Article
America
Conspiracy theory
Culture
Politics
6 min read

When America presses in on you

A returning American feels the heat generated by contesting ‘realities'.

Jared holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

A runner passes a church and a flag in an America suburb, under billowing clouds.
Nick Jones/Midjourney.ai.

There’s a man. Running. My eyes snap into focus. Time slows - I catch his pace. Then, my eyes start widening. An odd feeling. Being forced into it. Seconds stretched out into minutes. Taking in more, looking for more, looking down that sidewalk, on a street corner in New Jersey. 

Before? I was sitting there. In the backseat of my Uber. Winding our way through New Jersey. And I’m sitting there, tired, mindlessly scrolling my phone until that moment. He’s there running.  

And I see him. T-shirt. Running shorts. And I’m sitting. And—a nervous flash—he’s running. Why?  

And my eyes adjust, widening, scanning, checking detail, and I’m almost seized. My mind shaking itself, coming online, no more automation. My consciousness catches up: “you’re in America,” I tell myself. 

Right. I’m not in Scotland. And that man is running. Here in New Jersey. In America. And I’m talking back to myself in this silent car. I’m watching him run. I’m asking why am I slowing this down? And—it flashes—“running from what?” 

And I catch up to myself. To what I was trying to say, that people in America run from shooters, too. A wave crashing, sitting in the back of the Uber, and look. Now I’m really looking. Not forced. But naming. There’s other pedestrians passing him, walking. Slowing. On the other side of the street— no fast movement. No screaming. No pops. 

I start breathing. I didn’t know I stopped. He’s out jogging. The automated safety check ends. The tranquility of tyranny resumes. I’m sitting in the back of an Uber. I make a note. Be more alert at the train station.  

— 

People ask me how the relocation back to America has been. And I don’t know what to tell them. There’s a wide gap between the visceral sense of it all pressing in on you, and more common—but also abstract—analysis.  

The experience of coming back has been oddly particular. I lived in Scotland for three years, and most of it was spent studying America. From that distance, the broad strokes of American life, the larger trajectories and dangers of our shared political decisions and religious extremism, well, they’re a bit clearer. 

But coming back, America presses in on you. And the only way of talking about that, maybe, is specificity. Kerouac was always good at articulating this. His America wasn’t the rise of the military industrial complex in the 50s. It was the road, the gas station on the way from Denver, it was jazz, the dim doorways of San Francisco bars. I’m thinking of Kerouac, but also Langston Hughes. Poets and artists who in their own time, held a mirror up to America, helped us move from the “I” to the “we” as Steinbeck said. 

We’re all asking a version of “what’s wrong in America?” (And, do keep asking.) But to ask that question often assumes the broadest strokes, the ones that are most clear from a distance. Which means they are, in one at the same time, the most abstract.  

These realities are everywhere, and no where. They are the air we breathe. They appear to the privileged as “logical” and to the powerless as “inevitable.” 

Asking after democracy, after the election, and the increasingly nebulous “the church” — I’m convinced that answering “what’s wrong in America?” in the biggest of terms is leading me to (wrongly) believe that responsibility lies among the gargantuan free-floating concepts which we use to narrate our world. As if solving the “crisis of democracy” is a conceptual problem. When in reality, it is concrete, and involves more than coalition building or political activism.  

Why more? Because the choices Americans have made over the last 10 years originate from imaginations which limits the scope and scale of what is possible. This is what I mean by “America presses in on you.” 

Coming back to America has made this clear. I’m more aware than ever that we can produce good answers and generate compelling analysis about America without ever asking in what way these answers or analysis are sharp enough, concrete enough to puncture the bubbles of social reality in which people choose to live and in some cases are forced to live. 

These realities are everywhere, and no where. They are the air we breathe. They appear to the privileged as “logical” and to the powerless as “inevitable.” They press in on us all in their own way. 

In some cases, they dull our senses. We say, “as long as our Amazon deliveries continue, as long as the streaming services work.” In some cases, they don’t just press in on us, but press down and perpetuate injustice. As Dietrich Bonhoeffer asked, “where are the responsible ones?” 

The visceral shock of return is ongoing. And it hits me in strange ways, on Uber rides and in worship. American life is everywhere and I’m seeing it with different eyes.

Do I care about democratic machinery? Yes. Am I concerned about whether or not the church is, in fact, the church, and not a gear in a partisan machine? Yes. But I’m increasingly convinced that responsible living in the American situation becomes most clear, most evident as we consider the large in terms of the small. 

Responsibility emerges with attention paid to the concrete and intimate. January 6 is the subject of my dissertation. But before that, in the months leading up to January 6, I was a pastor just 40 miles from DC. For me, January 6 was a local event. That particularity, that specificity, is a window into a concrete responsibility.  

And now, back in this same community, I found myself distracted in a church this weekend. The man in front of me raised his hands in worship, revealing a revolver hanging on his belt. What America is this? But also, what Christianity is this? 

The visceral shock of return is ongoing. And it hits me in strange ways, on Uber rides and in worship. American life is everywhere and I’m seeing it with different eyes. And I wonder what it will take to break the spell of our most cherished illusions, of a certain type of freedom — one that tells us it is Christian to raise our hand in surrender to a god who we say is loving enough to save the world, but seemingly not strong enough to deliver us from our evil. 

In the end, perhaps it’s best to say that it’s been proof of a good ruining. After all, we’ve experienced nothing short of a conversion, a move closer towards peace, towards hope, that unsettles all our strategies of security and comfort underwritten by violence and oppression. This is the kingdom of Heaven. Something Jesus announced that continues to unsettle and disrupt the likes of T.S. Eliot who put it well in Journey of the Magi

We returned to our places, these 

Kingdoms, 

But no longer at ease here, in the old 

        dispensation, 

With an alien people clutching their gods 

I should be glad of another death. 

Review
Culture
Film & TV
Politics
War & peace
6 min read

Bonhoeffer: how to rouse a deaf world to moral action

Comparing today to the past is risky, a new biopic helps us do it well.

Theodore is author of the historical fiction series The Wanderer Chronicles.

A man dressed in 1930s clothing, sits with others at a table looking pensive.
Angel Studios.

Historical analogies are a dangerous, and often inaccurate, way of interpreting the times in which we live. “This is just like that” has a habit of making us react and respond to “that” - which we think we understand so well - when really, we should be taking time to appreciate the nuances of the problems which “this” uniquely poses us now. 

That said, I don’t suppose ever, in the last 80 years, have analogies abounded in our media with such ubiquity that we find ourselves in a historical moment facing similar threats to our freedoms and way of life to those arising across Europe in the 1930s.  

Thus, the movie Bonhoeffer, Todd Komarnicki’s fantastic new biopic of the dissident German theologian and Christian martyr, appears to come at an opportune moment in our culture. 

As writer and director of this two-hour-long epic, Komarnicki’s admiration for his subject shines through like a faithful sun breaking through an overcast sky. And whether you are a Christian or not, there is undoubtedly much to admire in Dietrich Bonhoeffer’s life and the way he lived it. 

It's a story worth hearing - which, given its Christian overtones, still has the power to break out of the boundaries of Christian sub-culture to a wider audience, with its message of courage in the face of overbearing evil.  

Born in 1906, Bonhoeffer was still a young man when Hitler and his newly formed Nazi party rose to power. He trained as a Lutheran pastor, was an accomplished theologian, and became a key founding member of the Confessing Church – the remnant of the German church who did their best to withstand Hitler’s ideological take-over. (For which, many paid with their lives.) By the early 1930s, Bonhoeffer had already perceived the dangers which few others in the German church seemed able to see or else willing to call out. And after abandoning a short stint of study in the US, he returned to his native Germany to do what he could to call the church back to herself before it was too late. No easy task. 

x

A close up of a 1930s man wearing wire-rimmed glasses, looking pensive.
Dietrich Bonhoeffer (colourised).

One existing photograph of Bonhoeffer shows a young, earnest face in steel-rimmed glasses, an expression of wisdom beyond his years weighing heavy on his brow. But for all the seriousness of his situation, he was, by Komarnicki’s account, an ebullient character. Persuasive, playful and able to find joy even in the darkest of times.  

In Bonhoeffer, he is played brilliantly by Jonas Dassler, a native German actor who brings an intensity and intelligence to the role which must be a fair reflection of the man himself, as well as allowing room for a levity of spirit, especially in his friendships and family ties.  

There’s a scene early in the film, foreshadowing much that was to come. Dietrich the boy plays the Moonlight Sonata at his older brother Walter’s funeral wake. The piece was Walter’s favourite, but none of the mourners pay the slightest attention. Dietrich slams the piano shut and runs off in frustration. “No one listened,” he tearfully complains to his mother. “No one cared.” This theme of rousing a deaf or unfeeling world to moral action runs through the whole movie. 

We can all agree that Bonhoeffer is a man to emulate in our own times. The question is where would his instincts lie in the political and cultural landscape of today. 

Komarnicki has done a solid job unfolding Germany’s inexorable descent into darkness, often marking key moments as Bonhoeffer the man makes his stand against the state with actual quotations from his work. The most famous serves as the movie’s strapline:

“Silence in the face of evil is itself evil. Not to speak is to speak.” 

The script is peppered with such exhortations, which seems directed as much to the audience of today as they do to Bonhoeffer’s own, eighty-or-ninety-odd years ago. Such injunctions seem all the more arresting as Bonhoeffer’s story pursues its arc from pastor to martyr, and the noose awaiting him at Buchenwald concentration camp just days before Germany’s final capitulation.  

It is no doubt hard to frame a movie around the moral courage and conscientious stand of a single man, however admirable that man may be, particularly when so much of the struggle is happening inside his own head. Perhaps that is why much of the less historically accurate material has been included. The thriller subplot – of Bonhoeffer’s involvement in a plot to assassinate Hitler – brings some necessary forward propulsion to the story, but seems the least congruent with what we know of the man. Much of this more thrusting narrative is intercut with scenes of Bonhoeffer’s last days before his execution, the wrestling with his faith and his fate, before a final resolution of peace, even joy in his final moments. “Eternity, eternity, eternity,” he murmurs. A word he used to repeat endlessly with his twin sister as they whiled away the time smoking cigarettes. But a word which ultimately gives him the focus and the spiritual strength to hold his courage to the end. Although slower, these provide a more convincing and compelling portrait of a man who deserves to be remembered as a hero, not only of his own age, but of any age where evil is determined to silence truth at any cost. 

As a modern audience, this is where the hazard lies. To return to my original point, it is all too easy to tar one’s political or cultural opponents with the label of “fascist” or “Nazi” – merely because they happen to disagree with you. (And sadly I’ve seen this done by otherwise mild-mannered English theologians over this very film.) Some have said this is akin to shunning another child in the playground because they have “cooties”. It’s over-simplistic and facile. If anything, it reveals the casual propagandising of a suggestible mind. 

Few would watch this film and associate themselves with its antagonist (Hitler) over its heroic protagonist. We can all agree that Bonhoeffer is a man to emulate in our own times. The question is where would his instincts lie in the political and cultural landscape of today. 

Jesus had harsh words to say to the pharisees and scribes who build tombs for the prophets and decorate the monuments of the righteous. “You say, ‘If we had lived in the days of our fathers, we would not have been partners with them in shedding the blood of the prophets.’” 

How easy it is to assume we would have been on Bonhoeffer’s team.  

And this is my one criticism of the film: its portrayal of the bishops and clergy who did succumb to Hitler’s ideology seems too blunt-edged. They rail from the pulpit in the manner of the Fuhrer himself, marking them as ravening ideologues; they bark out Party platitudes, red in the face. I imagine the reality of how Nazi ideology infiltrated and captured the church – as it did many other institutions – was far more subtle, far more insinuating and insidious. More boiled frog than scalded cat. 

So it surely is in our day. While National Socialism has passed away, the totalitarian instinct which animated it has sadly not. My prayer is that we have the wisdom, courage, and above all discernment, to learn Bonhoeffer’s lesson and pass the tests of our time. 

Komarnicki’s excellent movie may just help us to do that. 

 

Bonhoeffer is out in UK and Irish cinemas from 7th March 2025. For more information and to book tickets visit the film's site.

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief