Marxist Musings on Being a Fish Out of Water

Wood carved fish (Raphael Park)

Photo by SA/2023 

 

 

I suppose many people have felt like a fish out of water at some time or other; that is to say, in the wrong place, at the wrong time, surrounded by the wrong people [1].

 

But for some, this is far more than just an occasional feeling of discomfort due to their being in an unfamiliar environment or awkward social situation. For some people, indeed, it's essentially a state of being; they are permanently estranged (or alienated) from others and perhaps even themselves and their own lives.

 

Marx certainly knew a thing or two about individuals not being in their element, although, as far as I'm aware, he never used the English expression [2]. 

 

However, in a collection of manuscripts written in collaboration with Friedrich Engels between the autumn of 1845 and the spring of 1846, and first published as Die deutsche Ideologie in 1932, Marx does say this:

 

"The 'essence' of the freshwater fish is the water of a river. But the latter ceases to be the 'essence' of the fish and is no longer a suitable medium of existence as soon as the river is made to serve industry, as soon as it is polluted by dyes and other waste products and navigated by steamboats, or as soon as its water is diverted into canals where simple drainage can deprive the fish of its medium of existence." [3] 

 

In such circumstances, when existence no longer corresponds with 'essence', what's a poor fish to do? Quietly accept the fact that external conditions have irrevocably changed? See this in terms of an unalterable fate, or an unavoidable result of progress? 

Marx suggests otherwise: he suggests that the fish should - like the millions of proletarians in capitalist society - rise up and, by means of a revolution, bring their existence once more into harmony with their 'essence'.

 

At least, that's my understanding of Marx - which is admittedly limited and may even be mistaken - that via an active, practical alteration of material reality we can radically change the interior life of men (and fish) and end their self-estrangement. We can, in other words, not only make free but make happy and build a world in which everyone feels at home and is able to fit in (i.e., a communist society). 

 

Obviously, I have problems with this Marxist vision, as I do with every other form of utopianism. And as I looked at the above wood carving in my local park, I couldn't help but recall Michel Foucault's remark about Marxism as something out of place and unable to survive in the world today: 

 

"Marxism exists in nineteenth-century thought like a fish in water: that is, it is unable to breathe anywhere else." [4] 

 

 

Notes

 

[1] This expression was first used by Chaucer in The Cantebury Tales (1387-1400) to describe a seaman's awkwardness when obliged to ride a horse and a monk's discomfort when in the world at large rather than safely cloistered in the monastery. 

 

[2] Although German speakers, like Marx, cerainly refer to people not being in their element - nicht in seinem Element sein - I'm not sure they use the idiomatic expression fish out of water. However, I may be wrong about this and I'm happy to be corrected if so. 

 

[3] See Karl Marx, The German Ideology, Part I: Feuerbach. Opposition of the Materialist and Idealist Outlook, B: The Illusion of the Epoch. This can be read online by clicking here.  

 

[4] Michel Foucault, The Order of Things: An Archaeology of the Human Sciences, (Tavistock Publications, 1970), p. 262.

 

 

In the Shower with Leslie Phillips

 

Fig. 1 Leslie Phillips and Shirley Eaton in Carry On Constable (1960)

 Fig. 2 Leslie Phillips and Andrea Allan in Spanish Fly (1976)

 

 

On-screen nudity can either be suggestive or explicit. 

 

But just as a porn film that lacks graphic content has no raison d'être and will fail to arouse its viewers, so too a comedy that moves beyond sexual innuendo and the briefest flash of bare flesh into the full-frontal realm will ultimately cease to amuse its audience. 

 

For it seems that in order to sustain laughter, even a risqué comedy requires bath towels and bed sheets. It must remain rooted, that is to say, in a sexually repressed culture of inhibition and embarrassment; a nudge-nudge, wink-wink culture of drawn curtains and lights out - not a pornified culture of indecent exposure.

 

This is illustrated by two scenes in films starring Leslie Phillips ...

 

The first is in one of my favourite films of the Carry On series - Carry On Constable (dir. Gerald Thomas, 1960). 

 

In his role as PC Tom Potter, Phillips is called to a house to investigate a suspected intruder. But what he discovers is a young woman (played by Shirley Eaton) taking a bath. Whilst viewers are treated to the sight of her naked back, the scene retains its charm, its innocence, and its good humour. 

 

In contrast, however, there's a rather gratuitous shower scene in a film described by Barry Norman [1] as the least funny British comedy ever made, Spanish Fly (dir. Bob Kellett, 1976).

 

Now in his fifties, but still playing the smooth-talking Lothario for which he was famous, Phillips is directing a photo-shoot in Menorca with a group of four models, including an Australian girl known as Bruce (played by Andrea Allan), whom he encounters in a hotel bathroom. 

 

Whilst viewers are afforded plenty of opportunity to ogle her (rather magnificent) breasts and watch as Phillips washes her back, the scene lacks precisely the charm, the innocence, and good humour of the one in Carry On Constable and makes for slightly uncomfortable viewing in an age of #MeToo. 

 

Sadly, as the sauciness of the late-1950s and early-1960s gave way to the soft-core seediness of the 1970s and Phillips et al were obliged to compete against much younger, raunchier actors - such as Robin Askwith, who starred in the Confessions movies (1974-77) - the triumph of latrinalia was complete [2].  

 

 

Notes

 

[1] Barry Norman, for those who don't know, was a British film critic and journalist. He famously presented a film review series on the BBC from 1972 to 1998. 

      I tend to think his assessment of Spanish Fly is a bit harsh. It's not quite as dire as many like to believe and although the script is piss poor (much like Sir Percy's wine), it has a strong cast that not only stars Leslie Phillips and Terry-Thomas, but also features Frank Thornton, Sue Lloyd, and seventies sex bomb Nadiuska. 

      Plus, the film also features a rather catchy song performed by the Irish singer Geraldine, called 'Fly Me' (written by Bill Martin and Phil Coulter and released as single on EMI in July 1975). Infinitely more enjoyable than anything released by recently deceased (and hugely overrated) Sinéad O'Connor, readers are invited to click here.    

[2] Many critics at the time decried this triumph of soft-porn smut, largely blaming it on the sexual infantilism of the viewing public. It should be noted, however, that the British sex comedies of the 1970s were enormously successful at the box office and have since undergone significant critical reappraisal. 

      Ultimately, although I prefer Carry On Constable to Spanish Fly (or Confessions of a Window Cleaner), I would hope that my view isn't simply rooted in a mixture of moralism and snobbery. 

 

 

Bonus 1: Click here for the Carry On Constable trailer. 

 

Bonus 2: Click here for the Spanish Fly trailer (in HD). 

 

Bonus 3: Click here for the VHS trailer for Confessions of a Window Cleaner (dir. Val Guest, 1974).

On Lightness of Being (In Memory of Milan Kundera)

 

'Life which disappears once and for all, which does not return is without weight 

and whether it was horrible, beautiful, or sublime means nothing at all.'

 

I. 

 

Milan Kundera, the Czech-French novelist who died earlier this month, aged 94, was one of those writers whom I tried (but failed) to read and to love - Umberto Eco would be another such author. 

 

And so it is that the only work of his to which I ever returned was the philosophical novel for which he is best remembered, The Unbearable Lightness of Being (1984) [1]. And it's this work about which I'd like to make some brief remarks ...

 

 

II.   

 

Set in the late 1960s and early '70s - i.e., during and just after the so-called Prague Spring period - it is the tale of a sex-obsessed surgeon, Tomáš, who eventually learns how to love and remain faithful to his wife, Tereza, an animal-loving photographer with hang-ups about her body. 

 

It is the story also of Tomáš's mistress and confidante, Sabina, an artist who has declared war on kitsch and puritanism and wishes to lead a life of extreme lightness [2].

 

Essentially, the novel challenges Nietzsche's thought of eternal recurrence; an idea which, were it true - or were we to take it seriously and act as if it were true - would lie upon our actions as the greatest weight. 

 

Kundera obliges his characters (and readers) to ask themselves how they would live were they to know for sure that they only have one life to live and that which occurs in life does so once and once only - would this lightness of being bring freedom and happiness, or become unbearable: for without weight (i.e. existential meaning), do not all our actions become trivial and worthless? [3]

 

 

III.

 

Einmal ist keinmal, as our German friends like to say - i.e., once is never enough; indeed, once is as good as never having happened at all. If a human life, for example, fails to forever return, then once it is over it is truly over and the universe can simply carry on in utter indifference.

 

Obviously, as a floraphile - that is to say, as one who loves flowers and locates their beauty precisely in the fact that they bloom and then fade with no sense of shame, or responsibility, or significance - I am not particularly troubled by such a thought, nor do I accept the logic. 

 

And whilst I don't think we can ever become soulless like the flowers - or that this would be desirable - that doesn't mean that men and women should forever live as beasts of burden, weighed down by moral seriousness.      

 

Similarly, as a lover of birds, I approve of young women like Sabina learning how to fly in defiance of the spirit of gravity - even if that means they must first hollow out their bones; it is better to live in freedom with nothing to eat, than un-free and over-stuffed, as someone once wrote [4]. 

 

However, like Nietzsche, I would also counsel taking things slowly, cautiously. 

 

For if, like Sabina, you want to learn how to fly, then you must first learn how to stand and to walk and to run and to climb. And to do that, you need to develop strong legs and that means remaining true to the earth and practicing a little weight training.     

     

 

Notes

 

[1] Written in 1982, in Czech, as Nesnesitelná lehkost bytí, it was first published in a French translation as L'insoutenable légèreté de l'être (Gallimard, 1984). That same year, it was also translated into English from Czech by Michael Henry Heim and published by Harper & Row in the US and Faber and Faber in the UK. 

 

[2] The novel also introduces us to Sabina's other lover, Franz - a kindly academic and idealist who might have been better advised to stick to his books and not get mixed up with women like Sabina - and a smiling, cancer-ridden dog belonging to Tomáš and Tereza who, for all their flaws, love this poor mutt and so pass what for Kundera is the true moral test of mankind; namely, whether one can or cannot display kindness for those creatures at one's mercy.

 

[3] Kundera is aware that this debate within philosophy between those who favour weight and those who champion lightness is as old as the Greek hills and can be traced back to the pre-Socratic thinker Parmenides (who thought the latter positive and the former negative).

 

[4] See the post entitled 'On Dance as a Method of Becoming-Bird' (10 Oct 2015): click here.  

With thanks to Thomas Bonneville for providing the insight into Kundera's animal-based ethics.

 

 

On the Traditional Beauty of Japanese Women (2): White Skin

色の白いは七難隠す

 

Whilst the emergence of mass marketed skin lightening products was an early 20th-century phenomenon, the Japanese desire for blemish-free fair skin is as old as the hills. 

 

In other words, whiteness has been an aesthetic ideal for many centuries. In the Nara period (710-794), for example, women belonging to the upper class would powder their faces with oshiri to look more beautiful. 

 

There's even a word for this: bihaku. 

 

And there's also an ancient proverb which promises that women with less than perfect features can still look good providing they're pale enough: iro no shiroi wa shichinan kakusu ('white skin covers the seven flaws'). 

It's important to note, however, that for the Japanese, whiteness signifies holiness as well as beauty. And so the Japanese woman's preference for fair skin is not the result of western imperialism; it emerges from within Japanese culture - or, if you prefer, Japanese racism - itself. 

 

That the Japanese regard their whiteness of skin as uniquely different from that of other peoples, is made clear by the writer Jun'ichirō Tanizaki in the following astonishing passages:

"From ancient times we have considered white skin more elegant, more beautiful than dark skin, and yet somehow this whiteness of ours differs from that of the white races. Taken individually, there are Japanese who are whiter than Westerners and Westerners who are darker than Japanese, but their whiteness and darkness is not the same. [...] For the Japanese complexion, no matter how white, is tinged by a slight cloudiness." [1]

 

Thus it is that Japanese women resorted to cosmetics:

 

"Every bit of exposed flesh - even their backs and arms - they covered with a thick coat of white. Still they could not efface the darkness that lay below their skin. It was as plainly visible as dirt at the bottom of a pool of pure water. Between the fingers, around the nostils, on the nape of the neck, along the spine - about these places especially dark, almost dirty, shadows gathered. But the skin of the Westerners, even those of a darker complexion, had a limpid glow. Nowhere were they tainted [...] From the tops of their heads to the tips of their fingers the whiteness was pure and unadulterated. Thus it is that when one of us goes among a group of Westerners it is like a grimy stain on a sheet of white paper. The sight offends even our own eyes and leaves none too pleasant a feeling." [2]

 

Tanizaki concludes that rather than become self-loathing and ashamed of their impurity, the Japanese chose to display the cloudiness of their skin to their best advantage and sink themselves into the shadows, with whom they develop a profound and complex relationship: 

 

"If whiteness was to be indispensible to supreme beauty, then for us there was no other way, nor do I find this objectionable. The white races are fair-haired, but our hair is dark; so nature taught us the laws of darkness, which we instinctively used to turn a yellow skin white." [3] 

 

And nothing makes the whiteness of a Japanese woman's face look whiter than supernatural green lips and black teeth:

 

"I know of nothing whiter than the face of a young girl in the wavering shadow of a lantern, her teeth now and then as she smiles shining a lacquered black through lips like elfin fire. It is whiter than the whitest white woman I can imagine. The whiteness of the white woman is clear, tangible, familiar, it is not this other-worldly whiteness." [4] 

 

 

Notes

 

[1] Jun'ichirō Tanizaki, In Praise of Shadows, trans. Thomas J. Harper and Edward G. Seidensticker, (Leete's Island Books, 1977), pp. 31-32. 

[2] Ibid., p. 32. Tanizaki, rather controversially, then adds a statement which might be seen to justify white racism: 

      "We can appreciate, then, the psychology that in the past caused the white races to reject the coloured races. A sensitive white person could not but be upset by the shadow that one or two coloured persons cast over a social gathering." 

      Of course, this remark appears in the context of a book written in praise of shadows.

[3] Ibid., p. 33. 

[4] Ibid., pp. 33-34. Readers interested in knowing more about the Japanese penchant for green lips and black teeth should see the first part of this post: click here. 

On the Traditional Beauty of Japanese Women (1): Green Lips, Black Teeth

Nothing fascinates more than the ghostly beauty of the geisha

 with her iridescent green lips and blackened teeth ...

 

 

There are three traditional elements which compose the beauty of the Japanese woman: white skin; black teeth; green lips. Here, I'd like to discuss the last two of these elements and then, in part two of this post, examine the significance and appeal of the first.

 

Green Lips

 

The art of painting lips is an ancient one in Japan and the traditional lip colouring was called Komachi-beni - a name derived from the red pigment extracted in minute amounts from the thistle-like safflower, known as benibana in Japanese. 

 

The use of beni grew in popularity during the 17th-century and by the end of the 19th-century it was found on every fashionable woman's dressing table, contained in a small porcelain bowl called an ochoko, where, interestingly, it would dry into a shimmering green powder (this providing proof of its authenticity).

 

Whilst beni would turn back to red when moistened with a finger tip or lip brush, something of this natural greenness continued to shine through when layered on the lips. Sometimes, women wishing to intensify this iridescent effect would first paint their lips with beni, then use a green pigment obtained from the stem of a bamboo plant.  

 

Sadly, but hardly surprisingly, during the 20th-century - particularly after 1945 - Western cosmetics (and Western ideals of beauty) rose to dominance and handy oil-based lipsticks (in more conventional shades) became the norm.  

 

 

Black Teeth

 

Prior to the Meiji era, Japanese women may have loved their red-green lips and milk-white skin, but, like women in other Southeast Asian and Oceanic cultures, so too did they have a penchant for blackening their teeth.

 

Whilst this practice, known as ohaguro, certainly had an erotic as well as an aesthetic aspect - pubescent girls would paint their teeth black in order to signal their sexual maturity - it was primarily (and somewhat ironically) done to prevent tooth decay.

Sadly, in 1870, the government banned ohaguro and the practice had died out almost entirely by the 1920s. In the contemporary era, you might sometimes see a performer at a cultural festival with blackened teeth, or an actor on stage, or perhaps - if lucky - you may encounter a geisha girl who still likes to indulge in the habit. 

 

However, whilst a small number of Westerners may show a fetishistic fascination for the blackened teeth of geisha girls, most will react with horror - particularly if combined with green lips. For whilst we may not insist on the redness of the latter, we value teeth for their pearly whiteness; a sign, for us, not only of oral hygiene, but wealth.  

 

 

She Was Only a Farmer's Daughter ... Notes on the Case of Miriam Leivers

Heather Sears as Miriam Leivers in 

Sons and Lovers (dir. Jack Cardiff, 1960)

 

I.

 

The farmer's daughter is a stock character and comic stereotype drawn from the pornographic imagination. A fresh-faced country girl, often barefoot and with straw or ribbons in her hair, she likes to wear a short sundress or a halter top and is usually portrayed as both faux-naïf and sexually curious.

 

Bawdy jokes and stories about the farmer's daughter and her willingness to be seduced by any passing stranger - much to the fury of her father [a] - can be traced back to the medieval period, if not earlier; there are, for example, numerous ballads about valiant knights falling in love with comely farm girls and even the Vikings enjoyed hearing quasi-pornographic tales of love among the haystacks [b]. 

 

 

II. 

 

Interestingly, however, the farmer's daughter is often portrayed quite differently in works of literature; take the case of Miriam, for example, in D. H. Lawrence's Sons and Lovers (1913) ...

 

Sixteen-year-old Miriam is depicted as an intelligent girl keen to escape her dreary life on the family farm. A voracious reader, she dreams of belonging to the world of culture and higher education and is resentful of the expectation that she will eventually marry and settle down, accepting her fate as a farmer's wife, tending the pigs [c]. 

 

Lawrence describes her as a romantic soul, inclined to religious mysticism, who imagines herself as a princess trapped in the body of a farm girl. Not only does Miriam consider her brothers brutes, but she doesn't hold her father in particularly high esteem for desiring a simple life in which his meals are served on time. 

"She hated her position as swine-girl [...] She could not be princess by wealth or standing. So, she was mad to have learning whereon to pride herself [...] Learning was the only distinction to which she thought to aspire." [d]

Whilst not sexy in the stereotypical manner, dark-eyed Miriam nevertheless had a quiveringly sensitive kind of beauty that combined elements of shyness with wildness. The protagonist of the novel - Paul Morel - is (unsurprisingly) keen to fuck her. He watches her closely as she moves around the farmhouse kitchen in a strange, dreamy almost rhapsodic (but acutely self-conscious) manner, wearing an old blue frock.

Unfortunately, Miriam is one of those spiritual women who thinks sex as something low and beastly - more a dutiful vicar's daughter, than a farmer's daughter, alas, or like "one of the women who went with Mary when Jesus was dead" [184], as Lawrence puts it.  

 

She's happy for Paul to teach her algebra and help improve her French, and she might even exchange a few kisses, but she isn't interested in taking him as a lover: 

 

"The slightest grossness made her recoil almost in anguish [...] perhaps because of the continual business of birth and begetting which goes on upon every farm, Miriam was the more hypersensitive to the matter, and her blood was chastened almost to disgust of the faintest suggestion of such intercourse." [198] 

 

Eventually, after years of frustration and increasing bitterness, it all becomes too much for Paul and he sends Miriam a rather cruel letter on her twenty-first birthday, in which he calls her a nun; i.e., one incapable of accepting love in the physical sense (and rendering him incapable of giving such). 

 

Naturally, Paul's words wound her deeply and, perhaps, puzzle her also; after all, she was only a farmer's daughter ... [e]     

 

 

Notes

 

[a] I suppose I first became aware of the angry farmer and his daughter trope via Carry On Camping (dir. Gerald Thomas, 1969), where the latter is played by Patricia Franklin (and the former by Derek Francis). 

 

[b] See the essay entitled 'Male Bedpartners and the "Intimacies of a Wife"', by David Ashurst in Masculinities in Old Norse Literature, ed. Gareth Lloyd Evans and Jessica Clare Hancock, (D. S. Brewer, 2020), pp. 183-202. Ashurst discusses a tale involving an erotic encounter between two foster-brothers and a farmer's daughter on p. 191.

  

[c] For a discussion of female dissatisfaction with the world of the farm, see the post entitled 'Desperate Farmwives' (22 July 2023): click here. 

 

[d] D. H. Lawrence, Sons and Lovers, ed. Helen Baron and Carl Baron, (Cambridge University Press, 1992), p. 174. Future references to this edition of the novel will be given directly in the post.

[e] Readers will probably be aware that Sons and Lovers has an autobiographical aspect; that the platonic relationship beween Paul and Miriam is (to some extent) based on Lawrence's own sexless relationship with the farmer's daughter Jessie Chambers. 

      In the winter of 1909, having been romatically fixated with her for eight years, Lawrence finally made a move, informing Jessie that, because he loved her, it was inevitable they would eventualy fuck - which they did, in the spring of the following year, consummating their relationship on several occasions (usually outdoors among the flowers and dead leaves). Unfortunately, it was, writes John Worthen, "an awful experience for them both", resulting in shame and regret all round.

      For full details of the relationship between Lawrence and the farmer's daughter, see Worthen's D. H. Lawrence: The Life of an Outsider (Allen Lane / Penguin Books, 2005). The line quoted is on p. 79.  

Desperate Farmwives

The Farmer's Wife (SA/2023)

 

 

As the Little Greek poses at the gate of a nearby farm, I'm reminded that the (often sentimentalised) figure of the farmer's wife is a popular trope in art, literature, and cinema. 

 

I suppose some might even insist she's a figure with archetypal significance; an embodiment of the Earth Mother, representing ancient ideals of fertility and homestead, etc. Early rising, hardworking, resiliant and reliable, she is the kind of woman who loves her chickens and her vegetables almost as much as her husband and children.   

 

D. H. Lawrence famously provides a description of such women in whom the past (and perhaps the future) unfolds, in what many regard as his greatest novel, The Rainbow (1915). 

 

However, Lawrence subverts the conventional stereotype of 19th-century farmwives by suggesting that, in crucial contradistinction to their heavy-blooded, slow-witted menfolk, they are increasingly tempted by the life afforded by the encroaching world of modernity. 

 

Thus, whilst the men were content to put their very being into farming, the women were different:

"On them too was the drowse of blood-intimacy [...] But the women looked out from the heated, blind intercourse of farm-life, to the spoken world beyond. They were aware of the lips and the mind of the world speaking and giving utterance, they heard the sound in the distance, and they strained to listen.

      It was enough for the men, that the earth heaved and opened its furrow to them, that the wind blew to dry the wet wheat, and set the young ears of corn wheeling freshly about; it was enough that they helped the cow in labour, or ferreted the rats from under the barn, or broke the back of a rabbit with a sharp knock of the hand. So much warmth and generating and pain and death did they know in their blood, earth and sky and beast and green plants, so much exchange and interchange they had with these, that they lived full and surcharged [...]

      But the women wanted another form of life than this, something that was not blood-intimacy." [1]

  

What is it, then, that these women wanted exactly? Ultimately, it's the same thing that so beguiled Eve: knowledge. 

 

For despite occupying the supreme position in her own home - her husband deferring to her on almost all points - the Lawrentian farmer's wife is desperate to know "the far-off world of cities [...] where secrets were made known and desires fulfilled" [2]. 

 

She craved to know more and experience more; to have greater freedom and achieve a superior (more spiritual, less bestial) level of being. And if she couldn't achieve this, then she determined that at least her children would be educated and encouraged to aspire towards a different life - a bigger, better, finer life. 

 

Sadly, we know where all this leads: today, farmers are increasingly prone to mental ill health and suicidal tendencies, and often have to resort to online dating services in order to find a woman willing to marry them [3]. To paraphrase Nietzsche, all meaning has gone out of modern farming; yet that is no objection to farming, but to modernity [4].

 

However, like Lawrence, I can't quite bring myself to condemn those desperate farmwives. For whilst I might not wish for the triumph of the mind and the machine, I'm not sure I would be happy living a rural pre-modern life on the farm, rooted in blood, soil, and agrarian bullshit.  

 

 

Notes

 

[1] D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), pp. 10-11.

 

[2] Ibid., p. 11.

[3] Whilst the quality of data is an issue, research has suggested that farmers are at higher than average risk of mental illness and suicide and the UK Government acknowledges this is an issue of concern. 

      For example, whilst 64% of farmers recently surveyed by Farmer's Weekly were happy with their physical wellbeing, only 55% felt positive about their mental health and in 2019, there were 102 registered suicides in England and Wales by individuals working in the agricultural sector in England and Wales (this accounts for over 2% of suicides that year, whilst agricultural workers only make up around 1% of the workforce). 

      As for farmers having trouble finding wives, the magazine Country Living launched a unique dating service decades ago, based on the simple premise that if you live and work on the land it can be especially hard to find a partner. This grew into an online service and even spawned an award-winning TV series in more than twenty countries. If you are a farmer and wish to sign up, then click here. 

 

[4] I'm paraphrasing what Nietzsche writes in Twilight of the Idols of modern marriage; see 'Expeditions of an Untimely Man', §39.

 

 

For a related post to this one on the farmer's daughter, click here.   

 

Wilde About the Beautiful Game

T-shirt by philosophyfootball.com

Sporting outfitters of intellectaul distinction

 

 

Apparently, the FIFA Women's World Cup begins this week and we're all supposed to get excited by the opportunity to experience a tournament Beyond Greatness - whatever that means ...

Unfortunately, I don't share this excitement. 

 

In fact, when watching women running about kicking a football, all I can think of is an oft-quoted remark made by Oscar Wilde: that whilst it's all very well for rough girls, it's entirely unsuitable for delicate boys.

 

 

Amplifying Deviance and Danger: Notes on the Concept of Moral Panic

Tanya Brassie: Moral Panic 

dribble.com

 

I.

 

Stanley Cohen's concept of moral panic [1] remains a useful one for examining how an (often irrational) fear that a tiny minority of people threaten the values and interests of wider society can quickly become widespread (or go viral as we like to say in this digital age).

 

Of course, not all fears are irrational and whilst it probably doesn't help to panic, there are times when social anxiety is justified and expressing concern over perceived threats an understandable response, although we might question whether the manipulation and exploitation of fear by journalists and politicians - or those whom Cohen terms moral entrepreneurs - is ever a good thing.  

 

As Cohen points out, while a threat may be real, to exaggerate its seriousness is not helpful and often just results in new laws that restrict everybody's freedom. Further, if allowed to really take hold of the public imagination, there's the danger too that a social phenomenon that plays with public prejudice becomes a psychological issue and moral panic ends in mass hysteria (which is genuinely dangerous - often far more so than the perceived threat).       

 

 

II. 

 

I am reminded of all this when listening to the numerous reports and endless discussions on GB News and Talk TV about boat migrants crossing the Channel, drag queens reading stories to children, and transwomen competing in sporting events or accessing female toilets.

 

I might not want any of these things to happen: but I am also aware of the fact that whilst Piers Morgan and Dan Wootton, for example, are not consciously engaged in spreading hate speech, they do play a crucial (and questionable) role in the dissemination of moral indignation. For even when the above and their colleagues accurately report the facts, they often do so without contextual nuance and in a manner designed to generate viewer anger and trend on social media.       

 

So, what am I trying to say here? 

 

Perhaps, simply, that those with big mouths, strong opinions, and high-profile media platforms should also exercise a degree of caution when exercising their right to freedom of speech. Similarly - and this is a Nietzschean point - when demonising others it's best to take care lest this makes you monstrous in the process [2]. 

 

 

Notes

 

[1] Whilst moral panics have a long history, it was the sociologist Stanley Cohen who first named and explicitly formulated the concept in his seminal work Folk Devils and Moral Panics (MacGibbon and Kee, 1972). Although Cohen discussed the example of teenage mods and rockers, many other groups have also found themselves othered as a mortal danger to society, including satanists, communists, and homosexuals.

     It is worth noting that often it is not a group or community as such that triggers a moral panic, but a phenomenon such as drug use, football hooliganism, dangerous dogs, or internet pornography. Again, these things are often exploited by the authorities to justify a clampdown on civil liberties.     

 

[2] I'm paraphrasing Nietzsche writing in Beyond Good and Evil, 4. 146. 

 

 

D'notre amour fou n'resterait que des cendres (In Memory of Jane Birkin & Serge Gainsbourg)

Jane Birkin (Dec 1946 - July 2023)

 

 

I'm very sad to note that - 32 years after the death of Serge Gainsbourg - Jane Birkin has died. 

 

Theirs may or may not have been the greatest (or even craziest) love affair of the 20th century, but it was certainly the one that I found most intriguing (and possibly the most touching).

So what, then, remains now that they are both dead? Only ashes, as they themselves anticipated?

 

No.

Jane and Serge leave behind a huge number of beautiful images, beautiful songs - perhaps the most beautiful ever written in French - and beautiful memories. 

 

And, in Jane's case, she even leaves behind a beautiful Hermès bag to which she lent her name. 

 

You can't hope for much more than that ...  

 

 

Note: the title of this post is a line from a track entitled Quoi, found on the 1986 compilation album by Birkin. The song - one of my favourites - was written by Gainsbourg and Cesare De Natale (arr. Guido & Maurizio De Angelis). Click here to play here and watch the video on YouTube.