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.