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Showing posts with label Gabriel Blanchard. Show all posts
Showing posts with label Gabriel Blanchard. Show all posts

Wednesday, October 4, 2017

Crises—Moral Opportunism or Moments of Moral Clarity?


Supernova



http://amzn.to/2yXgWheSo this poem appears in the collection Wells of Knight (click HERE for my review of the full collection) by my friend Gabriel Blanchard who blogs over at Mudblood Catholic. While the collection was released in February of this year, I first encountered it years earlier when Gabriel read it to our writers group/philosophy club (we call the group Pints & Prose) and it sort of messed me up. Yes, the subject of the poem is tragic, and yes, the poem showcases Gabriel's particular talent for poignancy but that isn't what got me. It is message of the poem itself that has shaped me(1).

Beyond the tragedy of the suicide in Supernova is the instrumentalization of the suicide. Now that it is too late for him to change his mind, the suicide spends his last minutes being informed of how competing interests are going to use his death to further their own agendas. The tragedy behind the tragedy is its reduction to argument-fodder. It is a reduction which effectively erases the personhood of the suicide himself; not only has he lost his life, he has lost possession of his life's (and death's) meaning.

What I took away from Supernova is a visceral reminder of the second (and to my mind far superior) formulation of Kant's Categorical Imperative(2): That we should treat persons (ourselves and others) always as ends in themselves and never as means only. The application here is that we should never reduce a person to a tool only, that is, we must not instrumentalize a person. Any action we take has to be one which recognizes the full personhood of the persons whom that action will impact. It is important to notice at this point that this does not mean that we should never act in a way that treats people as a means—the only is crucial here—it means that we cannot treat persons as mere means. After all it is basic to cooperation that we are using ourselves and others to achieve a goal. What it important is that we do not, at the same time, lose sight of that person's own good. We can (often we should) use people to accomplish our goals, but we can only do that if acting in that way benefits them as well.

After the horrible mass shooting in Las Vegas the reactions were rapid and predictable: We started with grief, already tinged with a little suspicion. We watched one another on social media to see how others were reacting, many of us watched particular accounts and outlets for cues. Calls to reexamine gun regulations came out at nearly the exact same time as calls to not talk about gun regulation and attempts to portray the people who talk about gun regulation in the immediate aftermath of a gun related tragedy as macabre and insensitive. The White House has promised "we'll be talking about gun laws" and has also said that we should not talk about guns yet. The talk show hosts have talked about the shooting and have tried to use their platforms to move the country on the issue (I'll post two of the more moving monologues at the bottom) and various media outlets and analysts have attempted to give us some insight into the issue(3). And while the analysts skew left, the right has been staking out a "moral high ground" position by calling on everyone not to "politicize" the tragedy. And of course the crazies are already screaming "conspiracy."
So... yeah this isn't going very well

Here is the thing. We can't not politicize this tragedy.

It is basic to human nature that when something bad happens we want to help. That is a good thing. People near Las Vegas were lining up to donate blood because that is a way they knew they could help. The stories already coming out of this tragedy about the heroism of first responders and crowd members reactions to the shooter are heartbreakingly beautiful(4). In times of tragedy many of us want to help. It is what we do. But most of us can't actually do much. We can donate money to the red cross and we can post supportive statements on social media, but after this sort of tragedy there isn't a whole lot we can do.

Except that we can try to make sure it doesn't happen again. See, there are actually two problems with calls not to politicize this (or any of the other) shooting tragedies. The first problem is that it smuggles in (or sometimes outright states) an accusation of opportunism. The underlying message in the calls against politicization is that calls to change our laws in an attempt to prevent future tragedies are violations of the second formulation of Kant's categorical imperative: that people who call for gun regulation in the wake of these crises are reducing the victims to political tools.

The status quo is an invisible position
but it is still a position
That charge may or may not be accurate—we cannot know the hearts or basic motivations of anyone else—but it is certainly not charitable. To conclude that someone who calls for gun control in the wake of a mass shooting is violating the second formulation of the categorical imperative is to forget that it is entirely possible to relate to people as both means and ends. It is to assume that the gun control advocate does not believe that gun regulation is in the interest of the victims (or their families and goals). And those are some pretty ridiculous assumptions.

The second big problem with calls not to politicize these tragedies is the fact that "we should not change our laws in light of these events" is, itself, a political position. I don't know how to emphasize this enough. Because we live in an existing country, with existing laws and existing social structures, to call for silence is to tacitly advocate for the politics of the status quo. "Things should not change" is just as political a statement as "things should change".

Of course it doesn't feel that way to the folks making the charge. The status quo doesn't feel like a position, it feels like "normal". So calls to change the status quo hurt. People may well be crying "opportunism" because it feels like they are being attacked when they are hurting and vulnerable. At the same time gun regulation people are calling for moral clarity in light of greater evidence of damage, others are feel that their emotions are being manipulated in their moment of pain—and they want to push back.

So how should we respond to tragedies like this? My only real recommendation is that we try to do it with a lot more charity and a little more honestly. We mourn, and we help. Just don't try to pretend that people who want to help in a different way aren't doing the same thing that you are. What looks to you like moral opportunism may be their moment of moral clarity.


  



Footnotes

(1) I like to imagine that I got out of Supernova at least roughly the message that Gabriel meant to put into it but if not, then I will have to be content with thanking happy chance.
(2) I am not, as a rule, an enormous fan of Kantian ethics. However, with quite a few other non-Kantian ethicists, I am a fan of the second formulation. So please don't read this as an endorsement of Kantian Deontological ethics as such.
(3) Fivethirtyeight.com has a compelling piece about the statistical victims of gun violence (it is suicides) for example.
(4) Also there is the story of that one guy who reacted in a quintessentially American way and stood up under fire to flip the shooter the bird.

Thursday, June 23, 2016

3 Reflections on Orlando




I wanted to figure out how to communicate my thoughts on the Orlando shootings but I just haven't been able to do it. So instead here are three of the best responses I have read.



Stone1



Thrown Stones - Aaron Brooks

Aaron has written a challenging, prophetic letter to Christians in America reflecting on their reactions and lack-of-reactions. This will challenge you and edify you.











Who is He that Smote Thee - Gabriel Blanchard

Gabriel wrote an open letter to the Catholic bishops in America. Gabriel writes as a committed, faithful, gay Roman Catholic. This piece bleeds with dignity. http://mudbloodcatholic.blogspot.com/2016/06/who-is-he-that-smote-thee.html 








Sammy RhodesAn Apology - Sammy Rhodes

I don't know who this person is but this was the correct response for a Christian conservative.




Read these.

Sunday, January 17, 2016

Death's Dream Kingdom is Hard Supernatural Fiction at its Best

My friend Gabriel Blanchard, who blogs over at Mudblood Catholic, has recently released his debut Death's Dream Kingdom (the first in the Redglass Trilogy) with my publisher Clickworks Press and I am really excited to offer some thoughts on it.

The novel is unapologetic Victorian Vampire fiction. Blanchard takes us into Victorian England with all the style and eloquence one should expect. What first stuck me about the book was the fact that there is absolutely no hint of tongue-in-cheek. Those of you who share geekdom with me, will remember that Hollywood failed to produce successful, or at least blockbuster superhero movies until they stopped being embarrassed about the fact that they were making superhero movies. An audience of almost any genre will most enjoy a work when it is un-self-consciously itself. So too with the recent glut of vampire fiction, there is often a sense that the writer is, on some level, a little embarrassed to be writing about vampires. That insecurity, whether conscious or subconscious, always interrupts a readers ability to fully enter into the world of a novel. You can never quite get lost in a story when the author is forever apologizing for the sort of story it is.

DDK is blessedly free of this flaw. Blanchard clearly loves the genre and the period and brings the reader in with all the gusto he can manage (which turns out to be quite a bit). The characters speak, think, act, and react just the way they ought. The wit and humor are as Victorian as the setting. In short, Death's Dream Kingdom is a winsomely vulnerable, and tremendously crafted work of art.

The second aspect of the novel which I find particularly exciting is the rigor with which Blanchard has crafted the supernatural schema of the novel. Long time readers of science fiction will be familiar with the distinction between "hard" and "soft" sci-fi. For those who aren't,"soft science fiction" uses the future technology and environment of a future world as the vehicle for a story, the technology in question is generally unexplained and there is little to no attempt made at defending the plausibility of the world. "Hard science fiction" on the other hand, takes the technology seriously; it defends the plausibility of the future tech it utilizes, generally drawing on principles or theories of modern scientists. Death's Dream Kingdom is, among other things, hard supernatural fiction. The rules and mechanisms which govern the vampires of the novel are drawn from existing theologies and spiritual traditions so rigorously that it may be hard for readers to return to sloppier vampire fiction after immersing themselves in Blanchard's world. Reading Death's Dream Kingdom will give the reader the constant impression that Blanchard has got it exactly right about supernatural vampires to the degree that this series ought to claim a place next to Max Brooks' World War Z or Zombie Survival Guide as a field guide to encounters with the undead. If I were to ever discover that supernatural vampires exist I would expect them to follow the rules Blanchard lays out.

Finally it is important for me to say that DDK is above all, a delightful story. Blanchard has not cut any corners on his plot or his characters. There are developments and twists to please any reader, and the characters are, by turns winsome, infuriating, urbane, and horrifying. There are heroes to love and to be angry with, and Blanchard's villains can be grotesque (the vampires Dane and Tinsmith stand out here), charming (I still both love and hate Augustus), or both (but no spoilers).

So who should read the book?

Anyone who likes vampire fiction and/or period fiction. Death's Dream Kingdom is a slam dunk for all who love fully immersive supernatural fiction and are all in for non-stop Victorian language. If, on the other hand, you lean towards plain-spoken or contemporary style novels, this is probably not the book for you.