Atheism+: the new New Atheists

This new movement has an energy that makes it hard to ignore.

Let me introduce you to Atheism+, the nascent movement that might be the most exciting thing to hit the world of unbelief since Richard Dawkins teamed up with Christopher Hitchens to tell the world that God was a Delusion and, worse than that, Not Great.  

Less than a week old in its current form, Atheism+ is the brainchild of Jen McCreight, a Seattle-based biology postgrad and blogger at the secularist Freethought network. She has called for a "new wave" of atheism on that "cares about how religion affects everyone and that applies skepticism to everything, including social issues like sexism, racism, politics, poverty, and crime." 

On one level, this is just the logical culmination of the huge upsurge in interest prompted by the so-called "New Atheists" and the growth over the last few years of a recognisable community or movement based around ideas of atheism, scientific scepticism and a progressive political agenda. While atheism is, by definition, no more or less than a non-belief in God, in practice it clusters with a variety of other positions, from pro-choice to campaigns against homeopathy. People who espouse "liberal atheism" as it might be called, oppose religion for political as well as philosophical reasons, just as the forces of religion seem to line up - though of course not exclusively - behind seemingly unconnected issues such as opposition to abortion and same-sex marriage and, in the US, gun-control.  

Atheism+ is, at its most basic, an attempt wrap things together more formally, to create a movement that prioritises issues of equality  and does so from an explicitly non-religious perspective. Some would say that such a philosophy already exists in the form of humanism. Others prefer the label Skeptic. Atheism+, however, seeks to capitalise on the sense of identity that has grown up around the word "atheism" during the past few years. One supporter of the idea, Greta Christina, celebrates the term as "a slap in the face that wakes people up." 

In this early phase Atheism+ is fired by anger as much as by as idealism. And, at least initially, much of this anger is directed inward towards the world of atheism itself.

Any community, new or old, has its tensions, and in the past year the atheist/sceptical community has been rocked by a divisive and increasingly bad-tempered debate over sexism and, more generally, a sense that the dominant voices have tended to be white, male and middle-class.  On the one hand, there have been suggestions that atheism and scepticism are philosophies disproportionately attractive to men. Indeed, the stereotype of the atheist as white, intellectually overconfident male - as Richard Dawkins - has long been a favourite among religious apologists. More seriously, there are definite feelings of exclusion, especially on the part of younger women.  

A number of incidents have served to crystallise the sense that all is not right in the world of unbelief.  Most notoriously, there was "Elevatorgate", an late-night incident in a lift during an atheist conference in Dublin during which the blogger Rebecca Watson was propositioned. Her subsequent public complaint about the man's behaviour and sexual harassment within the Skeptic movement drew criticism from Richard Dawkins himself and fuelled an ugly flame war.  She received, and continues to receive, rape and death threats.  

McCreight (it rhymes with "right") has her own experience to draw on.  She first came to prominence as the creator of 2010's "Boobquake", a satirical response to claims by an Iranian ayatollah that women who dressed immodestly were responsible for earthquakes.  McCreight wondered if encouraging women to wear tight t-shirts on a certain day would lead to a noticeable increase in seismic activity worldwide.  It didn't, though it did produce a small earthquake in parts of the skeptical community, in the form of a debate about whether such a stunt was compatible with feminism.

For McCreight personally, the "experiment" had an ambiguous outcome:

I’ve always considered myself a feminist, but I used to be one of those teenagers who assumed the awesome ladies before me had solved everything. But Boobquake made me wake up. What I originally envisioned as an empowering event about supporting women’s freedoms and calling out dangerous superstitious thinking devolved into “Show us your tits!”

McCreight recalls receiving unsolicited sexual invitations and, when she appeared in public, gratuitous comments about her appearance. It all made her feel that atheism was a "boys' club". It might welcome "a young, not-hideous woman who ... I made them look diverse" but  "rescinds its invitation once they realize you’re a rabble-rousing feminist." A movement that claimed to be rationalistic and against prejudice was not simply replicating the sexism of wider society, she felt, but actually magnified it.  Whenever she wrote or spoke about feminism she received hundreds of insulting and hateful comments.  Atheism had become - perhaps it always was - a bolthole for misogyny.  Worse, she wrote, "I don’t feel safe as a woman in this community – and I feel less safe than I do as a woman in science, or a woman in gaming, or hell, as a woman walking down the fucking sidewalk."

The first item on the Atheism+ agenda, then, is a cleansing one. McCreight herself says: "We need to recognize that there’s still room for self-improvement and to address the root of why we’ve been having these problems in atheism and skepticism." Greta Christina has gone so far as to devise a checklist of goals to which atheist organisations should aspire, including anti-harassment policies and ensuring diversity among both members and invited speakers. "To remember that not all atheists look like Richard Dawkins."

That sounds like, at least party, a negative programme - "getting rid of the garbage". Yet the name - or at least the symbol - is pleasingly double-edged. "Atheism plus", the natural reading, implies incompleteness: that other, associated principles need to be added to the core idea to produce a rounded philosophy. But it can also be read as "Atheism positive", going beyond the mere negation of belief. Time will tell whether McCreight's initiative leads to permanent changes in the atheist and sceptical movement, or to the formation of a new and distinct nexus of atheism and progressive politics, or is soon forgotten. But I'd bet against the latter. Whether or not the name sticks, there is an energy behind this new wave that makes it hard to ignore.

Atheism+ is a reaction against the "New Atheism" of Richard Dawkins. Photograph: Getty Images
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Britain has built a national myth on winning the Second World War, but it’s distorting our politics

The impending humiliation of Brexit is going to have a lot more in common with Suez.

The Crown, Peter Morgan’s epic drama covering the reign of Elizabeth II, ended its first series with a nemesis waiting just off-stage to shake up its court politics. In the final episode, Egyptian president Gamal Nasser gives a rip-roaringly anti-imperialist – and anti-British – speech. The scene is set for the Suez Crisis to be a big plot point in Season 2.

Suez has gone down in history as the great foreign policy debacle of postwar Britain. The 1956 crisis – which saw Israel, France and Britain jointly invade Egypt to take control of the Suez Canal, only to slink off again, nine days later, once it became clear the US wasn’t having any of it – is seen as the point at which it became clear that even the bigger states of Europe were no longer great powers in the world. “President Eisenhower’s humiliation of Britain,” Jack Straw wrote in his 2012 memoir, “had been total.”

This was, though, a fairly limited sort of humiliation. Britain was not invaded or occupied; there was no sudden collapse in living standards, let alone a significant body count. Our greatest national debacle is nothing more than the realisation that Britain could no longer do whatever it wanted without fear of reprisal. As humiliations go, this one’s up there with the loss of status men have faced from the rise of feminism: suddenly, Britain could do what it wanted a mere 80 per cent of the time.

The Crown begins in 1947, when Prince Philip gives up his Greek and Danish royal titles and becomes a British subject, so that he can marry Princess Elizabeth. That year saw another British foreign policy debacle, one on which the show remains oddly silent. In the partition which followed India’s independence from the British Empire, 70 years ago this week, upwards of a million people died; in the decades since, the borders drawn up at that time have been the site of numerous wars, and Kashmir remains a flashpoint.

All this, one might think, might count as a far bigger regret than Suez – yet it doesn’t feature in the national narrative in the same way. Perhaps because partition was about the withdrawal of British forces, rather than their deployment; perhaps it’s simply that it all happened a very long way away. Or perhaps we just care less about a body count than we do about looking bad in front of the Americans.

I think, though, there’s another reason we don’t talk about this stuff: the end of empire is hidden behind a much bigger part of our national myth. In the Second World War, Britain is undeniably one of the good guys; for 12 months, indeed, Britain was the only good guy. Never mind that it still had the largest empire the world had ever seen to fall back on: Britain stood alone.

The centrality of the Second World War to the national myth warps our view of history and our place in the world in all sorts of ways. For starters, it means we’ve never had to take an honest account of the consequences of empire. In a tale about British heroes defeating Nazi villains, British mistakes or British atrocities just don’t fit. (Winston Churchill’s role in the 1943 Bengal famine – death toll: three million – by ordering the export of Indian grain to Britain rarely comes up in biopics.) In this dominant version of the national story, the end of empire is just the price we pay to defeat fascism.

More than that, our obsession with the Second World War creates the bizarre impression that failure is not just heroic, but a necessary precursor to success. Two of the most discussed elements of Britain’s war – the evacuation of Dunkirk, and the Blitz – are not about victory at all, but about survival against the odds. The lesson we take is that, with a touch of British grit and an ability to improvise, we can accomplish anything. It’s hard not to see this reflected in Brexit secretary David Davis’s lack of notes, but it’s nonsense: had the Russians and Americans not arrived to bail us out, Britain would have been stuffed.

Most obviously, being one of the winners of the Second World War infects our attitude to Europe. It’s probably not a coincidence that Britain has always been both one of the most eurosceptic EU countries, and one of the tiny number not to have been trampled by a foreign army at some point in recent history: we don’t instinctively grasp why European unity matters.

Once again, Suez is instructive. The lesson postwar France took from the discovery that the imperial age was over was that it should lead a strong and unified Europe. The lesson Britain took was that, so long as we cosied up to the US – Athens to their Rome, to quote Harold Macmillan – we could still bask in reflected superpower.

Until recently, Britain’s Second World War obsession and national ignorance about empire didn’t really seem to affect contemporary politics. They were embarrassing; but they were also irrelevant, so we could cope. Brexit, though, means that hubris is about to run headlong into nemesis, and the widespread assumption that Britain is a rich, powerful and much-loved country is unlikely to survive contact with reality. India will not offer a trade deal for sentimental reasons; Ireland is not a junior partner that will meekly follow us out of the door or police its borders on our behalf. The discovery that Britain is now a mid-ranking power that – excepting the over-heated south-east of England – isn’t even that rich is likely to mean a loss of status to rival Suez.

Morgan says he has planned six seasons of The Crown. (This looks entertainingly like a bet the Queen will be dead by 2021; if not, like Game of Thrones before it, he might well run out of text to adapt.) It’ll be interesting to see how the show handles Brexit. It began with the royal family facing up to a vertiginous decline in British power. As things stand, it may have to end the same way. 

Jonn Elledge edits the New Statesman's sister site CityMetric, and writes for the NS about subjects including politics, history and Brexit. You can find him on Twitter or Facebook.

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear