performs is supposed to be an external realization of one's relationship to others and to the world. It is one's way of making the world a better place for oneself and for others. What reducing work to a monetary value does is to replace the concrete reality of one's everyday struggles with the world —to give it shape, form and meaning— with an abstraction. Kierkegaard lamented that "a young man today would scarcely envy another his capacities or skill or the love of a beautiful girl or his fame, no, but he would envy him his money. Give me money, the young man will say, and I will be all right." But Kierkegaard thinks this emphasis on money leads to a denial of the gifts of the spirit to those who are poor and in misery. Below are three quotes concerning Kierkegaard's idea of abstraction which cannot be thought about without thinking about concretion. He moves from the world historical, the general, to the single individual, the specific. The first from the esthete and the second from the ethicist in Either/Or and the third from the book that explained all his previous works; Concluding Unscientific Postscript. Death Death is inevitable and temporally unpredictable. Kierkegaard believed that individuals needed to sincerely and intensely come to realize the truth of that fact in order to live passionately. Kierkegaard accuses society of being in death-denial. Even though people see death all around them and grasp as an objective fact that everyone dies, few people truly understand, subjectively and inwardly, that they will die someday. For example, in Concluding Unscientific Postscript, Kierkegaard notes that people never think to say, "I shall certainly attend your party, but I must make an exception for the contingency that a roof tile happens to blow down and kill me; for in that case, I cannot attend." This is jest as far as Kierkegaard is concerned. But there is also earnestness involved in the thought of death. Kierkegaard said the following about death in his Three Upbuilding Discourses, 1844: Dread or anxiety For Kierkegaard's author, Vigilius Haufniensis, anxiety/dread/angst (depending on the translation and context) is unfocused fear. Haufniensis uses the example of a man standing on the edge of a tall building or cliff. From this height he can see all the possibilities of life. He's reflecting on what he could become if he only threw himself into the