Wednesday, July 05, 2017

How Martin Luther has shaped Germany for half a millennium


The 500th anniversary of the 95 theses finds a country as moralistic as ever

Set foot in Germany this year and you are likely to encounter the jowly, dour portrait of Martin Luther. With more than 1,000 events in 100 locations, the whole nation is celebrating the 500th anniversary of the monk issuing his 95 theses and (perhaps apocryphally) pinning them to the church door at Wittenberg. He set in motion a split in Christianity that would forever change not just Germany, but the world.

At home, Luther’s significance is no longer primarily theological. After generations of secularisation, not to mention decades of official atheism in the formerly communist east (which includes Wittenberg), Germans are not particularly religious. But the Reformation was not just about God. It shaped the German language, mentality and way of life. For centuries the country was riven by bloody confessional strife; today Protestants and Catholics are each about 30% of the population. But after German unification in the 19th century, Lutheranism won the culture wars. “Much of what used to be typically Protestant we today perceive as typically German,” says Christine Eichel, author of “Deutschland, Lutherland”, a book about Luther’s influence.

Start with aesthetics. For Luther this was, like everything else, a serious matter. He believed that Christians were guaranteed salvation through Jesus but had a duty to live in such a way as to deserve it. Ostentation was thus a disgraceful distraction from the asceticism required to examine one’s own conscience. The traces of this severity live on in Germany’s early 20th-century Bauhaus architecture, and even in the furniture styles at IKEA (from Lutheran Sweden). They can be seen in the modest dress, office decor and eating habits of Angela Merkel, the daughter of a Lutheran pastor, and of Joachim Gauck, Germany’s president and a former pastor himself. Both may partake of the glitz of the French presidency while visiting Paris, but it would never pass in Berlin.

Luther shared his distaste for visual ornament with other Protestant reformers. But he differed in the role he saw for music. The Swiss Protestants John Calvin and Huldrych Zwingli viewed music as sensual temptation and frowned on it. But to Luther music was a divinely inspired weapon against the devil. He wanted believers to sing together—in German, in church and at home, and with instruments accompanying them. Today Germany has 130 publicly financed orchestras, more than any other country. And concerts are still attended like sermons, sombrely and seriously.

Luther’s inheritance can also be seen in the fact that Germany, the world’s 17th-most populous country, has the second-largest book market after America’s. After he translated the Bible into German, Luther wanted everyone, male or female, rich or poor, to read it. At first Protestants became more literate than Catholics; ultimately all Germans became bookish.

Finally, a familiar thesis links Luther to German attitudes towards money. In this view Catholics, used to confessing and being absolved after each round of sins, tend to run up debts (Schulden, from the same root as Schuld, or “guilt”), whereas Protestants see saving as a moral imperative. This argument, valid or not, has a familiar ring in southern Europe’s mainly Catholic and Orthodox countries, which have spent the euro crisis enduring lectures on austerity from Wolfgang Schäuble, Germany’s devoutly Lutheran finance minister.

Yet on money, too, Luther differed from other reformers. When Max Weber wrote of the Protestant work ethic in 1904, he had in mind Calvinism and its relatives, such as American Puritanism. Calvin viewed an individual’s ability to get rich as a sign that God had predestined him to be saved. To Luther, Christians were already saved, so wealth was suspect. Instead of amassing it, Christians should work for their community, not themselves. Work (Beruf) thus became a calling (Berufung). Not profit but redistribution was the goal. According to Gerhard Wegner, a professor of theology, this “Lutheran socialism” finds secular expression in the welfare states of Scandinavia and Germany.

Luther’s “subcutaneous” legacy keeps popping up in surprising places, says Mrs Eichel. Germans, and especially Lutherans, buy more life insurance but fewer shares than others (Luther didn’t believe in making money without working for it). And everywhere they insist on conscientious observance of principle and order. They religiously separate their rubbish by the colour of glass and are world champions at recycling (65% of all waste), easily beating the second-place South Koreans.

Holier than thou

Luther also shares blame for some negative qualities ascribed to Germans. He was deeply anti-Semitic, a prejudice his countrymen have shed at great cost (he blamed evil stares from Jews for the illness that eventually killed him). Germans’ legendary obedience to authority is attributed to Luther’s insistence on separating spiritual and worldly authorities (which princes in his day found useful in suppressing a peasants’ revolt). And although personally fond of boisterous jokes, he was among the founding figures of Germany’s rather humourless and preachy tradition of public discourse. Germans today are the first to bemoan their national habit of delivering finger-wagging lectures.

Such rigid moralism can make Germans hard to deal with, especially in Brussels, where the EU’s problems demand a willingness to let misdemeanours slide. But there are worse traits than excessive morality. Besides, 500 years on, Lutheran Germany is being transformed by globalisation. Germany today has not only devout ascetics but everything from consumerist hipsters to Om-chanting yogis. A growing Muslim population is pushing the country towards a new kind of religious pluralism. Mrs Eichel herself finds German churches “too serious”; she attends one headed by an African-American gospel preacher. If the downside of Germans’ Lutheran heritage is a difficulty in lightening up or accepting alternative lifestyles, they seem to be getting over it.


The ECONOMIST

Tuesday, July 04, 2017

Office 7734 by IPostAtMidnight


Welcome to Hell, my friend. No, it’s not what I expected when I first arrived, either, but it’s true.

Hell is an office job.

Doesn’t seem too bad for Hell, does it? Practically a dream job, compared to lakes of fire and all that. I mean sure, it’s not one of those hip offices with funky feng shui and trendy colors and organic juice bars. It’s not even a cubicle farm, where at least you get a tiny scrap of privacy while you work.

No, it’s just an office with an open floor plan. Nothing but desks, row upon row of gray metal desks beneath sickly fluorescent lighting. These people sitting at the desks are your new co-workers. You may hear an occasional cough or sniffle, but for the most part, we’re all very quiet.

Why?

Because we’re thinking, that’s why. We are thinking very, very hard about the blank piece of paper on our desks.

You’ve got one, too. It’s a standard 3x5 index card, with one red line at the top and ten blue lines underneath. No fancy computers to work on here, just a plain, simple index card.

But it’s a very important index card. You get a new one every day, and if you write something on it, then you might get the evening off.

What’s so great about an evening off?

Well, a day in Hell may be like working in an office, but the nights are another thing entirely. At night, we could end up with fire ants poured into our ears, or dancing barefoot on broken glass. We’ve had our eyes lanced, our tongues shredded, and our intestines unwound. And those were the easy nights. Normally it’s much worse.

That’s why these index cards are so important.

Did you think devils and demons would be creative with their punishments? Try telling a bunch of humans that one of them will get the night off if they come up with the most inventive torture of the day. Demons can’t even compete with our creativity.

But hey, it’s almost quitting time. We’ve got to drop our cards in the suggestion box before the 5:00 deadline. I’d wish you good luck, but that would mean really bad luck for me, wouldn’t it?

Oh wait, I see that look in your eyes. You’re thinking about getting everyone to band together and write down easy tortures, like runny noses and stubbed toes, right?

Well, forget about it. No matter what you do, there will always be that one guy, you know? Usually more than one, but there will always be at least one stupid, selfish, or just plain evil asshole who ruins things for everyone else. If you don’t believe me, then you don’t know your fellow humans very well.

Or you never worked in an office.

But I wouldn’t worry about it. After tonight, I’m sure you’ll fit right in.

Monday, July 03, 2017

Words can hurt you!


A greek proverb says: Η γλώσσα κόκκαλα δεν έχει και κόκαλα τσακίζει = The tongue has no bones but can break bones.

Sunday, July 02, 2017

A compiled list of collective nouns

 
A group of ants is called a colony.

A group of aunts is called a book club.

A group of sparrows is called a host.

A group of men named James is called late-night hosts.

A group of millennials who look different is called a marketing campaign.

A group of millennials who look the same is called a brunch.

A group of millennials who have laptops is called a co-working space.

A group of gorillas is called a troop.

A group of white men is called an improv troupe.

A group of buzzards is called a wake.

A group of liberals calls itself woke.

A group of geese is called a gaggle.

A group of crows is called a murder.

An informal gathering of members of the media by the White House press secretary used to be called a press gaggle. It is now called a press murder.

A group of murders is called a “Game of Thrones” finale.

A group of donkeys is called a drove.

A group of scenes featuring Ryan Gosling behind the wheel of a car is called “Drive.”

A group of whales is called a pod.

A group of fish is called so gross why are all these fish here?

An angry group of pedestrians is called New York.

An angry group of traffic is called Los Angeles.

An angry group of states you can’t name is called the Midwest.

A gathering of cows is called a herd.

A gathering of random strangers is called Hell.

A cancelled gathering is called sweet, sweet relief.


From The New Yorker

Saturday, July 01, 2017

Barbershops as confessionals, newsrooms and therapists


A play looks at black masculinity through the prism of barbershops

A young actor settles into a chair and tells the barber he is nervous: he has an audition for the part of “a strong, black man”. The barber laughs and tells him he is overqualified, but the actor is convinced that he won’t fit their notion of masculinity: he doesn’t know what the description entails. The barber asks what his father thinks. “Never really knew him” comes the reply; there were no uncles or other male role models, only his mother. “Jesus” mutters the barber. “No, not him either.”

This is a snapshot of the humour with which “The Barbershop Chronicles” tackles hefty subjects. Written by Inua Ellams, a Nigerian-born British poet, it is a piercing examination of black masculinity as seen through a prism of barbershops in Accra, Harare, Lagos, Kampala, Johannesburg and London.  Mr Ellams once described himself as a “Muslim-Christian, Libra-Scorpio, Irish-English-Nigerian skinny, black immigrant” and so his play—perhaps unsurprisingly—is very much concerned with identity and self-expression.

The action bounces energetically from city to city, and each scene reveals a unique set of social and political concerns. In Accra, Abram the barber calms the nerves of Fiifi as he prepares for fatherhood. In Kampala, Simon tries to change Brian’s attitude towards gay men. In Johannesburg, Simphiwe has become a drunk, unable to overcome the torment of his country’s past. In London, Samuel is blinded by his loyalty to his father while the men around him talk of one-night stands, religion, respect towards elders and the disciplining of children by a generation of men who spoke with their hands.

It is not the first time the barbershop has been held up as a focal point for the black community. There are documentaries (“Barber Shop City”) and anthropological studies (“Street Dreams and Hip Hop Barbershops”) as well as a trio of American films. In “Barbershop” (2002), directed by Tim Story, the film’s protagonist is told that it is “the place where a black man means something…our own country club”. In the play, it is likened to an Englishman’s pub. Mr Ellams has explained how the vulnerability of a man having a shave, with a razor to his neck, creates “a place of delicacy, of gentleness, of absolute trust”.

Mr Ellams first considered the topic a few years ago when a friend told him about an idea for a project to teach barbers the basics of counselling so that they were prepared should a customer want to discuss mental health issues. It felt necessary to strengthen this outlet as so many men, especially those in the black community, associate poor mental health with “weakness” and suffer in silence. Keith Dube, a radio presenter, has argued that there is a “mental health crisis ongoing in black, British communities” (it formed the subject of his documentary “Being Black, Going Crazy?”). Mr Dube struggled with depression but found it difficult to talk about because “black people don’t really do mental illness”. When he started looking into it he found that black men were 17 times more likely than their white counterparts to be diagnosed with a serious mental health issue and that young black men were six times more likely to be sectioned. A distrust of the authorities, as well as a fear of the reaction of peers and parents, leads many to the barbershop chair as the safest space to talk.  

As well as his interest in London’s African and Caribbean diaspora, Mr Ellams wanted to see whether the barber’s chair held the same power across Africa. He travelled to Zimbabwe, Kenya, Uganda, South Africa, Nigeria and Ghana to be a fly on the barbershop wall. The characters in the play are based on his real encounters, from a man in Uganda who believed romantic love could not be trusted to the young actor in London who questioned the meaning of black masculinity. And because the views expressed are real, they can make for uncomfortable viewing. Simphiwe gives a particularly pained account of South Africa and his complete disillusionment with the Truth and Reconciliation Commission set up to heal the wounds of apartheid. Western viewers may think there’s been progress in South Africa. Not for Simphiwe: he believes “Mandela failed”.

Mr Ellams juggles plenty of weighty topics but he brings a lightness of touch, peppering the play with humour, music and dance. Each transporting scene is interlinked by an afrobeat song, choreographed dance or football commentary under the lighting of a different barbershop sign. There is a life-affirming joy about the play that has made it a hit with critics; after its sell-out run at the National Theatre in London ends on July 8th, it will get a second run in November. In the “Barbershop” film a character says that “a haircut can change how a man feels on the inside”. In “The Barbershop Chronicles”, watching a man have a haircut achieves the same thing.


Originally posted at THE ECONOMIST