Fearmorphosis: Decoding Humanity’s Dance with Fear
In a world where surveillance cameras hum in corners and anxieties shape our choices, Desh Subba’s Fearmorphosis: Man Is a Fear Sisyphus Being Watched by Panopticons (2023) offers a bold lens to understand human existence. Subba, a Nepali philosopher based in Hong Kong, builds on his philosophy of Fearism, which asserts that life is conducted, directed, and controlled. In Fearmorphosis, he reimagines classic existential metaphors—Sisyphus, the Panopticon, and scapegoating—to argue that fear is not merely a reaction but a transformative force that shapes history, culture, and personal identity. This essay explores how Subba’s Fearmorphosis, driving force behind interpreting human struggles, critiques its limitations, and highlights its relevance in a fear-saturated world.
Subba’s Fearism posits that fear is the engine of human behavior, from survival instincts to societal structures. Fearmorphosis extends this idea, introducing the concept of “Fearmorphosis” as a process where fear reshapes individuals and societies, much like Kafka’s Gregor Samsa morphs into a beetle in Metamorphosis. Subba reinterprets Sisyphus, the mythological figure condemned to roll a boulder uphill only to watch it fall, as a “Fear Sisyphus.” Unlike Albert Camus, who sees Sisyphus as an absurd hero embracing futility, Subba argues that Sisyphus is trapped by fear of divine punishment, failure, or meaninglessness. This fear cocoons him, preventing escape from his repetitive task. Subba writes, “Fear is the power of all power” [], binding humanity to cycles of struggle fueled by internal and external anxieties.
The metaphor of the Panopticon, borrowed from Michel Foucault, is central to Subba’s thesis. Originally a prison design where inmates are watched without seeing their observers, the Panopticon in Fearmorphosis represents the constant surveillance humans feel—from society, religion, or their consciences. Subba describes “spiritual and physical Panopticons” that amplify fear, compelling conformity. In today’s world, this resonates with social media’s judgmental gaze or government surveillance, where fear of scrutiny shapes behavior. Subba’s insight is striking: we are not just watched but internalize the watcher, becoming our jailers.
Another key theme is scapegoating, where fear leads to blaming others—individuals, groups, or even nature—to alleviate collective anxieties. Subba argues that this fear-driven scapegoating fuels wars, marginalizes refugees, and devastates the environment. For example, fear of economic loss or cultural erosion often scapegoats immigrants, while fear of resource scarcity drives environmental exploitation. Yet, Subba sees fear as dual-natured: it destroys but also motivates progress. Fear of disease spurred vaccines, and fear of failure drives innovation. His collaborator, R. Michael Fisher, emphasizes “fearlessness” as a counterbalance, urging readers to harness fear constructively rather than be paralyzed by it.
Subba’s strength lies in his ability to weave Eastern and Western philosophies, reinterpreting existential texts through a fear-based lens. He re-reads Kafka’s Metamorphosis as a story of fear-driven transformation, where Gregor’s change reflects societal rejection. Similarly, Sartre’s No Exit, with its famous line “Hell is other people,” becomes a study in fear of judgment. Subba calls for rewriting history, culture, and morality through Fearmorphosis, urging us to excavate fear’s role in shaping human narratives. This approach is innovative, as seen in its academic adoption, such as at Sikkim University, where Fearism is part of the curriculum [].
However, Fearmorphosis is not without flaws. Some reviewers note Subba’s language can be dense or tautological, as in phrases like “the world is beautiful due to its beauty” []. This may alienate general readers, though philosophers may appreciate the poetic style. Additionally, the book’s broad scope—covering literature, politics, and ecology—can feel overwhelming, lacking the precision of narrower philosophical works. Despite these critiques, Subba’s optimistic vision of fearlessness and his global perspective, rooted in his Nepali heritage and Hong Kong experience, make Fearmorphosis a compelling contribution.
In 2025, Subba’s ideas resonate deeply. Surveillance culture, from facial recognition to online algorithms, mirrors the Panopticon, while global crises like climate change and conflict reflect fear-driven scapegoating. Fearmorphosis challenges us to confront these fears, not as paralyzing forces but as opportunities for transformation. Subba’s call for fearlessness aligns with Fisher’s work, suggesting that acknowledging fear can lead to resilience and ethical progress. For instance, fear of environmental collapse can inspire sustainable innovation if channeled constructively.
Ultimately, Fearmorphosis invites us to see humanity as a Fear Sisyphus, rolling the boulder of existence under the gaze of countless Panopticons. Yet, Subba offers hope: by understanding fear, we can break free from its cocoon, embracing fearlessness to rewrite our stories. In a world trembling with uncertainty, Subba’s philosophy is both a mirror and a map, guiding us to navigate fear with courage and clarity.