There’s nothing like a pandemic to make you look at your situation. Life seems suspended and meaningless. Wendy Syfret found that most things she stressed about (wealth and success) were artificially constructed by society. All of it was transitory and what she’d been fretting over didn’t really matter.
Nihilism is the trademark concept of Friedrich Nietzsche. Anarchy, rebellion and destruction are nihilism’s supposed hallmarks, but only because Nietzsche’s sister hijacked and contorted his ideas after his death to propagandise her fascist sympathies. Syfret seeks to correct the record and reinterpret Nietzsche’s work to apply it in a more positive manner.
Nihilism underscores the realisation that life is ultimately meaningless. So, we could decide that the institutions of power and belief need to be removed or, as Syfret encourages, we could remove ourselves from the whole artificial hamster wheel.
Acknowledging that we aren’t special frees us from seeking perfection. Upon realising our insignificance, what then should we use to fill the void? Put in this context, social media and conspicuous consumption make little sense. Nor does work, relying on religion or love. Syfret suggests being mindfully present, concentrating on life’s small pleasures now, rather than aiming for some distant unachievable perfection.
This is an interesting take on the artificiality of societal constructs. The book has its flaws, but the overall thesis is well argued. More importantly, it obliges you to think about self-worth and meaning.
Reviewed by Bob Moore
ABOUT THE AUTHOR
Wendy Syfret is a Melbourne based writer, editor, and author of The Sunny Nihilist: How a Meaningless Life Can Make You Truly Happy and How to Think Like an Activist.
Previously she’s served as the Managing editor of VICE Asia. Before taking on that role she was the Head of Editorial for VICE Australia, Australian editor of pioneering fashion publication i-D, and associate editor at VICE.com.
Other publications she has contributed to include ABC, Crikey, the Guardian, the Cut, the Saturday Paper, the Atlantic, British Vogue, The Boston Globe, Noisey, Munchies, Frankie, Refinery29, Oyster, Broadsheet, and Man Repeller.
Her broad editorial background has seen her cover news, current events, culture, gender and sexuality, the arts, fashion, and beauty.
Across her career she has overseen partnerships and programming efforts with cultural leaders including the National Gallery of Victoria, National Gallery of New South Wales, National Gallery of Australia, the Museum of Old and New Art, the Wheeler Centre, The Emerging Writers Festival, NITV and SBS.
In her own time, she is passionate about initiatives that support and engage young Australian writers.
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