Article
Assisted dying
Death & life
Ethics
Politics
4 min read

What will stop the culture of death that libertarian Britain has embraced?

Now we’re allowed to end life with impunity

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

Diane Abbott speaks in the assisted dying debate.
Dianne Abbott MP speaks in the assisted dying debate.

Just a few days apart, two debates recently took place in the House of Commons concerning life and death. In the first, MPs voted to decriminalise late-term abortions. In the second, they voted for assisted dying. Both times, the reach of death grew a little longer.

Imagine a mother about to have a baby who is suddenly having grave doubts about whether she can manage a new child as the moment draws near. It’s not hard to sympathise with many in this situation, but rather than recommend she goes through with the birth, and perhaps putting the baby up for adoption for childless parents desperate to adopt, we now have passed legislation that allows us to terminate the baby’s life instead. Proponents argued this was to relieve a small number of women who had been prosecuted for late-term abortions. The reality is, however, that it will probably become more common. In the debate, Jim Shannon MP pointed out that in New Zealand, in the first year after their parliament voted the same way, late-term abortions increased by 43 per cent.

A baby a week before and a week after birth are virtually identical. Yet as a result of this bill, it will not be a criminal act to end the life of the first, but it will be to do the same to the second. What’s the betting that the logic of this will stretch before long to allowing parents to terminate the lives of newborn babies with a new limit – say up to one month after birth? The arguments will be exactly the same – sympathy for distressed parents who suddenly realise they cannot cope with a new life on their hands, especially if the baby is discovered to be flawed in some way. When emotional sympathy, personal choice and the rights of the mother over the baby become the only moral arguments, the logic is inevitable.

Despite the argument shifting rapidly against the Terminally Ill Adults Bill – the vote passed by 314 votes to 291, with 32 MPs apparently having changed their minds - it now looks likely that this second bill will pass into law in a few years’ time, despite scrutiny in the Lords.

Here on Seen & Unseen, we have scrutinised the arguments put forward for assisted dying over past months. We have argued about the unintended consequences for the many of permitting assisted dying for the few. In The Times a while ago, I argued that if ‘dignity’ means autonomy — my ability to choose the place, the time and the manner in which I die — there is no logical reason why we should refuse that right to someone who, for whatever reason feels their life is no longer worth living, however trivial we may feel their problems to be. With this understanding of dignity as unlimited choice, the slippery slope is not just likely, it is philosophically inevitable.

In both cases the logic of the arguments used means the march of our ability to bring about death will not stop with these measures, despite their proponents’ assurances that safeguards are in place.

These two votes reminded me of something Pope John Paul II once wrote. In an encyclical, Evangelium Vitae – the Gospel of Life - he warned that “we are facing an enormous and dramatic clash between what he called a “culture of death” and a “culture of life”.

He warned that this “culture of death” would be “actively fostered by powerful cultural, economic and political currents which encourage an idea of society excessively concerned with efficiency.” It is, in effect, he argued, “a war of the powerful against the weak: a life which would require greater acceptance, love and care is considered useless, or held to be an intolerable burden, and is therefore rejected in one way or another. A person who, because of illness, handicap or, more simply, just by existing, compromises the well-being or lifestyle of those who are more favoured tends to be looked upon as an enemy to be resisted or eliminated. In this way a kind of ‘conspiracy against life’ is unleashed.”

They were strong words, and in the UK at least, back in 1995, might have seemed alarmist. Yet I couldn't help thinking of them as these two bills passed through the UK’s national parliament. In both cases, the bills were introduced very rapidly with little time for serious moral deliberation. Both depended on emotional appeals to a small number of admittedly distressing cases without serious consideration for the wider cultural and philosophical ramifications of these seismic moves. Both encouraged the steady encroachment of death on demand.

What concerns me is what these bills say about the kind of culture we are becoming. MND sufferer Michael Wenham makes the point powerfully that this is all about autonomy and independence, a spurious kind of compassion, and the fact that palliative care is more expensive than subtly encouraging the dying to take their own life. Looking behind the arguments for compassion, it's not hard to spot the iron law of libertarian ideas of freedom, where individuals have absolute rights over their own lives and bodies that trump everything else. This is the kind of libertarian freedom that prizes personal autonomy above everything else and therefore sees our neighbours not so much as gifts to be valued and cherished, but limitations, or even threats to our precious personal freedoms.

Pope John Paul was right. It does seem that we are opting for a culture of death. And my fear is that it won’t stop here.

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Review
Awe and wonder
Culture
Death & life
Music
4 min read

Natalie Bergman brings grief and joy to Union Chapel

A soul-soaked set turned personal tragedy into communal celebration

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A musician wearing black sits on a chair in a desert holding her guitar.
Natalie Bergman.
Natalie Bergman.

In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel. 

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever.    

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter. 

As a result, tonight, she takes us down paths of sorrow into the wilderness to find the light of God shining on us. At Union Chapel, a series of subtly lit arches ascend behind her and her band guiding our eyes upward until they reach the central back-lit rose window. The beauty of that light is where she takes us through the soulful spirituality of her songs. By the end, the joint is jumping with joy as we sing and dance to ‘Keep Those Teardrops From Falling’. 

Why? Her super-melodic songs draw inspiration from the deep sources of sixties soul, including Motown, while being infused also with the rhythms of reggae and highlife. Her voice ranges from childlike wonder floating on a sea of sound to smoky sultry spirituality. In common with Nick Cave on Wild God, the source of her spirituality is a vulnerability and openness occasioned by the grief she has endured, an experience common to all of us, whether now or in the future.  

She has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.” As she concludes, “How could anyone have a problem with someone processing grief in a harmless way?” At Union Chapel, it’s clear that they don’t. Instead, what resonated with Bergman in her loss, also resonates with us.  

‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that: 

‘When you are scared, reach out your hand 

Talk to the Lord, talk to the Lord 

If you are sad, He'll dry your tears 

Talk to the Lord, talk to the Lord’ 

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that: 

‘In this pain, you make me sing 

When I am blue, you take me in 

My little ways, they feel strange 

You give me a little bit, and you take it away 

You paint the rain’ 

In these ways, she has been enabled to live again and to find joy in family life, with My Home Is Not In This World finding its inspiration in the birth of her son, Arthur. When not lamenting lost loves, My Home Is Not In This World is grounded in the realities of home and natural life. The song ‘My Home Is Not In This World’ contrasts a prior life of glitzy glamour – her home no longer being there - with the life she has now found: 

‘My home 

My home is not in this world 

My home 

My home is not in this world  

 

I want to go outside 

Tell the trees that I love them 

Open my eyes 

See the children in the garden 

Dancing underneath the sunshine 

Swinging underneath the moonlight 

Sing away your sorrow my little one’ 

It’s been said that her ‘greatest achievement is choosing to go against the grain’, a decision that includes her spiritual focus and proves the value of going counter to the culture. It’s also been said that her universal music ‘lives in the hearts and minds and souls of her fellow travelers; born again believers in love, joy, and music’s role as guiding light and lightning rod’. That was certainly the case at Union Chapel where she ‘let the sunshine in’ and we all experienced the everlasting light of love shining on us. 

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