by Eric J. Weiner
The word “schlep” comes from the Yiddish “schlepn,” which means to drag or haul. You don’t have to be Jewish to be a schlepper, although it couldn’t hurt. Amidst the deepening economic and political inequities informing everyday life, schlepping is one of the great social equalizers. To see a person in the subway or on the street, schlepless as it were, can be a bit disorienting. Who is this person who can travel so unencumbered? He (and it’s almost always a “he”) must be wealthy and powerful beyond imagination: A king or prince? A tech-guru? A hip-hop mogul? A cannabis hedge fund manager? Maybe he’s a mysterious, self-identified “founder” flush with new money and the freedom from schlepping it buys. Maybe he has “people” to schlep for him. They must be “professional” schleppers undoubtedly paid below a living-wage to schlep things they could never afford to schlep themselves.
Yet at the same time, I look upon this extravagantly empty-handed man-king with a degree of benevolent pity. Nothing to schlep must make traveling through the world an empty, meaningless experience. Absent the things he doesn’t carry how would he know not only where he is but who he is? It is true that we may be more than the sum total of what we schlep, but take away the stuff we schlep and it becomes difficult to know where the measure of who and where we are even begins.
Providing the theoretical and methodological foundation for such an analysis of the things we schlep, Stuart Hall’s (1997) seminal analysis of the Sony Walkman articulates the things people schlep to a general theory of culture itself. For Hall, the things we schlep represent a kind of language and as a consequence the study of cultural artifacts hold enormous promise in helping us understand complex systems of representation, meaning and power. Read more »