Fear was the driving force behind Donald Trump's rise to power. This is a take on the 2016 elections that shook many pundits, commentators, philosophers, and casual observers. A body of publications attempted to analyze this choice and focused on specific demographic and social classes supporting Trump in stronghold states for Republicans. However, Nussbaum applies another approach that cuts deeper into the matter by investigating the cause and effect behind this election. This is a philosophical approach to the pertinent subject with heavy connections with social psychology. The toxic brew of misogyny, envy, and fearful anger threatens democracy and its related values.
The major hurdle in this philosopher's job is to recognize the unruly emotions and bring them into the fold. The book studies the interconnected emotions of anger, envy, hatred, disgust, sexism, and misogyny and their ramifications on current social affairs in the US. The book describes globalization as one factor bringing about a sense of helplessness and marginalization to a group of citizens. This negative feeling of abandonment eventually transforms into resentment and blame.
One aspect of this book is the idea of us "human beings" as a species being vulnerable in our existential terrain, which causes fear as an inherent emotion. If left unattended, this primal feeling can develop into a corrosive agent with monarchial traits controlling various domains of our behavior. Society tends to scapegoat those who are unpopular. In her own words "monarchs feed on fear" "Fearful people run for protection and care, they turn to strong absolute rulers, ... in democracy by contrast we must look one another in the eye, as equals". This horizontal trust is the firm foundation of democracy.
Amidst disturbing news and divisive rhetoric readily heard and widespread rapidly, reading "Monarchy of Fear" provides a soothing perspective, a timely respite in an onslaught of tribalism and hateful polarization. The ideas of building secluded empires, and hostile policies toward outsiders are alarmingly gaining traction. These may be symptoms of a world marching to a different beat than what Nussbaum describes as our healthy social construct. A lot of the "us versus them" mentality has been propagated by those claiming to be progressive and abiding by human rights. A large portion of stigma is generated by apathy and lack of feeling of any association.
Aligned with the unwavering idealism in the book, the proposed solutions look unfashionable and far-fetched: an obligatory three-year service for the American youth and integration of the public school system.
Now, at the cusp of a new Cold War era, this anthology on fear is relevant more than ever. The omnipresent vibe of hope and optimism is felt throughout the book with the author vigilantly addressing the issue but not consigning to the doom-and-gloom siege mentality ruled by fear. Quite the opposite, she manages to stay balanced and fair-minded.
The repertoire consisted of:
Arvo Pärt's Cantus in Memoriam Benjamin Britten
Mozart's Piano Concerto No. 23 in A Major K. 488
and Beethoven's Symphony No. 7 in A Major, Op. 92
.jpeg)
The representation of private interests ... abolishes all natural and spiritual distinctions by enthroning in their stead the immoral, irrational and soulless abstraction of a particular material object and a particular consciousness which is slavishly subordinated to this object."
Marx, On the Thefts of Wood, in Rheinische Zeitung (1842)
This movie is not an easy watch but a necessary one if you wish to understand the perils of unbalanced economic growth.
Youth (Spring) is a 220-minute mammoth documentary filmed between 2014 and 2019. Separate substories show various workshops in Zhili City, China, the center of the textile industry. You see immigrant youth coming from nearby rural areas searching for jobs in these workshops under poor and unhygienic conditions. The dorms where these laborers work are dingy, rather dark, and depressingly dilapidated. The location is ironically named Happiness Street.
In the first story, we see a couple of lovers (19-20 years of age) having fun and joking about the speed of sewing the clothes and showboating their skill sets in an innocent childish way. Immediately after the intro, you're thrown into the real business which takes place downstairs (some similar structure in all the workshops: the boss's office is downstairs). The mother of the girl is negotiating time off for the abortion of her unwanted grandchild (the child of the jubilant girl upstairs). The boss's objection is business-oriented. Money-oriented. Religious values, Pro-life, and other philosophical/ideological concerns are distant and irrelevant in this material-oriented discourse. This is the heart of the textile industry in the aphotic heart of the Marxist world. They want the order to be prepared ASAP and they cannot offer the luxury of a day off.
The other story depicts a verbal argument between two young men (around 18 years old), The angry boy tries to attack with a scissor only to be stopped by the interference of ladies particularly a mother figure in the workshop, cutting his hand during the process.
In one story, we have a protest from a group of workers as they express their discontent over their salary to the "bosses" downstairs. Here a couple in their 50s are in charge. The gentleman undermines the protestors and threatens the workers to be fired and replaced easily. Considering the mechanical nature of the job, one can hardly argue on that point. This is another sequence that implies how much violence is hidden behind the rudimentaries of Happiness Street!
Even rare off hours in the movie do not change the gloomy mood. In one of the scenes, we see young siblings in a dark internet cafe discussing and you see the exhausted girl fall asleep in the cafe.
Each story segues into another without a link except for identical environments across workshops. There is no sustained narrative as the director probably intended to provide collages of various substories.
Youth is about a world reduced to paper bills, soulless transactions, and undignified souls walking their way through trash-strewn alleys (as a side note, you see abundant use of plastic in the environment!). This is a real picture of an industry with a revenue of 330 billion dollars per year. However, in Happiness Street, the youth are slavishly subordinated to objects and to nondescript bosses who ruthlessly upbraid them. Marx did predict this but not for a Communist-ruled terrain!
Youth (Spring) is directed by Wang Bing.
Pedram, 4/22/24
