Sunday, 13 May 2012

The Fascism of The Righteous Mind



Jonathan Haidt’s book The Righteous Mind is well intentioned (or seems to be) and is getting much talk here, there and everywhere. The purpose of The Righteous Mind is ostensibly to help the American political left and right understand each other better. I don’t know if the book will achieve this. But more ominously, this book is one of a rash of modern tomes that ask us to look charitably on the views of the extreme religious right. I certainly don’t think Jonathan Haidt is a fascist, but I do think his book (like Nietzche’s Thus Spoke Zarathustra) could easily become the bible of a fascist regime. Haidt’s methodology is pretty straightforward; he is a psychologist who applies mostly Darwinian science to morality. What is typical of this kind of approach is that it ends up quite often being an apology for conservative right wing views.
I don’t know what Jonathan Haidt’s personal moral ideas are. He certainly makes a valiant attempt to keep them out of his book, and mostly succeeds. However he speaks briefly of a young woman overheard at a university cafeteria saying to another woman -- “Oh my God! If you were a guy I’d be so on your dick right now!” Haidt responds to her remark like this: “I felt a mixture of amusement and revulsion.” Hm. Revulsion.  I don’t get it. If I overheard a young woman speak like that I would be nothing but happy. First of all it’s nice to see someone -- indeed anyone – speak in a sex-positive manner. Secondly, it takes a great deal of bravery for a young woman to talk in such a manner when there have been historically, so many pressures on young women to appear not to be sexual (the danger being they will be demonized as ‘whores’.)
So I don’t think Haidt likes sex much, or that he understands the oppression of women.
But more importantly, let’s look at his observation in the context of his central argument. Haidt uses it to prove a very important point about morality. He says, speaking of the same girl “how could I criticize her from the ethic of autonomy?” The ‘ethic of autonomy’ refers to John Stuart Mill’s notion that people should be free individuals, and judgments about right or wrong should only be related to hurt. In other words if we believe that ethics is all about weighing the harm that one person does to another, then a girl who talks in this manner cannot be morally criticized because she is hurting no one. The only reason we would be allowed to criticize the poor girl morally (and the more I think about Haidt’s book, the sorrier I feel for this young woman!) would be if we believe morality has to do with ‘instinctive’ reactions to the sanctity of the body. Haidt wants us to know that ideas of fairness, hurt and harm are quite particular to modern western morality, and that ideas of bodily sanctity and degradation are an integral part of the morality of many ancient western and non-western religions. Haidt is ostensibly saying both types of morality are in their own way right, or at least should be accepted as equal. This is despite the fact that fairness is something that we can justify through rational argument, while ‘sanctity’ is something we cannot.
            I take issue with this. The problem with Haidt’s argument is that he is yet another ‘scientist’ (although as much as I think psychology is important, I still don’t know if it can yet be considered a science) using biological theories to bolster conservative views. His final conclusion is very revealing. The left and right are  divided in the U.S.A. because “our minds were designed for groupish righteousness. We are deeply intuitive creatures whose gut feelings drive our strategic reasoning. This makes it difficult – but not impossible – to connect with those who live in other matrices, which are often build on different configurations of available moral foundations.” Haidt’s findings are not the least bit surprising. He is definitely not the first person to suggest that we are creatures of feeling easily swayed by group sentiments. What is ‘new’ -- only in the sense that people are speaking from this position more and more these days -- is to suggest that because humans are biologically constructed in a certain way, we must therefore be tolerant of their ignorance or prejudice and perhaps not challenge them (after all, challenging them can be ‘difficult’ and we are ‘hardwired’ to be like that).  This is the same argument that many are use to justify heterosexism -- i.e. women have different brains than men, so they are programmed to act differently, so we must treat them differently. But of course no one would dare use this argument to justify racism (although that is a logically corollary of Haidt’s argument).
            Are we not rational beings? Isn’t it pretty evident that we are animals, with
irrational feelings and desires, but also (thank God) with brains that can reason (yes with difficulty) to help us to control, understand, and weigh, our impulses, tastes and prejudices? One would hope so. But a new breed of scientists (mostly Darwinians) would have us tolerate the most irrational aspects of ourselves because they are after all, part of what we inherit from the animals.
            It’s ironic that a Darwinian psychologist’s arguments could be so potently used to prop up the views of the religious right. Haidt argues essentially that we are animals programmed to have innate motions of sanctity. He makes a complex, paradoxical connection between logic and illogic.
If I were paranoid, I would say it’s all part of an elaborate plot to make some very antiquated, scary and fundamentally anti-human ideas seem modern, scientific and palatable.
            Thank goodness I’m not.

Mini-Reviews....again and again and again….




The Avengers
Sorry I still haven’t seen it yet and I refuse to review it.
Even though I love Mark Ruffalo I –
No.
I REFUSE.
(am still conflicted tho….)

Detachment
It was sure nice to see a movie that was dark and negative and smart. I think when it’s all over it’s kind of about a straight white man who is misunderstood (as so many straight white men are? Um….really? ) and that kinda bugged me.

Headhunters
Um this movie was very witty visually dialoguewise especially the first half and there are a bunch of quite cute men in it who get naked a lot but I’m really scared of what is going to happen when the Americans remake it and take out all the kinky sexy stuff and the violence turns mean instead of funny cartoony and there are good guys and bad guys instead of a bunch of screwed up people and the moralistic ending becomes probably all about family and babies which it already is a bit dangerously already…..
Oh well.

High
(I know it’s a play but Kathleen Turner was in it so I’m going to pretend it was a movie) I just have one thing to say. Wow! The actor playing the tortured young gay drug addict shaved his balls! Does this signal a trend?

Sound of My Voice
Kinda interesting but I fell asleep. I guess cults are kinda boring.

Think Like A Man
I am really happy to see a movie that makes fun of Tyler Perry who is kinda the Brent Hawkes of black politics; trying to make everything that is weird and fun about black culture just normal and boring.

Monday, 30 April 2012

Mini-Reviews, Yet Again....






Dansels in Distress
This movie is so smart and funny that I can’t handle it. It’s about a bunch of nutty, sexy girls who are out to save the world with perfume and soap. I mean how could any movie be MORE topical than that?

The Deep Blue Sea
What a beautiful failure. It’s just all too slow, but very gay and tragic. And then there’s the Barber Violin Concerto (omg!).

Bully
Dumb and boring. Bullying is now politically correct which means nobody really knows what it means but we all say “Yes, bullying is bad.”


The Five Year Engagement / Jeff, Who Lives at Home
Wow again.
Now we have Hollywood movies that are really about something important but pretend not to be. The Five Year Engagement is about a man who has to shape his whole life around a woman’s work schedule and Jeff, Who Lives at Home is about an older lesbian coming out -- but each of these actually very interesting movies has to pretend that they are about dumb things like being engaged for a long time or a 30 year old guy living at home in order to get them made.
Double wow.


Mirror Mirror /21 Jump Street/Lockout
I fell asleep, sorry.

Why I’m NOT going to miss Aubrey Dan!


            Recently Richard Ouzounian took time out from NOT reviewing plays written by Canadian writers, directed by Canadian directors, and starring all-Canadian casts, in order to write two articles in praise of Aubrey Dan.
One of the articles -- “Why I’m going to miss Aubrey Dan” showered him with glowing hyperbole. For instance, Ouzounian wrote tearfully of Aubrey Dan’s struggle and his ideals  --
“If I love him for one thing, it was that he had the courage to bring Next to Normal to town, even if the theatre was too big, the run was too short and everyone knew it was going to lose money.”
And speaking of one of the openings of Jersey Boys, Ouzounian effectively deifies him:
“I like to think of that night as the high point of Dan’s five years as a producer, a time of communal joy and possibility.”
            So who is this Aubrey Dan?
            Frankly, I don’t care much for Aubrey Dan and his so-called ‘achievements.’ I’m sorry if Aubrey Dan is – to his closest friends and family -- a kind little man who wears funny hats. I have nothing, personally, against the man. But what he certainly represents to me is the sad decline of Canadian theatre.
            Dancap presented 19 productions between September 2007 and January 2012.
            Wow.
 Impressive, eh?
            Not when you understand a few other important details.
             I will not miss Aubrey Dan because he represents to me a celebration of death of Canadian theatre; he represents a dance on our theatrical graves.
            NONE of the nineteen Dancap productions were Canadian productions. What is a Canadian production – for those for whom it has been so long that they have forgotten? It is a play written by, directed by, and produced by Canadians, starring Canadian actors.
             I will not miss Aubrey Dan for reminding us that we are nothing but a bunch of dumb Canadian yokels, who can’t appreciate, understand, or create art.
            Most of the Dancap productions were remounts of productions that were hits on Broadway. When I first started doing theatre in the early 70s, Canadians had very little possibility of seeing their own stories written and directed and performed by Canadian actors, writers and directors. The theatre scene was dominated by American second-rate musical touring productions at the Royal Alexandra Theatre. The 1970s saw the rise of alternative theatres in Toronto – Tarragon Theatre, Factory Theatre and Theatre Passe Muraille, all of which celebrated Canadian work and talent. When Aubrey Dancap produced Next to Normal – much vaunted by Richard Ouzounian, it was, for me, the ultimate slap in the face to our Canadian theatre scene. Once again, in a kind of tragic return to 1970, we were being asked to run (not walk) -- not only to see a remount of a Broadway hit -- but one which starred second-rate (in this case not even Equity professional) actors in a touring production aimed at dull local provincials who don’t know better.
         I will not miss Aubrey Dan for his dedication to squashing radical thought and squelching originality.
            Most of the Dancap productions were either remounts of old or somewhat old chestnuts (South Pacific, My Fair Lady, Miss Saigon, Avenue Q, the 25th Annual Putnam County Spelling Bee) or remounts of lousy or somewhat lousy recent Broadway shows (The Addams Family, Come Fly Away, Happy Days, Memphis, Next to Normal, 3 Mo Divas, The Toxic Avenger) juke box Broadway musicals (Green Day’s American Idiot, Jersey Boys), nostalgic sing-alongs (Colm Wilkinson, Donny and Marie Live) or Canadian musicals that slavishly imitate Broadway models (Anne of Green Gables, The Drowsy Chaperone).
             I will not Miss Aubrey Dan for focusing a generation of young creators on producing silly, irrelevant work.
             When I think of The Drowsy Chaperone – that’s when my eyes really well up with tears. I certainly enjoyed the show for what it was (charming fluff, which ain’t easy to put together let me tell you). But to have all that Canadian talent focused on NOT offending people, and on ‘making it to Broadway,’ well, I’m sorry to say it, but the success of that show has gone a long way towards nurturing a generation of Canadian young actors and writers whose only goal in life is to be a success SOMEWHERE ELSE in plays THAT HAVE NOTHING TO SAY.
           Do you think I am being unfair to the cute little ‘chapeauphilic’ Aubrey?
            In case you haven’t had a chance to look around you lately (been watching too many musicals and listening to your ipod?) the world is kinda falling apart. We need writers and artists who think and create and challenge themselves and others. Aubrey Dan represents, for me, all those who would rather fiddle and let Rome burn.
            And Canadian culture, our culture, indeed all contemporary, indigenous, thoughtful, challenging art was not built in a day.
            But in no time at all it will be gone.

Friday, 6 April 2012

The Hunger Games: Homophobic Garbage

First of all, can we get out of way the notion that this movie ‘leads young people to reading’? I can’t remember exactly what I  was reading when I was 14 years old, but around that time I had discovered Ayn Rand -- as well as J.D. Salinger,Victor Hugo and Dostoevsky. Perhaps my interest in reading can be traced to Hortense O’Dell, the librarian at Harlem Road Public School in Amherst, New York. Once a week we would go to ‘library class’ and she would read to us, mostly from Charles Dickens. I remember her kittycat glasses, and her left leg thrust forward forcefully in her long skirt -- poised to seduce us, through literature.
Nowadays it’s a different matter. Young people are not expected to read adult books. There is instead a wealth (and believe me it’s all about wealth) of ‘young adult’ titles.  Increasingly, these books are tied – as nearly everything is – to multi-media mass marketing schemes. Harry Potter was not a book; it was a video game, a movie, as well as countless promotional objects. The idea of ‘getting young adults/children to read’ was merely the first phase of a marketing tool aimed at tricking gullible young people into buying products.
This is one reason I get so angry when people celebrate the latest tween phenomenon -- The Hunger Games .
I haven’t read The Hunger Games and I don’t intend to. I am here to speak about the movie. While watching it at a matinee in Hamilton, I had the treat of sitting behind a group of breathlessly quiet teens who gazed up at the screen as if in church, while two much older working class denizens in the back row chatted loudly. In a quite unprecedented switch of roles, the young people felt obligated to shush the septegenarians.
So what’s going on in this movie? As film fare, it’s a pretty straightforward action flick peppered with ‘touching’ moments. Nothing special. In terms of race issues the movie manages to foreground a touching non-white character named Rue (whose moniker is reminiscent of a flower that Ophelia tosses during her mad scene in Hamlet -- a book that, sadly, most fans of The Hunger Games will likely never read). Rue dies in a moment of particularly nauseating sentimentality. The presence of this non-white character in the film has apparently offended some young moviegoers who expected the characters to be white. Apparently they didn’t ‘read’ the novel too carefully. Well, so much for anti-racism!
When it comes to sexual politics the movie tries to cover its misogynistic ass by featuring as its central character a woman who is also an archer. But she is also (surprise!) pursued by two young men. Is it just a co-incidence that the heroine of Twilight was also pursued by two hotties? I don’t think so. If these movies tell young women anything, it’s that -- whatever their actual talents might be -- their actual worth is only to be measured through the eyes of attractive males.
Then there’s the homophobia. The heroine Katniss (um, what’s up with that name?) lives in a poverty stricken, mountainous American rural mining town – it’s obviously meant to represent Appalachia. The people who live in that town appear to be predominantly God-fearing white country folk. If they lived in present day America they would be members of the extreme Christian right. But alas, Katniss must desert this tough yet wholesome country life and travel to a big city that somewhat resembles the Emerald City of Oz, except everyone who lives there appears to be homosexual, or at least ‘homosexualized’. The men are all effeminate and wearing make up and bizarre dandyish outfits, and the women appear to be men in drag. This is no accident. The romanticization of  Christian, wholesome country life and the demonization of amoral corrupt city life (i.e. Sodom and Gomorrah) is promulgated daily by the Christian right. Born-agains  believe that evil people  (i.e. desiring women of all ilks and homosexuals) are created by cities. This message is masterfully concealed in The Hunger Games by the notion that the city folk in the movie are merely a symbol of dystopian ‘decadence.’ Well they are, but if they were decadent macho men and their feminine wives, being decadent with their decadent families, it would present a very different picture than the image of queer party people as a God-loving heterosexual’s nightmare.
Okay, I recognize that the movie contains no crosses, and no mention of the word God, or Christianity. But the images speak to a Christian worldview.
True, using homosexuality as a stand-in for decadence is a time worn tradition. After all, it makes sense. (Queers can’t make children and contribute to the ‘future’ unless they do something unqueer – copulate with the opposite sex -- in real life, a test tube, or in mommy’s belly). And on the bright side, I’m sure this movie gave tons of work to unemployed gay actors who were more than grateful to portray the depraved cityfolk -- unless of course the director (as is so often the case) thought homosexual urbanites were best played by heterosexual actors stretching their ‘instruments.’
If what I’m saying about the film seems crazy to you, then it may be that the idea of the effeminate male as queer, decadent undesirable/impotent figure of fun is so incredibly entrenched in our culture these days (especially with the rise of the gay male TV designer fag) that we don’t even notice it.
Well…. speaking of dystopias….


Tuesday, 13 March 2012

Mid-March Mini Reviews…

1. Very good and it kinda made me cry:
Albert Nobbs and Friends With Kids
I don’t know what to say about Albert Nobbs, but if you are gay or thinking of being gay -- run don’t walk, because it’s all about being alone and having no sense of community and then finding it. It makes me cry now just writing about it.
And Friends with Kids well ….duh! I would see ANYTHING with ADAM SCOTT in it. He is the BEST EVER FOR SARDONIC! He gets to cry in this one (exploring his range) which made me cry too. Why did this picture get SO MANY bad reviews? I can understand why Liam Lacey didn’t like it – after all he’s an incredibly uptight old geezer. But do the other critics hate it because they hate Jennifer Westfeldt -- because she is a great writer and director AND actress, and she wrote and directed AND starred in this, AND on top of that she is also beautiful and married to the talented and hot John Hamm? Or is it because the movie promotes ‘alternative lifestyles’ (not so popular these days)? Or it could just be because she’s a woman?
I forgot about that…..

2. It didn’t make me cry but it was very very good, and all about the anti-hero:
Rampart and Puncture
Rampart is a really good picture about a hot but screwed up police guy starring the aptly cast Woody Harrelson. It‘s really good but you won’t hear about it or even see it, ever. Puncture is only available on DVD and is another great picture about a very important social issue (needle pricks in hospitals cause disease!). But you won’t ever see this movie either. The reason you won’t see either of these movies is because Hollywood has decided that only movies that feature heroes who are fine, upstanding, religious, spotless, family men like Rick Santorum and Stephen Harper are suitable for us (and of course our children) to see. The era of the complicated/conflicted anti-hero is over (unless it’s an abusive Dad as in Tree of Life -- we’re supposed to NEVER STOP LOVING abusive Dads – that will probably ALWAYS be allowed, compulsory even). But hot drug addicted sex fiends who are also heroes? No way. That’s over. These two pictures are the last gasp of one of my favorite genres, the ‘bad boy as hero’ movies. (sigh!)

3. Only if you’re 13…..
Goon and Project X
If you’re thirteen you’ll really like Project X because it’s all about kids who have a crazy party in their backyard hoping they are going to fuck hot chicks. The message of this movie is ‘your father will love you and be proud of you if you have a huge party in your backyard that is very violent and wrecks the neighborhood.’ This movie will probably inspire lots of kids to have huge crazy violent parties in their backyards. In fact it already has. See:
http://www.dailymail.co.uk/news/article-2113065/Teen-inspired-Project-X-movie-house-party-invite-trending-Twitter.html?ito=feeds-newsxml
And Goon -- well it’s another great movie for 13 year olds. The message is: ‘hockey violence is a lot of fun,’ and ‘men have penises and balls swinging between their legs.’ (As somewhat of a thirteen year old myself I was pleased to be reminded of the second fact.)

4. Not even if you’re 13……
Wanderlust
I don’t know what to say about this because it was SO dirty it was SO sex obsessed you’d think I would have liked it -- but I didn’t. Could it be Jennifer Aniston?




Beyond Psychology

I was listening to Stephen Sondheim’s Merrily We Roll Along the other day and it finally occurred to me why he’s so over-rated. It isn’t just the fact that the music is, let’s face it, not consistently hummable, and the dialogue is not merely witty, but self-consciously so (at a recent Toronto Sondheim love-in, the enormously talented composer/lyricist -- interviewed by Robert Cushman -- was beyond self-congratulatory about his own perilous wit. And Sondheim’s Finishing the Hat book?  Please Stephen, spare me the insight into your peerless genius!). No, what I object to is that a Sondheim musical sometimes provides me with the theatrical equivalent of a good therapy session. For example, there’s a song in Merrily We roll Along called “Now You Know," which is all about (you guessed it!) growing and changing. The lyrics are “It's called burn your bridges, start again. You should burn them every now and then. Or you'll never grow!” It’s almost as if Sondheim jumped from his therapist’s couch directly to his composing desk; he could hardly wait to graft those magnificent pearls of growing/changing wisdom into his next musical.
            Don’t get me wrong. I adore Sweeney Todd and A Little Night Music (yes I was in the front row watching Elaine Stritch sing the Hermoine Gingold role recently on Broadway. And yes, I witnessed her tragically and heroically struggling to remember the lyrics). But I could never figure out why I hated Into the Woods so much.
Well, it’s because of all of that ‘growing and changing.’
            When I was in university I roomed with a friend. As we only had one stereo, I had the player in my room, but there was a speaker in his. Once, after we had a fight, I played my favorite song from the movie musical version of Lost Horizon (featuring  Liv Ullman) “Living Together Growing Together” -- to patch things up. It sent my friend out of his room screaming. This is pretty much the way I feel about Sondheim’s gleeful psychologizing. And it pretty much sums up the way I feel about psychological art.
Again -- don’t get me wrong. I’m all for therapy, and have spent most of my life IN it. And I think I’ve improved (really, I’m better). But I work very hard to keep ‘gems of psychological insight’ out of my novels and plays. I’m not suggested that playwrights shouldn’t write fascinating or multi-faceted characters. What I’m suggesting is that the goal of a play should not be to impart ways in which we might best ‘grow and change.’ That’s boring and preachy, and it doesn’t work dramaturgically; it makes for bad art.
What do you find, for instance, in many, many modern plays, countless TV shows, and lots of movies? Well when you get to the bottom of all that drug taking and sexual promiscuity, it turns out, in most cases, all anyone ever really wants and needs is love. But I don’t think that really needs saying again – at least not by artists. Psychologists can say it all they want to. But if a play sets out to tell you the most significant truth about human relationships, inevitably that truth will be that people don't love themselves -- and each other -- enough.
What’s left? I certainly don’t mean to suggest that plays should NOT concern themselves with the difficulties of -- or the humour in -- trying to find love (that it is the subject matter of most comic narratives), only that they needn’t tell us again that we need love, or how to become the type of ‘better human’ who achieves it. Instead playwrights might focus on politics or metaphysics.
What is the meaning of life? How must and should people act together and relate in a civil society? What is good and what is evil? Is there a God? What is the importance power, submission and sex within our culture? How do we negotiate human ‘difference?’ What about nationhood and identity – do they matter?  Are we and can we be responsible for our own actions? Do we all perceive the same reality? And what about capitalism, anyway?
These are the kind of questions that -- when explored -- create drama of depth and significance. The dramas I wish to see may be poetic, allusive, and abstract, and hopefully they will NOT be didactic. In the meantime please just don’t bother to sing me -- once again -- that old Beatles song.