It’s Giving (Momma) Bear: On the Way Out of Goals, Passion, and Misery

We seem to know that goals make us miserable. But we keep setting them anyway, like clockwork—because we don’t know how to live without them. Jenny Craig is counting on that.

FX’s hit series The Bear helpfully illustrates why we are not wrong to think that goals are the literalization of our passions, and that our passions are the sources of our misery. Passion makes us miserable because it immunizes us against receiving (the touch of) O/others. 

But The Bear also reveals something else: maternal love—unexpected, unconditional—can free us from passion’s grip.

In season 3, episode 9 of The Bear, Uncle Jimmy (Oliver Platt) makes a distinction between passions and goals (You can watch the entire scene here):

Well, dreams are a son of a bitch, aren’t they? I went to this lecture series, U of Chicago. . . . Anyway, dreams, they always. . . start from a place of passion, right?

And, by the way, when I say dreams, I mean goals, not like when you’re, you know, asleep and you’re stuck at the bottom of a swimming pool, and your fucking teeth keep floating up out of your head. And you look down, and you have a fucking tattoo of a bulldog on your cock.

Anyway, so I’m at this lecture, and it’s called The Day Tomorrow Began, right? It’s all about these breakthroughs in, like, science and fucking culture and whatever . . . . Crazy fucking shit, let me tell you. Like carbon dating . . . .  It’s inspiring, really.

Because it’s kind of like, if you really nurture these dreams, these goals, no matter how batshit crazy they sound—and trust me. There are, like, 15 more of these breakthroughs—positively fucking idiotic, right?

But you can make an impact, right? You can actually change the fucking world, as long as you have a place like the university to, you know, take care of you, to let you do your thing, let you drive, right?

And, uh, keep you financed. I just remember the whole time thinking, “Whew, not everything can be that. . . .”

Jimmy’s lecture mirrors a dream of floating teeth and bulldog-tatted cocks, but its warning about passion is clear enough.

Dreams, “like when you’re, you know, asleep,” are “a place of passion.” Goals “start from a place of passion,” from your dreams. Your dreams (re)surface your passions. In your dreams, your “teeth” come out of your head to speak your mind, and your “dog” is free to sniff out a place to piss on the world. 

Goals (i.e., teeth and bulldogs) are forms of passion. And they ain’t pleasant. They’re “a son of a bitch,” “crazy fucking shit,” and “positively fucking idiotic.”

The idiotic—or passionate—person hasn’t lost their mind. Their teeth are speaking it. What they’ve lost is their head—their, I say, pleasure.

Passion sacrifices pleasure. As the late Leo Bersani writes, “Passion is an obstacle to pleasure” (Receptive Bodies, vii). 

Passion blocks your pleasure by immunizing you against the reception of O/others—for example, the university you need to “take care of you,” the investors you need to “keep you financed,” the business partner, family members, and/or girlfriend you need to run a successful restaurant and experience something like a good life. 

Your goals get realized—if they do—in spite of you. More importantly, goals immunize you against yourself. 

In season 4 of The Bear, we learn that being a world-class chef is more than Carm (Jeremy Allen White) can bear (You can watch the final scene of season 4 here and here):

I—I think I have put a lot of stuff in the way, of not dealing with other stuff. . . . And I think I’m trying to run into that. All right. So, I’m not blocked by it anymore. I’m not scared of it anymore. I’m not sprinting from it anymore.

. . . . 

I don’t know what I’m like, Richie. . . . Like, outside of the kitchen.

We know what Carm is like inside the kitchen. He is like his mother inside the kitchen (I only recently completed watching season 2 of The Bear because episode 6, “Ma Does Seven Fishes,” caused me so much anxiety that I could not bear to finish watching it). 

Carm’s curiosity about what he’s like outside the kitchen is also inspired by his mother, who is now in a similar position. Donna (Jamie Lee Curtis) offers her apology for years of parental neglect just outside of their family home’s kitchen (You can watch the scene here):

I’m trying to make things better. And I am–I’m here asking if I can be part of your life again because I miss you. And I– I know I never said it enough–I know I didn’t–but I love you, Carmen.

You’re my baby bear. I know. And I love you. And I’m so sorry. I just didn’t say it enough. I just didn’t.

Donna’s unexpected apology—her unexpected expression of sincere maternal love—somehow moves Carm to think about his pleasure, about who he may be outside of the kitchen.

Maternal love redeems us from our passions, and it opens us to ourselves. Lots of love to you, dear reader, in 2026. 

Speaking of Unity

Dante Gabriel Rossetti, The Blessed Damozel (1878).


The following is a sermon based on Ephesians 4:15, entitled Speaking of Unity. I offered it at an annual gathering of pastors and other church leaders.

Ephesians 4:14-15:

We must no longer be children, tossed to and fro and blown about by every wind of doctrine, by people’s trickery, by their craftiness in deceitful scheming. But speaking the truth in love, we must grow up in every way into him who is the head, into Messiah.

Organizing Idea: Forsaking anger, we speak the truth in love, and so draw closer together, preserving God’s will: the unity of the body of Messiah Jesus. 


I.

Picture this scene: We fall in love. 

I’m a bit proper, and intimate chat—you know, what the young folks these days call “spicy” talk—that makes me uncomfortable. 

I don’t know how to handle love-talk, so as we walk through your garden, you whisper “sweet nothings” to the roses

I laugh as you tell the roses how much you love them.

But there’s one problem: We fall in love during a war. 

You leave to fight in the war, leaving me with instructions on how to care for the roses.

I do my best to keep the roses alive until you return. 

There’s one more problem: one thing you told me to do I won’t do—and that is talk to the roses. 

Why not? Well, that’s ridiculous! 

Honestly, I won’t talk to the roses because I miss you. 

In the letter I send to you, I share that the roses are surviving—but they are not thriving. The roses are alive, but they are not living because they are not getting the conversation they need. 

Why did we fall in love in the middle of a war? What a silly thing for anyone to do. 

II.

What you just pictured is a scene from the new, fabulous Broadway musical Operation Mincemeat.

Jak Malone won the Tony Award for his performance as Hester Leggatt, who sings about falling in love during World War II and caring for the roses while her lover, Tom, is away fighting the war.

For reasons you’ll need to figure out yourself, the song is called “Dear Bill.” 

III.

Roses are, of course, a cliché for love.

Teenagers at prom.
Honeymoon suites.
Romance novels.

But in Hester’s song, the roses are more than cliché.

They’re a revelation.

The roses in Hester’s song reveal what it means to speak of unity. 

Ephesians repeatedly emphasizes that God’s will is to unite everything and everyone (1:10). In fact, God, through the cross of Jesus the Messiah and the ongoing advocacy of the Spirit, has completed that goal. 

Unity is not something we create. 

Our pastors, leaders, youth, members, or visitors can’t command or create unity.

God gives unity to the body of Messiah, to the church. Unity is grace.

That’s why Ephesians urges us to “accept each other with love, and make an effort to preserve the unity of the Spirit with the peace that ties you together” (4:2-3). 

Preserving unity, the unity that God gives us through the weakness of the Messiah, in the Spirit—that is our work. 

Planting, growing, and watering the roses–that’s God’s work. 

Our task is tending to them, giving the roses the conversation they need to thrive. 

But there’s one issue: we are living in wartime. 

IV.

We are in the middle of a serious culture war. One that too often successfully pulls us out of the garden, almost guaranteeing that the roses won’t get the conversation they need to thrive.

Military helicopters are descending on Chicago, targeting communities of color—and ICE, armed like Roman soldiers, are kicking in the doors of citizens and their children, hauling them into the streets.

Rome’s agents ruthlessly round up our fellow human beings without papers—the vast majority of whom are, like all of us, trying to build a good and decent life.

Across this divided land, killers strike our fellow citizens in their homes, on campuses, and as they walk to lunch—and yet we only recognize some victims as saints.

Today, our government is shut down because we refuse to agree that our neighbors deserve affordable healthcare.

V.

We are in the middle of a war, so all the chatter I am hearing in my circles, from both sides of the partisan divide—and everything in between—about buying guns is not so surprising. 

Even Ephesians encourages believers in the Messiah to arm themselves. We are to put on the belt of truth, take up the shield of faith, wear the helmet of salvation, and wield the sword of the Spirit (6:13-17).

The author of Ephesians encourages us to dress up like Roman soldiers.

That’s no small thing. Fashion moves us. 

Remember that time you finally fit into those tight jeans or that expensive dress you never thought you would fit into… and then immediately booked a flight to New York to walk the runway during Fashion Week? Or, remember the time that you got a great haircut, and you seriously thought, “I could be a rockstar with this hair.”

Playing dress up as a Roman soldier is not as innocent as it seems. 

And before you think I am overthinking this, consider that the author of Ephesians, just a few verses earlier, explicitly commands us to adopt a Roman lifestyle. 

Just before asking us to dress up like Roman soldiers, he commands wives to submit to their husbands, and slaves to obey their masters.

If it’s any consolation, he does request that husbands and masters, masters and husbands, treat their property with kindness (5:21-6:9).

That’s so cringe. I know. 

It’s also very, very Roman lifestyle advice. 

But like every text written in wartime—Ephesians is all about a clash of cultures—it resists simplicity.

VI.

Earlier in the letter, the author of Ephesians declares, “I’m telling you this, and I insist on it in the Lord: you shouldn’t live your life like the [the Romans] anymore. . .” (4:17).  [unstated exegetical note: It is because the author moves in this direction that I emphasize the Roman cultural connections rather than the Jewish ones. The author of Ephesians was likely Jewish. See Daniel Boyarin’s excellent study, Dying for God: Martyrdom and the Making of Christianity and Judaism (1999), for an analysis of the overlap between Jewish and Roman cultures, along with its main theme: how Judaism and Christianity eventually became distinguishable religions].

But in the middle of his musical, let’s call it, The Roman Family Musical, the author offers some Roman advice that is actually sound: he tells us to avoid anger. [Underlying source: see Martha Nussbaum, Anger and Forgiveness: Resentment, Generosity, Justice (2016) for a sophisticated and careful analysis of the character of anger.]

The Romans, and the Greeks before them, believed that anger was a female thing. They thought males were rational and disciplined, and females were childish and prone to excess.

One thing is certain: when you lack control over your own body, anger does feel empowering.

Even so, avoiding anger is good Roman advice because human anger is always an injustice. 

Anger always works against God’s will to bring everything and everyone together.

Please don’t take my word for it, the truth is as close to you as your own family.

The author of Ephesians commands children to obey their parents (6:1-4). But this time, there is good reason to comply with his command: 

The commandment to love your parents is the only one that comes with a promise: We should listen to our parents so that everything may go well for us and that we may live a long life.

That’s promising! 

And parents, if you want to command your children’s respect and ensure everything goes well for them, avoid provoking them to anger.

That sounds promising, too! 

I confess, I am surprised; I never took Ephesians for a letter with much promise.

In fact, I typically feel like this dude is a prude.

No drinking. No cussing. No joking. No rock, pop, or blues music. No good sex (it’s all missionary style for him).

But this time, I thought: maybe the perils of anger explain his social conservatism. 

VII.

Nowadays, anger is a respectable thing to feel, especially if you are a male. 

The fruits of male anger are predictable—a terrible tale as old as time: males drink, males boast, males covet the spouses of other males.

Outrage follows. Men die. And women and children are the collateral damage of male anger.

Here is a new thing about anger: it’s especially powerful on social media. 

Rage-baiting is all the rage. Why? We love it. We like it. We comment on it. 

The algorithm gives us more and more of it. Influencers and social media platforms profit from it. 

There is a reason we describe getting angry as “going nuclear.” It is the most potent weapon in our culture war arsenal.

Anger always goes viral. 

Here’s why: Anger is a feeling that is always—and I say again—always related to the pleasures of retribution, of punishment, of revenge, of domination—of really sticking it to someone who stuck it to you. 

The logic of anger is devilishly simple: if I can wound the one who wounded me, I will be made whole again.

Anger is always a form of magical thinking: the thought that revenge will right a wrong. 

It won’t.

Anger is always a verb. It is always about getting even. 

That’s why we should avoid provoking our children to anger and getting angry ourselves. 

“Get angry,” we are told, “but don’t sin” (4:26-27).

In other words, don’t get angry, because anger is always related to sin; it is always opposed to God’s will, to unity and its preservation in the church.

Speaking of unity, I remember visiting family in northern Idaho. 

I was in my mid-twenties, sitting with my brother and uncle in a bar called the Six Devils.

After I enjoyed about six devils, I decided it was time to share some angry thoughts. The result was predictable: more anger.

My brother, a huge, muscular guy (the opposite of me), stormed out of the bar—and my uncle did too, after he started to cry. 

What I said damaged our relationship; it certainly did not bring us closer together.

That’s why the author of Ephesians urges us to forsake anger and begs us to adopt a different lifestyle, one characterized by speaking the truth.  

That’s one word in Greek—it means to speak the truth continuously.

Like anger, speaking the truth is a verb. But it’s not angry speech. It is not permission to say the nastiest things imaginable about people while smiling. 

Well, bless your hearts. 

Speaking the truth–quite unlike anger–is always a matter of love-talk, and love-talk is always talk that inspires–indeed is–the preservation of unity in the body of Messiah Jesus. 

VIII. 

Now, with that in mind, let’s re-imagine what speaking of unity—what giving the roses the conversation they need–looks like

Picture this scene: We are back in the garden; the roses are there between us. I start talking to them because I know you don’t like it when I talk too directly about love. Here’s what I say to the roses:

I was asked to preach at the Church of Christ, but I was told there was one topic I could not mention in my sermon. 

So, I angrily left the garden to fight on the Western front of the culture war.

Walking to the battlefield, I was reminded of a time I asked a layperson to avoid a topic. I asked them not to disparage members of the church I was serving from the pulpit.

One member was barely back on his feet after being disowned by his entire family. Another member was coming back to church after she had stayed away for years, fearing abuse from the pulpit. Yet another member had just lost his husband.

Please, I asked, preserve the unity of the Spirit in peace.

This layperson had somehow learned to say yes when he meant no, and he offered a condescending and damaging message that drove people–including me–away from one another and that congregation. His comments severed our unity.

As I marched to war, I considered what it meant to be prohibited, in the name of unity, from preaching a message of extravagant welcome. 

I also started to feel sad. I learned, again, that Rev. Kay Ray was right when he observed that I was excited about ministry because I hadn’t been doing it.

I thought despairingly: If being the United Church of Christ means that one church can degrade and exclude people like me, my family, and our friends, while another church can boldly fight racism, preserving the grace of unity is surely impossible.

The feeling only worsened when I remembered the times that even our leadership expressed the view that folks like me in the church are a “controversial” issue. 

They think it is a sign of faithfulness not to take a position on such a “controversial” issue. 

Here is what should be controversial: 

Rome’s Supreme Court empowers conservative parents to pull their kids out of public-school lessons that entail “controversial” themes and even to send their “controversial” children to conversion therapy. Yet, it denies caring parents of those same children the power to make their healthcare decisions.

“Controversial” adults in North Carolina now have to hand over their false birth certificates, the ones they received at birth, along with their real ones, whenever they require a passport, other necessary documentation, or for identity verification purposes.

What should be controversial is our historical ignorance. 

Did you know that the Greeks thought that males and females were different species? A similar idea, Ibraham Kendi reminds us, enabled some white folks to justify the institution of slavery. 

The Romans got rid of the idea of the sexes. Male and females represented points on a sliding scale—the only difference being that some genitals stuck out while others turned inward . . . . 

What sticks out asserts reproductive power; what turns inward submits to reproductive power. Rome privileged and empowered what asserted itself on women and on both male and female slaves and other non-citizens. 

What we now think of as sex and sexuality are the creations—very real and very unnatural social creations—of the 1700s and 1800s. [Underlying source: see David M. Halperin, “Sex/Sexuality/Sexual Classification,” in Critical Terms for the Study of Gender (2014), 449-486, for this history and a spirited and clear analysis of it].

There is no such thing as “biological truth.” But too many Christians seem to be sticking with Rome. Some of y’all are too Roman for my liking.

My anger was further enflamed when I remembered times that our leadership couldn’t even celebrate the good that the Southern Conference had done, like our fight in 2015, because they couldn’t bring themselves to name it, to mention it explicitly. 

Rome’s Court is—once again—looking for an opportunity to make some of us sit at the back of the bus.

And some of our leaders are uncomfortable even discussing their own desires, fearing they may cause controversy.

Family, unity should not come at the expense of diversity in the church.

We should not be cutting off toes to fit into a Roman sandal.

If unity comes at the cost of the dignity of other parts of the body, it’s just not worth it. 

In fact, it just not unity.

It’s not a just unity.

It’s hostility. 

And it is contrary to God’s will. 

Yes, I was feeling some kind of way when I received your letter. Something about it made me drop my weapons and walk away from war.

Honestly, I missed being together with our roses.

As I walked back to our garden, I did feel like a motherless child. 

I felt like a kid who had grown up without a good enough mother, tossed to and fro because his caregiver was not reliable—except in their efforts to provoke him to anger.

But something about your letter also made me feel like I no longer had to be an angry soldier out fighting the culture war of rage.

Your letter, your hymn, inspired me to think that speaking of unity—giving the roses the conversation they need to thrive, to really live—is an infinitely more pleasurable use of our time.

Your Psalm reminded me: 

It’s good and pleasant when we live together in unity!

Unity feels like precious oil on the head, running down over the collars of robes. 

It’s like the smell of morning dew.

It’s like the simple beauty of water droplets gliding across rose petals. 

It’s life forevermore (Psalm 133, redacted). 

May it be so.

Amen.

Excitable Truth? On Speaking the Truth in Love

– Ai Weiwei, Dropping a Han Dynasty Urn, 1995. Three gelatin silver prints, 148 x 121 cm each –

“But on rising from the table where [Foucault] had inwardly decreed this end [to the writing of History of Sexuality 2 and 3], he knocked over a glass that broke, and just then it seemed to him that the time of satisfaction was ended; it had not lasted but a few seconds.”

– Mark Jordan, citing Mathieu Lindon, Ce qu’aimer veut dire (2011), in Convulsing Bodies: Religion and Resistance in Foucault (2015), 200 –

“Philosophy [and, in my view, Theology] is always a breaking of the mirror.”

– Alain Badiou, Conditions, 25 –


The author of Ephesians (most scholars don’t think it’s a Pauline letter) writes, “But speaking the truth in love, we must grow up . . . “ (4:15, NRSV).

Riffing on Judith Butler’s analysis of speech in Excitable Speech: A Politics of the Performative (1997), in which Butler continues their engagement with J.L. Austin’s theory of language, I ask, What kind of speech act is “speaking the truth in love”?

Is speaking the truth in love (a) an example of a performative speech act (a type of illocutionary speech act), a form of speech that immediately does what it announces (e.g., “I pronounce you husband and husband”)? Or, is speaking the truth in love (b) an example of a perlocutionary speech act, a type of speech that, as a result of being spoken, sets in motion a chain of consequences (e.g., “Get out, get out before I kill you!”)?

In other words, when we read, “But speaking the truth in love, we grow up . . .” are we to think that (a) we grow up at the very moment we speak the truth in love, that in the act of speaking the truth in love we become a body possessed by the mind of Messiah? Or, are we to think that (b) we grow up into Christ as a consequence of speaking the truth in love, that the future or promise of speaking the truth in love is growing into a body ruled by the mind of Messiah?

Perhaps the answer is (c): none of the above.

The Greek is (for me!) a bit tricky, but it is helpful to have it before our eyes: “[1] Alētheuontes de en agapē [2] auxēsōmen eis auton ta panta, hos estin hē kephalē, Christos.”

What we take Ephesians 4:15 to mean is, I think, determined by the words 1) Alētheuontes and 2) auxēsōmen.

  1. Alētheuontes = speaking the truth, and it is a present active participle. It means that speaking the truth in love is a way of life that is ongoing.
  •  Auxēsōmen = must/should/might grow into, and it is an aorist subjunctive verb, first person plural. It means that growth is a possible outcome of beginning to (I take the aorist here as indicating a “point of entry” into some action) speak the truth in love.

If my analysis is correct, it would seem that “speaking the truth in love” is neither a performative nor a perlocutionary speech act. It does not do what it says in the moment of its saying. Moreover, there is no guarantee that in saying it, that in speaking the truth in love, we will grow into a body ruled by Messiah. The author hopes that growth will follow the act of speaking the truth in love.

There is another possibility, answer (d): speaking the truth in love is neither a performative nor a perlocutionary speech act, but it is intended to become a perlocutionary speech act.  

Ephesians 4 begins with the author neither asking nor demanding that their readers “make every effort to maintain the unity of the Spirit in the bond of peace.” Instead, they “beg” their readers to do so (vv 1-3). The author does not have the necessary status to make either a performative or a perlocutionary statement. The outcome of either kind of speech act depends on a convincing citation of law, tradition, context, and so on.

The force of the author’s statement depends entirely on the character of its readers. If they are the subjects of messianic desire, then they will forsake deceitful living and speak the truth in love, growing into the body of the Messiah and thereby maintaining “the unity of the Spirit in the body of peace.”

These observations are essential for understanding what it means to speak the truth in love. For too many Christians, this passage means: You are free to say the nastiest things to others so long as you do it gently and with a smile. Bless their hearts!

Ephesians 4:15 is often read as blessing hubris–this even though the author begs the readers to adopt a position of weakness and humility at the outset (vv 1-3). Weakness and humility are the preconditions for speaking the truth in love.

To understand why weakness and humility are preconditions for speaking the truth . . . in love, let us briefly consider Alain Badiou’s elaboration of the Truth in Conditions. “I propose to call ‘religion,’” Badiou writes, “everything that presupposes that there is a continuity between truths and the circulation of meaning” (24). Furthermore, Badiou contends that “any truth that accepts a position of dependency with regard to narrative and revelation is still gripped by mystery, whereas philosophy [and, in my view, theology] only exists in its desire to tear down mystery’s veil” (36). Moreover, “Philosophy [and, in my view, theology,] commences . . . only with a desacralization: it establishes a regime of discourse that is its own inherent and earthly legitimation . . . the authority of profound utterance [being] interpreted by argumentative secularization” (36, emphasis original).

Why, though, is religion as the “continuity of truths and the circulation of meaning” and mystery (related as it is to veiling meaning) opposed to the Truth, while secularization is amenable to it?

All too briefly, Badiou defines the Truth as an empty or operational category out of which truths are seized. Truth is not the same as presence; it is not present; thus, it cannot be associated with “the circulation of meaning” (23).

The Truth is precisely what is not present in a text, play, film, and so forth. Philosophy—and, in my view, theology—is the practice of seizing truths out of the void of Truth, of trying to say what is impossible to say.

Philosophy—and, in my view, theology—is “subtractive in that it cuts holes in sense, or causes an interruption in the circulation of sense, so that it comes that truths are said all together” (24, emphasis mine). Yet, the truth is not a “mystery,” veiled and unknowable. We can “know” the Truth as truths that cause knowledge to fail (46).

Truth is necessarily fiction. Thus, power cannot make Truth persuasive. Hence the significance for philosophy, and, in my view, theology, of address. “Addressed to all so that all may be in seizing the existence of truths, it is like a political strategy with no stake in power” (23). A disciple is one persuaded by such an address; a disciple is the subject of the address, “one who knows that [they do] not form a public or constitute an audience but support a transmission” (28).

My all too hasty reading of Badiou on Truth in Conditions brings us back to Ephesians 4. Recall that the author begins from a standpoint of weakness and humility. They address the reader with a Truth that is truths. Take note of the one that is seven ones in Ephesians 4: one body, one Spirit, one hope, one Lord, one faith, one baptism, one God (vv 4-5). The Truth exists for all those who are subjects of its truths—hence the author cannot guarantee if their admonition will inspire growth into the one body that is not one—and not whole. If the body were whole, there would be no need for the address.

So, what does all this potentially mean? What truth may we seize from this address and so address to others?

My answer: The Truth is fiction, so it must be shared with a sense of irony (i.e., in agapē — and why I think agapē should be interpreted as an already ironized form of desire is a topic for another day).

Put another way, Truth is just not that serious. Truth is (un)serious. Unity then, or growth in love, or growing into the one body that is not one, involves trying things out, imagining things differently: an open mind. It does not require belief in any doctrine or even belief, a force of will that purports to make the Truth present.

“The modern sophist,” Badiou writes, “attempts to replace the idea of truth with the idea of the rule” (6). I have argued elsewhere that the (modern) cleric attempts to “replace the idea of truth with the idea of the” norm.

“But speaking the truth in love” entails living without such assurances. It is more like sending a postcard: we hope the exposed truths make it to the listed address, to the all to which it is (un)intentionally addressed—”so that all may be in seizing the existence of truths.”

Friendship/Communion

I recently visited a friend who is in hospice care.

I listened as she shared memories of her ministry. She recalled being tasked with presiding over communion after her Association had declined to accept an Open and Affirming church into its communion.  

That’s all history now. That church was eventually welcomed and is now thriving in that Association.

But the image of her presiding in this moment of sadness for many LGBTQ Christians and their allies (and she is one) worked on my unconscious:

Remembrances of Communions Past:

  • In college, I read Henry Nouwen’s Can You Drink The Cup? I preached a sermon inspired by it, “Sharing Our Lives,” to my rural hometown church. After hearing it, a friend observed, “I don’t think you know it, but you just came out to your church.” Looking at the text of my sermon now, I get it. I described lifting the cup as coming out and sharing (i.e., intimate connection) as a lifestyle. I even read a story from the book, Holy Homosexuals. I don’t have Nouwen’s book in my library today. As a college senior, I was invited to speak at a gay youth support group. I remember giving the book to a high school student. I wonder what the book did for him?
  • One of the first things I did when I moved to Chicago (and mostly out . . . though I had not yet explicitly told my family!) was force myself to begin exploring the city. I jumped on a bus, and I headed downtown. I made it to Michigan Avenue (on the south side of the river) and chickened out. I ducked into Subway(!) and sat down to read Leonardo Boff’s Sacraments of Life, Life of the Sacraments. Boff describes the old aluminum mug he and his ten siblings drank from: “It has shared everything. It has always been there. It is the ongoing mystery of life and mortal existence. The mug endures, old but still shiny . . . . We must drink in other people before we can love them. Eyes that drink in people speak the language of the heart.”

Several times, as others spoke to her, our eyes connected. I felt her love, and I smiled lovingly–and we looked, I am sure, lovingly sad.

On the last day of a challenging ecclesial assignment, I received my friend’s ordination gift in the mail: a beautiful communion chalice (pictured). Before leaving my friend’s bedside, I told her I would use her chalice whenever I preside over communion.

I’ll lift the cup up and share, through Messiah, communion with her.

May it be so.

Fixated on Masculinity

Still, Netflix’s “Adolescence,” episode 3, Jamie Miller speaks with his psychologist, Briony Ariston

Quick Thought(s) on Netflix’s “Adolescence“:

In episode 3 of “Adolescence,” thirteen-year-old Jamie Miller (Owen Cooper), accused of violently killing a female classmate, meets with clinical psychologist Briony Ariston (Erin Doherty). Ariston is one of several psychologists tasked with assessing Miller’s “understanding of [his] understanding.”

Through her understanding of Miller’s tastes (e.g., he likes hot chocolate with marshmallows) and dialogue with a security guard at the “secure training center” where Miller is being held, we learn that Briony is taking longer than previous psychologists to form her assessment of Miller. She reasons that getting the assessment right is more important to her than completing it quickly.

We observe one of their sessions through a single-shot perspective (only one camera moves through the space). As the camera moves and their conversation develops, one feature of the character of social media influence on teen behavior (what the series investigates) becomes glaringly apparent.

Detective Misha Frank (Faye Marsay) alludes to the cultural fixation on masculinity that has become embedded in social media (e.g., “the manosphere”) earlier in the series.

What bothers Misha about the murder investigation is that its sole focus is Miller. She speculates that Miller will be remembered, while the murder victim, Katie Leonard (Emilia Holliday), will be forgotten (and there are a good amount of posts on the internet that do not mention Katie’s character and/or her name, instead describing her as Miller’s “female classmate”).

Her partner, Luke Bascombe (Ashley Walters), rejects her claim. He reasons that the focus on Miller is necessary, and it will eventually serve justice. He is equally sure about not being “the right fit” for his own son, Adam (Amari Jayden Bacchus). Adam is smart, observant, and bullied by his peers.

Only one character genuinely challenges Misha’s insight: Jamie Miller. I speculate that Briony suddenly decides to conclude her assessment of Miller because she knows he has not forgotten about Katie.

Briony perhaps realizes that Miller can’t accept that he has actually killed Katie (recall that Miller says that the CCTV recording is “fake news,” and the young man working at Menards shares with Miller’s father that he is on Miller’s side because the video has clearly been doctored) because she has become Katie for Miller (think of his ambivalent relationship to flat chests, a feature he notices Briony shares with Katie). So, Briony ends her assessment and declines to answer Miller’s final question: Do you like me?

What is less explored is Briony’s investment in Miller. Why spend more time with him than other psychologists? Why not answer Miller’s question about whether or not she thinks he is likable?

By declining to answer Miller’s question, Briony may be refusing to side with either Katie or Miller. She will neither reject him nor affirm him, but that would be to literalize the transference: Miller’s identification with Briony as Katie.

So, why not affirm him? Why not be an avatar of love?

The answer may be simple: she (i.e., Briony) does love him. In loving him, what is she loving? Why does Briony shed tears after Miller is forcibly removed from the consulting room?

If I remember correctly, no one cries for Katie. If they do, their tears are not as memorable as Briony’s for Miller.

We are given a good reason not to cry for Katie. She bullied Miller, demeaning him on social media. But why did Katie bully Miller? Perhaps she was taught to believe that love = domination.

It is curious that Stephen Graham (who plays Miller’s father, Eddie), the show’s co-creator, wanted to “create a narrative where the crime decidedly isn’t the parents’ fault” (emphasis original). But consider his rationale:

[W]hat if I was a 13-year-old boy who didn’t really have an ideal relationship with my father, and all of a sudden I’m seeing this [misogynistic] man who has everything I aspire to have — a fancy car and loads of money — this [misogynistic] man who is everything I, maybe, aspire to be. If you’re influencing the youth with your own views and opinions, then surely you know that we need to be mindful of what’s being said?” (emphasis added).

It would seem that parents do have a role to play in crime (prevention). That is, in fact, the view of Jamie Miller’s parents–especially that of his mother, Manda Miller (Christine Tremarco).

In response to her husband’s unwillingness to accept any responsibility for his son’s actions, Manda asserts several times, “We made him.” The series concludes with Eddie’s own confession, “I should have done better.”

Miller is his parents. We can discern in him his good-natured but generally compliant mother and his loud, angry father. They did make their son, indeed.

And if boys learn that the only way to relate to the “feminine” is through control and domination, why can’t girls? Why is Katie a forgettable “bitch” while Miller is the object one mourns?

What is a “cute Asian girl”? On Desire & Love in Real Life

Film still, White Lotus: Season 3, episode 5, “Full Moon Party,” the face of Rick (Walter Goggins).

“Giving what you have is throwing a party, not love.”1

“If love is to forge a link between the One and the Other, it must involve a two that remains two—a two that does not collapse the Other into One. This is very rare indeed!2

“Only love allows jouissance to condescend to desire.”3

I.  

Sam Rockwell’s monologue on White Lotus: Season 3 (wherein he plays a mercenary named Frank) is a beautiful, surprising, and captivating moment—entirely eclipsing the development of sibling incest in the same episode—and one worth beholding in all of its kaleidoscopic splendor:4

We are all—if “we are all” a bit mad or even just mildly more interesting than a hotel restaurant—Frank’s befuddled friend, Rick (Walter Goggins). We can’t stop listening to Frank. We are fixated on his self-questioning.5

Frank asks several really good questions: “What is desire? The form of this cute Asian girl, why does it have such a grip on me?” His “insatiable” desire for the form of a “cute Asian girl” is the obvious subject of his monologue.

“Cute Asian girl” is, as Frank tells us, a “form.” As a form, “cute Asian Girl” = an abstraction. Notice that “Asian girl,” “girl,” and “woman” are all synonyms in Frank’s monologue. What he desires is an Ideal. “Asian girl” = Woman.

Curiously, what Frank misses most about his life before becoming a Buddhist and celibate is “pussy.” “Being sober isn’t so hard,” Frank tells Rick, “[b]eing celibate, though. I still miss that pussy, man.”

Sobriety may not be so hard because it dulls desire, but “pussy,” as Lil Wayne was the first in the male hip-hop world to acknowledge and celebrate, is a site of agitation.6 Frank’s ongoing desire for “pussy” makes me curious about the possibility of, in Lizzo’s words, “love in real life.”

Is love what Frank wants? Does Frank want to love an actual Thai woman?

II.

Frank’s surprising discourse likely inspires a degree of defensiveness that may stymie our curiosity. We may be inclined to dismiss Frank as just another middle-aged, straight white male colonialist for whom “cute Asian girl” = fetish.

Frank does allude to fetishism in his monologue. Recall that Frank briefly wonders if “cute Asian girl” completes him, echoing Aristophanes’s tragic speech in Plato’s Symposium.

Aristophanes, a comedic writer, gives a tragic speech about the anxious gods and their monstrous creations: doubled-humanoids. Threatened by these two-headed, four-legged creatures of three different sexes (androgynous, male, and female), Zeus disempowers them by cutting them in half. Thus, love = the pursuit of one’s missing half (e.g., if a male were originally one-half of an androgynous whole, a male and female creature, then his search would be for his missing female half).

In a way, “cute Asian girl” does “complete” Frank. As Frank is getting fucked by various dudes, he looks into the eyes of an Asian girl he has paid to witness him getting “railed.” At this moment, the asexual Asian girl is functioning as a fetishistic object. She enables Frank to become her by affirming him: “Yes, what you see in the mirror of my eyes is you!” Thus, in fucking himself (he is both the male and female in this scenario), he returns to himself what has been cut off.

As a fetishistic object, “cute Asian girl” sutures Frank’s lack. Perhaps, but Frank doesn’t take fetishism seriously. “I realized I could fuck a million women and still never be satisfied.” Frank knows that fucking a million women will not give him back what has been cut off.

III.

Enter: Buddhism.

Frank states that Buddhism “is all about . . . detaching from self,” but I think what Buddhism does for Frank is cut off his desire from the (death) drive. “I realized I gotta stop the drugs, the girls, trying to be a girl. I got into Buddhism, which is all about, you know, spirit verses form, detaching from self, getting off the never-ending carousel of lust and suffering.

According to French psychoanalyst Jacques Lacan, desire qua desire is insatiable. That is, desire has no purpose.7 Desire is for desire. It is, as Frank feels, never-ending. But desire is not always a “never-ending carousel of lust and suffering.”

Like a hummingbird, desire flits from this to that. The (death) drive traps desire in repetition or obsessive fixation—in Frank’s case, on Woman. In the clutches of the drive, desire is immobilized. It becomes boring and monotonous.

The drive requires repetition/immobilization because it cannot achieve its end. On its own, it cannot bury desire. In and through repetition, the drive drives desire ever closer to what Lacan calls the Real (or, in keeping with my avian theme, the drive brings the hummingbird ever closer to the mouth of the mantis).

For Lacan, “pussy” is Real. And jouissance, like the (death) drive, serves the Real.

Jouissance is what lies beyond pleasure. “Jouissance is suffering” because it = excess pleasure.8 The drive latches onto desire and drives it beyond the limits of pleasure, beyond the amount of pleasure the subject (i.e., Frank) can bear.

According to Lacan, jouissance is “the path towards death,” toward the Real or “the Thing” (i.e., the pussy = the disturbing). “The Thing” is what is there when desire isn’t. Frank is ignorant of the fact that jouissance (= his satisfaction) is the source of his suffering—not desire.

IV.

Frank asserts that Buddhism is the cure for the “never-ending carousel of lust and suffering.” Buddhism may be such a cure, but is a cure what Frank wants?

One benefit of the talking cure (i.e., psychoanalysis) is its potential for disrupting repetition. While we can never fully know our desire (because it is always unconscious), our talk about it (potentially) frees it from the clutches of the mantis (clutches = the drive).

Recall that what gets Buddhist Frank off is “getting off the never-ending carousel of lust and suffering.” Lust and suffering, in and of themselves, do not seem to disturb Frank as much as the idea that they are never-ending features of life (“never-ending” = “a million different” Woman9).

“I still miss that pussy, man.”

V.

Enter: Love.

Frank may be right about sex when he defines it “as a poetic act,” but love is, too. Lacanian psychoanalyst Bruce Fink observes that “[l]ove is a poetic creation, a product of human creative activity.”10

Following Lacan, Fink further argues that love is a social link between the Symbolic and the Real.11 As Lacan intimates, love negotiates a more livable relationship between the Symbolic (i.e., desire) and the Real (i.e., the drive, jouissance, the base materiality of the Other or “pussy”).12

The theme of love appears in and around Frank’s monologue in at least three ways. First, love slips out of Frank’s mouth in his brief reference to Plato’s Symposium. The symposium’s ostensible agenda is to praise the god of love (discussed above in section II).

Second, love appears on Rick’s face. Throughout Frank’s monologue, Rick’s face is fixated on him, while Frank occasionally looks away. Unlike the paid Asian girl, Rick’s face is not a mirror. Rick’s face is Other; it talks back throughout Frank’s self-absorbed questioning, reflecting astonishment and perplexity. However, Rick’s face never appears disgusted or afraid of the substance of Frank’s monologue.

Finally, after Frank shares his final words, “I still miss that pussy, man,” Frank stares at Rick, but Rick looks away, down toward his crotch, and he says, “Yeah.”

“Yeah,” what? Rick is not celibate. So, what does his “Yeah” mean?

VI.

“Yeah” is a transition; it signals a shift from one conversation to another. “Love,” Lacan argues, “is a sign that one is changing discourses.”13

Fink points out the importance of changing discourses in “relations between lovers, the importance of not engaging in battle on the terrain on which one is attacked or challenged, but shifting the discussion to other ground.”14 Rick does not argue with or challenge Frank; he gracefully acknowledges the end of his monologue, shifting their conversation to the next subject.15

Rick’s girlfriend, Chelsea (Aimee Lou Wood), adores Rick, but everything she says disturbs and irritates him. He never fails to take an opportunity to dismiss or demean her, especially when she is showing the most concern for Rick’s welfare. Frank receives from Rick what Rick is unwilling to offer his girlfriend: grace.16

Nonetheless, Rick’s response to Frank may become a template for Rick’s relationship with his girlfriend. His glancing down at his crotch after Frank has shared how much he misses “pussy” may suggest that Rick (unconsciously) notices his own lack or vulnerability. Perhaps he will continue to “notice” it, opening a pathway to become Chelsea’s lover.17

It is clear that Chelsea loves Rick. In episode 6, “Denials,” Saxon (Patrick Schwarzenegger) demands to know why Chelsea did not hook up with him the night before during the wild full-moon party on the boat (while Rick is away with Frank). Chelsea shares that Rick is her “soulmate” and that having sex with Saxon would, therefore, be “an empty experience.”

“Once you’ve connected with someone on a spiritual level, you can’t go back to cheap sex,” she says. “Hooking up with you would be an empty experience.” Chelsea further suggests that Saxon is empty: “You’re soulless,” she says to Saxon.

Saxon rightly takes Chelsea’s remark as an insult. There is another way of reading it. If Lacan is correct, and “love is giving what you don’t have,” Chelsea may have (unknowingly) transformed Saxon into a lover.18 Saxon’s challenge is to recognize his lack, something he has so far shown himself unwilling even to contemplate.

Chelsea may represent the possibility that our attachments need not be so beset by “lust and suffering.” In other words, Chelsea may teach us something about love’s diplomacy. Love can work a compromise between desire and jouissance.19

VII.

Enter: object a(utre) = the object cause of desire.

Sex may be, as Frank speculates, “a metaphor” for something, like “our forms.” Love is a metaphor for object a.

Love interrupts the repetition associated with an Ideal, like Woman. It does so by fixating desire on a piece of the Real (= object a), “recognized” by the Lover in their beloved.20 In so far as object a is associated with the Real and captures desire (sans repetition), it may be associated with a compromised (death) drive and jouissance.

Love inspires/causes, fixates, and satisfies desire. It empowers us to get off on “getting off the never-ending carousel of lust and suffering.”

Example: Consider Kylie Minogue’s hit music video, All the Lovers (2010). Her beloved refuses to move, to dance, to be activated by the summons of her love. “Love demands love.”21

Her beloved, we may speculate, is reasonably worried about “all the other lovers that have gone before” him. His mistake, however, is in his thinking that he is, for Minogue, just another beloved. She very clearly tells him (twice) that “all the other lovers who have gone before, they don’t compare to you. . . they don’t compare, all the lovers.”

Like Chelsea, Minogue “recognizes” object a in her beloved. So, unlike her beloved, she is unafraid to enter into the metaphor of love.22

VIII.

Like Kylie Minogue, Frank demands love. Rick offers it, becoming Frank’s incomparable lover.

Rick’s love may inspire Frank to “recognize” his Anora. Or, sticking with Plato’s Symposium, Rick’s love (= an avatar for object a) may enable Frank to “recognize” his ágalma in the real world, in a real Thai woman.

Fink reminds us that

[i]n Greek, [ágalma means] shine and brilliancy: ágalma is something admirable or charming . . . it is a trap for gods – it draws their eyes . . . it is an uncanny object or charm – the Trojan horse, for example, is referred to as ágalma.23

As a “trojan horse,” object a is disturbing. It is disturbing in several ways. First, it is a piece of the Real. It is “pussy.” Thus, love fixates our desire on what we find most disturbing or ugly. Second, in loving object a, we reveal that we love in pieces. Fink (somewhat defensively) observes that

any analyst who has taken the trouble to elicit and listen attentively to the fantasies of actual, living, breathing, human beings is aware that what turns people on in their partners is not the “total person” but something far more partial and specific.24

Love in real life is not normal love. Fink writes,

Often it may seem that we ordinary mortals . . . are willing to love only what we consider to be “normal” in our partner, excluding anything “bizarre,” “perverse,” “weird,” or “abnormal,” excluding, indeed, all that is specific to our partner’s subjectivity. . . we consciously think our partner’s urges and pleasures weird and abnormal, but secretly they intrigue us and turn us on.25

What about Frank’s “urges and pleasures” appeal to us?

“Being sober isn’t so hard,” Frank tells us, “[b]eing celibate, though. I still miss that pussy, man.”

Frank’s Buddhism puts “a halt to repetition,” but what of Rick’s grace? Will it reveal to Frank “the potential to find love and jouissance differently than before”?26

“Yeah”?


NOTES:

  1. Jacques Lacan, The Seminar of Jacques Lacan (Book VIII): Transference, ed. Jacques-Alain Miller, trans. Bruce Fink (2015), 357. ↩︎
  2. Bruce Fink, Lacan on Love: An Exploration of Lacan’s Seminar VIII: Transference (2016), 103. I have read a great deal of Lacan, but as I recently discovered, I don’t remember reading any of it. Bruce Fink, Lacan on Love, is an excellent way (back) into Lacan. It is uncanny how it reads like a commentary on Frank’s monologue. Also helpful for understanding Lacan is Dylan Evans, An Introductory Dictionary of Lacanian Psychoanalysis (1996), and Sean Horner, Jacques Lacan (Routledge, 2005). ↩︎
  3. Jacques Lacan, The Seminar of Jacques Lacan (Book X): Anxiety, ed. Jacques-Alain Miller, trans. A. R. Price (2004), 209. Cited by Fink, Lacan on Love, 135. ↩︎
  4. See Episode 5, “Full-Moon Party.” ↩︎
  5. We may think of their conversation as an “analytic exchange.” In this case, Rick is the analyst. See Leo Bersani (with Adam Phillips), the first chapter of Intimacies (2010), “The It in the I,” for a discussion of the 2003 film Confidences trop intimes “(translated, inaccurately but ingeniously, as Intimate Strangers)” (4). Anna (Sandrine Bonnaire) mistakenly confuses the tax consultant’s office with her therapist’s office (located just down the hall from the consultant’s). Anna starts to talk about “her ‘personal problem—a couples problem'” before the tax consultant, William (Fabrice Lucchini), has a chance to correct the situation. Bersani writes, “As the real analyst down the hall tells him later, William’s initial silence is understandable (both psychoanalysts and tax specialists are consulted by people with personal problems). . .” (5-6). Bersani argues that “William and Anna test the possibility of a de-professionalizing and perhaps subsequent universalizing of the conditions of an analytic exchange” (27). ↩︎
  6. Fink cites Macbeth: “[Alcohol], sir, it provokes and unprovokes: it provokes the desire but it takes away the performance.” See Macbeth, II.iii.29-30, and Fink, Lacan on Love, 23. ↩︎
  7. Victoria Ratliff (Parker Posey) comments that young people who stay in Buddhist monasteries have “no purpose.” ↩︎
  8. Lacan, The Seminar of Jacques Lacan (Book VII): The Ethics of Psychoanalysis, ed. Miller, trans. Dennis Porter (1997), 184. ↩︎
  9. Woman (singular) is intentional. ↩︎
  10. Fink, Lacan on Love, 153. ↩︎
  11. Fink, Lacan on Love, 102. ↩︎
  12. See note 3 above. ↩︎
  13. Lacan, The Seminar of Jacques Lacan (Book XX): On Feminine Sexuality, the Limits of Love and Knowledge, eds. Miller and Bruce Fink, trans. Fink (1999), 21. Cited by Fink, Lacan on Love, 181. ↩︎
  14. Fink, Lacan on Love, 180-181. ↩︎
  15. Another example of a transition in love: My husband asked me to go to the grocery store while he ran other errands with our son. He rightly interpreted the tone of my response to his reasonable request as an unwillingness to go to the store, and he became irritated with me. The tone and character of the conversation changed when I responded to his irritation by sharing that one of my car’s tires seemed to be going flat, and I was worried about driving on the tire and about it going flat in the store parking lot. ↩︎
  16. Similarly, when Frank wonders if he may be, on the inside, an Asian girl, Rick responds, “Right. I don’t know.” ↩︎
  17. Reading Fink, I realized the return of love can be shocking. “Although our tendency in past relationships,” Fink writes, “may have been to fixate on people who did not return our love, our misreading of our current beloved [i.e., construing them in the image of past relationships] may be such that we find our love being returned when we least expect it” (204). ↩︎
  18. Lacan, Seminar VIII, 129. Cited by Fink, Lacan on Love, 35. ↩︎
  19. However, her disdain for Saxon (mirroring Rick’s disdain for her) suggests the situation is more complicated. I think Chelsea is likely mistaken when she argues that because Rick is her “soulmate,” other men cease to be interesting or that sex with other men must be cheap and empty. It is far more likely that she loves Saxon, and something else, perhaps a sense of moral superiority, is holding her back from being Saxon’s lover. In any case, Chelsea is surely not indifferent to Saxon. ↩︎
  20. “Recognized” is in quotation marks because I am referring to an unconscious recognition of the disturbing. Also, if I have read Fink correctly, Ideal (e.g., Beauty) is a link between the Imaginary and the Symbolic. See, for example, Lacan on Love, 74-75, where Fink works out the connection between “ego-ideal” and “ideal ego.” ↩︎
  21. Lacan, Seminar XX, 4, cited by Fink, Lacan on Love, 36. ↩︎
  22. Lacan thinks Socrates made a similar mistake in his refusal to allow Alcibiades to become his lover. See Fink, Lacan on Love, 196ff. ↩︎
  23. Fink, Lacan on Love, 191. Anora also means shining light and is associated with what is honorable. ↩︎
  24. Fink, Lacan on Love, 192. ↩︎
  25. Fink, Lacan on Love, 203-204, emphasis is mine. ↩︎
  26. Fink, Lacan on Love, 206. ↩︎

Compassion Is for The Dogs?

Photography by Elke Vogelsang

 I. Canine Compassion, Human Anger

In Luke 16:19-31, commonly known as the Parable of the Rich Man and Lazarus, flexuous, slobbery canine tongues perform the politics of compassion. As Lazarus lay sick and dying at the gate of the rich man who “feasted sumptuously every day,” only “the dogs would come and lick his sores” (vv. 19, 21).

The dogs represent a “fugitive moment of compassion” in a parable that otherwise seems designed to normalize retributive anger and closely related feelings, like disgust and fear.1 The allure of retributive anger is greatly diminished in and through flappy tongues of compassion.

In Political Emotions: Why Love Matters for Justice (2013), Martha Nussbaum identifies “the experience of compassion” as a point of connection between humans and animals, focusing her analysis of nonhuman animal compassion on elephants and dogs (142). She defines compassion as “a painful emotion directed at the serious suffering of another creature or creatures” (142).2

We know that dogs (and elephants) are capable of great acts of compassion. Describing the specific character of canine compassion promises to enrich our reading of Luke’s parable, renamed below as the Parable of (Un)Compassionate Tongues, by helping us better understand human compassion’s character.

As we will see, compassion is grounded in formative experiences of love and reciprocity. Initially, it is the stable love of our parents that enables us to transcend our original narcissism. We slowly learn to bring the experiences of others into our thoughts and to care about them. Following Donald Winnicott, Nussbaum argues that arts and culture constitute “potential space” for adults to play with compassion and learn to expand the sphere of their concern.

Original narcissism, or radical evil, is an ongoing challenge to our efforts to hone our attunement to the suffering of others. Nussbaum agrees with Kant: radical evil is an innate tendency. However, it is likely activated by the structure of human development. We are born fearful creatures, prone to feelings like anger at the world and the people in it for not behaving according to our expectations.3

The Greeks understood excessive anger, “obsessive, destructive, existing only to inflict pain and ill,” as a doglike emotion.4 Doglike is how Aeschylus describes the Furies, divine, feminine figures of retribution, in Oresteia.5 Nussbaum observes that “[t]he Greeks were far enough removed from fancy domesticated dog breeds and close enough to raw scenes of canine killing to associate dogs, consistently, with hideous disregard for the victim’s pain.”

Greek dogs would not be out of place in Luke’s parable. The politics of emotion that the Parable of (Un)Compassionate Tongues seems designed to evoke is that of retributive anger.

Defining anger in Aristotelian terms, Nussbaum argues that we experience anger when 1) we believe an object we care about has been meaningfully harmed and 2) we further believe that the harm done to the valued object has been “wrongfully inflicted.”6

Readers of Luke 16:19-31 surely care about Lazarus, and there is no doubt that the rich man’s failure to recognize Lazarus’s dire need for assistance is a form of wrongfully inflicted harm.

Readers of the parable are likely unconcerned about—or even pleased by—how the parable ends: the rich man is tormented in Hades. He is left with no hope of a different eternal outcome for his surviving family members.

Nussbaum persuasively argues that the desire for retribution is a defining characteristic of the experience of anger. She contends that retributive anger is normatively problematic for at least three reasons.7

Retribution is morally questionable because we often get angry over events of little consequence (e.g., someone you’ve met several times forgets your name or someone honks the horn at you in the elementary school carpool lane). Retributive anger is morally dubious because it may be inspired by something that is no one’s fault. Nussbaum points out that the “world is full of accidents.”8 Finally, punishing anger is politically unhelpful because it does not inspire efforts to ensure the wrongful act will not happen again.

Retributive anger is backward-facing, directed at punishing the wrongdoer rather than ensuring a more just outcome in the future (which may entail a future-directed form of punishment). The desire for (eternal) retribution that anger enflames distracts us from bettering our shared earthly existence by fostering emotions that can ground a spirited commitment to the core liberal value of equal dignity.

Readers of Luke 16:19-31 are liable to be led astray by its central theme: retribution. The brief appearance of the parable’s compassionate dogs challenges us to feel differently and to embrace a politics of emotion that celebrates and cherishes equal animal dignity: the politics of compassion. It is to the details of the parable that we now turn.

II. The Parable of (Un)Compassionate Tongues

Luke 16:19-31 begins by contrasting the unnamed rich man’s excessive wealth with Lazarus’s extreme need. The rich man is “dressed in purple and fine linen,” and he feasts “sumptuously every day” (v. 19). He does not seem to notice poor Lazarus dying at his gate, dressed in sores and starving. Lazarus lusts after the food that falls from the rich man’s table (vv. 20-21).

The food falling from the table may explain why dogs are around the rich man’s home. They understand the pain of hunger and illness. Perhaps that is why the dogs notice Lazarus’s suffering and come and lick his sores (v. 21).

In their commentary on the Gospel of Luke, New Testament scholars Amy-Jill Levine and Ben Witherington III write, “Lazarus’s only companions are dogs, whose licking might have provided him both medicinal benefits and emotional comfort.”9 

Lazarus dies without the companionship of his own species. We assume his death is due to complications caused by illness and starvation (v. 22).

We are not told if Lazarus is buried. We only know that the angels care for him after his death, carrying him away from the rich man’s gate and delivering him into Abraham’s embrace in Paradise (v. 22).

The rich man also dies. He is buried before appearing alone in Hades (vv. 22-23).

Looking out from Hades, the formerly rich man sees “Abraham far away with Lazarus at his side” (v. 23). “[T]ormented” by the flames of Hades and suffering from horrible thirst, the cursed man asks Abraham to have mercy on him and to send Lazarus to, in effect, lick him—to wet his dry tongue (v. 24).

The destitute man’s calm request for compassion is revealing.10 The formerly rich man recognizes Lazarus and knows him by name. A lack of familiarity with Lazarus cannot explain the poor man’s failure to notice him dying at his gate.

Though he is in Hades, the rich man behaves like a privileged man. He asks for the one he presumes is now Abraham’s servant, Lazarus, to come and serve him and quench his thirst.

In Hades, the rich man is “tormented,” “in agony,” horribly thirsty, “in flames.” Yet, he calmly and eloquently asks Abraham for relief (vv. 23-24). The formerly decadent man’s good-mannered request for Abraham to grant him relief conflicts with the terms of the text that indicate he is suffering extreme agony.

Abraham denies the rich man’s request for assistance. Abraham reasons that the formerly rich man hoarded “good things” in his earthly life and is receiving what he deserves in the afterlife: “evil things” (v. 25).

The fortunes of the rich man and Lazarus are reversed in the afterlife. Lazarus is “comforted,” and the rich man is “in agony” (v. 25).

Even if one wanted to offer compassion to the thirsty man, Abraham points out the impassable chasm between them (v. 26). Levine and Witherington III comment that “[t]here is no shuttle service from Hades to heaven.”11

Realizing his fate is sealed, the cursed man advocates for his surviving brothers. He asks Abraham to send Lazarus to warn his brothers about eternal torment (vv. 27-30).

Again, Abraham denies the formerly privileged man’s request for relief. His brothers have Moses (i.e., the Torah) and the Prophets. “If they do not listen to [them], neither will they be convinced even if someone rises from the dead” (v. 31).

III. Compassion Is for The Dogs.

The parable concludes just as it began: with a destitute man seeking relief from his suffering with no hope of receiving it. In the formerly rich man’s case, we exclaim, “Justice prevails!”

The rationale for our uncompassionate response to the previously rich man’s suffering is clarified if we name him Brian Thompson, the recently murdered CEO of UnitedHealthcare. As the CEO of a healthcare company that routinely denied claims, Thompson represents serious harm to the values and people we cherish—and harm inflicted wrongfully.

Compassion must be for the dogs. How else are we to explain the widespread online celebration of and thirsty reaction to Thompson’s murderer? Compassion for Thompson and his family: denied.

I don’t read Abraham’s refusal to offer compassion to the penniless man as a normative statement about either Jewish theology or the afterlife. However, his refusal to help the suffering man does raise a question for us to consider: Do we want a(n after)life wherein some (i.e., “the evil”) suffer without the possibility of even a crumb of relief?

I don’t believe we want such a(n after)life. If I am right, considering a few more questions is worth our time.

What is compassion? What impedes it? What does it promise? The tongues of the parable’s dogs are unexpected guides to understanding human-animal compassion and its political promise.

IV. Human and Canine Compassion

In Political Emotions: Why Love Matters for Justice (2013), Nussbaum turns to animal studies to identify the kinds of emotions that can aid nations aspiring to justice in “motivating good policies and rendering them stable” (137). She identifies “the experience of compassion” as a point of connection between humans and animals, focusing her analysis of nonhuman animal compassion on elephants and dogs (142). In my reading of Nussbaum’s work below, I focus on canine compassion.

Nussbaum defines compassion as “a painful emotion directed at the serious suffering of another creature or creatures” (142). For humans, compassion entails four thoughts, the first three of which are included in the philosophical tradition.

First, “there is a thought of seriousness” (142).12 We feel compassion when we judge someone else’s suffering as significant rather than as, for example, a form of discomfort or an inconvenience.

Second, there “is the thought of nonfault” (143). Generally, nonfault means that we feel compassion when we determine that someone is not entirely to blame for their suffering. In more complicated circumstances, we typically feel compassion for someone’s suffering caused by the least blameworthy aspects of their situation.

Third, there “is the thought of similar possibilities” (144). We typically feel compassion for someone like us: someone “who has possibilities in life that are similar” (144). Nussbaum argues that this thought is included in the philosophical tradition of compassion but is not conceptually necessary.

We can feel compassion for others even if we do not see “their predicament as like one that we would experience” (144). Nussbaum emphasizes the significance of this thought for “preventing or undoing denial of our own animal nature; its absence is thus a grave danger” (144).

Finally, Nussbaum adds a fourth thought to the three traditional ones above: “the eudaimonistic thought” (144).  We feel compassion for the suffering of someone we consider “among the important parts” of our lives.

Nussbaum is not referring to “egoism.” She means that “the things that occasion a strong emotional response in us are things that correspond to what we have invested with importance in our thoughts, implicit or explicit, about what is important in life, our conception of flourishing” (145).

Lazarus must have mattered to the dogs of Luke’s parable because they respond to his suffering compassionately. It is now well established that animals are aware of suffering, “and they notice it very keenly” (147).

However, animals do not think of suffering in terms of blame. Like young children sometimes do, animals focus “on suffering without asking who is to blame” (147). Animals notice suffering but do not perceive fault—at least not to a significant degree. Thus, Nussbaum focuses her analysis of animal compassion on seriousness, similar possibilities, and eudaimonistic thought.

Animal compassion takes many forms, just as human compassion—some simple and some complex. The most complex form of compassion entails perspective-taking: “behavior that shows concern for what the other creature is suffering” (149). Perspective-taking also takes more or less complex forms.

Dogs do not typically pass the mirror test, so their understanding of another’s suffering is likely muddled. Their perspective-taking is a simple one.

To better define the perspective-taking of dogs, consider the following case:

George Pitcher and Ed Cone are watching TV one night in their Princeton home: a documentary about a little boy in England with a congenital heart ailment. [The boy dies]. Pitcher, sitting on the floor, found his eyes filled with tears. Instantly, their two dogs, Lupa and Remus, rushed to him, almost pushing him over, and licked his eyes and cheeks with plaintive whimpers (150).13

The dogs notice Pitcher’s suffering, which looks serious to them. However, they cannot know whether his suffering is, in fact, severe. Nussbaum observes that if Pitcher’s tears were due to having to pay “a just amount of tax,” the dogs would still comfort him (151).

Pitcher’s dogs do not consider who is to blame for his suffering. In his own book about dogs, “Pitcher . . . suggests that the judgment of fault is usually a defect, and animals are better off morally because they lack it” (152).14

With Nussbaum, we are rightly skeptical of the claim that determining fault is generally a moral defect. Dogs are storied for loving humans who cruelly mistreat them.

Moreover, determining fault can help women and minority groups identify reasons to assert their equal dignity (152-153). Yet, “we can certainly observe that humans often find fault erroneously, hastily, and on the basis of bad social norms. . . . To that extent, looking to animals for guidance would seem the right thing to do” (153).

Lupa and Remus may have some awareness of similar possibilities. Before coming into the care of Pitcher and Cone, Lupa and Remus had been abused. Even the sight of a stick terrorized them. Therefore, they may imagine “such bad events as future possibilities for themselves” (155).

Pitcher’s dogs respond compassionately to his suffering because they understand it, and he matters to them. However, Nussbaum notes that animal eudaimonistic thought is inflexible and narrow.

Animal compassion is directed at members of their own species or familiar group members. Noticing the tears of a stranger, Lupa and Remus will not show them compassion.

Dogs are capable of moving acts of compassion. The character of their dog-specific compassion promises to enrich our interpretation of Luke’s parable and potentially gift us with compassionate tongues.

V. Speaking in Compassionate Tongues

“[T]he dogs would come and lick his sores” (v. 21). They notice Lazarus’s suffering, and while the dogs cannot determine its actual seriousness, Lazarus’s pain seems grave to them.

The dogs know what it is like to experience illness and hunger. Cleaning and soothing Lazarus’s sores with their kind tongues, the dogs demonstrate that they perceive Lazarus’s suffering as a possibility for them.

Like many other animal behaviors, dogs licking a sick man’s sores may inspire disgust in us human animals. Lazarus’s body would likely repel readers if they encountered him outside their front doors.

Disgust is a powerful feeling that often impedes the politics of compassion. That is why, at least for one badass, holy bitch, “licking” sores is an important spiritual exercise.15

In The Spiritual Dialogue (1522), it is reported that Catherine of Genoa is led by the Spirit to ill people “with foul-smelling sores, the stench of which was so great that it was hard to stay close to them” (131).

She is commanded to put the sores in her mouth. “She put them in her mouth, and so many times she was freed from natural repugnance; but since the smell continued to give her nausea she rubbed her nose with the pus until she freed herself of that revulsion” (131).

“Licking” sores and similar practices, such as eating lice, are physical means to a specific spiritual end: Catherine wants to annihilate “Human Frailty,” which is, for her, connected to the “animal body, without reason, power, will, or memory” (125).

Catherine overcomes “Human Frailty” by overcoming its tendency to feel disgust for what is bodily. This is an essential spiritual goal for Catherine because disgust for what is bodily prevents her from becoming an animal body, a non-willing vessel of the Spirit.

The author asserts that Catherine’s actions are “loathesome” and “contrary to human nature” (131). However, “in forcing herself to obey the Spirit, Catherine was heartened in her resolve to help the desperately sick” (131).

Catherine rightly notices that human disdain for the animal body, its secretions, smells, sounds, etc., impedes the politics of compassion. However, Catherine’s spirituality is normatively problematic—and for reasons that go well beyond its underlying metaphysics.

Catherine’s “loathesome” practices are unreasonable because we are rightly concerned about the potentially adverse health outcomes associated with ingesting materials such as pus and feces.

Moreover, compassion does not require us to eat the pus from the sores of the ill or the lice from the heads of the poor. While Catherine’s desire to overcome disgust to help the severely sick and poor is admirable, it is clear that they are merely means to Catherine’s spiritual end: ceasing to exist as a will-full individual.

Finally, we know that animals are not mindless vessels of instinct. Most animals are sentient: they understand themselves, the world around them, and what is good (and bad) for their specific lives.16

Significantly, animals do not have to unlearn disgust for what is animal, namely the body. Only human animals learn to loathe the animal body and participate in the evil politics of projective disgust, defining some humans—such as women, Black men, Jews, and gay men—as wild animals and treating them as such, as what is outside the sphere of equal dignity.17

The parable’s dogs do not have to repent of disgust to lick the sores that cover Lazarus’s body. His sores do not disgust them. By licking his sores, they embody a dog-specific form of compassion that respects Lazarus as an end.

The rich man’s failure to recognize Lazarus’s suffering and offer a compassionate response is also dog-like. As his behavior in Hades amply attests, the rich man does not consider Lazarus a pack member.

Like the dogs, the rich man will not think of offering compassion to someone not in his family group. Unlike the dogs, the rich man can learn to expand his circle of concern to include all animals.

Yet, the rich man is all too human. Abraham expresses a theological view the rich man likely finds agreeable: Lazarus is to blame for his condition.

Illness, poverty, and suffering are associated with “evil things.” As Nussbaum argues, the “capacity to think about fault and choice is . . . a necessary part of moral life. And yet, it can go badly astray. . . . [I]t is very convenient to blame the poor for their poverty and to refuse compassion on that account” (158).18

The dogs cannot consider blame in their response to Lazarus’s suffering. His suffering is serious to them, and his life matters to them. He is one of their own.

The dogs also know what it is like to experience illness and hunger. So, they extend compassion to Lazarus. They speak compassion in flappy, drooly tongues.

VI. The Afterlives of (Un)Compassionate Tongues

During his earthly life, Lazarus is treated like a dog. The dogs recognize him as one of their own and lick his wounds.

I think Lazarus represents their sal(i)v(a)ific compassion in Paradise. However, the fact that he does not use his tongue troubles my reading of Lazarus as a tongue of compassion.

Several years ago, a New Testament scholar noticed I was reading Luke’s Parable of (Un)Compassionate Tongues on a long flight from San Diego. It was the lectionary text for the upcoming Sunday, and I was trying out a sermonic version of this essay.

The Scholar asked me what I thought about the parable. I shared that I had problems with the politics of retributive anger I read in the story. The Scholar expressed surprise. As a gay Black man, he read Abraham as Lazarus’s advocate, as his tongue. The Scholar argued that, in and through Abraham, Lazarus is liberated from his earthly oppressor.

I agree with the Scholar: Lazarus does not require compassion in the afterlife. However, what is the justification for withholding it from the formerly rich man? There is only one morally normative reason for denying him compassion: we do not believe his situation requires it.

As we discovered earlier, the formerly rich man’s composed request for relief undercuts the idea that he is experiencing extreme agony in Hades. However, we are told that he is “being tormented” in Hades (v. 23). We also know that he wishes to warn his family to avoid a similar fate (vv. 27-31).

Even so, the man does not seem to know he is suffering. Nussbaum writes, “If we think . . . that a person is unaware of a predicament that is really bad . . . , then we will have compassion for that person even if the person doesn’t think [their] situation is bad” (143). We have reason to believe that his suffering is bad.

We are not explicitly told why the rich man did not recognize Lazarus’s suffering and offer assistance. Furthermore, we cannot underestimate the power of bad theology and destructive social norms to deform one’s sensitivity to the suffering of others.

There is a degree of moral ambiguity in the parable. I do not conclude that the cursed man is entirely to blame for his suffering.

Like power, wealth is not one thing, nor is it simply a monetary reality, something we can locate neatly, like in a bank account. Generosity is often difficult for anyone who has worked hard to possess anything potentially beneficial to the common good.

The formerly rich man’s suffering is certainly a possibility for us. If it were not, the parable itself would not be necessary.

The formerly rich man, Brian Thompson, does not matter to everyone. He failed during his earthly life to respond compassionately to the suffering of others. He is an object of social disgust.

The horrible irony is that if we fail to offer compassion to the formerly rich man, we become like the earthly rich man and complicit in undermining the basis of any thriving liberal society: commitment to equal dignity.

Advocates of dignity like Gandhi, King, and Mandela understood the threat posed by punishing anger to the value of equal dignity. They rejected the politics of retributive anger.19

Of course, we can reject their examples and deny compassion to the formerly rich man. If we do so, let us admit that rigorous moral reasoning does not support that choice. But what of the fact that neither Lazarus nor Abraham offers the cursed man compassion?

Suffering outside the gates of plenty and blessing, the previously content man asks Abraham to have mercy on him. Abraham argues that he is not a source of salvation.

He did not save the ill and starving Lazarus. He cannot save the formerly rich man from his suffering in Hades. According to Abraham, salvation is found in the Torah and the Prophets.

The parable itself is an interpretation of the Law of Moses and the Prophets. From it, we learn two lessons. The first lesson is that compassion is the morally correct animal response to the legitimate suffering of others. The dogs embody this lesson.

The second lesson we learn is that it is right to trust one’s fellow animals to respond compassionately to legitimate suffering. The Greek of Luke’s parable suggests that Lazarus was placed at the rich man’s gate—he did not just wander there himself.

Lazarus’s friends/neighbors trusted the rich man to recognize Lazarus’s pain and hoped he would use his resources to relieve it. While the dogs gave Lazarus what his friends/neighbors trusted the rich man to, they were nonetheless correct in placing their faith in him to act compassionately.

There is a third lesson for us to recognize. Luke’s Jesus emphasizes it after sharing the parable: people can and do change (17:1-10).

Luke 16:19-31 emphasizes the importance of change but does so in a way that tends to evoke fear and encourage disgust and retributive anger. The parable is for a specific group of readers, like the ungenerous wealthy. They had better change their ways before it’s too late.

Change is not possible in the afterlife. Eternal punishment is a delicious thought—at least when the objects of it are one’s enemies, or “those people,” or the one percent.

The problem: retributive anger does not improve our lives; it worsens our lives by creating the conditions for afterlives of violence. Moreover, fear and disgust do not make people good; they make people tyrants.

Nonetheless, the Parable of (Un)Compassionate Tongues does not entertain offering compassion to the suffering man in Hades. The parable does hint at the possibility of a change in the afterlife’s policy toward those suffering in Hades.  

The formerly rich man is likely shocked by Abraham’s refusal to help him or his family. His belief in a theological outlook that privileges the privileged is shaken.

The shock of Abraham’s lack of compassion for his suffering can become a persuasive reason for the poor man to seek compassion elsewhere. This elsewhere is Lazarus.

The formerly rich man can wet his dry tongue by directly addressing Lazarus: “Brother Lazarus, ask our Father Abraham to have mercy on me.” In this way, the destitute man affirms that he, like Lazarus, depends on his fellow animals to recognize his suffering and offer compassion.

Lazarus understands what it is like to suffer alone without hope of relief. His initial silence is likely motivated by an unwillingness to humiliate the man who did not recognize his earthly suffering and whose suffering is not adequately addressed by Abraham.

If that is true, when the formerly rich man asks Lazarus to help him, Lazarus will likely break his silence and offer assistance, asking Abraham to create a way for the man to travel from Hades to Paradise.

Abraham, recognizing the formerly rich man’s change of heart and Lazarus’s willingness to offer the man compassion, will likely extend compassion to the formerly rich man.

Significantly, compassion need not overlook the tormented man’s past behavior or its role in causing his present suffering—but it will neither hold him to that lousy behavior forever nor deny aid due to the thought of fault.

Abraham’s compassion can look like a future-oriented pathway between Hades and Paradise that encourages and fosters education in the value of equal dignity.

Clearly, my interpretation of the afterlife exceeds the limits of the text alone. My argument does not rely on it. The lesson is the same: “The advice to humans is not to wait for external intervention from the heavens: instead, we must arrange to have mercy on, and to love, one another.”20

Licked by the textual tongue of the parable, I have remained stubbornly hopeful and committed to reading Luke 16:19-31 in the spirit of the floppy, comforting tongues of the dogs. However, while trying to hold onto compassion and the value of equal dignity, I have neglected to directly acknowledge a profound loss.

VII. Radical Evil and The Politics of Compassion

We have lost Lazarus. We rightly feel both grief and Transition-Anger at the tragic loss of a friend.

Transition-Anger is Nussbaum’s term for future-oriented anger or “protest without payback.”21 It acknowledges our outrage at injustice and powerlessness to return Lazarus from the dead.

Transition-anger motivates us to do what we can to ensure others do not suffer the same fate as Lazarus. We can peacefully protest public blindness to the suffering of the poor. We can work with our neighbors to foster a spirit of reciprocity in our communities. We can organize to elect and donate to officials committed to creating caring governmental agencies.

The work of mourning is another difficult task we can do together.22 Mourning the loss of Lazarus, we internalize our shared mortality.

Accepting the reality of death, we potentially undo our anthropodenial: the rejection of our animal condition. To flourish, we must trust and rely on others. Our grief can enable a common effort to celebrate and embody respect for equal dignity.

The work of mourning and Transition-Anger are compassionate responses to animal suffering. They are grounded in love and generosity, in the experience of animal vulnerability. However, the experience of vulnerability is also the fertile soil from which radical evil grows.

In Political Emotions, Nussbaum argues that radical evil is rooted in “our bodily helplessness” and “our cognitive sophistication.” It is radical because it is “rooted in the very structure of human development” (190). It is evil because it is the intentional, active thwarting of equal dignity.

Following Kant, Nussbaum concedes that radical evil is likely an innate tendency. Thus, it is independent of social circumstances, like poverty or wealth.

Moreover, although radical evil is supported by some aspects of our “animal heritage,” it is a tendency unique to human animals. It is likely activated by the structure of human development (167).

The infant is a creature of anxiety. “Their helplessness produces an intense anxiety that is not mitigated by trust in the world or its people” (173). They attempt to overcome helplessness through control, “making other people [their slaves]” (173).

The way out of original narcissism is love and reciprocity. Initially, their parents’ love encourages the infant to “trust in an uncertain world and the people in it” (176). The stable, reliable love of parents creates a pathway for the infant’s eros, “its . . . outward-moving curiosity” (176).

In and through play, the infant explores the world and hones its developing concern for others. The infant learns to offer love to others.

I return to play below. For now, we recognize that original narcissism is incurable; it is an intractable feature of our interpersonal and political lives.

Original narcissism is the ground of possibility for retributive anger and the closely related politics of disgust and fear. The ongoing experience of bodily helplessness/vulnerability can cause us to become tyrants again.

Feeling out of control, we are tempted to blame and punish others, project our animal condition onto specific groups of people, like women and minorities, and distrust people who do not obey dominant cultural expectations.

Nussbaum argues that the ongoing experience of loving relationships and playfulness in arts and culture immunizes us against the persistence of viral narcissism.

The arts and culture constitute, to use Donald Winnicott’s term, “potential space,” space outside of our interpersonal relationships to try “roles and options . . . without real-life stress” (181).

Summarizing Winnicott, Nussbaum writes, “In adult life . . . the infant’s experience of trust, reciprocity, and creativity finds a wide range of outlets, in culture and the arts, that deepen and renew the experience of transcending narcissism” (181).

In Luke’s literary tale of the (Un)Compassionate Tongues, the dogs evoke a spirit of loving generosity. The memory of their wiggly tongues potentially helps us remember formative experiences of love and care that can continue to ground our faith in a politics of compassion.

As I write this essay, I remember my childhood friend, Keppa, a Boston Terrier. My grandmother, Lorraine, convinced me to choose Keppa from the litter because she was the runt. Keppa loved me, but she loved my grandmother far more than me or anyone else.

Keppa made us aware of her connection to my grandma in many ways. For example, when she was let out of my house early every morning to relieve herself, she would run next door to my grandparents’ home. Refusing to return to me when I called her, she spent her day with my grandmother, eventually moving in with my grandparents when I moved away to college.

I was home when Keppa died. I remember that my grandfather cried. It was the first and only time I witnessed him express sadness. I was in my early twenties.

I carried Keppa in my arms to her final resting place. My grandmother could not bear to be present for her burial.

Remembering Keppa—and how could I forget the licks I received right after she had eaten a dead fish taken from a nearby irrigation canal—I remember my loving grandparents, especially my grandmother.

Like Keppa, I received a lot of care from my grandmother. I also went to her house almost every morning for breakfast and conversation before school.

I continue to remember Keppa and my grandmother, Lorraine. Every December, I hang ornaments on the Christmas tree in their memories. During this time of year, Lorraine and Keppa are again side by side.

Nussbaum argues that nations aspiring to justice must tap into these formative interpersonal experiences of love and generosity because they ground a spirited concern for others, including serious animal suffering and the associated value of equal dignity, that can stabilize the politics of compassion (177).

Given the constant pull of original narcissism in public life, a resilient collective commitment to compassion would be no small achievement.

There is no guarantee that readers of Luke 16:19-31 will be inspired by the squiggly, compassionate tongues of the dogs to remember formative experiences of love and reciprocity that can ground a stable commitment to a politics of compassion. The parable’s politics of retributive anger is the text’s more evident and satisfying theme.

But if compassionate canine tongues manage to wet our dry tongues, I think we will agree that the politics of compassion is for the dogs. It is for every animal.


NOTES:

  1. See the “Introduction to the Thirty-Fifth Anniversary Edition of a People’s History of the United States” (2015) by Anthony Arnove. ↩︎
  2. See also Nussbaum, Justice for Animals: Our Collective Responsibility (2023), 12-15. ↩︎
  3. See Nussbaum, The Monarchy of Fear: A Philosopher Looks At Our Political Crisis (2018), 24. See my reading of the same text, “How Fear Influenced the 2024 Election Outcome,” here. ↩︎
  4. Citations in this paragraph are from Nussbaum, Anger and Forgiveness: Resentment, Generosity, Justice (2016), 2. ↩︎
  5. The Romans also thought anger was a feminine feeling. See Nussbaum, Anger and Forgiveness, 44-45. ↩︎
  6. See Nussbaum, The Monarchy of Fear. She discusses anger in chapter 3, “Anger, Child of Fear,” 63-95. See also Anger and Forgiveness, and Justice for Animals, 15-16. ↩︎
  7. See Monarchy of Fear, 80-84. For an extended discussion of anger’s errors, see Anger and Forgiveness, 14-35. ↩︎
  8. Monarchy of Fear, 82. ↩︎
  9. See Levine and Witherington III, The Gospel of Luke (Cambridge Bible Commentary [2018]), 453. They also note that “the standard move” is to “see the dogs as adding a note of ‘uncleanness’ . . . ” (453). They argue that this move is “unnecessary and erroneous” (453). ↩︎
  10. See The Gospel of Luke, 455, for the insights I outline below. ↩︎
  11. Gospel of Luke, 456. ↩︎
  12. Emphasis is original unless otherwise noted. ↩︎
  13. George Pitcher was a philosopher, and Edward Cone was a composer and Pitcher’s partner. See Politics of Emotion, 418n31. See Justice for Animals, xx-xxi. ↩︎
  14. See George Pitcher, The Dogs Who Came To Stay (1995). ↩︎
  15. I am using bitch here in a Lizzoian spirit, but Catherine would likely not mind the less flattering meaning of the term also intentionally echoed here. ↩︎
  16. On animal sentience, see Nussbaum, Justice for Animals, chapter 6, “Sentience and Striving,” 118-153. ↩︎
  17. See Nussbaum, Political Emotions, 158-160, 182-191. See also Nussbaum, Hiding from Humanity: Disgust, Shame, and the Law (2004), From Disgust to Humanity: Sexual Orientation and Constitutional Law (2010), and Monarchy of Fear, 107. ↩︎
  18. The parable’s logic is less neat. The idea seems to be that our earthly moral judgments are often very wrong. In this life, good people receive evil things, and wicked people receive good things. However, the afterlife does not overturn the underlying logic; it corrects it. Good people receive good things in the afterlife, and evil people receive evil things. But we are not given any reason to believe that Lazarus is good and the rich man is wicked. Normal people make grave moral mistakes. And if the message is that the poor are always good by virtue of being poor and the rich are always wicked by virtue of being rich, then we cannot account for the ubiquitousness of radical evil. ↩︎
  19. See Nussbaum, Anger and Forgiveness, 218-237, for a detailed reading of these figures’ rejection of retributive anger. ↩︎
  20. I have taken this quote from Nussbaum, The Tenderness of Silent Minds: Benjamin Britten and his War Requiem (2024), 245-246. She is reading the final moments of War Requiem. The Chorus sings, in part, “May the Choir of Angels receive thee / and with Lazarus, once poor / may thou have eternal rest.” Britten and his partner, Pears, were both dog lovers. ↩︎
  21. For a full account of Nussbaum’s understanding of Transiton-Anger, see Anger and Forgiveness, 35-40. See also Monarchy of Fear, 88-95, Justice for Animals, 16. ↩︎
  22. For grief, see Political Emotions, 201-202, and Anger and Forgiveness, 47-48. ↩︎

How Fear Influenced the 2024 Election Outcome

Käthe Kollwitz, Seed Corn Must Not Be Ground, 1942.

I. How Did This Happen? Fear.

Donald Trump, a man who fomented an insurrection, was convicted of multiple felonies, found liable for sexual assault, and allegedly stole national security secrets, to name only a few of his past accomplishments, is now President-elect Trump, again.

How did this happen?! Fear.

Fear motivated millions of Americans to vote for Trump. Fear is what millions of Americans, especially the most vulnerable, are feeling right now. Their fear is amplified by the expressed commitments of Trump’s disturbing picks to lead government agencies to deport millions of immigrants, target trans* youth and adults, and otherwise embody the spirit of Project 2025.1

To claim that fear motivated Trump-aligned voters to go to the polls is not to trivialize their genuine concerns. Likewise, recognizing widespread fear among those who, like me, voted against Trump’s policies and cruel impulses does not mean looking down on them.

Fear can animate freedom movements and underly concerns about one’s pocketbook and safety. It is a uniquely powerful emotion that influences our actions far more than we would like to admit.

Sometimes, our fear is justified. Other times, it is not grounded in data, facts, or evidence. In either case, fear is self-protective in character. 

Attuning ourselves to emotions like fear also helps us keep our shared humanity at the forefront of our politics. For example, focusing on our propensity to fear does not require vilifying any one group of voters.

We must think critically about fear. The goal of this difficult work is a more hopeful politics. Moving away from fear, we move toward honest conversations about who and what we love.

II. What Is Fear?

In The Monarchy of Fear: A Philosopher Looks At Our Political Crisis (2018), a book inspired by Hillary Clinton’s electoral loss to Donald Trump in 2016, Martha C. Nussbaum observes that the experience of fear is “genetically first among the emotions” (20). It is our first feeling.

Fear is born of vulnerability. You are born into the world in a state of need. Some part of the world around you must provide for your needs, or you will die. “The only way you can get what you need is to make some other part of the world get it for you. . . . Human life, Rousseau understood, begins not in democracy but in monarchy. The baby . . . has no way of surviving except by making slaves of others” (21-22).2

The infant knows nothing of trust and regularity. Infants live in the moment. Haunting each moment of an infant’s satisfaction is fear: the perception that some part of the world (a “bad object”) will harm them, and there is nothing they can do about it (26-28). Fear involves the perception of danger and vulnerability.

We experience fear from the start of our lives, and it persists because we, human animals, are inherently vulnerable. “Fear. . .persists beneath all [our emotions] and infects them all, nibbling around the edges of love and reciprocity” (20).

“In the experience of fear, we draw on a common animal heritage. . . . Fear goes straight back to the reptilian brain” (27). Yet, as Joseph LeDoux argues, fear is not “‘in’ the amygdala” (27).3 Primal fear sticks with us but is “followed, later, by complicated, learned forms of that emotion” (28, emphasis mine).

The consciousness of death is a significant lesson in our education. Our awareness of death is beneficially motivating. It inspires us to avoid disaster and to create societies and laws that help us do the same. The recognition of death “might produce, as Rousseau devoutly hoped, compassion and reciprocity: we band together to protect one another from hunger, disease, and war” (43). However, a beneficial awareness of death requires a “concept of our well-being and of what, and who, threatens it” (44). What constitutes a “bad object” may have been straightforward at an earlier point in our evolutionary history, but it is not as clear today.

If we are to avoid disaster, we require a clear picture of what threatens our well-being. Our snake brains, families, clergy, and political leaders all contribute to our understanding of what we should fear. Nussbaum summarizes Aristotle’s rules for political leaders who desire to “whip up” our fear:

  1. “[P]ortray the impending event as highly significant for survival or well-being”
  2. “[M]ake people think it is close at hand”
  3. “[M]ake people think that things are out of control—they can’t ward off the bad thing easily on their own.”
  4. “[S]peakers must arrange to be trustworthy” (44-45).4

Our government deploys an Aristotelian approach to effectively whip up fear when a hurricane is barreling toward a coastline. We tend to trust the calls of state and local officials to evacuate our homes before the hurricane arrives because the evidence, facts, and data support the conclusion that our fear is justified. Yet, “our basic propensity to fear [makes] democratic societies . . . highly vulnerable to manipulation” (45).

Nussbaum draws on psychological research to describe two “heuristics” of fear. The first is the “availability heuristic,” and the second is the “cascade heuristic,” which has two aspects: reputational and informational (47-51).5 These heuristics can function to overwhelm our ability to carefully consider costs and benefits, instead activating our instinctual impulses.

Donald Trump effectively deploys each of the heuristics of fear. Trump uses the availability heuristic, creating an image of danger that is readily available to voters. He imagines that our country is being overrun by dangerous immigrants. To make the image even more visceral, Trump raises the specter of contamination, stating that immigrants are tainting American blood, infecting our country, and even, like rabid, wild animals, eating our beloved cats and dogs.6

According to Trump, immigrants are violently transgressing our borders, stealing our well-being, and trashing our country. The unprotected hole(s) of the national body lead to further fears, such as the erosion of gender norms, especially the “weakening” of normative American masculinity, which is imagined as a potent threat to American military might.  

The Trumpian image of a national body being raped by, for example, Haitian and Mexican intruders is immediately accessible to voters, and it inspires fear. Trump combines the availability heuristic with the cascade heuristic, motivating people to band together to overcome a(n imagined) threat to their well-being.

Trump’s base trusts him, and they believe immigrants pose an imminent threat to their personal security (the reputational aspect of the cascade heuristic). The threat is amplified by taking at face value new information linking immigration to the economy (jobs and housing costs), trans* liberty, race, national security concerns, and so on (the informational aspect of the cascade heuristic).

The heuristics of fear are highly motivating. They compel us to act together to avoid immediate danger. The problem arises when the fear they amplify is not based on a sober assessment of evidence, facts, data, or our experiences.

There are good reasons to avoid the path of a tornado and to act to stop or mitigate human threats like terrorist acts, acts of war, poverty, starvation, environmental pollution, and climate change. However, when our fear is unwarranted, it can destabilize democracy.

III. The Family of Fear: Anger, Disgust, and Envy

Fear, like anger, is sometimes well-grounded. However, anger born of unwarranted fear threatens to upend a democratic society.7

“According to Aristotle, anger is a response to significant damage to something or someone one cares about, and a damage that the angry person believes to have been wrongfully inflicted” (72). That’s reasonable enough, but what is often left out of our accounts of anger (although “[a]ll Western philosophers who talk about anger include” it) is the wish for retribution (73).8

What is most problematic about anger is the built-in desire for retribution. Retribution is problematic because we often get angry at actual wrongs that are not hugely important (e.g., someone forgets your name or cuts you off in traffic). Even when the wrongs are significant, retribution does not erase them or the pain they cause—and in some cases, there is no wrongdoer to punish. “The world is full of accidents” (82).

If we apply ourselves, anger and retribution can be separated, with the aim of ensuring a better future for everyone. Nussbaum calls this Transition-Anger, and she observes that parents know this type of anger well. Parents know that anger caused by actual wrongs can be turned toward ensuring better future outcomes that benefit the child and the entire family. Politically, peaceful protest and future-oriented punishments are examples of Transition-Anger.

Anger inspired by unwarranted fear leads us in an altogether different direction. When the world does not work the way we want it to, it is easy to blame others. “The act of pinning blame and pursuing the ‘bad guy’ is deeply consoling. It makes us feel control rather than helplessness” (82).

We compensate for our helplessness by believing that the world is just. Our faith in a “just world” leads us to think that the wrongs that happen to others are their own fault, while the wrongs that happen to us are the fault of others (82-83).

The Salem witch trials illustrate this point. Nussbaum notes “that a preponderant number of the witch blamers were young men entering adulthood, afflicted by the woes of an insecure colony in a new world: economic uncertainty, a harsh climate, political instability. How easy, then, to blame the whole thing on witches, usually elderly unpopular women, who can easily be targeted and whose death brings temporary satisfaction of mind” (83).

Retribution, whether inspired by well-grounded anger or not, does nothing to right a wrong or solve a genuine problem. It makes our lives worse. Therefore, we should be concerned about Trump’s manifest desire to be a figure of retribution. “One of the trickiest problems in politics is to persist in a determined search for solutions without letting fear deflect us onto the track of anger’s errors” (93).

Born of unwarranted fear, disgust, like fear-driven anger, “often leads us astray” (100). Disgust, unlike anger, “does not require wrongdoing or the threat of wrongdoing to get going.” It is an emotion inspired by our animality and mortality, “triggered . . . by bodily characteristics” that are or seem to be related to death and decay (100).9

According to researchers, disgust “is an aversion to contact that is motivated by the thought of contamination” (105). It is related to the fear of being tainted or infected by death and decay (106). Nussbaum points out that we are the only animals that try to sanitize ourselves through projects of transcendence, attempting to deny or forget our mortality/animality.

It is not easy to deny our bodies—their holes, smells, sounds, folds, secretions, excrement. So, we project our disgust onto others like Jews, trans* persons, Muslims, women, Black people, queers, people with disabilities, and immigrants. These groups come to figure change, animality, the erosion of tradition, and, if not controlled or eliminated, the infection of the traditional social body.

The way projective disgust works to stigmatize and isolate others is not predictable. For example, imagine a Mexican male—an immigrant in the U.S. illegally, working at a slaughterhouse—who supports Donald Trump. He argues that while he knows Trump is set on a policy of mass deportation, he does not believe Trump will deport family-oriented Latinos like him. However, many Mexican Americans fear being associated with Latinos like him, and they welcome his deportation.10

Envy is the third child of fear. It is the fear of “not having what one desperately needs to have” (140). It is “a painful emotion that focuses on the advantages of others, comparing one’s own situation unfavorable to theirs” (137). Again, there is a fantasy underlying this emotion, namely, a fantasy that “others have the good things and I do not . . .” (139).

Envy is dangerous because it combines feelings of powerlessness, inferiority, and despair. It works like this: Others have what you do not, and you are powerless to obtain those things. Not having those things makes you less than in the eyes of your neighbors who possess them. You will never be able to attain those good things that you desire.

Even when it is true that others have good things and you do not, envy functions like retribution: “it is destructive hostility” (140). Envy seeks to ruin the lives of those imagined to have all the good things you desire. In other words, envy-based fear does not contribute to a rights-based society that can provide the essential goods we all need to thrive and empower people to build their desired lives (163).

IV. Objects of Fear: Women

The family of fear gathers around the bodies of women. There is anger that “women have gotten out of hand” (169). There is disgust inspired by women’s bodies (a feeling not incompatible with male desire for those same bodies). There is envy related to women “enjoying unparalleled success in American life” (169). Nussbaum argues that “we don’t have to choose. All three are occurring, and they reinforce one another” (169). She also observes that this “same dynamic plays a role in hostility to immigrants” (171).

We have made progress: most men are no longer sexist. The idea that women are inherently inferior is just too obviously false. Nowadays, many men prefer outright misogyny: the act of putting women “back in their place.”

Men are not the only ones, of course, who support Trump. Women, especially white women, also support Trump. It may be that some women can put aside his explicit denigration of their bodies because they agree with many of his policies.

Other women may support Trump precisely for denigrating “those women,” women like Bette Midler, Carly Fiorina, Hillary Clinton, and Michele Obama. The status of “traditional women” is inextricably linked to taking care of and supporting the men and children in their lives. Traditional women “object on moral or religious grounds to women who pursue independence and career success . . . (185). Traditional women channel their anger at “uppity” women for diluting their brand.

Nussbaum argues, and I wholeheartedly agree, that “we should honor” any parent who chooses to stay home and care for children (and extended family). However, “the traditional model, which gave men free choice and told women that they had no choice, is surely wrong in a society of equals” (186). 

Envy also plays a role in white male perceptions of women’s successes beyond the traditional family. “There’s no doubt that white men, particularly in the lower middle classes, are indeed losing out” (191). The problem is that some white men seem beleaguered by the fantasy that they are being replaced by immigrants, women, and others in, for example, the workforce.

This is a powerful and dangerous fantasy due to the role a deep sense of entitlement plays in it. Some white men feel that employment and other forms of social success are their birthright. In that case, hostility is the only maladaptive tool left for them to secure a good future, at least for themselves.

Disgust is mixed into this potent, anti-democratic mixture, justifying the control of women’s more animal-like bodies and the enforcement of their lower status. The critical point is that this mixture of anger, envy, and disgust does not solve serious social problems. It does not prepare white men for the economy of the future. It does not ultimately prevent women, gay men, immigrants, and people of color from achieving their dreams. The family of fear mix maintains the status quo by undercutting the spirit of reciprocity, the spirit we require to provide for our collective needs, strengthen our democracy, and defend ourselves from a very real threat to our well-being: tyranny.

V. Resisting The Monarchy of Fear: Hope, Faith, and Love

Fear reacts to uncertainty by controlling others or voting for a tyrant, someone who promises to control others for us (212). Hope reacts to uncertainty by trusting others “to be independent and themselves” (211). We hope for a desired outcome precisely because it is not assured; it is an outcome we cannot control or guarantee. Thus, hope is not based on “probabilistic beliefs” (202-206).

Fear constricts our vision, while hope expands it (212). Hope entails an optimistic outlook (even when facing dangers of which we are rightly fearful). Moreover, hope can potentially motivate us to work toward a positive vision of our well-being.

“Idle hope” is not connected to optimistic action. “Pragmatic hope” is linked to an action plan. It is hope determined to realize a “valuable goal” (206-207).

However, hope is not naive. Kant “believed that we have a duty, during our lives, to engage in actions that produce valuable social goals. . . . Kant also understood . . . that when we look around us it is difficult to sustain our efforts . . . . He said that if we ask our own hearts the question, ‘Is the human race as a whole likable, or is it an object to be regarded with distaste?’ we just don’t know what to say” (208).11

For Kant, hope is a “practical postulate.” We can’t exactly justify hope. We hope “for the sake of the good action it may enable” (209).

Nussbaum reminds us that Saint Paul relates hope to faith and love, teaching that love is the greatest of the three (213, 1 Corinthians 13:13).12 Martin Luther King, Jr. follows in this tradition, “albeit not in a theistic and theological way, but in a this-worldly way that embraces all Americans” (213). King advocated for this-worldly faith in the power of protests and marches to effect meaningful change.

Rational faith is the belief in “[r]eal human beings and real human life.” It entails embracing “something that flawed human beings are capable of and might really do” (214). It also entails believing that “our opponents [have the capacity] for reasoning and a range of human emotions, whether badly developed and used or not” (216).

“Philosophy by itself shows how we can respect our enemies; it does not show us how to love them. For that we need the arts, and many of us need religion” (233). By love, Nussbaum does not mean either romantic love or the kind that would pertain to friendship. She means “a love that simply consists in seeing the other person as fully human, and capable at some level of good and of change” (216).

Fear, whether warranted or not, is protectionist in character. It defends the self (personal or social, “the larger self”) against imagined and real threats. Hope does not discount the wisdom of well-grounded fear; hope is simply not beholden to it. Hope envisions a social world of openness and trust.

We know that the pathway from fear to hope is fraught with challenges. In 2024, hope and change did not work; fear and the same did. What steps can we take to start moving again down the road that leads away from fear and toward hope?

Nussbaum defines six practices that potentially speak to our fear and enable a politics of hope. They are the arts, philosophy (i.e., Socratic dialogue), religion, protest movements, justice studies, and compulsory national service. It is easy to see the appeal of many of these practices for Nussbaum’s students at the University of Chicago. They are immediately accessible to her students. However, several of the listed practices feel different here and now as I write on November 13, 2024.

To the degree that the Socratic method entails civilly attending to conservative arguments against gay marriage or abortion access, as scholars like Nussbaum and Katie Wilson, author of Scarlet A: The Ethics, Law, and Politics of Ordinary Abortion (2018), believe it does—then it is likely that many of us will not become/continue as philosophers.13 After the fall of Roe and in a time of increasingly reasonable speculation about the possibility of Congress passing a national abortion ban and the conservative majority of the Supreme Court weakening or even overturning Obergefell, I don’t think many of us have the patience or the will to engage in this form of dialogue.

Motivated by Trump’s outrageous policies and cruelty, protest movements saw some initial successes during Trump’s first term. However, they ended up being largely ineffective in the long run. One reason for this is that they were not consistently focused on building the kind of political power that can get people elected and that can lead to the implementation of policies and the passing of laws in Congress. In some cases, the ideas generated by these movements were manifestly political poison pills (e.g., “defund the police”).14

Religion is another sore spot, especially for many LGBTQ+ individuals. I sought ordination in the early 2000s, when Presbyterians refused to ordain openly gay and proud individuals. The PC(USA) changed its position in 2011, and at great cost to its unity and size. In 2004, a twenty-something-kid embracing his sexual freedom, I decided it was better for me to find a new spiritual home. Ultimately, I stopped going to church.

Trump’s electoral victory in 2016 inspired me to return to church life after a decade-long break from it (much to the chagrin of my atheist husband). I am now a member of and ordained in the United Church of Christ.

The church I attend is, at least for me, a source of hope. Our senior pastor is a lesbian, and our entire leadership staff is composed of women. My church is Christ-centered, high-functioning, and justice-oriented (e.g., the church regularly provides meals to people emerging from poverty, supplies hygiene kits and furniture to relocating refugee families, grows food for a local organization that feeds people living below a certain income level, builds homes with Habitat for Humanity, advocates for low-income housing, regularly participates in community service projects, and partners with two local churches, one historically black, to fight racism).

In the early 1970s, the UCC became the first denomination in Christendom to ordain an openly gay man. However, the UCC is not a utopia. Churches in the UCC do not share one mind on the question of welcoming LGBTQ persons, especially those more defined by our sexuality.15

Evangelizing Christians is still necessary work, and it is hard work. It is often dispiriting and emotionally painful work. Consider the unfortunate rise of Christian nationalism and the fact that the vast majority of Christian voters (Black Protestants being a notable exception) pulled the lever for Trump in 2024, while Jews, Muslims, and the religiously unaffiliated broke decisively for Harris/Walz.

Whatever their downsides, Nussbaum’s practices of hope are potentially beneficial to many people seeking to get moving again, to move beyond fear into hopeful, democratic action. Given her attunement to psychoanalytic thinking, particularly Winnicott’s object relations theory, I find it interesting that Nussbaum does not explicitly define psychoanalysis as a practice of hope.

Nussbaum clearly imagines each of her hope practices as a form of the “talking cure” (61). Each is, in its own way, a “facilitating environment,” a community in which one may learn to speak and speak to one’s fears, thereby enabling hopeful movement in the world.16

Nonetheless, I think psychoanalysis deserves its own place on the list. Psychoanalysis, as a particular way of listening and speaking that is related to but not synonymous with the arts, activism, religion, justice, philosophy, and service, is a messier, less reasoned form of hopeful (dis)agreement.

VI. A Practice of Hope: Thinking Psychoanalytically

On Wanting to Change (2021), an extended reflection on the discontents of conversion by psychoanalyst Adam Phillips, is an excellent example of psychoanalytic thinking as a practice of hope. In this case, the object of fear is change. Phillips writes,

Both psychoanalysis and American Pragmatism are driven by a desire to help the individual keep things moving. For both Freud and [William] James, the enemy of pleasure and growth was stuckness, addiction, fixity, stasis. They teach us about the temptations of stultification, of the allure of inertia, of the wish to attack our own development; and they suggest, as we shall see, that conversion experiences all too easily become the desire for a change that will finally put a stop to the need for change; change in the direction of what is, to all intents and purposes, a satisfying and reassuring paralysis (converts to religious fundamentalism are not supposed to convert again to something else). They suggest, in significantly different ways, that we are so ambivalent about changing because there is nothing else we can do but change (as though, paradoxically, the fact that we change is the biggest threat to our freedom). And so psychoanalysis and pragmatism try to make wanting to change both appealing and inspiring, as opposed to it being some ineluctable, evolutionary, biological drive, or fate (“Preface”).17

Conversion in psychoanalysis functions like belief in a just world: it is a fantasy of control. Paradoxically, conversion—again, in its psychoanalytic form—is a type of change that promises to end change. “We talk of serial monogamists, and serial killers, but we don’t talk of serial converters” (6).

Why, however, do we want to control change by putting an end to it? What are we afraid of?

In the first chapter of On Wanting to Change, entitled “Conversion Hysteria,” Phillips analyzes a policy change. In 2012, the British Association for Counseling and Psychotherapy (BACP) changed its policy on conversion therapy, the goal of which is to convert homosexuals to heterosexuals. According to reporting by the Guardian, the BACP told its members that it “opposes any psychological treatment such as ‘reparative’ or ‘conversion’ therapy, which is based upon the assumption that homosexuality is a mental disorder, or based on the premise that the client/patient should change his/her sexuality” (4).

Phillips observes the forces of fear in BACP’s letter to its members. The letter implicitly reveals serious disagreement within BACP’s ranks. It manifests BACP’s desire to end the debate once and for all. BACP’s logic, if not its policy position, is entirely agreeable to those therapists who support conversion therapy, as it is the logic of conversion therapy itself. It is the kind of change someone or something demands of you.

Another irony is that BACP’s desire to end debate and force its members to convert to its official position is done in the name of liberal pluralism. “Like [John Stuart] Mill, the BACP believes that not only the individual but his whole society is the beneficiary of diverse sexualities, this being itself a judgement despite its promotion of supposedly ‘non-judgemental attitudes.’ Conversion therapies are opposed to diversity” (12).

An additional irony is that conversion is, like psychoanalysis, dependent on the power of language. Conversation makes us susceptible to conversion. “And, indeed, what do we think language is like, language being the primary medium of conversion, if it can have this kind of effect on people (language also being the medium of psychoanalysis and all the other talking therapies)? And one answer would be that, consciously or unconsciously, we think of language as daemonic. We think of ourselves as doing things with words, while language does things to us” (18).

Phillips, to be clear, is not defending conversion therapy, at least not the kind that demands homosexuals change into heterosexuals. Yes, sexuality, as Freud taught, can be converted—it can, that is, be displaced onto other areas of your life—which is to say it cannot be changed, only hidden. Phillips writes,

What [Freud] called “a capacity for conversion” was a capacity to change while remaining the same, a capacity not to renounce anything and replace what has been supposedly lost. “In neurosis,” Freud’s daughter Anna wrote in The Ego and the Mechanisms of Defence (1936), “whenever a particular gratification of instinct is repressed, some substitute is found for it. In hysteria this is done by conversion, i.e. the sexual excitation finds discharge in other bodily zones or processes which have become sexualized.” You don’t renounce the sexual desire, you sexualize other areas of your life: instead of being a voyeur, you love reading. Conversion, that is to say – in its psychoanalytic version – is a way of not having to change. It is the way the individual sustains the desires that sustain her (22, emphasis mine).

Conversion is often a form of aversion to conversation about your desire. It is a means of avoiding conversation about something disturbing, like who or what you love. Perhaps what the BACP does not want to talk about is the object of its love: namely, conversion therapists.

Phillips reminds us that the “word ‘conversion’ itself breaks down into a con version, ‘con’ meaning ‘to know, learn, study carefully’ or ‘to swindle, trick, to persuade by dishonest means. . . . I think psychoanalysis is best described as a form of honest persuasion. Or that, at least, is what it aspires to be” (19).

If we are lucky, our first honest “conversations” are with our mothers. Nussbaum notes that, for Winnicott, the “mother” represents a role and not a sexed person (34).18 She also recognizes that our moral character develops in and through this relationship or conversation. As the child begins to “relate to [their] parents as whole people,” they begin to develop “‘a capacity for concern’: the parent must not be destroyed” (34).

For Nussbaum, morality “operates in tandem with love, since it is love that leads the child to feel the badness of its own aggression” (34). What, however, if aggression is how the child tries to escape from the “conversation”?

“There is in [our susceptibility to change], whatever else there is,” Phillips writes, “a terrified misogyny; and a terror of our earlier, more dependent selves. A terror of something about love, and a terror about what the loss of love exposes” (15).

In psychoanalysis, the mother is “the woman who first, and hopefully often, converted us – the mother who was, in Christopher Bollas’s phrase, our first and formative ‘transformational object,’ the woman who, through her care, could radically change our mood; and ourselves as infants and young children desiring and depending on such benign conversion experiences as were possible” (15-16). According to Bollas, our earliest experiences of maternal conversions follow us into adult life. We seek an object that “promises to transform the self.”19

The subject of an honest conversation about conversion may be the disturbing power of maternal love “to transform the self.” Maternal love may be what we both fear and desire most of all, so we keep playing with conversion therapies.

“Conversion experiences all too easily, then, have a mixed but not actually a bad echo, both historically and personally,” Philips argues. “We want to get over them, and we don’t. We crave them, and we fear their failure or their unavailability. They link us to our losses, and they remind us of extraordinary boons and benefits. We crave them as opportunities and we fear them as tyrannies” (16, emphasis mine).

Freud was a Jew; he knew that sometimes one must convert to stay alive—to sustain their Jewish life in a hostile Christian and/or Nazi world (20-21). It is not the change they want; it is the change that is demanded of them, the only “change” available when honest conversation is a legitimate source of fear.

The change we genuinely fear is of a different variety because it is genuine change. It is the conversion we experience, if we are lucky, in conversation with our good enough “mothers.”

The recognition of the power of maternal love as a source of fear is reason to hope. We may learn that our fear of her love is not warranted. Thus, we need not hide our desire for it in aggression toward it.


Laura Vazquez Rodriguez, Inseparable, 2019.  

VII. A Vision of Hope: The Maternal City

Nussbaum argues that “[p]olitics begins where we begin” (21). Where we begin—again, if we are lucky—is in the good enough love of our “mothers.”

The politics of love is not and has never been fashionable. Remember, Hillary Clinton wanted to talk to you about love and kindness in 2016. Again, a majority of my fellow citizens living in 3 electorally significant states listened to what Donald Trump had to say instead.20

Hate did not win in 2016 or in 2024. Fear of maternal love did. To understand why maternal love frightens us, we have only to think about the religious practice of loving God.

For example, Christians claim to love God. They allegedly demonstrate this love in and through their love for their fellow human beings. Typically, Christians believe that Jesus Christ unites the two loves. For Christians, Jesus is both fully God and fully human. This means that, to love people, Christians must love what they can neither see nor possess, at least in this world, in people: God or the Other.

David M. Halperin observes that the “notion that all desire for the Other is really desire for God goes back to the origins of Christianity or at least to its Platonic roots in Augustine (Friedrich Nietzsche said that Christianity was simply ‘Platonism for the masses’ . . . ).”21 Halperin argues that the moral implications of how Augustine loves mortal objects are made clear in Book 8 of On the Trinity, “by which time Augustine had found the perfect boyfriend in Saint Paul, a lover who is not only dead but who died long before Augustine was born. What Augustine prizes now is the love with which he loves the goodness of Paul, which makes the practice of loving something you can do all by yourself or at least outside the presence of another living person.”22

Notice that Augustine does not love Paul. Augustine, in Platonic fashion, “loves the goodness of Paul.”

Plato, according to Halperin, thought that “erôs is . . . an irrational—or, rather, supra-rational—passion, a mania . . . erôs [qua erôs] . . . is ultimately a transcendental force.”23 Halperin argues that, for Plato, the “ultimate aim of erotic desire [erôs qua erôs] . . . is the lover’s perpetual possession of the good . . . and its ultimate object is the beautiful.”24 In other words, “[the value one pursues] cannot be possessed by possessing . . . things: it transcends the objects that are the media in or through which it constitutes itself.”25

Christian love of the other entirely depends on their loving the Other, God or Goodness, in the muck of the other’s flesh. Halperin observes that “Plato’s transcendental theory of desire offers . . . a cure to our suffering, a cure shaped from the start by the reality of the suffering it would spare us, but it can provide this cure only by abolishing the epistemic tension in love . . . by saving us once and for all from love’s irony”: we desire an ideal that we can never possess so long as our love is for a mortal object.26

Halperin strongly implies that the goodness of Saint Paul is a replacement for Augustine’s dead boyfriend: “a nameless boy of his own age, a fellow Manichean heretic, who got sick, was baptized while unconscious, renounced Manicheanism and returned to Christianity, resisted Augustine’s efforts to talk him out of it, and died when their friendship, ‘sweeter to me above and beyond all the sweetnesses of my life at that time,’ had barely lasted an entire year.”27 The experience of losing (what or who we) love disposes us to love what can never be lost because it is ultimately absent, at least in this world: God or the ideal.

Augustine is the ancient poster boy of conversion therapy. He learns to love another man, but only the one in his head. He learns to hide his love for another man in his love for God.

In the context of describing the conversions of both Paul and Augustine, Phillips asks, “[W]hat do we want to be converted away from? And can conversion really do the trick?” (70). Is the benefit of conversion worth the cost?

The final chapter of (third) Isaiah gives us reason to believe that the benefits of conversion are not worth the costs. Isaiah 66:1-24 is brimming with the spirit of hostile destruction: anger, disgust, and a future replete with envy. This is the final word, literally the final sentence of (third) Isaiah: “And they shall go out and look at the dead bodies of the people who have rebelled against me [i.e., God]; for their worm shall not die, their fire shall not be quenched, and they shall be an abhorrence to all flesh” (66:24).

Does loving God give us the life we want? Do we want to love God, or do we love God because the alternative feels too frightening?

In the midst of the tragedy that is the final chapter of (third) Isaiah, there is what historian Howard Zinn describes as the “past’s fugitive moments of compassion rather than . . . its solid centuries of warfare.”28 At the center of Divine retribution is a fugitive moment of compassion, the maternal city, we may desire and desire to center in our analysis:

Rejoice with Jerusalem, and be glad for her,
    all you who love her;
rejoice with her in joy,
    all you who mourn over her—
that you may nurse and be satisfied
    from her consoling breast,
that you may drink deeply with delight
    from her glorious bosom.

For thus says the Lord:
I will extend prosperity to her like a river
    and the wealth of the nations like an overflowing stream,
and you shall nurse and be carried on her arm
    and bounced on her knees.
As a mother comforts her child,
    so I will comfort you;
    you shall be comforted in Jerusalem.

 You shall see, and your heart shall rejoice;
    your bodies shall flourish like the grass . . . . (Isaiah 66:10-14).

Centering the city may seem like an unfortunate choice in an essay that seeks, in part, to make sense of the appeal of Donald Trump, whose passionate supporters live mostly in rural towns and counties across the country. In The Country and The City (1975), Raymond Williams writes, “‘Country’ and ‘city’ are very powerful words, and this is not surprising when we remember how much they seem to stand in for the experience of human communities” (1).

For me, the city is an especially powerful word. In the early 2000s, I moved from rural Idaho to Chicago. It was in Chicago that I learned how to be gay—that is, how (not) to love.

The city was, for me, a “consoling breast,” a place to “drink deeply with delight.” Chicago carried me on “her arm, and dandled [me] on her knees.” I cried a lot in Chicago, and I was always “comforted” by her. I met the man who became my husband in Chicago, and many of my closest friends still live there or are from there.

Williams also observes that “[p]owerful hostile associations have . . . developed: on the city as a place of noise, worldliness and ambition; on the country as a place of backwardness, ignorance, limitation” (1). As novels like Balzac’s Lily of the Valley, and Brontë’s Wuthering Heights make clear, the city and the country have much more in common than we often imagine they do.

Chicago is, as conservative media likes to point out, full of “worldliness.” Like many small towns, it is filled with anger, disgust, and envy (just watch The Dressmaker [2015]). Just as my small hometown is beset by social challenges like cruelty, racism, poverty, boredom, and provincialism, so is life in Chicago made precarious by high taxes, high rents, high crime, racial strife and segregation, economic inequality, enormous potholes, smelly El cars, corrupt politicians, a troubled public education system, and the hubris of union bosses.

Loving God may seem like the just solution to these seemingly unsolvable, maddening human problems. Or, it may be an all too common way we avoid having a hopeful conversation about who or what we want to love.

An alternative to loving God may be found in an unlikely place: the letters of Saint Paul. Halperin hedges his bets when he argues that the “notion that all desire for the Other is really desire for God goes back to the origins of Christianity or at least to its Platonic roots in Augustine” (emphasis mine). Halperin may be implying that Paul is to blame for all our problems, but the fourth century is, in fact, “the [origin] of Christianity.” Paul was long gone by then.29

Paul, for his part, collapses the dual commandment to love God and to love one another into one simple, straightforward command: love one another (e.g., Romans 13:8-12). The radical character of Pauline love is often entirely lost on religious people (and on many of Paul’s cultured despisers).

Religious people, in particular, may be susceptible to Donald Trump’s message because the politics of love and kindness is a genuine threat to the monarchy of fear. It actually threatens the self-protective self. It represents a project of self-transformation, represented by the (theological) cliché, “Open your hearts.” Yet, if we really think about it, the benefits of (re)creating a maternal city seem to outweigh the costs of giving up on our fear. At the very least, it is a possibility worth talking about.


Notes:

  1. The U.S. of House of Representatives is even now, November 18, 2024, trying to change House rules to bar the first openly trans* woman elected to Congress, Delaware state senator Sarah McBride, from using the women’s restroom. The effort is being led by Nancy Mace. When asked if she has spoken to McBride, Mace declared, “Sarah McBride doesn’t get a say. I mean, this is a biological man.” The next day, on her X account, she apparently called for respect and kindness. What is Mace afraid of? ↩︎
  2. See Rousseau, Emilie: or On Education (1762), Book I, 66. Nussbaum does not “follow the details of his views, but develops his initial insight in [her] own way” (22). ↩︎
  3. See Joseph LeDoux, The Emotional Brain: The Mysterious Underpinnings of Emotional Life (1998). ↩︎
  4. See Aristotle, Rhetoric I.2,9 and II.5. ↩︎
  5. See, e.g., Cass R. Sunstein, Risk and Reason: Safety, Law and Environment (2002). ↩︎
  6. Trump does not make a distinction between immigrants and refugees. The essential difference being that refugees are seeking asylum and residing in the U.S. legally. ↩︎
  7. See also Nussbaum, Anger and Forgiveness: Resentment, Generosity, Justice (2018). ↩︎
  8. See, Aristotle, Rhetoric, II.2. ↩︎
  9. See also Nussbaum, Hiding from Humanity: Disgust, Shame, and the Law (2004), dedicated to David Halperin, and From Disgust to Humanity: Sexual Orientation and Constitutional Law (2010). See the final chapter of the latter text for a rigorous defense of sex work and public sex. ↩︎
  10. It was reported on November 13, 2024 that Trump desires to deport one million immigrants a year. Just today, November 18, 2024, Trump promised to deploy the U.S. military in this operation. Hopefully, his demonstrated incompetence will stop him from implementing this and other cruel policies. ↩︎
  11. See Kant, “On the Common Saying: That May Be True in Theory, But It Is of No Use in Practice,” in Kant: Political Writings (1991), ed. Hans Reiss. ↩︎
  12. It is in the context of describing a reasonable love that Paul asserts that he “put an end to childish ways” (1 Corinthians 13:11). Perhaps he means that what constitutes love is not always clear, at least to adults. “For now we see in a mirror, dimly” (13:12). ↩︎
  13. See Nussbaum, Monarchy of Fear, 226-231. ↩︎
  14. Defund the police” is a very powerful theological idea, at least to this gay white Christian theologian. As a politics, especially one attuned to people’s propensity to fear, it is toxic, especially to political campaigns that agree on the need for reforms in policing. ↩︎
  15. See Michael Warner, The Trouble With Normal: Sex, Politics, and the Ethics of Queer Life (1999): “So although sex is public in this mass-mediatized culture to a degree that is probably without parallel in world history [esp. now, in 2024], it is also true that anyone who is associated with actual sex can be particularly demonized . . . . But some people are more exposed in their sexuality than others” (23). ↩︎
  16. Cancel culture” has generally proven deleterious to the necessary task of creating environments wherein people may share disturbing thoughts, even and especially about what and who they fear. While I do not make an easy distinction between a person and their thoughts/actions, I do believe that a person can change their thought/actions, and so they can become a different kind of person. Honest, open, safe, and ongoing dialogue is, I believe, essential to this effort. ↩︎
  17. All references are to the Kindle edition. ↩︎
  18. Nussbaum writes, “(Winnicott made it clear that that ‘mother’ was not a specifically gendered person. . . .”) (34, emphasis mine). The “mother” is manifestly a gendered role. So, I have used sex in this context to indicate that “mother” can be either a male or a female person. ↩︎
  19. See Bollas, The Shadow of the Object: Psychoanalysis of the Unthought Known (2017). ↩︎
  20. Foucault asserts that “[i]magining a sexual act that does not conform to the law or to nature, that’s not what upsets people. But that individuals might begin to love each other, that’s the problem. That goes against the grain of social institutions. . . . The institutional regulations cannot approve such. . . . relations: relations that produce a short circuit and introduce love where there ought to be law, regularity, and custom.” David M. Halperin cites Foucault’s comments made in an interview with Le Bitioux, et al., “De l’amitié come mode de vie,” 38, in Saint Foucault: Towards A Gay Hagiography (1995), 98. See, further, now Halperin, “Queer Love,” Critical Inquiry, 45.2 (Winter 2019): 396-419. ↩︎
  21. See David M. Halperin, “What Is Sex For?,” Critical Inquiry 43 (Autumn 2016): 1-31, esp. 28. ↩︎
  22. See Halperin, “The Best Lover,” in Dead Lovers: Erotic Bonds and the Study of Premodern Europe (2007), eds. Basil Dufallo and Peggy McCracken, 8-21, esp. 12-14. Halperin again alludes to Augustine in How To Be Gay (2012). See the book’s epigraph. ↩︎
  23. See Halperin, “Platonic Erôs and What Men Call Love,” Ancient Philosophy 5 (1987): 161-204, esp. 163. ↩︎
  24. Halperin, “Platonic Erôs,” 168. ↩︎
  25. Halperin, “Platonic Erôs,” 168. ↩︎
  26. See Halperin, “Loves Irony: Six Remarks on Platonic Eros,” in Erotikon: Essays on Eros, Ancient and Modern (2005), eds. Shadi Bartsch and Thomas Bartscherer, 48-58, esp. 52. ↩︎
  27. Halperin, “The Best Lover,” 13, and Augustine, Confessions 4.4.7. ↩︎
  28. See the “Introduction to the Thirty-Fifth Anniversary Edition of a People’s History of the United States” (2015) by Anthony Arnove. ↩︎
  29. See, e.g., Rosemary Radford Reuther, “Judaism and Christianity: Two Fourth-Century Religions,” in Sciences Religieuses / Studies in Religion 2 (1972): 1-10. ↩︎

The Irony of Loving Monogamy

Wedding dress designed by John Galliano, worn by Gwen Stefani, 2002

“Certainly, to talk about monogamy is to talk about virtually everything that might matter. . . . Monogamy is a kind of moral nexus, a keyhole through we can spy on our preoccupations.” – Adam Phillips, Monogamy, ii.

“Nothing defeats us like success. It is always more baffling—more essentially ironic—than failure.” — Adam Phillips, Monogamy, #47.

“Owe no one anything, except to love one another.” — Paul of Tarsus, Romans 13:8

I.

I am no apologist for monogamy.

Yet, most people desire it for themselves. And most people, even those for whom it seems to be working out well, don’t seem to love monogamy. I think that is interesting.

Most people don’t love monogamy, but yet they still believe in it. So, it is worth asking: What promises to make loving monogamy promising?

My answer is irony. Irony is the key to loving monogamy. Or so I will now argue.

Monogamy is a sacred cultural norm, but as Adam Phillips, in a fascinating interview regarding his book, Monogamy (1996), observes, “the flawed relationship, or the relationship that doesn’t work, gets all the press.” We have a lot of interest in relational failure.

What we don’t have, according to Phillips, “is . . . very good language for celebrating good relationships. There’s a sense in which the good monogamous relationship . . . doesn’t have very good language to describe it. I think that is interesting.”

In the aforementioned interview, Phillips searches for good enough language to describe “what makes relationships between people work.”

I think what makes relationships work between people is extremely mysterious. I mean, we used to call it chemistry. And if it weren’t so silly, I’d want to go back to using words like that. Something really quite mysterious and unpredictable happens between people.

The “mysterious and unpredictable” quality of relationships between people is likely what inspires us to lean on the language of faith to describe relationships that work, as the “mysterious and unpredictable” quality of those relationships likely calls forth our, to use Julia Kristeva’s idea for my own purposes, “incredible need to believe.”

“Believing in monogamy,” Phillips writes, “is not unlike believing in God” (Monogamy, #1).

II.

Mechthild of Magdeburg offers us one interesting example of what it is like to believe in God. In Flowing Light of the Godhead (written between 1250-1280 CE), Mechthild seeks sex with God. Advised instead “to refresh [herself] in love” by bowing “down to the small Child in the lap of the eternal virgin,” she refuses (see Book I, §44).

Mechthild refuses to accept the blessed child as a proxy for her Lover/God. “That is child’s love, that one suckle and rock a baby,” she asserts. “I am a full-grown bride. I want to go to my Lover” (§44).

She is warned about how dangerous is such a direct approach to God: “Oh, Lady, if you go there / We shall go completely blind / The Godhead is so blazing hot” (§44). So warned, she goes directly to God.

Upon meeting her Lover, Mechthild is encouraged to take off all of her clothes. What follows is a kind of anticipatory silence between them. She discreetly alludes to what happens next: “What happens to her then—she knows— / And that is fine with me” (§44).

Mechthild and God enjoy a quickie. “[T]his cannot last long,” she observes. And they depart from one another “inseparably” (§44).  

The brief sexual meeting of Mechthild and God is described as taking place in secret: “When two lovers meet secretly / They must often part from one another inseparably” (§44). In seeking sexual intimacy with God through contemplation (the 13th-century virtual world?), the Beguine mystic secretly escapes her existing relationship to the world, including to the Church.

Mechthild’s theology is interesting because she explicitly includes sexual pleasure as a feature of what it is like to believe in God. “And about pleasure we are all mystics.” Or so Phillips argues. “We are all terrified of suffering too much of it. For some people the best solution to this is infidelity, for others monogamy. To each his own asceticism” (#71).

Mechthild’s asceticism is, I think, a form of infidelity. Infidelity, however, is not always what we think it is. In escaping her existing relationship to the world of people, she reveals the one with whom she is actually doing monogamy. She desires God. Infidelity is always intertwined with monogamy.

Infidelity, moreover, is not always as dangerous as we think it is. “People have relationships,” Phillips contends, “not because they want to feel safe—though they often think they do—but because they want to find out what the danger is. This is where infidelity can let people down” (#34).

Mechthild, warned about the danger of rawdogging God, ends up proving herself right: there is, in fact, no danger in having sex with God. Prior to hooking up with God, she argues: “A fish in water does not drown. / A bird in the air does not plummet. / Gold in fire does not perish. . . . / How, then, am I to resist my nature? / I must go from all things to God / Who is my Father by nature” (§44). Sex with God is, for Mechthild, the safest sex imaginable because it is sex with her very nature.

Her “nature” begins to take on meaning when she refuses the blessed Child. Her desire to go directly to God is about far more than an unwillingness to allow Jesus to fuck up her relationship with God. “Child’s love,” notice, is defined in parental, specifically maternal, terms. It is “child’s love, that one suckle and rock a baby.” In refusing the blessed Child, Mechthild is refusing to identify with the maternal figure of her love story. So “utterly formed to [God’s] nature, / not the slightest thing,” however, “can come between [her] and [God, her Father by nature]” (§44). Mechthild radically identifies with God the Father.

The meaning of her “nature” is also signified by the easy interchability of the main roles in her love story, Lover and beloved. Mechthild clearly defines God as the Lover of her story. Yet, she is the one who is obsessed with God. She is the one who knocks down the door to God’s bedchamber. She is the one who insists on sex with God. In this story, Mechthild is the Lover, or God (i.e., the subject of erôs)—and God is the beloved, or Mechthild (i.e., the love-object).

Sex with God is the safest sex one can think of because God is, at least in Book I, §44 of Flowing Light, Mechthild (and vice versa). Sex with God is the safest sex, the safest incest one can think of because it is not unlike masturbaton. “My sexual relationship with myself,” Phillips observes, “is a study in monogamy” (#60).

“The virtue of monogamy,” Phillips contends, “is the ease with which it can turn sex into masturbation [which Phillips also describes as “safe incest”]; the vice of monogamy is that it gives you nothing else. . . . The only truly monogamous relationship is the one we have with ourselves” (#101).

Believing in God is not unlike the incredible need to believe in ourselves.

Nonetheless, most people are not as faithful to God as is Mechthild. “Why,” wonders Phillips, “do we, at least apparently, [continue to] have sex with other people, why include them at all?” (#101). What is the danger?

III.

David M. Halperin identifies a surprising feature of sex that may account for why we want to include, apparently, other people in our sex lives. The danger of sex with an-other person is the promise of love.

In “What Is Sex For?” (2016), Halperin tries to make sense of why Adele’s hit song, “Someone Like You” (2011) is “blaring” from a gay bathhouse in Hanoi. To that end, he turns to Aristotle, specifically to Aristotle’s Prior Analytics, chapter 22 of part 2.

According to Halperin, Aristotle argues “that it is in the nature of erotic desire itself to seek—in and through sex, customarily—the experience of being loved. Love is the telos of erotic desire. It is not love that aims at sex as its goal or that seeks to express itself through the act of sex. It is sex that aims at love” (19, emphasis original).

To the subject of erôs, to the one inhabited by erotic desire (rather than by lust or by appetite), sex is, customarily, a means to love. I initially read Halperin’s summary of Aristotle to mean that sex mediates between erotic desire (or passion) and love: erotic desire, through sex, seeks love.

My initial reading of Halperin’s summary of Aristotle was a promising mis-reading, as it provoked thought about the space between erotic desire and love. However, as the last sentence of the summary above indicates, erotic desire is taking the form of sex in Aristotle’s argument. Erotic desire = sex.

Halperin goes on to significantly complicate Aristotle’s already subtle sexual logic. For example, he wonders if sex does, in fact, naturally seek love? Does erotic desire naturally seek what is beyond itself? Halperin does not directly answer that question in “What Is Sex For?,” but he does answer it in an earlier work, How To Be Gay (2012).

Sex, however, is not the subject of How To Be Gay. Erotic desire customarily, but not always, takes the form of sex. It can take other, cultural, forms. Erotic desire can take the form of an obsession with interior design or with feminine figures, like Joan Crawford. Halperin explores the cultural vicissitudes of erotic desire in How To Be Gay.

The lesson of How To Be Gay is that erotic desire does not, not naturally, seek love. Mechthild’s example teaches us the same lesson, but in a different erotic sphere: sex does not naturally seek love-objects: objects beyond the confines of its exacting criteria.

Erotic desire does not, not naturally, seek what is beyond itself. Its love-objects are always underwhelming. So, if what we want is to somehow love the objects of our desire, then we must learn to do something with our erotic desire.

If what we want is a loving monogamy, then we must learn to ironize sex.

IV.

In How To Be Gay, traditional gay male culture teaches its disciples how to re-direct erotic desire through irony, specifically through camp irony, to its love-objects. Describing camp irony may give us an example of how to ironize sex, of how to think of sex in terms of irony.

To that end, we may consult a promising section of How To Be Gay. Notice how camp and intimacy are intimately intertwined in the lengthy citation below. Moreover, camp and intimacy are linked in the context of explaining the lasting character of a monogamous relationship:  

Many years ago I asked a friend of mine in Boston, who had been living with the same boyfriend for a very long time, if it had ever occurred to them to want to get married. “Oh, no,” he said with a laugh, “we’d have terrible fights over who got to wear the wedding dress.” That witticism, if it had been directed against someone other than oneself, or against someone other than the person one loved, would have registered as merely demeaning in its implicit demotion of a man from the noble rank of male dignity to the lower rank of female triviality. And it would be doubly demeaning in the context of gay male love: since male homosexuality sees in masculinity an essential erotic value, to portray oneself or one’s partner as characterized by feminine identification to public mockery, would be to depreciate oneself or one’s boyfriend as a sexual object and vehicle of sexual fantasy.

. . . .

Leo Bersani conveys powerfully the sense of gay chagrin at the ineluctable failure of gay masculinity by citing “the classic put-down: the butch number swaggering into a bar in a leather get-up opens his mouth and sounds like a pansy, takes you home where the first thing you notice is the complete works of Jane Austin, gets you into bed and—well, you know the rest.”

Or in the unlikely event that, even after getting you into bed, he still managed to keep up butch appearances, all your remaining illusions would be shattered—according to the lead character of Armistead Maupin’s Tale of The City (1978)—when you eventually excused yourself to use his bathroom and discovered his supply of personal cosmetics.

. . . .

It is in this context that my friend’s remark about his boyfriend and himself coveting the wedding dress reveals its true significance. To utter it is to know oneself and one’s love-object as unworthy of the serious consideration that is masculine dignity’s due. It is to disclaim the presence to masculine authenticity, and the erotic credit that accrues to it, and to refuse in camp fashion to dignify oneself at the expense of someone else’s shame. At the same time, it insists that such inauthenticity is not incompatible with gay love. . . . On the contrary, it demonstrates that inauthenticity is not fatal to love, that seriousness does not have to prevail over irony in order for love to thrive and to endure.

To see through one’s own erotic illusions without withdrawing from one’s love-object its worthiness to be loved, to disclaim one’s entitlement to respect while continuing to assert it, to love and be loved without endowing one’s love with dignity; this is the possibility that traditional gay male culture holds out to its adherents. The supreme wisdom consists in living one’s life knowingly as melodrama—understanding full well (if not necessarily explicitly) that melodrama signifies both a degraded genre of literary discourse and a debased pragmatic genre of emotional expression: a despised, feminized, laughable, trivial style of expressing one’s feelings.

No wonder my friends from Boston could build a lasting relationship together while the gay baths and back rooms and sex clubs and online cruising sites thrive on the business of gay romantics, who prefer their own illusions, their fantasies of love, to actual people—people who, after all, cannot sustain those illusions, not at least for very long. That last remark is hardly intended as a put-down of those who frequent the baths . . . ; it’s just a reminder of what those unique gay male institutions are for. Which is not to help us live happily ever after, but to enable us to crowd as many anti-social thrills as possible into the moment and to provide us with a structured communal space in which to . . . discharge our romantic fantasies—without doing ourselves or our partners any lasting harm.

To live one’s life as melodrama, to do so knowingly and deliberately, is not of course to refuse to take it seriously—as any gay Joan Crawford fan . . . can tell you. But it is to accept the inauthenticity at the core of romantic love, to understand romantic love as a social institution, an ideology, a role, a performance, a social genre, while still, self-consciously and undeceivedly, succumbing to it.

In short, it is to do what is otherwise culturally impossible—impossible for normal folks, that is to combine passion with irony (291-294).

Participation in gay male culture enables the boyfriends from Boston to do what would otherwise be impossible, “impossible for normal folks, that is to combine passion with irony.” By putting on, if you will, a wedding dress, the boyfriends from Boston reveal their identification with a particular form of irony, with a particular fashion style, namely camp.

“Camp fashion,” as Halperin defines it above, is a refusal “to dignify oneself at the expense of someone else’s shame.” The specific object of its refusal is seriousness. Camp refuses to take masculinity seriously, as something other than a role, an ideology, a melodramatic performance. And at the same time, camp does not dismiss the erotic value of masculinity simply because it is a performance. To the contrary, camp enables one to “self-consciously and undeceivedly” enjoy it—and even to “[succumb] to it.”

It is camp fashion, camp irony, that enables the boyfriends from Boston to live their lives “knowingly as melodrama,” to embody both passion and irony at once—and it promises to make their relationship promising or lasting.

The couple’s participation in camp culture is contrasted in the citation above with gay male participation in sexual institutions like “gay baths and back rooms and sex clubs and online cruising sites.” All those gay male romantics wandering the halls of the baths, clothed only in simple white towels, indicate that there is nothing essentially ironic about (gay male) sex.

That is why Adele’s hit song, “Someone Like You,” blaring from a bathhouse in Hanoi, is so interesting. Like the wedding dress, the song alerts us to the (probable) presence of gay male culture. “[I]t is probable,” Halperin writes in “What Is Sex For?,” “that at least some bathhouse patrons, especially those of us who go often, have a further purpose in returning to those venues again and again . . . . Could we be in search of something that sex promises but does not, by itself, offer us . . . ,” namely “someone like you”?

Sex “promises” something that it cannot, “by itself,” deliver—and the (probable) presence of gay male culture reveals what sex requires to get to love: irony. Subjects of erôs must learn to “see through” their erotic illusions. Seeing through their erotic illusions, they are enabled to enjoy the “butch number” or the hot sex while also refusing to withdraw from the other person, on account of the sound of their voice, their obsession with Jane Austen, or their personal cosmetics (on account of their failure to perfectly live up to the exacting demands of erotic desire), their worthiness to be loved.

V.

We now recognize camp as an erotic style, a way of combining what is serious and unserious, sacred and profane, passionate and ironic. But we are trying to describe the erotic style appropriate to sex. Describing how camp camps—how, that is, camp manages to combine traditionally opposed, unequal social values—will help us more precisely define the erotic style appropriate to our sex lives.

What camp does is teach us how to demean erotic desire. “Gay may culture,” Halperin writes in How To Be Gay, “has . . . elaborated a distinctive, dissident perspective on romantic love [i.e., erotic desire], which straight people often regard as cynical. . . ” (294). Straight people regard it as cynical because “its irony . . . seems to them to undermine the seriousness and sincerity of love, and thereby demean it” (294, emphasis mine).

“Camp doesn’t preach;” Halperin observes, “it demeans” (191). It demeans the serious, the sacred, the masculine. In other words, camp sets erotic desire free; it breaks “the romantic monopoly on it,” making it “more widely available” for “social uses,” ending “the antagonism between love [i.e., erotic desire] and society, between love [i.e., erotic desire] and friendship, between the happy couple and the community.” It is this “camp sensibility” that, “at their wisest, gay male love [i.e., erotic] relationships exemplify and embody” (295).

Camp demeans erotic desire in a cultural context. In our sexual relationships, fucking is a word that registers something other than respectul, self-edifying coitus. In the sexual sphere, it seems promising to ironize erotic desire by fucking it.

By fucking erotic desire, the subjects of erôs, at least those who participate in gay male culture, are enabled to “see through” their erotic illusions, to see through what is taken as deadly serious, and to recognize it as a role that can be “undeceivedly” enjoyed. The aim is to end antagonisms (e.g., between the sacred and the profane, self and other), to make love (or friendship) with an-other a promising possibility.

VI.

The reason why fucking or demeaning erotic desire matters is latent in the idea of what it promises to make promising: the end of antagonisms, love of/friendship with an-other one. Fucking erotic desire (e.g., masculinity, the Sacred, monogamy, etc.) is a means of democratizing it (or, as Halperin also argues, desublimating it [294]). Fucking erotic desire is the erotic fashion of embodying what are traditionally opposed, unequal social values (e.g., fidelity and infidelity).

Again, a simple social practice, one we may playfully describe as drinking erotic desire, may help us to more clearly define what is at stake in fucking it: democracy or love.

In “Small Town Boy: Neil Bartlett Learns How to Be Gay” (2007), Halperin highlights power inequalities between differently aged gay men. The social practice proposed as a means of negotiating power disparities between said men is, now citing Bartlett, “that man buying his younger boyfriend (slightly embarrassed, but happily drunk) another drink.”

Bartlett cannot think the seemingly simple, everyday practice of an older man buying his younger boyfriend a drink without remembering “that man,” Oscar Wilde: “I remember the bizarre twisting of mythologies [i.e., romantic illusions] Wilde used to justify his adoration of young men,” Bartlett writes, “the mixing of a pastiche of Classical pederasty with a missionary zeal for the ‘criminal classes,’ the sense that they, not the boys he left sleeping in [his home in] Chelsea, were his true sons . . . .”  Remembering this history, “[o]ur history,” according to Bartlett, “becomes a way of understanding and exploring the change in our [present day] culture [i.e., of writing a history of the present], not simply of reading it as an ‘end.’”

From Bartlett’s perspective, an older man buying his younger boyfriend a drink “is not,” Halperin observes, “necessarily a mere recapitulation of archaic and unchanging forms of social hierarchy, upper-class sexual privilege and working-class sexual prostitution.” It is, at least potentially, now again citing Bartlett, “a new kind of relationship, an affair of the heart somehow appropriate to the meeting of two different men . . . .”

“Differences in age and wealth,” Halperin writes, “may actually be serving new, dynamic social functions, creating possibilities . . . among men who are asymmetrically situated according to conventional class hierarchies but are brought into approximate equality by the reciprocal exchanges of contemporary gay male life.”

Sex—well, at least understood from within the logic of Adele’s “Someone Like You”—may not be unlike that drink between an older man and his younger boyfriend (perhaps they are sitting at bar while Whitney Houston’s hit song, “How Will I Know?,” plays in the background?). That drink “may actually be serving new, dynamic social functions, creating possibilities . . . among men who” occupy differently valued social categories and by bringing them “into approximate equality.” Sex, like that drink, may become, to use Bartlett’s terms, “an affair of the heart somehow appropriate to the meeting of two different men.”

VII.

Monogamy/marriage can’t, as Phillips argues, be an affair—but it is possible that fucking sex may re-make it into a matter “of the heart somehow appropriate to the meeting of two different men,” two different women, two different people (#83).

Loving monogamy is not unlike dis-believing in God.

Un-faithfulness to God is not what we learn from Mechthild’s example. In Flowing Light, at least Book I, §44, we walk in on Mechthild masturbating; we witness Mechthild’s incredible need to believe in herself. She is both the subject and object of erotic desire.

Mechthild, however, is different from other subjects of erôs, such as the “romantics” we encountered in the lengthy citation from How To Be Gay. Romantics are constantly disappointed when their love-objects, recognized as distinct objects in the world, fail to conform to their erotic illusions. Mechthild is her own love-object.

Mechthild does not admit any space between her and her love-object. There is no room to hope for irony in Mechthild’s erotic life. She is “so utterly formed to [God’s] nature” that “not the slightest thing can be between [her] and [God, her Father by nature].”

Mechthild and gay male romantics do share one thing in common. They look up to the heavens. This is where fidelity can sometimes let people down.

Mechchild’s love story may prove promising, however, for the idea that God, the word par excellence for the deadly serious, the seriously masculine, the Sacred, wholeness/health, etc, is dtf.

The promise of a fuckable God, of a fuckable monogamy, a monogamy we learn to take im-personally or un-seriously, is what God’s fuckablity makes promising: a lasting, loving relationship with an-other, or a loving monogamy. Fucking God, we, at least potentially, empower an-other one, a different one, to excite us.

Significantly, fucking God does not come naturally to us. It is something we must learn to do. The irony is that being a participant in gay male culture is not unlike being a member of the Church. Halperin hints at this in How To Be Gay. The epigraph of the book, Albert Mollegen’s summary of Augustine’s theology, reads: “Let the Christians baptize and the pagans beget.”

Gay male culture, not unlike Christianity, entails enculturation. It is not a birthright. Gay male culture, not unlike monogamy, is unnatural. As such, anyone who finds it persuasive may participate in it. Which makes sense, as gay male culture, not unlike Christianity, not unlike monogamy, is an education in how to love who and what you erotically desire.

One, final irony: if a loving monogamy is what is desired, “it may be heterosexuals, nowadays . . . who need gay male culture more than gay men do themselves” (How To Be Gay, 456).

What does love want? Our in-fidelity.

Kylie Minogue, “All The Lovers” (music video still), 2010.

The music video of Kylie Minogue’s hit song, “All the Lovers” (2010) raises two questions for me: 1) What does love want? 2) What can we do about it?

Watch the video:

The video opens with a cup of coffee falling, splashing empty on the ground (and a man taking off his shirt); a container of milk drops, spilling out on the ground (and two more people take off their clothes), and white marshmallows light on the ground as Minogue sings to her beloved, to her love object: someone who is apparently skeptical of falling in (for) love.

She is the lover of a man who is rejecting movement. He is resisting her call to dance like a flame, to allow her to connect with him (to get inside his groove):

Dance, it’s all I wanna do, so won’t you dance?
I’m standing here with you, why won’t you move?
I’ll get inside your groove ’cause I’m on fire, fire, fire, fire1

Minogue sings “fire, fire . . . .” as a multi-racial, variously sexual group of people move, take off their clothes and let them drop to the ground. Each lover finds their beloved, and they start making out.

One lover’s briefcase opens, and the papers inside scatter to the ground. All the lovers seem to be doing the unbelievable: abandoning work, responsibility, respectability, and/or (financial) security in order to heed the summons of love. Risk is constitutive of love.

This sociality of love, Minogue acknowledges, hurts. Pain is a fact of falling, of loving, of intimacy or close proximity to an-other. Minogue does not redeem the character of love; she simply acknowledges it: “but baby it hurts.” Hurt is also constitutive of love.

Nonetheless, “[i]f love is good, you just want more.” We want more of the good, even if that means risking the pain of (the) fire(s of hell):

It hurts when you get too close, but, baby, it hurts
If love is really good, you just want more
Even if it throws you to the fire, fire, fire, fire

Now that we know love hurts, we are right to expect some indication of fear, some apprehensiveness about what is at stake for all the lovers. But we are surprised by images of joy and of peace (even of S/spirit): a black woman smiles, a multi-racial group lifts their hands in the air (as if in praise), and doves (symbol of peace and, for Christians, a symbol of the Spirit) are released as Minogue begins to be raised up, lifted by all the lovers below her.

“All the lovers” refers to all the people falling, spilling open, bouncing, scattering, letting go, and elevating one another and in the name love. “All the lovers” also names the reason that Minogue’s beloved is hesitant to move, to move even “a little bit more.”

Minogue’s beloved is hesitant to move, even just “a little bit more,” because he is all too aware of “all the lovers that have gone before.”

All the lovers that have gone before
They don’t compare
To you
Don’t be frightened
Just give me a little bit more
They don’t compare
All the lovers

We may read the blond-haired, white young man who takes off his shirt as Minogue sings, “Don’t be frightened / Just give me a little bit more,” as the object of her love. As she sings, “don’t compare,” he responds enthusiastically (like a sports fan cheering on his favorite team) to her encouragement to just keep moving, just a little bit more.

His doubts are somewhat allayed by Minogue’s alluring smile as she sings, “All the lovers that have gone before / They don’t compare / To you.” He seems comforted by the intensity of Minogue’s faith in him. Even so, he doesn’t take a single step toward her or the (Christmas) mass of all the lovers.

Why put everything on the line for what is not guaranteed? Is it reasonable to be an entrepreneur in the business of love? Is the risk worth the cost? What is the return on this kind of investment?

Minogue’s beloved seems to believe in monogamy. What he wants most of all is to be the one. And it his (and our) belief in monogamy that Minogue tries to re-think:

Feel, can’t you see there’s so much here to feel?
Deep inside in your heart you know I’m real
Can’t you see that this is really higher, higher, higher, higher?
Breathe, I know you find it hard, but, baby, breathe
You’ll be next to me, it’s all you need
And I’ll take you there, I’ll take you higher, higher, higher, higher.

Why does he (why do we) believe that the opposite of monogamy is openness, aliveness, feeling rather than closure, death, and numbness?

Why does he (why do we) believe monogamy is 1 rather than 1 + 1, more than 1?

Why does he (why do we) believe that the opposite of monogamy is unfaithfulness rather than faithfulness?

Why does he (why do we) believe that the opposite of monogamy is room to breathe rather than suffocating space? Maybe he is in the wrong song?2

Why does he (why do we) believe that the opposite of monogamy is in-dependence rather than dependance?

Minogue re-thinks monogamy both lyrically and aesthetically. Recall the resilience of the white, bouncing marshmallows. Think of the lightness of the floating white elephant. Remember the gallop of the white horse. We can’t forget the splashing white milk, the flying white doves, the wildy ascending white balloons. Each of these aesthetic choices call our attention to the hardness, heaviness, and immovability of his (and our) belief in monogamy.2

Love, Minogue contends, is soft. Love is light. Love is like liquid: un-predictable.

Love wants to dance. Love wants to take a leap of faith. Love wants to flow.

As the video suggests, we can look down at Minogue’s love. We can pray for “Love [to] lift us up where we belong / Where the eagles cry / On a mountain high / [higher, higher, higher] Love lift us up where we belong / Far from the world below / Up where the clear winds blow.”

We can, in other words, refuse Minogue’s love. We can hold firm in our belief in (suffocating) monogamy (can one breathe far from the world below, up where the clear winds blow?).

Or, we can come down to earth. We can enter into what Minogue offers: love’s undulations.

The melancholic vibe toward the end of the music video suggests that Minogue is unsure if her beloved (if we) will accept her love.

Is he (are we) so predictably faithful? Or, do we show signs of movement, signs of promise? And what does it mean to be(come) promising?

Consider the concluding aphorism (#121) of Adam Phillips’s book, Monogamy:

“Monogamy and infidelity: the difference between making a promise and being promising.”3

Is infidelity the opposite of monogamy? Perhaps.

It’s also possible to think the difference between them, a loving monogamy: a promise to an-other (“All the lovers that have gone before / They don’t compare / To you) that is always promising: a promise that moves, spills, bounces, responds to the pull of what is unpredictable, ungovernable, surprising, namely the presence of an-other.

Minogue may have been tempted to give up on her beloved (and on us). But she doesn’t give up on him (nor does she give up on us). Rather, Minogue gives him (and us) the Spirit.

Kylie Minogue, “All The Lovers” (music video still), 2010.

In the Christian faith, the Spirit pours out the lover’s love into the hearts of unsuspecting (undeserving even) beloveds. The Spirit is a promise that makes us all promising.

The Spirit makes in-fidelis of us all.

FOOTNOTES:

  1. Notice the QR codes on the falling objects. Some assert that when scanned, the word love is produced. There is no way of knowing if that is true, as we cannot scan the codes. I asked ChatGPT about the meaning(s) of the QR codes. According to ChatGPT, “the QR codes add to the video’s visual complexity and modern flair, enhancing the viewer’s experience through their design and the thematic associations they evoke.” ↩︎
  2. One way to understand the whiteness of the marshmallows, elephant, horse, etc. is as a kind of highlighter, enabling this critical theme to stick out from the multiracial, multisexual background of the sociality of love constructed by Minogue. ↩︎
  3. See a cool interview with Phillips re: Monogamy here: https://www.salon.com/1997/02/19/monogamy/

    From the interview:

    “[Q:] Here is the final aphorism from your book: ‘Monogamy and infidelity: the difference between making a promise and being promising.’ Why is this your exit line?

    [Phillips:] Because I think that when one is writing about relationships between people, one is writing to some degree about promise. About possibilities for the future and predictions about the future. To enter into a relationship is a kind of prophetic act — it implies a future even though it is an unknown one. And it implies a future in which there are certain kinds of pleasures possible. So I suppose I am interested in what people can give to each other, and what people imagine others can give to them. It’s something about that — the idea of being able to make a promise, and the idea of being promising in spite of the promises one makes as well as because of them. That’s what I am interested in.” ↩︎