december 2011

There is a lot of learned material written about nationalism—scholarly books and papers, histories of it, theories of it—but most of us understand that nationalism, at its heart, at its very deepest roots, is about a feeling of superiority: We are better than you. Our country is better than your country. Or even—and apologies, but this is the precise language deployed by the president of the United States: Your country is a shithole country. Ours isn’t.

In this sense, nationalism is not patriotism, which is the desire to work on behalf of your fellow citizens, to defend common values, to build something positive. Nationalism is not community spirit either, which seeks to pull people together. Nationalism has nothing to do with democratic values: Authoritarians can be nationalists; indeed, most are. Nationalism has nothing to do with the rule of law, justice, or opportunity. At its core, nationalism is rather a competition, an ugly and negative competition. There’s a reason nationalists build walls, denigrate foreigners, and denounce immigrants: Because our people are better than those people. There’s a reason nationalism has so often become violent in the past. For if we—our nation—are better, then what right do others have to live beside us? Or to occupy land that we covet? Or even, maybe, to live at all?

I returned to Paris with my family three months after President Emmanuel Macron had ordered one of the world’s most aggressive national quarantines, and one month after France had begun to ease itself out of it. When we exited the Gare Montparnasse into the late-spring glare, after a season tucked away in a rural village with more cows than people as neighbors, it was jarring to be thrust back into the world as we’d previously known it, to see those café terraces overflowing again with smiling faces.

My first reaction was one of confused frustration as we drove north across the river to our apartment. The city had been culled of its tourists, though it was bustling with inhabitants basking in their reclaimed freedom. Half at most wore masks; the other half evinced indifference. We were in the midst of a crisis, I complained to my wife. Why were so many people unable to maintain even minimal discipline?

For Vonny LeClerc, day one was March 16.

Hours after British Prime Minister Boris Johnson instated stringent social-distancing measures to halt the SARS-CoV-2 coronavirus, LeClerc, a Glasgow-based journalist, arrived home feeling shivery and flushed. Over the next few days, she developed a cough, chest pain, aching joints, and a prickling sensation on her skin. After a week of bed rest, she started improving. But on day 12, every old symptom returned, amplified and with reinforcements: She spiked an intermittent fever, lost her sense of taste and smell, and struggled to breathe.

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When I spoke with LeClerc on day 66, she was still experiencing waves of symptoms. “Before this, I was a fit, healthy 32-year-old,” she said. “Now I’ve been reduced to not being able to stand up in the shower without feeling fatigued. I’ve tried going to the supermarket and I’m in bed for days afterwards. It’s like nothing I’ve ever experienced before.” Despite her best efforts, LeClerc has not been able to get a test, but “every doctor I’ve spoken to says there’s no shadow of a doubt that this has been COVID,” she said. Today is day 80.

About a week after Steven Mikac began taking antibiotics for the strange spot on his leg, the flesh around his ankle started to tighten and swell. The moist orifice of a wound opened up and took the form of a small bullet hole. A plug of tissue had gone missing—dissolved into pus and slime. Walking was excruciating. Working, unbearable. In early October of last year, Mikac showed his ankle to a colleague at the hospital where he works in Melbourne, in the Australian state of Victoria. She suggested that it might be Buruli ulcer—a disease caused by a strain of flesh-eating bacteria.

Though Mikac had seen local television reports about an outbreak of this tropical disease in Victoria, it sounded so freakish, so unlikely, that he hardly considered it a possibility. But like hundreds of Australians before him, he was about to become all too familiar with Buruli, a slow-moving horror show that has proved, in many ways, even more baffling to infectious-disease researchers than the novel coronavirus. After decades of research, scientists still aren’t certain who, or what, is spreading this strange malady around the world.

“There are days—this is one of them—when you wonder what your role is in this country and what your future is in it. How, precisely, are you going to reconcile yourself to your situation here and how you are going to communicate to the vast, heedless, unthinking, cruel white majority that you are here. I’m terrified at the moral apathy, the death of the heart, which is happening in my country. These people have deluded themselves for so long that they really don’t think I’m human. And I base this on their conduct, not on what they say. And this means that they have become in themselves moral monsters.”

James Baldwin made this somber observation more than 50 years ago. I included these words in my film I Am Not Your Negro, which explored Baldwin’s searing assessment of American society through the lens of the assassination of three of his friends: Medgar Evers, Martin Luther King Jr., and Malcolm X. It is a film that cruelly shortens time and space between acts of police brutality in Birmingham in 1963 and images of the 2014 protests in Ferguson, Missouri, after the killing of Michael Brown; recent images of protests over the death of George Floyd extend that tragic connection to the present-day.