Perfect plans usually fail in practice
All my life I have been watching the U.S. federal government
steadily increase its power, but I never expected to see it expand into the
comic book business. Imagine my surprise, then, when I found a comic book —
excuse me, a “graphic novella” — on the official web site of the Centers for
Disease Control and Prevention, a minor masterpiece of the horror genre
entitled Preparedness 101: Zombie Pandemic. Evidently the
political principle “never let a good crisis go to waste” extends even to
fictional crises. Perhaps inspired by its appearance in the last two episodes
of the first season of AMC’s popular television show The Walking Dead, the C.D.C. decided to make its own
contribution to the growing body of apocalyptic zombie narratives, and to score
some propaganda points for itself in the process. Unsurprisingly, on its own
web site the C.D.C. manages to do what it — or any other government institution
— conspicuously fails to do in The Walking Dead,
namely to come up with a quick solution to the plague and work to cure it.
The fact that the C.D.C., a unit of the U.S.
Department of Health and Human Services, chose to jump on the current zombie
bandwagon in American pop culture tells us something: More is at stake in
these apocalyptic, “end-of-the-world-as-we-know-it” narratives than their
simple shock value. For all their ghoulishness and gore, these zombie
narratives raise some fundamental issues, above all the question of the
relation of government to social order. Is central planning by government
experts the solution to human problems (as the C.D.C.’s comic suggests), or
does government intervention in human affairs generally make matters worse (as
we will see The Walking Dead implies)?
The proliferation of zombie narratives represents a
more general trend toward crisis scenarios in our culture, which strangely turn
out to be a measure of people’s attitudes toward the state. The collapse of
communism in the late 1980s left central planning discredited. Its proponents
have thus been forced to find new ways of arguing for their socialist schemes,
for example, disguising them under the banner of environmentalism. Would-be
central planners may concede that in the normal course of events, free markets
do a better job of allocating scarce economic resources, but, they argue,
crises or disasters may occur on such a scale — national or even global — that
only central planning by nation-states or international organizations can
adequately deal with them. One might call this new phenomenon “socialism with
an apocalyptic face.”
Films and television shows over the past two decades
have featured stories of comets or asteroids headed for Earth, of catastrophic
global warming (or cooling), of invading space aliens, of volcanic eruptions
and earthquakes on a planetary scale, or viral plagues of pandemic proportions,
and so on.[1] Zombie narratives are only one subset of this
genre of global or cosmic catastrophe narrative. Many of these stories portray
ordinary people as helpless in the face of disaster. They panic or freeze or
despair or in other ways make matters worse for themselves. Ordinary people are
shown having to rely on elites to save them, often a combination of scientific
experts and military special forces, sponsored and directed by national
governments or international organizations such as the U.N.[2] That is the way these apocalyptic narratives in
pop culture have contributed to a kind of recuperation of socialist thinking.
Individual human beings, dwarfed and overwhelmed by a global or cosmic
catastrophe, are forced to turn to government to save them.