Cosplayers for Congress

jake and anne rush

There is no Super PAC called “Cosplayers for Congress.” But there should be because there’s a candidate in need of their endorsement.

Jake Rush would like to unseat first-termer Ted Yoho in the Republican primary for Florida’s 3rd Congressional District. His law-and-order creds include: Sheriff’s Deputy, Stand Your Ground defense lawyer, and card-carrying NRA member. He was selected for the West Point Military Academy and SWAT training, but turned both down for the laudably conservative desires to stay near family (the University of Florida is just twenty minutes down the road) and to save tax payer money (SWAT gear is expensive!). He’s also a skilled knife-thrower.

I spent a couple of days in Gainesville last year because the University of Florida is home to one of the largest Comics Studies programs in the country. I gave a conference paper on The Fantastic Four and The Walking Dead. To the best of my knowledge, Rush was not in attendance. He graduated with his Classics major over a decade ago, well before UF or most any college considered comic books a subject worthy of study.

And yet Jake Rush and the UF Department and English must have been drinking from the same superhero-tainted water supply. One of Rush’s recent press releases includes a photograph of himself dressed as the Flash (get it?) and his wife Anne as the Phoenix, a DC-Marvel split ticket unusual in this age of political partisanship.

“There is nothing wrong with being a gamer,” says Rush, while also admitting that it is “kinda nerdy.” He even manages to give cosplay a law enforcement spin: “when applying for undercover work, these hobbies were considered an advantage.” Because what sheriff doesn’t want a deputy with experience dressing up as George Washington, MacBeth, and Jesus?

Rush’s opponents are more interested in the characters not listed on his resume. They include Chazz Darling, Staas van der Winst, and Archbishop Kettering—all vampiric variants in the cosplay sub-universe Mind’s Eye Society. Rush served as a staff member for his Gainesville chapter, which involves wearing a lot of black leather and creepy contact lenses. “I’ve been blessed with a vivid imagination,” he explains, and “raised with a deep appreciation for theatre, costumes and art.” A reporter at the SaintPetersBlog prefers to call it a “bizarre double life,” “one that would rival Jekyll and Hyde.”

Rush-and-his-LARP

Alyssa Rosenberg at the Washington Post defends Rush, arguing that his blood-sucking, cocaine-snorting cosplay is “deliberately transgressive,” and so of course a reserve deputy “would gravitate towards the very things he finds off-limits in his professional capacity.” Some of those off-limit behaviors include Chazz Darling’s rape threats: “I wanted to stick my dick in your mouth to shut you up . . . you’re going to end up naked and sore, tied to the floor of a van marked ‘Free Candy.’” Unless fellow cosplayer Lee Snyder is telling the truth and those messages were posted by a different “Chazz Darling” on his and Rush’s shared account. Either way, the cosplay universe is more complex than a mere Jekyll/Hyde duality.

I prefer Jake’s father Robert Rush’s defense. “Jeez,” he said to a Business Insider reporter, “I guess you might want to put down too that we used to have just great big Halloween parties every year.”

Robert Rush is a law partner and sometime theater producer. I was startled to read in his son’s list of theater creds that he backed the Off-Broadway production of Elvis People by Doug Grissom, a theater professor at the University of Virginia. I wouldn’t be teaching Playwriting now if I hadn’t taken Doug’s Playwriting class while finishing my M.F.A. eight years ago. I asked Doug about Jake.

“WOW!” he emailed back. “Yes, I know his father pretty well – he was the driving force behind producing Elvis People at Mill Mountain as well as New York. Elvis People was his one and only theatrical venture, although now he’s running a kind of ‘CSI’ camp for forensic investigators, which is kind of like a mystery weekend and training course.  His main job is being a defense lawyer, and he’s incredibly successful – and rich. I had no idea his son was a right-wing Republican, though – his father Robert usually defends the underclass, he’s radically opposed to things like the death penalty, and frequently is a critic and antagonist of local police agencies. An interesting family, indeed!”

I saw Elvis People during its 2006 premiere in Roanoke, VA. It’s a play about “fan obsession,” and its vignettes include an Elvis impersonator, one of the earliest cosplayers from before the term existed. My favorite scene is between a boyfriend and girlfriend fighting over a button ripped from Presley’s shirt. The two are partners and rivals in desire, both wanting not simply to be with their idol but to be him too. I don’t know if Jake and Anne ever dressed as Elvis, but his press release includes a photo of them at opening night. I prefer the couple in their matching red and gold costumes last Halloween.

I wish I could say I’d endorse the guy, but anyone who attacks his opponent for voting “to fund Obamacare” doesn’t make my superhero list. And the Rand Paul-backed Yoho is the Tea Party guy who called the Affordable Heathcare Act’s tanning booth tax “racist against white people.” So the August 26th Republican primary looks like a lost cause. Now only if Democrats Aquasia Johnson McDowell or Marihelen Wheeler would pose as their favorite superhero and/or demon, Cosplayers for Congress would have a candidate worth supporting.

elvis people

The Zombie Apocalypse and the Dangers of Empathy

A response to Christa Blackmon‘s “How The Walking Dead became the Realest Show on Television.”

“American popular media is in dire need of stories that help us build empathy with the rest of the world, and science fiction dramas like The Walking Dead, that feature realistic storylines and a diverse cast and crew, can help fill that void.”

– Christa Blackmon

Carol and Tyreese

The idea that one should have empathy with displaced persons all over world is perhaps incontrovertible. It seems hardly questionable that we should do our best to help the hungry, poor, and afflicted of the world to the best of our abilities.

In her article on the positive ethical dimensions of The Walking Dead (TWD), Christa Blackmon enumerates a long list of worthy projects connected directly or thematically to TWD TV show. These include Sarah Wayne Callies’ work with the International Rescue Committee, Danai Guirira’s co-founding of Almasi Collaborative Arts and Hawa Abdi’s transformation of her family farm into a hospital camp for refugees in Somalia. All this leads up to her call for science fiction dramas to continue the good work of moulding the ethics and inclinations of their viewers and readers.

This assumes of course that these vehicles (ranging from Star Trek to Battlestar Galatica) are unproblematic in their politics and ethical considerations.

I have barely read more than 20 pages of The Walking Dead comic but the TV series seems less about virtuous behavior then moral dilemmas—preaching has rarely made for good entertainment or cable subscriptions. Having said this, for a series about death and dying, The Walking Dead does seem to have a rather optimistic and comforting attitude towards life. The creators of the TV series in particular make a point of culling only those characters of secondary interest to the viewers. They in turn feel assured that both Rick Grimes and fan-favorite Daryl Dixon (among others) are unlikely to be eaten anytime soon providing they like their contracts; a fact which has been made fun of by no less august an institution than TV.com.

DARYL DIXON

Role: Rebel and fan favorite

Strengths: Endless supply of magical crossbow bolts; badass f*cking attitude; alliterative name; the unwavering love of millions

Weaknesses: Ha! Come on, Daryl doesn’t have any weaknesses

Chances of surviving on his own: Pretty good, I’d say! And with millions of fans ready to boycott the series if he ever dies, even better than that. But let’s say The Walking Dead really wanted to be shocking; wouldn’t the show at least consider the possibility of *gets murdered by Dixon’s Vixens*

Life expectancy: A long, long time. Did Sawyer die? Did Han Solo die?

 

BETH GREENE

Role: Farmer’s daughter

Strengths: She can sing; emotionally empty after caring for too long, so she won’t be held back by tough decisions

Weaknesses: Might be suicidal; fragile as a dry leaf

Chances of surviving on her own: Oh come on, they can’t kill Beth! Don’t you DARE kill Beth!

Life expectancy: They’re gonna kill Beth. She’s done this season or the next.

 

So The Walking Dead—optimistic and humanistic. Does this sound about right?

little-girl-zombie-walking-dead

Contrary to popular belief, TWD TV series frequently offers up a world of conservative values and black and white morality.

Our heroes may be difficult, morose and frequently irritating but they are generally “good.” Their enemies have been murderous stragglers on the highways of the apocalypse, a psychopathic despot ruling over a town of survivors and, at the close of the last season, gentle human herding cannibals. I think it would be quite easy for most viewers to choose between these factions in the event our world becomes overrun by the undead (this presumes you’re good too, dear reader).

And this is the illusion of much popular fiction (science fiction or otherwise)—that it is not only easy to choose sides but that our point of view (our side) is always the correct one for all its faults.

[Spoilers Ahead]

“The Grove” (S04E14) will probably be cited as evidence to the contrary. It is, of course, noted for breaking the taboo on child murder: the hapless killing of her own sister by Lizzie Samuels and the capital (preventative) punishment instituted by her caretaker, Carol Peletier.

In her short commentary on this episode, Blackmon suggests that “we can take solace in the fact that children in our world do not have to suffer alone and psycho-social services can be available.” But that is not the only lesson we can take from what many consider the best episode of Season 4 of The Walking Dead.

Lizzie Samuels kills her sister as a result of some kind of psychopathy (certainly a serious delusion) where she considers the undead as bounteous as her fellow humans. It is never in question (to the viewers) that the derangement is permanent since she had threatened to stifle and zombify a helpless baby just a few episodes before.

Lizzie’s caretaker, Carol, has been rewritten over the course of Season 4 and transformed into a hard-nosed survivalist who is willing to do whatever it takes to ensure the continuity of the group. She has demonstrated that she firmly believes in a policy of pre-emption. Earlier in season 4, she kills a pair of plague victims because they stood little chance of surviving their affliction and had instead become a source of contamination. She also takes it upon herself to kill (through tears I should add) Lizzie, a zombie religious zealot who threatens to decimate all those around her. Her actions are sanctioned by Tyreese, the lover of one of the plague victims who she killed. Her crime of murder is forgiven but not forgotten in light of the crushing anguish her soul has to withstand as a result of her deeds. The logic at play here is that it’s “what’s in your heart that matters most” and that nothing would have saved Tyreese’s plague-stricken lover one way or another—the narrative of TWD has made that clear.

Viewers of the The Walking Dead TV series are likely to say that Carol isn’t supposed to be nice but it is safe to say that we’ve seen all this before in assorted other entertainments—Carol is the Jack Bauer of the zombie apocalypse.

Bauer is renowned for his effective albeit fictional physical examinations of the gnats feasting on the hide of American civilization. He has been reported to be a favourite among the torture elite. That Bauer’s success in this arena appear to have been repudiated by real life experience is of little consequence.

For her part, Carol performs the unpleasant but necessary work which is a counterpart to maintaining the fruits of civilization (so that you and I don’t have to). How much more poignant would it have been if Carol’s action had not only been pointless (as it was) but also premature and harmful; if a cure had stepped into the plague-stricken prison within hours of her murderous activities; or if Lizzie had simply taken some berries causing her to hallucinate temporarily (this could still be the case). As it happens, Carol’s actions are horrifying, difficult but, in the final analysis, understandable. She is the Madeline Albright of Zombieland; the former United States Secretary of State who when confronted by Lesley Stahl on the question of the half million children who died as a result of U.S. sanctions against Iraq advised her interlocutor that:

“I think this is a very hard choice but the price – we think the price is worth it.”

Carol Peletier could not have put it better herself; the main difference being that Carol offers her own life to Tyrese in “compensation” for her sins; in this way identifying with the monstrous child she dispatched earlier. In other words, she sees herself as a danger to mankind.

Her actions in this instance suggest the buoyant perspective TWD has on human nature, for how often do we actually see the child murderers of our own times even offering to go to court?

Walking Dead Lizzie Gun

Who is Lizzie Samuels but one of those faceless, helpless but contaminated children who need to be sacrificed for the greater good of civilization itself? The article at The New York Times linked to by Blackmon concerning Dr.Hawa Abdi is exemplary in explaining the difference between the good children and the contaminated ones.

Nicholas D. Kristof’s opening gambit in that article reads as follow:

“What’s the ugliest side of Islam? Maybe it’s the Somali Muslim militias that engage in atrocities like the execution of a 13-year-old girl named Aisha Ibrahim. Three men raped Aisha, and when she reported the crime she was charged with illicit sex, half-buried in the ground before a crowd of 1,000 and then stoned to death.”

He ends in praise of Dr. Hawa having explained the difference over the course of his article:

“What a woman! And what a Muslim! It’s because of people like her that sweeping denunciations of Islam, or the “Muslim hearings” planned in Congress, rile me — and seem profoundly misguided.”

To some there will seem little amiss in this approach—a perfectly sensible way to formulate an article on a “good” Muslim. But imagine, for a moment, if all articles on the laudatory nature of American foreign policy read like this:

“The United States has killed hundreds of thousands of people in wars and covert operations over the past few decades but the President’s action on this occasion are noble and praiseworthy. What a man! And what an American!”

The problems arising from Blackmon’s concluding plea (quoted at the top of this article) emanate from this lopsided sense of self-righteousness which soon clings to it in real life. This only becomes apparent when we consider the extent of this hoped for empathy and its final destination. It is perfectly fine if this empathy ends with our pocketbooks and non-violent service but there is little doubt that war and sometimes devastating sanctions are offered as solutions to the difficulties of delivering aid or ridding the world of despots—as a tool to protect those most vulnerable.

It seems to me that the American government has used this “empathy” (actually more like cursory interest) for their own ends over the last few years. A prime example of the “Too Much Empathy” brigade might be UN Ambassador Samantha Power who is the authoress of the Pultizer Prize winning book, A Problem from Hell, and who is now a vehement and consistent supporter of American Interventionalism.  She is a self-described “humanitarian hawk.” Just think of the tragedies and foment the current administration has managed to stir up in places like Libya, Syria and Ukraine in the name of democracy and human rights. These actions would not have worked quite as well without a sprinkling of empathy largely generated by the news media. Lord save us from even more desultory “empathy” from shows like The Walking Dead.

What the world really needs is more “real” knowledge. If we feel that Yarmouk camp in Damascus is a tragedy which requires decisive action, should we find only Bashar al-Assad guilty or do we also consider the actions of some likely instigators worthy of reproof:

“In January, the Senate Intelligence Committee released a report on the assault by a local militia in September 2012 on the American consulate and a nearby undercover CIA facility in Benghazi… A highly classified annex to the report, not made public, described a secret agreement reached in early 2012 between the Obama and Erdogan administrations. It pertained to the rat line. By the terms of the agreement, funding came from Turkey, as well as Saudi Arabia and Qatar; the CIA, with the support of MI6, was responsible for getting arms from Gaddafi’s arsenals into Syria.”

Or to take an even more extreme case, if we feel horrified by the Rwandan genocide, should we not also consider American complicity in the Rwandan Patriotic Front’s (RPF) invasion of Rwanda prior to the genocide and the vigorous French support for the genocidaires themselves? Who then do we support? The ones who triggered the genocide or the ones who fanned it? It would appear that the problems of this world are not quite as easily fixed as those resolved by shooting a girl in the head.

Consider one solution to this “white man’s burden” proffered by former army colonel and Professor of International Relations and History at Boston University, Andrew Bacevich, a few years back. In answer to an audience member who wondered if the de-escalation of U.S. activities in the Middle East would encourage militants and be an abandonment of those most in need, he suggested that Americans should instead consider inviting more citizens of those nations back to the comparative safety of the United States for educational experience. Not a magic bullet to solve all ills but infinitely preferable to the dropping of bombs. Perhaps even the beginning of empathy.

What about Amanda Waller?

 

Arrow

Figure 1:Suicide Squad from the CW’s Arrow

The superhero has emerged as the trending symbol of our mediated world.  Musings over Marvel’s and DC Comics’ relative successes adapting characters to the big and small screen opens the door to some interesting moments of cultural contemplation.  As Peter Coogan suggests in a recent essay entitled, “The Hero Defines the Genre, the Genre Define the Hero,” the link between the superhero and the genre are not incidental.[1] The selfless nature of the superhero and its genre reflect pro-social values Americans feared threaten by a rising urban industrial order.  Changing the superhero then, echoes wider fears of disruption stemming from the loss of tradition. In this framework, the superhero becomes a measure of communal stability in some minds.  As the superhero evolves enough to maintain its relevance, these characters offer context for cherished values placed in a modern world. As these characters are recreated for film and television audiences, they provide a window on the pace and scope of our collective evolution.

Over the last two seasons, the CW’s Arrow has emerged as an effective vehicle for adapting DC Comics characters to a broad audience. Like the Marvel Cinematic Universe before it, the creative minds behind Arrow built their world by mixing decades of comic book adventure. Free to pick and choose, they adapted with an eye toward creating easy entry for new consumers and maintaining the loyalty of established fans. The recent appearance of Amanda “The Wall” Waller, on Arrow highlights the fact the current comic book culture is filled with questions linked to identity and gender. In deciding to adapt this character, the producers have entered into that dialogue.  Taking their cue from the 2011 reboot called the New 52, Arrow’s Amanda Waller is a marker of larger identity concerns.

suicide-squad1

Figure 2: Suicide Squad #1 (2011)

The New 52 restarted DC comic publications from the beginning. Complaints about this reboot have focused on missed opportunities.  Critics point to uneven characterization, failed opportunity linked to diversity and the reorientation towards new (hopefully younger) readers by abandoning continuity.  These complaints are understandable, but perhaps unfair.  In 1985, the company revamped the publication line with its Crisis on Infinite Earths mini series. Often lauded by fans, it was greeted with complaints as well.  History has proven that story a milestone.  With this in mind, we may see “The New 52” lauded for the push toward genre variety and the integration of formerly sacrosanct characters from Vertigo, the publisher’s mature reader line, back into the mainstream comic universe.  Whatever history’s judgment, the immediate media spotlight has and will likely continue to question the depiction of female characters.

Concerns about gender and representation in comics are not new.  However, in the context of the 2011 reboot, the re-imagined overtly sexualized look and actions of female characters such as Starfire and Catwoman triggered protest. Adding to these concerns, products, drawn from comic book source material, reflect a dynamic of gender objectification long cited by critics. In particular, the outcry over the failure to produce a Wonder Woman film and criticism about Rocksteady Studios’ depiction of Harley Quinn and Catwoman in its Arkham game franchise has troubled fans.[2]

Arguably the transformation of Amanda Waller is a crucial part of this dialogue.  Introduced in 1986, the comic book Amanda Waller is an African-American middle-aged woman with a heavy build working as a government bureaucrat.  She is a unique example of a black female authority figure in mainstream superhero comics.  Her serious demeanor and steely determination managing a government-sanctioned task force called the Suicide Squad made her a fan favorite. Effective and dedicated, Waller commands the respect of villains and heroes alike. Animated television and film appearances have further embellished Waller’s status among fandom.
 

Suicide_Squad_Vol_1_10

Figure 3: Suicide Squad Vol. 1. #10 (1988)

In revamping the publication line, DC editors made decisions designed to make character more accessible to a broader (less expert) reading public. Clark Kent/Superman is no longer married to Lois Lane (quasi-damsel in distress). Instead, he is dating Wonder Woman/Diana Prince, creating the ultimate “power” couple (Couldn’t help myself).  Abandoning the Superman /Lois Lane relationship highlighted an edict that marriage is prohibited in this new status quo.  This stance was perhaps made more frustrating because it was only fully articulated in the midst of a public furor over the editor’s decision to derail the same-sex marriage of Batwoman (Kathy Kane), the publisher’s most prominent lesbian character.  The tumult surrounding that decision and the continued concern over female character placement and representation prompts me to ask, “What about Amanda Waller?”

Waller transition in the New 52 has received comparably minor protest. Arguably, while heroes and villains deserve the main scrutiny on a comic page, Waller’s transformation has a greater impact because of her unique status as a woman of color in a position of authority. The lack of concern about Amanda Waller’s presentation highlights gender and race intersectionality.[3]  Articulated by black feminist intellectuals such as Frances M. Beal and Alice Walker, the interlocking nature of gender and racial bias creates overlapping barriers linked to race and sexism for women of color.[4]

Arguably, Amanda Waller has been affected by gender and racial expectations since her introduction.  The original characterization could be seen as leveraging the nineteenth century mammy stereotype to great effect.  Waller was a sexless maternal figure who valued her superior’s goals, but showed disdain for the team that acted as her quasi-family. Unconscious and unspoken, Waller’s placement as a “strong” and “principled” bureaucrat loyally working for the government confirmed some assumptions. Yet, with depictions of African-American women in the 1970s caught between a normalizing figure such as Diahann Carroll’s single mother professional in Julia (1968-1973) and Blaxploitation inspired icons such as Pam Grier’s tough vigilante Coffey (1973) Waller’s debut in the 1980s struck a more balanced note in a social and political landscape shaped by warring conservative and liberal views of African-American life and culture.

Neither objectified nor objectionable, there has been a consistency to creator’s attachment to Waller as a supporting character. Always in the background, always working for the “greater” good, her experience compounds the critical assessment that minority characters in comics are only allowed to function within a limited assimilative framework. Now, younger and more traditionally beautiful, Waller does not have the same gravitas. Waller’s function remains the same, but her appearance now creates a radically different context to understand her.  Like other female characters in the New 52, her physical beauty brings her more in line with male expectations, but in her case those expectations have an added layer of racial exoticism.  Now seductive as well as powerful, the new Amanda Waller hovers between a “predatory” Jezebel and a  “malicious” Sapphire stereotype.  At once desirable (Jezebel) and cruel (Sapphire), the new Amanda Waller carries the full weight of gendered racial expectations in a manner that does little to differentiate and everything to limit her character. The fact that this Waller has made the jump to Arrow reinforces the transformation in the pop culture landscape. Still, Amanda Waller’s transformation is a marker of a conversation we are not having gender and diversity in comics.


[1] Robin S Rosenberg and Peter M. Coogan, What Is a Superhero? (Oxford University Press, 2013).

[2] It worth noting the recent Arkham Knight (http://www.ign.com/videos/2014/03/04/batman-arkham-knight-father-to-son-announcement-trailer) game trailer featured a redesigned Harley Quinn that is arguably less problematic.

[3] “Race/Gender/Class ‘Intersectionality’,” accessed March 16, 2014, http://www.uccnrs.ucsb.edu/intersectionality.

[4]Frances Beal, interview by Loretta Ross, video recording, March 18, 2005, Voices of Feminism Oral History Project, Sophia Smith Collection, tape 2.

Julian Chambliss is Associate Professor History at Rollins College and co-editor of Ages of Heroes, Eras of Men: Superheroes and the American Experience.

How the Walking Dead Became the Realest Show on Television

The-Walking-Dead-Season-4-Part-2-Promo

 
The Walking Dead, the most popular show on television, has made a name for itself being a dark, cinematic, and wildly successful story about a zombie apocalypse on the cable leviathan AMC. And with numerous accolades from mainstream industry awards like the American Film Institute (twice), the People’s Choice Awards, the Television Critics Association, and even a Golden Globe nomination, a rare feat for any science fiction or horror series, it’s become a juggernaut franchise any network would envy. It has become so popular, in fact, that AMC dedicates a full hour of its schedule to a live post-show analysis hosted by Nerdist mogul Chris Hardwick called The Talking Dead, and featuring a wide range of celebrity fan guests.
But, I hope, for all its achievements critics may one day remember the franchise not solely for its popular success, but rather in its ability to build empathy for real-world survivors of tragedy.

Science fiction at its best allows us to tell stories about the world in which we live in ways that transcend politics and prejudice. Fantastic elements like zombies, aliens, or supernatural monsters all carry elements of our deepest fears and anxieties about the world we live in. And through these devices we can deal with human issues like guilt, redemption, or morality in safe, palatable ways while providing seemingly mindless entertainment for the masses.

The Walking Dead is set in contemporary Georgia shortly after a deadly epidemic has lead to the complete downfall of civilization. A former sheriff, main character Rick Grimes, played by Andrew Lincoln, navigates through devastated suburban landscapes filled with “walkers” (the word zombie is never mentioned), the reanimated dead who seek only to consume the flesh of the living. Rick, his wife Lori and son Carl join with other survivors in risking ravenous encounters with walkers to find temporary shelters and clean food. Contact with other humans carries its own dangers as some groups make it clear they would rather steal, rape, or kill to just to give themselves an advantage for another day. The world of The Walking Dead is rife with desperation, not unlike current war zones in Central Africa and Syria and natural disaster regions in Southeast Asia.

In 2012 Sarah Wayne Callies, who played Lori, became a Voice for the International Rescue Committee. Last year she joined a campaign to raise awareness for Syrian refugees, visiting with survivors of sexual violence in Domiz. Although she hasn’t made any direct parallels from her humanitarian advocacy to the problems her character faced, the similarities are there for anyone who watches the show.

In the second season, when Lori discovers that she is pregnant, she wrangles with the decision of whether or not to abort the child. Is this the kind of world she wants to bring a new life into? She fears for more than just her children’s safety, dreading that her son’s quick adaptation to their new reality means he will lose his humanity. In the episode “Killer Within” she begs Carl not to lose his pre-apocalyptic sense of right and wrong, pleading “don’t let the world spoil you.”

The theme of psychological trauma in children also continued this season, coming to a dramatic head in perhaps the show’s most shocking episode yet, “The Grove.” I won’t spoil it for you, but let’s just say we can take solace in the fact that children in our world do not have to suffer alone and psycho-social services can be available.
 

409_Michonne_Pet_Walkers

 
Actress Danai Guirira, the katana-wielding Michonne, is also no stranger to the refugee narrative. Born to African immigrants in the US, she grew up in Zimbabwe and has been vocal about the unique experience of Africans. Danai is also co-founder of Almasi Collaborative Arts, an organization that fosters cooperation between American and Zimbabwean artists and empowers Africans to tell their own stories. Her professional encounters with Liberian women in war certainly influence her portrayal on screen. “The parallels of The Walking Dead world and a war zone– that idea was very resonant for me,” she told Rolling Stone last fall.

The show’s fourth season became even more poignant in depicting the plight of its characters in a way that rings true to real-world crises. After our heroes set up a permanent settlement, the story moves away from conflicts with other survivors. Instead they must focus on growing their own food, collecting clean water, continuing their children’s education, substance abuse as a coping mechanism, and combating a serious outbreak of disease in their new home.

The character of Hershel, played by veteran actor Scott Wilson, is the embodiment of a peacebuilder. He inherited the role of the group’s conscience following the exit of another white-haired elder, Dale, who functioned as a more explicit voice for justice and human rights. While Rick and Michonne struggle with opening themselves up to help others, afraid of the pain that will come when they ultimately fail, Hershel is an unending fountain of mercy. During the plague storyline he gives an impassioned plea for the afflicted to bear together. “You take a drink of water, you risk your life,” he he says. “The only thing you can choose is what you’re risking it for.”

In the episode “Internment,” Hershel endeavors to give the infected hope and comfort, referencing John Steinbeck’s quote about a sad soul killing faster than any germ. It is in contrast to others in the group who want only to separate the sick from the healthy, and even one character who took murderous measures to keep the disease from spreading. While waiting for treatment to arrive — and there is no guarantee it will — he exposes himself to the plague to bring food and water and even hand pump oxygen into a man’s lungs. Compassion fatigue? This man has never heard of it. As we see everyday in the stories of real-life refugees, Hershel stands out because of his resilience: stuck in a dire situation, his character shows that there are still those who rise to take care of others

It is a story not unlike a real life doctor in Somalia, Hawa Abdi, who turned her family’s farmland into a camp for over 90,000 internally displaced persons. She and her daughters work hard not only to feed and provide medical care for these people, but also to protect them from further violence and exploitation at the risk of her own family.

Logically, The Walking Dead’s themes come from the evolution of decades of television storytelling. Social and political issues have always had a place in science fiction. It was the original Star Trek series that set the precedent in America for the genre to do more than just entertain. At a time of social upheaval in the 1960’s, the series boldly represented humanist ideals of equality and social justice. While the show was slow to hit its peak, its journey from a short-lived television series to a massive media empire is what paved the way for socially responsible and commercially successful science fiction in America.

As audiences developed a taste for grittier dramas more grounded in the real world, science fiction film and television continued to keep pace. More recent ventures that tackle global issues with great commercial and critical success include Battlestar Galactica (2004), District 9 (2009), and Catching Fire (2013).

The Peabody Award-winning Battlestar Galactica had a similar post-apocalyptic survival set up, but with humans battling an advanced race of robots. Producers Ronald D. Moore, an alumnus of the Star Trek shows of the 1990’s, and David Eick mixed themes of the scarcity of basic human needs like clean food, water, and medical care with much more provocative nods to hot button American political issues like torture, terrorism, and the occupation of Iraq. Eick and Moore appeared alongside stars Edward James Olmos and Mary McDonnell at a special UN panel on the show’s themes of war, dialogue and reconciliation, and human rights in 2011.

Neill Blomkmap’s District 9, an insectoid alien version of apartheid South Africa, received four Academy Award nominations including Best Adapted Screenplay and Best Picture. Blomkamp followed his debut with another overtly political story with Elysium, about a future Earth where humans are violently divided by access to healthcare and economic disparity.

Catching Fire, the sequel to the powerhouse teen sensation The Hunger Games, took a deliberate darker and more political turn into the series. Katniss Everdeen, played by Oscar winner Jennifer Lawrence, is a reluctant symbol of a resistance against a brutal totalitarian regime. Her motivation, to keep her loved ones safe, is so simple that she could represent the voices of any number of people power movements.

The creator of the comic book series and showrunners of The Walking Dead have never mentioned any global inspiration for the stories they tell. But familiarity with refugees isn’t a requirement for telling a compelling, human story about real people who have lost everything and still persevere. American popular media is in dire need of stories that help us build empathy with the rest of the world, and science fiction dramas like The Walking Dead, that feature realistic storylines and a diverse cast and crew, can help fill that void.
_______

Christa Blackmon is a graduate of American University and the former Senior Editor of Palestine Note. She is currently a freelance writer on peace and conflict issues in Washington, DC. You can find her on Twitter at @theodalisque.

Introducing Miss Mouse

Last week, all my twitterers were a’fluttering with the good news.  Rocket News 24 translated into English and passed along some tweets from Rumiko Tezuka, who had uncovered some treats from her father’s long-under-lock-and-key desk drawer.  The extant bits the tittering author found especially amusing were a small stack of erotic drawings of an anthropomorphic mouse with an accompanying image of a woman transforming into a serpent-like creature.  The drawings themselves are lovely.  Miss mouse is depicted playfully sort of rolling around an impression of a bed or soft surface.  Her downcast eyelashes don’t acknowledge the presence of a viewer.  She smiles with an unselfconscious sensual comfort that seems to affect the article’s author with no small amount of unease.

mouse

Miss Mouse

There’s some gibberish about “base urges” and a hypothetical about sensations in Walt Disney’s backside; musings on the “social propriety” that restricts how Uncle Walt was supposed to react to such sensations.  What says such social propriety of how closely we are supposed to think about the sensations of the backsides of long-dead men?  Reading further, such a propriety calls for projecting this effluviate notion in the direction of a grown woman:

“We realize these things are more accepted as just another form of expressing your talents in families of great artists, but should our kids ever stumble across one of our old skin rags, we hope they handle the discovery with a little more discretion than Rumiko.”

A propriety that demands, in the wiggle-room between an erotic subject and a clear and present exploitative gaze, that one be inserted.

“Don’t worry, though, it’s not like all the pictures are focused on her voluminous mouse breasts. / (in a following caption) See? A few call attention to her shapely rodent derriere, instead!”

It’s noted that Osama Tezuka is Manga no Kami-sama, the God of Manga, comparable to the Greek patriarch Zeus.  Acknowledged is the fact that a butt doesn’t care under which circumstances it would like to be scratched, but not that gods of the Greek variety have similar concern for the manners of mortal men.  Astro Boy, by some metrics Osama Tezuka’s most popular work, is held up a iconic in exclusion of damned near everything else he created.  The reverence of a god through the lens of this one property diminishes the big-heartedness and open-mindedness of Tezuka’s material, some of which is not for kids at all no not one little bit, yet is still the reason creators and fans carry admiration and respect for Tezuka and his work decades after his death.

“Tezuka is a furry!”  Furries are tittering, too.  It’s not necessarily a discovery to furries who have read Ode to Kirihito, Tezuka’s epic medical thriller about a disease that twists human bodies into dog-like forms and their mistreatment at the hands of those who see them as no longer human, or Kimba, the White Lion, his clairvoyant Lion King fan-fiction.  Bagi, the Monster of Mighty Nature, featuring the sensual genetically altered half-woman-half-cat is clearer still.  There’s little doubting the “furry-ness” of this magnificently lurid series of transformation sequences (transformation is a well-established furry fascination/fetish today).  While he lived, Tezuka-sama was a human man, and the concerns of human men (sex sex sex) coursed beneath a great deal of his achievements.

To briefly detour, allow me to bring up Rob Clough wondering about the recently completed final volume of Omaha the Cat Dancer.

“The depiction of the characters’ bodies is so close to human that I’m not sure why this was done as a furry series in the first place, other than being a popular style of the time.”

That’s because furry sensibility goes back way before the furry fandom.  Omaha is one of the first widely-read capital “F” Furry comics, rather than a comic featuring furry characters.  The sensibility, that anthropomorphism for its own sake, is primary.  The other elements of Omaha (explicit sexuality, inclusive diversity, soap-opera pyrotechnics) are special because they are revolutionary in a funny animal comic.  Bringing us back home, Chris Randle in a delicious response to the unveiling of Tezuka’s Miss Mouse, provides a lucid answer to Clough’s query.

“If the funny-animals trope has been used throughout cartooning history to simplify, interpolate and transfigure, then lust defines the medium too, even when it was necessarily sublimated beyond the sleaziest outlets.” (“sleaziest outlets” referring to Tijuana Bibles).

Excellently put!  Though I must submit that for work with a furry sensibility (animal stories that have an astral resonance to weird little kids who will grow up to be capital “F” Furries), the element of lust is maybe only barely sublimated.  We see this in the 1001 Arabian Nights clip, in Disney’s Robin Hood, in this truly obscene Tom and Jerry cartoon from 1943.  “Old cartoons are weirdly sexy” maybe isn’t the most prestigious hill of cultural criticism for me to choose to die on, but I’m confident I won’t be alone up there.  It’s a subject that apparently must be compartmentalized in this sub-genre for children in a medium for children.

If little prestige comes to Furries from the revelation that the god of manga sometimes worked in the continuum of the furry sensibility, it isn’t my concern.  Miss mouse is happy with her own self as she was in that drawer all these years, a set of nice drawings regardless of all our tittering and twittering.  Furry to most people is something that gets you, rather than something you get, and Osama Tezuka is continuous in his inspiration to all of us, furry or not, who wish to die slumped over our desks.  Various sensations course through the butts of the living, and all the while old Uncle Walt lies naked in his grave, signifying nothing.

Which Margaret Sanger?

I first came to hear of Peter Bagge’s Woman Rebel: The Margaret Sanger Story through reading Sarah Boxer’s review at TCJ.com; an article which I approached with a mind to find articles to include in my Best Online Comics Criticism list for 2014.

Boxer’s article is congenial and engaging without getting into too many details. What emerges from it is a picture of Sanger as a tireless campaigner for women’s rights and their access to birth control; an individual with the ferocity and disposition of a saint who “martyred” her mind and body on the altars of alcohol and Demerol for the cause.

Boxer’s review takes its cue from an episode near the beginning of Bagge’s biography.

 Margaret Sanger

In Boxer’s words, Sanger was a

“…true hero, or a super-hero, if you will.” She was a “ball of energy, intelligence, and fury. She was also a proponent of free love…she practiced it (while married) with the writer H. G. Wells.”

And then there’s her She-Hulk like rage (and morally correct disposition):

“Censorship was Sanger’s goad to battle. From this point on in Woman Rebel, it seems that everyone’s eyes are bloodshot and crossed with rage, and you can see rubbery limbs swinging wildly on many a page. Sanger was at war with practically everyone, even those on her side.“

A look at Boxer’s conclusion reveals her train of thought:

“Woman Rebel, though on one level functioning as a superhero comic, also fits onto a certain growing shelf of books with other admirable short biographies…[Bagge] has transformed Sanger into a real live superhero who will herself live to see another day.”

The images produced in the review suggest a kind of absurdist, Far Side version of Sanger’s life. But more than this, there is the air of only marginal fallibility which is the hallmark of the superhero genre. While Tony Stark is allowed to be an alcoholic, Batman will probably still save the homeless man living in an alley way even if he’s suffering from alcohol-induced dementia; Superman rarely deploys his heat vision to sterilize children

War Against the Weak

I had almost forgotten another aspect of the Sanger story, one which I first came to know about nearly a decade ago. That story comes from Edwin Black’s book, War Against the Weak (2003) which charts the rise of the eugenics movement in America (and then abroad). Edwin Black has a short chapter on Margaret Sanger in his book. He approaches the topic with extreme caution and his introduction comes with a prominent disclaimer:

“Opponents of a woman’s right to choose could easily seize upon Margaret Sanger’s eugenic rhetoric to discredit the admirable work of Planned Parenthood today; I oppose such misuse.”

He also pre-emptively loads the section on Sanger with a long list of her achievements and descriptions of her admirable character. His reasons for doing so become quite clear once the reader reaches the chapter on “Birth Control” in his book. Read in isolation, it is a devastating portrait of a figure who, from the tone of Boxer’s review, seems more akin to the Mary Poppins (she could be quite strict and disagreeable) of Birth Control.

margaret-sanger

Black enumerates an appalling record of Sanger’s ideas through the early 20th century. Here are some facts and extracts from Black’s chapter on Sanger:

(1)  She saw the “obstruction of birth control as a multi-tiered injustice” of which one was the “overall menace of social defectives plaguing society.”

(2)  She “expressed her own sense of ancestral self-worth in the finest eugenic tradition.”

(3)  She almost named her new movement, “Neo-Malthusianism” and was an “outspoken Social Darwinist”. Her book, The Pivot of Civilization (1922), contains a chapter titled “The Cruelty of Charity”. The epigraph of that chapter was from Herbert Spencer himself and it read:

“Fostering the good-for-nothing at the expense of the good is an extreme cruelty. It is a deliberate storing up of miseries for future generations. There is no greater curse to posterity than that of bequeathing them an increasing population of imbeciles.”

(4)  From Sanger herself Black quotes:

“Organized charity itself is the symptom of a malignant social disease…the surest sign that out our civilization has bred, is breeding and is perpetuating constantly increasing numbers of defectives, delinquents and dependents.”

“Such philanthropy …encourages the healthier and more normal sections of the world to shoulder the burden of unthinking and indiscriminate fecundity of others; which brings with it, as I think the reader must agree, a dead weight of human waste.”

“The most serious charge that can be brought against modern ‘benevolence’ is that it encourages the perpetuation of defectives, delinquents and dependents. These are the most dangerous elements in the world community, the most devastating curse on human progress and expression.”

(5)  “Sanger…listed eight official aims for her new organization, the American Birth Control League. The fourth aim was “sterilization of the insane and feebleminded and the encouragement of this operation upon those afflicted with inherited or transmissible diseases…”

(6)  Though she was not thought to be a racist, she allied herself with Lothrop Stoddard, author of The Rising Tide of Color Against White World Supremacy which warned that “if white civilization goes down, the white race is irretrievably ruined. It will be swamped by the triumphant colored races, who obliterate the white man by elimination or absorption.”

[In the interest of balance, I will mention this site recounting Sanger’s Negro Project which provides a dissent concerning her degree of racial discrimination. It is, however, quite clearly a pro-life site and needs to be read with proper caution. Some historical facts earlier in the article may, however, be of interest. Also see Anna Holley and Carl M. Cannon on the misuse of Sanger on this controversial issue.]

Sanger was probably an equal opportunity eugenicist who esteemed Whites, Jews and Blacks alike as long as they had good genes. I guess humanity is safe as long as there is a consistent definition of those “good genes”.

While Sanger held to these views well beyond the golden age of the eugenics movement, one mark in her favor is that she never held to eugenicide or eugenics-inspired euthanasia. Planned Parenthood is no doubt relieved by this.

*     *     *

I have only a cursory interest in the life of Margaret Sanger. Apart from the books mentioned above, I have only read Sanger’s The Pivot of Civilization and a short but glowing prose biography. From the perspective of a Sanger neophyte, these uncomfortable facts merely lead to more questions about whether these observations and extracts are accurate, and whether they have been taken out of context.

Contrary to what might be gleaned from most reviews of the comic (see below for exceptions), Bagge does actually cover Sanger’s tilt toward eugenics with a relative degree of thoroughness, devoting at least 3 pages to the issue out of a 70 page book (and another 3 refuting her purported racism) .

One problem with Bagge’s comic is the style he has cultivated over the years. It is little changed since his days working on Hate, especially the latter issues where he abandoned his more personal busy linework and delegated the inking to a number of hired hands. This works wonders during the two page episode with sexologist, Havelock Ellis, cited in a number of reviews of the comic but it is a distinct hindrance when faced with moments of violence and misery. Take for example the two page sequence where Sanger helps to create a death mask for her deceased brother. One presumes that some of the panels on the page in question are meant to denote stomach churning terror but the reader feels nothing of the sort. The tearful “reunion” of Sanger’s mother with the face of her deceased son should feel crushing in its futility but seems more like a scene from tawdry potboiler. Perhaps that was the intended effect.

Margaret Sanger_0004

The same may be said for a sequence showing a self-induced abortion which might just as well be a ridiculous portrait of post-alcoholic stupor and diarrhea from an early episode of Hate.

Margaret Sanger_0005

There is a huge emotional chasm created by Bagge’s use of caricature to illustrate these scenes.

This same confluence of big foot cartooning and bright coloring creates a more congenial atmosphere when the serious issue of Sanger’s eugenic inclinations are discussed on pages 53-55 of the book.

Margaret Sanger_0002

 

Margaret Sanger_0003

 

Judging from these two pages, I would say that Bagge has done an impressive job padding Sanger’s often ugly ideas with seemingly logical arguments about the difficult but necessary job of social engineering. Who could possibly blame Sanger for her musings when even Theodore Roosevelt (and Oliver Wendell Holmes, Jr. for that matter) were raving eugenicists?

Consider the first panel of the second page where Sanger speaks out in favor of “nurture” (i.e. environment) over “nature” (i.e. heredity). This line of thought emerges from The Pivot of Civilization (Chapter VII) and proves to be considerably more controversial then one would presume from Bagge’s dramatization .

It should be noted that almost everything in Sanger’s book is seen through the lens of birth control (and not “charity”—which is accounted useless). There she writes:

 “While it is necessary to point out the importance of ‘heredity’ as a determining factor in human life, it is fatal to elevate it to the position of an absolute. As with environment, the concept of heredity derives its value and its meaning only in so far as it is embodied and made concrete in generations of living organisms….Our problem is not that of ‘Nature vs. Nurture,’ but rather of Nature x Nurture, of heredity multiplied by environment…”

“To the child in the womb, said Samuel Butler, the mother is ‘environment’ She is, of course, likewise ‘heredity’…The great principle of Birth Control offers the means whereby the individual may adapt himself to and even control the forces of environment and heredity.” [emphasis mine]

As for the third panel on the second page where our heroine ponders the question of the “fit” and “unfit”, Sanger was less ambiguous than the stated, “And who’s to decide? Politicians? Faceless Bureaucrats?” Her qualms on this subject had nothing to do with the choice between intelligent individuals and imbecilic ones, but class, gender, and most importantly, the type of genius being cultivated. This too comes from Pivot where she writes:

 “…we should here recognize the difficulties presented by the idea of ‘fit’ and ‘unfit.’ Who is to decide this question? The grosser, the more obvious, the undeniably feeble-minded should, indeed, not only be discouraged but prevented from propagating their kind. But among the writings of the representative Eugenists one cannot ignore the distinct middle-class bias that prevails… As that penetrating critic, F. W. Stella Browne, has said…’The Eugenics Education Society has among its numbers many most open-minded and truly progressive individuals but the official policy it has pursued for years has been inspired by class-bias and sex bias….’

“The trouble with any effort of trying to divide humanity into the ‘fit’ and the ‘unfit,’ is that we do not want, as H. G. Wells recently pointed out, to breed for uniformity but for variety. ‘We want statesmen and poets and musicians and philosophers and strong men and delicate men and brave men. The qualities of one would be the weaknesses of the other.’ We want, most of all, genius.”

 

Woman Rebel Tour

Here is Bagge in further explanation from his extensive notes on this portion of the book:

(1)  BAGGE:The Pivot of Civilization…Her critics continue to mine it for evidence of her eugenic thought crimes, yet she spends a large portion of the book criticizing what were then established mainstream eugenic beliefs.

While agreeing with many of their most repulsive ideas I should add.

Much of The Pivot of Civilization is actually inoffensive description of the plight of women and children from the lower strata of society with Birth Control being the key to their (and civilization’s) freedom from the plague of overpopulation. For example, she links child labor with “uncontrolled breeding.” You could argue with the (social) science perhaps but not the intent. Where would one put structural inequality in this equation for example?

Sanger, while acknowledging civilization’s indebtedness to the “Marxians for pointing out the injustice of modern industrialism,” was largely dismissive of the Socialistic tendencies of the time. Of the “gospel of Marx” she wrote:

 “It is a flattering doctrine, since it teaches the laborer that all the fault is with someone else, that he is the victim of circumstances; and not even a partner in the creation of his own and his child’s misery.”

The real problems begin with the fourth chapter of Pivot titled, “The Fertility of the Feeble-Minded” where she writes in her opening foray:

 “Modern conditions of civilization…furnish the most favorable breeding-ground for the mental defective, the moron, the imbecile. ‘We protect the members of a weak strain,’ says [Charles] Davenport, ‘up to the period of reproduction, and then let them free upon the community…so the stupid work goes on of preserving and increasing our socially unfit strain.’”

And soon after:

 “Modern studies indicate that insanity, epilepsy, criminality, prostitution, pauperism, and mental defect, are all organically bound up together and that the least intelligent and the thoroughly degenerate classes in every community are the most prolific.”

And to end:

 “Every feeble-minded girl or woman of the hereditary type, especially of the moron class, should be segregated during the reproductive period….The male defectives are no less dangerous….Moreover, when we realize that each feeble-minded person is a potential source of an endless progeny of defect, we prefer the policy of immediate sterilization, of making sure that parenthood is absolutely prohibited to the feeble-minded.”

 

 (2)  BAGGE: “…Sanger addresses the idea of involuntary sterilization almost as default position, and then proceeds to raise the problems inherent in that idea. But in 1922, that was the default position at least amongst the intellectuals, academics, and progressives that she was trying hard to sway…they were faced with brand new social problems the likes of which humanity had never dealt with before: exploding population growth, rabid urbanization, and massive waves of immigration…All of this lead to increased rates of crime, poverty and mental illness that overwhelmed major US cites. In the face of all this, the idea of sterilizing…seemed like not only a good idea, but the most humane one, considering the options available at the time (another popular solution was to exterminate some or all of the above).

“What Sanger was trying to do was expand our options, so we wouldn’t have to resort to such extreme measures.”

As is clear from Sanger’s The Pivot of Civilization, the first part of Bagge’s statement is complete hogwash. Certainly some would contest the idea that involuntary sterilization was the default position of intellectuals of the time. Quite the contrary, there were some intellectuals who were violently against eugenics itself. Bagge, however, qualifies his statement with the proviso that these were only the intellectuals “she was trying hard to sway.” Since these individuals were largely engaged in the pseudoscience of eugenics, it stands to reason that involuntary sterilization would be popular among them. It is a somewhat circular argument.

(3)  BAGGE: “Interestingly, since we now have more scientifically advanced forms of birth control, government agencies imposed temporary forms of forced sterilization on various wards of the state, such as “chemical castration” of paroled sex offenders or Norplant devices for impulsively promiscuous girls in the foster care system. All things considered, these are not unreasonable solutions…”

 

Beggars In Spain

Of course, these ideas sound all too familiar even in an age when the “science” of eugenics has either gone into hiding or put on new clothes.

In the realm of popular culture, it is best exemplified by Nancy Kress’ novella (chapter 1 of the later novel) Beggars in Spain. Readers on Amazon.com have accurately labeled Beggars in Spain the “perfect book to read before or after Atlas Shrugged”…because it adds so beautifully to the basic arguments of the Have and the Have-Nots.” The soft-Objectivist SF novel which won it all is seen by some as the authoress’ conversation with the ideas of Ayn Rand and, by others, as a paean to the new Objectivism (specifically its ethics). Of course it doesn’t seem to have been promoted that way but you would only need to read 50 pages into the novel to sense the essence of its intent. I had not read 1/4 of the novella before I realized that what I thought were simple quirks were actually the entire measure of its premise.

Beggars in Spain is not completely adamant in its greed and selfishness but it is pretty certain in its diagnosis of one of the major ills of society: the fear, demonization, victimization of, and parasitic reliance on society’s highest achievers. Like Rand, Kress’ work displays an unabashed admiration for elitism but, unlike some of its esteemed forebears, finds a place in its heart for the moochers of society—the eponymous Beggars in Spain.

The metaphor hinted at in the novella’s title is explained in a parable told to Leisha, the protagonist of the work:

“What if you walk down a street in Spain and a hundred beggars each want a dollar and you say no and they have nothing to trade you but they’re so rotten with anger about what you have that they knock you down and grab it and then beat you out of sheer envy and despair?”

Leisha didn’t answer.

“Are you going to say that’s not a human scenario, Leisha? That it never happens?”

“It happens,” Leisha said evenly. “But not all that often.”

“Bullshit. Read more history. Read more newspapers. But the point is: what do you owe the beggars then? What does a good Yagaiist who believes in mutually beneficial contracts do with people who have nothing to trade and can only take?”

“You’re not–”

What, Leisha? In the most objective terms you can manage, what do we owe the grasping and nonproductive needy?”

“What I said originally. Kindness. Compassion.”

“Even if they don’t trade it back? Why?”

“Because…” She stopped.

“Why? Why do law-abiding and productive human beings owe anything to those who neither produce very much nor abide by just laws? What philosophical or economic or spiritual justification is there for owing them anything? Be as honest as I know you are.”

Leisha put her head between her knees. The question gaped beneath her, but she didn’t try to evade it. “I don’t know. I just know we do.”

And there’s the compassion tacked on to the old elitism, the now passé form of Objectivism. Nancy Kress explains this more fully in an interview quoted by Nicholas Whyte in his review of Beggars in Spain:

“…although there’s something very appealing about [Ayn Rand’s] emphasis on individual responsibility, that you should not evade reality, you should not evade responsibility, you should not assume that it’s up to the next person to provide you with your life, with what it is that you need, whether that’s emotional, or physical… [it] lacks all compassion, and even more fundamental, it lacks recognition of the fact that we are a social species and that our society does not exist of a group of people only striving for their own ends, which is what she shows, but groups of people co-operating for mutual ends, and this means that you don’t always get what you want and your work does not always benefit you directly.”

Whyte goes on to say that

 “…the central message of Beggars in Spain is that our humanity as individuals is bound up in our obligations to the rest of humanity, and if we forget that, we become less human.”

So much for intent, but what do we as readers find in the novella, that long short story which won a bounty of awards and recognition.

The protagonist of the novel is Leisha Camden who has been genetically engineered for sleeplessness. She is genetically perfect both in mind and body. Not so the fountainhead of her being, her mother.

Leisha’s mother, who rejects the protagonist’s genetic genius, is a cold, alcoholic wuss who abandons her daughter because she cannot see herself in that superior specimen of society.

Leisha’s “ordinary” sister is left shivering in the long shadow of her sister’s massive intellect and brilliance. She turns her frustration and anger inward; rejecting a planned admission to Northwestern University by becoming first an unwed mother, then an abused wife, and then, horror of horrors, obese! This before seeing the light, leaving her abusive husband, shedding the pounds, and applying to college. In this way, it is rationalized, the beggars don’t always have to be beggars. If only more “normal” people saw the light and changed their lives for the betterment of society.

Beggars in Spain is undoubtedly one of the most frightening novellas to have won both the Hugo and Nebula award. It can also be read as a metaphorical road map towards a caring Objectivist Utopia. The genetically altered Sleepless not only become more intelligent but also regenerate indefinitely—they are veritable demi-gods. The greatest and most intelligent in society are placid, rational, and calm. Many have almost immaculate personalities. Their intelligence and mental superiority is directly connected to morally upright behavior. It is a Libertarian fever dream where the plebs (lacking this intelligence and moral fiber) feel jealous and seek to deprive these individuals of their rights under the American Constitution.This is not so much a case of “America the Beautiful” but “America the Full of Shit.”

It is worth noting that the American eugenics movement largely thrived on the basis of philanthropy, in particular money from the Carnegie Institution but also funds flowing form finance, oil, and railways. In other words, the very demi-gods hailed in Beggars in Spain, a novella rooted in a preposterous (and certainly ahistorical) conception of human behavior. Many of these organizations have since repudiated their actions.

Margaret Sanger_0001a

Peter Bagge is, I think, a Libertarian, or at least he sometimes identifies as one. This does not mean that he holds to any of Objectivism’s (or Rand’s) more distasteful views.

Bagge seems to suggest that the slant he provides in Woman Rebel was a strategic decision made against pro-life groups (from an article at Raw Story):

“Those groups also hype Sanger’s belief in the progressive-era theory of eugenics, which Bagge says has become synonymous with fascism and Nazism.

“During the progressive era, especially in the 1920s, when eugenic thought was at its peak, it was much more wide-ranging that that,” Bagge said. “There weren’t very many people who did believe in it along very specific racial lines.”

He says Sanger accepted the views of eugenics promoters to help promote her ideas about birth control among “men of science.”

“She wouldn’t rule out forced sterilizations in extreme situations,” Bagge said. ’Extreme,’ in her case, how she would define that is, a destitute woman who is, like, extremely mentally incapacitated and neither her or her family have any way of raising a child.”

Bagge’s view are of a piece with those of Ellen Chesler who is quoted by Anna Holley as saying that

Margaret Sanger had no choice but to engage eugenics. It was a mainstream movement, like public health or the environment today. It was to sanitize birth control and remove it from the taint of immorality and the taint of feminism, which was seen as an individualistic and antisocial group that addressed the needs of women only, and immoral women at that’”

Bagge’s decision is probably understandable considering the fraught situation which still surrounds the issue in America. I, of course, speak from the relative “safety” of Singapore where these rights are secure, and both positive and negative eugenic solutions (see Graduate Mothers Scheme and here) were once advocated at the highest level of government as recently as the 80s. Still, there is little doubt that Bagge’s portrait of Margaret Sanger suffers from an excessive use of concealer.

Edwin Black’s portrayal of Sanger is considerably less sanguine. The line from the American eugenics movement to the Nazis and the Holocaust is crystal clear but Sanger was not involved in this cross fertilization.  However, Black does suggest that Sanger’s interest in eugenics rose from a deeper ideological source which she carried into the 50s when eugenics was increasingly discredited (Sanger died in 1966):

“…on May 5, 1953, Sanger reviewed the goals of a new family planning organization – with no change of heart….Sanger asserted to a London eugenic colleague, ‘I appreciate there is a difference of opinion as what a Planned Parenthood Federation should want or aim to do, but I do not see how we could leave out of its aims some of the eugenic principles that are basically sound in constructing a decent civilization.”

Life is more strange and people more complicated than we give them credit for. A more truthful account of Sanger’s legacy would be a much needed admonition against  the idolization of any human being no matter how beneficial their actions may appear to have been. If an idea is good and ethical, its practice should not be predicated on the saintliness of the individual(s) who first championed it. That is the preserve of religion. The future described by Kress in Beggars in Spain is now upon us. We now lie on the cusp of “self-directed evolution”. But the progress of science has never been at the heart of the problem. It has been merely an invitation to good or evil; and that choice, that problem has never left us since humans first began to think.

 

 *     *     *

Further Reading

Hilary Brown at Paste Magazine on the comic.

“He presents the bad — her late-life addiction to painkillers, her difficulties with her children, her fricative relationships with other women of power — as well as the good with an even hand.”

Rachel Cooke at The Guardian on Bagge’s comic.

“Bagge is clearly on Sanger’s side, admiring of her pluck, determination and wildness…he acknowledges that she could be disagreeable, selfish and glory-seeking. This is important, for it was surely her flaws just as much as her virtues that kept her going when the struggle to make birth control legal seemed as though it would never be won.”

Rebecca Henely at Women Write About Comics.

“… he makes pains to defend her against the accusations of racism her memory has been asked to answer for. A notorious incident in which Sanger spoke to a gathering of women in the KKK, her use of outdated and offensive terminology such as “negro” and “imbecile,” and her association with the American eugenics movement have all led to accusations that Sanger’s activism was based on racial supremacy or even as proof that she was part of a conspiracy to wipe out black people, both among conservatives and even those on the left such as Black feminist activist Angela Davis. Bagge, however, argues through the pages of his comic and the afterword that while Sanger was no saint, most of this impression is due to smears that take her words out of context or ignorance of the past.”

A review at Motifri.com.

“Bagge deals with the accusation that Sanger was a eugenicist interested in wiping out non-white races of people by pointing out that Sanger was adamantly against defining one group of people as “superior” to another. Indeed, leaders in the black community sought Sanger out for help, and Martin Luther King was proud to receive an award named in her honor.”