St. Francis of Assisi: On War and Greed

St. Francis of Assisi died 800 years before October 4, 2026, assuming that the days dropped in adopting the Gregorian calendar after his death have been incorporated in the calculation. It seems that not only gravity affects time; changing calendars does too. As time passes, how past heroes are viewed changes according to contemporary circumstances and values. Painting of Jesus during the late Roman Empire depict him as a young Roman, with short hair and clean-shaven. During the Middle Ages, when beards and long hair were in style for men, Jesus too was depicted in such terms as we recognize in modernity. Similarly, I contend that Russia’s ongoing invasion of Ukraine and Israel’s genocide in Gaza and violence in the West Bank framed the 800^th death-anniversary of Francis in terms of peace and diplomacy being salient in his mission. I contend that this emphasis unduly relegates something more important to him: his strident stance against greed, and even money itself as a symbol of avarice.

The full essay is at "Francis of Assisi."

NAZA

While a student at Yale, I took Charlie Musser’s seminar on documentary films on a whim, after having taken two courses oriented to film narrative (not screenwriting). Because my studies were mainly in philosophy of religion, historical theology, and history at Yale, I think neither Charlie nor I knew quite why I was taking his course. At the time, I would not have thought that I would be writing on the genre thirty years later. The film, NAZA (2026), makes my earlier endeavor entirely worthwhile, and integrated into my main academic areas of study and research, which include ethics and political theory. The documentary “examines ‘the systems behind the mass killing of Palestinian civilians’” in Gaza, and as of October, the theatrical release was being extended due to so many sold-out showings.[1] The Venice Film Festival awarded the film with the Special Jury Prize, and the two filmmakers, Rachel Szor and Yuval Abraham, “received a record-breaking 25-minute standing ovation at the festival.”[2] The film can be interpreted as documenting the magnified harsh effects that unchecked power over other people can have when those others are dehumanized. It is interesting how close “NAZA” is to another word, NAZI.

The full essay is at "NAZA."

---

1. David Mouriquand, “Gaza Documentary ‘NAZA’ Beating ‘Avengers Endgame” Encore’ at Box Office,” Euronews.com, 1 October 2026.

2.Ibid.

Forbidden

The early film, Forbidden (1932), asks the viewers to sympathize with a married politician and his mistress, who together have a “love child,” even though the politician, as a governor, finally follows his conscience and admits to the decades-long affair. Lulu, the mistress, selflessly remains alone and hidden from public view so Bob can climb the political ladder without scandal. At one point, Bob offers to leave his wife, Helen, and leave with Lulu for a shared life somewhere else, but Lulu refuses for the sake of Bob’s career in politics. She places his interests above her own. The film’s attitude toward the “cheater” and his mistress ethically is complex, as is human nature itself. The film presents the complexity that can go with some, but certainly not all, ethical controversies.

The full essay is at "Forbidden."

On Britain’s Possible Accession after Seceding from the Union

Secession is a nasty business. Both Britain and South Carolina learned that lesson. Whereas the American member-state failed to secede from the U.S., Britain succeeded in seceding from the E.U. The parallelism presented here is no accident, for just as the U.S. federal system has been charactered by dual sovereignty—both the Union and the members having at least some governmental sovereignty—so too does the E.U.’s federal system. In deciding whether or not they want Britain to become an E.U. state again, the British ought to keep this fact in mind. 

The full essay is at "On Britain’s Possible Accession after Seceding from the Union."