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. 

Article
Comment
Development
Justice
Music
5 min read

Millions of people are still cold, hungry and naked – will you be there?

The call to justice that echoes from Trafalgar Square to primary schools

Pete Moorey is a campaigner for Christian Aid.

A school choir sings in an ornate abbey setting
Twyford School Choir sings in Westminster Abbey.
Dean & Chapter of Westminster.

I’m getting close to my 50th birthday, so I’m prone to nostalgia. My mind wanders back forty years to my primary school days in the early 1980s in a village in Sussex.  

Once or twice a week, we’d have school assembly. This included singing hymns. Not something that a shy seven-year-old would usually enjoy. But, in fact, we belted out a series of classics with gusto, accompanied by an almost proficient teacher on an almost tuned piano. 

To Be A Pilgrim with its lyrics about fighting giants. All Things Bright And Beautiful and those purple headed mountains. And then our favourite When I Needed A Neighbour with the opportunity to scream out the words “I was cold, I was NAKED!” at top volume, cheekily looking at your classmates as you asked, “Were you there?” 

The thing about those hymns was that the lyrics stuck. Not just now, decades on, but even back then. And so when a teacher in assembly started to talk to the school about the famine in Ethiopia or the hurricane in the Caribbean, you began to think “Is that my neighbour?”  And when your church encouraged you to deliver envelopes door to door to raise money for Christian Aid Week, you asked yourself “Was I there?” 

Of course that was the intention of those songs. The story of When I Needed A Neighbour is bound up with the history of social justice movements in the UK and in particular the organisation I work for, Christian Aid. 

Christian Aid was founded in 1945 by the British and Irish churches, who felt convicted to do something to tackle the refugee crisis and poverty sweeping across Europe following the Second World War. 

By the late 1950s, it was running Christian Aid Week - a big charity appeal to tackle global poverty long before Live Aid or Comic Relief. And as Christian Aid reached its twentieth anniversary in 1965, this annual fundraiser was a big deal. 

Such a big deal in fact, it decided to launch the fundraiser in Trafalgar Square by running a Beat & Folk Festival. You can find an old newsreel of the occasion on YouTube. Nelson’s Column is surrounded by thousands of young people listening to the Christian equivalent of Peter, Paul and Mary and getting fired up about global injustice. 

For the occasion, the then Christian Aid area secretary for London, Brian Frost, decided that a new song needed to be written. And so he approached the modern hymn writer of the moment, Sydney Carter. Two years early, Sydney had written his most famous hymn Lord of the Dance

Brian was of that era when Christians were at the heart of the anti-apartheid movement and committed to ecumenical action. And so combining this passion for social justice and the folk song mastery of Carter - When I Needed A Neighbour was born.  

As Christian Aid marks its 80th anniversary, we revisited this classic. When you watch the newsreel of an early performance in 1965, you quickly realise its folk credentials. It’s not just the fact that it’s being sung by marvellously hirsute men, it’s also there in the folk melody, guitar accompaniment and sung refrains.  

A year later Sydney Carter would record an EP that included Lord of the Dance which featured the folk royalty of Martin Carthy on guitar. For folk aficionados, you’ll know him as one of the English folk music greats - married to the incredible Norma Watterson and father to Eliza Carthy. For those less familiar with the genre, he was also an important inspiration for Paul Simon and Bob Dylan - yes, him off A Complete Unknown. 

There’s no evidence that Martin appeared on When I Needed A Neighbour but I think his involvement a year later confirms that the song sits firmly in the Sixties folk music boom. To young ears, it would have been hip. To older ears, perhaps scandalous.  

How do you reimagine such a classic as When I Needed a Neighbour, 60 years on from its birth - and now 80 years into Christian Aid’s history? Especially at a time when we witness our global neighbours in Gaza, Sudan, Ukraine, the DRC, and more wondering if - in the face of conflict and humanitarian disaster - anyone is there. 

We started with the lyrics. In 1965, Sydney Carter captured something of the simplicity of the issue at hand. People are cold, hungry and in need of shelter. And there’s something that each and every one of us can do, in our common humanity, no matter who we are, whatever our creed, ethnicity or background. 

Within a few years of the song being written however, Christian Aid had a lightbulb moment - it wasn’t enough for us to respond to emergencies around the world. Not enough also to work with communities on long term economic development. No, if are to live out God’s call to act justly and to love mercy, then we needed to be part of movements tackling the unjust structures and systems that result in poverty and inequality around the world. 

And so in returning to When I Needed A Neighbour and working with hymn writer Ally Barrett, we have now written new words that act as a call to each and every one of us to be a neighbour by speaking out for justice. This is something that Christian Aid has done throughout our history, calling for action to drop the debt in the 1990s or as one of the first development organisations campaigning for climate justice in the 2000s. 

This week we marked our 80th anniversary at Westminster Abbey by recommitting ourselves to God’s call for justice. And this included the Kingdom Choir (who famously sang at Harry and Megan’s wedding) and the Sacred Choir from Twyford Church of England school in London performing a gospel-tinged version of When I Needed A Neighbour

My hope is that, 60 years on, the song will still carry resonance. In an age when conflicts rage, the climate crisis runs riot and inequality is rife, isn’t it time to answer When I Needed A Neighbour’s call again? 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,000 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