When we think of our freedoms and how they are basic to our society yet freedoms seem to be out of control in so many ways since the 1960s, we probably need to pull back and consider those freedoms from a new perspective. So let’s consider playing the piano. I am free to play the piano in that pianos are available, piano teachers are available, and there is no regulation or social stigma that prevents me from acquiring or learning the piano.
I have liberty when it comes to pianos. However, I am not currently free to play the piano well nor can I demonstrate any such ability nor can I know the joys of learning, memorizing, and playing a piece such as I heard at a Second Sunday concert this month. I have two liberties here: the freedom to acquire a piano and the freedom to do the hard work of learning to play it well. I must not confuse the two liberties.
As for American freedoms I must not think that because I have the liberty to get a job I should be paid as if I were already trained and experienced or just because I have endless freedoms in moral areas that I can choose any path and still have satisfying relationships at home, with friends, or at work.
By the way: almost 80% of 493,000 pianos made in 2012 were low-end Chinese ones. Chopin and Debussy’s pianos were made by Pleyel a French company that is going out of business this month.
PovertyCure is an international network of organizations and individuals seeking to ground the common battle against global poverty in a proper understanding of the human person and society, and to encourage solutions that foster opportunity and unleash the entrepreneurial spirit that already fills the developing world. (more…)
Tomorrow I’ll be offering up a more extensive commentary on the second movie of the Hunger Games trilogy, “Catching Fire.” Until then, you can read Dylan Pahman’s engagement on the theme of tyranny, as well as that of Alissa Wilkinson over at CT. I’ll be critiquing Wilkinson’s perspective in my own review tomorrow. I think her analysis starts off strong, but she ends up getting distracted by, well, the distractions. But I commend her piece to your review, and in the meantime I’ll also offer a couple of notes on the film.
The film version doesn’t depart much from the source material, which is always a good thing when you have a strong source material. There is some streamlining of the plot and things are condensed a bit, but this is no doubt necessary to fit everything of relevance in to a 2.5 hour film.
One of the nice things that they do in the films is to show things that happen “off stage,” so to speak, in the books, which are presented from Katniss’ perspective. In this way, we can find out some things that Katniss doesn’t know, and some more texture is added to the narrative. In “Catching Fire,” the theme of hope flares up again, as it did in the first Hunger Games.
In an exchange between President Snow and Plutarch Heavensbee, the Head Gamemaker argues for more explicit brutality contrasted with puff-piece entertainment to bring the rabble in the districts in line. Snow expresses doubt, noting that “fear” only works to oppress “when there is no hope.” As long as Katniss is alive, the people have hope. Heavensbee persuades Snow, and in doing so deceives him, hoping to further foment revolt with such tactics.
But as I’ve also observed with before, the hope offered in the Hunger Games really is just a temporal hope. The bread that people seek really is literal bread. There is little in the way of spiritual nourishment offered to anyone in the films, despite the sometimes heavy-handed religious imagery. “Bread first, then ethics” remains the motto of life in Panem.
Oh, and Heavensbee also drops a plug for my book when, in the midst of the Quarter Quell, he exhorts Katniss to “get her hands dirty” a bit.
Flipping between reality television and footage of the war in Iraq, Susan Collins was inspired to pen The Hunger Games. The dystopian young adult trilogy has been a runaway success both of page and screen: book sales number in the tens of millions, and in 2012, the first film took in nearly $700 million worldwide. (The next film, Catching Fire, releases tomorrow.)
Initially, I resisted the books for fear they were too violent — but then, at the urging of friends, family, and coworkers (all of whom I believed to have respectable taste), I devoured them in a weekend, and my husband did the same. The Hunger Games are literary alchemy, a breathless amalgam of all the tropes I loved as a child: romance, survival, and the poster child for strong female protagonists, Katniss Everdeen. When the first film came out, my husband and I rushed to the multiplex.
Collins’ trilogy provides, at turns, masterful commentary on class disparity and violent voyeurism: Katniss and her companions excoriate the citizens of the Capitol for their decadence and rabid consumption of the Games. (Their disdain was contagious: for weeks after reading the books, I found myself asking, “Would someone from the Capitol do this?” before doing or saying anything.)
But while watching the films, my husband and I felt uneasy. This discomfort ran deeper than the typical distaste any reader feels when watching a beloved book adapted for the screen. Watching children slaughter each other was very different than reading about it.
In his 2010 book, Hipster Christianity, Brett McCracken explored the dynamics of a particular cultural movement in (and against) modern evangelicalism. In his new book, Gray Matters: Navigating the Space Between Legalism and Liberty, he pulls the lens back, focusing on how the church more broadly ought to approach culture, particularly when it comes to consuming it.
Though McCracken’s book focuses on just four areas — food, drink, music, and film — his basic framework and the surrounding discussion offers much for Christians to ponder and absorb when it comes to cultural engagement at large.
In an interview with On Call in Culture, McCracken was kind enough to answer some questions on the topic.
Early on, you explain that your book is not about “making culture,” but about “consuming culture well.” Yet you also note how consumption and creation can intersect and overlap. How does our approach to consumption impact our creative output?
In order to be a good creator of culture, one must be a good consumer of it. We will never make great films if we don’t love the greatest films, know the greatest films, and understand why they are great. The best chefs are the ones who love food the most and take the time to consume it well — to pay attention to flavor profiles, to savor tastes that go well together, to understand what cooking methods work and don’t work, etc. The great artists in history didn’t just make their masterpieces from some innate mastery of technique. They studied the masters first and did the work of understanding why one painting or symphony was a masterpiece and why another one wasn’t. They were good consumers before they were good creators. (more…)
Over at Think Christian, I take another look at Ender’s Game, focusing on the leitmotif of understanding and communication in Orson Scott Card’s work. This applies particularly to inter-species communication.
We might, in fact, riffing off the Norwegian parody pop song, say that the central question of Ender’s Game is, “What does the Formic say?” Ender is the only one with the genuine curiosity to find out, and doing so is how he moves beyond his bloody calling.
What we find out, in a sense, is that on the Formic understanding, each human being has the dignity and worth of a queen. We are all queens, or as the Bible puts it, made in the image and likeness of God. This reality becomes all the more salient when like the Formic queen, “dynamite with a laser beam,” we too are killer queens, to make another pop culture connection (HT: Dylan Pahman).
A key difference between the film and the book is that the film is pretty thin on answers to that question of inter-species communication. There is much more about what the Formics think and feel in the book. I’ll post some of the relevant sections, which include significant spoilers, below the break. If you have not seen the film, you should not read these sections!
But for those of you who have seen the film, just think about that question of understanding the Formics as you revel in “The Fox (What Does it Say?)”
When I talk about my time growing up in Los Angeles with my mother, I often describe her motivations for going to Hollywood like this: “She wanted to be a movie star…which means she was a waitress.”
That’s a pretty common experience in an industry as competitive and grinding as film. But increasingly these kinds of challenges are faced by women in less glamorous and more mainstream industries. As a recent BusinessWeek piece put it, “You Can Have Any Job You Want, as Long as It’s Waitress.”
Among many other bizarre claims in his most recent article at The American Conservative, Patrick Deneen writes,
Today’s conservatives are liberals — they favor an economy that wreaks “creative destruction,” especially on the mass of “non-winners,” increasingly controlled by a few powerful actors who secure special benefits for themselves and their heirs….
Pace Inigo Montoya, I actually have no idea what Deneen thinks creative destruction means in this context.
Setting aside the question of whether or not it is a bad thing (or accurate, for that matter) to say that “[t]oday’s conservatives are liberals,” I am far more concerned with how Deneen thinks creative destruction is “wreaked” upon “non-winners.” This is further complicated by his implication that creative destruction supports, rather than threatens, “a few powerful actors.” (more…)
Samuel Gregg, Acton’s Director of Research, joined host Perry Atkinson on Thursday’s edition of Focus Today, which webcasts daily at TheDove.tv. You can watch the interview, which touched on the Syrian crisis and Sam’s latest book, below.
In Tea Party Catholic, Samuel Gregg draws upon Catholic teaching, natural law theory, and the thought of the only Catholic Signer of America's Declaration of Independence, Charles Carroll of Carrollton—the first “Tea Party Catholic”—to develop a Catholic case for the values and institutions associated with the free economy, limited government, and America's experiment in ordered liberty. Beginning with the nature of freedom and human flourishing, Gregg underscores the moral and economic benefits of business and markets as well as the welfare state's problems. Gregg then addresses several related issues that divide Catholics in America. These include the demands of social justice, the role of unions, immigration, poverty, and the relationship between secularism and big government.