• 'Empire of Illusion'
• Chris Hedges
• Knopf Canada (2009)

One recent end-of-the-semester morning, while taking attendance in the philosophy and literature course I teach at Capilano University, I checked off the name of a student who had missed the previous class. "Where were you last week?" I asked. Since attendance-taking is a desultory ritual, I try to liven it up with some low-level banter. But this time, instead of the equally desultory dog-ate-my-homework excuse, there was something new.

"Modern warfare was released at midnight," he said.

It took me a nano-second of mental double-take to realize that he wasn't announcing an apocalyptic event that had been forecast by Nostradamus or the biblical Book of Revelations. In that same micro-instant I saw that I needed to make an orthographic tweak to his sentence to understand what he was saying. I had to italicize the subject of the remark: it wasn't "modern warfare," but instead "Modern Warfare." Actually, Modern Warfare 2, Call of Duty 6, accompanied by its ubiquitous "TM" trademark logo.

But he didn't have to say all that because it was common knowledge. As I could tell from the collective chuckle, almost everyone in class got the picture immediately or, like me, an imperceptible nano-second later. Modern Warfare is a popular series of video games and a new version of it had been recently released. Like Harry Potter novels, vampire movies, or certain musical/video releases, part of the marketing strategy is to begin selling them at midnight, giving early customers a more vivid prestige-enhancing sense of being the first one on their block to own one.

So, my student had dutifully lined up outside the mall emporium, purchased a copy of the game ($59.95 a pop, according to Amazon.ca) in the middle of the night, went home and blasted away until the wee hours, and was of course fast asleep by the time morning class time rolled around. He wasn't the only one. In the initial marketing surge (or should that be, these days, "surge"?), four-million-plus copies were sold, according to the Modern Warfare 2 website, and the company has to date raked in about a half billion dollars in sales. So, this is not merely an anecdote about the latest cute excuse for missing class.

Naturally, I took the opportunity of the occasion to deliver a medium-level rant about the vacuity, shallowness, and dopey nature of the pop culture foisted on young people today, although I soften the blow by pointing out that their consumption of such junk isn't entirely their fault. Since attendance-taking is generally agreed to be a desultory chore, the students are prepared to put up with these diverting rants as long as I don't go on too long and turn it into nagging.

Anyway, fulminating about the state of the culture is a legitimate sub-theme of the philosophy and literature class, and such jeremiads can be counted as a form of classroom entertainment. Soon, we were back to our discussion of Italo Calvino's Mr. Palomar, Diana Athill's Somewhere Towards the End, Julian Barnes' Nothing to be Frightened Of, and Jose Saramago's Death with Interruptions, the four books that make up "Endings," the last thematic of this semester's course. But in the back of my mind, I was aware that Calvino et al.'s ideas about death were hardly a patch on the colourful blow'm-up-good version offered by Modern Warfare.

'Triumph of spectacle'

I offer this little story of cultural catastrophe in support of Chris Hedges' critique of American culture, politics and economics, Empire of Illusion. However, I have to admit that I view such scenes with a bit more wry amusement than Mr. Hedges, who tends to be rather grim-lipped about the whole thing. Hedges is a Pulitzer Prize-winning former foreign correspondent for The New York Times who subsequently turned into a political radical, and is currently a senior fellow of the leftist Nation Institute, a columnist for Truthdig.com, and the author of War is a Force That Gives Us Meaning (2002). He begins his account of the "triumph of spectacle" with a protracted description of "entertainment" wrestling (as contrasted to the sport found in schools and Olympic contests).

It's a ghoulishly fascinating 15-page portrait of the larger-than-life superheroes and lower-than-snakes villains of WWE, the World Wrestling Entertainment tour, one of the spectacles of U.S. cultural life. I'm not one of the 7.7 million monthly visitors to WWE's website, so I found Hedges' saga of the soap-opera-like fake wrestling world a bit confusing. Instead of old-fashioned half-nelsons and body slams, WWE is apparently more about bizarre storylines involving provocative taunting, cuckolding and derogatory genealogies (as is, "Y tu mama tambien"). But Hedges' main point is that the popular culture in which the masses, as they used to be known, are immersed, willingly or otherwise, is trivial, salacious, distracting, intellectually mind-numbing and, above all, a terrible illusion that signals the decline and fall of the Empire.

Subsequent vignettes in the opening chapter about celebrity culture include a visit to a "celebrity cemetery," beauty makeover shows, "reality" TV fare like American Idol, Survivor, and Big Brother, and "humiliation" programs of the Jerry Springer type, where sub-proletarians duke it out over paternity DNA and who slept with whom. All of it serves to drive home Hedges' message about the mindlessness of "mass-cult."

Eventually, Hedges moves from the ring to Plato's cave and spells it out. "We are chained," he says, "to the flickering shadows of celebrity culture, the spectacle of the arena and the airwaves, the lies of advertising, the endless personal dramas, many of them completely fictional, that have become the staple of news, celebrity gossip, New Age mysticism and pop psychology." This is not exactly news, as Hedges readily admits. Not news then, but apparently more distortions of reality than ever, and perhaps some usefulness in pointing them out. Though shudder-inducing in places, Hedges' book is strangely unsatisfying, and it's not immediately clear why. Maybe it's the tone of what my students would identify as "nagging." But no, it's more than tone.