It's like they're almost glorifying their acceptance of this child suffering at that point saying oh we're suffering too in a way because yeah exactly I'm not free either. Yet it is their tears and anger the trying of their generosity and the acceptance of their helplessness which are perhaps the true source of the splendor of their lives. It's like fatalistic and yet there's something about that thatalmost glorifying of their acceptance ofthis child's torture thatYeah that struck me is and I had a lot of students that didn't agree with this like they thought maybe this is part of the explanation of why the child has to be down there maybe this is you know I think you can
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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