family (a poem)

Were my chest made of oak,
or the past centuries, the seams of a
library’s great enlightenment, or the
strange atmospheric feeling of love, could
I be opened up easier?

Could I splinter in our embrace and
taste the moss of your lips and with that
correctly set the family table in your mind,
place the fork here and the knife there,
a salad plate, a glass of milk, and a smile
that is passed around the table like a medicine ball.

Could I give you this?
Am I able to fill the voids you present
as the reason for your own solitude?
Were I an antique and handled like
a Mongolian relic, I could be balanced
onto a shelf of your consciousness and
only whisper to you wordlessly that
the tears you may dust off of me are
for you, in a language you could not
decipher and become
a treasure you are not too terrified to touch.

But I am made of nothing but a tension
between my bones,
both hollow and forever cloying,
colorless, bright, and lost;
inflating the features
of my face that are repellant
to your solitude, to your idea of
happiness;
I can reach with my fingers,
listen to the gasp of my movement,
try to shape the words after they have
created castles, but I will not.
I am this tension and this tension shapes nothing.
I am left here contemplating,
beginning to combust.

Children

When a child is reading a book or watching a baseball game, I become inconsolable.  I want to cry, and were my SRTIs to allow me to cry, I would–happy, joyful, hopeful tears.  These two things, both imperative to my own sanity and understanding of the world, I fear are drifting further and further from the normal rearing of children.  Of course, on it’s face, that is a preposterous and presumptuous statement; I have no children of my own and when faced with the prospect of raising one, I seize up and reach for the Tums or the nearest door handle.  I am not fit to be a father, or so I believe; but if I had children, a son say, I’d like to believe that he will be well behaved and patient enough to sit still in this world, to be totally at peace with the quietude that is possible but not encouraged in this culture.  That is not to say I would want him to be immobile or to stare simply at a book all of his toddler years; rather, I would want him outside scuffing and scraping and hearing and creating that pop in his glove, taking an awkward step forward and cocking his hand, the sun breaking just off his blond hair and catching the brand new whiteness of the ball, his arm not at a perfect ninety-degree angle, but close enough for three years old, one foot dug into the earth and the other teetering on newly learned balance and he releases and as the ball flies through the air the lessons I could teach him or the places I could tell him to avoid would spread across his face in the most triumphant smile.

This is all so easy to say and dream.  I imagine most people have something like this bouncing around in their head, just inserting music for baseball or bricklaying for book reading.  Just like our hobbies and pursuits, our dreams and projections are there to distract us from this current moment.

Or perhaps this is simply myself projecting my young self onto my own future in hopes that I will better understand my children.  A sin in and of itself, but then again, I was forgiven for my sins.  Can I turn away from my own understanding of the world and allow my child to form his or hers?  I hope so and I know I will, at some point, allow that to happen, but will it be too late?  This is speculation and if my track record is correct, it certainly does not come from an objective place.  In my world, I am always the culprit for all wrongdoing–the center of attention and the problem child always slouching under a dunce cap.  Being at fault means being in control.

Xenophobia, Repurposed

 

 

swagger:coulter

 

Professional Wrestling has a long history of xenophobic themes and story arcs.  “Foreigners should be feared” is as ingrained in the collective psyche of the average wrestling fan as “villains cheat” and “heroes don’t tap out”.  Just in the Wrestlemania Era there are countless examples of people portraying evil, dastardly or bizarre characters hailing from different countries and/or minority cultures; The Iron Sheik (Iran), Papa Shango (Haiti), Kamala (Uganda), Giant Gonzalez (Argentina), Mohammed Hassan (Muslim-American), Eddie Guerrero (Mexico), William Regal (England), Rene Dupree (France), Nikoli Volkov/Boris Zubov (Russia) just to name a few.  Even the beloved Bret Hart portrayed a heel for a brief time built around his Canadian heritage.

This is no surprise.  The business of pro wrestling has always catered to the whims of its largest sociological demographic.  Historically, the fan base has been disproportionately caucasian, low to lower-middle income, lower education level laborers and their families.  These bombastic tales of foreign masses “invading” the United States and changing the American way of life would have resonated strongly with many in this group.  The ethnocentricity of wrestling remained unchanged for several decades.

Yet now, in 2013, a funny thing happened on the way to the ring; the xenophobic storyline was turned inside-out.

After a several month layoff, Jack Swagger resurfaced, but instead of being his former persona (a mean, somewhat generic tough-guy heel) he is now the controversial “Real American” Jack Swagger.  Additionally, he is managed by a character named “Zeb Coulter” who is a more over-the-top (if that’s possible) Glenn Beck-type, fiery rhetoric and histrionics in-tow.  They are currently feuding with Mexican wrestler Alberto Del Rio, largely built around Del Rio’s Mexican heritage and Swagger/Coulter’s hatred for immigrants.  What makes this story special, however, is that the Mexican wrestler, Del Rio is actually playing the face, and the white Americans, Swagger/Coulter are being booked as the heels.  Perhaps the most fascinating thing of all is that the audience is embracing it.

A story like this would have been utterly unthinkable 25, 15 or even just 5 years ago.  Not only would the idea have been a non-starter at brainstorming level, if it had somehow made it onto the program, the fan base would have fervently rejected it.  So what could possibly account for the rapid paradigm shift?

One explanation would be the changing demographic of the wrestling audience and the nation as a whole.  As the United States continues to diversify at a unprecedented pace, all aspects of the market will have to adjust.  At one point, professional wrestling seemed impervious to this changing dynamic, but as the WWE has rebooted to try and reach a younger population with a “TV-PG” product, they have inevitably drawn a more diverse group of young people.  Vince McMahon is, after all, an expert businessman, who has always thrived because of his ability to evolve.  So it’s no surprise that he would create a show that capitalizes on this new market.

Another reason the Del Rio/Swagger program has been successful is that it reflects the struggles of the diverse audience.  It is not enough just to have minorities portray good guys and carry titles; to truly connect with any person the material must speak to their own existential experience.  The Del Rio/Swagger storyline is probably very meaningful to the Latino portion of the audience because it is a retelling of their own challenges.  Swagger and Coulter are the consummate bigots; self-righteous, judgmental, and inflexible.  They assault Del Rio with stereotypes, leveling their rhetorical dagger at Del Rio’s work ethic, morality, value as a member of society.  Del Rio is portrayed as a self-made man who has worked hard, acted responsibly and realized the ever-elusive American Dream.

It goes without saying that many Latinos have experienced prejudice on some level, and could easily identify with Del Rio.  Most Mexican immigrants would tell you, wether legal or illegal, that the intention of coming to America is to work hard, receive a fair wage, and be able to fulfill their familial responsibilities.  For their “side of the story” to be demonstrated in the traditionally racially intolerant world of professional wrestling is a powerful symbol of the direction of American dialogue.

In the end, xenophobia has not only been named (ideologically speaking) but has been transformed into something wholly different.  As the wrestling audience continues to grow more diverse we are bound to see more revolutionary storylines that seek to capture the American narrative from a multitude of other perspectives.  The sociological themes that have dominated the storytelling for so many decades appear to be losing their footing.  In the very near future, professional wrestling may not only cease to be a lovably-backward piece of American kitsch, but may develop into a grandiose retelling of the American experience of diverse populations.

Just Like a Woman–The Concert for Bangladesh

 


Just Like a Woman–The Concert for Bangladesh

In the mid 1960s, very little of Dylan’s greatest songs had stand out bridges.  Like a Rolling Stone, perhaps his greatest song, does not have a bridge and is all the more powerful because of it.  Tombstone Blues, Chimes of Freedom, A Hard Rains Gonna Fall, Stuck Inside of Mobile with the Memphis Blues Again, It’s Alright Ma–all classics, no bridge.  Which is why songs like Ballad of a Thin Man and Just Like a Woman stand out.  These bridges are both powerful and simple, something that sticks out and begs for attention.

In this performance of Just Like a Woman, when Dylan gets to the bridge, something happens.  His voice, which has been strong the whole performance reaches further and almost strains.  There are hints of the strain, when he pushes himself on “fog, amphetamine, and pearls”, but the bridge is where he lets loose.  The break in the guitar playing is apparent after he begins “It was raining…” and his voice rises, and rises again, almost cresting on the word “pain”–a pop he could not control–and comes back down to finish the line, mirroring the line before, defeated and dropping the end, which sets up perfectly the high point of the performance and what I believe to be the crux of the whole song, the absolutely belted “AIN’T IT CLEAR!?” held out before the exhaustion of explanation ends with “That I…just. don’t. fit.”

We come to art from our places in our lives and these places inform our understanding of the work.  This song vacillates between singer and woman, back and forth, working through an issue that isn’t quite apparent, nor does it need to be apparent–what’s important is the tension of the issue, the boasting of status, the ask that she not let on when she knew him when.  For two verses, they go back and forth, how even in circumstances that are detrimental, we feel no pain when we have love–we don’t even believe it exists and have no memory of when it did.  The gradual give and take of love does not augure well for the singer and with our fairy tales, it does not for us as people–these are the gorry details, taken away and hidden or glossed over or simply not mentioned, leading each of us to our one or twenty or infinite “AIN’T IT CLEAR” moments, so exhausting and perhaps even life changing, but in the end, life itself.

I am stronger now than perhaps I’ve ever been, but the rust of doubt does not shake off; doubt is powerful and all consuming, essential for very little.  A warning sign; a tap on the shoulder; the shake of the head.  I become tripped up on doubt and it gives power to others.  In my relationships, I have relied on control because without control, I am adrift, or so I believe.  I grasp at the beginning breaths of love–or lust–and while attempting to keep the air clean and pure, I choke it, each of my fingers a fearful vice, denting the neck of what should be alarming, new, and fresh.  Often, my relationships have become suffocating because I control and manipulate the air out of them, leading myself or her to state, “I can’t stay in here.”  And only when it’s too late do I understand the detriment of my own controlling sleight of hand and again I am left alone and silent, crippled by doubt, relying on escapist adventures and petty solipsism.

This performance is essential because of all it conveys, all found in his voice and the emotion clawing up from his heart, tearing into his throat, and coming from his mouth.  Watch him: his eyes never change, nor should they; the brain is behind the eyes and we have forgone the brain at this point.  The song, and this performance especially, is simply story and hurt and the immense frustration and release when we have exhausted our explanatory capacities, when the listening party is no longer understanding the truth in their own skin.  Look into someone’s eyes, look behind them, see the confusion and battle and try to convince him the way he should see it and how inept and unmoving that is; do that and you will have this performance.  Bob is running us against a brick wall, changing course and taking us around the wall, in the end, with such sorrow and grace.  The bridge is that wall–blunt, exasperated, and unmoving.

meteor shower (a poem)

meteor shower

I asked you to show me your body, and you did
with a crooked grin on your face, showing me your
teeth–cleaned every six months, and there, too, is
your mother–giggling and pushing down on me,
speaking to me:
“oh, when you do that”,
pulling my hands to you to create callus.

A leaking emptiness raising inside of the dust
and our eyes catch each other, briefly, and then
disconnect, music or chaos or both.

This is a memory, not reality–that
reality is nothing more then your bent body
on my shoulder, your arm up below my neck
as if with my comfort you must choke me;
your legs grab mine and hold them–
forceps in silence, a rough country of skin
and sheet and outside there is a meteor shower
echoing off of the window
plink plink plink.
The punctuation of your sleeping breath
between each falling star,
a bent, dreamless spoon wrapped up in
sheets and unnamed fear.

I close my eyes
I float down this moment
to keep this moment
to become this moment
to fill it with oxygen
and stand still on fire with nerves
your breath hot on my neck
hearing the world outside of us
plink plink plink.

Fame: A Contingency Plan for Eternal Life

 

Heretic’s Creed is intended to be blog about theology and the historical/linguistic context of religious texts and viewpoints.  However, once in a while I get an itch to write about the more personal aspect of religion in my life.  I have decided to dedicate a post in Heretic’s Creed to this purpose from time-to-time.  This is the first installment of said posts.  

I often marvel at my own desires.  Things I regard as meaningless, shallow and utterly without value inexplicably remain an emotional catalyst of my behavior.  Though I refute them intellectually, I carry many irrational secret longings.

One such guilty desire is fame.  Very simply, I want to be known.  Preferably as a novelist, but I’m not picky as long as it’s positive.  This urge has possessed me since I was a small child.  My history is littered with half-finished books, demo discs of flamed-out bands, and bit parts in college plays.  I even tried to write a rap song once.  It didn’t go well.

This wouldn’t be a problem if I could keep my pipe dreams in their proper, non-emotive locations.  I hear myself say, time and time again, “I am a pragmatist.  I chose a career that is beneficial to society.  I chase my dreams in my free time, and if they don’t pan out, well, I will have 40 years of human service to hang my hat on.”  This is, without question, a true statement, however, I am emotionally incapable of accepting it.  The way I feel about myself, and the way I relate to others is affected more by my foolish dreams than my rational plans.

Example:  I have a friend who was a successful rock musician for about 10 years.  His band was signed to a moderately large label and he made a living recording music and touring.  Furthermore, he is incredibly kind, humble and fun to be around.  There is not a more “deserving” person in the world.  But when I see his albums on the shelves or his picture in a magazine I am 10% happy for him and 90% inconsolably depressed and unabashedly envious.

I have been examining my response to my friend’s fame.  I can honestly say it is no ill will toward him, fortunately.  My response is purely internal and self-absorbed.  Seeing his fame reminds me of my lack-there-of.  Digging further, I have been trying to trace the origins of my need for recognition.  I am a modestly well-adjusted, tax-paying citizen, so what is the root of this anomaly in my self-concept?

Doubt.

What I thought was purely a psychological problem is, in truth, at least partially a spiritual problem.  When I assess my motivations earnestly, I discover I am truly a pragmatist after all.  Fame is my eternal life contingency plan.

If I am wrong about humans continuing a postmortem existence in some fashion, then creating a legacy on Earth is the only means of attaining immortality.  Granted, it’s a poor substitute for eternal life as described by the Judeo/Christian/Islamic traditions, or even in comparison to reincarnation of the Buddhist or Hindu variety.  It barely even beats out the ancient polytheists’ concepts of Dis or Hades.  But it’s better than nothing.  I guess you could say I am diversifying my immortal portfolio.

So if there is no continuation of life-after-death and our consciousness ceases to be, the only people to live on are those that create a lasting impression in some way.  I think this is why it stresses me out when I think about my failures to achieve notability.  My safety net isn’t hung yet, so if I die anytime soon, I will return to dust and be forgotten.

The knee-jerk response is to say “well you family and friends will remember you!”  But I am looking at the big picture.  To live on past a few meager generations of direct associates, I would have to create memorable imprints in those I have never interacted with.  If you write a riveting book, revolutionize public policy, or touch the hearts of the masses with music, a record of your existence will continue to influence the human experience for as long man exists.

That’s what keeps me writing.  That’s also what wakes me up at night in all-consuming panic.  I want to continue to exist.  In consciousness or in memory.  I want to live.

02/04/13

Forgive me, I’ve had two glasses of wine.

I wonder if my teeth are they were in Ohio–purple and smiling.  I drank a lot of wine that summer in Ohio and I became very accustomed to that drunk: a wine drunk, rich with joy and forgetfulness, very different from the torrents of drunk I would have from Gin and Orange Juice.  Of course, I was in love both times and was probably trying to escape something; or, I was young, or both.

I had a plan tonight: Call my sister, Kelly, and pose a question; here’s how I think it would have gone:

“Kelly, ask me what I love more than anything besides friends and family.”

Kelly would be chasing a kid or peeling a potato or just simply living the American dream and would not know, or pretend not to know.

“Books.  That’s what.”  And she would say, “Ah, yea, I could have guessed that.” But could she have?  Growing up, I didn’t read much.  Sure, I had the Roald Dahl fascination, but I was mostly concerned with the way books lined up on a shelf, the way they added up to something as a whole and what it might have meant to have read all of them.  I remember sitting up at night in my friend Craig’s room, looking up in his closet at the shelf above his clothes.  There was a whole line of books and it was rife with adult classics and I assumed he just must have read all of these and I was in awe.  I said, there’s no way I’ve read this many books and he just kind of laughed–Craig had it figured out–and said, sure I have.  Well, I think Craig was wrong, but he had good intentions.

When I need a break at work, I go into a small room with a built in desk and kick off my shoes and put them up and adjust my sitting posture and open up a book and read.  The world goes on outside and it’s not like I can’t hear it, I can.  But I can ignore it or soak it up or even appreciate it, in those moments.

I want to read all of Sue Grafton’s Alphabet novels.  These started in 1982 with “A is for Alibi” all the way up to “V is for Vengence” which I think came out in the last few years–that’s something, that series.  Mystery novels with the same detective, but I would like to be a completist and read them all.  Of course, I own all of the Sherlock Holmes stories and novels, I suppose I could begin there.  If it’s good enough for the BBC, then it’s fucking good enough for me!

My therapist said an interesting word to me the other day: “projection”.  I had heard it so many times, but never in connection with my behavior and it explained so very much!

I should be volunteering to help tutor kids to write.

I am off to bed, for now.  A diary entry on here–who knew?  I sure as hell didn’t.

Grandpa

Not long ago, my grandfather made the declaration that he wanted to be buried next to my grandmother when he died.  Those in the room with him grew a bit uncomfortable and reminded him that she was cremated.  He paused, slumped over as he had become near his neck, and slowly mumbled, “Oh yes, she’s on my dresser.”

That such a man had come to this–a man who had handled large, monstrous beasts of steel through the sky; who laughed when asked how one landed one of those; who fathered and raised four children; who took life as an immense challenge in organization; who knew only near the end (knew fully) the extent of his love for his wife and by proxy, his children–was both sad and expected.  The last seven years of his life had been without my grandmother (she died seven years ago tomorrow, 01/21/06) and in those years he encountered a loneliness I can’t even begin to imagine.  I could see it both in his long list of DVR’d recordings and in the way his voice would catch when talking about Grandma–it was enough to really get to the the bottom of what we define as suffering.  He would often talk of her, how much he missed her, and then there would be silence and his stare would hold steady, looking into the past, past my birth and my sister’s, past both of my cousin’s birth and perhaps all the way to that February wedding day in 1947, to the moment right before that picture of the two of them cutting the cake: my grandmother, her hands small and covered by his large and sure hand, a sparkling smile on her face and my grandfather with a look that said, “I know and you do not.”

This could be said to be his most marked characteristic: his certainty.  He would not be told otherwise, even as a young man I understand his stubbornness to be legendary.  But what do any of us know of what was truly behind that?  Perhaps only my grandmother really knew and that is why their marriage persevered through 59 years; why those same aviary hands would jump just off of the side of her bed when he came into her hospital room shortly before her death and his larger hand would take hers as if they were trying to reenact that same wedding picture, the only difference being my grandfather appeared to no longer know.

He always taught me to read the instructions and would frown at me if I had tried to put my toy together without them.  There was an impatience surely, but it was an impatience born of his own brand of tenderness; tenderness steeped in the order that he wanted those he loved to be wrapped in. Unlike so many people, he always tried his best.  Let that not be underestimated: he tried, and in an evolutionary joke that this life can be, that is a herculean task.

To borrow my aunt’s astute observations, his eyes would sparkle when telling stories, and were the stories about his children–of which there were four–an off-kilter angle would twist his mouth and you could see the pride and joy practically bursting out of him.  At his 90th birthday party, he slowly stood up, all of us waiting in that drab and expected hotel conference room, and he leaned one of his hands on the gold top of his chair.  He cleared his throat; his fingernails tapped slowly.  Searching for order, he spoke of his four children and that he loved them, telling a story about each.  I looked around the room at each and when the appropriate name was called, I could see them brighten and wait, still expectant and hoping for that most complicated thing: their father’s love and admiration.  “I love all of my children, very much.”  And with that, the man of the hour slowly sat back down and turned to his plate and coffee.  And again there was that stare, missing the co creator of his four proudest achievements.  He is with her now, perhaps on his dresser, perhaps not; he is at peace and finally in the arms of the order he so strongly craved and imposed.

The Royal Rumble: An Allegory for Capitalist Economics

Royal_Rumble_1

The Royal Rumble event inaugurates the most important 2 months in the professional wrestling calendar.  For wrestling fans, it is the Olympic torch lighting, the tip off of March Madness, and the first night of Hanukah all rolled into one.  The Royal Rumble match itself is a unique, exhilarating spectacle that sets countless story arcs into motion.

But the Royal Rumble match also serves as a microcosm for Capitalist economics.  The coordinated chaos, regulated in the ring by the participants themselves, is emblematic of market forces.  In the interest of brevity, I will highlight some of the more demonstrative examples.

The event pits people against one another in a dynamic, multi-faceted competition.  The Royal Rumble’s appeal comes from it’s ever-changing nature.  It starts with two people in the ring, battling to throw each other over the top rope.  Every 90 seconds another combatant is added (to a total of 30 wrestlers) and the only way to win is to be the last man standing when all 29 other people are eliminated.  At any given time, a wrestler may have to focus on 1 other challenger or 20.  It may be ideal to go on the offensive, trying to tip a vulnerable wrestler out of the ring, or it may be better to skirt around a large scrum.  The challenges of survival are always evolving.

The marketplace is also in a constant state of flux.  The amount of challengers waxes and wanes.  If someone focuses too much on one other person or entity, they open themselves up to attack from others.  Additionally, no 2 competitors are the same.  There are some who are nearly exhausted (could be likened to those drawing a early number), those comparable to each other, and those yet to come (the coveted numbers 29 or 30).

The event is fair, but also skewed.  Everyone gets a chance.  That’s fair.  Everyone draws a number randomly.  That’s also fair.  But the numbering system plays a pivotal role in determining outcomes (or would if wrestling wasn’t scripted).  If you are entrant #1, you are at a significant disadvantage compared with entrant #30.

This too is true of the marketplace.  It doesn’t happen in a vacuum.  The number drawing is a great metaphor for the extraneous factors one can’t control about their fortune.  You have no influence on if you are born into a wealthy family that can bankroll your startup fees, if you have contacts with success in a similar field or if you have the physical resources to accomplish your goal.  This is the random, if somewhat unfair nature of American Capitalism.  It’s not to say the poor kid at community college (entrant #1) can’t win against the wealthy kid at Yale, (entrant #30).  It’s just going to be harder.

The demands of the immediate situation create strange friends and stranger enemies.  Not surprisingly, those who create alliances (albeit temporary) tend to be more successful.  Often, the ad hoc teams are not built on friendship, but necessity.  If Cody Rhodes and Sin Cara are staring across the ring at 7-foot-300-pound Kane, it is in their best interest to put past feelings aside and double-team the much larger competitor.

Conversely, people who would be close friends in other situations become bitter enemies while competing directly against one another.  Many tag-teams have split because of the Royal Rumble event.

These odd alliances and rivalries are typical to the market as well.  The best way for smaller companies to topple a giant in a particular field is to work together, however there are inherent risks when putting trust in other competitors.  Because business relationships are not rooted in camaraderie or altruism, the bonds are tenuous at best.

The winner is often not the strongest competitor, but instead the most resourceful.  I mentioned Kane earlier.  He has never won a Royal Rumble.  Neither has the Big Show, Andre the Giant, Mark Henry, The Great Kahli, or One Man Gang.  The biggest wrestler is not always the winner of the Royal Rumble.  The most successful competitor usually combines strategy, opportunism, intelligence, flexibility and, often, ruthlessness.  The victory goes to those who can evolve.

This is true of businesses as well.  Large, powerful companies fold when they can’t keep up with the rapidly changing environment (see Blockbuster or Circuit City among others).  Ideas become small businesses when they are novel, which become large companies when they are shrewd, which sustain success when they are flexible.  The Royal Rumble and the free market are ultimately exercises in Social Darwinism.  Adaptation is a competitor’s greatest strength.

The Royal Rumble and the business realm are attractive to people because of their unpredictability, and the drama created within their framework.  In many ways the Royal Rumble captures the positive aspects of American Capitalism, while simultaneously highlighting it’s pragmatic pitfalls.  What exactly the positives and pitfalls are, is a matter of perspective, but few can say they weren’t entertained by watching it all unfold.

Doctrine vs Dialogue

Traditionally, the basis of religious community is allegiance to a set of doctrines, both theoretical and practical.  This isn’t true of every religion internationally, but it is true of most.  The irony is that to formalize religious doctrine is to kill the spirit of what you are trying to capture.  As many theologians have noted, religion is a deeply existential and subject experience.  Therefore creating a one-size-fits-all set of beliefs and practices, while wildly popular, is generally destructive.

Rigid doctrine is particularly prevalent in Christian circles.  For many congregations, church is nothing more than gathering together with people you agree with, to reinforce doctrine you already believe.  Perhaps that is why most church services are dreadfully boring.

But there is another view of the utility of religious community.  Dialogue.  A diversity of opinion, shaping and reshaping one another, built on respectful discussion about the principles that drive us.

To be sure, neither approach is without fault.  Doctrine-centric church is nothing more than gathering together to celebrate our own piety and solidify ourselves as “us” and those we disagree with as “them”. It is one-dimensional, petty, and ultimately divisive.  At a point, the more narrowly you define yourself the closer you are to creating a church that consists of the only person you agree with 100%: yourself.

Conversely, the idea of church as a dialogue of ideals is far from perfect.  Discussion is time-consuming.  Communities can become protracted in discourse, and dialogue can be every bit as divisive as doctrine if done incorrectly.  If you are looking for efficiency, discussion on principled living is probably not for you.  Democracy is always messy.

While imperfect, I think the dialogue-focused approach has more value.  The differences between doctrine-driven and dialogue-driven religious communities are somewhat nuanced, but vitally important.

Doctrine is inherently concrete, where as dialogue is, by and large, abstract.  Without question, doctrine is easier and less unsettling.  Being clearly told what to do, and what to believe makes life much more peaceful.  But the cost of harmony is high.  Inevitably you will alienate good people who can contribute to your church in powerful ways if you can’t allow differing perspectives.

Dialogue, in it’s abstraction, is inclusive if handled in an environment of mutual respect.  When a church holds loosely to principles it empowers a diverse body of people to reach the needs of others with a breadth that is impossible in a system built on rigid doctrine.

An example; Church A says “our stance on sex is that it should only be a man and a woman who are married.  period.  no exceptions”.  Considering over 90% of people in America have at least one sexual relationship before they are married, this automatically narrows your audience considerably.  People in monogamous but unmarried relationships, gays, widows/widowers in love who choose not to remarry for financial reasons, are all sanctimoniously written off.

Church B says “our stance is that people should strive for sexual lifestyles that are healthy, edifying, and rooted in love and commitment.” Now you have invited the vast majority of people to the table for a discussion.

A common criticism is that being open-ended allows people to say “anything goes”.  I would argue that allowing people some autonomy in determining what sexual responsibility means creates longer lasting moral infrastructure in a person than simply following a rule.  Reading the biblical text, studying the culture and language, and discussing with others who are concerned with ethical living engenders a stronger affinity for principles because the individual has taken part in shaping them.

Another criticism is “people will justify whatever they feel like doing”.  It’s true, some will.  But if a group of people are willing to gather in their free time to discuss ethics, they are obviously concerned with doing what is right, and are much more likely to arrive at a principled existence than what they are being given credit for.

Secondly, doctrine, by it’s nature, puts rules ahead of people.  Dialogue, however, is uniquely human.

In Mark 2 Jesus and his disciples are walking in a wheat field, picking the grain and eating it as they pass through.  The Pharisees see what they are doing and criticize them for working on the Sabbath (as they are technically harvesting grain).  Jesus rebukes the rigid interpretation of Sabbath adherence, going on to state that the Sabbath is made for man, not man for the Sabbath.  This story is demonstrative of the problem with putting rules first; it can harm the people it is intended to help.  Moral codes are created for the sole purpose of helping people live healthy, productive lives.  They are not objectively good devoid of people.  If enforced inflexibly, morality becomes a hindrance to goodness.

Open-ended principles, always subject to reexamination, allow for exceptions.  It also creates a setting where proper prioritization can take place.  In the example of Mark 2 the principle of charity for the hungry would take priority over the principle of resting on the Sabbath, because it is the most beneficial to the people involved in that particular situation.

Religious community can be an empowering experience for almost anyone, but to allow fellowship to reach it’s full potential we must be willing to sacrifice.  We have to give up the power, and control that allows us to feel superior others.  If we can let go of the comfort of lifeless doctrine and embrace the living, breathing and yes, changing, nature of ethical dialogue, the waters of grace will flow, invasive and irresistible, over all things.