By Kyle Smith
Wednesday, April 12, 2017
Late in The Circle,
Dave Eggers’s 2013 novel set in a near-future that is both staggering and
entirely too plausible, the Google-like tech company referred to in the title
proposes a small brand extension: Its next goal is to conquer the entire
democratic project. Once a few trifling details are worked out, the Circle will
take care of all balloting and tabulation, then disseminate the results. Oh,
and voting will become compulsory, because that will obviously produce a better
America than the one created by our current, half-interested populace. “We’re
calling it Demoxie,” says a chipper executive. “Democracy with your voice and
your moxie.”
Who could possibly oppose moxie, much less democracy?
Left unstated is that the secret ballot will become a relic of the past. Also
unmentioned is that we will all wind up voting exactly how the Circle wants us
to vote: the company possesses so much information that it is inching nearer to
absolute power. Already a few lawmakers raising concerns about the company’s
reach have been defenestrated, in each case because inconvenient details about
their private lives happened to leak out from their computers into the public
sphere.
The novel, which has been adapted into a film of the same
name (due out April 28) starring Emma Watson and Tom Hanks, is a vital work
that ought to become standard conservative reading. It’s as if Brave New World and 1984 had a baby, and that baby’s nanny were Liberal Fascism. Eggers combines Huxley’s vision of a
pleasure-saturated dystopia with an Orwellian take on propaganda and distorted
language, all managed by smiley-faced authoritarians. Eggers might as well have
taken as his starting point the George Carlin remark Jonah Goldberg explicated
so wisely in Liberal Fascism: “When
fascism comes to America, it will not be in brown and black shirts. It will not
be with jack-boots. It will be Nike sneakers and Smiley shirts.”
Reading Eggers’s book today underlines the flaws in the
Left’s hysteria about supposedly nascent Trumpofascism. If an authoritarian
element is to insinuate itself into American life, it will do so not
externally, with scowling generals and tanks on Maplewood Drive, but
internally, invisibly, and to a large extent voluntarily. Bullets won’t be
fired; they won’t have to be. And it’ll be hip, young, compassionate, sincere,
globally minded progressives such as the Silicon Valley go-getters in The Circle who take us to our new
destination, all the time insisting — believing — that stripping away one
liberty after another in order to centralize power is what’s best for everyone.
We are introduced to the Circle through the eyes of a new
employee, Mae (the Watson character in the movie, which I haven’t yet seen).
She’s a recent college graduate who in the early going is a kind of New Economy
update of Charlie Chaplin’s factory worker in Modern Times, rendered more and more hapless by the expanding array
of gadgetry she is meant to master. An entry-level customer-service rep, she is
beleaguered by the burgeoning number of screens installed on her desk, the
urgent communiqués deluging her through various instant-messaging systems, and
the many requests to participate in social-media groups. These become
indistinguishable from demands in the tech world’s passive-aggressive culture
of team spirit.
Mae’s soul is being hollowed out by the fizz and rattle
of nonstop meaningless interaction, and her weakened state is essential to her
being first seduced, and then weaponized, by the Circle. Sinister elements
appear gradually, in each case vigorously defended by company bosses such as an
avuncular co-founder, Eamon Bailey (Tom Hanks). Bailey and the other two
founders are known within as the Three Wise Men, one of many hints that the
Circle is misappropriating spiritual motifs even as it attempts to displace
religious faith in the lives of its flock. Bailey (who has a stained-glass
ceiling in his library) is relentless in his quest to immanentize the eschaton.
He proposes the Circle as a kind of substitute for God’s eyes, asserting that
everyone would live a moral life if he knew everything he did was being watched
and recorded on the company’s servers. There is much joyful talk of the
fast-approaching heaven on Earth called “Completion,” in which the Circle will
have at last achieved all of its goals, to the presumed betterment of us all.
Politicians and others are at first encouraged, then nudged, and then shoved
into “going clear” (a sly reference to a central dogma of Scientology), meaning
volunteering to wear cameras around their necks that record all of their
interactions throughout their waking hours. (When using the bathroom, one is
allowed to turn off the sound for three minutes.) Eggers dryly reports without
comment that the Circle’s own internal deliberations are, meanwhile, cloaked
from public view: “Those meetings are full of sensitive intellectual property,”
exclaims one employee.
Mae is at first doubtful but, like Winston Smith, proves
no match for the cascade of propaganda and gradually internalizes all of
Bailey’s teachings, which culminate in a kind of show-trial-cum-TED-talk. Mae
is publicly interviewed, or re-educated, by Bailey, in an auditorium full of
her fellow employees looking on as he coaxes from her key admissions helpfully
projected on a large screen: “PRIVACY IS THEFT.” “SHARING IS CARING.” “SECRETS
ARE LIES.” In tech world, no torture is necessary; people like what is
happening to them, and even sign up for it. At most they might need to be
offered a $10 Starbucks gift card in exchange for ceding some heretofore-sacred
modicum of privacy. One key figure in the Circle’s rise expresses disbelief
that his most outlandish ideas, despite being self-evidently dangerous, grew
not only popular but revered: He likens the situation to placing a guillotine
in the town square and being shocked when people line up to put their necks in
it.
Eggers, a supporter of both Hillary Clinton and Barack
Obama, has the kind of ideological credentials you would expect from a
well-heeled Bay Area career ironist. Yet The
Circle demonstrates that the progressive-authoritarian direction of
American culture today can hardly be misread by any serious thinker, even
someone who is mostly on board with the liberal agenda. Mercer, Mae’s Luddite
ex-boyfriend and one of the two figures in the novel who see clearly the ramifications
of the Circle’s growing clout, denounces the insistently progressive company as
“Digital Brownshirts” who worship a “golden calf,” comparing the meeting that
hatches the idea for the Circle’s takeover of democracy to Triumph of the Will. In a letter he writes Mae that she broadcasts
to the world, Mercer pleads for a reversal, a renewed commitment to freedom and
individualism. In response, the Internet scoffs. “One watcher in Missoula,”
Eggers writes, “had already read it while wearing a powdered wig, the
background filled with faux-patriotic music. That video had been seen three
million times.”
It must be painful to a hipster icon such as Eggers to
admit it, but in a brave new tech world, the ideals of the men in the powdered
wigs become more, not less, crucial.
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