From time to time, when I have time, I try to post articles and thoughts related to religion and the arts, and specifically Christian theology and the arts.

Here are a few articles that I've recently run into:

Lucifer, Patron of the Arts
This is an interesting article on the recent movement by the Catholic Church to venture directly into the art world. As the author implies, as a means to "lure" (my nice word choice given the title) lapsed Catholics back to the church via their interest in arts. What I found most interesting in the article was her Protestant utilitarian sentiment stating, "The archdiocese plays art patron on the downtown scene while parishes are shrinking, schools and churches closing". She takes up that old chestnut of Protestant critique against the excesses of the Catholic church suggesting that it should be used for missions etc. And perhaps it should. However, my artistic sensibilities are excited about the idea. Sure, approaching the wealthy lapsed Catholics through art patronage might be well down the slippery slope, but I still find it exciting to see the church catholic engaging the arts in a new way.

5 Ways the Church Can Make Great Art Again
Overall, this is a pretty nice little article put out by Relevant Magazine. While #1 falls prey to the typical Modern romantic notion of the artist, the rest are certainly on track to address some of the surface issues. There are deeper issues of cultural education, sacramentality, consumerism, and entertainment at work in this discussion not mentioned.

Can We Enjoy Good Art from Morally Questionable Artists?
This is another old question from my Evangelical background and obviously it is still alive and well in cultural consumption. Do we, in viewing films, art and listening to music give consent to the actions of the performers, artists, directors etc? Perhaps we do well to reduce this question to the absurd...Do you give consent to the actions of your mechanic or checker at the grocery store when you shop there? The article raises the same question about Yoder's theology (and while not mentioned you could add Paul Tillich to this list) because of his questionable actions toward women. Do these actions discount their brilliant work? Do the actions highlight the distinction between the ideal and the actual in their life? Certainly, we all, whether Christian or not, should be sensitive in their media consumption, but my fear is that we as Christians are too fricken reactionary from our perceived moral high ground. Thoughtfully engage the work...always.

What Can Artists Teach the Church?
Alyssa Wilkinson reflects on her MFA in Writing experience and offers 3 ways artists might help the church. What is interesting here is that she focuses not on the artistic product but the process. Artists are masters of failing well. We all write, paint, play failures and this process of getting back up and trying again is an important spiritual virtue for the church. She also thoughtfully explores the ideas of Practice as Formation and Bodily Knowing.

Our small group has been studying the Gospel of Luke for the past 6 months or so and we continue to return to Luke 4:16-21 as a hermeneutical lens for understanding Luke’s perspective of Jesus. The passage states, “When he came to Nazareth, where he had been brought up, he went to the synagogue on the sabbath day, as was his custom. He stood up to read, 17 and the scroll of the prophet Isaiah was given to him. He unrolled the scroll and found the place where it was written: 18 "The Spirit of the Lord is upon me, because he has anointed me to bring good news to the poor. He has sent me to proclaim release to the captives and recovery of sight to the blind, to let the oppressed go free, 19 to proclaim the year of the Lord's favor." 20 And he rolled up the scroll, gave it back to the attendant, and sat down. The eyes of all in the synagogue were fixed on him. 21 Then he began to say to them, "Today this scripture has been fulfilled in your hearing."

The scroll was open to Isaiah 61 which should be read a fuller understanding for this context but Jesus’ own words suffice as a summary. Verse 19a of the Luke passage or 2a of Isaiah 61 mention the “year of the Lord’s favor” which points to the Year of Jubilee in Leviticus 25 where all property shall be returned to its rightful owners and debts are forgiven.

With that in the back of my mind, my recent viewing radically changed my perception of Tyler Durden. Kelton Cobb, in The Blackwell Guide to Popular Culture states that Jack apprentices Tyler’s in an “ad hoc twelve-step program that Tyler devises to free Jack from his bondage to the dominant paradigm of consumerism” (p. 11). I began to wonder, is Tyler a sort of Christ figure, albeit a very dark one?

Much of what the Lukan passage suggest and recurs throughout the Gospel is liberation from illness, oppression and the structures of society. Tyler is trying to liberate Jack and subsequently the rest of the men (and also the participational viewer) from the burden of branded identities and consumption. Tyler whispers to Jack while he is on the phone with the police, “Tell him the liberator who destroyed my property has realigned my perception.”

Another telling scene is in the basement of Lou’s bar or tavern. Lou enters and proceeds to pummel Tyler. Tyler willingly accepts this beating for the sake of others. Tyler motions to Jack to stay on the sidelines because his entry would derail his purposes of obtaining this venue on behalf of the greater whole. He, like the Space Monkeys later sacrifice themselves so that fledgling community of Fight Club may go on.

Another telling scene takes place in the back of a convenience store…the epitome of unnecessary consumption. With the glow of soda machines in the background the store clerk, Raymond K. Hessel is hauled out at gunpoint and made to kneel on the ground. Tyler sifts through his wallet finding an expired community college I.D. card he asks what he studied. The clerk, fearing for his life manages to dribble out barely understandable words. At one time, he had wanted to be a veterinarian and having become overwhelmed by the work involved he left his dreams behind to work in a life-sapping environment of consumption. Tyler takes the man’s license and says that he will check in on him in 6 weeks and will kill him if he is not on the way towards becoming a veterinarian. Afterwards Tyler says, “Tomorrow will be the most beautiful day in Raymond K. Hessel’s life.” Raymond is awoken from the slumber of self in a society bent on selfish consumption and freed to pursue his dreams. In fact, his life (both metaphorically and literally) depend upon it. In a later scene, we see the back of a door covered with stolen drivers licenses signifying that this was not a random act. Rather they had encountered many attempting to liberate them from consumption towards a greater good.

Another central question that should be asked is the nature of the violence. To what end is the violence. Is there meaning in or redemption from the violence? In these particular scenes it would seem that there is. The cross, the supreme act of violence in the Christian tradition becomes the central motif for Paul and the means of our salvation. Here too the violence is the necessary method of freeing others from the oppression of social structures. Raymond K. Hessel and all the others represented by their drivers licenses have been in someway freed. The Space Monkey’s too have been freed from their miserable lives to find meaning in liberating others. And we as the viewer also are to find liberation by participation in the story.

Tyler may be thought of a sort of Christ-figure insofar as he gives sight to the blind (awakens slumbering culture to the effects of consumerism) and then heals them by giving them a new identity, and brings good news to the poor (both literally poor and of spirit), and frees them from the burden. The clincher for this Christological lens is the year of the Lord’s favor…the Year of Jubilee. Tyler, and project Mayhem are bent on bringing down the credit card industry to level the economic playing field. By destroying this harmful and oppressive banking practice Tyler initiates what to many would be the Year of Jubilee.

And yet, we must consider (as one of my students pointed out) not only what Tyler is liberating them from, but to what/where are they going? And this is where the Christ-figure lens would seem to fail. Robert Bellah points out a fantastic irony in Habits of the Heart by saying, “just where we think we are most free (we’ve cast off these oppressive structures and philosophies), we are most coerced by the dominant beliefs of our own culture. For it is a powerful cultural fiction that we not only can, but must, make up our deepest beliefs in the isolation of our private selves” (p. 65). Radical individuals fail to see that they cast off one set of traditions for another set. Thus Tyler leads them from the oppressions of one tradition (namely consumption) to another (namely violence and anarchism). If this is correct and the film finally does not endorse the violence it portrays, Tyler can simultaneously be thought of as an anti-Christ leading his followers into another form of oppression.

When I originally wrote this our small group had been studying the Gospel of Luke for the previous 6 months or so and we continually returned to Luke 4:16-21 as a hermeneutical lens for understanding Luke’s perspective of Jesus.
The passage states, “When he came to Nazareth, where he had been brought up, he went to the synagogue on the sabbath day, as was his custom. He stood up to read, 17 and the scroll of the prophet Isaiah was given to him. He unrolled the scroll and found the place where it was written: 18 "The Spirit of the Lord is upon me, because he has anointed me to bring good news to the poor. He has sent me to proclaim release to the captives and recovery of sight to the blind, to let the oppressed go free, 19 to proclaim the year of the Lord's favor." 20 And he rolled up the scroll, gave it back to the attendant, and sat down. The eyes of all in the synagogue were fixed on him. 21 Then he began to say to them, "Today this scripture has been fulfilled in your hearing."

The scroll was open to Isaiah 61 which should be read a fuller understanding for this context but Jesus’ own words suffice as a summary. Verse 19a of the Luke passage or 2a of Isaiah 61 mention the “year of the Lord’s favor” which points to the Year of Jubilee in Leviticus 25 where all property shall be returned to its rightful owners and debts are forgiven.

With that in the back of my mind, my recent viewing of Fight Club radically changed my perception of Tyler Durden. Kelton Cobb, in The Blackwell Guide to Popular Culture states that "Jack" apprentices Tyler’s in an “ad hoc twelve-step program that Tyler devises to free Jack from his bondage to the dominant paradigm of consumerism” (p. 11). I began to wonder, is Tyler a sort of Christ figure, albeit a very dark one?

Much of what the Lukan passage suggest and recurs throughout the Gospel is liberation from illness, oppression and the structures of society. Tyler is trying to liberate Jack and subsequently the rest of the men (and also the participational viewer) from the burden of branded identities and consumption. Tyler whispers to Jack while he is on the phone with the police, “Tell him the liberator who destroyed my property has realigned my perception.”

Another telling scene is in the basement of Lou’s bar or tavern. Lou enters and proceeds to pummel Tyler. Tyler willingly accepts this beating for the sake of others. Tyler motions to "Jack" to stay on the sidelines because his entry would derail his purposes of obtaining this venue on behalf of the greater whole. He, like the Space Monkeys later sacrifice themselves so that fledgling community of Fight Club may go on.

Another telling scene takes place in the back of a convenience store…the epitome of unnecessary consumption. With the glow of soda machines in the background the store clerk, Raymond K. Hessel is hauled out at gunpoint and made to kneel on the ground. Tyler sifts through his wallet finding an expired community college I.D. card he asks what he studied. The clerk, fearing for his life manages to dribble out barely understandable words. At one time, he had wanted to be a veterinarian and having become overwhelmed by the work involved he left his dreams behind to work in a life-sapping environment of consumption. Tyler takes the man’s license and says that he will check in on him in 6 weeks and will kill him if he is not on the way towards becoming a veterinarian. Afterwards Tyler says, “Tomorrow will be the most beautiful day in Raymond K. Hessel’s life.” Raymond is awoken from the slumber of self in a society bent on selfish consumption and freed to pursue his dreams. In fact, his life (both metaphorically and literally) depend upon it. In a later scene, we see the back of a door covered with stolen drivers licenses signifying that this was not a random act. Rather they had encountered many attempting to liberate them from consumption towards a greater good.

Another central question that should be asked is the nature of the violence. To what end is the violence. Is there meaning in or redemption from the violence? In these particular scenes it would seem that there is. The cross, the supreme act of violence in the Christian tradition becomes the central motif for Paul and the means of our salvation. Here too the violence is the necessary method of freeing others from the oppression of social structures. Raymond K. Hessel and all the others represented by their drivers licenses have been in someway freed. The Space Monkey’s too have been freed from their miserable lives to find meaning in liberating others. And we as the viewer also are to find liberation by participation in the story.

Tyler may be thought of a sort of Christ-figure insofar as he gives sight to the blind (awakens slumbering culture to the effects of consumerism) and then heals them by giving them a new identity, and brings good news to the poor (both literally poor and of spirit), and frees them from the burden. The clincher for this Christological lens is the year of the Lord’s favor…the Year of Jubilee. Tyler, and project Mayhem are bent on bringing down the credit card industry to level the economic playing field. By destroying this harmful and oppressive banking practice Tyler initiates what to many would be the Year of Jubilee.

And yet, we must consider (as one of my students pointed out) not only what Tyler is liberating them from, but to what/where are they going? And this is where the Christ-figure lens would seem to fail. Robert Bellah points out a fantastic irony in Habits of the Heart by saying, “just where we think we are most free (we’ve cast off these oppressive structures and philosophies), we are most coerced by the dominant beliefs of our own culture. For it is a powerful cultural fiction that we not only can, but must, make up our deepest beliefs in the isolation of our private selves” (p. 65). Radical individuals fail to see that they cast off one set of traditions for another set. Thus Tyler leads them from the oppressions of one tradition (namely consumption) to another (namely violence and anarchism). If this is correct and the film finally does not endorse the violence it portrays,Tyler can simultaneously be thought of as an anti-Christ leading his followers into another form of oppression.

The Hegelian synthesis suggests that from a thesis will arise its anti-thesis and as a way to mediate between the two, a synthesis will emerge by blending and rejecting elements of both the thesis and antithesis.

Fight Club, while giving voice to the frustrations of many post-moderns, seems to utilize this very modern construct.

The thesis is represented by Edward Norton’s character "Jack" or the Narrator as a buttoned-down un-happy white-collar worker in an un-ethical and mind-numbing job. His antithesis, Tyler Durden, played by Brad Pitt is the alpha-male unrestrained by societal rules and its ways of functioning. Tyler is Jack’s self-created, self-liberating alternate personality.

For this to work we must ask, does the film ultimately condone the violence of Tyler’s actions as they are portrayed? The final scenes would seem to give us ample direction to say that the violence portrayed is not the ultimate answer. The Jack at the end is no longer the slave to the Ikea nesting instinct he was at the beginning and yet neither is he the slave to Tyler’s ambitious anarchy. Jack in the final scenes would seem to represent the synthesis. He has been liberated from desire for consumption but also its antithesis of violent rejection. He is not the emasculated male nor the hyper-violent male either.

I think we see the synthesis at work in Tyler’s words too. On one hand he says that “You are not your khakis” but also, “You are not special. You are not a beautiful or unique snowflake. You are the same decaying organic matter as everything else. We are the all-singing, all dancing crap of the world. We are all part of the same compost heap.”

Robert Bellah in Habits of the Heart describes individualism in two particular forms: utilitarian and expressive. Benjamin Franklin is the epitome of the utilitarian expression of individualism where the individual rises to success through hard work and personal initiative. They are identified by the proverbial “pulling oneself up by the bootstraps.” Many believed that if each individual vigorously pursued his or her own interest, the social good would also automatically emerge (p.33).

Expressive individualism, a form of Romanticism and best exemplified by Walt Whitman, arose in reaction to the materialistic pursuits of utilitarian individualism. Expressive individualism sought to cultivate the self and self-expression where each person has a “unique core of feeling and intuition that must unfold if individuality is to be expressed (p. 333-4) These sentiments are easily identifiable in Whitman’s writings, as well as, Emerson, Thoreau, Melville and others. For the expressivists, “the ultimate use of the American’s independence was to cultivate and express the self and explore its vast social and cosmic identities” (p. 35). We hear this in our language of “finding oneself.”

Fight Club seems to critique both the materialistic utilitarian individual as well as the self-cultivating expressivist. And yet, the film avoids becoming preachy and dictating the synthesis. It is left to the individual to navigate and mediate between the utilitarian and expressivist, as well as the emasculated consumer and ultra-violent alpha male. "Jack" becomes the one who has successfully escaped both but we are left to fill in what his life will now look like.

Most commentators suggest that Fight Club is a nihilistic film likely based in the anarchist and violent tendencies portrayed by Tyler Durden.First we should consider a basic concept of nihilism. Literally it suggests “nothingness” emanating from a “complete rejection of and possibly the destruction of beliefs and values associated with moral and traditional social structures. Philosophically, nihilism represents an attitude of total skepticism regarding objective truth claims. Nihilism views knowledge as dependent upon sensory experience alone, so that moral and theological claims are meaningless” (Stan Grenz,Pocket Dictionary of Theological Terms).

In many ways, these ideas are embodied in the film. There is a rejection of capitalism and consumerism that most hold dear in our culture. There is a rejection that violence is bad. Pain, or other sensory experiences becomes the means to awaken to real life. We see that latter with the scarification ritual in the soap-making kitchen. Tyler says, “this is the most beautiful moment of your life, don’t deal with it the way those dead people do.” Which is another critique of the therapeutic tendencies of our culture.

That same scene also gives us other insights into the nihilism of the film. Many forms of nihilism are naturally paired with atheism. If there is no God, than there can be no moral absolutes. Tyler’s monologue in the kitchen suggests that this form of nihilism is not atheistic.

“Our fathers were our models for God. If our fathers bailed, what does that tell you about God? You have to consider the possibility that God does not like you. Never wanted you, and in all probability he hates you. this is not the worst thing that can happen. We don’t need him.Fuck damnation, man. Fuck redemption. We are God’s unwanted children. So be it. It’s only after we’ve lost everything that we are free to do anything.”

Kelton Cobb in The Blackwell Guide to Popular Culture states, “This is a bitter theism, a resentful affirmation of God’s existence” (p. 265-6).God seems to be a given. And yet we are forced to contend with the apparent realities of life rather than what we would like to believe about God. His experience colors his concepts of God. In return, he renders God as irrelevant.

The article on Nihilism from the Encyclopedia of Philosophy edited by Donald M. Borchrt also suggested, “nihilism is caused not so much by atheism as by industrialization and social pressures, and its typical consequences are not selfishness or suicide, but indifference, ironical detachment, or sheer bafflement.” This claim certain helps see the effects of consumerism as an institutional violence.

And yet, the nihilism portrayed in Fight Club is not absence of hope.Tyler says to "Jack", “In the world I see, we’re stalking elk in the grand canyon around the ruins of the Rockefeller Center. You’ll wear leather clothes that will last you the rest of your life. You’ll climb the vines around the Sears tower. And when you look down you’ll see tiny figures pounding corn, laying strips of venison on the empty carpool lane of some abandoned superhighway.” Kelton Cobb states, “For Tyler, Eden will rise from the rubble of cities that have been cleansed of the poison of corporate logos, global markets and consumer incompetence” (p. 265-6). Furthermore, if there is no hope and no meaning, why bother with the destruction of society to liberate humanity?

In many way’s the film is nihilistic. And yet there are glimmers of hope not unlike our eschatological hope. Times are dark and yet we can see and imagine a purer reality as it has been promised, and in some ways is already present.

Emasculation becomes a central theme in Fight Club as it is portrayed by the narrator Jack. William Romanowski, in Eyes Wide Open states, “Emasculated by the consumer culture…Jack finds solace (though under false pretense) in a support group for men with testicular cancer: (The castration metaphor is obvious.) There he meets Bob, a former body builder; who has developed feminine features resulting from his cancer treatment. Trying to comfort the sobbing Jack, Bob rasps in a high pitched voice, ‘We’re still men,’ with Jack affirming “Yes, we’re men. Men is what we are.”Consumer culture emasculates by fostering false idealized images that motivate men to change what and who they are: men. They run longing for this idealized image to which Tyler, Jack’s idealized alpha-male alter-ego helps to free Jack from this burden.

At the outset of the film we find the emasculated Jack seeking solace and identity in consumable products rather than in himself…whatever that may look like. In an early scene where Jack and Tyler first appear in the same shot, sitting side by side on the airplane Tyler reads the emergency instruction card to which Jack replies something about the great responsibility that seat has to open the emergency door. Tylerasks if he would like to switch seats to which Jack replies, “I’m not sure that I am the man for that job.” Lack of confidence, or sense of responsibility Jack declines as a symptom of the emasculated male.

In one scene Jack describes the relationship between he and Tyler as, “Most of the week we were like Ozzie and Harriet.” We are not confused who is whom in this analogous pairing.

In another scene at Marla’s apartment, Marla says to Tyler, “Oh Don’t worry he’s (referring to a dildo) not a threat to you.” As the alpha-male, sure of his virile sexuality, Tyler is not threatened by a wobbling gelatinous penis on the dresser. And yet, earlier when Jack, the emasculated male is at the airport, the attendant insinuates that Jack’s missing luggage may have been a result of a vibrating dildo.

Craig Detweiler in his book, A Matrix of Meanings says, “A longing for God and fathers informs every frame of Fight Club” (p. 42.). We see this theme boy with out father-figures recurring throughout the film. In a later poignant scene, the two men sit and discuss their fathers.

Jack: “I can’t get married, I’m a 30 year old boy.”

Tyler: “We are a generation of men raised by women…I’ wondering if another woman is really the answer we need.”

Elsewhere in the film Tyler asks, “Our fathers were our models for God. If our fathers bailed, what does that tell you about God?”

Our culture’s lack of fathers point of orientation in development renders an incomplete identity that must be filled by things. Ultimately the we are shown what it means to be a man by those products rather than our fathers.

Jack narrates to the audience, “I felt sorry for guys packed into gyms, trying to look like how Calvin Klein or Tommy Hilfiger said they should look.” And turning to Tyler asks, “Is that what a man looks like?”

Later Tyler responds to similar thoughts in a monologue to the local fight club, “Man, I see in fight club the strongest and smartest men who've ever lived. I see all this potential, and I see squandering. God damn it, an entire generation pumping gas, waiting tables; slaves with white collars. Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don't need. We're the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our Great War's a spiritual war... our Great Depression is our lives. We've all been raised on television to believe that one day we'd all be millionaires, and movie gods, and rock stars. But we won't. And we're slowly learning that fact. And we're very, very pissed off.

We have been sold a false bill of goods and the scales have fallen from our eyes. The mute now have a voice to combat the culture…to give an expression to their (and ours) discontent.

Tyler represents Jack’s desire to be a strong male rather than the passive slave to culture. And we are left to ponder our own emasculation. Are we simultaneously repulsed by Jack’s emasculation and attracted to Tyler’s freedom? If so, is that symptomatic of our own emasculation?

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Fight Club is one of my all-time favorite films. Period.  Over the next week or so I will be re-posting a series of thoughts on the film from my old blog.

I saw the film first in 1999 when the film came out.  It was against the advice of a good friend who was thoroughly disappointed with the lack of fighting. He had hoped that it for a boxing movie to which Fight Club is sure to disappoint. The film is certainly violent, but it serves a different purpose than a film like Rocky where the hero rises against the odds to greatness. Fight Club uses violence as a subtext to explore what is necessary to subvert the dominant paradigm of consumption.

Fight Club is a scathing critique of our branded and consumable identities. The Narrator played by Edward Norton, who remains nameless save a few 3rd person references as “Jack” is shackled by societies addiction to things. The fact that he largely remains nameless is suggestive of two things: 1) that he finds his identity in those things he buys and 2) Jack is a sort of everyman in which we are to see that we too are kept by these consumeristic desires.

In response to the question of police about the destruction of his apartment, Jack states, ““That condo was my life. I loved every stick of furniture in that place. That is not just a bunch of stuff that got destroyed, it was me!” It was ME! His identity had become those things. In a consumer culture we can buy our identity, change it on a whim because we are buying not simply clothes or furniture but a lifestyle that tells others about who we are. For Jack, identity was found in his stuff…his Ikea furniture, his AX ties and DKNY shirts etc.In one poignant scene Jack tells Tyler, “I had it all. I had a stereo that was very decent, a wardrobe that was getting very respectable. I was close to being complete.” To which Tyler replies casually, as if unbound to all forms of materialism, “Shit man, now it's all gone.”Jack’s identity was almost complete as if there is nothing of value within the self but must be supported and comforted with commodities and now, it was all gone. Without these material enhancements, Jack must now set out on a path of discovery towards who he really is.

In that same poignant scene come the most scathing critique of consumerism.

Tyler Durden: Do you know what a duvet is?
Jack: It's a comforter...
Tyler Durden: It's a blanket. Just a blanket. Now why do guys like you and me know what a duvet is? Is this essential to our survival, in the hunter-gatherer sense of the word? No. What are we then?
Jack: ...Consumers?
Tyler Durden: Right. We are consumers. We're the bi-products of a lifestyle obsession. Murder, crime, poverty, these things don't concern me. What concerns me, are celebrity magazines, television with 500 channels, some guy's name on my underwear. Rogaine, Viagra, Olestra.
Jack: Martha Stewart.
Tyler Durden: Fuck Martha Stewart. Martha's polishing the brass on the Titanic. It's all going down, man. So fuck off with your sofa units and string green stripe patterns.

Here we get a glimpse of the final scenes of the film. That this cultures ways of consumption, this lifestyle obsession is coming to an end. We are left to wonder now in retrospect, does Tyler already have his plans in mind? This is also telling for Christians who are just as easily sucked into our cultures consumptive ways. We too are more interested in the personal enhancements, the versatile solutions for modern living, than issues of social justice. Certainly the health and wealth gospel only serves to uphold the cultures consumption.Messages of service and sacrifice, the Cross and martyrdom are sadly out of fashion.

If we are to critique our culture which in embedded in consumption, we must also provide a viable alternative in which we locate our true identity. Which the church has: the story of God in Israel and Christ.And yet, we must be careful not to package and sell the story in the medium of that same consumeristic culture. It is a telling irony, thatTyler’s anti consumption task force, Project Mayhem is funded by consumption or their selling of designer soaps. It points out the irony that anti-consumerism can still be sold as a product or identity. Jack says, “It was beautiful, we were selling rich women their own fat asses back to them.”

The Christian faith is not another add-on identity to those we have already garnered. It is something other. Something that demands the whole self.

Over the next few weeks I will be posting, or more accurately "re-posting" some articles from my old blog in my attempts to migrate over to the website.