An evangelical atheist

Dawkins, in choosing a form of firebrand fundamentalist atheism over the discipline science, is no l

Richard Dawkins is at it again - trying to wean the non-converted away from religion this time in his examination of The Genius of Charles Darwin, on Channel 4.

In 2006, his brutal and beautifully convincing exegesis The God Delusion tormented those whom Dawkins described as holding "beliefs that flatly contradict demonstrable scientific facts".

In this vein, the first of Dawkins' three programmes, aimed to show how we can live without the looming shadow of God, and enjoy a world that rests entirely upon the accuracy of natural selection - the hitherto most important discovery in science since time began.

It's not very long before Professor Dawkins cuts to the chase and explains how utterly irrational and dangerous spiritual beliefs can be (indeed it was an amusing undertaking to see how long it was until Dawkins plunged his dagger once more into faith).

Drawing upon the vacant menace of creationism and its sister theory intelligent design, Dawkins, in his inimitably composed manner, argued that hostility towards rationality, free thought, homosexuality and women still owes its persistence to medieval-esque subservience to theism, a vexation of science which should really have been promptly tossed away after the 18th century age of enlightenment, which Darwin himself was a prominent figure.

Dawkins' simple yet elegant address of Darwinism will surely make the programme a success, yet his attack on religion still seems to be somewhat indistinct. One obvious problem for Dawkins is that he battles to hold two rather inharmonious positions; at once he is the scientist - disciplined in observation and objectivity. But also he is the emotionally charged evangelical atheist.

Since the release of his bestseller, Dawkins has been unable to separate the two positions. Gone are the days of the professor dissecting halibut in front of an audience of pre-teens divided into those who are averting their squeamish gazes and those who can’t for the life of them turn away. Now, even in his scientific capacity, Dawkins is belligerent.

The God Delusion really marked the point where Dawkins transformed from the professor holding the Charles Simonyi Chair for the Public Understanding of Science to the celebrity fundamentalist atheist.

In his capacity as a scientist his efforts should be directed at safeguarding the longevity of Darwinism which, with the unsettling figure given by the British Humanist Association that at least 40 UK schools teach creationism, has the potential to be under attack from certain organs of the religious community. But given his more demanding role as fundamentalist, cedes all religiosity as dangerous, thus quashing any potential union to debilitate the creeping infection that is intelligent design, a topic where moderate atheists and those of faith can meet eye to eye. Indeed, Darwinism is not under attack from the religiously moderate, so why is there need to slur them?

The books by The Four Horsemen (Dawkins, Dennett, Harris, Hitchens) may well be trendy accessories (shown quite clearly by the numbers in their sales) but can they really solve the creationism-evolution argument in schools, or will they only create a small, solitary corner for themselves?

It’s quite clear that what the New Atheists are doing is lumping all the religious together in one bundle, just like the religious fundamentalists would do to atheists. Dawkins, in choosing to pursue a form of emotional firebrand atheism over the discipline of the scientist, is no longer the champion of reason, but an old problem this time on the other side of God. Even dyed-in-the-wall atheists like Bertrand Russell recognised a minimum of contribution religion has given to civilisation notably when he illustrated that religion informed "Egyptian priests to chronicle eclipses with such care that in time they become able to predict them."

In the fight against religious fundamentalism, atheists need to embrace the moderate religious community; they may well find they have more in common than they’d care to admit.

Carl Packman is a writer, researcher and blogger. He is the author of the forthcoming book Loan Sharks to be released by Searching Finance. He has previously published in the Guardian, Tribune Magazine, The Philosopher's Magazine and the International Journal for Žižek Studies.
 

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The alien among us: searching for the meaning of David Bowie

A tribute to the man who reinvented pop culture and changed Britain, by John Gray, Olivia Laing, Philip Hoare, Kate Mosse, Paul Du Noyer, Kate Mossman, John Burnside, Will Self and Yo Zushi.

First published in a special issue of the New Statesman on 15 January, 2016, marking the death of David Bowie (8 January 1947 – 10 January 2016).

Philip Hoare: Lighting up a blacked-out Britain

In the hot summer of 1976, in white school shirt, black evening waistcoat and trousers, my hair slicked back and sprayed gold, I took the train to London where Kraftwerk’s crackling nuclear “Radioactivity” and the surreal brutality of Luis Buñuel’s Un chien andalou gave way to the man himself, sunken-cheeked, too thin to be caged by the fluorescent array of strip lights behind him. In the oceanic darkness of the arena, I felt I was utterly alone with him, like everyone else. He was in his new incarnation, as dark as the times: Jean Genet out of Man Ray, burned black and white into our monochrome dreams, singing of “the return of the Thin White Duke/throwing darts in lovers’ eyes”. He arrived at Victoria in a slam-door train and was driven away standing in an open-top car like our great dictator.

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John Gray: The shifting shaman of the modern age

If your aim is to be original, you will most likely end up looking and sounding highly derivative. Striving for self-expression, you turn yourself into a mouthpiece for the ruling clichés. David Bowie did the opposite. Knowing himself to be – as a matter of fact or fate – utterly singular, he chose to become a clairvoyant who served as a channel for the shifting spirit of the age. Along the way a succession of selves emerged, each of them novel and original. A commonplace view has it that Bowie was a chameleon who kept reinventing himself in order to exploit the turns of fashion. But his changes served a deeper end. By becoming Nobody, he became many people and at the same time himself. . .

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Kate Mossman: Reading the runes

A week ago, critics were reviewing his new album, Blackstar, and trying to locate the surprise. It had to lie in the music this time, when last time it was all about the delivery. He’d gone and got himself a jazz band, the Donny McCaslin Quartet, whom he first saw playing the 55 Bar in Manhattan early in 2013 (with a power only Bowie could wield, he sent the sax player out to do some of the promotional interviews for the album). Many of the songs are semi-improvised, with a ponderous, ambulatory structure that adds to a sense of mystery unfolding.

The centrepiece title track is a strange, ten-minute movie-of-the-mind that starts in the unsettling soundworld of eastern deserts and then breaks, unexpectedly, into a light Motown-tinged ballad with a tune that wouldn’t be a million miles from Adele’s “Make You Feel My Love”, if you laid one on top of the other. This epic track actually came out last year, along with the album’s two other substantial offerings, “Lazarus” and “Sue”. I wondered if the joke, this time round, was that when you finally got your hands on Bowie’s new album you realised you’d already heard the best stuff for free.

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Yo Zushi: In defence of “bad” Bowie

Tonight remains the Bowie album I return to most often. Its critical panning seems, now that Bowie is gone, an aberration: no album that begins with the seven-minute masterpiece “Loving the Alien” and contains the rocking “Blue Jean” should have received the drubbing it got. The TV-special-style cover of the Beach Boys’ “God Only Knows” is as stirring, in its cold, almost Brechtian way, as Station to Station’s “Wild Is the Wind” (1976) – it’s like watching Elvis in Vegas through a sheet of ice.

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Kate Mosse: King of the outcast girls and boys

Where were you when you heard the news? My ma had always said she could remember precisely what she was doing, how the day felt, when she heard Elvis Presley had died. I’d never understood what she meant, not really, until today. I thought I would never forget the white of the tablecloth at the Santa Catalina Hotel, the swirl of Spanish and German, a little Russian and English being spoken around me. A half-eaten piece of bread and a third cup of coffee, growing cold. A little cheese and an apple cut in four.

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Will Self: A vaudeville star who spun new worlds

Unlike “Sir Mick” and “Sir Elton”, Bowie had refused state honours from the British government. And he’d done it not once, but twice. The message was clear: he didn’t seek status or preferment in this world, at least not the sort politicians dole out. I never met him myself. Indeed, my only direct connection with him was fairly bizarre: a copy of Alethea Hayter’s classic work of literary-critical history Opium and the Romantic Imagination, with “David Bowie” inscribed on the flyleaf, together with his Swiss address, in charmingly juvenile, cursive handwriting. I’d acquired the book from a friend, Kevin Armstrong, who at the time (mid-1980s) was playing guitar in Bowie’s Tin Machine band. It kicked around the house for some years until, suffering from my conscience, I mailed it back to him.

He never thanked me, even though I’d put a return address, but I bore no ill-will; I reasoned he must be busy. Or, if not busy, like some deity who’d created not just one world but many, he was resting from his ­labours. I wouldn’t claim to have an exhaustive familiarity with Bowie’s oeuvre but then I don’t need to – his music, in common with that of the Beatles, constitutes the backdrop on to which the transitory experiences of my own life have been projected; a romantic imagination indeed.

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A Martian up a ladder throwing paint at a canvas

Bowie turned up at the Factory wearing white Oxford bags and yellow Mary Janes, a slouchy bibbety-bobbity hat pulled low over his long blond hair. He sang his homage “Andy Warhol” to the master (“Tie him up when he’s fast asleep/Send him on a pleasant cruise”), who was reportedly not wholly flattered. Then he performed an earnest mime for the nonplussed Warhol in which he opened up his heart and let his guts spill on the floor.

It spoke, perhaps, of what was to come: the annihilating effects of serious, cult-level fame; the sense of being haunted by his own creations, of careering with them into places inimical to physical and mental health. Bowie was always willing to take a risk, to expose himself, to go further out than anyone else might have thought possible. Album after album wore its influences on its sleeve: the avant-garde German expressionism of Heroes and Low, the Chatterton-meets-Beau Brummell lushness of The Man Who Sold the World.

Like many other rock stars, he started collecting art, including a pair of Tintorettos, a Rubens and a Frank Auerbach. But at some point in the 1980s he began making it, too. He’d got himself stuck creatively, and as a way of edging out of the doldrums he switched media, using painting as a way of swimming back to himself. At first it was a private business, a respite and release from music, and then a fertile way of solving problems and nudging around blocks.

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Paul Du Noyer: Close encounters with the Bromley boy

Where the former Beatles turned their speech into Scouse-American sing-song and Mick Jagger trademarked a high-camp mockney drawl, Bowie’s pronunciation remained as neatly clipped as a Beckenham privet hedge. He chose his words with studious precision and delivered them with the quiet stoicism of an Ealing Studios RAF pilot. He knew that journalists are easily seduced by famous people who remember their names, and could flatter you with earnest inquiries about life back in England.

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This article first appeared in the 14 January 2016 issue of the New Statesman, David Bowie