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Capitalism, Childhood, Commons, communism, consumerism, Education, education reform, Equity, George Orwell, Grit, Margaret Atwood, Meritocracy, Neil Gaiman, Poverty, science fiction, social justice, socialism

George Saunders’s Allegory of Scarcity and Slack

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The stories themselves, literally, are powerful and engaging or George Orwell’s 1984 and Arthur Miller’s The Crucible would not have endured as they have as literature people read again and again—and possibly should read again and again.

However, ultimately, 1984 is not about the future (especially since we have long since passed the future Orwell may have envisioned), and The Crucible is not about the past (although Miller built his play on the very real and troubling history of Puritan witchcraft hysteria). These works are about the complicated present of both authors’ worlds as that speaks to the enduring realities of the human condition.

All of that may seem weighty stuff to step into a look at what appears to be a children’s book, but the paragraphs above should be more than a hint that looks can be deceiving—and enlightening.

The Very Persistent Gappers of Frip, written by George Saunders and wonderfully illustrated by Lane Smith (whose It’s a Book I cannot recommend highly enough), is a fanciful and satirical tale that proves in the end to be an allegory of scarcity and slack—a perfect companion read to Ursula K. Le Guin’s allegory of privilege, “The One’s Who Walk Away from Omelas.”

The Very Persistent Gappers of Frip

Realizing that the Human Heart Is Capable

“Ever had a burr in your sock?” sets the story in motion—one sentence centered on the page over a giant question mark. It is an opening worthy of a child and all of us who cling to the wonder of childhood.

While Le Guin is often described as a science fiction writer, in her work I recognize the blurring of genres that joins science fiction, speculative fiction, and fantasy; it is that “other world” about which Le Guin and Margaret Atwood appear to argue, and it a stark but rich other world Saunders conjures and Lane pictures.

The story of Frip involves three houses for three families, all with children at the center. The houses are distinguished with primary colors—child-like blue, green, and red—but Lane’s artwork adds the ominous to Saunders’ seemingly simple narrative tinged with more than a bite of satire. The illustrations echo the haunting works about and for children found in Neil Gaiman and Tim Burton.

“Frip was three leaning shacks by the sea.” (p. 6) Artwork by Lane Smith

A child standing precariously close to the end of a slanted cliff over an angry ocean catches the eye on page 7 and then the crux of the story pulls you back to the text on page 6:

Frip was three leaning shacks by the sea. Frip was three tiny goat-yards into which eight times a day the children of the shacks would trudge with gapper-brushes and cloth gapper-sacks that tied at the top. After brushing the gappers off the goats, the children would walk to the cliff at the edge of town and empty their gapper-sacks into the sea. (p. 6)

Gappers, orange burr-like creatures with many eyes and the size of a baseball, come to represent throughout the story the power of the systemic inevitable: The presence of the gappers determines the lot of the families (and their goats), but most of the people in the tale remain unable to see beyond their own fixed and mostly misguided worldviews.

“A gapper’s like that, only bigger, about the size of a baseball, bright orange, with multiple eyes like the eyes of a potato.” (p. 2) Artwork by Lane Smith

When the gappers cling to the goats of all three families, there is an ironic appearance of equality among them. But when the fortune of one family shifts, the gappers fulfill their name by creating the gap:

So that night, instead of splitting into three groups, the gappers moved into one very large and impressive shrieking group directly into Capable’s yard. (p. 12)

Before this shift in how the gappers behave, of course, the three families are not equal because Capable is an only child living with her father and who has lost her mother. Capable works as all the children are expected to work (removing gappers in a daily Sisyphean nightmare of chores) and seeks to serve the needs of her grieving father, who along with his grief is a prisoner of nostalgia:

“I myself was once an exhausted child brushing off gappers. It was lovely! The best years of my life. The way they fell to the sea from our bags! And anyway, what would you do with your time if there were no gappers?” (p. 11)

This nostalgia masking an unnecessarily burdensome childhood, however, is but one ideology weighing on Capable because as soon as the other two families are relieved of gappers on their goats, those families reveal themselves to be very much like the people of Le Guin’s Omelas:

“It’s a miracle!” Mrs. Romo shouted next morning, when she came out and discovered that her yard was free of gappers. “This is wonderful! Capable, dear, you poor thing. The miracle didn’t happen to you, did it? I feel so sorry for you. God has been good to us, by taking our gappers away. Why? I can’t say. God knows what God is doing, I guess! I suppose we must somehow deserve it!” (p. 17)

Capable becomes the sacrificed child, and despite her misfortune, the relieved families read the events as their merit (and of course the ugly implication that Capable and her father deserve the burden of the gappers).

What follows from this shift in fate is the central story of Frip with Capable as our main character. The message becomes clear, and Saunders and Lane make the ride one you’ll want to visit again and again. If you are lucky, the book could become one of those read alouds requested by son or daughter, or by a classroom of children.

And while I will leave the rest of the story to you, I think it is necessary to note here that this allegory is both a cautionary tale about how we view children and childhood as well as a brilliant call to reconsider how we view education and education reform.

George Saunders’s Allegory of Scarcity and Slack

The U.S., like the characters (except for Capable) in Saunders’s story, is tragically blinded by a belief in cultural myths that have little basis in evidence: That we live and work in a meritocracy, that competition creates equity, that children need to be “taught a lesson” about the cold cruel world lest they become soft, and such.

As a result of these beliefs, schools often reflect and perpetuate rather harsh environments for children—or to be more accurate, schools often reflect and perpetuate rather harsh environments for other people’s children, as Capable personifies.

Here, then, I want to make the case that The Very Persistent Gappers of Frip is a powerful allegory of scarcity and slack as examined by Sendhil Mullainathan and Eldar Shafir in their Scarcity: Why Having Too Little Means So Much.

Mullainathan and Shafir detail that the conditions of poverty, scarcity, so overburden people psychologically, mentally, and physically that their behavior is often misread (poor people are lazy, poor people make bad decisions, etc.). In Saunders’s story, scarcity and its burden are portrayed by the gappers, and readers witness how the coincidence of the onslaught of the gappers changes the families involved. In other words, the behavior of people is determined by the environment, and not by the inherent goodness or deficiencies of any individual.

The Very Persistent Gappers of Frip goes further, however, by showing that one person’s scarcity (Capable) allows other person slack: privilege is built on the back of others, and those conditions are mostly arbitrary. While Mullainathan and Shafir argue that the slack enjoyed by those living in relative privilege provides the sort of cognitive space needed to excel, Saunders speaks to more than the slack enjoyed by the two families relieved of gappers and the compounding scarcity suffered by Capable (her lot in life and the addition of the gappers):

“And the men succeeded in lifting the house and moving it very very close to the third and final house in Frip, which belonged to Sid and Carol Ronsen, who stood in their yard with looks of dismay on their nearly identical frowning faces.” (p. 23) Artwork by Lane Smith
  • Capable represents a counter-narrative to claims that impoverished children lack “grit.” As her name suggests, this child is more than capable, but the world appears determined to defeat her.
  • Capable also embodies Lisa Delpit’s confrontation of “other people’s children”—that those with privilege (slack) are willing to allow one set of standards for other people’s children (often living and learning in scarcity), standards they will not tolerate for their own.

As I stated in the opening, allegory seeks to open our eyes by diversion, creating an other world that helps us see both the flaws with our now and the enduring failures of humans to embrace our basic humanity, a failure Capable teeters on the edge of making herself but cannot:

And [Capable] soon found that it was not all that much fun being the sort of person who eats a big dinner in a warm house while others shiver on their roofs in the dark.

That is, it was fun at first, but then got gradually less fun, until it was really no fun at all. (p. 70).

In the end, it is this sort of charity, this sort of recognition of the community of humanity, a call for the kindness found in Kurt Vonnegut’s similar mix of dark humor that Saunders appears to suggest we are all capable.

Companion Reads for The Very Persistent Gappers of Frip

Scarcity: Why Having Too Little Means So Much, Sendhil Mullainathan and Eldar Shafir

“The Ones Who Walk Away From Omelas,” Ursula K. Le Guin

“The Soul of Man under Socialism,” Oscar Wilde (1891)

“The Silenced Dialogue: Power and Pedagogy in Educating Other People’s Children,” Lisa Delpit

Other People’s Children: Cultural Conflict in the Classroom, Lisa Delpit

“NPR Whitewashes ‘Grit’ Narrative” 

Competition: A Multidisciplinary Analysis, Wade B. Worthen, A. Scott Henderson, Paul R. Rasmussen and T. Lloyd Benson, Eds.

Capitalism, CCSS, consumerism, Democracy, Disaster capitalism, Education

Consumed by Manufactured Demons: The “-ism’s” that Blind

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Science fiction and horror are two genres that often find themselves intersecting where some form of power reduces humans to mere cogs in the machine. Technology, the future, aliens, and the like, it seems, can be terribly frightening.

George Orwell’s Nineteen Eighty-Four stands as one of the most comprehensive and enduring examinations of when that power abuse is in the hands of a totalitarian government. Dystopian SF that explores the dangers of “big government” resonates with the Libertarian thread running through the American public, but SF also aims its detailed satire and allegory at the nuances of just how governments become totalitarian.

Ridley Scotts’ Alien and more recent Prometheus share more than a director and some sort of lineage in their narratives: Both SF films are horrifying tales of oppressive corporations. [Scott’s Blade Runner can be included here are these films also include the dangers of megalomaniacs, especially corporatists and industrialists who use their ill-got billions for something other than the common good.]

While the mid-1950s spawned SF/horror films as thinly disguised propaganda matching the public hysteria about the Red Scare—the immediate and insidious threat of Communism (see Invasion of the Body Snatchers for a tour de force of such)—the Cold War eventually proved that the creeping cancer of Communism wasn’t as powerful as political leadership and pop culture claimed.

What, then, does SF say about more credible fears facing humanity?

In Cat’s Cradle, Kurt Vonnegut (1963) introduces into his fictional world Bokononism, a religion in which its messiah through the sacred text, The Books of Bokonon, confesses: “‘All of the true things I am about to tell you are shameless lies'” (p. 5).

The government of San Lorenzo finds its stability built on a fabricated conflict between General McCabe and the founder of Bokononism, Bokonon:

“‘Well, when it became evident that no governmental or economic reform was going to make the people much less miserable, the religion became the one real instrument of hope. Truth was the enemy of the people, because the truth was so terrible, so Bokonon made it his business to provide the people with better and better lies.'” (p. 172)

The charade driven by McCabe outlawing Bokononism and declaring Bokonon a fugitive continues at the expense of McCabe and Bokonon as men until their manufactured war between the righteous McCabe and renegade holy man Bokonon becomes essential itself:

“‘McCabe was always sane enough to realize that without the holy man to war against, he himself would become meaningless.'” (p. 175)

Cat’s Cradle examines the power of creating a demon for the public in order to keep that public distracted while the privileged remain privileged. Yet, Vonnegut’s often slapstick and always raucous narrative could just as easily be about the U.S. at almost any point in the past century.

What should be feared about the U.S. government and society is better captured, in fact, by Cat’s Cradle, Alien, and Prometheus than Invasion of the Body Snatchers. In other words, Communism and Socialism remain much invoked demons, but the dangers lie somewhere else entirely.

•

In 2013, two ideologies are intersecting—not unlike SF and horror—the progressive and often liberal education community and the libertarian and populist rightwing commentators and public. The common demon?

Common Core State Standards (CCSS).

While the progressive education community tends to reject CCSS as yet more of the failed accountability, standards, and high-stakes testing paradigm (the insanity of doing the same thing over and over while expecting different results) as well as a distraction from the need to address poverty and inequity, the libertarian/populist rejections of CCSS tend toward a fear of an Orwellian Big Brother or subversive curriculum as pods placed beside the beds of our children; thus, all over Facebook, CCSS are being linked to the Great Evils—Communism and Socialism.

While there is much to be feared about CCSS, that fear need not be grounded on its use to instill communism and/or socialism in America’s youth.

“Communism” and “Socialism” are terms tossed about without much regard for what they mean, but like Bokononism in San Lorenzo, the terms are “ism’s” that blind; they are manufactured demons that allow genuine threats to exist and prosper.

In both Alien and Prometheus, main characters and the audience soon discover that under the guise of science and exploration, the evils of corporate greed—controlling government and its military—are far more horrifying and real than any Red Scare or any form of government, in fact.

Ironically, while I contend we don’t need CCSS, the ability of corporate America to so easily and persistently manipulate the public’s lack of understanding of “-ism’s” seems to beg for a close inspection of just what is being taught in our schools. And if I were going to implement a core curriculum in the U.S., it would include a careful and extensive consideration of some foundational terms:

  • Communism
  • Socialism
  • Capitalism
  • Fascism
  • Oligarchy
  • Indoctrination
  • Consumerism

Condemning CCSS as a government plot to brainwash America’s children with Communism or Socialism ignores some basic points of fact:

  1. Socialists and communists have no power and almost no voice in the U.S.; for at least sixty years, both terms have been used in public discourse to demonize and marginalize (even as both terms are almost always misused in that discourse).
  2. The CCSS were created by and are overwhelming endorsed by the power and corporate elite—who benefit from a consumer culture, not a communist or socialist society.

For those who fear the CCSS, I want to remind you once again: Look carefully at this entire cover of Education Week exposing that CCSS is consumerism and commodification—not communism and socialism:

EW.CCSS

The crass commercialism covering a major education publication reads like an infomercial:

“Catch At-Risk Kindergarteners Before They Fail…in 20 Minutes a Day!”

“Help At-Risk Kindergarteners…20 minutes a day gets them back on track!”

But a letter from the company vice president doesn’t inspire much confidence about high standards: “Kindervention is the most unique program in our history…,” it opens.

Most unique? Maybe words that can’t be qualified aren’t in the CCSS.

Ultimately, CCSS are a distraction.

And cries that CCSS are a communist, socialist, or government plot are distractions.

So the odd intersection of progressives and libertarians rejecting the CCSS fails ultimately since the reasons are deeply divided, but there is a reason that we all—every citizen of the U.S. regardless of ideology—should unite against CCSS and most other corporate manipulations of our Commons:

Being consumed by manufactured demons is a self-defeating American tradition that needs to be set aside.

Like the crews in both Alien and Prometheus, Americans are blinded, and often asking the wrong questions (“Why is Common Core not requiring cursive writing instruction?”)—or worse yet, not asking any questions at all about the power of corporate America over the government we fail to see as “we the people.”