Wednesday, November 04, 2026

Chapter 2: Occam's Razor


Do not all charms fly at the mere touch of cold philosophy?
       John Keats


Occam’s razor implies that naturalistic explanations are invariably to be preferred over supernatural ones. However convoluted the method by which the murderer escaped from the locked room may be, there is never a sufficiently good reason to say “Perhaps he beamed up to his spaceship” or “Perhaps he cast his Apparition spell.”

Philip K Dick’s late novel The Transmigration of Timothy Archer asks how much evidence you would need before you abandoned Occam and postulated the miraculous. Your late wife’s photo falls off the wall on her birthday? Mere coincidence. The same thing happens next year? Still coincidence. But if the same picture falls off the same wall on the same date every year for twenty years, do you start to believe that someone in the spirit realm is trying to tell you something?

Sherlock Holmes said that when you have eliminated the impossible, whatever remains, however improbable, must be the truth. But perhaps there is a point when the probable becomes sufficiently improbable that the impossible becomes plausible? Conspiracy theorists and apologists want us, in the face of the even moderately improbable, to automatically assume the impossible.

It is highly improbable that a small girl could take a trick photograph so sophisticated as to fool adults and photography experts for decades: therefore we should believe in the literal existence of fairies.  

It is highly improbable that a pious and honest girl would suddenly start telling far-fetched lies (while her dishonest brother sticks to the truth): therefore we should believe that there is a fairy-tale kingdom in the old professor’s cupboard. 

It is highly improbable that a group of simple men would invent a story about their dead teacher being a deity, and stick to it in the face of death: therefore you should buy whatever theology I am currently trying to sell. 

Granted, we don’t definitely know what is and what is not impossible. Plenty of things which would have seemed magical to our grandparents are now easily downloadable onto my smart-phone. For all we know, there might be portals between dimensions; and for all we know, time might flow at different rates in different universes. And if the point under discussion is “Do alternate universes exist?” then the Professor is correct: you can’t take “Alternate universes do not exist” as a premise. 

For all we know, there might be fairies, or magic, or flying saucers, or ghosts. For all we know, dead bodies might occasionally come back to life. But what kind of evidence do we need before we undergo such a dramatic paradigm shift?

Conspiracy theorists very often claim that the relative weakness of their evidence is the strongest indication that it is true. If you were trying to create a fake UFO photograph by hanging a hub-cap from a wire, you’d have the sense to cover your tracks: the fact that the wire is plainly visible in the photo is a strong indication that the photograph is genuine. A forger would have not made so obvious a mistake. For all we know, the human eye would find it hard to focus on otherworldly creatures, so the fact that the little girls are looking through the fairies rather than at them is a point in favour of the Cottingley pictures.

People who argue in this direction are, I think, trying to invoke something along the lines of lectio difficilior potior: “the hard reading is to be preferred”. A scribe copying a document would be more likely to simplify it than to make it more difficult, so faced with two versions of the same text, the obscure one is more likely to be accurate. Scholars of the historical Jesus talk about the “criterion of embarrassment”: passages which are theologically awkward are more likely to be authentic than ones which are theologically convenient. The Church probably wouldn’t have invented a story about the sinless saviour being baptised by John, but it might very well have made up a story in which Jesus delegated the power of forgiving and not-forgiving sins to the Bishop of Rome.

But this kind of thinking leaves you wide open to “heads I win, tails you lose” arguments in which every contradiction and improbability is proof of authenticity. You only get to say “This must be true, because it is so silly no-one would have made it up” if you are also prepared to say “This seems sensible and believable, and is therefore probably a forgery.”

What if a genuinely open-minded sceptic was persuaded to investigate the claim that the Old Inn was haunted? He would certainly have lots of questions. How far back do the ghost stories go? How consistent are they? Are there concrete accounts, or is it just a bit of free-floating folklore? Were the ghosts first mentioned in a story by a writer of spooky fiction, or by ordinary witnesses? Were the people who saw the haunting sceptics, or did they already believe in ghosts? Apparitions tend to be dispersed in the face of that kind of scrutiny. 

But perhaps the sceptic finds that this is an unusually well-attested haunting. A guest in the hotel in 1920 found a distressed child crying in one of the corridors, but by the time the proper authorities could be sent for, the kid was nowhere to be found. Another guest in 1978, oblivious to the first incident, described precisely the same event: a scared little boy who was gone by the time the police arrived. And then in 2003, excavations in the hotel uncovered a child’s remains, presumably a murder victim, evidently concealed since the seventeenth century.

Whereupon, of course, every ghost-hunter in England books into the offending room and claims to have seen a small figure or heard crying or just felt that something was not quite right. 

I think the sceptic might very well come to the conclusion that there was something to the first two sightings. He might very well conclude that there was a real phenomenon to be investigated. Would it necessarily follow that he “believed in ghosts”? And even if he did, would the verified haunting commit him to a particular version of the afterlife?

He might think that some barely understood naturalistic phenomenon caused two people to have the same hallucination. He might think that the house was infested by toxic mould. He might think that both witnesses had, in fact, read an ancient newspaper report of the murder, but repressed the memory. He might even think that violent events can leave some sort of psychic residue.

But would he be likely to say “I think, on balance, the dead child really did appear to the two visitors: therefore Father O’Murphy is correct when he talks about people who have been denied Christian burial being stuck in purgatory?” 

Or would he say “I am convinced that this room is haunted, and therefore, that everything Madam Acati and the Spiritualists say about ectoplasm and the Other Side is the literal truth.” 

I don’t think he would. “Some people honestly did see, or think they saw, a ghost” is the beginning of the investigation: not the end point. 




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Monday, November 02, 2026

Ecclesiastical Minimalism

   



Did Jesus of Nazareth really rise from the dead? 

Do we all mean the same things by "really" and "rise"? 

Does historical logic prove Christianity to be true? 

Are some American apologists really quite silly?

Are modernist theologians any more sensible?

And has Andrew discovered the lost ending of St Mark's Gospel?


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The hymn writer says that Jesus walks with him and talks with him along life's narrow way. But did he really mean it?

What would it take to make you honestly believe you'd seen a ghost?

Chapter 1: A Conjuring Trick With Bones


“Joe Hill ain’t dead,” he says to me,
“Joe Hill ain’t never died.
Where working folk are out on strike
Joe Hill is at their side.”


I grew up in one of those concrete suburban Methodist churches, built at the end of the 1960s. I was going to describe the architecture as “brutalist”, but apparently the correct term is “ecclesiastical minimalist”.  The minister was youngish and veered towards the trendy. He ran youth groups with names like “Sunday Session” and “Questers”  and made the drama group stage an impenetrable play called Christ in the Concrete City. 

Sunday Session used a hymn book that may have been called Youth Praise and was already looking quite dated. Some of the songs had verses to be sung by “girls” and other verses to be sung by “fellows”. It included a pop lyric that went. 

Hey, crazy mixed up generation

There is only one solution

Jesus is the great sensation….

Oh dear. Two other hymns stick in my memory. One, fairly well known, went thus:

He lives! He lives! 

Christ Jesus lives today!

He walks with me!

He talks with me!

Along life’s narrow way! 

He lives! He lives!

Salvation to impart!

You ask me how I know he lives?

He lives…

Within…

My heart….

The other, relatively obscure, one went 

The stone was rolled away

from where the saviour lay!

that glad and glorious day

when Jesus rose again! 

A living saviour he 

for all eternity! 

From sin to set me free

who died and rose again!

A bit of light googling reveals that “He Lives!” was one of five hundred songs written by an American Presbyterian pastor named Alfred Ackley, who died in 1960. But the only trace of “The Stone Was Rolled Away” that I can find on-line is in a Kenyan Christedelphian service book.

Everyone remembers that in 1984, David Jenkins (soon to become Bishop of Durham) was accused of saying that the resurrection of Jesus was “a conjuring trick with bones”. Nearly everyone knows that he actually said that the resurrection of Jesus was not a conjuring trick with bones. But the misquotation did not entirely misrepresent his intention. His view was that the story about Jesus’ body disappearing from his tomb, if historically true, would only amount to an astonishing and puzzling event, without further religious significance. It follows that the resurrection is not reducible to that story. He didn’t directly say that he disbelieved in the story but he certainly thought that it was inessential.  

The National Theatre’s legendary production of the Mysteries (based on the medieval mystery plays) which premièred a year after Jenkins had given his misunderstood interview, literally depicted Jesus’ tomb as a conjurer’s cabinet. The actor playing Jesus was placed inside, it was sealed with chains by the Roman soldiers, and revealed to be empty just as the actor playing Jesus emerged  from the other side of the auditorium. Trap-doors and body-doubles may have been involved.

I don’t suppose that the two hymn-writers substantially disagreed about their theology. I imagine that the one who wrote that the stone was rolled away felt that Jesus lived in his heart, and the one who said that Jesus lived in his heart believed that the stone had been rolled away. But as lyricists, they chose to emphasise different things. One says that the entrance to the mausoleum had been unexpectedly unblocked, and therefore they believe that the occupant is still alive. The other doesn’t mention bodies or interment at all, but says that Jesus is alive because they feel that Jesus is alive. 

This is not, incidentally, very good theology. Poetry never is. I suppose the writer could be saying that Jesus promised that he would come back to life after his execution, and also promised that he would send the paraclete, the Holy Spirit, to his disciples. Since the hymn writer feels the presence of the Holy Spirit, he trusts that the other promise was fulfilled as well. It is presumably as heretical to say that the Son is present in the heart of the believer as it would be to say that the Holy Spirit was crucified? But as a sensible trainee pastor once remarked to me “Now you are trying to be more sound than the Apostle Paul.”

But the real glitch is the more obvious one. “You ask me how I know he lives? He lives within my heart!” invites the response “You ask me how I know he doesn’t live? He doesn’t live within my heart!”

Some people believe (or speak as if they believe) that the resurrection was a phenomenon: the moving of an immovable stone, the inexplicable vanishing of a corpse, tangible encounters with a being who eats and can be touched and has scars and wounds on his body. Others believe (or speak as if they believe) that the resurrection was and is the subjective or spiritual experience of feeling close to Jesus.

The two views are, in principle, separable. You might think that the followers of Jesus came to believe that he was alive because his tomb was empty; you might think that they started to tell stories of an empty tomb because they felt that he was still alive. Certainly, someone might accept that a corpse came back to life supernaturally without necessarily feeling that the owner was continuously communicating with them personally. Equally, someone could experience a vivid spiritual presence while remaining agnostic on what several women called Mary may or may not have found in a graveyard two millennia ago.

The man we call Saint Paul very much believed that Jesus was alive: we are told that some Athenian philosophers formed the mistaken opinion that he was advocating the worship of two new deities, one named “Jesus” and the other named “Resurrection”. It is open to question whether Paul knew the story of the tomb, the stone, the angels and the female witnesses: if he did, he doesn’t ever refer to them. If you had asked him how he knew Jesus was alive, he would presumably have replied  “I know because Peter saw him, James saw him, a big group of Christians saw him, and finally, I saw him.” 

It is easy to miss the fact that Paul is our one indubitable eye witness to whatever the resurrection was. At least some of the epistles in our “New Testament” were definitely written by Paul, and in those epistles, he definitely claims to have seen the risen Jesus. But these first hand accounts are rather obscure: Paul says simply that Jesus “appeared” to him, and that “God revealed his son to me”. The second-hand accounts in the Acts of the Apostles describe what seem to be visionary experiences: Paul hears Jesus’ voice but his companions do not. And Paul himself is explicit that he didn’t learn about Jesus from eye-witness testimony or oral tradition, but by direct supernatural revelation. He believes what he believes because God told him so directly.  I don’t say he would have taken the tomb tradition to be secondary or inessential or that he would have talked about conjuring tricks, but I think he would have come down on the side of the first hymn-writer: Jesus lived in his heart. 

But was he merely using flowery language? When Paul says that he heard Jesus’s voice and that God’s son was revealed to him, perhaps he really only mean that he sat down and had a jolly good think and decided that the evidence about the carpenter being the long awaited Messiah stacked up awfully well, and that it followed that it was more important to have faith than to keep the Torah…? Come to that, when Rev Ackley talks about being in constant dialogue with Jesus, maybe he means nothing more than “I do find some of those stories and parables in the Bible awfully helpful”?

When I was a kid, I thought that people who talked about encountering Jesus literally meant that they had encountered Jesus: a physical form with a beard in a nightie and sandals had walked into their room. Visionary experiences like that do happen, or at any rate, people allege that they happen. How many pious Catholics have seen the virgin Mary? But then, how many distraught relatives have seen Granny sitting in her old rocking chair?

A Sunday School teacher once told me about a good Christian gentleman in our village who had given up a lucrative banking career to work for a charity “because God had told him to”. My immediate response as a child was that I wanted to ask him what God’s voice sounded like, and if he really had a beard. Thank Crom I never did. Obviously I now see that  “God told him” meant “He had a really strong conviction that this was the right thing to do”. 

People who use this kind of language--whether it is Paul or Alfred Ackley or the old man in my village-- are usually sincere. When they say that Jesus lives in their hearts, that he talks to them directly, or simply that they have been “called” to become preachers or missionaries or nuns, they are not talking about nothing. Like Johnny Cash, they were there when it happened so I guess they ought to know. And it is entirely possible that Paul was talking about something a lot bigger and more world-changing than a strong morally intuition that perhaps he ought to stop stoning Christians to death.

But I am now going to ask a hard, and possibly, offensive question. 

What is the necessary connection between those feelings and the phenomenon of a body vanishing from a locked mausoleum?

Do people who don’t believe in the anomalous tomb phenomena ever have spiritual experiences or strong moral intuitions?

Or are those experiences entirely without meaning if you don’t accept the factual historicity of the conjuring trick with bones? 




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Sunday, October 11, 2026

 I wrote this 20 years ago.


They're selling postcards of the hanging....

Killing is easy. Third and fourth fingers on your palm, first and second sticking out, point at your victim and say peow. Or peow-peow. Only little kids say 'bang'. Real guns have strips of caps which make a satisfying 'pop' when you squeeze the trigger, but they don't actually kill anyone. Two fingers and peow-peow is the rule. Killing is fun. People recover from being killed quite quickly. Some people are immune to being killed. This seems like cheating. Captain Scarlet is indestructible. One day in infants Miss Ward read to us 'The Magic Tinder Box' which ends with the soldier sentenced to be hung and every few minutes the gaoler came into his cell to remind him that tomorrow was the day he was going to he hung. They also did the story on children's TV, one of those programmes where the people spoke in French but a man's voice told you what they were saying, so far as I could tell the soldier was expected to put a rope round his own neck and jump off by himself when he was ready. All his friends turned up to watch. I can't remember what the story is about: I assume he gets off? It was clear, even in that dull French space between Wacky Races and Crackerjack, that being hung was very different from being killed. People who were hung didn't get up again afterwards. It was probably like being sent to Mr Mariot to be smacked, only worse. But it only happened in the olden days, when there were pirates and Hitler and putting people in the stocks. It was extremely horrible and unbelievable and therefore very fascinating. There was an old fashioned English book with a blue cover that pointed out that verbs could have different past tenses depending on context. 'Hang the picture; the picture was hung. Hang the murderer; the murderer was hanged.' I could never quite believe that something so nasty was being used as a grammatical example. Guy Fawkes was a hero because he didn't cry or tell on his mates when they took him to be hanged, that's why we let off fireworks to remember him. Henry the Eighth chopped off the heads of at least several of his wives. Actually, pretty much everyone in history seemed to have been executed at some time in their lives: Mary Queen of Scots; Walter Raleigh; Marie Antoinette; Thomas Moore; Joan of Arc; Anne Frank; Jesus. I assume that the Chamber of Horrors at Madame Tussauds was originally just effigies of infamous criminals, but by the time I went it was pretty much a museum of capital punishment, wax convicts having ropes put round their necks by wax hangmen in worryingly modern looking suits and short haired wax works being strapped into distressingly modern looking chairs. There were slot machines where you could watch dolls being executed on Brighton pier. These days the London Dungeon has franchised out the torture trade, and Terry Deary has built a career on history books where you don't need to use the index to find the gory bits. When we were asked to improvise a play on an historical subject, we made one up about a beheading. God knows what the teacher thought. Little boys can be morbid. We got over it.

How did we get this far? I'm currently doing a course at Bristol College, and therefore coming into contact with what I believe are called 'teenagers': the kinds of people who think that 'blogging' is a little bit retro, understand the point of Myspace and think that 'gay' is a term of abuse. I have overheard them in the computer room, looking at pop videos and Jackass stunts on Youtube and then saying 'Have you seen Saddam Hussein yet?' There are apparently edited versions of the footage, with the killing set to music for comical or ironic effect.

The creepiest thing about the Tony Party is the way they get together beforehand and decide not only what they are going to think but the exact words in which they are going to think it. It's been put about that when Prescott said that just possibly televised public hangings weren't a particularly good idea he was breaking ranks, speaking what we might loosely call his mind. In fact, he had clearly agreed a form of words with Tony in advance, ventriloquizing what last night's focus group had decided was the most expedient lie. 'I think the manner was quite deplorable really. I don't think one can endorse in any way that, whatever your views about capital punishment.' Not, as you or I might have said 'The way in which it was done'; the manner. This was the same phrase used by Blair's spokesman ('he does believe that the manner of execution was completely wrong') and, when the focus group decided he should break cover, by Blair himself ('the manner of the execution was completely wrong.') Members of the hivemind cannot criticize the killing itself, only the manner in which it was done. Our problem is that it was an undignified ritual strangulation; that they weren't very courteous to the man whose neck they were going to break; that they took photographs while his pants were filling up with shit. There was a way of doing it which we would not have deplored; a manner that we would have approved of; a kind of human sacrifice which would not have been completely wrong.

As the fellow said: the word you were looking for was 'obscene'. 'Deplorable' is when you fuck your secretary.

I remember when the worst we could say about Blair was that he had wasted a lot of money on putting up a big building to celebrate the fact that there was going to be a date with a lot of zeros on the end and only noticed on December 28th that he didn't have anything to put in it. I remember when we used to wonder if he should cuddle up quite so closely to Bill Clinton, whose left-wing credentials were not impeccable. We used to worry about the fact that his friend Bill had signed death warrants; including one for a mentally handicapped man who would not have been executed in a civilized country i.e one that doesn't execute mentally handicapped people. Straining at gnats.

How did we let it get this far? How did it happen that, in his eagerness to position his product alongside the Twin Towers brand, Blair nailed his colours so deeply into the backside of the unelected thanatos-worshiping simpleton who succeeded Clinton that the most he can bring himself to say is that he wishes we could have had a more polite hanging? Bush has never made any great secret out of the fact that he used the terrorist atrocity as a pretext to attack a short-list of despots who had been fleas in his father's ear. I've seen The Godfather: that's how gangsters behave. Blair, as we have seen, has that particular God complex which says that whatever comes into his head at a particular moment must be right; and that even to stop for a moment and think about the reasons is to betray of the idea of leadership. In 2003 God (i.e Tony Blair) decided that the answer was 'the invasion of Iraq' and he's been trying ever since to work out what the question was. To find non-existent nuclear weapons. To bring peace and stability to Iraq. To make a Iraq a beacon of democracy and liberal values for the whole region. To pull down a statue. I am not going to apologize for removing Saddam. I made the decision to remove Saddam. I think that the world is better off without Saddam. His prayer-partner yo-Bush is notorious for his hang-em-high mentality. ('I do not believe we've put a guilty - I mean innocent - person to death in the state of Texas.' ) How could Tony have been in any doubt that what he had got us all involved in was the War of Saddam's Neck?

Clinton told the Labour Party conference that Mr Blair was the only person who could act as a restraining influence on Mr Bush. That is, if not for Tony, Mad President George would be even more insane. A journalist once asked Auberon Waugh how he could be such a nasty person and also a Catholic. Waugh replied 'If I wasn't a Catholic, think how much worse I'd be.' Couldn't Tony have persuaded George to hand Saddam over to a properly constituted international court which gave people proper trials and didn't practice ritual asphyxiation? Did he try?

Did you ever think it would get this bad? Did you ever think we would reach a point where members of the Tony Party were using phrases like 'whether or not you agree with capital punishment' as if it were a matter of legitimate difference of opinion, a subject for debate? You ritually slaughter criminals, we don't; but then you wear body armour to play rugby, and we don't; aren't these quaint little cultural differences fascinating? Where have the last 40 years gone? Are the 1960s still in the future?

Regular readers will remember that, as Shadow Home Secretary, Blair expressed the view that watching a (comparatively mild) 'video nasty' was likely to turn innocent children into murderers. How appropriate that his last year in office should be ushered in by a nation of cretinous ghouls drooling, like morbid eight year olds, over the nastiest video of all time.




I wrote this two years ago. 




1: Because it is wrong 

2: Because it does no good.

3: Because all murderers are "definitely guilty". (The legal term for someone who is "probably guilty" or "almost certainly guilty" is "innocent".)

4: Because Paul Hill, Gerry Conlon, Paddy Armstrong, Carole Richardson and Andrew Malkinson were definitely guilty.

5: Because it would involve keeping the story, and the criminal's face, on the front page of the newspapers, possibly for decades to come. (This is also why the tabloids are in favour of it.)

6: Because the Daily Mail would claim that defence lawyers and appeal judges were enemies of the people.

7: Because the Sun would run morbid, comedic, punning headlines ("Hang To Rights" "Swing Voters" etc etc etc.)

8: Because it would not satisfy the mob, who would call for more tortuous killings and a greater degree of public spectacle.

9: Because in 1950s crowds used to gather outside prisons to see legal documents being pinned to doors

10: Because in the 1950s the Home Secretary used to receive several letters a week from people who wanted the job of executioner.

11: Because in 1955 the children in the school near Holloway prison were well aware of what was being done to Ruth Ellis and were ghoulishly excited by it.

12: Because it was wrong for Tony Blair to exploit the murder of a small child for political gain in 1997; and it would be equally wrong for the Tories to exploit the murder of several infants for electoral advantage in 2024.

13: Because I literally don't know what you mean by "evil".

14: Because almost every nurse who has ever lived has not been a serial killer.

15: Because of the smirk on some Tories faces when they talk about this stuff.

16: Because of that Dave Allen story about the time he lost his temper with one of his kids and thumped them while chanting "Never! Hit! Anyone! Smaller! Than! Yourself!"

17: I object to the damage it does to my spirit for my government to kill people, because my government is supposed to be me and I object to me killing people. It's really simple. - Steve Earle

18: A community is infinitely more brutalised by the habitual employment of punishment than it is by the occasional occurrence of crime. - Oscar Wilde

19: Making life means making trouble. There's only one way of escaping trouble; and that's killing things. Cowards, you notice, are always shrieking to have troublesome people killed. - Bernard Shaw.

20: I do not now believe that any one of the hundreds of executions I carried out has in any way acted as a deterrent against future murder. Capital punishment, in my view, achieved nothing except revenge. - Albert Pierrepoint.


This subject is not open to further discussion; and the question of whether it is open to further discussion is not open to further discussion. It is my intention to completely disable my internet access and avoid all news media between 19 Nov and 17 Dec. 

Monday, October 05, 2026

Reply Piece Reply

[I imagine this will all go into the eventual PDF, along with the Right of Reply I asked my friend ChatGPT to write.]

[Who said "I do not have time to make this shorter?"]



Stephen Brohan

I do read your articles on Lewis with interest. So let's start with the conversation about a waterfall.

If I say to you that a waterfall is sublime I am telling you little that is factual about the waterfall. Maybe I make you curious to look, but you have learned slightly more about me, maybe that I am the sort of person who gushes about waterfalls. In any case, the payload of the message is communication between you and me. Maybe I will share my feelings about the waterfall, maybe you will think that I am a pillock.
When I read Burroughs' description of a swordfight, maybe he will communicate to me a feeling of excitement, maybe he will share his vision of the struggle to live on Barsoom, maybe I will get an insight into his enthusiasms, maybe I will think he is a worthless hack writer.
In any case, he has exposed himself to me to some extent and the potential value of the transaction is tied to communication between him and me (communication may be limited to us sharing a vision, I don't have to be interested in the speaker as a person for communication to take place, though it does enrich it).


To take a different angle on the same thing, and to comment on a question you ask elsewhere. Suppose I read a comic, and enjoy the story in a superficial way. Then I read it again, getting a different angle on the story by seeing how the text and graphics interact. Then, having got interested in the story, I look at some panels in detail, seeing things I hadn't noticed, wondering what the author means by them, how they relate to the story. The story has become part of my imaginative life.


Suppose I then realise that the author only wrote the text, the pictures were generated by AI. I feel cheated. The channel I thought was open into the author's mind isn't there. I was looking at details of a panel I thought the author had left for people like me to see, but now I think maybe those details were generated by AI. I still have the superficial reading of the text that I started with, though even that is diminished, but I'm not going to pore over the details any more



I think what we are discussing here is
 


1: The intentional 'fallacy': Does a work of art have a meaning in itself, or does it only mean what the writer intended it to mean? 


2: Formalism: Is the main thing we ought to pay attention to when looking at a work of art its shape, or should we be more interested in its wider context? 


I think both positions can lead to absurd conclusions. At one extreme,  the song “Let it be” is reducible to a dream that Paul McCartney had about his mother. Once we know this, any other ideas associated with "Mother Mary" magically vanish, or are prohibited.  Or as my English teacher said (I am not bitter about this), I am not allowed to think that Fanny Price is self righteous prude, because Jane Austen didn't intend me to think that. But at the other extreme, you end up talking about geometrical arrangements of lines and contrasts between specific colours on the canvass, without actually mentioning whether you are looking at an icon of the Virgin Mary or a portrait of Winston Churchill (and certainly have to pretend you don't know who Winston Churchill was.)

If I am faced with a choice, I’d go for formalism. If you say “Have you noticed how a particular word keeps being repeated?” and “Notice that the meter changes in line three?” you are actually talking about the poem. When you say “I think that he is writing about daffodils to express the grief over the death of his pet Spaniel” you are often not talking about anything at all. (Even if you can prove the spaniel thing from the guys' letters.) 


1: Lewis and the waterfall. 


I think you have summarised very well the opinion that Lewis (unfairly, in my opinion) attributes to the bad-wrong post-modernist school teachers. They draws a distinction between, as you say, factual statements (“The fire is hot”) and value judgements (“The fire is beautiful.”) Lewis’s claim is that if “The fire is beautiful” means “I am experiencing emotions connected with beauty” then you have effectively denied that value judgements can ever be true or false. In which case, why not raise children to think that waterfalls are ugly, or that murder is beautiful, or that empathy is a disease? 


Lewis’s view (seems to be) that waterfalls have an intrinsic quality of “sublimity” and would have had even if there had never been any human beings to appreciate them. He doesn't directly say "because God put a little nugget of a substance called sublimity" inside them, but this seems to be what he's driving at.


I agree that if you say “The waterfall is sublime” then we are communicating with each other, and the very fact that you chose to say it is telling me something about you.  And perhaps I might reply “No, it’s a piddling little stream, come with me to Canada and I will show you something truly sublime” -- which would tell you something about me. But we would not be talking nonsense or disagreeing about nothing. (“The waterfall is Tuesday” or “The waterfall is pahootle-snurdle-ptang-ptang”) 


2: Sword-fights


I think that when we are reading an adventure story then the first, second, third and fourth things that we care about are the story: the thrill of the actual situation (two men sword fighting on the edge of a chasm in the middle of a desert) and the overall narrative (will our hero get back to the city in time to warn them of the impending invasion?) I agree that literally any story will also have additional meanings — for example “Men should be honourable”, “It is okay to fight with lethal weapons over points of honour” (or “marriage is desirable” or “pink things are the best things”.) And I agree that a book that you only read to find out What Happen Next is not a good, or a great, or literary book. Edgar Rice Burroughs may not be sufficiently bad writer for my example to work!

Two people are sitting in tavern, and in return for a drink, the first person tells the second person a story. Is the main thing which is happening an interaction between the two people; or is the main thing which is happening a story is being passed on. Is what I take away from the encounter “the man I once met with a beard and cloth cap, who told the most fanciful stories about djinn and dragons, with a look in his eye that said he didn’t believe a word of it”; or is what I take away “the tale of the young man who sold his mother’s cow for a handful or beans…”. As a critic, is what I pay attention to the odd little hand gesture the story teller makes when a new character is coming into the story, or the indefinable accent he gives all the baddies? Or do I say “notice the clever way the story seems to be about the relationship of the naughty boy to his old mother, and transitions into one about giant slaying...”?

Again: it is highly unlikely that you would exclusively take one line and completely reject the other. But when you find out that the story teller was actually an actor from the local theatre school playing the role of wise old traveller to get free beer, does that change the story? Or make it valueless?

This comes up all the time in folk music. Woody Guthrie learned the song Git Along Little Dawgies from an old cowboy in a saloon. But, says the ethnomusicologist, the cowboy very probably heard it on the radio, or on a 78 record. Does that spoil the song? There is a story that one of the old folk collectors, possibly Vaughan Williams, heard a fantastic old song from an old yokel name Mr Pittinger. Some time later, someone told him that it wasn’t really an old song, but that Mr Pittinger had made it up. “Well, so much the better for Mr Pittinger.”  


3: AI Comics

“Suppose I then realise that the author only wrote the text, the pictures were generated by AI. I feel cheated….I still have the superficial reading of the text that I started with, though even that is diminished, but I'm not going to pore over the details any more.”


I think the answer to this is that it is probably the case, but not necessarily the case. 


It is absolutely true that a lot of my writing about Spider-Man was focussed on “What was the relationship between the artist and the writer” — I argued that their artistic and political disagreements were playing out on the page. If I hadn’t already known about the posthumous reputation of Stan Lee, I might not have wanted to ask those sorts of questions. A very strict "New Critic" would say “You don’t actually need to know anything about Stan Lee and Steve Ditko to make the observations you are making: either the words clash with the pictures, or they don’t; either the narrative undergoes a change of direction, or it doesn’t — and in any case, Stan Lee is a public persona and Steve Ditko is a recluse, so you aren’t talking about the actual people.” 


I have said occasionally that when a story “works” I don’t pay attention to its artistic merits or technical strengths. I saw the re-release of Avengers: Endgame last week, and forgotten how well it works just as a story. For 90% of the movie I was not thinking “I see what they did there” or “Isn’t Robert Downey Junior a skilled method actor”: I was thinking “Oh, god, no, that’s Tony Stark’s dad” and “Arrgh, Thor is going to have a drink and mess it all up.” Of course, as a critic, “why did that story just work” is a perfectly good question. (And I have noted that very bad artistic works can often be more successful than much better ones in this regard. The Henry Cavill Man of Steel was a much more sophisticated work of art than the Makers of Kellogg Pepp Present The Adventures of Sooooooperman but I know which version of Superman I believed in.  And in fact, I have no idea who wrote the radio scripts.) But very often, my paying attention to camera angles and special effects is a sign that the movie has, at the more basic level, failed. One reason I often don’t review films I’ve really liked. 


But on the other other other hand....there are movies which positively want you to pay attention to the technicalities and the artistic vision of the auteur.  The director might think it very odd if you started to think that Antonius Block (I looked it up) was a real person. This is why people who like arthouse movies don’t see the point of superhero movies and people who like superhero movies don’t see the point of arthouse movies.


Why did the scene in which Obi Wan gave Luke Skywalker his father’s lightsaber make such a deep impression on me the first time  you I saw it?


I mean, there are lots of answers: because I was already aware that it was like scenes from the King Arthur stories and the Narnia stories. Because I was a boy and was subconsciously aware that swords represent penises. Because the scene conveys a humanly real situation about growing up and moving on from home and parents. Because of the incongruity of a device which is both futuristic and old fashioned at the same time. Because gadgets are cool. Because Carl Jung. Because Joseph Campbell. 


Suppose it turned out that Star Wars wasn’t mostly written by George Lucas, but by Marcia Lucas? Not by George Lucas or Marcia Lucas, but by his script-doctor, Tom Stoppard? Not by any of those people, but by a Hollywood committee who hired an actor to play Lucas because he fitted in with the image of the movie they wanted to make? 


Is that quite interesting? Yes.


Would it answer the question? Not really.

Would it spoil the film or make me feel cheated? I don’t think so.

We could push it to a further extreme: suppose the person who really wrote Star Wars was a toxic gender critic who thought that scenes with WISE OLD MEN and ABSENT FATHERS and PASSING ON THE TORCH and GREAT BIG GLOWY PHALLIC SYMBOLS would make boys grow into real men and stop them wanting to be girls…. ? Well yes, that would be interesting. (Every year we read of devout atheist discovering that the Narnia books have a not-very-well hidden meaning and feeling VIOLATED.) Would it change the movie, or spoil it? Maybe. Not necessarily.

And if it turned out that someone had built a machine and shown it all the great adventure movies there had ever been and all the great science fiction stories there had ever been and the complete text of Joseph Campbell’s Masks of God and then said “Write the biggest and best science fiction movie you possibly can?” Would that ruin it for me?

“Ah, but if someone had done that, it wouldn’t be the greatest science fiction movie ever made. It wouldn’t have been Star Wars. It would have been flat and artificial and lacking in the divine spark.”

I agree. I think we are talking about hypotheticals here. I don’t think AI has produced texts comparable to human texts, and I doubt if it ever will. My distinction is still between "Anything produced by AI is slop" or "Slop is the only thing AI can produce."