Empire

Raj Nadella 1-10-2024
The image shows a Black hand knocking on a door at night, with stars and a moon in the background. On the other side of the door is a candle.

Illustration by Morgan Hyatt

RARELY DO YOU see powerful people advocate for the benefit of others outside their “own” political or economic group. There is a tendency on the part of the elite to leverage their privilege for their own benefit while disguising it as public good, as the concept of “elite capture” has exposed. And the state is often complicit in reinforcing policies and practices that concentrate resources into the hands of those who already have enough. In a 1962 sermon titled “A Knock at Midnight” (see Luke 11:5-6), Martin Luther King Jr. diagnosed the state of the nation and church saying, “It is midnight in the social order.” He urged the church to respond to the oppressed who “knock on the door,” even when it’s inconvenient. “How often has the church left [people] disappointed at midnight, while it slept quietly in a chamber of pious irrelevancy,” preached King.

Despite decreasing numbers, the U.S. church wields enormous political and economic power. This month’s readings showcase people — the powerful and the not so powerful — who exercise their agency for the good of those who seemingly have little to offer in return. The texts highlight the church’s moral and theological imperative to employ its power to open the door to the ones who desperately knock. Will the church that gathers in the name of Jesus ignore the state’s complicity in oppressive structures or will it act as the “conscience of the state,” as Dr. King urged? Does the church privilege its own comfort or does it attend to the vulnerable, even at the risk of its own interests? King concluded, “the greatest challenge facing the church today is to keep the bread fresh and remain a Friend to [humanity] at midnight.”

A picture of El Salvador's blue and white national flag, flying from a flag pole against a yellow backdrop.

Aaftab Sheikh / iStock

IN 2016, our church in San Salvador was preparing to host a group of young adults on a “mission trip” from the United States. Just prior to their travel, the U.S. government suspended the Peace Corps program in El Salvador due to security concerns related to gang violence. As the host church, we decided the mission trip should be canceled too. In 2015, the murder rate in my country peaked at 103 per 100,000, making it the most dangerous country in the world.

Over the last seven years, El Salvador has seen a rapid drop in its murder rate. In early 2023, President Nayib Bukele claimed that the country had accumulated 365 nonconsecutive days with zero homicides since he took office in June 2019. While it’s impossible to independently corroborate Bukele’s claim, it’s undeniable that Salvadorans are experiencing a new sense of safety and “peace.” That sense of peace, however, has come at a grave cost.

As of January 2023, El Salvador had the highest incarceration rate in the world. Approximately 61,000 people, including 1,082 minors, have been swept up in mass arrests since March 2022, when congress allowed Bukele to suspend constitutional rights. Salvadorans no longer have rights to free assembly, due process, access to lawyers, and previously protected freedoms. Nearly two percent of the Salvadoran adult population is in prison in conditions that fail to meet the U.N.’s minimum standards for imprisonment. Cristosal, a civil society human rights organization in El Salvador, has documented the death of 153 prisoners in state custody between March 2022 and March 2023, all detained during the same period. Of those, 29 died violent deaths and 46 “probable violent deaths” or under “suspicions of criminality,” reported Cristosal. More reports continue to roll in of the deaths of incarcerated people who also show signs of torture.

Korla Masters 7-10-2023
 An illustration of a protest for Michael Brown at a concert hall. Banners hang from the balcony on the left side over the audience as a conductor leads the St. Louis Symphony Orchestra on stage on the right side.

Illustration by Jocelyn Reiter

IN FALL 2014, the St. Louis Symphony Orchestra performed Brahms’ Requiem on a Saturday evening two months after the murder of Michael Brown Jr., at a concert hall about 10 miles from Canfield Green, where Brown was killed and his adolescent body left out in the Missouri August sun for four and a half hours.

That summer and fall, people in the city and county of St. Louis lived in the tension of waiting — we were waiting for a grand jury to make a decision. Not a verdict about the officer’s guilt: The grand jury was tasked with deciding whether this murder was even a murder at all — whether anything happened on Aug. 9 that could even be considered maybe a crime. Maybe worth investigating. Or whether it was just a regular day’s work.

As intermission was ending and folks were back in their seats, just as the orchestra was regathered and the conductor was raising his baton, a small group of ticketholders in the audience stood up and sang. In singing, they asked the audience, made up largely of people who could choose whether or not they were impacted by the grand jury’s decision that loomed over the city like the shadow of death, to make a decision of their own. They stood up, one by one, and joined their voices in an old labor song: “Which side are you on, friend, which side are you on?” they sang. “Justice for Mike Brown is justice for us all. Which side are you on, friend, which side are you on?” They hung banners made of bedsheets over the balcony; one that echoed the piece being performed that evening was painted: “Requiem for Mike Brown, 1996-2014.”

These protesters brought this question — this disruption — into a space that could’ve kept it to business as usual. They sang the two refrains in repetition, almost like a Taizé chant, for several minutes, then they left the hall together, chanting a chant that at the time was still brand-new to most Americans: Black Lives Matter.

The disrupters left to a mix of silence and applause from the audience and the musicians. The concert continued, but the question hung in the air. It’s the same question that hangs in the air of many of Jesus’ disciple-calling stories, and it’s certainly the question that pervades Matthew’s telling of Jesus’ good news.

7-10-2023
The cover for Sojourners' August 2023 issue, called "The Paradox of Poverty." Small figurines of a white couple in fancy garbs stand on top of a tall stack of silver and gold coins. There are other figurines below working by carrying around dollar bills.

CSA-Printstock / iStock

How the “welfare state” is designed to subsidize affluence rather than fight poverty.

JR. Forasteros 4-26-2023
Joel (actor Pedro Pascal) and Ellie (actress Bella Ramsey) from 'The Last of Us' HBO series are standing side by side on the roof of a neglected building with their arms leaning on a brick wall covered in foliage.

Joel (Pedro Pascal) and Ellie (Bella Ramsey) in The Last of Us / Liane Hentscher / HBO

HBO’S BIGGEST POST-APOCALYPTIC SHOW, The Last of Us, imagines a brutal world — and the mushroom zombies are only occasionally the source of danger. The first season followed Joel (Pedro Pascal), as he escorted teen Ellie (Bella Ramsey), who is immune to the zombie infection, to a hospital that can turn her immunity into a cure. In the final episode [SPOILERS], Joel and Ellie reach their destination. But when Joel learns they can only manufacture the cure by killing Ellie, he kills the doctor who was set to operate on Ellie. Joel’s decision raises the question: If the world can only be saved by sacrificing the innocent, is it a world we want to save? The Last of Us, itself an adaptation of a beloved video game, is far from the first show that employs apocalypse to interrogate our morality. Our end-time imaginings can show us who we are ... and who we could be.

The Greek title of the last book in the New Testament canon is Apokalypsis (“apocalypse”), the best English rendering of which is “revelation.” Revelation isn’t about the end of the world. It’s about a revelation — an unveiling. Revelation is one example from the genre of books we call apocalyptic literature. The genre, popular among Jews and Christians for hundreds of years before and after Jesus’ life, usually features a human receiving a message from some sort of divine messenger. The messenger wants to show the listener some deeper truth about the world — something that helps the audience participate more faithfully in the new world God is bringing forth.

4-21-2023
The cover image for the May 2023 issue of Sojourners, featuring an illustration of blue disembodied hands pulling white strings in various directions in the shape of the Enneagram symbol. The background is a mixture of bright colors of the rainbow.

The Enneagram's potential for building community and creating a more just society.

Aarik Danielsen 3-20-2023
The cover for the music album ‘And in the Darkness, Hearts Aglow’ by Weyes Blood. The artist, Natalie Mering, has long hair and looks to the side. She wears a low-cut dress with her upper chest exposed. A warm light glows from within where her heart is.

And in the Darkness, Hearts Aglow, by Weyes Blood

A STORM BLOWS through Weyes Blood’s fifth album, And in the Darkness, Hearts Aglow. A cold front of disillusionment meets the swirling tones of songwriter Natalie Mering. The effect is gorgeous and staggering.

Sounding both in and out of their time, these songs fuse darkly majestic orchestral arrangements with pop elements such as drum machines, synthesizers, and the occasional guitar. If history took a later start, this could be our classical music. Weyes Blood (pronounced “Wise Blood,” a nod to Flannery O’Connor’s novel set in the “Christ-haunted” South) has said that she craves sanctuary acoustics.

Billowing and hymn-like, “God Turn Me Into a Flower” is the album’s truest prayer. “It’s good to be soft when they push you down,” Mering sings. She sings to stand firm, but never aspires to twist into bramble: “... it’s such a curse to be so hard / You shatter easily and can’t pick up all those shards.”

An illustration of a woman in the background of a desert trail looking at an unseen figure in the foreground; only the silhouetted bare feet of the foreground figure are shown.

Illustration by Hokyoung Kim

APRIL 2019. On the second day of our 65-kilometer walk on the Jesus Trail in Galilee, I began feeling dizzy and faint. Berry, my hiking partner, told me to drink more water. That helped, and we were able to make our way from Nazareth to our next stop in Cana, site of a wedding Jesus attended.

But the Jesus Trail continued, often on narrow stony paths speckled with animal droppings, up and down hillsides, across streams of springtime water where thistles grew over our heads, through meadows of waist-high grasses, and finally up and over Mount Arbel leading down to the Sea of Galilee. Our destination was Capernaum, site of Jesus’ headquarters during his ministry.

Exhausted at the end of our hike and with blistered feet, I turned to Mark’s gospel. Already in 1:21, Jesus “went to Capernaum”; the next morning he “went to a deserted place to pray” (verse 35). Then he “went throughout Galilee, proclaiming the message” (verse 39). I will never read the words, “Jesus went” the same way again. Not by horse, carriage, automobile, train, or plane. Not communicating by telegram, radio, phone, email, YouTube, or Zoom. Just trudging by dusty, sandaled feet, bereft of Nikes!

‘Lords of the world’

SINCE THAT HIKE, I have been pondering the Incarnation. Was it necessary for the Infinite One to go that far down? To be born a lower-class, brown-skinned, black-haired Middle Eastern Jew whose only means of transport was by scratched and calloused feet? To live under an enemy occupation determined to keep its subjects poor and politically powerless?

Joey Thurmond 11-21-2022
The book cover of Upside-Down Apocalypse has stylized palm leaves with sharp yellow and teal colors in the background of the title. The book itself is suspended in air, cast against an orange-yellow backdrop.

Upside-Down Apocalypse: Grounding Revelation in the Gospel of Peace, by Jeremy Duncan / Herald Press

REVELATION IS AN intimidating book of the Bible to understand, let alone apply to everyday life. Dense with symbolic imagery and metaphors, it has been subject to innumerable interpretations and far-flung theories. But what are we to make of startling moments in the text, like when Jesus regurgitates a sword or John eats a scroll? In Upside-Down Apocalypse: Grounding Revelation in the Gospel of Peace, author Jeremy Duncan walks readers through Revelation by drawing parallels between the genres and figures of speech of John’s day and ours, lending clarity to how John’s apocalypse is deeply steeped in Jewish literary tradition and Roman culture. When we ignore this context, we miss the point of the final book of the New Testament: Revelation is not the wrathful reckoning of a conquering king; rather, as Duncan writes, it’s a testament to “how the Prince of Peace turns violence on its head once and for all.”

With each chapter, Duncan decenters “chrono-centric” approaches to Revelation, encouraging readers to avoid reading the text as “a story about me and my world and my time exclusively.” As the perfect, timeless witness of God, Jesus must be the guiding principle by which we understand all of scripture. Only then can we appreciate how God’s kingdom in Revelation contrasts with earthly kingdoms fueled by oppression. “[E]very time you awaken to how empire is trying to steal your imagination and make you believe in violence,” Duncan writes, “you have rightly interpreted Revelation regardless of the time period in which you awake.” Revelation asks us to watch for injustice, wherever and whenever it appears.

Rose Marie Berger 6-22-2021
A drawing of an otter looking like it is floating on the pages of an open book.

Illustration by Matt Chase

TOURISTS SPOTTED OTTERS in the Potomac River this spring. Not unheard of, but rare.

North American river otters are the only otter species in the Chesapeake Bay watershed. For millennia they were an apex species that served as “doctors” for healthy ecosystems by maintaining population levels of fish, frogs, and insects. The Colonial-era transnational fur trade, and its modern-era descendants of land destruction and water pollution, brought otters to the brink of decimation.

Now the otters are returning, a signal that decades of reparatory work to protect the Chesapeake watershed is having modest success.

The word most associated with these agile water weasels is “play.” Play is a fundamental way of interacting in the world; it’s how creatures “practice into being” what we can only imagine at first. Play develops communal trust, agility, resilience, strength, and strategy—and situates the soul firmly in the individual and social body.

Greek columns with a silhouette of Vice President Kamala Harris.

Illustration by Matt Chase

I FIND MYSELF thinking about the significance of “firsts,” the role of faith in the morality of the nation, and the place of race and gender in that project. Vice President Kamala Harris’ ascent to one of the highest seats of political power is historic, unprecedented, and awe-inspiring. Like Barack Obama before her, it is a first that has ushered in, for many, a renewed faith in the nation. Multiply the emotional impact of that first by whatever number captures the firestorm of the past four years, and that faith easily transforms into a belief that “morality” has been secured and that things are going to be, basically, okay.

This train of thought is, I believe, dangerous and wrong. I do not discount the feelings Harris evokes. The emotional impact of Harris’ election registers for me very personally as a Black woman. When I initially heard that Joe Biden and Kamala Harris had won the election, my first thought was exhilarated shock at Trump’s defeat. Then, as that fact sunk in, I realized that this outcome meant the election of a woman of color—a Black woman, a woman of South Asian descent—to the vice presidency of the United States. Weeks later, the words still seemed somewhat strange, as if my brain was having trouble wrapping itself around the reality. My inability to readily speak her new position reflects to me the depth of her significance, and the change it portends for how I and future generations of Black and brown girls and women will be able to envision and speak of ourselves. I pause, however, at the unexamined triumphal connections being made between Harris, morality, and political futures.

FOR AGES, THOSE living as monks, cloistered nuns, hermits, and wandering pilgrims have mastered the art of turning loneliness into solitude, creating a real presence to themselves, and to God. These spiritual explorers were often confined—as many of us are now—into narrow spaces, yet pilgrimage to the authentic self explores an interior landscape. The exterior pilgrimage often reflects the interior path of spiritual imagination conducted in confinement. Their lessons and practices are not cloistered today; they offer liberating tools that can resurrect and protect the space for real presence for all who desire detachment from the omnipresence of screens. Simply consider this: You can’t walk on unexpected pathways while looking at screens.

Untethered from normalcy

Pilgrims move in two directions at the same time—an outward direction toward a holy destination and an inward journey seeking an encounter with the sacred. Two of the best academic scholars of pilgrimages, Victor and Edith Turner, explain it in this one sentence: “Pilgrimage may be thought of as extroverted mysticism, just as mysticism is introverted pilgrimage.”

Pilgrimages, they suggest, were, and are, no walk in the park, or plain, or mountain. Embarking on such a journey, we become untethered not just from our physical normalcy. These uncertain, trusting steps also move us out of our spiritual familiarity. The pilgrim is invited not only to walk out of boxes of dogmatic beliefs but also to walk away from practices of comfortable spirituality.

This article is adapted from Without Oars: Casting Off Into a Life of Pilgrimage (Broadleaf Books, November 2020).

Stephen Mattson 12-10-2019

Partisans use Romans 13 to baptize their politics as being “ordained by God.” But Christians who reference Romans 13 typically do so using an us vs. government relationship. But unlike the first century when Roman rulers were mainly determined by heredity, lineage, or brute force, today we are the government. There is no us vs. them because we play an active role in how our government works and is run.

Stephen Mattson 7-03-2018

But once back in America, these very same Christians will adamantly oppose having “foreigners” as neighbors, loathing the idea that they could possibly be allowed to cross into the border of the United States seeking a better life. So while they post pictures on social media of themselves surrounded by poor children and holding babies they personally cared for, they’ll post nothing about the children and babies being separated from their parents at the border.

Julie Polter 4-09-2018

Image via Peter Kramer/NBC 
 

My obsessive inner nerd rose to attention. You couldn’t have seen resurrection in Jesus Christ Superstar because there was no resurrection in Jesus Christ Superstar. That was the point! [I online shouted.] That’s why some considered it scandalous — a very human Jesus, a Judas who makes a lot of sense if you listen to him, and no Jesus rising from the dead. It doesn’t deny the resurrection. It just stops beforehand

Kelly Palmer 2-16-2018

Jesus told his disciples to “take up their cross and follow me” a year before his trial and execution. And his disciples at that time would have heard it very differently from the way we interpret it today. To the disciples, a cross wasn't a symbol of atonement, forgiveness, or forbearance — it was an official mode of execution, by oppressors and occupiers. It was an instrument of terror. Jesus' words to the disciples were not just a warning. They were an exhortation to follow him anyway, in complete defiance of the very worst anyone could possibly do to us.

Jim Wallis 12-21-2017

We feel the darkness all around and need to see some light. We feel hopelessness every day and need some hope. We feel despair for our nation’s life and future and need to see and hear some truth. We see authoritarian political leadership on the rise, a White House that literally puts democracy at risk, and feel the need to make clear where true authority lies.

But Christmas says ...

Joe Kay 11-27-2017

God’s kingdom is a place of unlimited love and unending compassion. It’s a place where everyone is welcomed — especially the marginalized — and nobody is treated like an outcast.

On Oct. 21, that same intentional Berkeley housing encampment — which has peacefully existed in its current location for the last nine months, was served a 72-hour eviction notice by the Bay Area Rapid Transit (BART) police by request from the City of Berkeley. Despite receiving over 3 million dollars in grants to expand housing, the City of Berkeley invests more of its time and resources displacing marginalized communities.

In the wake of executive orders from the Trump administration targeting Muslims, leaders of faith and moral courage gathered to cultivate resistance. In this moment, resistance means providing sanctuary for undocumented citizens, rejecting policies that restrict human flourishing, and calling one another to moral citizenship in the face of immoral and unjust policies. Moral citizens, according to ISAIAH executive director Doran Schrantz, fight “for the moral and political truth that the promise of our democracy is imperiled unless all are human, all are citizens, all are free.”