Predestination. Is it a tangible construct? Do the roads we walk all converge to a single, inevitable point? For a mind that reasons on first principles, the entire notion likely seems absurd. How can fate exist when there is free will? For them, it is the scientific method that is apotheosized – proofs and axioms are religiously adhered to. Despite an avid love for this discipline, one can only pray the irony is not lost here.

Speculation notwithstanding, the doctrine of fate has often inspired poignant references within fields extending from literature and the arts to television and the music industry. 

Sinnerman, by Nina Simone, is a powerful composition which- through the inherent simplicity of the lyrics – conveys a far deeper message on the subject of predeterminism. For the majority of first-time listeners, here are some immediate connotations that no doubt spring to mind: Religion, Judgement Day, and God. Many who do not practice the Christian Faith (or any faith for that matter) find themselves hastily dismissing an otherwise thought-provoking number since many of the lyrics appear to be suggestive of a higher power in which they do not believe. However – if one might steer clear of existential nihilism – the song is ubiquitous with the relevance of our actions. The decision of trying to do good, and it’s corresponding outcome – which we deem to be either ‘right or ‘wrong’. The moral dice roll that defines us.

Simone is telling a story. A Sinnerman – someone who has tainted his ‘virtue’ and/or the virtue of others is fleeing from the Day of Judgement. Those familiar with the concept of calendars should see the flaw in the plan. Time passes, whether we like it or not. Judgement is inevitable. To illustrate this idea is the paraphrased version of a fable below:

A servant in Baghdad comes home, white and trembling, and tells his master that he had encountered a woman whom he recognized as Death. She had made a threatening gesture in his direction. Borrowing his master’s horse, the servant gallops at top speed toward the distant city of Samarra where he believes even Death will not find him. His master later goes to the marketplace to confront Death.

Why the threatening gesture?” he asks.

“That was no threatening gesture, she replies. “Merely a jolt of surprise. I didn’t expect to see him in Baghdad, for I had an appointment with him tonight. In Samarra.”

Sinnerman distills all of these sentiments into one fundamental question; When does running away become running to? The world is bound by the intricate silk threads of knowledge. Decisions of past, present and future. To (mis)quote BBC’s Sherlock, ‘Predestination is simply movement of the web’.

Certainly, there are – at least – two ways of looking at the song.

The composers likely intended it as a spiritual warning, with the message that we cannot run away from sin, but must confront it in prayer. It was also part of a whole genre of spirituals that were a protest against oppression and slavery.

But its meaning can be placed in a more general context: there is no avoiding the truth about one’s self. Nor is there point in confronting things we cannot change. God-fearing or not, there is beauty in that.