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Why hold on to Veganuary anymore?

As commercial promotion of plant-based diets falter Trystan Owain Hughes digs for the real roots around a ‘reverence for life’.
A man stands at rest, one arm holding some vegetables.
NordWood Themes on Unsplash.

For many people, the month of January has been rechristened 'Veganuary’. Through this global campaign, which is celebrating its tenth anniversary this year, numerous people have embraced a plant-based diet.  

Founded by a married couple from York, Veganuary has become a worldwide phenomenon, with more than 700,000 making the pledge last year. A YouGov poll suggests that numbers participating informally are far higher, perhaps as many as 4 per cent of Brits, 7 per cent of Americans, and almost 10 per cent of Germans. The campaign has also gained celebrity backing, with Paul McCartney, Joaquin Phoenix, Deborah Meadon, and Billy Eilish amongst the many star names backing the movement in recent years.  

Yet there are some signs that the vegan bubble may have finally burst. The pace of interest in non-animal diets has started to level off and some analysts believe that “peak vegan” in the UK was way back in 2019. Figures by consumer intelligence company NIQ seem to confirm this. UK sales of both chilled and frozen meat alternatives have fallen sharply in recent years and prominent companies, including Oatly, Nestlé, Innocent and Heck, have withdrawn various vegan products. 

Recent years have also seen an increasing number of posts and memes on social media feeds that are antagonistic towards the vegan lifestyle. It seems attitudes towards animals are slowly becoming incorporated into the cultural wars, with veganism often regarded as part of an over-righteous so-called “woke” ideology.  

Some Christians subscribe to such an attitude and are hostile to those who embrace plant-based diets. Others, on the other hand, take a very different stance in considering their scriptures and theological traditions, emphasising the absolute necessity of a holistic awareness of diet, not least in light of animal cruelty, uncompassionate means of food production, and environmental concern. There are, after all, numerous affirmations of the precious and holy nature of the created order in the Bible. This would have differed profoundly from non-Judaic teaching in the Ancient Near East. 

When he was surrounded by suffering and death... he came to regard a transcendent ‘reverence for life’ as the only way of living that made sense. 

The moral imperative to care for the environment and value all creatures is clear from the very first pages of the Bible. After each day in the Genesis account of creation, God regards what he has formed as tov, a Hebrew word meaning good, pleasurable, and delightful. At the end of the creative process, God then looks at the whole of his handiwork, and he sees that the wonderful harmony of the complex, intricate, and balanced ecosystem is tov me’od, meaning ‘very good’. Later, in the New Testament, Jesus asserts that only God himself is good. It therefore follows that creation can, in some way, reveal the goodness of God directly. 

And so there are many Christians who are drawn to an awareness that everything in this wonderful world has value and significance – the strangers we pass on the street, our pets who share our houses, the squirrels who dart across our paths in the park, the snowdrops breaking through the soil in our gardens, and even the slugs in our flowerbeds. No wonder the biblical images of the glorious eschatological, heavenly future are ones in which natural world is at harmony. 

The German phrase that theologian Albert Schweitzer used to express the ramifications of the biblical concept of the goodness of the creation is ‘Ehrfurcht vor dem Leben’, which is often translated as ‘reverence for life’. The word Ehrfurcht, however, expresses far more than its English translation implies. It suggests an attitude of awe and ultimate respect, and so carries with it an overwhelming sense of moral responsibility towards creation. For Schweitzer this was no abstract intellectualism. His principle of ‘reverence for life’ came to him as he worked among the sick in the heart of tropical Africa. While prominent atheists like Richard Dawkins and Stephen Fry maintain that cruelty in nature is one of the main stumbling blocks of belief in the divine, it was not a sanitized version of nature that led Schweitzer to his God-centred conclusion. Rather, when he was surrounded by suffering and death, both in the hospital in which he worked and in the unforgiving natural world of the jungle around him, he came to regard a transcendent ‘reverence for life’ as the only way of living that made sense. 

We are not only shockingly merciless towards each other, but we extend our cruelty to the creatures with which we share the planet. 

Nature may well be ‘red in tooth and claw’, to use Lord Tennyson’s phrase, but humanity has been gifted with the potential to bring compassion and love to a world of pain and suffering. Most people already regard human life as inherently precious, but Christianity stands alongside other faiths in challenging people to consider the value the lives of non-human creatures. After all, Schweitzer suggested that every creature holds to the importance of its own life, albeit unconsciously, and this should lead people to solidarity with all forms of life. In this sense, an individual’s relationship with nature is far more intimate than we might think. ‘Wherever you see life,’ he wrote, ‘that is yourself!’  

This recognition of humankind’s profound bond with other living creatures allowed Schweitzer to apply Jesus’ core teaching on love to the wider world – ‘the ethic of love widened into universality’, as he put it. This stands in marked contrast to the present status quo which views the only real value of non-human life to be its usefulness. No wonder that so many animals in modern industrial farming experience what Richard Holloway describes as a ‘double-dying’, as their everyday existence is as pitiful as their death. They live out wretched lifespans in disease-prone torture before being transported hundreds of miles in overcrowded trucks to their slaughter. But our society continues to turn a blind eye towards heartless factory farming practices. They are not only tolerated but justified with the argument that animals are little more than unfeeling machines who don’t really ‘suffer’ in the human sense of the word. 

Such attitudes contribute to what the 1995 papal encyclical Evangelium Vitae refers to as the ‘culture of death’ of the modern world. We are not only shockingly merciless towards each other, but we extend our cruelty to the creatures with which we share the planet. In the large global corporations that dominate the food industry, animals are viewed as products to be reared to supply fast-food outlets. They are bred specifically for death. While nature itself is cruel, each creature is endowed with a fighting instinct for survival and a means to achieve it through armour, speed, disguise, poison or odour. We humans, though, offer no chance for such defensive capabilities to be utilised. Nothing is as uncaring and ruthless in nature as the hungry human. 

Not that this recognition necessarily leads us to a purely plant-based diet. Even Schweitzer himself, who was a proponent of vegetarianism, ate meat on occasions. Perhaps the indigenous hunting communities of our world today can help us to bridge the gap between reverence for life and the killing of animals for food. While they are principally carnivores, many of these communities appreciate their utter dependence on the animals that are sacrificed so they might live and thrive. There is, therefore, a deep empathy and affection towards the hunted. In fact, compassionate ceremonies and rituals are often performed to show gratitude to the animals for the gift of their lives. The tribesmen of the Kalahari Desert will, for example, symbolically enter into the suffering of their dying prey by enacting their final death throes. Contrast this with our own food system, which is largely controlled by a small group of multinational corporations who attempt to hide the truth about what we are eating and the harsh treatment of both animals and workers in their factories. 

In a YouGov survey, participants in Veganuary were asked to list their incentives for taking part. The main reason given, above environmental regard and personal health, was animal welfare. The concept of 'reverence for life’ speaks into this concern. As such, in embracing the concept that all life is equally worthy of our attention, respect, and love, Christians could have so much to offer contemporary debate. Their perspective could have huge implications on the moral and ethical matters that we face today – climate change, food production, health care, emerging technologies, animal care, AI, and energy development. ‘Do not do any injury, if you can possibly avoid it,’ the great Welsh Celtic saint Teilo is purported to have said while reflecting on creation. The anthropocentric, human-centred paradigm does not, then, reflect a truly Christian worldview. Instead, Christianity holds that every part of creation reflects God’s goodness and non-human life deserves respect for its own sake, not simply because of its usefulness. The whole, wonderful web of life is considered to be valued and loved by God, not merely one strand of it, and the daily call of the Christian is to live out the compassion, care, and love that such an awareness demands. 

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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