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
Ambition
Culture
Film & TV
Politics
6 min read

Why we’re fascinated with power behind closed doors

Conclave captures the powerful chemistry between heaven and earth.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

A cardinal glances to the side as he stands amid a gather of clergy,
Cardinal Thomas Lawrence played by Ralph Fiennes.
Film Nation.

An ecclesiastical election, conducted behind closed doors, by a group of old men hardly seems a subject for a riveting thriller. Yet, back in 2016, Berkshire-based novelist Robert Harris thought otherwise. Conclave became an international best-seller. 

Now it’s been turned into a movie. And, according to the cognoscenti, a rather good one at that. British Vogue lauded it with great enthusiasm: 

“It’s a treat in every sense – visually, sonically, dramaturgically – and, as we hurtle into this bleakest of winters, exactly the kind of galvanising, pulse-racing shot in the arm we all need.” 

Really? 

Well, following its UK premiere at the London Film Festival in October, the BBC were quick to report a potential flurry of Oscar nominations and even that it was ‘thought to be a strong contender for the best picture award’. 

So, what’s going on? How has this dangerously dull and turgid subject turned into a narrative that tames the critics and converts the sceptics?  

A late night showing on the day of its release at the end of November beckoned me to find out. So off I went with my wife, after she had finished Gospel Choir practice. 

Directed by award winning film-maker Edward Berger (All Quiet on the Western Front), it stars Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini.  

The premise is simple. The Pope is dead, and the Cardinals of the Catholic Church convene from around the world to choose his successor. But this, of course, is only the beginning. 

Sequestered in the Vatican the prelates are cut off from outside influence as the secret process of electing a new pontiff is enacted. But this does not stop events, past and present, from impacting and shaping their deliberations.  

Overseen by Cardinal Thomas Lawrence (Fiennes), the British Dean of the College of Cardinals, the story unfolds as he negotiates these successive revelations and happenings. Along the way he is also wrestling in his own faith for spiritual reality and personal integrity. 

As they gather, the not-so-friendly fraternal rivalry of the cardinals and the manoeuvring of the leading contenders sets up a presenting series of tensions for the Conclave: 

  • Cardinal Bellini (Tucci) is the Vatican’s theologically progressive, yet diffident, Secretary of State 
  • Cardinal Tremblay (Lithgow) is a slippery and ambitious, self-promoting Canadian conservative 
  • Cardinal Tedesco (Sergio Castellitto) is the forthright and reactionary traditionalist Patriarch of Venice  
  • Cardinal Adeyemi (Lucian Msamati) is a theologically conservative and populist Nigerian who offers the possibility of making history as the first Black pope.  

Then, at the last minute, into the mix enters a cardinal that no one knew of. Cardinal Benitez (Carlos Diehz) is a Mexican who arrives claiming the late pope appointed him Archbishop of Kabul in pectore (in secret) prior to his death.  

Shuttling between their living quarters in the Domus Sanctae Marthae and the Sistine Chapel, the venue for their voting process, the story unfolds. A complex interplay of ecclesiastical politics, theology and spirituality intermingle with issues of identity, character and choice to make for a heady mix. At stake, or is that on offer, is the power of the Papacy. 

Reflecting the church at large the Conclave is a community of conservatives and liberals, traditionalists and progressives, populists and academics, activists and administrators.  

Like the world at large, all human life is here. Men with hidden secrets, driven by ignoble motives that often dress themselves in more noble apparel. Ambition, greed, ego and privilege rub shoulders with graciousness, sincerity and self-sacrificial service. Sometimes even in the same person. The human condition is a complicated one. It seems that power retains its age-old allure and ability to corrupt. 

And maybe that’s it. For all the secrecy and mystery that surrounds a papal election, right down to the colour of the smoke, it is a human concoction. Human fingerprints are all over it, just like they are all over the church.  

The church aspires to be better. To be shaped by a higher ideal. To properly be ‘the body of Christ’ and represent the imago dei in the world. To so inhabit the love and grace of God that through its life and witness God might touch and transform the world for the better. Yet, as one of the Italian cardinals correctly, if too easily, argues, “We are mortal men; we serve an ideal. We cannot always be ideal.” 

Indeed, the great apostle St. Paul had to confess, “Not that I have already obtained all this, or have already been made perfect …”, but he is committed to go further, “… [yet] I press on to take hold of that for which Christ Jesus took hold of me.” There is an ideal to pursue. 

As the cardinals progress through successive rounds of voting the field of candidates narrows and the required two-thirds majority comes within reach. Yet the prospects of the main characters rise and fall through the twists and turns of the plot as it heads to its inevitable climax.  

Then one final, unexpected and flabbergasting reveal hits the audience from out of left field. It is a masterful denouement to the tale. 

Speaking about how it all came together Harris revealed: 

“I approached this not as a Catholic and not as an expert in the Church. So my preparation began by reading the gospels, which are revolutionary. And the contrast between that and this great edifice of ritual and pomp and power and wealth of the Church is striking … There's also this question of can you freeze anything at a point nearly 2000 years ago? Haven't the world and humanity evolved?” 

As we drove home at gone midnight I found it hard to disagree with Vogue.  

The visual spectacle created by cinematographer Stéphane Fontaine plays wonderfully with the renaissance setting of the Vatican. It is a beautiful and luscious feast for the eyes.  

Volker Bertelmann’s teasing creativity with the score made the drama come alive and heightened what has been an unforgettable experience. 

But for me, most of all, it was the drama. The story that was told. The unfolding of events and the interplay with people and their motives, their relationships and their vested interests. It is layered and nuanced and complex, just like real life.  

It has left me pondering once again the chemistry between heaven and earth. Between our freewill and agency as individuals and the mystery of the divine presence and the fruit of prayer.  

As the cardinals prepare for the final vote a waft of air blows gently through a broken window in the Sistine Chapel and rustles their voting papers. Is Berger tipping his hat to the presence of the Spirit of God, present and active in human affairs? 

Perhaps the last word should go to Robert Harris. 

“With temporal power, or indeed spiritual power, it is very difficult to avoid factions, scheming, the lesser of two evils—all the compromises that go into running any huge organization and trying to keep, not just hundreds, but thousands of people onside … I have a lot of time for politicians, just as I have a lot of time for these cardinals, because they are grappling with almost insoluble problems. But someone has to do it. Someone has to run a society. And I've tried to write about them with a degree of sympathy.” 

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