The Ones Who Walk Away From Omalas

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Pizarro: I was impressed, kind of blown away by it. It's got all sorts of connections to utilitarianism, but not in kind of obvious or reductive ways. Omar is a compressive. Charlie's pissed. He's from a culture of honor. Like the pigeon was actually pretty happy with our encounter, but Charlie killed him. No, I thought it just died of AIDS. My AIDS can't go to the pigeon.

David and Tamler are pulled into Ursula K. Le Guin's "The Ones Who Walk Away from Omelas." Omelas is a truly happy city, except for one child who lives in abominable misery. Is that too high a moral cost? Why do some people walk away from the city? Why does no one help the child? Why does Le Guin make us create the city with her? Plus, we talk about our listener meetup in Vancouver, and a new edition of [dramatic music] GUILTY CONFESSIONS. Note: if this episode strikes you as too puritanical, then please add an orgy.

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