The Code of the Streets, a term popularized by the hip-hop duo Gang Starr and the sociologist Elijah Anderson, is the code of men who have come to feel that they have nothing to lose. Much of the struggle with young black boys and teenagers today lies in getting them to see all that violence endangers. At 13, I could imagine not going to jail, not getting shot, being a responsible father. I could not envision much more. I could name careers and other paths, but I had no real sense that it was possible for me to get there, or how. Somehow I got there. And on arrival, I found myself in the company of others like me: an entire fraternity founded on the need to comprehend the folkways of a world we had never been sure we’d see.Some people come up expecting to win. We came up hoping not to lose. Even in victory, the distance between expectation and results is dizzying for both. The old code remains a part of you, and with it comes a particular strain of impostor syndrome. You have learned another language, but your accent betrays you. And there are times when you wonder if the real you is not here among the professionals, but out there in the streets.
Along with all of the other rising inequalities we’ve become so familiar with – in income, in wealth, in access to politicians – we confront now a fundamental inequality of accountability. We can have a just society whose guiding ethos is accountability and punishment, where both black kids dealing weed in Harlem and investment bankers peddling fraudulent securities on Wall Street are forced to pay for their crimes, or we can have a just society whose guiding ethos is forgiveness and second chances, one in which both Wall Street banks and foreclosed households are bailed out, in which both inside traders and street felons are allowed to rejoin polite society with the full privileges of citizenship intact. But we cannot have a just society that applies the principle of accountability to the powerless and the principle of forgiveness to the powerful. This is the America in which we currently reside.
Don’t expect any breadth or grandeur from the Empire’s Christian divines. Across the board, the imperial chaplains exhibit the most obsequious deference to the Plutocracy, providing imprimaturs and singing hallelujahs for the civil religion of Chrapitalism: the lucrative merger of Christianity and capitalism, America’s most enduring covenant theology. It’s the core of “American exceptionalism,” the sanctimonious and blood-spattered myth of providential anointment for global dominion. In the Chrapitalist gospel, the rich young man goes away richer, for God and Mammon have pooled their capital, formed a bi-theistic investment group, and laundered the money in baptismal fonts before parking it in offshore accounts. Chrapitalism has been America’s distinctive and gilded contribution to religion and theology, a delusion that beloved community can be built on the foundations of capitalist property. As the American Empire wanes, so will its established religion; the erosion of Chrapitalism will generate a moral and spiritual maelstrom.What will American Christians do as their fraudulent Mandate from Heaven expires? They might break with the imperial cult so completely that it would feel like atheism and treason. With a little help from anarchists, they might be monotheists, even Christians again. Who better to instruct them in blasphemy than sworn enemies of both God and the state? Christians might discover that unbelievers can be the most incisive and demanding theologians. As Critchley asserts, ” ‘God’ is the first anarchist, calling us into struggle with the mythic violence of law, the state, and politics by allowing us to glimpse the possibility of something that stands apart.” By inciting us to curse and renounce the homespun idolatry of Chrapitalism, Critchley and Graeber can point Christians back to a terrible but glorious moment in their history: when the avant-garde of the eschaton were maligned as godless traitors. We’ll need that dangerous memory in our frightful if doubtless very different time.
Home and Away are the poles of our being, each exerting a magnetic pull on the psyche. We vibrate between them. Home is comforting but constraining. Away is liberating but lonely. When we’re Home, we dream of Away, and when we’re Away, we dream of Home. Communication tools have always entailed a blurring of Home and Away. Newspaper, phonograph, radio, and TV pulled a little of Away into Home, while the telephone, and before it the mail, granted us a little Home when we were Away. Some blurring is fine, but we don’t want too much of it. We don’t want the two poles to become one pole, the magnetic forces to cancel each other out. The vibration is what matters, what gives beauty to both Home and Away. Facebook Home, in pretending to give us connection without the shadow of loneliness, gives us nothing. It’s Nowheresville.
The purpose of theology - the purpose of any thinking about God - is to make the silences clearer and starker to us, to make the unmeaning - by which I mean those aspects of the divine that will not be reduced to human meanings - more irreducible and more terrible, and thus ultimately more wonderful. This is why art is so often better at theology than theology is.
What’s curious is that of all the ethical commitments that liberal-leaning consumers with discretionary income try to maintain today (dolphin-safe tuna! locally-sourced food! environmentally-safe detergents!) the circumstances of workers rarely if ever figure into the imagination, and yet, it’s not been so long since the treatment of workers did have a place at that somewhat trendy table. Now? You can see the banners at Whole Foods that mark off the company’s ethical commitments and not expect to see anything about its laborers or even about the labor conditions at the point of supply. That’s not just that the owner of the company is something of an infamous asshole about labor and regulation, it’s par for the course. Apple moved to deal with rumbles about labor conditions among its Chinese suppliers before they became a major issue, but it’s hard to imagine consumers making this a major part of their brand preferences or even foregoing certain products entirely. I don’t say that as an accusation against others: I can’t imagine myself not having a mobile device or desktop computer out of scruples about the workplace ethics of the producers.
In my daydream College for Bards, the curriculum would be as follows:(1) In addition to English, at least one ancient language, probably Greek or hebrew, and two modern languages would be required.
(2) Thousands of lines of poetry in these languages would be learned by heart.
(3) The library would contain no books of literary criticism, and the only critical exercise required of students would be the writing of parodies.
(4) Courses in prosody, rhetoric and comparative philology would be required of all students, and every student would have to select three courses out of courses in mathematics, natural history, geology, meteorology, archaeology, mythology, liturgics, cooking.
(5) every student would be required to look after a domestic animal and cultivate a garden plot.
A poet has not only to educate himself as a poet, he has also to consider how he is going to earn his living. Ideally, he should have a job which does not in any way involve the manipulation of words. At one time, children training to become rabbis were also taught some skilled manual trade, and if only they knew their child was going to become a poet, the best thing parents could do would be to get him at an early age into some Craft Trades Union. Unfortunately, they cannot know this in advance, and, except in very rare cases, by the time he is twenty-one, the only nonliterary job for which a poet-to-be is qualified is unskilled manual labor. In earning his living, the average poet has to choose between being a translator, a teacher, a literary journalist or a writer of advertising copy and, of these, all but the first can be directly detrimental to his poetry, and even translation does not free him from leading a too exclusively literary life.
Capital from the Luxor Temple, representing a papyrus flower. 1200 B.C.From Galería del arte decorativo (Gallery of Decorative Art) vol. 2, collective work, Barcelona, 1890.
(Source: Universitat Autonoma de Barcelona)