Review
Books
Culture
Friendship
6 min read

Why do we ignore the power of friendship

Elizabeth Day’s Friendaholic: Confessions of a Friendship Addict.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A large group of friends sit at a crowded table and share a meal together.
Photo by Priscilla Du Preez on Unsplash.

Elizabeth Day is a journalist, a novelist, a podcast host, a broadcaster, and a friendaholic. This isn’t a term that she uses lightly, she’s not merely delighting in some quaint wordplay here. Rather, Elizabeth has identified within herself a chronic compulsion, a psychological need, a habitual seeking out, and an emotional reliance on friendship (or, at least, what she perceived friendship to be – more on that later…) 

Therefore, when she labels herself a friendship addict, she does so with every ounce of seriousness. She also describes the symptoms of her addiction with impressive levels of introspection.  

‘I would get a buzz from a moment of exchange; a hit of pure friendship adrenaline. In that moment, I would feel worthwhile and liked and accepted. I wanted more of it. Then I needed more of it. Then it became something that I relied on for my own self-worth. I must be OK, the reasoning went, I’ve got so many friends.’  

These intimate confessions lead Elizabeth to begin the epilogue of her book with a familiar, albeit reconfigured, turn of phrase: ‘My name is Elizabeth Day’ she writes, ‘and I’m a recovering friendaholic.’  

The quality of our social life, whether it be too large or too small, has a significant impact on our mental, emotional and physical health. 

Elizabeth pre-empts any criticism of what could be perceived as a ‘woe-is-me’ memoir by meeting those who may be reaching for their ‘metaphorical tiny violins’ head on. This book unashamedly takes the impact of friendship, or a lack thereof, very seriously. And so should we. Afterall, social injuries are proven to be very real and loneliness a serious determinant of health. On the opposite end of the same scale, ‘social burnouts’, which often lead to social anxiety, are becoming an epidemic, while an increasing number of mental health issues are being accredited to the profound impact of ‘toxic’ friendships. In short, it is becoming common knowledge among researchers that the quality of our social life, whether it be too large or too small, has a significant impact on our mental, emotional and physical health.  

And yet, despite this - we have barely any language with which to adequately address or inspect the topic of a ‘social life’. It seems that generation after generation, we have failed to take the art of friendship seriously. 

‘Friendship is unnecessary, like philosophy, like art.... It has no survival value.’ 

C.S. Lewis

Considering the psychology, this seems non-sensical. Why would this be?  

It could be a symptom of individualism; the emphasis that our Western society places on individual success, personal goal setting and the virtue of independence. Maybe it has more to do with our inclination toward all things productive, and, to (partly) quote C.S Lewis, ‘friendship is unnecessary, like philosophy, like art.... It has no survival value’. The other explanation could be our pre-occupation with romantic relationships, and the habit we have of idolising them over and above all other social attachments. In her book, Notes on Love, Lauren Windle powerfully reflects on this, she writes  

‘maybe it’s time to stop looking for a partner who is also my ‘best friend’ and start appreciating my best friends. Maybe it’s time to stop feeling bereft of true love and realise that I already experience it. Every day.’   

Whatever the reason(s) may be, we have neglected to take seriously the science of the social life, and the results of such an oversight are encapsulated in Elizabeth Day’s self-diagnosed ‘friendship addiction’, and the book that has documented it.

Elizabeth places her personal life on the altar in this book, she sacrifices the privacy of her emotional life. 

Elizabeth talks us through her most formative of friendships - the long-standing and the fleeting, the nourishing and the draining, the durable and the fragile – this book is an ode to them all. She introduces us to her ghosts of friendship past and present (although, once they read of their appearance in this strikingly honest book, I do worry that a couple of her friends may slip from the latter into the former category), and does so in a way that makes you, as the reader, instinctively close the book for a moment and indulge the continual urge to reflect on the mosaic of people who have entered and exited your own life.  

Elizabeth places her personal life on the altar in this book, she sacrifices the privacy of her emotional life for the purpose of speaking with powerful candour. She tells the intimate stories of how her addiction came to be, and how she has sought to feed her need for a thriving social life at her own expense. Elizabeth has offered herself up as a case-study of what inevitably happens when we don’t have the tools, the maps, or even the language with which to engage with the subject of friendship. As it turns out, friendship – the real kind – was not what she was addicted to, nor was it what she was accumulating. Rather, it was approval. It was the self-worth that she drew from the affirmation of others. If we, as a society, ensured that we were more socially-literate, perhaps Elizabeth could have identified the difference much sooner. Perhaps we all could.    

As well as telling her own stories, Elizabeth weaves together insights from psychology, philosophy, history, and the experiences of others in differing contexts. This ensures that as many people as possible are able to find themselves in the pages of this book. And, as a result, I found Friendaholic to be the book that I didn’t know I had been missing.  

It’s funny. It’s emotive. It’s generous. It’s honest. And it’s refreshingly serious about friendship. I recommend it heartily.  

 

Nobody is totally immune to cultural individualism, the idol of productivity, nor the heroizing of romantic love. 

There’s just one thing that felt missing, one insight that I instinctively began to fill any gaps with. I found myself willing Elizabeth to take a biblical route (totally unfairly, I should add, as she doesn’t identify as a Christian, nor does she claim this to be a book of any religious inclination).  

I wanted her to explore the Bible, because in it, she would find an abundance of evidence for almost every point she felt compelled to make. Friendship soaks the pages of the Christian Bible.  

Friendaholic quotes Jesus in its very first chapter, making reference to his declaration that ‘greater love has no one than this, that someone lay his life down for his friends’, but then never picks this astonishing claim, nor the history-altering man that it came from, up again (once again- this is no criticism, if it were, it would be a mightily unfair one). The platonic love that Elizabeth takes so seriously, and that our culture doesn’t take nearly seriously enough, is claimed to be the ‘greater’ love by Jesus, who subsequently kick-started a movement which was defined by this kind of love. Friendship was weaved into the earliest expressions of what we now call Christianity/the church. Jesus’ words were, and still are, lived out with astonishing impact.   

This is not to say that Christians always perceive or do friendship perfectly. On the contrary, nobody is totally immune to cultural individualism, the idol of productivity, nor the heroizing of romantic love. Indeed, the afore mentioned quote by Lauren Windle has been taken from a book where she tells the story of ‘being single in a marriage obsessed church’.  

It’s for this reason that I so enjoyed Elizabeth’s offering. Friendaholic felt like a literary dusting brush, brushing aside generations worth of dirt from a long-neglected jewel; the jewel being real, true, and deep friendship. The kind of friendship that is as integral to our health as food and shelter, the kind that was included in the original blueprint for human flourishing, the kind that is both dramatically underrated, and yet greater than all other human loves.  

You can take it from an ancient book, or Elizabeth Day’s brand new one – as it turns out, they will tell you the exact same thing.  

Review
Culture
Film & TV
Fun & play
Justice
5 min read

Boom! I love this new Superman!

Eschewing ennui, it’s a great fairy tale for the modern age
Superman talks to his dog amid the ice.
Superman and Krypto the dog.
Warner Bros.

…and that’s what makes this film so enjoyable! 

Oh, apologies for any confusion.  

No tortuously ‘relevant’ preamble from me today. I’m starting the review right in the middle of the action, because that is exactly what Superman does. No initial slog through a ‘backstory’ that everyone knows – even my wife, who has never read a comic book in her life, is familiar with who and what Superman is. The closest we get to contextualisation is a quick sequence of text: informing us that Superman landed 30 years ago (adopted by the Kent couple, and given the name Clark), began his superhero career three years ago, stopped the fictional nation of Boravia invading the equally fictional Jarhanpur three weeks ago, and three minutes ago lost a battle for the first time. 

Boom! 

Then straight into the action! 

Superman lands in the frozen tundra of the Antarctic and can barely breathe. He lets out a whistle and the next thing we know there is a tremendous snowy disturbance. Krypto the Superdog dashes into view! No explanation – just delight in the fact that there is a mischievous canine with unbelievable power. Krypto drags Superman ‘home’ to the Fortress of Solitude. There the Superman robots heal him with a concentrated dose of radiation from the Yellow Sun which gives him his power. He immediately departs to continue his bout against the nationalist supervillain ‘Hammer of Boravia’, who is secretly being controlled by the evil genius and billionaire Lex Luthor. 

The pace of this film isn’t fast…its hypersonic. It flies by at the speed of Superman himself. There isn’t any lag, any let up. Even the quieter moments, such as those meditating on Superman’s dual identities (the alien superhero Kal El/Superman and the human reporter Clark) or his burgeoning relationship with investigative journalist Lois Lane, keep the story moving. Exposition doesn’t take place through inexplicable monologues; it is always pacy conversation, which teaches us something about the characters and their relationships and their motivations. 

This is the great triumph of writer/director/producer James Gunn. After his success over at Marvel Studios, he has taken the helm of DC and started to create a universe of characters and stories that doesn’t waste time with painful ‘exploration’ and moralising. This was always the issue that held DC films (arguably featuring the more beloved and well-known characters in comic-book culture) back from matching the success of Marvel. Christopher Nolan is a genius, giving us a superb Batman trilogy, and Zac Snyder produced an underrated dark take on Superman, but neither seemed to delight in the bright, bubble-gum, kaleidoscopic colourfulness of the comic-book medium. 

Gunn refuses to make his Superman film gritty or realistic. Characters appear in all their flash and bombast and are welcomed as cheery additions. The ‘Justice Gang’ are simply there – including the always enjoyable Nathan Fillion with an arrogant smirk and an almost offensive bowl cut. Luthor’s genius allows his to create a parallel dimension…why couldn’t he!? If we can suspend our disbelief to accept a protagonist who is an alien superhero, why not a mini-universe?  

There is none of the former focus on psychological trauma and existential crisis and the sheer overwhelming ennui of being. In previous films the ethical lesson wasn’t just ‘on the nose’…it flattened your nose with a Mike Tysonesque haymaker! Here, Superman simply IS. He IS good. He IS upstanding. He IS fighting for truth and justice. He refuses to allow political and public-relations considerations to corrupt and dilute his absolute commitment to do (and to BE) what is right. One of the most dramatic scenes isn’t a grand battle, it is a quiet moment where Clark allows Lois to interview him as Superman. The more she questions the realpolitik implications of stopping an invasion, the more Clark becomes incensed. How could someone not allow themselves to save innocent life and serve justice to the oppressed against the oppressor? 

The film is such a ‘sigh of relief’ in a bloated comic-book-film market. Yes, the script is hilarious – this is Gunn’s forte. Yes, the music is sublime – both John Murphy and David Fleming’s score (with wonderful nods to the John Williams original) and Mr Gunn’s own needle-drops. The performances are excellent across the board – special mention to David Corenswet, who doesn’t quite look like Superman to me…but boy does he embody the very essence of the character, to the point where you can’t imagine anyone else having played the alien since Christopher Reeve. But its truest strength and victory is its joy in the simplicity (especially moral) of this comic-book genre. 

This is what is so refreshing about Gunn’s vision. Superman IS pure. Lex Luthor (Nicholas Hoult not missing a baldy beat) IS so prideful and vain that it has warped him into something twisted and evil and collapsing in upon his own ego. Watching the film, I was put in mind of C. S. Lewis’ writing on the nature of fairy tales: 

“For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones…” 

Comic-books are the great fairy tales of the modern age…why would we make them brooding deconstructions of the human condition, a la Cormac McCarthy? That isn’t their point or purpose. Lewis again: 

“Since it is so likely that they [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” 

Gunn has given us a film that isn’t just fun and fluffy, but important. In his sugary, childlike wonder and delight in the genre, he has given us a tale of good versus evil that is a true fairy tale: something gleaming and good, something radiant and right, something attractive and aspirational. Superman is a fairy tale where we can be comforted and emboldened by the moral (nay, ontological!) certainties of love and hope.  

5 stars

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