Winding Down: Law and Society in Review (or, on the Unnaturalness of the State and Citizenship)

As the year winds its way to a close…

who are we kidding? Second semesters end with a crash and a bang, and we’re not winding down so much as rapidly deteriorating as we frantically write term papers and prepare (read: cram) for finals.

But I digress.

Ahem. As this year of CAP (and my sanity) disintegrates, ending abruptly as it does, I’ve been thinking about all that we’ve learned about law and the society it creates, or rather, society and the laws it constructs in order to determine itself.

The idea that has stood out to me most prominently, in all of our classes, has been that society, politics, history, and the socio-political norms that govern our day to day lives don’t really hold up to much scrutiny. As anthropology has worked to make us consider our own culture as foreign it has become increasingly easy for me to see how contrived our rules for living, or our cultural knowledge is. In these last few weeks, reading Brand’s novel and watching the beginning of Dirty Pretty Things in ASTU and watching the documentary Opre Roma in ANTH have further confirmed for me the theory I’ve been slowly developing this year:

Our societies are constructed on the basis of very tenuous principles and rules. We collectively choose to follow and impose these rules not because they are the most logical or the best, but because they have worked in the past and continue to serve the purpose we want them to: they grant stability and provide easy guidelines for how we will lead our lives. But the principles that govern our lives, often enshrined in the laws that we make and preserve, are not necessarily right. They are not unquestionable, and often, perpetuating them means perpetuating the mistakes that we and our ancestors have been making for centuries. Sometimes, the rules that we enshrine in law are unjust.

Justice and Law have an interesting relationship. On paper, the laws we have are intended to bring about justice. In reality, we run into murkier shades of right and wrong. One of the cases in which I think there is a massive disconnect between law and justice is that of the state and state determined citizenship.

As we discussed in our most recent class, it is nearly impossible to have a state without having outsiders— we often define citizenship in terms of what it is not. The creation of a state complete with citizens is predicated on the exclusion of outsiders, or foreign nationals. This dichotomy (citizens and foreigners) also often leaves room for a third category of people, those somewhere between foreigner and citizen, in the process of gaining citizenship in a new country.

It is easy to slip into believing that these divisions between citizen and foreigner or local and immigrant are natural, that they have always been and therefore will always be means of categorizing ourselves. But the state is, to begin with, a contrived entity. It doesn’t need to exist, it exists because we will it to. The arbitrary distinctions between those with citizenship and those without are as justifiable as the existence of states, but the question should not simply be “can we defend the existence of these categories?” but also “are these categories doing more constructive good than they do harm?”

When considering the issues that the state and its exclusions create that we’ve studied in this CAP stream, I’m inclined to believe that our rigid definitions of citizenship should be either heavily amended or dispensed with altogether. But I’ve yet to fully consider, of course, what such a change might look like.

Xenophobia in our ‘Postnational’ Age

“Most days I wish I was a British pound coin instead of an African girl…
“A pound coin can go wherever it thinks it will be safest. It can cross deserts and oceans and leave the sound of gunfire and the bitter smell of burning thatch behind…
“How I would love to be a British pound. A pound is free to travel to safety and we are free to watch it go. This is the human triumph. This is called, globalization. A girl like me gets stopped at immigration, but a pound can leap the turnstiles, and dodge the tackles of those big men with their uniform caps, and jump straight into a waiting airport taxi.”
-(Little Bee, Chris Cleave)

Even in the post nine eleven era, money opens doors. It goes where people cannot, slipping easily through borders and into new hands. Meanwhile, ordinary people are finding it increasingly harder to travel, let alone immigrate. Our world is purportedly postnational– ethnic diversity abounds- Canadian cities like Vancouver and Toronto, once predominantly white, now have populations made up roughly equally of people of colour and those of European heritage. People move across borders searching for better jobs and quality of life.

Yet nationality is still important, it impacts how you travel, influences how much you pay for school, and determines tax brackets. The costs of living internationally determine who is able to immigrate and succeed in a new country, and the price of immigration is too steep for many to pay. Those with money find fewer barriers than those without.

Canada’s immigration rates have stayed pretty consistent through the last 20 years, instead of growing along with the global population and the increasing global interest in immigration.

Canadian Immigration Rates
Chart showing immigration rates from the past 100 years from the Statistics Canada website.

Source.

The last decade has also seen a dramatic increase in migratory workers searching for higher paying jobs in westernized nations, but Canada’s population of migrant workers is low. (Although to be fair, so is the USA’s and the UK’s. Source: January 2014 article in National Geographic on migrant workers) The countries with the largest migrant labour populations are mostly in the Middle East.

Although it is, of course, entirely speculation, I sometimes wonder if our static immigration rates and low migrant labour populations have something to do with white xenophobia. We’re all a little uncomfortable with those that are different from us, unless, as previously mentioned, they have money (we’ll let that rest for now). And while our ‘multicultural,’ ‘postnational’ culture is comfortable with certain markers of difference, there is a limit to which we tolerate it. A man who drives badly is just a bad driver, but we all know the stereotypes that are muttered when the idiot in the other car is a woman, elderly, or someone who looks like they might be an immigrant. As Oku muses in the novel, a white man caught doing the same questionably legal things he and other black Torontonians might would be let off with a warning, rather than incarcerated (even if only for a night). Superficially we aren’t racist, we ‘don’t see culture’, we’re as happy to see an African girl with dark skin as we are to see a British pound coin.

But as Little Bee elaborates in the first chapter of Chris Cleave’s novel (which I quoted above- you should read it by the way, it’s great), stigma against outsiders is determined by more than appearance. When those we see as outsiders behave differently than we do, follow different social cues, talk differently, or do things we find questionable we judge them more harshly, we ostracize them. When an African girl (like Little Bee) has a strange name, a different accent, and not a penny to her name we are less welcoming to her than to another dark skinned woman. Being labeled ‘eccentric’ is a luxury only afforded to the wealthy or white.

So sure, western society isn’t xenophobic. We’re only xenophobic when you’re not like us…

I think this is why Brand’s novel is so important to our society today. A lot of people have expressed frustration with the immaturity of Brand’s characters, as if they are somehow dramatically different from the people we know in real life. But honestly, how many of us thoroughly enjoyed The Catcher in the Rye? How is self-centric, vapid, clueless Holden Caufeild any different from Brand’s four young-adults? Are we willing to be more forgiving to him because he fits the other molds (white, wealthy, male, cis-gendered, straight) we’ve established for people we’re willing to like? And why are we so desperate to see people from other circumstances portrayed in the way Quy describes near the beginning of the novel?

At the risk of sounding pretentious, I suspect that those who don’t like Brand’s novel dislike it because they are either unwilling to consider the questions her writing raises or are made profoundly uncomfortable by them.

Food for thought.

A Question of Identity

One thing I’ve been thinking about over these last few days (especially around the issue of First-Nations culture and identity in Canada, and also around the things we’ve been talking about in Anthropology, including this mornings documentary One Big Hapa Family) is the ways in which people construct themselves by choosing to identify with a particular label.

Talking about First Nations history in Canada has really brought home the power of labels for me. Reading parts of Royal Proclamation of 1763 this week for history I was struck by all the different labels First Nations peoples were grouped under. Terms that ranged from “Indian” to “savages” were applied to people of many different tribes from many different nations in the Proclamation, and it struck me that white immigrants to Canada could often choose their labeled identities as they pleased. At first there were mainly British and French Canadians, but as time went on and other national backgrounds began to cross the ocean, the idea of what constituted “Canadian” began to encompass other European nationalities as well. But these people had the choice of whether to identify as Polish-Canadian, German-Canadian, and so forth. They could also choose to simply identify as Canadian.

The legal language of “Indian” erased nationalities, and the residential school system was another strong step towards cementing the idea in the Canadian mindset that being an “Indian” from a nation on the coast of British Columbia was no different from being an “Indian” from the interior. While the term First-Nations makes some improvement, recognizing the multinational nature of Canada’s indigenous peoples, it is still too often used as a convenient blanket term. Furthermore, “First Nations” still carries a lot of the stereotypes that “Indian” has held in the past, simply due to the poor education about the diversity of First Nations cultures. The reality is, a lot of white Canadians still have nebulous notions of what Canadian indigeneity looks like, mostly comprised of clips from Disney’s Pocahontas, and some aesthetic ideas about dream catchers, intricate bead work, stylized images of killer whales, totem poles and painted drums.

In a culture that would rather think about stereotypes and would prefer to simplify many diverse peoples into one monolithic group called “First Nations people” self-identifying as being from a certain nation, a distinct tribe, and a particular family is a truly radical act.

So when Niska chooses, in the face of white people labeling her both “Indian” and a problem, to leave residential school and live in the same manner as her ancestors; when she curses a man so blinded by her being “Indian” that he cannot understand her humanity, a man who honestly seemed to think that having sex with her in a church would allow him to somehow steal her “powers”; when she continues in the tradition of being a windigo killer in the middle of colonized Canada, she is defying the Canadian convention of what an “Indian” is. Because Niska isn’t being a stereotype, she is simply being herself.

Living  in a country in which her self-chosen identity is eclipsed by her heritage, Niska’s decision to choose to continue to self-identify as Cree is a deeply political act. But what is important isn’t really the statement that she is making- the importance lies in that she is able to be who she chooses to be, regardless of what others might try to make her instead.

Twenty Feet Tall, Glowing and Deranged: “Turning Windigo” and Themes in Three Day Road

I got off to a slow start with Three Day Road, but my stop and start page-per-hour progress was rather short lived. After slogging through the first 50 pages, I marched through the next hundred in a matter of hours; hopped, skipped and ran through the hundred after that; and made a mad dash through what remained in the shortest hour of my life.

While I had no trouble putting the novel down, I couldn’t get Niska and Xavier’s story out of my head (Elijah, unfortunately, I didn’t much care for). I was enraptured by Niska’s description of her wilderness home, delighted by her stories of Xavier’s childhood hunting exploits, horrified by her losses, and terrified by Xavier’s description of the war. Three Day Road finally made war real to me- I struggled all throughout high-school with an inability to understand what war was actually like. Textbooks, documentaries and feature films all failed to impress upon me the true horrors of war; I was outraged, yes, and saddened by death and struck dumb by the magnitude of the World Wars, but reading a fictional account was what drove home the devastation and destruction of life in the trenches, and allowed me to glimpse the extreme toll that it takes on a human soul.

Two of the most prominent themes in Boyden’s novel are death and identity. The symbol of “turning windigo” reflects both of these themes- demonstrating that in order for someone to endure the harsh realities of killing people they sometimes must face a shift in identity. As Three Day Road progresses, Elijah slowly descended into madness.  Like the windigo woman Niska described in her childhood Elijah’s hunger (though metaphorical) could only be satisfied by human flesh. The scene in which he offers Xavier meat, joking that it is “German” is especially reflective of his complete loss of identity- he has reached the point where he no longer holds life in any regard and can crack jokes about eating another person. Throughout the novel, Elijah becomes almost larger than life, and while he is a symbol of hope for many in the trenches, this slow evolution is reminiscent of the changes Niska described in Micah’s wife when she returned to the hunting camp.

Later in the book, after Xavier is forced to kill his friend, the people around him begin to mistake him for Elijah, again, the image of windigos interacts with the larger theme of identity, showing that Xavier’s identity is inherently caught up in his relationship with Elijah, even after Elijah’s death. In many ways, it is this case of mistaken identity that brings Xavier home safely, but it also is something he must struggle with as he confronts the reality that his best friend had devolved into a killer fueled by bloodlust and hunger for victory, and that in part, Xavier’s delay in rising to his role as protector of the people around him as a windigo killer was what allowed his friend’s identity to change so drastically. Although Elijah was the killer, Xavier shares, in some ways, the guilt of the number of deaths on his friends hands.

One Last Word on Atwood and Neuman

It took me quite some time to put my finger on what frustrated me about Neuman’s article “‘Just a Backlash’: Margaret Atwood, Feminism and the Handmaid’s Tale“, after all, I agree with most of what Neuman points out in her argument: Atwood’s female characters can be read as symbolic, the personal is political, in every dystopia there is an implicit utopia, and vigilance is the key to staying abreast of rapidly changing political climates and the only way to ensure the world remains safe and free for everyone.

However, there is something that frightens me about reducing characters in dystopic novels to mere symbols. One of the great powers of literature, as we learned last semester, is that it speaks to people’s imaginations, allowing them to put themselves in the shoes of the characters they read about and thus picture themselves in circumstances they had never before imagined. And certainly one of the greatest rhetorical devices in The Handmaid’s Tale is just that- anyone and everyone can relate to Offred. Through Offred’s eyes readers can see all the injustice that happens in Gilead: the commander’s insistence that Gilead has made a huge improvement in the lives of many, Serena Joy’s vindictiveness, the horrors of the Red Centres, the pain of losing loved ones and wondering every day if it is their faces that hide behind blood-stained sacks on salvaging hooks. Even after Offred ceases, as Neuman claims, to be vigilant, readers still share in the terrifying spectacle of the salvaging and experience a chill of fear when discovering Ofglen is no longer the Ofglen she ought to be.

One of the greatest weapons in a dystopia’s arsenal is reducing people to symbols. A child playing happily on a lawn is symbolic of the success of the regime, and of other children, all of whom are surely similarly happy under the government. Hung “gender traitors” or other enemies of the state are symbolic of the regime’s strength, and it’s capacity to destroy those who stand in its way. A pregnant woman in a red dress symbolizes hope that one day there might be a generation of children that no longer remembers infertility, families that never struggle to conceive. The problem with turning people into symbols is that it erases their individuality and denies them the chance to represent themselves as they see themselves. Reducing people to symbols robs them of their story.

The personal is political, but the political is personal too. Reducing Offred to a symbolic warning sign to those of us who become easily complacent in our (relatively) egalitarian times is a denial of her complexity, but it is worse than even that. Reducing Offred’s story to a warning robs the story of the same impact that reading is trying to create. The strength of Offred’s warning comes from her realness- through Offred we see that oppression happens to people like us, pedestrian, fallible, complacent, peaceful, intelligent and curious people who never see grey skies approaching in time to really save themselves. Offred’s complexity is what lends her story credibility, and her unique experience and individuality is what makes her pain unbearable to watch. In the end, a symbolic reading of Offred may be possible, but it also does the very thing that the Gileadian regime was trying to do in the first place: silence a unique voice by reducing it to one attribute of many.