The New York Times‘ Week in Review section featured a terrific cartoon by Dan Wasserman that shows the media “rediscovering” the poor. Magazine cover stories abound, from Fortune’s “Temp Jobs: Can You Ever Have Too Many?” to Food & Wine’s “All-Purpose Flour: The All-Purpose Food!” Meanwhile, a television announcer promotes a new series, Lifestyles of the Poor and Anonymous.
And it’s not just the media.
“All of a sudden the poor have emerged from the shadows of invisibility, lifted onto a temporary pedestal by natural disaster. Whether it is because of guilt, pity or the nation’s generosity in times of crisis, those who lost everything — many of whom had little to begin with — find themselves in a strange wonderland of recognition,” Kevin Merida and Michael A. Fletcher wrote in a Washington Post front-page story last week that detailed how relocated Hurricane victims were being offered jobs, financial support and attention that is rarely paid to the poor — creating a dividing line between the poor themselves.
The destitute people sent fleeing by Katrina have been offered free housing, free clothing, free cars, free toys, special admission to universities and preferential job treatment. Athletes come to them , bestowing jerseys and autographs. Entertainers sing for them, and Bennigan’s restaurants here and in Houston announced Katrina’s kids could eat without paying for a while.
This is what it’s like for the celebrity poor, a new subculture created by Hurricane Katrina. [...]
How far this compassion should extend — and what it should look like over time — is looming as the next great social policy debate. What began as a response to the most devastating hurricane in the country’s history is segueing to a grander discussion about the treatment of those who live on the margins.
I wouldn’t say that the “celebrity poor” are a completely new subculture. Our cultural texts — novels, films, etc. — have long attempted to bring the plight of the poor into our consciousness. Unfortunately, while texts like Les Miserables, The Jungle and The Grapes of Wrath (to name a few oldies but goodies) had good intentions — and at times even forced changes in social policy — they relied upon a glorification of the poor to make their point, making it easy for the broader public to see them as charity cases rather than human beings.
And while mainstream hip hop in the present-day (both in music and film) claims to speak from the street, it is frequently riddled with stereotypes of the poor that that are then used as justification for their marginalization.
The paucity of exceptions to these two extremes of representations, of course, proves the rule — but the exceptions also point to a cultural path for redemption. Like a Dickens serial novel from the 19th century — but with much more complex characters — HBO’s The Wire patiently but persistently reveals the many sides of life for the poor in Baltimore — their desires and disappointments. In other words, it shows their full humanity.
Underground hip hop, of course, has served as a vital correction to its mainstream brethren. For a recent example, check out “George Bush Doesn’t Care About Black People” — the latest track from The Legendary K.O. — in which we see Hurricane Katrina through the eyes of the disregarded.
In discussing the cultural response to Hurricane Katrina, John Leland also mentions Marquise Lee, a freelance video producer, who heard the song and created a video using scenes of African-Americans in New Orleans, images of the president and scenes from one of Kanye West’s video. “It was a first-person account of the struggle — ‘Come down and help me,’” said Lee.
Also in the Week in Review (yes, it’s filled with good stories), Leslie Kaufman notes that the United States is about to embark on a social experiment: “Will moving the poor out of New Orleans help them rise?”
Social scientists are interested in collecting evidence on whether relocation is sound public policy. Two previous small-scale relocation programs mentioned seem to indicate that the poor will do better if they’re separated and scattered among communities with lower concentrated poverty levels. They may, however, end up concentrated together under FEMA’s plan to house evacuees of New Orleans in trailer park encampments.
“Politicians of all stripes have already condemned this plan, fearing that the trailer camps will become ‘FEMA ghettos,’ economically and socially isolated from communities and jobs,” writes Kaufman, adding:
Of course, the New Orleans diaspora of the poor may pose other challenges - like political disempowerment. And while the poor may become less visible, their problems don’t disappear, said Margaret Simms, of the Joint Center for Political and Economic Studies, a research group based in Washington.
“Circumstances that make people poor — like low education and chronic disabilities — don’t disappear when you move them someplace else,” she said.
Nor when they reach celebrity status.
It’s hard to see the news channels continuing their fascination with a segment of our population that executives don’t see as a very profitable demographic, but it’s not much of a stretch to imagine the reality TV possibilities of tracking one family given a voucher to start over in a middle-class suburb and another assigned to living in sub-standard conditions.
Plus: “The Week in Television” notes that new sitcom My Name is Earl “about a low-life seeking redemption” was a hit for NBC.
While enjoyable on many levels, the first episode of Earl unfortunately relies on playing up the stereotypes of the working class and poor — often for satirical effect — rather than breaking them down. Earl and his brother, even though they are “good guys,” lack intelligence and common sense. And while both of them overcome their homophobia by the end of the first episode, the basis of that homophobia is never really questioned — and the stereotypes of gay men, on a side note, are never complicated.
And if the $100,000 winning lottery ticket seems like a stretch, remember that when it comes to poverty we always like to think there’s an easy way out.