In Search of Heroes

Heroes are ordinary people in extraordinary circumstances,
and extraordinary people in ordinary circumstances.

Some years ago, as a teacher, I held a class in which I asked some young people to explain who were their heroes. A surprising number of these kids argued passionately that their parents or older siblings were heroes because of their tireless work to help family and others in their immediate community. While it may seem easy to dismiss such an insular view, I actually think that a child’s perspective can be quite profound. They saw past the cliché and recognised that being a hero doesn’t require fighting, wearing a cape or being a crime fighter. They instinctively understood a more universal human truth:

Heroes are those who act sacrificially for the betterment and welfare of those within our extended human family.

Children, it might be argued, see heroism (as they see many things) in its most simplistic form. Ethicist Peter Singer explores how humans, as social animals, initially see their world as family and kinfolk, and then expand their awareness of, and empathy for, others, in an expanding circle of ethics and altriusm. Perhaps heroes are those who can see this circle at its broadest.

Heroes can be first responders, scientists, and medical workers. They can be life rights activists and environmental activists. Ordinary or marginalised people can become heroes, including those whose contribution is often overlooked. Heroes can be teachers in Grimsby, UK and Kasese Humanist School in Uganda, or students in Ontario, Chicago and Mingora (Pakistan). The list is almost endless.

It has even been suggested that a folklorist whose exploration of the literary Hero’s Journey across time and culture (expanding upon the Hero Pattern to which I have referred in a recent blog post) is himself a hero.

To have heroes is to be human. My personal heroes include scientists and astronauts who inspire us to aim for new discoveries and knowledge; and artists, musicians and authors who stimulate our imaginations and challenge us to catch their visions for intellectual, aesthetic or social betterment. My human rights heroes include refugees and refugee activists around the world, who battle incredible adversity in their lives and who often face indifference or bigotry from others.

Another hero of mine is a personal friend, a Holocaust survivor, and a tireless worker for human rights and humanist ideals. Her decades of activism are as much a testimony to her principles as are the recollections within her autobiography, in which she summarises the noblest of heroic motivations in a world beset with problems: “Love lights this place up. Without love, it would be dark and cold here.” (The Testimony, Melbourne: Hardie Grant Books, 2012, p. 200).

Why do we have heroes? Heroes provide an optimal human template. While dictionary definitions vary as much as cultural stereotypes, heroes are ubiquitous, so it seems that the heroic essence is an ineffable human quality within us all, most obviously involving altruism but also extending beyond that into what psychologist Philip Zimbardo explores as heroic imagination. Both individually and collectively, we align our inspiration, aspiration and perspiration towards our heroes and the values they represent.

I would suggest the following as a preliminary list of values to which humanist heroes align:

Heroes take lemons and make lemonade. They work to bring the best results out of bad circumstances and human weaknesses. Even our symbolic cultural superheroes are flawed: Achilles forgot to wear protective footwear; Pandora was overly curious; Superman had his kryptonite. Despite whatever difficulties they experience, real-life heroes aspire to be the best people that they can be, and they create opportunities for others to do the same. Heroes are role models and mentors because they lead by example.

Heroes are activists who intervene to change a course of events. This is perhaps why many people are attracted to the nobility of heroism while simultaneously being resistant to its personal cost: heroes make the sacrifices that are necessary in order to change the world. Do we dare to join them?

Heroes inspire our cultures and mythologies. Some of my own earliest childhood memories include the excitement of Thunderbirds, a popular 1960s children’s puppet television series in which the heroes of International Rescue saved people from all kinds of disasters. Thunderbirds may have introduced many youngsters to the humanist concept of offering practical, hands-on help to others because we have the capacity and responsibility to do so.

Heroes have the potential to help not only others but also themselves. Peter Singer suggests that altruism and benevolent actions enrich the giver as well as the recipient: ‘For millennia, wise people have said that doing good things brings fulfillment’ (The Life You Can Save, New York: Random House, 2009, p. 171). Heroes change people’s lives – including their own.

Being a hero is more than doing a good deed; it is a lifestyle choice. The most radical challenge of heroism is that it ultimately moves beyond the individual, and redefines being human as a collective and communal experience – a noble aspiration for animals such as ourselves who form communities. While some people seek the existential meaning of life, heroes live it, demonstrating that our noblest legacy is to leave behind a world that is better for our having been in it.

Everyone can be a hero – if we have the courage to change ourselves and our world.

© 2020 Geoff Allshorn

Take the Red Pill?

Artist: Miriam English

It is over twenty years since the science fiction film, The Matrix burst onto our screens and most famously introduced possibly millions of viewers to philosophical ideas such as Simulation Theory and the potential dangers of unregulated technological advancement. Are we living inside a computer simulation?

Perhaps the most famous scene in the movie involved the lead character having to choose between taking a blue pill, which would allow him to continue living in a blissfully unaware fantasy state, or a red pill, which would wake him up to whatever harsh reality actually existed in his real world.

This metaphor has apparently been adopted by elements of cyberculture, with one usage of the urban slang term, ‘red pill’ meaning ‘a waking up from a ‘normal’ life of sloth and ignorance’ and choosing the hard road – facing authentic life, warts and all.

By contrast, ethicist Jessica Baron suggests that the western world has been choosing the blue pill – blissful ignorance of the world’s problems:

“Our creature comforts are too nice, too necessary (at least we believe) to give up, and we’ve proved over and over again that we’re unwilling to do so, even if it makes the world safer or fairer for other people.” 

Perhaps the era of COVID is a good wake-up call. While some entitled people in certain western nations bewail home isolation and an inability to get a haircut, others in developing nations live in more severe conditions, where they lack even the most basic food, shelter or medical facilities. Like many other plagues down through history, COVID will undoubtedly prove to be predominantly an affliction of the poor. While world inequity provides opportunities for COVID to linger in poor communities, the virus will remain a threat to us all. If morality is insufficient to motivate us to the task, then surely enlightened self-interest should compel the world to confront such inequality.

It may be time for our culture to get redpilled out of our complacency. Let’s use the era of COVID as an opportunity to change the world for the better.

© 2020 Geoff Allshorn

From Omelas to Optimists

Binary Takeoff,
art by Ditmar (Dick Jenssen).

Science fiction is a popular form of film and literature, which often combines allegory and archetypes, myth and metaphor. A modern-day secular reworking of ancient mystical or religious archetypes – from Hercules to Harry Potter, from King Arthur to Katniss Everdeen – the lives of modern science fictional heroes echo across time and culture. Superman, Luke Skywalker and Harley Quinn reboot the ancient Rank-Raglan Hero Pattern, and their alien territories evoke unknown places on ye olde maps that were once marked, ‘Here There Be Dragons’.

Amidst this diversity of creativity and counterpoint, Ursula Le Guin was a famous twentieth century science fiction and fantasy author who was perhaps best known for ‘The Left Hand of Darkness’, a story that explores themes of both feminism and non-binary gender identities. In 1973, she wrote a short story entitled, The Ones Who Walk Away from Omelas. In the ‘Great Utopian and Dystopian Works of Literature’ lecture series, Professor Pamela Bedore examines Le Guin’s latter story as an example of both an aspirational tale and a warning of a future to avoid:

Imagine a perfect society, where everyone has their needs met, and life appears obliviously joyous and carefree. But this society has a hidden secret: in some strange, inexplicable way, their happiness is predicated upon the suffering of a small child who is locked in a basement. Even utopia has its price.

To me, this story evokes the paradox of modern Australian society, self-proclaimed bastion of egalitarianism and land of a ‘fair go’, in which we overlook the disadvantage of indigenous Australians, callously lock away refugees and asylum seekers, and largely ignore the plight of homeless, unemployed and disempowered people.

Extending the Omelas metaphor even further, we can see that affluent nations gain much of their wealth and privilege through the exploitation and suffering of other human beings in developing nations, and from exploiting our environment. Are we really enlightened as a species? What can we do to abolish such inequality?

We can act, but first we have to dare to dream. One popular science fiction genre is the Star Trek franchise, created by Humanist Gene Roddenberry, in which his original vision was a galaxy filled with noble creatures, and a future free from war, famine, plague and inequality. Roddenberry challenged us to ‘Make It So’. The possibility of a better world ennobles those who undertake such a quest.

Science fiction, like much of our popular culture, is often dystopian in nature. In reel life, as in real life, we must choose our adventures and our heroes.

© 2020 Geoff Allshorn

It Gets Better

Gilbert Baker’s Rainbow Flag design, rendered by Guanaco et al, CCO 1.0

US 2013 Humanist of the Year, Dan Savage, is perhaps best known for his adult advice column. But his major contribution to humanity may be his LGBT activism, particularly the It Gets Better Project, founded in 2010 as a response to anti-LGBT bullying. Savage had hoped that 100 people might contribute videos in support of young LGBT people; but within weeks he had received thousands of videos, including one from then-President Barack Obama.  Kevin Rudd and NASA also offered support.

Such is the power of humanism: finding common humanity and offering compassion and uncompromising support where it is most needed.

A humanist perspective can be life-changing. NASA astronaut Scott Kelly, whose year in space allowed scientists to investigate the long-term effects of spaceflight, as measured against his Earth-bound twin brother; has spoken about how a cosmic perspective can create awareness of environmental and humanist ideals.

As we experience the COVID-19 crisis, we have the opportunity to apply such principles and remould Australian Humanism into a twenty-first century powerhouse – and beyond that, to determine what sort of future world we wish to create.

© 2020 Geoff Allshorn