Sin-Eater – Worst Job Ever

Common between the 17th and 19th century, the essence of sin-eating revolves around a ritual performed by a designated individual known as a ‘sin-eater’. This person was believed to engage in a symbolic act where they consumed a meal, typically involving bread, salt and sometimes ale, which represented the sins of the deceased. The bread would be placed on the chest of the corpse and it was believed the sins would be absorbed. As such, the sin-eater assumed the spiritual burdens of the departed soul, thus ensuring their passage to the afterlife free from guilt. The term has its origins in Welsh culture and the practice is most commonly associated with Herefordshire and the surrounding areas. However, references to sin-eaters can be found throughout Europe and America, for example the ‘corpse cakes’ consumed in Medieval Germany.
The role of the sin-eater was paradoxical; while performing a necessary service that could assuage communal fears about spiritual damnation, it came with a heavy burden. Sin-eaters were often marginalized, viewed as social outcasts who bore the sins not only of the deceased but also the collective sins of those who lived. The sin-eater was paid very poorly, the equivalent of a couple of pounds in today’s money, and the act of sin-eating marked them as both a sacrificial figure and a consummate outsider. This contradiction illustrates the complex dynamics of class and spirituality in the communities that embraced this practice, as sin eaters often belonged to the lower echelons of society, underscoring issues of power and class disparity. This is exacerbated further by the complex relationship the practice had with the with religion and the church, as sin-eaters were often employed as a cheaper alternative to a priest.

The Legacy of Sin-Eaters in Modern Culture

The concept of sin-eaters has transitioned into various forms of modern expression within literature, film, and art. This transformation illustrates their ongoing relevance and the haunting nature of guilt and redemption that continues to resonate in contemporary society. Writers and creators draw upon the archetype of the sin eater to evoke complex themes related to morality and the human condition.
In literature, the figure of the sin-eater has found a prominent place in both fiction and non-fiction, serving as a powerful symbol for grappling with personal and collective guilt. An example is the Sin-eater character in Marvel comics. Numerous novels incorporate sin-eaters as protagonists or pivotal characters, reflecting society’s enduring fascination with their sacrificial role.
By integrating such symbols into their narratives, authors illustrate how individuals confront their own complicity in societal wrongdoings. The act of consuming sins is both a physical and symbolic gesture that highlights the struggle for redemption. Through the portrayal of sin-eaters, literature prompts readers to consider questions of responsibility and the potential for personal absolution in a world filled with ethical challenges.

An example is the novel “The Sin Eater’s Daughter” by Melinda Salisbury. This story introduces readers to a young woman burdened with the weight of her village’s sins. The narrative intricately weaves themes of power, sacrifice, and identity. Salisbury employs vivid imagery and a first-person perspective that allows readers to intimately experience the protagonist’s internal struggles, making the character of the sin eater a vessel for exploring broader societal issues related to the expectations placed on individuals.
Another significant work is “Sin Eater” by Megan Campisi, which reinterprets the role of sin eaters within a historical context. Campisi’s novel portrays sin-eaters as essential agents of societal judgment, reflecting the moral dilemmas faced by these characters. The author uses a rich narrative style that blends reality with elements of folklore, offering critiques on themes such as misogyny and class disparity. The sin eater’s journey raises questions about the arbiters of morality and the burdens of inherited guilt, resonating with the modern reader’s understanding of justice and responsibility in contemporary society.
Moreover, in the short story “The Sin Eater” by David Foster Wallace, the character serves as a metaphor for the existential crisis of his time. Wallace’s portrayal emphasizes the psychological ramifications of guilt and the impact of societal pressures. Utilizing a layered narrative structure, he explores the nuances of human experience and connection, showcasing how the role of sin eaters can transcend traditional interpretations to address deeper social concerns, including emotional trauma and the quest for redemption. The concept of the sin-eater can also be found in film and TV shows such as The Bourne Legacy, Lucifer and Sleepy Hollow.

Dead Cakes

In Scotland the poor soul landed with this job was known as the ‘sinne-eater’, and Callum Henderson’s macabre ‘Dead Cakes’ in Issue 1 of Power Cut begins,

Owen’s mum started baking the day after his Uncle Leslie died. Since her brother-in-law had croaked, she’d barely paused baking except to gulp down mugs of lukewarm tea. Over the last 48 hours she’d filled four whole tins with small, dark, oat biscuits, each scored with a crucifix.

These biscuits were for the ‘sineetah’ to consume, a stranger whose appearance and behaviour marks him as a pariah to be avoided. The story satirizes the practice and societal expectation as the ‘sineetah’ is expected to consume tin after tin of the dead-biscuits,

‘There’s still one left,’ snapped Owen’s mum. ‘You’ve got to finish that off.’

‘Can’t, luv,’ said the stranger. ‘Anymore and I’ll be sick.’

The dark humour in the story reflects the uneasy relationship society has with this taboo and also how the need for such a ‘scapegoat’ is still relevant in contemporary culture. It is also seen through the eyes of a young boy Owen, whose innocence protects him from the full implications of Uncle Leslie’s sins.

Although the literal practice of the sin-eater died out in the early 20th century – the metaphorical and psychological role continues. Some suggest that the modern ‘content moderator’ for social media giants is the 21st century equivalent of the sin-eater – the individual who has to see the unimaginable and live with that burden so that we don’t.

‘Dead Cakes’ by Callum Henderson can be read in full in Issue 1 of Power Cut.

It is November and that means one thing – NOIRVEMBER

Hopefully you are all snuggled up every night with a bottle of bourbon, a carton of cigarettes (yes, even the non-smokers!) and the lights out ready for your favourite Film Noir movie. Let’s begin exploring Film Noir and why it continues to dazzle movie-lovers.

What is Film Noir?

Film noir emerged as a distinctive cinematic style in America during the 1940s and 1950s, it introduced a distinctive aesthetic and narrative form, characterized by pessimism, moral ambiguity, and complex character arcs. Film Noir is a French term meaning ’black’ or ‘dark’ film and refers to both the mood and aesthetic of the films. The roots of the genre can be traced back to German Expressionism, a movement that emphasized distorted visuals and emotional depth. This influence is evident in the use of stark contrasts and low-key lighting, which creates a sense of unease and enhances the often grim narratives present in these films. The interplay of shadows and light is also metaphorical of the ethical dilemmas faced by characters, predominantly embodied in the classic femme fatale and the tortured anti-hero (usually a writer, drifter or detective). These visual elements not only enhance suspense but also serve to heighten the emotional experience of the audience, enveloping them in a world rife with danger and uncertainty. Two other integral characteristics of a Film Noir movie are the bleak urban landscape and lots of smoking! If it isn’t shadowy and smoky it’s not real Noir! This highly stylized cinematic approach was paired with hard-boiled crime fiction from writers such as Raymond Chandler and James M Cain, known for their gritty realism.

Shadows and Suspense: Film Noir, a product of its time

The cultural backdrop of post-World War II America played a significant role in the development of Film Noir. The war left a profound impact on society, instilling a sense of disillusionment and moral ambiguity. As the nation grappled with the uncertainties of the modern era, filmmakers began to depict the darker sides of human nature and the struggles of individuals against corrupt systems. This shift in narrative focus allowed for the exploration of complex characters facing life changing situations, echoing the anxieties of a society recovering from the trauma of war. Additionally, reflecting the turbulent societal mood of post-World War II America and the sense of disillusionment that permeated the era, characters often find themselves trapped in a gritty reality where right and wrong are not easily discernible. The stories frequently revolve around crime, portraying it as a seductive yet perilous option for characters entangled in despair. This interplay between desire and danger creates a compelling narrative that captivates viewers and evokes a range of emotions.

The Cold War era, marked by paranoia and uncertainty, was also to significantly influence the themes presented in Film Noir. As audiences grappled with fears of communism and societal breakdown, the genre offered a dark reflection of their anxieties. The inclination towards exploring the shadows of human nature and the fragility of morality mirrored the broader existential fears faced by society during this tumultuous period. The constant fear of espionage and the spectre of Communism loomed large, influencing characters and storylines that highlighted the internal struggles faced by individuals in an unstable world. Consequently, Film Noir remains a potent exploration of the human condition within a distinctly American framework.

Here is my top ten greatest Film Noir movies – slightly controversial as there is only one Bogart/Bacall movie in there and The Third Man is missing!

1. Double Indemnity (1944)– Barbara Stanwyck and Fred MacMurray, directed by Billy Wilder. This classic revolves around an insurance salesman who gets entangled in a deadly plot involving a femme fatale. Its sharp dialogue and pioneering depiction of a noir relationship set a high standard for subsequent films.
2. The Postman Always Rings Twice (1946)– Lana Turner and John Garfield. Frank is a drifter who soon falls for his boss, Nick’s, wife. In true femme fatale style, she convinces him to kill Nick, however things don’t go to plan leading to a fantastic plot twist at the end.
3. Gaslight (1944)– Ingrid Bergman and Charles Boyer. A dodgy marriage where the husband seeks to drive his wife insane through false accusations, manipulation and psychological trickery. Check out a very young Angela Lansbury as the brazen maid! The original ‘gaslighting’.
4. Touch of Evil (1958)– Charlton Heston and Janet Leigh, directed by Orson Welles. Notable for its opening sequence and chilling portrayal of corruption. The atmospheric cinematography and moral complexities position it as a quintessential Film Noir. (Modern audiences will have to ignore the casting of Charlton Heston as a Mexican character, which seems unpalatable today).
5. Laura (1944) – Gene Tierney and Dana Andrews. The detective investigating the murder of a young woman shot in the face becomes more and more obsessed the deeper he digs.
6. D.O.A (1949) – Edmund O’Brien and Pamela Britton. Frank Bigelow has been poisoned and only has 24 hours to find out who his murderer is.
7. Sunset Boulevard (1950)– Gloria Swanson and William Holden. The film begins with a death, Joe Gillis, in a swimming pool and then uses the classic noir technique of flashback to tell the tale of how Joe ended up there.
8. Kiss Me Deadly (1955) – Cloris Leachman and Ralph Meeker. The opening scene is electric and sets the tone for the rest of the film. The narrative follows private investigator Mike Hammer as he uncovers a conspiracy linked to a mysterious box that is never fully revealed. This ‘Mickey Spillane adaptation’ demonstrates how filmmakers addressed the anxieties of the atomic age, with the pursuit of the unknown symbolizing humanity’s struggle against overwhelming existential threats.
9. The Big Sleep (1946) – Humphrey Bogart and Lauren Bacall. It wouldn’t be a proper film noir run down without Bogey making an appearance!
10. M (1931) – Peter Lorre, directed by Fritz Lang. M is an earlier German predecessor to the American Noir genre, however is so influential it had to be included! Hans Beckert is a child serial killer and laid the blue print for all serial killer films that would follow. ‘Nuff said.

I’d love to hear your thoughts – do you agree/disagree? Maybe you’re new to Noir? What is your favourite Film Noir movie?

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