“The Invisible Big Kahuna”

Andrew Zak Williams discusses this week’s New Statesman article in which prominent atheists told him

Richard Dawkins, Steven Weinberg, Sam Harris, AC Grayling, Polly Toynbee ... I expect that most writers who have tried to interview an equivalent stellar cast have found that their phone calls went unanswered and their emails were assigned to the Trash Box. But there's something about the perceived irrationality of belief in God which brings many atheists out fighting.

The religious sometimes wonder why anyone would choose not to believe in God. But, as Sam Harris told me, it is they who must shoulder the burden of proving their case. After all, "every Christian can confidently judge the God of Zoroaster to be a creature of fiction, without first scouring the universe for evidence of his absence."

For Harris all that one needs to banish false knowledge is to recognise an absence of evidence. And there is one hymn sheet from which even atheists are willing to sing: that headed "Lack of Evidence". For instance Richard Dawkins told me that he doesn't believe in leprechauns, pixies, werewolves or a whole range of gods, and for the same reason in every case: "there is not the tiniest shred of evidence for any of them, and the burden of proof rests with those who wish to believe."

Particle physicist Victor Stenger added that the God of Jews, Christians and Muslims supposedly plays such an important role in the universe that there should be evidence that he exists. But instead, "there is nothing in the realm of human knowledge that requires anything supernatural, anything beyond matter, to describe our observations."

But it's not just an absence of evidence upon which several atheists relied. Rather, there was perceived to be clear evidence which suggests that God is no more real than an imaginary friend. The clearest pointer seems to have been suffering. No wonder that Polly Toynbee told me that the only time that she is ever tempted, momentarily, to believe in God "is when I shake an angry fist at him for some monstrous suffering inflicted on the world for no reason whatsoever."

Some believers - and Christian philosophers - respond that suffering on earth actually enriches our lives. But as psychologist Richard Wiseman told me, if that were so, it would paint a picture of heaven being a rather miserable place. For other believers, it may be that God has a very good reason for allowing suffering but we can't understand what it is because we lack his divine knowledge. Biologist Jerry Coyne gives this argument short shrift: "If there is a god, the evidence points to one who is apathetic - or even a bit malicious."

Publisher and author Michael Shermer gave me an intriguing overview to the question of God's existence:

"In the last 10,000 years there have been roughly 10,000 religions and 1,000 different gods; what are the chances that one group of people discovered the One True God while everyone else believed in 9,999 false gods?"

When it comes to the God Debate, one can't ignore the commodity to which the religious cling to sustain their beliefs: faith. Several months ago, I carried out an equivalent investigation when I asked many prominent Christians to give me their reasons for belief. Several of them admitted that it must ultimately come down to whether you take it on faith; once you do, you'll experience God's love and you won't worry about having the answer to every intellectual argument.

For many believers, faith is all that matters, shielding them from arguments and evidence which they would rather not have to consider. These are the ones who oppose the Critical Thinking of science and prefer the Critical of Thinking inherent in their faith.

But if you rely on blind faith, what are the chances that you're going to see the light?

For others, their religion satisfies them intellectually. Yet when they can't reason their way past specific problems (say, suffering or biblical inconsistencies), their faith comes riding to the rescue. But faith is hardly a white horse: more like a white elephant, trumpeting a refusal to engage in debate as though it were something about which to be proud.

The atheists that I spoke to are the products of what happens to many intelligent people who aren't prepared to take important decisions purely on faith, and who won't try to believe simply to avoid familial or societal pressures. And as philosopher Daniel C. Dennett put it: "Why try anyway? There is no obligation to try to believe in God."

I could hardly end this piece without mentioning PZ Myers who evidently managed to dig out a metaphorical old joke book from his vast collection of weighty tomes about the God Debate:

"Religious beliefs are lazy jokes with bad punchlines. Why do you have to chop off the skin at the end of your penis? Because god says so. Why should you abstain from pork, or shrimp, or mixing meat and dairy, or your science classes? Because they might taint your relationship with your god. Why do you have to revere a bit of dry biscuit? Because it magically turns into a god when a priest mutters over it. Why do I have to be good? Because if you aren't, a god will set you on fire for all eternity. These are ridiculous propositions. The whole business of religion is clownshoes freakin' moonshine, hallowed by nothing but unthinking tradition, fear and superstitious behavior, and an establishment of con artists who have dedicated their lives to propping up a sense of self-importance by claiming to talk to an invisible big kahuna."

Amen to that.

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Nigel Farage's love for Dunkirk shows how Brexiteers learned the wrong lessons from WWII

Film has given Britain a dangerously skewed perspective on World War II

For months now it’s been hard to avoid the publicity for what seems like an epidemic of new World War Two films for 2017. June brought us Churchill (starring Brian Cox), which concerns Operation Overlord and the allied invasion of Normandy in 1944. A month later, in July we were pushed back four years, to Dunkirk, with Christopher Nolan’s film of the evacuation of Allied troops from French soil in the summer of 1940. April had already brought Their Finest, a comedy about making a - let us not let the irony go unacknowledged -  stirring film about the evacuation of Dunkirk in the event’s more or less immediate aftermath and November will bring us Darkest Hour, some events in which will predate all three earlier films, as Gary Oldman’s Churchill struggles through the earliest days of his war premiership.

This glut is peculiar. There are no significant round anniversaries to commemorate (e.g. Dunkirk is 77 years ago, the Normandy landings 73). More, we’re meant to be in the middle of a series of commemorations of the horror and waste of the Great War of 1914-18, but that seems to have slipped away from us in the political turmoil that’s engulfed this country since 2014. Instead, it’s to the Second World War we return yet again. To modern Britain’s founding myth.

It’s a coincidence, of course, that these films should come along together, and at a seemingly odd time. They were developed separately, and films takes so long to conceive and produce that no one could have anticipated them arriving together, let alone arriving in a toxic Brexit Britain where they seem like literally the least useful things for anyone in the UK to watch right now. As works that will inevitably, whatever their own creative intentions and merits, be hi-jacked by a press and political culture that is determined to gloss its opposition to the UK’s membership of the European Union, and its appalling mishandling of the process of exit with garbled references to, the conflict the films portray.

This is an impression that is not exactly dismissed by Nigel Farage posting to twitter of an image of himself standing next to the poster for Dunkirk, along with a statement in which he encourages all young people to see the film. For what reason, we’re entitled to wonder, does he make this encouragement? Does he admire the sound design? Or the aerial photography? Or is he just a big fan of Mark Rylance and Harry Styles? Or perhaps he is, inevitably, indulging in a behaviour that some might call "nostalgic"? Of pining for the past. Except, of course, nostalgia requires an element of pain. The suffix "algia" the same as employed when referring to chronic conditions. For Farage and his ilk there is no pain in this behaviour, just the most extraordinarily banal comfort.

Farage is asking us and asking the young who voted against his chosen cause by an overwhelming majority, and who are are sickened by where he and his ilk have brought us - to share in his indulgence. To enjoy, as he does, those fatuous analogies between the UK’s isolation between Dunkirk and Pearl Harbour with its imminent failures in European politics. To see that "escaping from Europe with nothing is at least better than not escaping at all". Or to believe, once again, in a "plucky little Britain, standing up against the might of a wicked mainland European tyranny, its back against the wall".

All this, confused, indeed nonsensical, as it is, is being invoked, as surely as the anti-EU right have always invoked Churchill. This is despite his own family recognising him, as the EU itself does, as the fervent pro-European he was. Indeed, he was one of the founding fathers of the whole post-war pan-European enterprise.

What Farage and his behaviour demonstrates, yet again, is that British culture, in many ways, learned not merely the wrong lessons from the war against Hitler, but exactly the wrong lessons. It’s a lesson that found its most enduring, poisonous expression in Margaret Thatcher’s breathtaking assertion that the European Union was a "third attempt" by Germany to take over the world.

In contrast to the rush of war films in cinemas, television has recently given us glimpses into theoretical worlds where Nazism did succeed in conquering the planet, in Amazon Prime’s The Man In The High Castle and BBC One’s SS-GB. There are lessons too, in these alternative histories, proper lessons that we have collectively failed to learn from the real one. Which is that fascism or authoritarianism are not diseases to which anglophone countries are somehow miraculously immune due to [insert misunderstood historical fetish of choice].

The Man in the High Castle, particularly in its more subtle first series, goes out of its way to show Americans that their lack of experience of collaboration with Nazi occupation is a result of circumstance, even luck. Not because collaboration is a peculiarly European tendency. SS-GB also worked hard to demonstrate the helplessness of occupation, and how that leads to the sheer ordinariness of collaboration. Both show the understanding that while fascism from the outside is funny accents and funny uniforms, fascism from the inside is your neighbours informing on you and the absence of the rule of law.

That experience of occupation, of subsequent complicity, and humiliation, felt by many other other European nations, is absent in Britain. Farage’s fellow Leaver Liam Fox, without anything resembling self-awareness, asserted that "the United Kingdom is one of the few countries in the European Union that does not need to bury its 20th century history". Fox’s remark summed up, again seemingly unintentionally, the oafishness of the principle Brexiteers. A group who exemplify a culture that boils a vast and unimaginably complex conflict down to the title sequence of Dad’s Army - an animation in which a Union Flag is forced off the European continent by a trio of Nazi triangles, and after returning home bobs around defiantly. A group who, in a strange and witless inversion, have fantasised themselves into a position where they see the Britain’s membership of the European Union as the occupation the country once avoided.

This is the UK’s postponed tragedy. At a timethat European countries experienced national humiliations which fundamentally reconfigured their understandings of their place in the world, the UK got yet another excuse to shout about how much better it was than everyone else.

I’m a child of the very late Seventies. I grew up in a world where (British) boys’ comics were dominated by war stories rather than science fiction or superheroes, where literally everyone knew several people who had fought in World War Two - and almost everyone someone who could remember World War One. That war was the ever-present past. I am, as a friend who teaches history neatly phrased it "Of the last post-war generation." After me, the generations are post-post-war. They are free. The moral clarity of the war against Hitler has, in the end, been a curse on British culture - a distorting mirror in which we can always see ourselves as heroes. 

But, not, of course, all other generations. The war generation collectively (I make no claim that there were not exceptions) understood what the war was. Which meant they understood that the European Union was, and is, its antonym, not an extension of it. Unlike their children and the eldest of their grandchildren, they had real experience of the conflict, they hadn’t just grown up surrounded by films about how great Britain was during it.

The Prime Minister who, or so he thought, had secured Britain’s European destiny had also, as he related in his autobiography, seen the devastation wrought by that conflict, including by shells he himself had given the order to be fired. Like Helmut Kohl, whose worshipped, conscripted older brother died pointlessly fighting for Hitler, and Francois Mitterrand, himself captured during the fall of France, his experience was real and lived, not second hand.

This can be seen even in the voting in 2016 referendum. That the young principally voted Remain and the old voted Leave has been often noted. But if you break that over-65 vote up further, there’s a substantial flip to back towards Remain amongst the oldest voters, the survivors of the survivors of World War Two. After all, someone who is 65 today was born nearly a decade after the war ended. It was their parents’ war, not their own. A war that has been appropriated, and for purposes of which those who fought in it would, collectively, not approve.

Let’s return to Dad’s Army, after all, BBC Two does often enough. Don’t Panic! The Dad’s Army Story (2000) a cheerful history of the sitcom great written and presented by Victoria Wood contains a telling juxtaposition of interviewees. The series' surprising continued popularity is discussed and Wendy Richard (born 1943) expresses a nostalgia for the war years, and how people banded together during them. This is a sentiment which Clive Dunn (born 1920) bluntly dismisses. “Like most people I had a foul war,” he says, and disgust and horror briefly pass across his face.

It’s the difference between those who remember war, and those who only remember war films.