Article
Culture
Digital
4 min read

What's good – and bad – about cancel culture?

An ancient story of compassion inspires an ethical response to social censure.

Erin studies and explains modern churches. She is an Adjunct Professor of Biblical Studies at Gordon-Conwell Theological Seminary.

Torn fly posters layered under graffiti on a wall.
Ripped-off posters and graffiti.
Jazmin Quaynor, via Unsplash.

You cannot ignore cancel culture today.  In her 2022 BBC Reith Lecture, the writer Chiamanda Ngoni Adichie called it “social censure”.  Even beyond universities and other public forums, many of us worry about the effects of cancel culture in everyday social settings.  Saying the wrong thing, or trying to respond well when someone else does, can quickly lead to awkward family gatherings, strained meetings, and broken friendships, or awaken the ever-present social media trolls.  In a post-pandemic moment, when people are already struggling to re-establish healthy human interactions, cancel culture can make social engagement seem even more challenging.  How can we navigate this moment well? 

Behind the fraught discussions and growing angst around cancel culture, we can perhaps detect something well worth preserving: compassion.  Some of the most heated controversies today involve language concerning people who have been historically disadvantaged.  Genuine compassion motivates many who want society to speak more kindly, with more understanding, in order to avoid perpetuating harm to people who have already suffered.  People who have been hurt deserve to be acknowledged, and that means taking their pain seriously.  This compassion is an important and noble instinct.  Many faith traditions call us to honor the vulnerable and pursue justice.  

'Silence out of fear of ending a relationship itself ends the relationship.'

At the same time, resistance to cancel culture also includes an element of compassion.  Within the voices expressing concern about cancel culture can often be heard a humble awareness that we all are prone to say the wrong thing at times.  We cannot hope to learn or grow without honest risk and mutual, human grace.  A brief period of silence to let emotions cool can be helpful; ending a relationship permanently seems less helpful.  It might seem easier to say nothing than to risk offence, but silence out of fear of ending a relationship itself ends the relationship.  Seeking to continue a difficult but important conversation can also be an important and noble instinct.  Many faith traditions also encourage humble self-assessment and generous engagement with others.  As the Bible records Jesus saying, “Let the one among you who is without sin cast the first stone.”  None of us is wholly above reproach, and we all need a bit of compassionate grace.   

So how do we balance these conflicting calls of justice and grace?   

This conflict might seem peculiarly modern, but in the story we re-tell every Christmas, we see a young man named Joseph wondering how to balance justice with gracious concern for someone who had deeply disappointed him.  Joseph is engaged to Mary, but she has been found to be pregnant.  Joseph is sure the baby isn’t his.  In their culture, a woman who was pregnant outside of marriage brought shame to her fiancé, her family, and the whole community.  Matthew’s gospel tells us that Joseph was “a righteous man,” which means that he appreciated the demands of justice.  Ignoring her situation meant ignoring the pain they all felt, papering over a grave offense which they wanted no part of.  At the same time, though, the text also tells us that Joseph was “unwilling to put her to shame.”  Like many people today, Joseph wanted to leave Mary some way to move forward with her life, but their culture did not provide people much opportunity to learn from tragic mistakes.  Sometimes, it can feel as if ours doesn’t, either.  If you’re familiar with the story, you already know how it ends, but it’s important not to skip too quickly past Joseph’s dilemma.  It feels strangely modern, Joseph’s desire for justice coupled with his equally strong desire not to see someone condemned because of a single mistake. 

'Courageous compassion creates much needed opportunities to heal, learn, and grow.'

Thankfully, the story also describes a way forward from Joseph’s dilemma: the baby in Mary’s womb, Jesus.  In Jesus, we see the depth of God’s compassion for all who suffer.  Jesus never ignored the painful consequences evil can create. Indeed, he allowed himself to experience the absolute worst of humanity.  As an adult, Jesus was thrown out of his home village and religious community. According to the gospels, he endured one of the most unjust trials ever recorded.  Jesus was tortured, beaten, and sentenced to a cruel death.  When we suffer injustice, we are not experiencing something alien to Jesus, and therefore, alien to God.   

But there is another side to Jesus’ suffering that is equally important: Jesus also demonstrates profound compassion for people have made terrible mistakes.  Jesus never mis-stepped or said a single cruel word, but he allowed himself to experience the full shame and isolation of being cast out of society. Crucifixion was the ultimate censure, being publicly put to death outside of the walls of the city.  Yet even in this moment, Jesus demonstrated compassion for people who had harmed him.  While on the cross, he forgave those who put him there.  Jesus offered forgiveness to the man dying on the next cross to his own, who by his own admission deserved his fate.  In contrast to aspects of cancel culture, Jesus’ actions at that moment of extreme injustice tell us that human redemption is always possible.  Jesus created a compassionate way forward from guilt and shame.  Whatever our situation, we can find life-giving grace and healing in Christ. 

Compassion isn’t easy.  It cost Jesus dearly, and at times it will cost us, too.  Courageous compassion creates much needed opportunities to heal, learn, and grow.  When we suffer and when we err, cruelty and failure do not get the last word.  As it says in the last few pages of the Bible, Jesus is making all things new.  Cancel culture ends conversations and damages relationships, but a better balance between the righteous demands of justice and the need for redemptive grace remains possible.   

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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