The Strange Ways of the Nacirema

And I thought I had heard the limits of cultural strangeness. Here's an article by Horace Miner, first published in American Anthroplogist:

The anthropologist has become so familiar with the diversity of ways in which different people behave in similar situations that he is not apt to be surprised by even the most exotic customs. In fact, if all of the logically possible combinations of behavior have not been found somewhere in the world, he is apt to suspect that they must be present in some yet undescribed tribe. The point has, in fact, been expressed with respect to clan organization by Murdock. In this light, the magical beliefs and practices of the Nacirema present such unusual aspects that it seems desirable to describe them as an example of the extremes to which human behavior can go.

Professor Linton first brought the ritual of the Nacirema to the attention of anthropologists twenty years ago, but the culture of this people is still very poorly understood. They are a North American group living in the territory between the Canadian Cree, the Yaqui and Tarahumare of Mexico, and the Carib and Arawak of the Antilles. Little is known of their origin, although tradition states that they came from the east....

Nacirema culture is characterized by a highly developed market economy which has evolved in a rich natural habitat. While much of the people's time is devoted to economic pursuits, a large part of the fruits of these labors and a considerable portion of the day are spent in ritual activity. The focus of this activity is the human body, the appearance and health of which loom as a dominant concern in the ethos of the people. While such a concern is certainly not unusual, its ceremonial aspects and associated philosophy are unique.

The fundamental belief underlying the whole system appears to be that the human body is ugly and that its natural tendency is to debility and disease. Incarcerated in such a body, man's only hope is to avert these characteristics through the use of ritual and ceremony. Every household has one or more shrines devoted to this purpose. The more powerful individuals in the society have several shrines in their houses and, in fact, the opulence of a house is often referred to in terms of the number of such ritual centers it possesses. Most houses are of wattle and daub construction, but the shrine rooms of the more wealthy are walled with stone. Poorer families imitate the rich by applying pottery plaques to their shrine walls.

While each family has at least one such shrine, the rituals associated with it are not family ceremonies but are private and secret. The rites are normally only discussed with children, and then only during the period when they are being initiated into these mysteries. I was able, however, to establish sufficient rapport with the natives to examine these shrines and to have the rituals described to me.

The focal point of the shrine is a box or chest which is built into the wall. In this chest are kept the many charms and magical potions without which no native believes he could live. These preparations are secured from a variety of specialized practitioners. The most powerful of these are the medicine men, whose assistance must be rewarded with substantial gifts. However, the medicine men do not provide the curative potions for their clients, but decide what the ingredients should be and then write them down in an ancient and secret language. This writing is understood only by the medicine men and by the herbalists who, for another gift, provide the required charm.

The charm is not disposed of after it has served its purpose, but is placed in the charmbox of the household shrine. As these magical materials are specific for certain ills, and the real or imagined maladies of the people are many, the charm-box is usually full to overflowing. The magical packets are so numerous that people forget what their purposes were and fear to use them again. While the natives are very vague on this point, we can only assume that the idea in retaining all the old magical materials is that their presence in the charm-box, before which the body rituals are conducted, will in some way protect the worshiper.

Beneath the charm-box is a small font. Each day every member of the family, in succession, enters the shrine room, bows his head before the charm-box, mingles different sorts of holy water in the font, and proceeds with a brief rite of ablution. The holy waters are secured from the Water Temple of the community, where the priests conduct elaborate ceremonies to make the liquid ritually pure.

In the hierarchy of magical practitioners, and below the medicine men in prestige, are specialists whose designation is best translated as "holy-mouth-men." The Nacirema have an almost pathological horror of and fascination with the mouth, the condition of which is believed to have a supernatural influence on all social relationships. Were it not for the rituals of the mouth, they believe that their teeth would fall out, their gums bleed, their jaws shrink, their friends desert them, and their lovers reject them. They also believe that a strong relationship exists between oral and moral characteristics. For example, there is a ritual ablution of the mouth for children which is supposed to improve their moral fiber.

The daily body ritual performed by everyone includes a mouth-rite. Despite the fact that these people are so punctilious about care of the mouth, this rite involves a practice which strikes the uninitiated stranger as revolting. It was reported to me that the ritual consists of inserting a small bundle of hog hairs into the mouth, along with certain magical powders, and then moving the bundle in a highly formalized series of gestures

In addition to the private mouth-rite, the people seek out a holy-mouth-man once or twice a year. These practitioners have an impressive set of paraphernalia, consisting of a variety of augers, awls, probes, and prods. The use of these items in the exorcism of the evils of the mouth involves almost unbelievable ritual torture of the client. The holy-mouth-man opens the client's mouth and, using the above mentioned tools, enlarges any holes which decay may have created in the teeth. Magical materials are put into these holes. If there are no naturally occurring holes in the teeth, large sections of one or more teeth are gouged out so that the supernatural substance can be applied. In the client's view, the purpose of these ministrations is to arrest decay and to draw friends. The extremely sacred and traditional character of the rite is evident in the fact that the natives return to the holy-mouth-men year after year, despite the fact that their teeth continue to decay.

It is to be hoped that, when a thorough study of the Nacirema is made, there will be careful inquiry into the personality structure of these people. One has but to watch the gleam in the eye of a holy-mouth-man, as he jabs an awl into an exposed nerve, to suspect that a certain amount of sadism is involved. If this can be established, a very interesting pattern emerges, for most of the population shows definite masochistic tendencies. It was to these that Professor Linton referred in discussing a distinctive part of the daily body ritual which is performed only by men. This part of the rite includes scraping and lacerating the surface of the face with a sharp instrument. Special women's rites are performed only four times during each lunar month, but what they lack in frequency is made up in barbarity. As part of this ceremony, women bake their heads in small ovens for about an hour. The theoretically interesting point is that what seems to be a preponderantly masochistic people have developed sadistic specialists.

The medicine men have an imposing temple, or latipso, in every community of any size. The more elaborate ceremonies required to treat very sick patients can only be performed at this temple. These ceremonies involve not only the thaumaturge [8] but a permanent group of vestal maidens who move sedately about the temple chambers in distinctive costume and headdress.

The latipso ceremonies are so harsh that it is phenomenal that a fair proportion of the really sick natives who enter the temple ever recover. Small children whose indoctrination is still incomplete have been known to resist attempts to take them to the temple because "that is where you go to die." Despite this fact, sick adults are not only willing but eager to undergo the protracted ritual purification, if they can afford to do so. No matter how ill the supplicant or how grave the emergency, the guardians of many temples will not admit a client if he cannot give a rich gift to the custodian. Even after one has gained and survived the ceremonies, the guardians will not permit the neophyte to leave until he makes still another gift.

The supplicant entering the temple is first stripped of all his or her clothes. In everyday life the Nacirema avoids exposure of his body and its natural functions. Bathing and excretory acts are performed only in the secrecy of the household shrine, where they are ritualized as part of the body-rites. Psychological shock results from the fact that body secrecy is suddenly lost upon entry into the latipso. A man, whose own wife has never seen him in an excretory act, suddenly finds himself naked and assisted by a vestal maiden while he performs his natural functions into a sacred vessel. This sort of ceremonial treatment is necessitated by the fact that the excreta are used by a diviner to ascertain the course and nature of the client's sickness. Female clients, on the other hand, find their naked bodies are subjected to the scrutiny, manipulation and prodding of the medicine men.

Few supplicants in the temple are well enough to do anything but lie on their hard beds. The daily ceremonies, like the rites of the holy-mouth-men, involve discomfort and torture. With ritual precision, the vestals awaken their miserable charges each dawn and roll them about on their beds of pain while performing ablutions, in the formal movements of which the maidens are highly trained. At other times they insert magic wands in the supplicant's mouth or force him to eat substances which are supposed to be healing. From time to time the medicine men come to their clients and jab magically treated needles into their flesh. The fact that these temple ceremonies may not cure, and may even kill the neophyte, in no way decreases the people's faith in the medicine men.

There remains one other kind of practitioner, known as a "listener." This witchdoctor has the power to exorcise the devils that lodge in the heads of people who have been bewitched. The Nacirema believe that parents bewitch their own children. Mothers are particularly suspected of putting a curse on children while teaching them the secret body rituals. The counter-magic of the witchdoctor is unusual in its lack of ritual. The patient simply tells the "listener" all his troubles and fears, beginning with the earliest difficulties he can remember. The memory displayed by the Nacirema in these exorcism sessions is truly remarkable. It is not uncommon for the patient to bemoan the rejection he felt upon being weaned as a babe, and a few individuals even see their troubles going back to the traumatic effects of their own birth.

In conclusion, mention must be made of certain practices which have their base in native esthetics but which depend upon the pervasive aversion to the natural body and its functions. There are ritual fasts to make fat people thin and ceremonial feasts to make thin people fat. Still other rites are used to make women's breasts larger if they are small, and smaller if they are large. General dissatisfaction with breast shape is symbolized in the fact that the ideal form is virtually outside the range of human variation. A few women afflicted with almost inhuman hyper-mammary development are so idolized that they make a handsome living by simply going from village to village and permitting the natives to stare at them for a fee.

Reference has already been made to the fact that excretory functions are ritualized, routinized, and relegated to secrecy. Natural reproductive functions are similarly distorted. Intercourse is taboo as a topic and scheduled as an act. Efforts are made to avoid pregnancy by the use of magical materials or by limiting intercourse to certain phases of the moon. Conception is actually very infrequent. When pregnant, women dress so as to hide their condition. Parturition takes place in secret, without friends or relatives to assist, and the majority of women do not nurse their infants.

Our review of the ritual life of the Nacirema has certainly shown them to be a magic-ridden people. It is hard to understand how they have managed to exist so long under the burdens which they have imposed upon themselves. But even such exotic customs as these take on real meaning when they are viewed with the insight provided by Malinowski when he wrote:

Looking from far and above, from our high places of safety in the developed civilization, it is easy to see all the crudity and irrelevance of magic. But without its power and guidance early man could not have mastered his practical difficulties as he has done, nor could man have advanced to the higher stages of civilization.

What a gang of savages! I'm glad I live in a decent, unsuperstitious, civilized place like America...

The Rain in Spain

Speech delivered by Spanish Prime Minister Jose Luis Rodriguez Zapatero on his country legalizing gay marriage and adoption:

"We are not legislating, honorable members, for people far away and not known by us. We are enlarging the opportunity for happiness to our neighbors, our co-workers, our friends and, our families: at the same time we are making a more decent society, because a decent society is one that does not humiliate its members.

"In the poem 'The Family,' our [gay] poet Luis Cernuda was sorry because, 'How does man live in denial in vain/by giving rules that prohibit and condemn?' Today, the Spanish society answers to a group of people who, during many years have, been humiliated, whose rights have been ignored, whose dignity has been offended, their identity denied, and their liberty oppressed. Today the Spanish society grants them the respect they deserve, recognizes their rights, restores their dignity, affirms their identity, and restores their liberty.

"It is true that they are only a minority, but their triumph is everyone's triumph. It is also the triumph of those who oppose this law, even though they do not know this yet: because it is the triumph of Liberty. Their victory makes all of us (even those who oppose the law) better people, it makes our society better. Honorable members, There is no damage to marriage or to the concept of family in allowing two people of the same sex to get married. To the contrary, what happens is this class of Spanish citizens get the potential to organize their lives with the rights and privileges of marriage and family. There is no danger to the institution of marriage, but precisely the opposite: this law enhances and respects marriage.

"Today, conscious that some people and institutions are in a profound disagreement with this change in our civil law, I wish to express that, like other reforms to the marriage code that preceded this one, this law will generate no evil, that its only consequence will be the avoiding of senseless suffering of decent human beings. A society that avoids senseless suffering of decent human beings is a better society.

"With the approval of this Bill, our country takes another step in the path of liberty and tolerance that was begun by the democratic change of government. Our children will look at us incredulously if we tell them that many years ago, our mothers had less rights than our fathers, or if we tell them that people had to stay married against their will even though they were unable to share their lives. Today we can offer them a beautiful lesson: every right gained, each access to liberty has been the result of the struggle and sacrifice of many people that deserve our recognition and praise.

"Today we demonstrate with this Bill that societies can better themselves and can cross barriers and create tolerance by putting a stop to the unhappiness and humiliation of some of our citizens. Today, for many of our countrymen, comes the day predicted by Kavafis [the great Greek gay poet] one century ago: 'Later 'twas said of the most perfect society/someone else, made like me/certainly will come out and act freely.'"

If you really still feel nothing but animosity for loving gay couples who wish to be married, then I despair of you.

Sparkly, Glittery Patriotism

Ah, the 4th of July. Whether you celebrate it by attending a barbeque or singing a song about America or going to the fireworks display on the Mall like I do, Independence Day is usually the time for some shallow, platitudinous soul-searching on what is means to be American.

It's rather too easy to say that those who claim the loudest to support the US through thick and thin, especially when it comes to the war currently being fought in Iraq ought, to go over there and fight (I trap I admit to having fallen in to on previous occasions}. After all, there are different ways to express support of a cause and to give aid and comfort to the US fighting forces, whether you approve of this war or not.

But that doesn't serve to blink the fact that there are plenty of able-bodied young hawks who, for purely selfish reasons, take no responsibility for the war they so ardently support, and do all they can to avoid coming into contact with the suffering and loss that war has caused, filling their time with menaingless feel-good gestures. Journalist Max Blumenthal recently attended a meeting of the College Republican National Committee (CRNC) to report on this phenomenon:

In interviews, more than a dozen conventiongoers explained why it is important that they stay on campus while other, less fortunate people their age wage a bloody war in Iraq. They strongly support the war, they told me, but they also want to enjoy college life and pursue interesting careers. Being a College Republican allows them to do both. It is warfare by other, much safer means.

Means such as what?

I chatted for a while with Collin Kelley, a senior at Washington State with a vague resemblance to the studly actor Orlando Bloom. Kelley told me he's "sick and tired of people saying our troops are dying in vain" and added, "This isn't an invasion of Iraq, it's a liberation--as David Horowitz said." When I asked him why he was staying on campus rather than fighting the good fight, he rubbed his shoulder and described a nagging football injury from high school. Plus, his parents didn't want him to go. "They're old hippies," Kelley said.

Plenty of people with worse problems than old footbal injuries are being sent into combat. But never mind...

Munching on a chicken quesadilla at a table nearby was Edward Hauser, a senior at St. Edwards University in Austin, Texas--a liberal school in a liberal town in the ultimate red state of Texas. "Austin is ninety square miles insulated from reality," Hauser said. When I broached the issue of Iraq, he replied, "I support our country. I support our troops." So why isn't he there?

"I know that I'm going to be better staying here and working to convince people why we're there [in Iraq]," Hauser explained, pausing in thought. "I'm a fighter, but with words."

At a table by the buffet was Justin Palmer, vice chairman of the Georgia Association of College Republicans, America's largest chapter of College Republicans. In 1984 the group gained prominence in conservative circles when its chairman, Ralph Reed, formed a political action committee credited with helping to re-elect Senator Jesse Helms. Palmer's future as a right-wing operative looked bright; he batted away my question about his decision to avoid fighting the war he supported with the closest thing I heard to a talking point all afternoon. "The country is like a body," Palmer explained, "and each part of the body has a different function. Certain people do certain things better than others." He said his "function" was planning a "Support Our Troops" day on campus this year in which students honored military recruiters from all four branches of the service.

Standing by Palmer's side and sipping a glass of rose wine, University of Georgia Republican member Kiera Ranke said she played her part as well. She and her sorority sisters sent care packages to troops in Iraq along with letters and pictures of themselves. "They wrote back and told us we boosted their morale," she said.

By the time I encountered Cory Bray, a towering senior from the University of Pennsylvania's Wharton School of Business, the beer was flowing freely. "The people opposed to the war aren't putting their asses on the line," Bray boomed from beside the bar. Then why isn't he putting his ass on the line? "I'm not putting my ass on the line because I had the opportunity to go to the number-one business school in the country," he declared, his voice rising in defensive anger, "and I wasn't going to pass that up."

And besides, being a College Republican is so much more fun than counterinsurgency warfare. Bray recounted the pride he and his buddies had felt walking through the center of campus last fall waving a giant American flag, wearing cowboy boots and hats with the letters B-U-S-H painted on their bare chests. "We're the big guys," he said. "We're the ones who stand up for what we believe in. The College Democrats just sit around talking about how much they hate Bush. We actually do shit."

They urged on this war loudly and in public, but refused to have anything to do with the fighting itself. And so, a group of people whose opinions were never asked have to go instead. Naturally, they feel somewhat guilty that others are fighting and dying for their beliefs while they sit comfortably at home. This is an emotion that must be smothered immediately, in this case by waving the flag, singing 'God Bless America', and hoping fervently that nothing is asked of you.

Proles, Comrades, and Tenors

It seems that famed conductor Lorin Maazel has written an opera based on George Orwell's signature novel 1984.

A new opera is always time to rejoice, especially considering how few are written these days. I have great esteem for singing in general and the operatic medium in particular. You see, I've always thought of singing as a kind of vocal pornography - everything gets revealed. And opera is the hardcore variety. But unlike porn, opera can't be faked.

Anyway, this opera was dogged by controversy completely unrelated to its source material; Maazel was a compositional novice who has never written an opera before, yet he was being given a lavish premiere at the Royl Opera House at Covent Garden in London. The critical buzz was mostly negative, as these excerpts from the latest issue of OperaNews will demonstrate:

[T]he only proof of an operatic pudding is in the eating. It was with considerable interest that the capacity audience assembled to experience this new work, with a debut performance by widely acclaimed Canadian director Robert LePage and a cast including several admired singers.

A good cast is essential, of course. We wouldn't want another Traviata premiere on our hands.

1984 has a libretto by Yale English professor J.D. Mclatchy, working on this occassion in tandem with Tony Award-winning author Thomas Meehan (who also wrote such successful musicals as Annie and The Producers)

Very nice, but remember: prima la musica e poi le parole.

Orwell's political satire describes a future totalitarian state (modeled on Stalin's Soviet Union) set in a reconstituted England, its capital now reffered to as Airstrip One. War is perennial, denunciationas and executions are rife, and the presence of the great leader Big Brother is constant on television screens in every room that allow the authorities to watch what everyone is doing. The hero, Winston Smith, rebels first in thought and then in deed. He has an affair with a fellow dissident, Julia, but they are denounced, and under torture they ebtray each other. Winston ends up by declaring his sincee love for Big Brother.

Gee, thanks. I didn't know OperaNews also doubled as Cliffs Notes for Retards.

It’s a dark story with few contrasting moments, and Maazel’s first problem was to come up with some variety in the mood. He included a couple of numbers, one for Syme, Winston’s fellow-worker in the Ministry of Truth, who sings of the Newspeak, the language of political deception that has replaced English. American tenor Lawrence Brownlee shone in this punchy, cruelly high-lying piece, and won a round of applause. So did high-flying German soprano Diana Damrau, with a similarly flamboyant, off-the-peg coloratura aria for the Gym Instructress who gets the people exercising on her morning TV spot.

People are always fascinated by the difficult; though I'm inclined to think Big Brother would clamp down on such displays of individuality.

Elsewhere there are big choral scenes for the mass party rallies, relentlessly orchestrated. These are the better parts of the score, though their material, couched in a vaguely post-Britten to post-Shostakovich idiom, has none of the distinction or one-heard, never-forgotten quality of its models. The rest are largely solo vocal or dialogue scenes, with some surprisingly ineffective word settings, utterly nondescript in style and completely undistinguished in content. This made for a seriously tedious evening, leavened only by a love duet that might be pinned down as a collaboration between Puccini and Stephen Sondheim, only without their talent (let alone genius). This was one of the dreariest new operas in a while, and there’s quite some competition for that award.

Ouch. But that paragraph is revealing; it shows both Maazel's inability to write music that isn't mired in the past, as well as the critic's inability to conceive of anything new in musical style, forcing him to judge all he hears as compared to other, deader composers.

The cast did everything that could be expected of them. Simon Keelyside (Winston), Nancy Gustafson (Julia), and Richard Margison (O’Brien) engaged as much as possible with Maazel’s cold recreation of the characters, singing big and bold throughout. LePage’s production also did its best, but with such deadly musical material it must’ve been hard to generate what dramatic tension there was. Enthusiasm dissipated throughout the evening. There was the usual world premiere razzmatazz at the close. But there were also a couple of boos for Maazel, unprecedented in my experience for any other composer’s appearance on this venerable stage.

But what of those two arias you mentioned earlier? A single good number is enough to support a composer's reputation for the rest of his life and beyond.

I persoanlly haven't heard a single note of this work, so I can't say whether it's a surprise masterpiece or as bad as they say. Still, I think too much is being asked of poor Signor Maazel; this is, after all, his first opera. Classical music isn't the same as pop music; not every piece has to be a hit for a composer to maintain his reputation. Rossini, after all, wrote 70 operas, Handel at least 50, and Scarlatti over 100. Even Verdi and Wagner needed three operas to hit their stride. Agonizing endlesly over your first opera is a bad idea; best to shut your eyes and get it over with.

Besides, 1984 isn't the most obvious choice for an operatic setting. Orwell was a fantastic writer who was masterful in creating characters and atmosphere, but he had an admitted weakness, which he described as the tendency "[to] take a good story and turn it into journalism or political science." Fitting something like 1984 into the structure of an opera is no mean feat. It would mean extreme truncation of the story, for the ultra-oppressive world of 1984 is not just a distopia; it is a distopia with a purpose, a history, and a philosophy. It would take a certain kind of genuis to turn 'The Theory and Practice of Oligarchical Collectivism' into a singable aria.

This is not to say, of course, that complex political and social protest cannot be articulated through opera; Nabucco and Fidelio should be proof enough for that. Yet the limitations of opera as an art form are of detail, and not of expression. Also, most kinds of theatrical performance require a 'personal' focus of the story, diverting attention onto a one person's thoughts and emotions instead of the universal subject at hand. Even so, the effects of the various forms of music or literature are undeniable in that they are not frozen in the same way that other kinds of art are; the notes and words have a way of entering into people's consciousness in a way that would be impossible using any other artistic genre. It is for these reason that I believe words and music will always stand above visual art forms such as sculpture and painting. A picture is worth a thousand words? Then paint me the Gettysburg Adress.


P.S. Oh, and Bush's speech last night? A tepid pep talk from a mediocre coach. Nothing new; not even a sound bite.

On the Value of Symbols

At some point in the fairly distant past, I recall reading a philosophical parable which impressed me greatly. As best I can remember, it went like this:

The Devil has convened a meeting in Hell of all the lesser demons. He demands that all of them come forward and explain what progress is being made for the corruption of mankind. All his minions talk excitedly of the wars that have been started, the unnatural acts committed, the cruelties, the injustices of man against man. The The Devil finds this all unsatisfactory; this is the same tired routine he's been hearing since the dawn of time. Finally, the last demon stands up and says "My lord, i believe we have failed to dehumanize people because we have focused so much on crimes against God and Nature. We have failed to alienate Man against things."

The Devil is confused. "But in a modern society, Man has more things than ever. Are you suggesting we deprive him of them?"

The demon shakes his head. "No, sir. What I mean is that we should replace his things with a series of abstractions, outlines, and spirituality. Man must see objects as symbols; he must learn to use them for effect. They should never be given value in themselves. And, of course, the door to joy must always be firmly shut."

At that, Satan leaned back and smiled. "Brilliant." He said. "Let the work go foreward."


This little story has stayed with me for some time. Ever since reading it, I've been increasingly aware of the way people latch on to tiny, significance-laden fragments of larger beliefs and enlarge these fragments beyond anything reasonable or healthy.

I don't mean worthles slogans that are repeated over and over again; I mean when a 'slogan' of any type becomes more important in people's minds than what that slogan was originally supposed to embody.

Take the recent House approval of a bill to ban flag-burning. To those who support it, the American flag is supposed to represent the freedom and promise of America. Maybe it does, but in the end it's still only a piece of cloth. To sacrifice our civil liberties for the sake of a cloth is lunacy, no matter what mystical properties you ascribe to it.

In the furor over Mel Gibson's 'The Passion', the line was drawn with liberals protesting anti-Semitism and religious conservatives denying it, while neither side at all understood the concerns of the other. The reason is that, to the film's detractors, the murderous, jeering, vile Jews of the 'The Passion' were just who they appeared to be, and this translated to a certain hostility against Jews today. To Gibson's devotees, nobody in the film was a real person and it didn't matter if what was shown in the movie never happened. It was all symbolic, showing the cruelty suffered by Jesus before his death. Quite possibly that's how it was intended, but it never even occurred to them how anyone could be upset at the sight of hook-nosed Pharisees mingling with the Devil or little curly-haired Jerusalem boys suddenly becoming red-eyed vampires. The disconnect between symbolism and reality was complete.

The examples of this type of thing are endless, whether one uses icons (the cross, the flag), verbal or written mantras (the Ten Commandments), honorifics ('Greetings, Comrade'), pieces of clothing (headscarves) or even political systems ('democracy' or 'communism' as the answer to all ills).

What we end up with is a society where nothing matters in itself. I think we're all poorer for it, and should endeavor as best we can to rid ourselves of attachments to things that cloud our ability to see the country behind the flag, or the meaning behind the chants.

Edit: I remember now that I came across that fable in an essay entitled Enjoying this So-Called Iced Cream: Mr. Burns, Satan, and Happiness. Don't ask.