Social Work Ethics

Many people today talk about justice, but are they living justly? They want to change the world, but are they being changed themselves? Eugene Cho has a confession: "I like to talk about changing the world but I don't really like to do what it takes." If this is true of the man who founded the One Day's Wages global antipoverty movement, then what must it take to act on one's ideals? Cho does not doubt the sincerity of those who want to change the world.

In Kidney to Share, Martha Gershun tells the story of her decision to donate a kidney to a stranger. She takes listeners through the complex process by which such donors are vetted to ensure that they are physically and psychologically fit to take the risk of a major operation. Gershun and Lantos analyze the differences that arise depending on whether the organ comes from a living donor or one who has died. They observe the expertise and the shortcomings of doctors, nurses, and other professionals and describe the burdens that we place on people who are willing to donate.

Without a doubt, Schopenhauer is one of the giants of Western philosophy. He represents a turning point from the quest to define the external world as something apart from our experience to a recognition of our experience as the medium of our world. Philosophy is a discourse, a conversation spread out over centuries that explores and develops different lines of thought. Schopenhauer embodies the moment in Western philosophy where the snake begins to eat its own tail, where the unreasoning insistence upon an external world is finally examined with due criticism and care.

As consumers of art, and especially as fans, we have a host of tricky moral question to navigate: do the moral lives of artists affect the aesthetic quality of their work? In Drawing the Line, Erich Hatala Matthes argues that it doesn't matter whether we can separate the art from the artist, because we shouldn't. Matthes argues both that the lives of artists can play an important role in shaping our moral and aesthetic relationship to the artworks that we love and that these same artworks offer us powerful resources for grappling with the immorality of their creators.

We are at a turning point in the history of civilization. Anyone watching the news can understand why. Our generation faces the challenges of global warming, misogyny, racism, systemic poverty, oligarchy, and more. Some believe that this will lead to a kind of fascist, environmentally ruined dystopia. Robertson Work, who has spent decades working in poverty-stricken villages and developing countries, does not believe all hope is lost.

As home life and work life become increasingly integrated in contemporary life, success (or failure) in either has an undeniable effect on the other. And while the profound events that began the 21st century have intensified the desire to focus on what matters most to us, there is still often a substantial gap between what we say matters most and the way we actually spend our time and money. Our credit-card and checking-account statements may clearly reflect this. But it is possible to keep both areas moving forward in positive ways.

There is no higher praise we can give people than to say they have good character. But what does this mean, really? What makes this quality so essential to achieving personal success and fulfillment? More importantly, how can we build our own character and live more satisfying lives? Reflecting society's diversity, the contributors to this unique collection of essays speak from various cultural and professional backgrounds to share their observations on living with integrity, honesty, and compassion.