Hello Curious Friend. Welcome to my book about Hate. The number tells you where you are in the sequence. I look forward to your comments.

Part Three

Chapter Seventeen

Actors and Audience (Continued)

Our goal, as it has been from the beginning, is to come to a greater understanding of hate so that we can do something about it. Through a lot of hard work, we have created a tool in the shape of a hate play, containing 3 actors standing on 3 pedestals of different levels. There are other aspects of our actors that must be considered, such as motives and bias, but we will have ample opportunity to look at those details later. For now, we are only examining the primary components of hate, and there are only 13 situations for us to consider.

Using math in our analysis gives us a much better chance at achieving a true understanding. This means that perhaps the problem isn’t as daunting as it may have first appeared. By segmenting our hate plays into categories, it is likely we can garner insights that would otherwise be inaccessible.

For instance, our first play features Oscar, Sierra and Tango. With respect to levels, we have a generic play in which Oscar stands higher than Sierra, and Sierra stands higher than Tango. Observer is greater than source, and source is greater than target. In mathematical terms, it can be shown like this: O > S > T.

Simple.

Better yet, in this form, can we imagine any other hate situations in which these conditions are met?

The answer is yes.

Consider incidents of the Taliban destroying schools in Afghanistan and killing innocent children in the process.

It’s clear that in this real-life hate play, the Taliban were more capable than their victims in many ways: power, resources, and capabilities to mention a few.

Their child victims, however, can’t possibly understand the warped minds of their attackers. So the source of hate in this case, the Taliban, clearly stands on a higher pedestal than their targets.

Drawing parallels between our first hate play, a depiction of sibling rivalry, and the horrors of Afghanistan may seem ambitious, but so is our goal. There must be fundamental similarities in both situations that may help us understand the roots of hate exhibited in these plays. Through that understanding, we might eventually learn how to intervene against hate more effectively in the real world.

Now let’s see how there can only be 13 possible hate play configurations. This is where our math comes in handy. First, don’t think of Oscar, Sierra and Tango any more in terms of hate; think of them as three friends going shopping, say, for apples.

At the store they find that the apples are all packaged in groups of one, two or three. Thus, they only have three choices.

To be continued …