Wars and Rumors of Wars

Antiwar poster, World War I

With a cornered President governing by tantrum and a National Security Advisor eager for Armageddon, storm clouds are gathering––and peacemakers are on the alert. A recent article by Stephen M. Walt in Foreign Policy magazine provides the “Top Five Warning Signs We’re Going to War”:

  • The danger is grave and growing.
  • War will be easy and cheap if we act now.
  • War will solve our problems.
  • The enemy is evil and/or crazy.
  • Peace is unpatriotic.[i]

 Sound familiar? Read the whole article here. And while you’re at it, consider Laurence Lewis’ cautionary piece, “Wars are easy to start. They’re not so easy to end,”[ii] as well as Michael Klare’s “The New ‘Long War,’” which notes a strategic shift in military planning, away from counterterrorism toward old-style great powers confrontation.[iii] These days, it’s natural to be fully absorbed by the downward spiral of American democracy, but the dogs of war are barking as well. Whether the prospect be endless quagmire or sudden apocalypse, we ignore the prophets’ warnings at our peril.

In 1991, Desert Storm rained down fire on Iraq in the name of who-can-remember-what. Twenty-seven years later, we’re still in the global violence business. But after so much blood, treasure and toil, are things better, worse, or the same––not only in the Middle East, but in an America which has been living by the sword for far too long?

In going through some old files last week, I came across the sermon I preached in an Episcopal parish on the first Sunday after the launch of Desert Storm, which had received an overwhelming 79% approval rating from the American people (the war, not the sermon!). In the wake of the recent missile attacks in Syria, it was interesting to re-read that ancient text in light of what has changed––and what has not––in the world, in my country, and in myself over the past three decades. It also made me wonder what God’s friends ought to be saying and doing in our present time of trial.  

I’d be interested to hear your own thoughts on these questions. Meanwhile, here’s what my younger self said so many years ago:

A sermon preached at Christ Church in Ontario, California, on January 20th, 1991.

I would speak to you of war. This war. Our war. Let me say at the outset that I do not believe it to be a just war.

We have been told that Saddam Hussein is a Hitler. But for the last seven or eight years, he was our ally. In violation of U.S. law prohibiting arms sales to terrorist nations, the Reagan-Bush administration secretly provided Iraq with weapons by laundering them through countries such as Jordan. Saddam is a bad and brutal man, no doubt. But is Assad of Syria [Haffez al-Assad, the current president’s father] any better? And Assad, for now, is our ally.

We have been told that we are there to liberate Kuwait, but I doubt that a free Kuwait is what the Emir-in-exile as in mind. So let us be spared the pieties invented to solicit public opinion. This is a war of power politics.

To put it in its best light, we want to demonstrate that the sovereignty of nations cannot be taken lightly if we are to have a stable “new world order.” That is fine as far as it goes. Now you might say, in the light of 52 cases of border-crossing aggression since World War II––most of which the United States ignored––that we might not have paid as much attention to this one if Kuwait’s chief export were broccoli.

But purity of intent is not the issue to be addressed here. What much concern us today is the means employed to achieve our ends. Is this war necessary?

Last Tuesday, George [H. W.] Bush, who worships according to the Book of Common Prayer as we do, spoke with Presiding Bishop Edmund Browning by telephone. We don’t know what was said. But hours later, President Bush unleashed the dogs of war, while his bishop led a march of protest from the National Cathedral to the White House gates.

President Eisenhower once said that “every war is going to astonish you.” The anxiety of these terrible days exists because we don’t know just where the dogs of war intend to go. Perhaps this war will be quick and cause only a minimum of pain for the sake of the greatest good. But what if the greatest air assault in the history of the world has already functioned as a recruiting program for a new generation of terrorists?

Or what if Israel is drawn into the conflict, the coalition falls apart, and the war escalates into a chemical or even nuclear conflict? What if we take out Hussein, only to see another demon take his place, or find the vacuum of Iraq’s defeat filled by Iran? What if Hussein burns the oil fields, throwing world markets into chaos and creating environmental disaster from the massive smoke that would result? What if the war drags on into a war of attrition, causing immense loss of life on both sides and deeply dividing the American people? And what if we can’t foot the bill for this war without robbing the poor and neglecting the environment?

The scenarios of disaster multiply. We pray that none of them will come to pass. But once we started the war, they all became possibilities.

According to the CIA and other experts advising the President, sanctions were working. And serious diplomacy had not even been attempted. This war was nowhere close to being “necessary.”

But this war is not only unnecessary. It is, in the words of the National Council of Churches, “a failure of the human spirit.” It is immoral to punish a dictator by killing innocent women and children. As the Anglican bishops declared in the Lambeth Conference of 1978:

“War as a matter of settling international disputes is incompatible with the teaching and example of our Lord Jesus Christ. The use of the modern technology of war is the most striking example of corporate sin and the prostitution of God’s gifts.”

On a purely pragmatic level, it should be added that the destructiveness of modern weapons has made war obsolete as an instrument of national policy. War has become eschatological. The suicide of the planet seems to be an excessive price to pay for the settling of a border dispute. And even if this war remains “limited,” there can be no winning in the long term.

Violence breeds violence. Americans all suffer from amnesia. We don’t understand cultures with long memories. But I have met Arabs in the Middle East who are still mad about the Crusades.

Americans love winning. “We’re number one!” and all that. But there is a new attitude gaining acceptance in recreational circles today, which is this: “If your opponent stops having fun, you lose.”

Heavy-handed violence––the big guy pushing the little guys around––not only leaves all the essential conflicts unresolved, but it inflames the passions that obstruct fruitful dialogue and resolution. Beware of “victory.” And if our victory is quick and painless, we face another danger: our faith in violence will grow deeper.

Sam Nunn, Chairman of the Senate Armed Forces Committee, said last week that our faith in weapons technology has been vindicated. All those defense contractors who took so much heat for cost overruns and other problems can now stand up and take a bow.

Simone Weil defined violence as the transformation of a person into a thing. When the warrior had to look his victim in the eye, this depersonalization required some work. But weapons technology has made such detachment effortless.

Desert Storm is a great video game. Iraqis are just blips on a screen––abstract, bloodless targets in an electronic arcade. Eighty-three percent of Americans, according to the polls, are caught up in this game. Television, which the military is treating as an instrument of policy, is leading the cheers. Hey, our weapons work! We’re going to win one for a change! I myself am not immune to this. I can feel the predators in my past, singing in my blood.

What, then, is a follower of Jesus to do? First of all, we must look for the cross in this. Where is the crucified Christ to be found? Where Christ is always to be found––in the suffering of the sons and daughters of God. At the cross, there are no Americans, there are no Iraqis. There is only the One who suffers.

In Baghdad’s art center, there is a painting of Jesus, looking over the world with an expression of profound sadness and pain. He wears a Palestinian scarf around his neck, and he is handcuffed. If a Christian pilot knew that Christ was in Baghdad, would he deliver his payload?

Of course, war is not run by the personally motivated decisions of individual soldiers. War is organized from above. Soldiers just play their part. But they can only function as long as the enemy remains a mere target, rather than a brother or sister. Executioners must be indifferent to the stories of their victims. Don’t see. Don’t feel.

You and I cannot let this war be a video game, bloodless and abstract. Let us see Christ crucified in every victim. Let us see whose hands are pierced by the nails, whose cry of anguish rends the heavens. Let us see the Madonna and Child blown to bits in the air raid. Let us see Christ in the foxhole, taking the bullet meant for his buddy.

But let us also see beyond the cross, to the risen life already present in the hope of the faithful. The saints have illumined even the darkest times by holding fast to this hope. Christian Century magazine gives a striking example of this from our own day:

Festo Kivengere, Anglican bishop in Uganda, was a witness to, and in many ways a victim of the barbaric rule of Idi Amin. While in exile he was asked: ‘If you were sitting in Idi Amin’s office with a gun in your hand, what would you do?’ He responded, ‘I would give the gun to Amin, saying, ‘This is your weapon; my weapon is love.’

The peacemaker does not retreat from the struggle against evil. But the peacemaker responds to hate and aggression in ways that create community rather than enemies. When Lincoln was urged to wreak vengeance on the leaders of the Confederacy at the end of the Civil War, he said, ‘Do I not destroy my enemies when I make them my friends?” And Martin Luther King, whose birthday was so disgracefully dishonored by the bombings last week, said, ‘Our ultimate end must be the creation of the blessed community.’

What then is a follower of Jesus to do? Here are the recommendations of the Anglican bishops who met at Lambeth in 1978, calling on Christian people everywhere:

  1. To reexamine as a matter of urgency their own attitudes towards, and their complicity with, violence in its many forms.
  2. To take with utmost seriousness the questions which the teachings of Jesus places against violence in human relationships and the use of armed force by those who would follow him, and the example of redemptive love which the Cross holds before all people.
  3. To engage themselves in non-violent action for justice and peace and to support others so engaged, recognizing that such action will be controversial and may be personally very costly.
  4. To commit themselves to informed, disciplined prayer, not only for all victims of violence, especially for those who suffer for their obedience to the Man of the Cross, but also for those who inflict violence on others.
  5. To protest in whatever way possible at the escalation of the sale of armaments by the producing nations to the developing and dependent nations, and to support with every effort all international proposals and conferences designed to place limitations on, or arrange reductions in, the armaments of war of the nations of the world.

I would add to this list a call for immediate cessation of hostilities and the beginning of real and constructive diplomacy in the Middle East.

Last Sunday night I joined with 1500 Christians, Jews and Muslims for a service of peace. The very fact of such a gathering was extraordinary. We listened to each other’s scriptures, we prayed each other’s prayers. And, at the end, we stood to make a common affirmation which concluded with these words based on the Book of Deuteronomy:

Before us this evening are set life and death.
We choose life
so that we and our children
may live.
Let it be so.

 

Window detail, St. Paul’s Episcopal Church, Virginia City, Montana (1903)

 

[i] Stephen M. Walt, “How to Start a War in 5 Easy Steps,” Foreign Policy online, April 2, 2018: https://foreignpolicy.com/2018/04/02/how-to-start-a-war-in-5-easy-steps/

[ii] Laurence Lewis, “Wars are easy to start. They’re not so easy to end,” Daily Kos, April 15, 2018: https://www.dailykos.com/stories/2018/4/15/1756334/-Wars-are-easy-to-start-They-re-not-so-easy-to-end

[iii] Michael Klare, “The New ‘Long War’”, April 3, 2018: http://www.tomdispatch.com/blog/176406/

Beautiful Trouble: A How-to Book for Creative Resistance

Occupy Los Angeles, October 2011 (Jim Friedrich)

Revolutionaries practice without safety nets. Our laboratory is the world around us––the streets, the Internet, the airwaves, our own hearts, as well as the hearts and minds of our fellow citizens. We experiment, we fail, we change things up, we try again, maybe this time a little less disastrously, a little more beautifully––until we win. Always we learn. Case studies are where we learn what we’ve learned.[i]

– Andrew Boyd & Dave Oswald Mitchell

The Empire is striking back––fueled by hate, greed and stupendous unreason, it careens toward authoritarianism, war and perhaps even planetary suicide. This is no time to stand idly by, muttering “It can’t happen here” as a consoling charm against apocalypse. It is happening here, and we need to resist with all our hearts and mind and strength.

There are countless ways to resist evil and promote the common good, but if you want to do it with some creativity and imagination, get a copy of Beautiful Trouble: A Toolbox for Revolution (New York & London: OR Books, 2016). “Assembled” by Andrew Boyd with Dave Oswald Mitchell, it is a 460-page handbook packed with smart tactics, hard-won ideas, and fascinating case studies to illumine and inspire every inventive activist. Along with other recent documentations, Artists Reclaim the Commons (2013)[ii] and Truth Is Concrete (2014),[iii] it is an invaluable primer in creative activism.

“We’re building rhizomatic [non-hierarchical] movements,” write the authors, “marked by creativity, humor, networked intelligence, technological sophistication, a profoundly participatory ethic and the courage to risk it all for a livable future.”[iv] Some of the tactics are indeed high risk, like hanging a banner from a construction crane at the WTO “Battle in Seattle” in 1999, or disrupting an illegal auction of public lands to oil interests by outbidding everyone with no intention of paying (the “bidder” got two years in prison, but the lands were saved).

Seattle (Advent 1999)

But there are plenty of actions which risk neither body nor freedom yet still make a vivid point. During the Iraq war, a woman arranged a row of shoes outside her New York senator’s office with names of Iraqi civilians killed. She invited passersby to “walk in their shoes.” Meanwhile, veterans on the West Coast set up a field of white crosses on Santa Monica beach every Sunday–– one for every soldier killed.

Somewhat edgier was a guerilla theater interruption of a UC Berkeley lecture by UN Ambassador Jeanne Kirkpatrick, during the 1980s when the U.S. was training and supporting Central American death squads. Masked men shouting in Spanish came down the aisles, dragging students (also actors) screaming from their seats, and taking them away to meet their fate. The stunned audience was then showered with leaflets explaining the educational purpose of this disturbing dramatization of American foreign policy.

Making the invisible visible is one of the key principles of art activism. Bring an issue home, tell its story, put a face on it. When Occidental Petroleum threatened to displace indigenous people in the Peruvian jungle, some of those people were brought to the U.S. to speak out. The issue quickly turned from generic opposition to Big Oil to a very personal story of people defending their homes. When Kodak was secretly dumping toxic waste into a river, Greenpeace rigged a public fountain where the disgusting waste bubbled up where all could see. To heighten awareness of climate change, environmentalists staged a mock-drowning of a “polar bear” in the fountain at the Department of the Interior.

Humor is a key weapon of resistance. Power loses authority when it is laughed at, and humor wins more allies than anger. On the 20th anniversary of Dow Chemical’s deadly toxic spill in Bhopal, India, a group called The Yes Men, posing as Dow executives, made a fictitious announcement that the corporation would pay financial reparations to the victims. When actual Dow executives had to publicly reassure stockholders that it would not in fact be doing what was right and just, the laugh was not on their side (though, sadly, their stock went back up––but that only made a salient point about our economic system!)

In 2003, 70 clowns from the Clandestine Insurgent Rebel Clown Army advanced on a police line at a British antiwar demonstration. The police were laughing too hard to stop them. When some arrests were finally made, news footage of clowns being crammed into a police van begged the question, “What did the clowns do wrong?” The “powers” lost ground that day. As the Psalm says, “The Lord has them in derision.”

In Rhode Island, the local HUD office refused to consider an affordable daycare center for a low-income housing project. The tenants petitioned and picketed to no avail. In a brilliant stroke, they decided to make the HUD office itself into a daycare operation. They brought children, song books, toys, cribs, and a table for changing diapers, and stayed the whole day. The point was made, rather amusingly, and they got their center.

The numerous case studies in Beautiful Trouble will inspire and provoke your political imagination, but the book also provides a wealth of practical wisdom––tactics, principles and theory––to build on what has already been learned.

“Power concedes nothing without a demand. It never did and it never will” (Frederick Douglass). Choose your target wisely. Make sure it’s someone who actually holds the power to meet your demands. Pick an issue big enough to matter and small enough to win. Put your target into a “decision dilemma,” where they only have a bad choice or a worse one.

Kill them with kindness. Laugh, sing, dance, clown, hug. Disarm with charm. Be the good ones, win the sympathy of your audience (which includes witnesses via the media). Humanize the situation, make unlikely allies, don’t write anyone off, seek common ground. Use the power of attraction. Design your actions to maximize participation and get spectators involved.

“If you don’t have a strategy, you’re part of someone else’s strategy”(Alvin Toffler). Reframe the narrative, unmask hidden cultural, political and economic assumptions, refute alternative facts, tell a better, truer story. Reappropriate the artifacts of popular media and give them new connotations, as Occupy Wall Street did by projecting a “bat signal” (in Batman, a sign of both distress and promise), shining “99%” in a large circle of light high on a wall above the demonstration.

“Success means going from one failure to the next with no loss of enthusiasm” (Winston Churchill). Nourish group solidarity. Avoid burnout. Maintain nonviolent and non-oppressive discipline. Have fun. Minimize disappointment by knowing the difference between concrete actions with measurable results, and communicative actions which are more symbolic, amplifying a message without necessarily attaining a particular objective.

Show, don’t tell. Be visual. Don’t preach. Create actions which explain themselves. Use powerful metaphors. And keep the rules as simple and open-ended as possible. Occupy Wall Street began with this terse but intriguing instruction: September 17. Wall Street. Bring tent. 

As a person of faith, I especially encourage the communities of God’s friends to dig into this book in a study group setting. Activist art has strong biblical roots in the performance art of Jesus and the prophets, and people of faith distressed by current events would do well to engage with, learn from, and contribute to the beautiful trouble currently being made on the world’s behalf.

The opening epigraph for the book, a manifesto by radical theater visionary Judith Malina, sounds the call to action with compelling clarity. Pass it on:

The role of the artist in the social structure follows the need of the changing times ––
In time of social stasis: to activate.
In time of germination: to invent fertile new forms
In time of revolution: to extend the possibilities of peace and liberty
In time of violence: to make peace
In time of despair: to give hope
In time of silence: to sing out[v]

 

 

 Related posts:

Insurrectionary Imagination and the Art of Resistance

Unsilent Night: An Advent Revelation

[i] Andrew Boyd with Dave Oswald Mitchell, Beautiful Trouble: A Toolbox for Revolution (New York & London: OR Books, 2016)

[ii] ed. Glenn Harper and Twylene Moyer, Artists Reclaim the Commons: New Works/New Territories/New Publics (Hamilton, NJ: isc Press, 2013)

[iii] ed. Steirischer Herbst & Florian Malzacher, Truth Is Concrete (Berlin: Sternberg Press, 2014)

[iv] Beautiful Trouble, 2

[v] Judith Malina, The Work of an Anarchist Thinker, q. in Beautiful Trouble, vi

Insurrectionary Imagination and the Art of Resistance

Occupy poster by Brooke McGowen

Occupy poster by Brooke McGowen

It takes little imagination to create a global state of terror and control. That is the basic dream of every dictator and of the dictator inside all of us. It takes much greater imagination to act upon the idea of a world beyond that.

— Stephen Duncombe and Steve Lambert[i]

An art that engages with self-empowerment, then, is about unleashing a sense of being in common, of being part of something bigger than a discrete human body, and of feeling a sense of saying both “I can” and “we can” at the exact same moment.

— Charles Esche[ii]

Give us grace to heed the prophets’ warnings …

— Collect for the Second Sunday of Advent[iii]

 

Holocaust survivor Elie Wiesel observed that there were three kinds of people in the twentieth century: killers, victims, and bystanders. But there were also resisters, who blended conscience and imagination to subvert the inevitability of controlling ideologies and plant the seeds of new possibility—even in the winter of despair.

Now, sixteen years into this new century, when the foundations of American democracy are being shaken and shattered by an authoritarian blitzkrieg, resistance is needed more than ever. It must be our civic duty, moral obligation, and spiritual vocation to question, challenge, mock, outmaneuver, and obstruct the monstrous axis of bigots and billionaires who are about to take power.

Sitting back and “giving Trump a chance” would be fatal. It is already perfectly clear who he is and where he is headed. Like the right-wing populists of Europe, he practices a politics of antagonism, channeling resentment, bigotry and hate into a movement fictionalized as “the people.” Anyone outside his movement, or critical of it, will be scapegoated and denounced. Argentinian philosopher Ernesto Laclau has described such populism as “a form of constructing the political through the division of society into two camps.”[iv]

So with the killers in charge, how do we act like resisters rather than victims or passive bystanders? Timothy Snyder, a Yale historian who has studied the lessons of the Holocaust, has written a 20-Point Guide to Defending Democracy, suggesting practical ways to work within the system before we lose it altogether. And I recently posted a Spiritual Survival Guide for staying grounded on a daily basis in the “time of trial.”

But since this blog’s ongoing theme is transformative imagination, let us also consider another kind of resistance, one which employs art and creativity to awaken people from their passive slumber and empower them with alternative visions. In a 1924 novel, Upton Sinclair made the case for an activist art:

“The artists of our time are like men hypnotized, repeating over and over a dreary formula of futility. And I say: Break this evil spell, young comrade; go out and meet the new dawning life, take your part in the battle, and put it into new art; do this service for a new public, which you yourself will make . . . that your creative gift shall not be content to make artworks, but shall at the same time make a world; shall make new souls, moved by a new ideal of fellowship, a new impulse of love, and faith—and not merely hope, but determination.”[v]

The problem with living within a particular “social imaginary” is that alternative ways of constructing our common life are not just utopian, they are literally inconceivable. As Slavo Zizek noted in a famous speech at Occupy Wall Street: “Look at the movies . . . It’s easy to imagine the end of the world. An asteroid destroying all life and so on. But you can’t imagine the end of capitalism.”[vi]

Art activism doesn’t just critique what is wrong, inadequate or incomplete. By enabling us to imagine alternatives, it breaks the spell of inevitability which the dominant hegemony has cast over us. A recent book, Truth Is Concrete: A Handbook for Artistic Strategies in Real Politics, provides many provocative examples. Here are some of my favorites:

  • When mathematician-philosopher Antanas Mockus became mayor of Bogotá in 1995, he borrowed strategies from activist art to help citizens re-imagine their city. He mocked the mythology of leadership by wearing a “super-citizen” costume, and cut a heart shape out of his bulletproof vest to demonstrate his shared vulnerability. He created an exchange of guns for toys in which the city’s children pressured parents to turn in their weapons. And he replaced the notoriously corrupt traffic police with 400 mimes, who used humor instead of fines to manage the flow of vehicles. In one of the world’s most dangerous cities, traffic fatalities were cut in half, and the homicide rate declined 70%.
  • During the oppressive regime of Slobodan Milosevic, Serbian “laughtivists” painted the dictator’s face on an oil drum and left it on a crowded shopping street along with a bat. Passersby took the opportunity to bash the drum image until police finally “arrested” the drum and put it in their van, a comic scene widely covered by the media. “Laughtivism derives its power from the ability to melt fear, the lifeblood of dictators . . . and help to cut away at the leaders’ authority, which often stems from intense narcissism.”[vii]
  • In 2013, Enmedio, a “media prankster collective” in Barcelona, made striking posters of individuals whose homes were being foreclosed by a Spanish bank, and pasted them onto the façade of the bank’s central downtown branch. The invisible victims, and their stories, were thus made dramatically visible at the scene of the crime.
  • Large inflatables can create “tactical frivolity,” turning “a grim protest situation into a playful event,” making it “poetic, joyful, and participatory.”[viii] Who can resist a large inflatable? A tense standoff between police and protesters in Berlin became a game when an inflatable was tossed between them, and the two sides began to bat it back and forth.
  • The Yes Men impersonate the powerful with fake press releases and public appearances to create a “what if?” situation. For a brief moment they pranked the media into believing that DuPont was actually going to act justly by compensating the 100,000 victims of the Bhopal chemical spill. “Before the hoax is revealed, we think, ‘Am I dreaming? Could I possibly be living in such a world?”[ix] Such deception is not meant to last, but rather to make us wonder for a moment: Why don’t we live in such a world? And whenever “reality” is restored, it is never quite as absolute or secure as before. Maybe the evil we know does not need to be “the truth” after all.
  • Reverend Billy of the Church of Stop Shopping employs an evangelistic preaching style to target the consumerism and greed laying waste to the earth. With choral singing, preaching, masks and dance, his community occupies bank lobbies to proclaim a hectic judgment upon the sins of the system, troubling the sleep of customers and bankers and disturbing the complacency of business as usual.
  • The UK’s laboratory of insurrectionary imagination “merges art and life, creativity and resistance, proposition and opposition.”[x] Believing that collective action is enhanced by a shared sense of identity, they create temporary affinity groups which work together in the course of a protest. Masks and black clothing to create visual unity are one example. Another is “the rebel clown army,” using clowning to subvert any serious regard for the pretensions of the powerful. As was overheard on a police radio at a demonstration in 2003, “The clowns are organizing … the clowns are organizing … over and out.”[xi]
  • The Choir Project was founded in Cairo by Salam Yousry, inspired by Finland’s Complaint Choir. Both professional and amateur singers collectively write and compose songs about daily struggles, political conflict, and human hope. Then they take their voices to the streets, sometimes walking backward as well as forward, penetrating public spaces with vital questions. Unlike spoken or written protest rhetoric, their message is delivered in a medium that charms and allures. The practice has spread to other cities such as Paris, Beirut, London, Berlin, Istanbul and Warsaw. Imagine American cities radiant with the voices of such prophetic singers moving in our midst, making their psalmic laments an urban soundtrack for our desperate time:

I have a question
If I don’t voice it if I suppress it
My head will explode
What’s going on?

Who’s setting us back?
Who’s starving us?
Who’s destroying our joy?
Who’s calling us traitors?
Who’s dividing us?
Who’s repressing us?
What’s going on?[xii]

Art activism is as old as the Bible, from the prophets’ performance art to Jesus’ dramatized subversion of worldly power when he made his “kingly” entry on a donkey. The Book of Revelation, in its radical critique of Empire and its vision of a redeemed and restored creation, is a vivid counternarrative to encourage the faithful in a time of persecution.

In dark times, we can, we must, still live as children of the light—the custodians of hope—enacting rituals and images, as well as daily practices of kindness, solidarity and justice, to express and anticipate the emergent world of divine favor and human flourishing. As for the powers, God laughs them to scorn, and God’s friends, thankfully, are in on the joke.

So let the Resistance begin, in as many forms as we can imagine. May it always be courageous, creative, revelatory, empowering, passionate, constant, artful—and, by all means, alluring.

 

Related posts

Donald Trump and the Rise of Authoritarianism

Top Ten Reasons to Stop Trump Now

“Rise Up” poster image by Brooke McGowen under Creative Commons License
http://occuprint.org/Posters/RiseUpSun

[i] “The Art of Activism,” in Truth Is Concrete: A Handbook for Artistic Strategies in Real Politics, ed. Steirischer Herbst & Florian Malzacher (Berlin: Sternberg Press, 2015), 57 This book, based on a 170 hour 24/7 teach-in, may be hard to find in the United States. I bought my copy this fall at one of my favorite bookshops, The Literary Guillotine in Santa Cruz, California. A more easily available book on the same subject may be Beautiful Trouble: A Toolbox for Revolution by Andrew Boyd and Dave Oswald Mitchell, to be published on St. Lucy’s Day, Dec. 13, 2016.

[ii] “Self-Empowering,” in Truth Is Concrete, 98

[iii] Episcopal Book of Common Prayer, 211

[iv] Truth Is Concrete, 151

[v] Mammonart, q. in Truth, 63-65

[vi] Truth, 123

[vii] Srda Popovic, Truth, 120

[viii] Artúr van Balen, Truth, 138-9

[ix] Andrew Boyd, “Reality Bending”, in Truth, 154

[x] Truth, 185

[xi] John Jordan, Truth, 246

[xii] The Choir Project, Truth, 142-3 You can see the choir at work in Budapest on YouTube: https://www.youtube.com/watch?v=1RKC7zSgdyc