Trying to Get Home for Thanksgiving

Tom (Thomasin McKenzie) and Will (Ben Foster) searching for home in “Leave No Trace.”

There’s no place like home.

–– Dorothy in The Wizard of Oz

 And he never had the sense of home so much as when he felt that he was going there.
It was only when he got there that his homelessness began.

–– Thomas Wolfe, You Can Never Go Home Again

To be human means both to dwell and to wander.

–– Erazim Kohák

 

This is the week of the great American quest for a place of belonging where we will be welcomed and known and understood. Nearly 50 million of us will travel many a mile to find such a “home.” The rest will seek it closer at hand.  But every one of us will be looking for something that may be real or imagined or both, and often beyond our reach.

The painful irony of this particular Thanksgiving is that thousands of American men and women in uniform have been denied their own chance to make it home for the holiday. Instead, they’ve been ordered to our southern border as props for a shameful and heartless message: STRANGERS NOT WELCOME HERE!

The Pilgrim immigrants at the first Thanksgiving were lucky to have had more generous hosts. And whatever the balance of truth and myth in the famous story of Europeans and native Americans sharing a feast in 1621, many of us cherish the biblical hope that every one of the human family can one day come home to a table with room enough and food enough and love enough for everyone.

The Bible is one long story of exiles trying to find their way home: Adam and Eve expelled from the garden; Cain condemned to perpetual lostness; Abraham and Sarah commanded to leave everything behind “for a place I will show you”; Joseph exiled to Egypt; the people of the Exodus wandering the Sinai; the displaced Jews weeping by the rivers of Babylon. The New Testament tacks on a happy ending in its last book: a great city of welcome where we come home to God at last. But for the time being, that abiding city remains somewhere over the rainbow. Eve’s children still walk endless roads, dreaming of home.

In Debra Granik’s powerful film, Leave No Trace (2018), a father and his teenage daughter are living off the grid in a nature reserve near Portland, Oregon. Their secret encampment seems infinitely distant from the hectic complexities of contemporary America. When they are discovered by the authorities, they are dragged back into civilization as bewildered strangers in a strange land.

As we witness their distressing exile, we share their longing for what they’ve lost: an Edenic simplicity deeply connected with the natural world. But that longing is complicated by our awareness that Will, the father, is more Cain than Adam. As a veteran with PTSD, he was suffering the condition of exile long prior to his forest sojourn. Alienated from the world which had damaged him so deeply, he had retreated into nature, trying to exit history and “get back to the garden.” Trying to get home.

His daughter Tom seems to possess a purer innocence, like a prelapsarian Eve. When she is taken to a government agency and put in a room with a couple of runaway teens, they ask about her story.

–– Where were you?
–– With my dad. In the park.
–– So you were homeless, then?
–– No.
–– Why else would you be living in the woods? If you had a home, they wouldn’t have brought you here.
–– They just don’t understand that it was my home.

Exile and the search for home are the central subjects of this unforgettable film. The meandering journey of father and daughter takes them through the kind of marginal social terrain which many of us dismissively stereotype or even fear. Granik’s compassionate eye provides a revelatory glimpse of community and kindness in places where our impoverished social maps say little more than “Here be dragons.” And while the heavenly city of an abiding home remains elusive for Will and Tom, Leave No Trace does not leave us comfortless. Even in exile, one may find divine traces of blessing and grace.

In his compelling essay, “Longing for Home,” Holocaust survivor Elie Wiesel reflects on the theme of exile and return. It is a subject that Jews know all too well. Painful memories and vanished dwelling places are deeply woven into their history. But out of loss comes longing, and out of longing, hope.

“Would the paradise be a paradise if it were not lost? But what about longing for the future? Moses did not long for his Egyptian past but for his Jewish future. Messianic redemption implies the distant kingdom of David transformed in hope for a better future, a future when every human being everywhere will feel at home––at last––at home in his or her faith, country, and socio-economic environment.” [i]

One of the greatest injunctions of the Torah was forged from the experience of exile and homelessness:

Never forget what it was like to be a homeless stranger,
grateful for whatever shelter or meal could be found.
Welcome the homeless, for you too were once homeless exiles.
Welcome the immigrant, for you too had no place of your own.[ii]

Jesus knew this law so very well,
and he practiced it every time he reached out to the lost
or dined with the outcast.

Yes, Dorothy, there is no place like home,
except where we ourselves become
both givers and receivers
of the divine hospitality:
where no one is a stranger,
and there is always room enough,
and food enough,
and love enough
for everyone at the table of welcome.

May this Thanksgiving feast be a time of welcome, blessing, and deep gratitude for you, dear reader. And until that day when everyone of God’s beloved family comes home to the welcome table, let us all remain hungry for the justice to make it so.

 

 

Related posts

No Place Like Home

Utopian Dreams and Cold Realities: A Thanksgiving Homily

We the People: Voices of the Immigrant Experience

 

[i]Elie Wiesel, “Longing for Home,” in Leroy S. Rouner, ed., The Longing for Home(Notre Dame, IN: Notre Dame University Press, 1996), 28.

[ii]Exodus 23:9, Leviticus 19:34, Deuteronomy 10:19. The injunction to welcome the stranger is invoked 36 times in the Torah, more than any other commandment.

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