Year Three

It is with no small amount of pride that I note today’s second anniversary of this Blarg. When I started writing, I kept it a secret because I was unsure how long I would keep at it, for there are few things sadder than a failed blogger. To a certain extent, I still keep this blarg a secret. I don’t publicize it much. I’ve even stopped pressuring my friends to read it. Perhaps my only readers are the eager salesmen of “herbal Viagra” who post so many comments, and misguided fans of Natalie Portman’s butt.

I recently overhauled this website, with completely new software that requires registration in order to post comments. I used to get an occasional comment from a friend or a colleague or a complete stranger, in the midst of the tens of thousands of spam messages that ultimately crashed the site and necessitated the switch. I don’t know if it’s an aversion to registration that’s keeping people from posting comments, but I’d sure like to hear from you, dear readers. All eight of you.

The Two Barbaras

What kind of readers find Barbara Ehrenreich’s recent books remotely edifying? How far up their own asses are these people? I have to admit that I’ve yet to read the book in which she passes for working poor, although I did read her earlier piece in Harper’s magazine that served as a teaser. The fact that some of the lowest-paid service workers have to live in motels because they can’t afford a full month’s rent on an apartment was the only revelation for me (in New York, even our motels are too expensive, so people cram dozens of bodies in small apartments). Do you want to know how the poor live? Talk to your janitor, waitress or telemarketer. The paucity of actual interviews in Ehrenreich’s books saps the story of emotional resonance and dulls her political points.

This tendency is exacerbated in “Bait and Switch,” in which our supposed heroine poses as a white collar corporate job seeker. That corporate downsizing can cause the lives of the white-collar unemployed to spiral right out of the middle class and out of control is, indeed, a story worth telling. But Barbara Ehrenreich doesn’t tell it here. Instead, by going undercover as a PR executive on the job market seeking to enter the corporate world she was never a part of, Ehrenreich gives us 237 pages of a totally misguided job hunt. Parasitic image consultants and job hunt advisors sap her of thousands of dollars over the course of a fruitless year-long search. That says more about her poor choices and lack of support network as a corporate novice. Throughout, she trips over desperate, embittered job seekers – former corporate success stories who were thrown overboard by their employers in middle age – whose plight and occasionally populist gripes about modern capitalism who would be far more fascinating subject matter, but Ehrenreich’s self-indulgent format does not allow for interviews with them.


For some reason, Barbara Ehrenreich is inextricably linked in my mind with fellow socialist and author Barbara Garson. Like Ehrenreich, Garson is a humorist who attempts to grapple with major economic issues in an accessible manner. I recently re-read one of her earliest books, “All the Livelong Day,” which I am including in the theoretical syllabus of the Labor Studies 101 class I’d like to teach one day. Spurred on by curiosity about Big Concepts like Taylorism and “alienation of labor,” Garson innocently asks, “what about the workers?”

While she, too, poses as a worker in a 9 to 5 job to write about the effects of mind-numbing routine on her psyche, this is merely one short chapter. The rest of the book is full of wonderful interviews with workers (Barbara G. is a playwright first and has a wonderful ear for dialogue and an eye for detail) about how they view themselves and their jobs and how they make the time go by. These details – like the woman who daydreams about sex while pulling red meat from white at the Bumble Bee tuna factory or the office pool secretary who amuses herself by typing in a rhythm with her coworkers – really make the text come alive and provoke the reader to think about his or her own private thoughts at work, all while illuminating fairly dense economic theory. Her books are far more deserving of best-seller status, and worth your attention.

More On Inequality Sickness

Following up on my previous post, in case I wasn’t clear (“Are you following me?”), here is a simple graph that argues much more clearly that inequality is making us sicker:

This chart represents diabetes rates by income group (divided simply into thirds; the richest third of the population, the middle third and the poorest third) in the UK and the US. First, note that the poorer you are, the likelier you are to have diabetes. In America, this is not surprising, because our poor lack health care. In the UK, however, the poor has the same health care as the rich (or at least the middle class), and yet they are still more likely to have diabetes, although not nearly as likely as their American counterparts.

But now, compare the poorest Brits to the richest Americans. Lower rates of diabetes! Both groups receive similar quality of health care, so what accounts for it? Surely, it can’t be the average British consumption of fish and chips, lager and fags. What the research is pointing to is a surprising correlation between inequitable income distribution in any given country, and higher rates of disease and death across all income groups.

Cinema Fascists and Other Ghouls

“Pan’s Labyrinth” is a sort of gothic fairy-tale for adults and weird little kids. Like Jim Henson’s “Labyrinth” and “Dark Crystal,” this beautifully shot Spanish language film from Guillermo del Toro guides a ten year old girl through a dark fantasy world full of monsters and ghouls with questionable motivations. The world of the labyrinth exists largely in the imagination of the girl, Ofelia (Ivama Baquero), who is interpreting the far more horrific real world she inhabits, in which Franco’s Fascists are exterminating the remaining rebels in the dreary spring of ’44. In a bit of a cop-out, the filmmakers allow the audience to imagine that Ofelia’s fantasy world might be real, thus dulling the impact of a surprisingly sad ending. Sergi Lopez is almost cartoonish in his villainy as the Captain, which is fine by me. Call me old-fashioned, but I like my Fascists all snarling and evil. His brutality, as well as the brutality of his well-deserved comeuppance, had me wincing in my seat, a rare and oddly enjoyable experience.