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Let's begin by pondering the reasons for the failure of Keynes's prophecy. Why, despite the surprising accuracy of his growth forecasts, are most of us, almost 100 years on, still working about as hard as we were when he wrote his futuristic essay? The answer is that a free-market economy both gives employers the power to dictate hours and terms of work and inflames our innate tendency toward competitive, status-driven consumption. Keynes was well aware of the evils of capitalism but assumed that they would wither away once their work of wealth creation was done. He did not foresee that they might become permanently entrenched, obscuring the very ideal they were initially intended to serve. Keynes was not alone in thinking that motives bad in themselves might nonetheless be useful. John Stuart Mill, Karl Marx, Herbert Marcuse—even Adam Smith in bolder moments—all granted such motives a positive role as an agent of historical progress. In the language of myth, Western civil...

The philosopher Allan Bloom didn't much care for the effect that music had on his students. He believed that they used music to counterfeit experience, in particular to fabricate joy. He said that music—rock music especially—reproduced in listeners the feelings of triumph that come from completing a great work of art or doing a heroic deed or making a conceptual breakthrough in science or philosophy—or even finding the true love of one's life. Students, Bloom said, found in rock music a way to fabricate those emotions, and then they often took the logical next step and asked themselves, implicitly, Why bother going further? Why should one actually do the deed and put in all the work leading up to it, when one can have the reward simply by putting on some music or showing up at a concert? Bloom compared the Dionysian experience of rock music to the experience of drugs: He seems to have had hallucinogens in mind. After a heavy dose of LSD, in which the world becomes a wond...

The news outlets sell one thing above all else, and that is not so much the news as it is newness. What one buys when one buys a daily paper, what one purchases when one purchases a magazine, is the hypothesis that what is going on right now is amazing, unprecedented, stunning. Or at least worthy of intense concentration. What has happened in the past is of correspondingly less interest. In fact, it may be of barely any interest at all. Those who represented the claims of the past should never have imagined that the apostles of newness would give them a fair hearing, or a fair rendering, either. (...) Media no longer seek to shape taste. They do not try to educate the public. And this is so in part because no one seems to know what literary and cultural education would consist of. What does make a book great, anyway? And the media have another reason for not trying to shape taste: It pisses off the readers. They feel insulted, condescended to; they feel dumb. (...) Reading in ...