by Sherman J. Clark
In earlier essays, I argued that beauty can orient our desires and help us thrive in an age of algorithmic manipulation (Beatrice 2.0) and explored how our habits of mind help or hinder us in the effort to seek and see beauty (Aesthetic Phronesis). But even those most capable of wonder can be thwarted by the structures around them. A child who grows up without access to parks or music, a worker whose every moment is colonized by productivity: these are not failures of individual vision but failures of justice.
We face a peculiar injustice when it comes to beauty: it is both hoarded and dismissed as superfluous. These problems intertwine and reinforce each other. Because beauty resists the metrics of productivity that dominate our culture, we fail to recognize it as essential. And because we don’t recognize it as essential, we tolerate its radical maldistribution.
Some will say: in a world where people lack food, housing, or medical care, isn’t it elitist, even indecent, to talk about beauty? I think the opposite is true. What is elitist is the assumption that only elites deserve the things that make life meaningful. What is elitist is the implicit assumption that only wealthy children should have a guide like Beatrice, while everyone else should focus on becoming efficient units of production. To insist that beauty belongs to all is not to indulge in luxury but to refuse a cruel double standard—the belief that nourishment for the soul is optional for some and essential only for others.
Picture two public schools, five miles apart. In one, students walk past gardens and murals, learn music and theater, take field trips to museums. In the other, students pass through metal detectors; the art teacher’s position has gone unfilled for three years; “enrichment” means test prep. Both sets of children are equally capable of awe. Yet only some are invited into beauty, while others are taught—by architecture, by curriculum, by omission—that beauty is not for them.
What these two schools reveal is not just inequality of resources but inequality of invitation. Read more »

The full title of Charles Dickens’ 1843 classic is “A Christmas Carol in Prose: Being a Ghost Story for Christmas.” Inspired by a report on child labor, Dickens originally intended to write a pamphlet titled “An Appeal to the People of England on behalf of the Poor Man’s Child.” But this project took a life of its own and mutated into the classic story about Ebenezer Scrooge that virtually all of us think we know. It’s an exaggeration to say that Dickens invented Christmas, but no exaggeration to say that Dickens’ story has become in our culture an inseparable fixture of that holiday.











Nick Brandt. Zaina, Laila and Haroub, Jordan, 2024. From The Echo of Our Voices – The Day May Break.