How Much for Amnesty?

I was writing an opinion column for my campus newspaper near the end of my undergraduate studies when the civil suit against OJ Simpson was settled. I remember writing about the results, frustrated in a less-than articulate way about the fact that the life of a person had been reduced to money. In more recent history, I remember the U.S. offering to pay restitution for civilian casualties during the endless war in which we are currently engaged. I remember scoffing at both instances for exactly the same reason: how can anyone possibly think that a human life can be reduced to a financial sum as “restitution?”

When I was involved in a car accident last summer, the insurance of the person at fault included a hefty sum of “pain and suffering” restitution in the settlement. I complained to the insurance adjuster. All I wanted was the reimbursement for expenses resulting from the accident, costs that I would not have otherwise incurred. Whatever “pain and suffering” I had experienced could not by quantified by a figure, and any money received for it, whatever it may have been, wouldn’t have made it go away. Wouldn’t even have made me feel better about it. So, what’s the point? It’s punitive and powerless.

This weekend I listened to an outstanding lecture in the 2009 series of Reith Lectures on the BBC. The title of the lecture was Markets and Morals, and it was given by professor Michael Sandel. He talked about ridiculous American tendencies, such as paying students for school attendance. A fascinating case he discussed was that of an Israeli daycare center that began imposing a fine on parents who picked up their children late. The rate of parents who were late increased after the fine was imposed, because they began seeing their tardiness no longer as a lack of courtesy, but as a privilege for which they were paying. I experienced something similar in college: on a certain semester in which I had a night class, I began seeing the cost a $10 parking citation as paying for the privilege of parking closer to class. The point is that we can’t monetize morality and ethics. Think about it: how many drivers slow down because of a speeding citation? There’s no real stigma attached to the offense, it’s only something we pay for, and then we move forward. After all, it’s only money. We can always make more.

I think there’s something important to be said here, something beyond a rant against free market capitalism and crucifying how it connects with health care and education. I think the larger issue at hand is that we have, as Sandel theorizes, permitted our morality to be reduced to money, our virtue to dollar signs. This is why court cases go in favor of the person with the most expensive attorney. This is why elections go, among other reasons, to the candidate who can pay for the most airtime. This is why greed has run amok and created a culture of power-mongering, a culture that de-humanizes each of us by reducing our value to what we have and what we can produce.

This is a culture of “retail therapy” as a quick emotional fix.

I’m no economist, and I’m not attempting to advance an economical paradigm shift to rectify the issue. I’m presenting the opinion that when a society submits to the base desire to quantify ethics by what one can afford in lieu of remorse or, to use a more spiritual phrase, repentance, then we’ve drifted into what I fear may be an irreparable state of moral chaos.

In future lectures, Sandel promises to incorporate spirituality into a proposed solution. I’m anxious to hear his conclusions. In all likelihood, however, I am accepting of the fact that, whomever proposes whatever, little will ultimately change in the entrenched American tradition of being able to purchase anything, tangible or otherwise. Because, while it is true that it is only money, it is also true that money has become the god of our society.

On a good day, I’ll find my pessimism misplaced.

What Was It Like…?

In a recent blog post, Ashley Diaz Mejias, a staff member at UVA and blogger for The Other Journal, mentioned the instant access of anyone of any age to any part of history in modern society. Granted, this was not the thesis of her post, but it was the part that grabbed me. She discusses this specifically in the context of music from any era suddenly being relegated to someone’s iMix, downloadable as a “classic,” or described in generic terms in a Wikipedia article. As readily accessible as any part of our history is, it is presented in a cold and detached manner: anyone can read any part of any event, but they are reading about it, not experiencing it, and I’m convinced that this is no substitute.

Music is an excellent example, using Mejias’ own example of Kurt Cobain. To describe Nirvana’s influence on the history of music is to digress into genre descriptors of “post-punk,” or “grunge rock” or something similar. This is far from listening to the music, experiencing the music. And even if one does experience the music now, they are experiencing it outside of a social context. Similarly, I observed with interest the New York Time’s publication of an apparently never-before-seen photograph of the Tianeman Square protest this week. It was a transporting experience to see that event frozen in time by a camera lens, but I am still seeing it almost without a referent. I need a narrator, someone who can lend their experience, their story to the events that I witness…to put the image in context, entrench it deeper in the sounds and smells that were actually there that day, in order to provide an accurate frame for the picture. Without understanding the angst of the day, one would fail to appreciate all of the layers of Nirvana. Without understanding the tension of the war, one would fail to appreciate, as I did, the sounds I heard this week of the BBC reports of the D-Day invasion of Operation: Overlord.

Where I think this leaves us is a recognition of the importance of storytelling. The best history is borne of the stories of those who lived through the events, kept alive and in the spirit of it’s telling by those to whom it was told, as well as through technological means. With this, we can avoid the idiocy of those who would claim that the Holocaust never occurred, or at least minimize the uneducated masses who would believe such nonsense. To lose the art of storytelling is to lose knowledge of history, which is already taught through a lens of propaganda in our public schools to a generation that is relying on us for accurate information of the history that preceded it. When we lose the knowledge of history, it will repeat itself in all of its bloody and senseless violence, robbing us of any progress we may have made.

Technology is a beautiful tool, but it is only a tool. The availability of music from my childhood for immediate (and legal, of course) download is a wonderful thing. The immediate access to any desired historical knowledge from my desktop is invaluable. All things being equal, however, it an important but singular piece of the puzzle that cannot stand alone, because it is only the skeleton that requires the flesh of story, a report without essence, a body without soul.

Because, for all of our facts and boundless prose, we are still in desperate need of substance to fill it. If we lose our story, we lose ourselves.

Interweaving

Several years ago, when I was beginning what would be my Seminary career, I had just left a position in the behavioral health field, a field in which I had worked for several years. I was meeting with a professor in the Seminary that I would attend, and as he searched for this and that while I waited in the chair across from his desk, I scanned the books on his shelf. I felt an odd sense of comfort when I saw a DSM-IV TR.

I would go on in the behavioral health field, the field in which I am still making the rent with the opportunity to impact lives. At the time, however, I was growing, and was in the midst of a brief venture in pastoral employment. As I was in a painful stage of maturing, I was dangerously compartmentalized. I had difficulty understanding that one could exist in what I perceived as two worlds: working in the realm of psychology (a field to which I quickly returned), while studying theology. To add to my confusion, I was writing op-ed pieces for a newspaper at the time, and was dabbling, as I consistently have, in theatre when finding the opportunity. I remember the first summer in my two-year Seminary program, hungrily longing for fiction to break up the weighty philosophy and theology that was my reading diet while working on my master’s degree. I remember wrestling strongly with what world to belong in at what time, as I wrote cultural commentary, taught Scripture, and debated with other pastors appropriate interventions for students wrestling with serious psychological issues; pastors who were convinced that the science of psychology was mutually exclusive to their faith. I wasn’t employed by that community of faith for long, and haven’t been employed by one since.

Late in my Seminary career, long after I had started unobtrusive lucidity, I began researching the intersection of theology and art, beginning with Tillich, Schaeffer, and von Balthasar. Freshly inspired by that course of study, I took a course in the integration of psychology and theology. More recently, I began researching theatre as a theological event. As I’ve read and studied and worked in the different disciplines of my professional and academic life, I’ve discovered something critical.

What I’ve discovered is that everything…and I mean everything…connects.

Compartmentalization is one of the worst things we could ever attempt to do to ourselves. I spent a great deal of time in my maturation process attempting to decipher what my focus should be, what discipline I should pursue, when the entire time I should have been pursuing them all, because all of them inform each other, and are complimentary to my contribution to life.

Kenneth Burke, considered the father of modern communication studies, progressed the concept that I’m speaking of; essentially, that anything can serve as a lens through which we can understand anything else. I view faith through the lens of theatre, for example. I approach my clients at work clinically, but my clinical insight is informed from my undergraduate background in communication theory. All of it finds its outlet in writing, and all of it comprises me. Not me in different phases, or me wearing different hats depending on what time of day it is. All of it is me, holistically, and I could not function without any part of these various backgrounds.

I have many friends who are gifted musicians, painters, and actors. They earn their livings as professors, scientists, engineers, and math teachers. We are all gifted differently, and we all carry many talents. Should we succumb to our culture’s desire to label us and box us in by attributing us to only one area of life, then we do ourselves a great disservice, and we do an even greater injustice to those whose lives we cross every day.

It is, after all, ultimately about people.

As people, we cannot be reduced to mere numbers and formulae, diagnoses or stigma. As people, we are all enormously multifaceted, and we cannot neglect any of those facets of ourselves, at least not for long, because all of it interweaves. As it interweaves, it creates something stronger, and we will not only benefit ourselves by this, but we will certainly benefit those around us.

Retroactive Providence

It’s always good to remember the classics.

One of Karen’s favorite weekend activities is watching a movie. Or, to be more exact, multiple movies. I groaned a bit when she started streaming You Can’t Take It With You from Netflix a couple of hours ago, as I felt I had better things to do. I really didn’t feel as though I had the time to watch a black-and-white oldie that I’d never heard of.

Film is an art form in the history of which I’m not well-versed. Thus, there are many “classics” I haven’t seen. Karen is always amazed by my answering negatively to the now-infamous question in our marriage, “Have you seen _____?” In turn, I’m always amazed when she isn’t familiar with music that I thought anyone would have heard. We all have our interests. I’ve been taken by how excellent a movie this has been tonight, very pleasantly surprised. The quality of story and of acting is a higher level that we normally see today. It’s always important to be able to reference turning points in any art form. How could one be conversant in modern rock music, for example, without being somewhat familiar with Led Zepplin or the Beatles?

Likewise in our lives, it is important to be able to recall critical events, events that have turned our lives in a direction to form us as we are today. Some of the most important of those events were often less than pleasant, even painful ones. After all, discomfort, as C.S. Lewis points out, tends to turn our attention to where it needs to be most effectively. This morning, it occurred to me that my life is in a similar situation as it was several years ago. That time in my life was a critical crossroads, but, while eschewing details, a painful and difficult one. While not painful today, Karen and I find ourselves at a crossroads again, and had this morning’s thoughts not found their way into my consciousness, I fear I would have proven forgetful of the lessons learned years ago. Knowing that history repeats itself when forgotten, I’m glad that I was granted remembrance today. I’ll even say thankful, because I learned long ago that these sorts of things can’t be attributed to mere coincidence.

A strong theme in You Can’t Take It With You is providence. I find that to be a strong theme in our life, as well, and it is that providence that I am comfortable with as we prepare to make major life decisions, a knowledge that, as I heard said today, the things at work that we can’t see are bigger than the ones that are visible.

Let us all endeavor to remember our past as we strive toward our future.

Housecleaning

A long time ago in a galaxy known as grad school, I decided to launch a blog called unobtrusive lucidity. When I created the blog and wrote my first post, I was enjoying the fact that I had the freedom to indulge the inspiration that always seems to come at late hours for me. Thus, I chose a black background for the blog. It has morphed a bit over the years, but some things have stayed the same. I still follow many of the same blogs that I encountered when I first began blogging, for example (and I still link to them on my sidebar). Unfortunately, what hadn’t changed up until now was that I have focused on the writing of the blog to the exclusion of the way the blog looked. So, in the interest of aesthetics (and after some complaints about the white font on black background), I’ve decided to correct that error.

Thus, the new look around here, which I’m continuing to adjust slightly (hopefully I’ll discover exactly how to edit the html code under this new template soon, because I’ve been unsuccessful thusfar). Hope you enjoy, and let me know what you think.