47 pages • 1 hour read
Jon RonsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Chapter 7 opens with a reproduction of an article from the British tabloid News of the World dated March 30, 2008, with the headline “F1 Boss Has Sick Nazi Orgy with 5 Hookers” (129). The story is about Max Mosley, son of infamous British fascist leader Oswald Mosley, who was filmed taking part in graphic sexual role play that involved German prison imagery. Ronson decides to interview Mosley because “[n]obody I could think of had ridden out a public shaming as immaculately as Max Mosley had” (130). Ronson describes the history around Mosley’s parents, Oswald Mosley and Diana Mitford, who were infamous for their close relationships with and admiration for Adolf Hitler during World War II. Mosley tells Ronson that he became part of the motor racing world because no one knew about his family’s history there. He also was involved in the S&M (sadism & masochism) sex club scene because he found it an accepting environment. However, he says, he was always careful because, as an advocate for car safety, he didn’t want to become a target in the way that American politician Ralph Nader had. In 1961, Nader had advocated for mandatory seat-belt laws. In retaliation, General Motors attempted to seduce Nader with sex workers in order to discredit him. The scheme failed.
When the News of the World story broke about Mosley, he refused to show any shame for his sexual behavior. He also sued the newspaper and won the case, winning £60,000 in damages. The newspaper folded soon after a scandal wherein the reporters hacked into the voicemail of a murdered teenager in an unrelated case. Mosley states that his suit was not just for him but also for other targets of News of the World investigations, such as a preacher in a small town in Wales who died by suicide when they printed a story about his swinger parties. Mosely also wonders if part of the reason he is not defensive about the story of his orgy coming out is because he is a “sociopath.” (Ronson is well-known for his previous work on “sociopaths.”) Ronson assures Mosley that if he is worried about being a “sociopath,” he probably isn’t one.
Ronson explores the world of S&M further by visiting a public shaming role play at a shoot by a porn video studio called Kink. They are filming a scenario for a website called Public Disgrace. In the scenario, porn actor Princess Donna attaches a ball and chain to fellow actor Jodi Taylor, drags her into a “sports bar,” and watches while the patrons humiliate her. Later, Donna explains she does this kind of work to help people not to feel ashamed for their sexual desires.
Ronson then receives an email from Mosley, who wonders if part of what allowed him to successfully overcome the shaming is that he hadn’t played the part of shamed victim but instead had simply carried on.
Ronson begins the chapter in media res at a workshop run by Brad Blanton at a Marriott hotel in Chicago. Blanton is a psychotherapist who is known for his Radical Honesty method. He believes that when people internalize shame, their shame grows, and so instead, people should be straightforward about what they are thinking and feeling. Ronson confers with a reporter friend of his, Starlee Kline, who had also taken Blanton’s workshop, and she describes it as “crazy” (151).
During the workshop, the participants sit in a circle and take turns sharing their most shameful secrets and being radically honest with each other. One participant, Mary, describes how she is going to confront her ex. When Ronson raises the possibility that someone could call the police on Mary, or anyone pursuing this technique, Blanton is unconcerned.
When he goes back to his hotel room, Ronson is in the middle of a dispute with his editor over his refusal to do an undercover story about how women experience sexual harassment while dressed as a woman. Ronson reflects how his fear of being humiliated stopped him from pursuing the assignment and how strong an emotion feeling humiliated truly is. He notes that according to evolutionary psychologist David Buss, a majority of people fantasize about murdering someone who humiliates them.
Ronson returns to the workshop, but he refuses to participate in the “Hot Seat” activity. The other workshop participants berate him. Ronson describes his workshop time as a failure, but he still believes Mosely’s hypothesis that if one refuses to feel ashamed, “the whole thing crumbles” (168).
Chapter 9 opens with an excerpt from a New York Times article about a Zumba instructor and sex worker in the small town of Kennebunk, Maine, who had been secretly recording her clients. The list of clients is released to the local newspaper in Kennebunk, the York County Star. Ronson decides to visit the town in the aftermath of these revelations, describing it as “a well-stocked laboratory” (171) of people who have been publicly shamed.
Ronson visits the courthouse in Kennebunk and sees the men being fined for solicitation. One man, a paster named Andrew Ferreira, agrees to an interview with Ronson. Ferreira says he visited the sex worker because his marriage wasn’t going well. In a follow-up months later, Ferreira says he lost his job and his wife, but in many ways, he had been treated with kindness and forgiveness after being exposed. In fact, Ferreira says the only person who had been mocked for seeing the sex worker was the one woman on the list. This leads Ronson to the realization that “no one cares” (177) about a man having consensual sex—it’s not a scandal. The same is not seen as true for women.
Ronson notes that people like John Dacre, editor of The Daily Mail, argue that we are living in a shameless world. Ronson counters that, instead, the shame no longer is decided by upper-middle class white male authority figures like Dacre but rather by people on Twitter. He reflects that the closest he has come to finding a shame-free paradise was at Kink, the porn studio, but even its owner, Donna, described feeling ashamed when an article on the celebrity gossip site TMZ wrote about her as “some idiot pornographer” (180).
This chapter covers the story of the theatrical performer Mike Daisey who experienced being “an object of hate” (184) after it was discovered he had fabricated parts of the story for the popular radio show and podcast This American Life. Daisey tells Ronson that after he became a father, he would go swimming in a pond near his house in northern Maine and that he was trying to drown himself. Later, he moved to Seattle where he performed The Agony and the Ecstasy of Steve Jobs, about how factory workers making iPads and iPhones in China were forced to use a toxic material called n-Hexane to clean the screens, leading to severe health outcomes such as hand paralysis. Host Ira Glass was impressed with the performance and invited Daisey to turn it into an episode of his show This American Life. As a result of the episode, which was the most listened to in the show’s history, there was increased pressure on the Chinese factories making Apple products to improve their practices.
Later, reporter Rob Schmitz identifies problems with Daisey’s story, such as the fact that Daisey only visited three factories rather than the 10 he claimed. Glass has Daisey come back on the show to explain and apologize for his falsehoods and fabrications. During his interview with Ronson, Daisey “build[s] a fictional history for himself” (192) on the spot, in which Daisey knowingly sacrificed his reputation to draw attention to the real problems in the Chinese factories.
Ronson then follows up with Justine Sacco, who spent a month volunteering with an NGO in Addis Ababa, Ethiopia, after her public shaming before returning to New York City, where she found a part-time job doing PR for a dating website. Ronson and Sacco discuss the recently passed European Court ruling on the Right to be Forgotten, wherein people can apply to have news stories and blogs about them de-indexed from Google searches. Sacco said she had mixed feelings about the ruling, which could be used to protect bad people, and she was skeptical about its ability to help people in her situation.
In this section, Ronson goes on a quest to learn how best to withstand public shaming. He does this through a series of interviews with people who he feels have handled public shamings without letting it “destroy” their lives: Max Mosely, Andrew Ferreira, and Mike Daisey. He also takes part in two immersive experiences he feels will teach him something about withstanding shame: an S&M pornographic film shoot and the Radical Honesty workshop. Finally, he follows up with Justine Sacco to learn more about how she recovered from her massive public shaming.
Ronson draws a number of conclusions from these interviews and experiences about Causes and Effects of Shame and Humiliation. One key takeaway he has from this research is that the reason Mosley and Ferreira are able to avoid being destroyed by public shaming is “because [they are] men in a consensual sex shaming—which meant there had been no shaming” (177). Ronson notes repeatedly throughout the text that women are more viciously attacked in public shamings because of misogyny.
Another of Ronson’s conclusions is that Google, as an indexer of public transgressions chronicled in traditional news media and social media posts, has an enormous effect on the extent to which someone can overcome their past. As Ronson writes, “their flaws were right there on the front page of Google” (193), which is based on an algorithm that the developers can control. Sacco, however, notes that “the thing that made her feel the most helpless, was her lack of control over Google search results” (196). At the time of his writing, the European Court’s Right to Be Forgotten ruling had just been passed, which requires Google to de-index people who petitioned to be forgotten, but both Sacco and Ronson are skeptical about the benefits this will have for people like Sacco. The discussion of the role of Google in public shaming introduces a new element into the online landscape that Ronson is analyzing, highlighting the theme of Shaming in Print and Social Media. It’s not just that social media websites like Twitter make it easier to target people, but Google’s indexing of the events makes it harder for people to achieve Justice and Redemption or to move past what happened.
While the immersive experiences Ronson takes part in do not lead to any definitive conclusions, they do demonstrate a lot about Ronson as a narrator and his sense of humor. At the porn shoot, for example, he notes that he might have ended up in a few shots, about which he comments: “I’m sorry. I just hope a few subscribers out there happen to find the image of a tweedy, owl-like journalist at an orgy stimulating, although I understand this would be a niche quirk” (146-47). At the Radical Honesty workshop, when Blanton tells Ronson he feels slighted by him, Ronson responds, “Ach, no you don’t,” but then adds, as an aside to the reader, “Although I knew that he did” (157). These interactions portray Ronson as sensitive, anxious, and awkward, but willing to laugh at himself.
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