Zinnie Harris in her play How to Hold Your Breath (2015) reflects the fear of immigration and refugees through the perspectives of two siblings whose lives are gradually degraded at the hands of a diabolic/evil figure called Jarron who insists on paying money for the sex they had. In the play, they are the citizens of Britain that are part of the ‘glorious’ Europe. However, their country gradually loses its prosperity and towards the end, it becomes nothing but a contemporary reflection of a Middle Eastern country. Unfortunately for them, they learn this fact during their journey to Alexandria.
Roles and conditions are changed to juxtapose the culture of fear in Britain. What the people of Europe now fear is actualised in the play; Europe has become devastated, on the verge of economic collapse without a trace of its glorious bygone days, their fears are reflected on the stage. In relation to this fact, Bauman, in an interview with Aljazeera, argues that the fear western people have today concerning the wave of refugees to their homeland arisen from the fact that when they see refugees condition, they remember that they are not invincible to their fate, they are very close to end up just like them. The people who were once the salariat are now becoming the precariat;
the refugees are what they have been afraid of, they are jobless, homeless, seeking shelter in need of help. The image of refugees reminds them of their fearful and probable future. Thus, the arrival of the refugees and seeing their fear invoked by them has been fostering their fears and they do not want to confront their fears. Harris in her play presents a reflection of this fearful condition that is existent in contemporary British society.
Since “money is the necessary means to guarantee effective security and therefore an acceptable degree of existential tranquillity” (Bordoni, 50), losing the possession of it, means insecurity and uncertainty, and as a consequence, it prompts the
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emergence of a fearful condition. Furthermore, it affects the way people behave since they are devoid of “universal basic security”. In addition to their fearful condition, they lose their sensibility to act in a socially acceptable way. Guy Standing in his article
“Economic Insecurity and Global Casualisation: Threat or Promise?” explains the condition of an economically insecure person:
If a person has no security, not only will she be vulnerable, but it would be unreasonable to expect her to adopt so-called socially responsible behaviour. Chronic insecurity induces adverse behavioural reactions. The modern Third Way paternalist would claim that a person should only be provided with security (social benefits) if they behave responsibly. (16)
This is what happens in Zinnie Harris’s How to Hold Your Breath. Jobs in that dystopic universe are only available “until further notice” as Bauman argues in Liquid Modernity¸ and living conditions face drastic changes disbanding any possibility of having basic security. However, the protagonist in the play experiences this truth in a quasi-tragic hero style. In their journey to Alexandria, Dana and her sister Jasmine's condition gradually worsen in parallel with that of Europe. The fear here is of an economic origin and the reflection of the contemporary anxieties arisen from the unprecedented wave of immigrants fleeing from Syria. Harris reflects Britain's fear of immigrants in a contrasting way, by changing the roles of east and west in the real world. According to an article on The Guardian, the latest Brexit election result figures suggest that "the fear of immigration" gathered the highest number of votes for leaving.
This is due to the fearmongering narratives spread out by the pro-leavers. In Aditya Chakraborty’s article on The Guardian, concerning the fearmongering he writes:
the anti-migrant arguments are a toxic alloy of barefaced lies and naked bigotry. None are new. But they were feverishly circulated in the days before the 2016 referendum. This time, crucially, migrants were made scapegoats for the misery caused by the government’s own
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drastic spending cuts – for a buckling NHS, a cash-starved school system and falling wages. (theguardian.com)
Fear of immigration is not the sole driving factor of the fearmongering discourse; it includes scary prophecies about the people’s economic insecurity after the arrival of
“thousands of refugees”. This kind of fear is of an ungrounded one, however, to some extent it is powerful enough to deter the electorates and it breeds the society’s fear of economic insecurity. Since fear now, as Füredi argues, in its demoralised state, acts as a disorienting force, and in their disoriented condition, people look for any possible way to get rid of that fear that has now regarded as a malady, illogical to maintain but inevitable to live without.
The play opens with the scene showing Jarron and Dana in bed, first, they are having a sympathetic conversation, and there is a mild atmosphere in the air. However, the atmosphere is disrupted when Jarron speaks:
JARRON: I’ll pay you extra DANA: what?
JARRON: I’ll give you a bit more DANA: a bit more what?
JARRON: money
you’re a business woman, I know how this works. (19)
The conversation here highlights Jarron’s perception of consumption. It reflects the consumerist attitude of the contemporary world exaggeratedly to shed dramatic light on the present-day behaviours of humans. In this criticised world, everything is out there to be consumed, everything has a price so does the affair they had. This is one of the leading outcomes of the liquid era. In Consuming Life Bauman comments on this condition:
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[t]he contemporary society engages its members primarily as consumers; only secondarily, and in part, does it engage them as producers. To meet the standards of normality, to be acknowledged as a fully-fledged, right and proper member of society, one needs to respond promptly and efficiently to the temptations of the consumer market; one needs to contribute regularly to the ‘demand that clears supply’, while in times of economic turndown or stagnation being party to the ‘consumer-led recovery’.
(125-126)
The primary role of the members of contemporary society has now become the consume, and this consuming has to be at a topmost speed since the present-day dynamics are evolved in parallel with the characteristics of liquidity, which are mainly embodied as ever-changing, unbounded, infinite. About that deduction, Jarron acts as the liquid capital and the economic power of the companies operating in the liquid world which can shape the corresponding governments subjugating them to their economic agendas. Of the liquid capital, Bauman argues that "[t]o an unprecedented degree politics has today become a tug-of-war between the speed with which capital can move and the 'slowing down' capacities of local powers, and it is the local institutions which more often than not feel like waging a battle they cannot win” (Liquid Modernity, 200). Local institutions and especially the government now do not have much to say in this struggle. Only plausible option for them is to abide by the capital's demands, because in a globalised economy they need the capital more than the capital need a country since it is much easier for a free-flowing capital to change destination to find a suitable place that would satisfy its needs.
Free-flowing capital can overcome every sort of hurdle to achieve its desire that is to flow into every profitable corner. A government is devoted to the wellness of its citizens and to maintain ‘social security' it has to lure the capital into its lands. Since the Fordist factories that were bulky and confined to a place have been eradicated by the
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liquidity, governments are now acting to do all they can to take benefit from the global capital that is now on the move. For instance, on the website of the Canadian Government, it is possible to see how the economic contributions are made to drive global investments:
[t]he Government of Ontario will invest up to $7.5 million; the Government of Canada, through FedDev Ontario, will contribute $6 million from its Investing in Regional Diversification initiative; and the remaining $6 million will be provided by the cities of Toronto, Mississauga, Brampton, as well as the regional municipalities of Halton, York and Durham. This investment will establish Toronto Global, an investment-attraction agency representing the entire Toronto Region.
The agency will enable the region to remain competitive with other global cities. Toronto Global will promote the region to international investors, leveraging the unique attributes and skilled workforce of the different municipalities in the Toronto Region to attract global investments that drive innovation. This investment will help the Toronto Region continue to be a leader in developing the workforce and economy of the future.
(canada.ca)
In this process the government is pretty much bonded by the demands of the capital, it has to please it. According to Bauman, the government endeavours to create the best conditions for the global capital to remain in the country, adjusts the regulation in compliance with the global capital, providing an environment in which the capital is free to do almost everything. Bauman concludes, “all this means low taxes, fewer or no rules and above all a 'flexible labour market'. More generally, it means a docile population, unable and unwilling to put up an organized resistance to whatever decision the capital might yet take” (201). In this respect in the play, Dana resists Jarron’s free-flowing capital and rejects it pertinaciously. However, she does not have the resistance to act against the capital, in this context it belongs to Jarron. Although she can reject it, she cannot avoid the inevitable downfall arisen from that conflict. It is obvious that the critique of this materialistic relationship cannot be accepted as natural; however, it is
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also unfortunately evident that considering the modern-day consumerist and materialistic system, it cannot be disturbed or rejected by means of individual efforts. In this sense, Harris’ way of dealing with this affair can be interpreted from a dystopic perspective to get the reflection of this grim reality. On the other hand, Jarron is willing to do anything and everything just to make sure that Dana will receive and accept the offered sum. Throughout their journey, Dana comes across different opportunities, supposedly prepared by Jarron, in which she is repeatedly offered to accept the payment.
Dana being suspicious or paranoid of being bitten by a demon (Jarron), seeks help from books to get an idea about her situation. Thus, she goes to a library where she meets another figure called Librarian. Although they haven’t met before, it appears that Jarron’s money found its way to reach Dana through Librarian:
LIBRARIAN: it appears we overcharged you there’s a small note on your file
DANA: that can’t be right –
LIBRARIAN: you had a few fines a couple of years back, and it says here that you paid them, but going through it looks like we owe you a rebate
DANA: a rebate? I've never been to the library before LIBRARIAN: says here
DANA: must be a mistake
LIBRARIAN: 45 euros is the number that is coming up.
I can pay you now if you like. (65)
The so-called debt money of Jarron is on its way to reaching its goal, it does not have any boundaries, it flows freely, and, in this sense, it resembles the free capital Bauman discusses about. Indeed, this is a rather minuscule sum of money in comparison to the free capital. However, here Harris provides a perception of the flow of money in liquid
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times. Jarron’s only concern in the play is to deliver his money into Dana’s hands as a payment for the relation they had. Considering Jarron’s approach and understanding of reciprocity in a mutual relationship, it is rather evident that it signifies the materialistic attitude of modern times. This materialism also connected to the liquidity of the contemporary era, because of the speed of change and the quest for the unending search for the better induces ever-growing consumerism. Jarron’s 45 Euros in this parallel, represents the free-flowing capital and consumerist attitude of modern people.
In that scene Dana, upon hearing the amount of money the library owes her, gets suspicious of Librarian, thinking that he is Jarron in disguise. The situation here prompts another approach to the text related to the emergence of the culture of fear within liquid modernity. Of the irrelevance of the appearance of the mention of 45 Euros, she thinks that Jarron has found a way to get her. Although she finds out that Librarian is just a librarian, this incident fosters her fear about Jarron. She talks about it to her sister:
DANA: we don’t know who he was, he said he was a librarian. He worked in a library, so what? He could be anyone.
JASMINE: well, we know who he wasn’t.
DANA: men in particular. I don’t think we should be taking money from men, and keep your guard, Jasmine, don’t let people push money into your hand saying it is for me.
JASMINE: it's like you are at war DANA: I am
JASMINE: over what?
Beat.
you know there is no such thing as a demon, right?
DANA: yes.
JASMINE: glad we’ve got that clear Beat.
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DANA: but if there was such a thing, it would be just like him to change his appearance and become other people.
You said he was a con man – (70)
Although they need the money and the main drive for Dana to leave her country is to earn money, it is becoming a threat to her, and indirectly to her sister as well, due to the affair, she had with Jarron who is a man of unknown origin and character. Their affair was a one-night stand relation but Jarron’s personality left a big question mark on Dana’s mind after Jarron’s speech before leaving:
JARRON: I thought you would notice my semen is black, my face twisting, my nails ridged, in short, it didn't occur to me you would do anything other than hold me in contempt. I am unloveable, the unloved. Not the sort of person that gets told they are nice. Feared maybe, fucking hated, yes. I am a devil, I told you, a demon, a thunderclap, I am a really fucking powerful person. People cross the road to get out of my way, I am a nightmare, an underpass in the dark, an alleyway, a bridge you don’t cross. (23)
Considering the “hickey” Jarron left on her body, she becomes more suspicious about him. Although the idea of demons sounds illogical, she cannot disregard this thought completely. That’s why she goes to a library to seek guidance for her situation. This also emphasises the modern people’s way of seeking guidance. Under the influence of the age of reason, everything has become explainable with the help of empirical thinking, accepting an unknown phenomenon as is and seeking refuge in some form of divine power has now become obsolete.
Jarron is an unknown man, and the effects of an unknown source are rather frightening for Dana. Therefore, Jarron is associated with the devil, he has no positive feature, he is not some kind of a loveable villain, the moment he intervenes into Dana’s life, and everything has begun to evolve into an abysmal condition. The connection of an unknown with the evil and the emergence of a fearful perspective, consequently relates to Bauman’s comment on evil. He states, “[w]hat we fear is evil; and what is
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evil, we fear… We resort to the idea of ‘evil' when we cannot point to what rule has been broken or bypassed for the occurrence of the act for which we seek a proper name”
(Liquid Fear, 54). Since she cannot deal with the abrupt appearance and disorienting influence of Jarron, he is now a quasi-evil figure. Although she does not directly name him “evil”, she tries to find a way to deal with him through the help of literature focused on demons and the like. In this way, subconsciously she consents that Jarron is of evil quality and a fearful condition is attributed to him. Verily, Dana is already in a desperate situation since she thinks Jarron left her a mark and she suffered a wound that could lead to anything but positive, and she is in a hurry since she has to go to Alexandria for her scholarship.
Being a reflection of the present-day concerns, economic fears play an important role in the play. They are supported by the fear of uncertainties and ambiguous elements or figures. Economic pressure is first mentioned in the form of Dana’s strive for a grant from a company and it is followed by Jarron’s insisted payment of 45 euros appears.
She has to acquire her economic security by obtaining a grant. The only way to achieve that is to travel to Alexandria. On the other hand, Jarron’s 45 Euros follow her without ceasing bringing negative outcomes each time she refuses to receive it. In short, she is trying to acquire a sum of money and at the same time, she tries to avoid another sum that is of unknown origin. Her journey between the two reflects the way people changes their way of lives in parallel to the economic drives. In addition, she realizes that Jarron’s insistence on paying her 45 euros is not something inconsequential. Jarron is at a mind that he has to achieve his aim at all costs. It resembles the capital that subdues government who wants to make sure that its citizens are well-off. Dana similarly both wants to reach her desired destination and also to find a way to avoid Jarron’s enforced payment. Nonetheless, she doesn't have the power to do so just like the contemporary governments versus the free-floating capital. It is similar to what Bauman states about
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the condition of the states before the free-floating capital: "[t]o an unprecedented degree politics has today become a tug-of-war between the speed with which capital can move and the ‘slowing down’ capacities of local powers, and it is the local institutions which more often than not feel like waging a battle they cannot win” (Liquid Modernity, 200).
During her journey to Alexandria, her condition and the condition of Europe gradually deteriorate. Each time she refuses Jarron’s vicarious offers of 45 euros, she plunges even deeper into the economic meltdown. The economic collapse of European countries progresses in parallel to that of her.
Inside the train to Alexandria, she is quite positive about her future albeit a little bit tense because of her suspicious thoughts about the encounter she had with Jarron.
However, as soon as the conductor appears the turn of events shows them their misfortunes haven’t finished yet. The conductor arrives and informs her that she is travelling without a ticket because the credit card she used to buy the tickets is refused by the bank. So, he asks her to get off the train at the next station to ring her bank. Since this is not an appropriate solution for them, Dana tries to find a way to sort this problem out without getting off the train, and at this moment Dana finds out that the inauspicious 45 Euros is still tracking her when the inspector comes up with an offer:
INSPECTOR: sometimes there are some deals see what you can get to
She looks in her purse again.
JASMINE: I might have, yes another five forty-one
INSPECTOR: if you could make it to 45, you could have a two-for-
one offer
JASMINE: sounds good, another three – DANA: what two-for-one offer?