess that a common desire among those who flee persecution and mortal danger is something else associated with familiarity – a sense of belonging.  

The refugee belongs nowhere, until she or he reaches a new and safe home. Indeed, all of us know we’re home only when we’re somewhere we belong. 

Somewheres are rooted in place and community; Anywheres are footloose and and educationally privileged. To which I would add the global category of migrants, who are Nowheres.

This is Refugee Week (17-23 June) and Thursday 20 June is World Refugee Day. It’s theme this year is “Our Home”, which is why I started this column on the nature of familiarity and belonging.  

Out of which arise two questions: Do I belong to this country? And does this country belong to me? The first is fairly straightforward in a practical sense – I have a British passport and pay my taxes here, so yes I do. The second question is more complex, more of which in a moment. 

When it comes to sovereign governments, the questions move from first to third person. Do you belong to (or in) this country and does this country belong to you? Again, the first question is about paperwork. The second, however, becomes crucially about exclusivity. 

Exclusive ownership reaches its abhorrent nadir in a BBC2 documentary this week titled Dead Calm: Killing in the Med?, which provides evidence that the Greek coastguard has been employing masked vigilantes to cast adrift landed refugees, including women and children, in international waters and, in some cases, to throw migrants overboard to their deaths. A story told alongside the capsizing, through incompetence or otherwise, of the rust-tub Adriana, in which more than 600 migrants drowned a year ago. 

These are matters for international law. But it shows where treating migrants like cargo, rather than people, takes us. It’s a mindset that could start with repellent (in both senses) wave machines, as considered by a former UK home secretary. 

None of which arises if the criteria of belonging are applied. Former Prospect editor David Goodhart famously wrote that a key electoral demographic could be defined in Somewheres and Anywheres. Somewheres are rooted in place and community; Anywheres are footloose and and educationally privileged. To which I would add the global category of migrants, who are Nowheres (see above). 

The key here is having nowhere to belong. Former PM Theresa May talked of “citizens of nowhere” in 2016, but she meant globe-trotting tax-exiles and the like. I mean Nowhere people, with nowhere to go – and it’s toxic for all of us that there are so many of them. 

This is where the question “does this country belong to me?” carries so much human freight (like a small boat, as it happens).

To belong is an atavistic human need. American psychologist Abraham Maslow’s hierarchy of needs places belonging and love as principal needs in his pyramid between basic physicalities (such as safety) and self-fulfilment at the apex. “Belongingness”, a sense of home, is vital for human stability. 

This is where the question “does this country belong to me?” carries so much human freight (like a small boat, as it happens). Simply to repel refugees like they’re someone else’s problem is massively to miss a point, because they’re going to carry on looking for somewhere to belong. So they’re going to keep coming. 

Maslow identified religious groups as one of those offering a sense of belonging. I would guess as much as two-thirds of the congregation I’ve looked after over the past decade came to church for that sense of belonging, which we’re called to offer to the despised and marginalised as well as the Somewheres and Anywheres. 

Miroslav Volf has written here that “God created the world to live in it” and therefore, I contend, belongs to it. So we’re called to “live in more homelike ways”, which I define as a sense of familiarity and belonging. That’s the theology of it.  

We are now facing the politics of it. Nationalism is not enough. We need leaders who can solve this at a global level, which is both a political and a theological imperative. 

Perhaps a way of reframing my questions, in this Refugee Week as we ponder how to vote, is: “Do I belong to these politics? And do these politics belong to me?” 

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Belief
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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. 

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