Life experiences shape us, for better or for worse. They can be rich, meaningful, and beautiful. They can be awful and scar us for life. Much of our experience is shaped/determined by the family, culture, and moment we were born into.
Both Stan Grant and I were born in Australia in the early 1960s and went to high school in the Canberra suburb of Belconnen. Besides, living many years outside Australia, perhaps that is the sum total of our common life experience. He has been successful as a journalist, both internationally and in Australia.
Stan Grant is a Wiradjuri man. His grandparents' home was bulldozed by the Police with the authority of the British crown. His family was dirt poor, always lived on the fringes of towns, and moved continually as his father sought itinerant work. He never stayed in one school for more than a year. No one in his family finished high school, let alone attended university. He says his family was characterised by love. His grandfather fought for Australia in World War II, but when he returned, he was not allowed to go to the local pub to share a drink with his mates. Other returned soldiers were entitled to housing. His grandfather was not. Family members were often harassed by the police. One was put in prison for speaking his native language. Until his family moved to Canberra when he was a teenager, most of his peers were indigenous.
In contrast, I spent the first 22 years of my middle-class life in the same house, my father had the same job that whole time, both my parents had a Ph.D., and the schools I attended were "lily white".
Literature can be powerful because it can create empathy. It can help us see and feel the world through the eyes and experiences of another person. Incidentally, this is one argument for the importance of the humanities and a liberal arts education.
Grant is a gifted writer, and his book, The Queen is Dead gave me a glimpse into a world so different to my own, even though it is spatially close and overlapping. The emotions I experienced included sadness, confusion, shock, anger, embarrassment, powerlessness, despair, frustration, and guilt. I guess that my emotional responses are tame and transient compared to the raw emotions that Grant lives with, day in and day out.
Most chapters begin with the refrain. "The White Queen is dead." The book is prompted by the death of the British monarch in 2023. It is not about her as a person. "The White Queen is a metaphor". (page 9). The book is a personal reckoning with the legacy of colonialism and racism in Australia.
"How do we live with the weight of history? How do we not fall prey to soul-destroying vengeance and resentment, yet never relent in our righteous demand for justice?" (page 5).
Reflecting on his and others' response to the death of the White Queen, he states:
"And in my anger I am confronted again by the two consuming questions of my life: what is Whiteness? And what is it to live with catastrophe?" (page 54)
While in primary school, a white student asked Stan, "Why are you so Black?" (page 84). This incident has tormented him his whole life, and he keeps coming back to it in the book.
Grant reflects painfully on public events over the past quarter of a century that have attracted media attention and have a racist dimension. This includes the significance of the Sydney Olympics in 2000 for Australian identity, Cathy Freeman's gold medal in the 400 metres at that Olympics, the abuse of footballer Adam Goodes, the sponsorship of the Australian women's netball team by Hancock Prospecting, Hawthorn Football Club's treatment of indigenous players, and Grant's experience working for and eventual departure from the public broadcaster ABC News. He helped me see these events in a raw and painful way.
Grant provides a helpful critique of modernity and the Enlightenment. White men "invented modernity as a place of endless possibility." (page 19). The freedom promised often degenerated into tyranny. Modernity provided an intellectual framework and justification for racism and colonialism.
"Identities can nourish us. They can give us community. Identities can give us voice. That notion of identity is a conceit of the West - identity as freedom. But identity can also - and far more often than not, in fact - be a pathway to tyranny." (page 23).
"Modernity has supplanted god with its own faith in progress and reason. The liberalism that emerged out of the seventeenth- and eighteenth-century Enlightenment imagines that we can wash ourselves clean of the past. But there can be no redemption without atonement." (page 214)
We discussed the book this month in the theology reading group. At first glance, the book might not appear to have much theology, particularly if you read the publisher's blurb
Grant dedicates the book :
To Baiame, my creator
To Jesus Christ, my saviour
To Yindyamarra, the Spirit
"Vindicate me, O God. And plead my cause against an ungodly nation" (Psalm 43:1)"
Theological allusions are scattered through the book. Two short sections (pages 207-211 and 272-278) focus on theology. He engages with Simone Weil, the mystic who had a strong solidarity with the oppressed, and Miroslav Volf.
The first section reflects on his experience of church while growing up. A similar reflection is in a beautiful and powerful article, “This is the way healing begins”: Recovering the language of lament in a disenchanted age
"For me, Easter is not a time of resurrection. I don’t rush to Easter Sunday but dwell in the darkness of Holy Saturday — the day after the crucifixion, when those closest to the crucified Christ shivered in fear. On that day there is no promise of tomorrow. There is no hope. It is the day when faith itself feels destitute.
It was the darkness of Holy Saturday that I felt — deep in my bones — when I was a little boy. I felt it in the church on the mission on the outskirts of Griffith in New South Wales that was a home, spiritually and physically, to my family. It could have been any of the missions scattered across our country. The places to which we were banished, and yet managed to find refuge.
There was a tiny wooden church on the mission. I remember cramming into the pews, with my best Sunday clothes on and my hair spit down.
My uncle was the pastor. He was an old-time fire-and-brimstone preacher. Not long into his sermon, his white shirt would be stained with sweat. He would constantly mop his brow with a handkerchief. He clutched a tattered black leather-bound copy of the King James Bible under one arm, yet never needed to read from it. He could recite the scripture from memory. With his other arm he would point. Each word landing — and I felt always landing on me.
My head would ache in that church. I would twitch and look out the window. I felt a heavy weight in that church. I have felt it in other black churches, places where our people come to worship. We pray differently. We sing differently. Our hymns are songs of sorrow...
Ours, you see, was the church of the forsaken.
Why, you may be wondering, am I talking about God, about the church, about Christianity? Is that not the religion of empire? Isn’t Christianity the legacy of colonisation? Certainly since the time of the conversion of the Roman emperor Constantine, Christianity has been wielded as the divine right of kings. It has interwoven itself with power and tyranny.
Yes, those proclaiming the word of God came to this land with a Bible in one hand and a gun in the other. The doctrine of discovery, of terra nullius, was itself a sort of decree — that any land not belonging to a Christian monarch was free for the taking.
Yes, God sat astride empire. But that was not our God. That is Christendom, not Christianity. God did not arrive here with the first fleet. We knew God. We walked in God’s creation, in the land that God had given us. We told stories to God. We painted God on our rocks and on our bodies. We had our word for God: Baiame.
When we heard the stories of Jesus, we heard the story of a dark-skinned man in a land of empire. Oppressed and colonised. A tribal man. We heard the story of someone speaking back to power. We heard the words of an ancestor. And in the crucifixion. We felt the wounds. We felt the shame. We felt the abandonment."
This is how theology should be done: personal and contextual, rather than impersonal and abstract.
Stan Grant writes some wonderful columns every fortnight for The Saturday Paper. There is also a beautiful episode, "Disenchanted Age" of the Undeceptions podcast, where he is interviewed by John Dickson.
