by Chris Hedges
Featured Writer
Dandelion Salad
Truthdig
Jan. 9, 2012
Image via Wikipedia
“The Cross and the Lynching Tree are separated by nearly two thousand years,” writes in his new book, “The Cross and the Lynching Tree.” “One is the universal symbol of the Christian faith; the other is the quintessential symbol of black oppression in America. Though both are symbols of death, one represents a message of hope and salvation, while the other signifies the negation of that message by white supremacy. Despite the obvious similarities between Jesus’ death on the cross and the death of thousands of black men and women strung up to die on a lamppost or tree, relatively few people, apart from the black poets, novelists, and other reality-seeing artists, have explored the symbolic connections. Yet, I believe this is the challenge we must face. What is at stake is the credibility and the promise of the Christian gospel and the hope that we may heal the wounds of racial violence that continue to divide our churches and our society.”
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via Truthdig
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Chris Hedges spent two decades as a foreign reporter covering wars in Latin America, Africa, Europe and the Middle East. His latest books are Death of the Liberal Class, and The World as It Is: Dispatches on the Myth of Human Progress.
see
The crime of privatized prisons by Lamont Lilly
In Depth with Chris Hedges: The World as It Is: Dispatches on the Myth of Human Progress
Hedges on Hitchens + Christopher Hitchens and Chris Hedges Debate (2007)
Where Were You When They Crucified My Movement? by Chris Hedges
New Age Christianity: The Crossless Gospel of Deception By Rocket Kirchner
Exclusive: Blessed are the destitute, for theirs is the Kingdom of Heaven by Rocket Kirchner
Christianity on Dandelion Salad
Filed under: Book Reviews, Christianity, Dandelion Salad Featured Writers, Dandelion Salad Posts News Politics and-or Videos 2, Death-destruction, History, Politics, Poverty, Racism, Religion Tagged: | Chris Hedges, Chris Hedges on Dandelion Salad, Christianity on Dandelion Salad, James Cone
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