In Woody Allen’s Love & Death, Boris is awaiting execution for the murder of Napoleon, a crime he didn’t commit. “But isn’t that life?” he wonders. “Aren’t we all condemned to die for a crime we didn’t commit?”
I just read Gabriel Garcia Marquez’s 1981 novella Chronicle of a Death Foretold and am so reminded of the sentiment. Our narrator returns to his home town to investigate the revenge killing of Santiago Nasar after a large wedding is ruined by the discovery that the bride, sister to the killers, is not a virgin. She names Nasar as the man she’d slept with before marriage. But it clearly never happened and so Nasar never suspects that anyone wants to kill him and when he finally realizes his danger, he has no idea why it’s happening. He dies, knived to death by butchers, holding his innards.
Which reminds me of Franz Kafka’s novella The Trial in which Josef K. is informed that he has been charged with capital crimes and will be judged for them, though the accusations are never stated. Josef K. is also found guilty and sentenced to death. When he is butchered on a public street he can only think that they have killed him, “Like a dog!”
There’s a lot going on in both stories about the inhumane social and legal systems we subject ourselves to while living in a society. But the heart of it all is Woody Allen’s observation that we will all die, saints and sinners alike, as we were sentenced from the start for the crime of being born. This seems to put the search for some original sin into perspective, though the culprit is probably remorseless entropy.