a short book based on an email exchange between Zygmunt Bauman and Italian
journalist Benedetto Vecchi, the sociologist discusses the question
of identity in the context of what he calls 'liquid
modernity'. Bauman's thesis, set out in his book of that
name (2000), is that we have moved from
a solid to a fluid phase of modernity, in which nothing keeps its shape,
and social forms are constantly changing at great speed, radically transforming
the experience of being human.
of liquid modernity could be seen as Bauman's attempt to resolve the
tension that exists in much social theory between explaining social
phenomena as aspects of modernity, and accounting for their appearance
only recently. After all, the modern condition, with its overturning
of tradition, has dominated the past two centuries. Liquid modernity
seems perhaps to be the late realisation of a tendency that has characterised
modernity from the start. What remains at issue is whether the 'solid'
institutions of prior modernity were merely the residue of tradition,
or pointed towards a more enduring potential of modernity itself. Most
pertinently, is the rational self-determining subject of modernity any
more than an illusion that has had its day?
Inevitably, the undermining of familiar institutions, an aspect of modernity
that has certainly been intensified in recent years, has had important
consequences for people's sense of identity. There is nothing new about
the observation that national and class-based identities (both of which
had seemed almost definitively modern) have been upset by the end of
the Cold War and various other developments discussed under the heading
of 'globalisation'. Similarly, Bauman notes that while the workplace
was traditionally a very important source of personal identity, changes
in the economy have rendered it far less reliable. He suggests that
the enduring identities once associated with work have given way to
looser and more provisional identities, and conceptions of community,
that are subject to constant change and renegotiation. Indeed, Bauman
points to a more profound transformation of how we understand what it
means to be human in the absence of transcendent ideologies (traditional
or otherwise) such as have characterised modernity until recently.
The liquidity of which Bauman writes is nowhere more evident than in
his own writing, which, even when not based on email, tends of late
to be aphoristic, even whimsical. Reading Liquid
Love (2003) is not so much like taking an academic course
with Professor Bauman, as being stuck in a lift with him after a particularly
well-catered social function, perhaps having set the old man off with
an ill-judged confession of new love or a broken heart. 'Ah, love
Nonetheless, it is in the context of personal relationships (especially
what Vecchi quaintly calls 'amorous relationships'), that Bauman is
most insightful. What do these represent in the absence of a traditional
framework within which to make sense of them. Is there indeed any basis
for enduring relationships if we dispense with traditional notions of
duty, responsibility and self-sacrifice?
In Identity, Bauman cites French philosopher Michel Serres' nomination
of Don Juan as the first hero of modernity, delighting in spontaneity
and inconstancy. 'The strategy of carpe diem is a response to
a world emptied of values pretending to be lasting,' Bauman suggests.
The strategy is well captured in Penny Woolcock's 2003 film The
Principles of Lust, in which the protagonist is attracted
to a demonic character who rejects commitment of any kind and lives
by a credo of instant and disposable gratification. That film's lack
of success may indicate that Don Juan has lost his glamour as his worldview
has become too real.
As Bauman notes, 'Most of us, most of the time, are in two minds about
that novelty of "bond-free living" - of relationships "with
no strings attached". We covet them and fear them at the same time.'
The flipside of freedom from ties rooted in social convention is a lack
of guarantees, and a heightened consciouness of the risk involved in
relationships. Bauman refers to the old idea that to love someone means
giving a hostage to fortune, but what he goes on to describe is very
different from Francis Bacon's famous and essentially pre-modern observation
(borrowing in fact from the Latin poet Lucan): 'He that hath wife and
children hath given hostages to fortune; for they are impediments to
great enterprises, either of virtue or mischief'.
What Bauman means is not simply that the object of one's affections
is vulnerable, and therefore a liability, but that in modernity the
object of one's affections is also a subject. Loving a subject means
'making oneself dependent on another person endowed with a similar freedom
to choose and the will to follow that choice - and so a person full
of surprises, unpredictable.' That person's surprising choices can be
painful. In the absence of the guarantees offered by tradition, the
whole enterprise of commitment is fundamentally unilateral, and consequently
precarious. Traditional marriage, in contrast, meant staying together
'through thick and thin' for the sake of convention rooted in practicality,
rather than as a fully autonomous decision. Bourgeois marriage is, or
was, emblematic of 'solid modernity', combining, never quite satisfactorily,
traditional function with an ideal of free choice. That tension between
practicality and romance is not resolved in 'liquid modernity', merely
Where subjectivity is unconstrained by tradition, then, it is instead
inhibited by uncertainty. Dea Birkett argued recently in the Guardian:
'Falling in and out of love is unpredictable. Promising to love someone
forever is a promise no honest person would make.' But this apparent
hard-headed realism is really the flipside of sentimentality. Both attitudes
abandon responsibility to the Fates, casting love as a mere subjective
feeling rather than, as it might be, a rational determination. True,
feelings change, but decisions can affect the way they change. If we
are rationally convinced of something, rather than simply following
a whim, we can put ourselves in situations more amenable to some feelings
than others, and wait out the bad days (precisely because we interpret
them as such, rather than as changes of mind).
Arguably, this is the first time we have been able to make such risky
commitments autonomously, not to be defined by others, but to choose
to define ourselves through others - and not just in personal relationships.
This is very different from the traditional taken-for-granted character
of commitment-identities. With the disenchantment of marriage, the rationality
of relations between human subjects is revealed. But this doesn't make
them any simpler or less risky; in fact, in the current context it seems
to have inspired a calculating cynicism. Why choose to constrain oneself?
Faced with an unexpected turn in a relationship, the easiest thing to
do is to reinterpret one's earlier commitment as a mistake, and 'move
This kind of reinterpretation of past commitments has obvious consequences
for identity, however. Bauman mentions in passing another French philosopher
Paul Ricoeur's terms, la mêmete (sameness) to describe
consistency of self over time, and l'ipseite (selfness) to describe
what distinguishes us from others. His contention is that both categories
are increasingly problematic in 'liquid modernity'. Certainly, these
are less 'given' than in the past. There is no overbearing social script
dictating how we should live our lives, and placing individual biographies
in the context of a greater whole. Tradition is a collection of disenchanted
stories with little grip on our lives.
Modernity, or 'solid modernity' can be understood as one more such disenchanted
story, but this to miss what is unique about it; that it requires not
enchantment but active commitment. The modern ideal of rational self-determining
subjects is indeed a script of sorts, but one which allows, indeed requires,
people to take authorship. This implies a subjective commitment to particular
goals and even institutions that embody those goals. What Bauman calls
liquid modernity is a consequence of the failure of the 'grand narratives'
of modernity, most obviously nationalism and socialism. (In that sense,
of course, his theory is a more graphic variant of postmodernism.) This
failure has cast doubt on possibility of subjective, voluntaristic narratives
as much as traditionally imposed ones.
In an essay in the Times Literary Supplement (15 October 2004),
the paper's philosophy editor Galen Strawson challenged the idea that
'narrativity' is necessary to 'the good life', essentially arguing that
it is irrational to insist on la mêmete. Why not just accept
that we change over time, and decisions we make at one point will seem
inappropriate or plain silly further down the line?
On an individual psychological level, this makes sense. In many senses,
the 'me' of now bears little relation to the 'me' of several years ago.
Strawson says he doesn't mind whether 'he' endures into the future.
I think I'd rather 'I' did, albeit bigger and better. In fact, Strawson
describes two distinct psychological types to account for this, which
he calls diachronic and episodic. The former is given to narrative;
the latter is not, and Strawson insists that while each type is disturbed
and confused by the alternative disposition, neither is ethically superior.
Strawson lists writers who conform to each type. These span the ages:
the episodics go back as far as Michel de Montaigne and the Earl of
Shaftesbury and up to AJ Ayer and Bob Dylan, while the diachronics include
Plato, Augustine, Heidegger and Patrick O'Brian. Nonetheless, narrative
thinking has surely characterised certain historical periods and societies
more than others, and Strawson's attitude does seem particularly contemporary.
It is, perhaps, an outlook peculiarly suited to Bauman's liquid modernity.
At a time when it is difficult to sustain a coherent identity over time,
it is reassuring to be told that it doesn't matter. Instead of lamenting
the absence of stories through which to make sense of our lives, we
should celebrate our liberation from narrative (not to mention metanarrative)
and get on with our lives-es.
AC Grayling recently argued similarly in The Liberal magazine
(December 2004) 'against monogamy' on the grounds that people change
and it would be cruel to force people to persist in unhappy marriages.
In fact, this was an argument for (retaining) legal divorce and (continuing
to allow) remarriage rather than against monogamy. It is telling that
Grayling seems unable to imagine what monogamy might mean if not legal
enforcement of marriage vows. He posits a peculiar weak version of the
individual, a flighty creature cruelly ensnared by the authoritarian
institution of marriage. But this is a caricature even of marriage in
traditional society. Individuals can actually choose to define themselves
through social institutions such as monogamy. It is perfectly consistent
to oppose the legal enforcement of marriage vows, then, while endorsing
the idea of monogamy, either as a social good or as an individual choice.
Indeed, it is at this level, rather than that of state coercion, that
such institutions are actually constituted.
Whether or not one does believe in monogamy, to oppose it on the grounds
that it is necessarily coercive is to underestimate human beings' capacity
to determine their own lives, both as individuals and through cultural
norms and aspirations shared with others. Dea Birkett's insistence that
'no honest person' would commit for life reduces a solemn determination
to a wild and surely inaccurate guess. In this former sense, however,
'narrative' offers the possibility not just of describing and giving
meaning to our lives, but of shaping and giving direction to our lives.
Not so paradoxically, then, the demise of social narrative has not led
to greater individual freedom, but to unreflective conformism to what
is considered to be human nature.
Bauman considers this demise of narrative an inevitable consequence
of modernity. He describes the modern scientific mindset as saying:
'If God's mind is inscrutable, let us stop wasting time on reading the
unreadable and concentrate on what we, humans, can understand and do.'
For all the ensuing benefits, Bauman blames this mindset for undermining
any kind of eternal values. Whereas all cultures historically have tried
one way or another to bridge the gap between mortal life and the eternity
of the universe, 'We are perhaps the first generation to enter life
and live it without such a formula.'
For Bauman, mere humanism offers no foundation for lasting values. 'Like
all other postulated identities, "humanity" as an identity
embracing all other identities can ultimately rely solely on the dedication
of its postulated adherents.' This is perfectly true, and the frailty
of such concepts as 'human rights' is all too evident, but arguably
this is because, like Grayling's humanism, these tend to portray human
beings as fundamentally vulnerable. If the postulated adherents of contemporary
humanism cannot even make decisions about their personal lives, their
dedication to any identity embracing all other identities has to be
in question too.
Nonetheless, this is not the only way to think about humanism. The dedication
of adherents to the institutions of what Bauman calls solid modernity
was not soley based on values borrowed from tradition or religion, but
reflected genuine shared interests and solidarities rooted in the material
world. While there has undeniably been a great deal of change in the
world, it is questionable whether things have altered so fundamentally
that those solidarites, and the identities based on them, are no longer
'liquidity' of our times may be less the consequence of structural change
than intellectual exhaustion, the failure of the great ideologies of
the twentieth century to bring about change on a scale that really would
transform what it means to be human. Bauman rightly warns against attempts
to seek refuge in the identities of the past, but in his lament at the
passing of lasting values, he perhaps underestimates the possibilities
for self-assured human beings unencumbered by the past, and brave enough
to face the future.