Neoliberalism ideologically enshrines individual liberty, free enterprise, and economic competition. Proponents of this laissez-faire model therefore argue that wealth trickles down to the bottom when economic regulations decrease. In practice, however, neoliberal economic policies greatly disadvantage the impoverished by consolidating the finite amount of financial resources within the world. Wealth certainly begets more wealth under neoliberal capitalism, yet only for those privileged and affluent enough to profit at the expense of others. Ben Okri, author of The Famished Road, condemns this zero-sum aspect of capitalism through the character of Madame Koto and the ‘politics of the belly’ framework. As she increasingly accumulates wealth
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For example, Azaro—in contrast to Madame Koto—remains impoverished and perpetually hungry. Koto herself acknowledges this in the beginning of the novel, when she asks Azaro “how can you be so hungry with such a small stomach?” (Azaro, 83). This size and hunger discrepancy reflects the broader scholarly conversation on “zero-sum” capitalism, as Madame Koto earns profit and remains well-fed at the expense of the hungry Azaro. Indeed, Okri expertly articulates this criticism by exposing the ways in which capitalism voraciously consumes not only resources but people. Madame Koto, for example, angrily explains to Azaro that if he misbehaves “the forest will swallow you… then they will cut you down because of a road…cars will ride on you, cows will shit on you, people will perform sacrifices on your face” (Okri, 219). Okri, therefore, criticizes the broader structures of capitalism by showing that it “eats” everything in its wake. Yet capitalist institutions only grow larger and obtain maximal target incomes by swallowing those less fortunate. At her most politically and economically powerful, Okri notes …show more content…
In contrast to Madame Koto, the photographer represents the fight against global poverty which neoliberalism and “zero-sum” capitalism creates. Azaro, for example, connects the photos of Jeremiah to an emergent revolutionary rhetoric of those hurt by corrupt thugs. In one of his visions, Azaro exclaims “the dead, slowly awakening the sleep of road…somersaulted with new political visions amongst men, women and children…the people from the photographer’s compound were in the vanguard” (Okri, 180). As such, Okri emphasizes the power of not only journalism but photography that visually captures corruption and poverty. Notably, the importance of visual documentation stems from the ways in which it consolidates a broader political consciousness that the villagers previously lacked. Azaro, for example, notes that individuals in the village “began to distrust our memories. We began to think that we dreamt up the fevers of that night” (Okri, 183). Jeremiah’s photojournalism, therefore, inspires revolutionary sentiments amongst the underclass by creating and institutionalizing shared memories of political corruption. These memories subvert a keystone of the ‘politics of the belly framework’, which notes that vertical relationships and corruption undercuts
For example, Azaro—in contrast to Madame Koto—remains impoverished and perpetually hungry. Koto herself acknowledges this in the beginning of the novel, when she asks Azaro “how can you be so hungry with such a small stomach?” (Azaro, 83). This size and hunger discrepancy reflects the broader scholarly conversation on “zero-sum” capitalism, as Madame Koto earns profit and remains well-fed at the expense of the hungry Azaro. Indeed, Okri expertly articulates this criticism by exposing the ways in which capitalism voraciously consumes not only resources but people. Madame Koto, for example, angrily explains to Azaro that if he misbehaves “the forest will swallow you… then they will cut you down because of a road…cars will ride on you, cows will shit on you, people will perform sacrifices on your face” (Okri, 219). Okri, therefore, criticizes the broader structures of capitalism by showing that it “eats” everything in its wake. Yet capitalist institutions only grow larger and obtain maximal target incomes by swallowing those less fortunate. At her most politically and economically powerful, Okri notes …show more content…
In contrast to Madame Koto, the photographer represents the fight against global poverty which neoliberalism and “zero-sum” capitalism creates. Azaro, for example, connects the photos of Jeremiah to an emergent revolutionary rhetoric of those hurt by corrupt thugs. In one of his visions, Azaro exclaims “the dead, slowly awakening the sleep of road…somersaulted with new political visions amongst men, women and children…the people from the photographer’s compound were in the vanguard” (Okri, 180). As such, Okri emphasizes the power of not only journalism but photography that visually captures corruption and poverty. Notably, the importance of visual documentation stems from the ways in which it consolidates a broader political consciousness that the villagers previously lacked. Azaro, for example, notes that individuals in the village “began to distrust our memories. We began to think that we dreamt up the fevers of that night” (Okri, 183). Jeremiah’s photojournalism, therefore, inspires revolutionary sentiments amongst the underclass by creating and institutionalizing shared memories of political corruption. These memories subvert a keystone of the ‘politics of the belly framework’, which notes that vertical relationships and corruption undercuts