by Joshua H. Liberatore
For a while now I’ve thought that a handful of essays in our language should be reread every three or four years, throughout one’s lifetime, just to keep the ideas fresh and secure in our collective consciousness. Among these would have to be Thoreau’s “On Civil Disobedience” (1949), Dr. Martin Luther King’s “Letter from a Birmingham Jail” (1963), and certainly George Orwell’s “Politics and the English Language” (1946). All of these works offer critical reminders of the vigilance and discipline thoughtful people must maintain against threats mounted by dangerous political monopolies, ideologies of coercion, and the concomitant erosion of individual liberties. Given the financial volatility of recent weeks, it occurs to me that Anthony Burgess’s insightful “Is America Falling Apart?” – first published as an editorial in the New York Times November 7, 1971 – is a necessary addition to this short list of prescient commentaries. Burgess, the British novelist and critic best known for A Clockwork Orange, had just spent a year as a visiting professor at Princeton University, and he proved himself a keen observer of some disturbing trends in American society, patterns whose legacy we face with greater acuity every day in 2008.
The overarching theme of Burgess’s essay is that America’s historical resistance to government intervention and centralized authority (for certain measures anyway) is the root cause of various degradations in services and infrastructure that Burgess observed firsthand. Such an attitude was leading the United States down a path of psychic and physical self-destruction. In the late 1960s and early 1970s, what most struck a European visitor like Burgess was the dreadful state of public transportation and roadways in and between American cities. He also noted a beleaguered education system. Concerning the rather prosperous New Jersey school district in which he placed his six-year-old son at the time, he remarked: “America has always despised its teachers and, as a consequence, it had been granted the teachers it deserves.” He was amazed, in turn, at how disposable and poor our consumer products seemed in comparison with the tremendous might and ingenuity of our industrial capacity.
Burgess attributed these domestic shortcomings to America’s being what he called a “prewar country, psychologically unprepared for one thing to go wrong.” Because America had never been thoroughly devastated by the wars that had brought Europe to its knees twice in thirty years, it had simply never expected its government to offer more in the way of comprehensive public services. He could also see that though many Americans took visible pride in cultivating a sense of self-reliance and autonomy – where transportation, education, and consumer satisfaction were concerned – America was also showing some serious fissures in its foundations. Burgess was astute to see that “where private ownership prevails, public amenities decay or are prevented from coming into being.” In the wake of the current mortgage meltdown, we’d do well to reflect on this imported wisdom.
What President Bush is now fond of calling “the ownership society” has basically relieved governments – state and local, but most egregiously Federal – of the responsibility to look after the people’s basic safety, health, and tuition. Burgess was well aware of the American fear of state planning, long associated with the failed communism of the Eastern Bloc. What Americans neglected to see (and often still do) is that some degree of socialism has worked quite well in the rest of Europe. In one of the most trenchant passages of the essay, Burgess remarked:
America is anachronistic in so many ways, and not least in its clinging to a belief – now known to be unviable – in the capacity of the individual citizen to do everything for himself. Americans are admirable in their distrust of the corporate state – they have fought both Fascism and Communism – but they forget that there is a use for everything, even the loathsome bureaucratic machine. America needs a measure of socialization, as Britain needed it. Things – especially those we need most – don’t always pay their way, and it is here that the state must enter, dismissing the profit element. Part of the present American neurosis, again, springs from awareness of this but inability to do anything about practical implementation. Perhaps only a country full of bombed cities feels capable of this kind of social revolution.
Burgess understood that sacrifices were inevitable, in so far as budgets are limited. He knew that throughout the 1960s and into the 1970s, many European countries – England, France, and Italy – had been forced to cut back significantly on military spending in order to keep their vast social programs solvent and operational. Imperial egos were bruised, of course, but even Great Britain was wise enough to see that its world ambitions had become too expensive, too unwieldy, and spending at home was not only necessary but indeed the only humane option.
Nearly forty years later, America is still not, strictly speaking, a “country full of bombed cities” and has still never seen the kind of mass slaughter and brazen destruction of property that led most European governments to invest more heavily in what we naively call “social services,” as if basic health care and general literacy were mere bonuses and not the core elements of a stable, self-respecting community. The European birthright of guaranteed health care, generous unemployment and pension benefits, fair and equal, top-down education programs, and of course, high-quality mass transportation grew out of the traumatic experience of near self-effacement. But even after the terrorist attacks of September 11th in 2001, the devastation of Hurricane Katrina in 2005, and the Minnesota bridge collapse in August of 2007 – just to list three of the more memorable policy failures – many Americans still do not seem persuaded that our government should and could do more to maintain and improve quality of life at home. (Even if we must accept the inevitability of fruitless wars abroad and a “defense” budget that readily consumes more than fifty percent of tax revenues, to say nothing of deficits beyond comprehension.) Thus, we are moved to repeat Burgess’s provocative query: Is America falling apart? As the financial markets nearly collapsed and one institution after another went bankrupt in the past few weeks, many at home and around the world undoubtedly asked that very question. In the absence of a promising answer, what we did hear was a frenzied response from the Federal government, as this most Republican of Republican administrations was forced to silence its rhetoric against regulation and government intervention and take activist measures, through the Treasury Department and the Federal Reserve, to staunch the fiscal hemorrhage. A profoundly deregulated mortgage market and the bad borrowing habits of ownership-minded Americans had apparently caused the crisis, and only the deep pockets of the U.S Treasury, with its trusty flow of loans from Asian and European banks, could feasibly effect a turnaround.
As investors and homeowners watched, drop-jawed, from the sidelines, our government stepped up to a Herculean labor in damage control, the very kind that Burgess had seen England embrace after World War II, the very kind he figured Americans eschewed from the depths of their souls even when the need was often clear and pressing. First Freddie Mac and Fannie Mae, then Bear Stearns, then AIG – sorry Lehman Brothers! – then Morgan Stanley and Goldman Sachs felt the clammy but firm clutch of the Federal colossus under their trembling thighs. And Americans of both stripes knew something remarkable was happening, something only vaguely captured by the grandfatherly reassurance of the gentle Henry Paulson and his confused looking boss, who looked the nation in the face and postured confidence in “the system.” Ominous phrases such as “market correction” and “injected liquidity” were uttered, measures undertaken to forestall the “disorderly failure” of certain institutions. No one yet knows what the result will be of these massive mobilizations of taxpayer-funded resources (estimated cost: $700 billion), but what’s already noteworthy is the mere willingness to engage such options, not to mention the public’s trust that they will be effective in the long run. Questions remain about who the primary beneficiaries of the bailouts will be – CEOs and corporate board members or lowly bank account- and mortgage-holders. Our leaders assure us that they are acting with the interests of both Wall Street and Main Street at heart. Is such a balance possible?
During a political epoch in which we have spent an unfathomable amount of money, dedicated immeasurable resources, sacrificed much human life, and indeed relinquished sacred civil liberties in the name of such nebulous causes as “the global war on terror” and “ensuring the blessings of liberty” overseas, we must recognize that the comforting myths of self-reliance and rugged individualism and our presumed distaste for government interference are as vacuous and illusory as our naïve faith in the fabled free market. Our government interferes all the time, just not in those areas of public life where we shudder to countenance the intrusion of – dare we say it? – socialism. In 1971 Anthony Burgess discerned a sort of mild neurosis among Americans who knew that the system was broken but could not foresee a solution. But he also interpreted this neurosis as a positive signal that Americans too felt something akin to the collective pain that had ultimately delivered necessary social improvements to Europe in the post-war period. This general uneasiness constituted, he decided, the early pangs of a wounded innocence giving way to realism. “The agony that America is undergoing,” he said, “is not to be associated with breakdown so much as with the parturition of self-knowledge.” If the recent actions of the government to insert itself in realms it typically chooses to ignore serve as any indication of a shifting paradigm, we wait patiently for its further translation into much needed domestic improvement projects of equal proportions.
Species of Justice in “I’m Not Scared”
September 9, 2008 · Leave a Comment
by Joshua H. Liberatore
The opening scene of I’m Not Scared (Io Non Ho Paura, 2003) shows a lean, tan-skinned Michele Amitrano (Giuseppe Cristiano) sprinting through a field of golden wheat in Southern Italy. Stunning photography and color composition do not distract, however, from the film’s profound moral argument, whose basic positions are laid out from the outset. As Michele and his gang of village friends race one another to an old abandoned farmhouse, Michele stops suddenly to heed the call of distress from his younger sister, Maria (Giulia Matturo), who has fallen and broken her glasses. Relinquishing the race, Michele locates her and leads her on to the destination, where upon arrival, he must explain his tardiness to the group’s sinister – if such a word may aptly describe a ten-year-old – leader, Skull. Michele proceeds with a rational defense: he had stopped to help his sister and thus, must protest his status as “rotten egg.”
The argument takes a turn when a chubby, aggressive girl pushes Michele down as if to emphasize his newly earned pariahood, in which she delights for an unstated reason. When she asks “Who has to pay up?”, however, we learn that Skull harbors a peculiar sense of justice: the fat girl must pay up by showing the gang her private parts. When she accuses Skull of base unilateralism and threatens to leave the gang for good, he fabricates a democratic vote, in which all join his suggestion – though with visible reluctance – to punish her. Even little Maria, who scarcely understands the system much less the punishment, indicates her assent (as she solicits in whispers an explanation from kindly Michele). Tension builds as the fat girl slowly unbuttons her shorts, her eyes averted in shame that disarms both the audience and most of the children (only Skull smirks . . . sinisterly). At the last moment before her humiliation is consummated, Michele’s voice and long arm raise to the cry of “Ferma!” (Stop!) He repudiates her punishment, offers himself as the true “rotten egg,” and, much to Skull’s satisfaction, agrees to walk across a rickety plank in the farmhouse’s upper level. By substituting the fat girl’s shame with his own intrepid achievement, Michele thus completes the exercise in redemption while establishing his character as a candidate for heroic and compassionate self-sacrifice, a moral premise which anchors the narrative as a whole.
The real plot of the film unfolds when Michele returns to the farmhouse alone, to retrieve Maria’s broken spectacles and also to make a more fateful and significant discovery: a ghost-faced boy his own age chained to the bottom of a deep hole. Terrified and already late for supper, Michele slams down the corrugated tin cover and flees the scene, returning home to familiar scenes of domestic bickering and his father’s return from the north. Two thematic threads emerge from this carefully constructed scene, which serves as a parallel reinforcement of the opening sequence. First are the dictates of Mediterranean machismo, by which Michele must arm-wrestle his father in order to earn the gift he has brought for the children. Except that traditional machismo (its ten-year-old variant anyway) is not sufficient, and only with Maria’s spirited assistance can Michele vanquish the older man’s superior strength. Second, in complement to Michele’s physical (if staged) victory, his father also loses in the drawing of matchsticks to determine who will retrieve the wine from the cellar. Father introduces this system as a carryover from his military days, as the best way to determine who would “volunteer” for the deadliest missions. Fascinated by the random but democratic luck of such a high-stakes selection, the children glory in their second triumph of the evening. Meanwhile the attentive viewer contemplates hints that the father engineered the result in both cases in his children’s favor, an observation that will be well rewarded in the film’s final scenes.
As Michele continues to involve himself in the captured boy’s survival by bringing him water and food, and also spending time with him in attempts to discover who he is and why he is so oddly imprisoned, a startling discovery is made. Michele’s father, the gruff but apparently loving Pino Amitrano (Dino Abbrescia), is part of a bungled conspiracy to kidnap the boy, Filippo (Mattia Di Pierro), from his wealthy Milanese parents and threaten his life in order to raise a hefty ransom. The details of the plan, which Michele gradually learns through close observation (he recognizes a crockery pattern the farmhouse clutter) and daring acts of surveillance, are never made perfectly clear. Nevertheless, the audience understands a few key features: the plot involves most if not all of the adults in Michele’s village; the plan is not succeeding (the police are hot on their trail and the ransom has not materialized); and the conspirators constantly argue about the scheme’s endgame as well as organizational matters such as who is in charge, who delegates. Painfully, and with much scruple, we realize, through Michele’s just actions – which simultaneously thwart the plot’s advancement and yet do not bespeak harsh judgments against his own parents’ role – that the village’s poverty and lack of prospects are the real culprit here. Circumstances have reduced otherwise good and decent people to committing an act of unpardonable cruelty and injustice.
I’m Not Scared, under the skilled supervision of director Gabriele Salvatores (Mediterraneo, 1991), thus effectively illustrates a complex moral and a very real one. Michele’s clandestine heroism and consequential bravery yield positive results, but not without costs. As the film reaches its narrative climax, we see the themes of justice and self-sacrifice, established so solidly in the opening sequences, elegantly integrated into symmetry with the thrilling denouement in which Michele must choose between his affectionate loyalty to family and his principled knowledge of right and wrong. By this point in the drama, the trust we have built in Michele as the moral arbiter of both the film and the desperate society it portrays delivers us to a satisfying, if not crystal clear, conclusion. Throughout the film, we see Michele’s daytime heroism is supported by nighttime fantasy, in which Michele fulfills in real life the brave deeds of his invented model in the story he is composing by flashlight. Thus, it is Michele’s imagination, his creative intuition, that allows him to rise above the practical worries that have driven his parents toward crime and correct a grievous wrong with decisive action.
American politicians of both parties are fond of using notions such as justice, freedom, character, and most recently, change, as if they designated firm moral absolutes without nuances. Motivations differ. Conservatives deploy these terms to combat what they see as the scourge of moral relativism, but in doing so also mask a deep-seated fear of complexity and contextualized understanding in confronting problems. Liberals, in turn, tend to embrace such terms to dispel the appearance of wobbliness or weakness in the face of the hard realities of governing in “these dangerous times.” In a time when many Americans feel nagging doubt about both the substance and feasibility of such lofty political aspirations as “spreading freedom” and “ensuring the blessings of liberty” around the globe, I’m Not Scared provides some refreshing reminders about the troubling complexity of our moralistic adventures. Concepts like justice and freedom, sadly, are not Platonic Forms by the time we discover them in practice, but are more akin to the scope of a classificatory genus, for which there are many species.
Just because a vote is taken does not in itself guarantee that justice has been served. A “random selection” may not constitute genuine democracy, and desperate circumstances, however much they evoke our sympathy, never justify extortion and cruelty. Finally, Michele’s example shows us that the unilateral action of a strong-hearted individual, even against the will of an entire community, does not necessarily preclude the service of justice and the distinction of moral authority.
Categories: Reviews & Commentary