Article
Culture
Economics
Ethics
Sustainability
9 min read

Acquisitiveness is the key modern vice

When it comes to consumption, we keep our ethics on a lead.

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

a hand hold a black payment card that reads 'buy'.
Kelly Sikkema on Unsplash.

“Sell-out!” When I arrived in Seattle around the turn of the century, I was too tardy and too scrupulously Christian to make much of what was left of the fading grunge scene. Still, I had arrived in time to fumble my way through various university dorm room arguments with more musically astute peers about when this or that band had sold out, when they abandoned the authentic homemade purity of their sound for the greater financial rewards of mainstream pop. These bands still traded on their image as rebels and outsiders, but we all knew it was a pose. Even so, we sympathised. Who wouldn’t be tempted by selling-out if the alternative was poverty and virtuous obscurity? 

I have been thinking about those conversations recently, not just because Nirvana T-shirts suddenly seem to be everywhere again, but because the other form of ambient idealism circulating in Seattle at that time, techno-utopianism, seems to have reached the end of its own version of selling out. In my decade in Seattle, I learned to scoff at those who didn’t embrace new technologies, dutifully parroting the slogan, “Information wants to be free!” The hackers of my generation had founded companies which were going to remake the corporate world. Many of my friends from university went to work for them. They were excited about building exciting new tools at lower costs, while doing it all with a social conscience. The bosses of these companies were rock stars in T-shirts and jeans, changing the world.  

Two decades later, few of us are happy with the world they’ve built. The professions threatened by their innovations started with music and journalism and have now moved on to just about anything that an AI can imitate. Many of those bosses are still in T-shirts and jeans, still pretending to be outsiders, even as their wealth has piled into unimaginable sums. Their continual need for more has led many of them to decide that a social conscience is too expensive a liability to retain. They prioritise profits and share prices above employee well-being and social cohesion. Some demur from taking stands against authoritarian politicians, pretending that such neutrality is a matter of principle and not economic self-interest. Others openly egg on our broken politics, eager to snatch still more spoils from their demise.  

What has gone wrong? As an ethicist, my temptation always is to say that if only these bosses were better advised, reminded of the responsibilities of their power, things could change. What is a skilled ethicist if not someone whose rhetoric and erudition can move the hearts of the mighty? 

There is one immovable object that all his ethical demolition work could not shift. His king had palaces to build, heretic German princes to bring to heel, and an ancestral homeland to recapture.

At the advent of European colonialism, there was perhaps no more skilled or erudite moral theologian than Francisco de Vitoria.  After taking the premiere professorship at the best university in Spain, what was becoming the richest state in Europe, he pioneered legal and ethical theories which reverberate in international and human rights law today. There were few more incisive critics of the self-deceptive rationalisations of his contemporaries and few better placed to have the ear of one of the most powerful rulers of the age, the king of Spain and Holy Roman Emperor, Charles V. 

Today Vitoria is often pointed to as a prophet, someone who drew on his theological expertise and rhetorical acumen to tear apart Spanish justifications for their growing overseas empire. This reputation largely rests on his On the American Indians, a speech he gave in response to the horrific reports of “bloody massacres and of innocent individuals pillaged of their possessions and dominions” which were filtering back to Spain. In it Vitoria does indeed dismantle dozens of quasi-legal entitlements to which the Spanish appealed to justify these actions. By the time he reaches the end of the speech he even seems to be contemplating Spain abandoning the Americas. He says, “The conclusion of this whole dispute appears to be this: that if all these titles were inapplicable…the whole Indian expedition and trade would cease”.  

However, when he turns to acknowledging the financial implications of this, he allows that it “would mean a huge loss to the royal exchequer, which would be intolerable.” Here Vitoria concedes that there is one immovable object that all his ethical demolition work could not shift. His king had palaces to build, heretic German princes to bring to heel, and an ancestral homeland to recapture from the French. Money was needed for Charles to play his role as a king among kings, and no ethical quibbles about evil deeds carried out far away could be allowed to impede its flow. After this admission Vitoria sputters to a conclusion with a few unworkable and naive suggestions about how to at least make colonialism marginally less terrible.   

If there is a historical parable calculated to drive an ethicist to despair this is it. It shows ethical reflection for what it all too often is, an ineffectual expression of moral anxieties we air and then largely ignore. Our institutions, whether nation-states or companies, make a show of acting ethically, but few of us are fooled. It is a pose. The sorts of ‘ethics’ practised by countries and corporations are strictly those which aren’t a serious threat to the appetites of their leaders for more wealth, power, and security. Like Charles V, they too have peers among whom it is intolerable to contemplate losing status.  

These priorities are reflected even among those of us with less stratospheric power or wealth. Many of us worry about the origins of our food, our clothes, and our cheap electronics, having heard stories of labourers spending long hours in fields or cramped sweatshops. We may even buy Fairtrade as a response, but only if the price isn’t too high and if this ‘ethical consumption’ doesn’t mean giving up our middle-class lifestyle. 

The ‘ethics’ of our consumption are kept on a convenient lead. They are allowed to nibble around the edges of our consciences, but never to tear into the heart of the way we inhabit the world. 

In his work, Whose Justice? Which Rationality?, Alasdair MacIntyre argues that the sorts of goods we pursue can be lumped into two broad categories, goods of effectiveness and goods of excellence. The former are the things like wealth, power, and fame, which can be conferred and even sometimes transferred and which bear little relation to the characters of the people involved. The latter are the sorts of skills and performances, the virtues and virtuosities, which  people attain through long and disciplined development.  

For MacIntyre, both kinds of goods are necessary, but it matters a great deal which one gets priority. In a society which prioritises goods of effectiveness – such as Vitoria’s, but also, for MacIntyre, most modern societies as well –procedural justice reigns supreme. As long as we didn’t break any rules in getting our money and status or, for that matter, our exciting new clothes or smart speakers, we are in the clear. The problem, as Vitoria’s case demonstrates, is that in such societies even this minimal kind of justice cannot be allowed to block the flow of wealth. So procedural justice winds up being a tamed tiger in the service of the powerful. It is let out of its cage only when convenient – typically to demonise the failings of others. This is not just true of billionaires and politicians. Those of us who are western, middle-class consumers play this game too. The ‘ethics’ of our consumption are kept on a convenient lead. They are allowed to nibble around the edges of our consciences, but never to tear into the heart of the way we inhabit the world. 

What would it mean to prioritise goods of excellence? This is one of those questions MacIntyre poses, but does not answer, because he is convinced that in each society it would look different. Each community would need to begin by wrestling with what kinds of people they should be, what excellences they can and should pursue within their communities, and what virtues should be emphasised. Only then should they move on to think about what sorts of wealth or power are necessary to achieve these. Still, it can be frustrating that MacIntyre does not lay out his preferred programme. He offers no ready-made blueprint for a just society.  

Of course, neither did Jesus when he counseled his disciples to seek first the kingdom of God, telling them that if they did so the necessities of life, food, drink, and clothes, would be provided. What Jesus meant by the kingdom of God is elusive, now and not yet, hidden and revealed in parable and aphorism. What it was not, however, is clear. It was not a kingdom founded on acquiring earthly power and wealth. In fact, much of the teaching of the gospels can be boiled down to Jesus’ warning about the dangers of prioritising the goods of effectiveness (“Where your treasure is there your heart will be also”, “One thing you lack. Go sell everything you have and give to the poor”, “The rulers of the Gentiles lord it over them. Not so with you”, “Man does not live on bread alone”, “What does it profit a man to gain the whole world and lose his soul?”) and urging his disciples to embrace the goods of excellence that constitute the kingdom of God.  

Understood this way, the reason it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom is that the hunger for riches, wealth, and fame pulls those enamoured with goods of effectiveness away from true fulfillment. There are always more houses to own, new neighbours to impress, and new areas to conquer. Acquisitiveness, MacIntyre reminds his readers, is the characteristic vice of modernity. That many of us, from billionaires down to underpaid academics, habitually think that what is missing from our life is a little more money or fame, is evidence that he’s right. 

For Jesus, virtuous obscurity and poverty were preferable to fame. We remember this at every nativity play when we acknowledge that the best God could manage for witnesses to the divine arrival was a hard scrabble group of animal herders and a few foreign astrologers. It is not that Jesus refused to use his abilities or hid away from public notice. However, the public he chose to act among was nestled in a corner of a corner of the empire, far from the rewards offered by the cultured salons of Roman power and privilege. In two of the gospels, Jesus is tempted to sell out. He is offered unimaginable fame and power at the outset of his ministry. He forcefully rejects it. For Jesus, an itinerant life spent ministering to fishermen and farmers was enough.  

What would it look like for us to embrace Jesus’s priorities? A place to start would be actually listening to Jesus about practices such as fasting, praying, and the almsgiving. Each of these is an act of resistance against the continual appetite for more and a testimony to an economy of grace that exists beyond all human economies. We also could try preaching in a way that takes seriously the admonitions of Jesus. I have heard numerous sermons about the rich young ruler which include an extended caveat on how maybe it was important for him to sell his possessions, but that doesn’t mean we have to. Maybe not, but shouldn’t those of us who call ourselves Christians, at least be open to God having that radical a call on our life? If our ethics and our faith are not allowed to ask these questions of us, if we have sold out in such a way that the real possibility of them radically disrupting our lives is intolerable to our imagination, what good are they? 

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Review
Culture
Music
8 min read

A day, night and dawn with Nick Cave’s lyrics

Does Adam Steiner’s rappel into Cave’s art help us understand its purpose?

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Through illuminated dry smoke, a figure stands tall, holding a light up to his head.
Nick Cave in This Much I Know To Be True, a 2022 documentary.
MUBI

Nick Cave is inspired by the Bible, Greek myth, and literature, as well as his enduring passion for gospel, the blues, and alt-rock. His life journey arcs from his Australian childhood through his struggles with drug addiction and youthful fascination with the nightmare landscapes of America’s Wild West and southern gothic, toward a reckoning with his own Christian spirituality. In Darker than the Dawn, Adam Steiner rappels deep into Cave's songs of love and death. 

The book is organised thematically within an overarching chronological arc moving from dusk to midnight to dawn. This structure aims to broadly mirror Cave's life, with its experiences of addiction, relational breakdown and encounters with grief. Steiner's themes include rock and roll, literature, humour, love, time, spirituality, death, creation, and these indicate the breadth of Cave's concerns. Politics, though, is conspicuous by its absence, being ground on which Cave chooses not to walk in his songs. 

Steiner recognises here the influence on Cave, as on several other rock stars including Bruce Springsteen and Bono, of the Roman Catholic Southern Gothic novelist Flannery O’Connor. 

Steiner is excellent on Cave's rock roots and biblical inspirations from language to imagery to themes. In an insightful discussion of ‘Tupelo’ from The Firstborn Is Dead, which itself becomes “a Deep South concept album”, Steiner notes that the situation of Elvis Presley’s humble background in Tupelo exposed him “to both gospel and blues music, and the roots of these musics in “spirituals” that would likely have been sung by the enslaved ancestors of his neighbors only a generation before.” Similarly, “the push and pull of deliverance and self-abnegation” are “offered too in Cave’s music alongside the glorious troubles of the blues singing tribute to the “the joys and the pain of the world of the flesh.”” 

The ”Christ-haunted” American South of Presley and of ‘Tupelo’ becomes the atmosphere in which the early tracks by Nick Cave and the Bad Seeds are “mired”. Steiner, whose own use of language is poetic, describes this as “a torrid damp heat of blood driven into sweat all suggesting a permanent sense of ruin and decline”. Within this atmosphere, “we see alienated people searching for escape or redemption, roving outcasts looking to be reborn” whose “sharp-edge story arcs follow the Southern Gothic tradition, at its essence a series of sharp turns”. 

Steiner recognises here the influence on Cave, as on several other rock stars including Bruce Springsteen and Bono, of the Roman Catholic Southern Gothic novelist Flannery O’Connor. It was O’Connor who adroitly labelled the Deep South as “Christ-haunted” as opposed to “Christ-centred”. Yet, while Steiner gives us much helpful reflection on Cave and O’Connor, he doesn’t acknowledge two key concepts which also impact Cave’s approach. 

The subtlety of Cave’s art, as with that of O’Connor, is that it leaves us pondering the possibility without giving the certainty that a propagandist or evangelist would deliver. 

The first is that, in an age when writers with Christian concerns find in modern life distortions that are repugnant to them, their problem “will be to make these appear as distortions to an audience which is used to seeing them as natural”. O’Connor’s answer to this dilemma was to utilise the grotesque and “make your vision apparent by shock – to the hard of hearing you shout, and for the almost-blind you draw large and startling figures”. Second, O’Connor embeds this idea in her characters and in the structure of her stories through her use of epiphanies. In her work, she repeatedly gives us religion-haunted sinners who experience moments of revelation (epiphanies) about themselves in which they realise their depravity or their potential for grace or both. These experiences of awakening lead them and her readers to become aware of grace.  

Like O’Connor, Cave also seeks to shock by pushing “our faces up to the ugliest side of human behaviors”, in particular when he explores “the question of a fixed human nature where some are “born to be bad” … and … others to become victims”. ‘The Mercy Seat’ is one such song; a stream of consciousness outpouring from a murderer imminently facing the electric chair. In this song, Steiner suggests “outright criminality” is being exhibited, as this Christ-haunted murderer claims he told the truth and is not afraid to die. What Steiner’s characterisation of this song overlooks, however, is the penultimate line in which Cave’s character states, “I’m afraid I told a lie”. It is possible, therefore, that this song ends with an O’Connor-like epiphany, a moment of recognition that, even as the criminal dies, opens up the possibility of grace. The subtlety of Cave’s art, as with that of O’Connor, is that it leaves us pondering the possibility without giving the certainty that a propagandist or evangelist would deliver. 

Steiner is also very good when discussing the influence of the Bible on Cave’s work. He briefly outlines Cave’s journey with the Bible from chorister at Wangaratta Cathedral through his choice at 22 to mine its stories to inform his songwriting and on to his rediscovery of the New Testament and the “seduction of Christianity” when writing an Introduction’ to The Gospel According to Mark for the Canongate Pocket Canons. As Steiner notes, “Early on in his career Cave embraced the vitality and urgency of the Old Testament”, while the New Testament “introduced a more personal revelation … an awakening to the possibilities of self-transformation”. For Cave, Steiner suggests, “this would mean creating art that even in profanity, anger, and nihilism worked towards the glory of God, to become an enervating, enriching force”. His adoption of approaches learnt from O’Connor reveal how such a combination is possible. 

Cave is also fascinated by the image of the Kingdom of God; a trope that Steiner somewhat overlooks. Tender Prey, the album which contained ‘The Mercy Seat’ is again key in this regard. Tender Prey ends with ‘New Morning’, a song to sit alongside the ‘New Morning’ of Bob Dylan and the ‘Brand New Day’ of Van Morrison. ‘New Morning’ begins with its protagonist awakened by the Sun shining in a sky that “was a Kingdom / All covered in blood”. He kneels in a garden and prays: “Thank you for giving / This bright new morning / So steeped seemed the evening / In darkness and blood / There'll be no sadness / There'll be no sorrow / There'll be no road too narrow / There'll be a new day / And it's today / For us.” Those that know their Bibles will recognise the reference to the coming of God’s kingdom as described in ‘Revelation’. 

This vision of the coming kingdom of peace is set at the end of an album that is full of darkness and blood; a choice that becomes symptomatic of the way Cave uses imagery of the kingdom from this point onwards i.e. simply juxtaposed with his exploration of life's depravities as an alternative vision. ‘O Children’, ‘Bright Horses’ and ‘White Elephant’ are all examples of this approach. In ‘Lavender Fields’ the kingdom in the sky is the answer to the question as to where the dead go, while in ‘Sun Forest’, “A spiral of children climbs up to the sun” and God or the lost loved one are here beside in the sun and within. Cave’s most straightforward songs utilising this imagery are ‘I Have Wandered All My Unending Days’ (from Seven Psalms) and ‘There Is A Kingdom’: “There is a kingdom / There is a king / And He lives without / And He lives within / And He is everything”. 

This has led to an understanding of art as a religious undertaking, in part because to repair the heart may be the purpose of making music. 

Steiner ends his book with a description of Cave’s work that can be understood from either a secular or religious perspective: 

“Nick Cave and The Bad Seeds’ songs of life, love, and death often reveal us to be flawed, vulnerable beings, and though we are diminished by death, the opportunity of life gives us the chance to experience and create great things in works of art and acts of love and kindness. In doing so we escape the limits of our mortality, forever moving against the tides in the hope that each of us will find a new day beyond the horizon.” 

Although this summary can be read from either perspective, the secular reading is one that would not exist without the religious reading. Cave, as has been made clear through his conversations with the journalist Seán O'Hagan published as Faith, Hope, and Carnage, has been inclining for some time towards the religious perspective.   

The grief he has felt at the tragic death of his son Arthur has led to hope in “an “impossible realm” where glimpses of the preternatural essence of things find their voice”. He believes that “Arthur lives there” and “Inside that space, it feels a relief to trust in certain glimpses of something else, something other, something beyond”. Music, of all the creative forms, he suggests “best repairs the heart”. He knows this “because it has restored me and has been my salvation”. It “radiates love and makes things better”. In addition, when his son died, he “started to understand the precarious and vulnerable position of the world”; “started to fret for it” and worry about it. As a result, he “felt a sudden, urgent need to, at the very least, extend a hand in some way to assist it — this terrible, beautiful world — instead of merely vilifying it, and sitting in judgement of it”.  

This has led to an understanding of art as a religious undertaking, in part because to repair the heart may be the purpose of making music: “To make art and do things creatively is a way of redressing the balance of our sins in the world. To make art and to write songs goes some way in improving matters. There’s a sort of moral dimension to a song that they do good. And I think that’s one way of making amends or reconciling oneself to the world.” 

On Seven Psalms Cave provides in ‘I Have Wandered All My Unending Days’ his own summary of his story to the refrain “There is a mansion in the sky / And we will go there by and by”: 

  

“I have wandered all my unending days 

Shuttered your shining aspect in the stars 

Hidden alleys and tramp-broken highways 

With little in my pockets but my prayers 

  

And I have searched all my unending days 

Slept in fields beneath a canopy of stars 

Your face emerging in the early morning haze 

Held in its position by my prayers 

  

And though I have nothing but this prayer 

That all will be revealed by and by 

I pray someday, my Lord, you will appear 

And lead me to your mansion in the sky” 

  

Adam Steiner, Darker with the Dawn: Nick Cave's Songs of Love and Death, Rowman & Littlefield Publishers, 2023