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The Radicalism of Reading – Article by Eileen L. Wittig

The Radicalism of Reading – Article by Eileen L. Wittig

The New Renaissance Hat
Eileen L. Wittig
July 13, 2017
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It’s Peak Reading Season: too hot to go outside, too lethargic to do much inside, no holidays coming up for a while. Polls and anecdotes are probably telling you that reading is on the decline – people just don’t read like they used to! – but it turns out that depends on what demographic you’re looking at, and it’s a bit embarrassing for the old people shaking their heads over “kids these days.”

If you’re looking at people over the age of 65, your thought is right. Only 67 percent have read a book in the past year, regardless of format. But if you look at people age 18-29, a.k.a. the ones who supposedly do nothing but scroll through the internet all day, that number jumps up to 80 percent. Awkward.

Granted, that’s only talking about people who have read an actual book, and I’d argue that reading educational articles counts. If we include that, the reading statistic would jump even higher.

And that would’ve been horrible a century ago. And in the century before that. And all the way back to ancient Greece.

The modern obsession with reading is just that: a modern obsession, created by technology, new genres of literature, and advances in class, gender, and socioeconomic equality. It took about 2,500 years, but we made it.

Technological Advance, Copyrighted

You’d think the ancient Greeks would’ve been all about writing things down, but there was resistance from Socrates. He was a huge supporter of the previous technology: oral tradition, when knowledge was passed down through the generations by talking.

Thankfully Plato ignored him and recorded, for the millennia, that Socrates said writing would be terrible for society, causing “forgetfulness,” giving “not truth, but only the semblance of truth,” making everyone “appear to be omniscient, but knowing nothing,” creating nothing but “tiresome company.” Thus did literature have its first great irony.

For hundreds of years, we wrote things down. Most books were either religious or historical, regardless of country, culture, or religion of origin, and as the times changed, this general rule became alternately stricter and looser. Strict class structure, long work days, and the lack of publishing technology resulted in relatively low literacy rates.

The next big step forward was Gutenberg’s printing press. No more hand-writing everything! Suddenly books could be mass-produced, and with that ability came books in many different genres: poetry, technical knowledge, morality stories, and even sheet music. It took a while for people to realize they could start printing books in their own native languages and not only in the then-universal literary language of Latin, but it got there eventually.

Unfortunately, as happens now, with this new technology came new laws, particularly the Ordinance for the Regulation of Printing, issued in England in 1643. The Ordinance proclaimed that

Nor other Book, Pamphlet, paper, nor part of any such Book, Pamphlet, or paper shall from henceforth be printed, bound, stitched or put to sale by any person or persons whatsoever, unless the same be first approved of and licensed under the hands of such person or persons as both, or either of the said Houses shall appoint for the licensing of the same, and entred in the Register Book of the Company of Stationers, according to ancient custom, and the Printer thereof to put his name thereto.

In other words, you couldn’t print anything unless you had express permission from a government-appointed person. You couldn’t submit your book to the registry without government permission, either.

Needless to say, this didn’t help publishing progress. However, after the Glorious Revolution of 1688 created the Declaration of Rights, which included the right to free speech, England’s society opened up, and the Ordinance was allowed to lapse in 1694. Free speech combined with less regulation resulted in many more printing presses and publication houses in both England and the American colonies, and publication of books, newspapers, and pamphlets started going up. With more things available, more people could start reading, and the literacy rate in the West went up.

And then a brand new literary genre was invented, and the literary world changed forever (not even hyperbolically).

But the Women!

Up to this point, “the literacy rate went up” has referred more to men than to women. Some women could read, of course, but it was a male-dominated sphere until the end of the 19th century. Women didn’t work outside the home as much, and they were still considered to be inferior to men, so they often did not have comparable educations. The rise of female literacy came when the novel was spreading across the world, but the genre was not welcomed like it is today.

There’s disagreement over what the first novel was – most people say it’s Don Quixote, published all the way back in 1605, but others say it’s Pamela, published in 1740 – no matter which author was responsible for it, there was a lot of antagonism, even from the medical world. Novels were considered to be evil, destroying not only the morality but also the physical health of their “susceptible” female readers. Even in 1899, people were still warning against the “evils of reading” for women.

The problem was that they couldn’t actually agree on the details. One doctor wrote that novels would detrimentally accelerate a girl’s physical maturity, while another wrote that reading, and education in general, would cause of the opposite problem by preventing women from being able to have children. Reading novels could even make a woman uppity and encourage her to disrupt the status quo – the horror! Some went even further, warning that reading novels would cause insanity and even death.

Other people were more subtle in their predictions, believing novels would merely blur the line between fact and fiction. Authors themselves were torn: Gustave Flaubert ironically wrote a novel about this idea in Madame Bovary, while Jane Austen sensibly wrote against it in Northanger Abbey.

As more and more novels were written, and as women themselves entered the writing world, the hostility and sexism eventually died away. Today, we’ve progressed far beyond the old sexism: women now read more books than men, and the best-selling book series in history is a set of novels written by a woman: J.K. Rowling’s Harry Potter.

Lowering the Threshold

Even with the lapsing copyright laws and the increased demand for books thanks to women’s literacy, publication was expensive, so books were expensive too. Reading was generally reserved for the higher classes who were, first off, educated, but could actually afford the money and time to read. Even Benjamin Franklin’s library required a subscription only a few tradesmen could afford. But that trend started changing when Charles Dickens and New York entered the sphere, thanks to the Industrial Revolution and the Enlightenment.

New York’s publishing houses – including Harper Bros. – were big enough to afford both large-scale publications, which made the books cheaper to publish and buy, and the vast expanse of the American West opened by the creation of the Erie Canal in 1825. The invention of the paperback book lowered the cost of books even further, giving people the “dime novel.” Publishers also took advantage of the lax international copyright laws and published whatever they wanted, including the works of one of the world’s first celebrity authors, Charles Dickens.

Over in England, Dickens was doing a strange thing and successfully writing about the poor. Taking from his own experiences growing up, Dickens used his talents and popularity to promote equality among the classes, greater education, and sympathy for people historically ignored. But he was also creating a new medium of publication: the magazine serialization, which ultimately became the standard form of novel-printing for the era all over the world. Sir Arthur Conan Doyle, Alexandre Dumas, Henry James, Gustave Flaubert, Leo Tolstoy, and Harriet Beecher Stowe all published serial works. Printing in magazines allowed a greater audience to enjoy literature that would otherwise be reserved only for the people who could afford the time and money to read them in book format.

Speaking of Stowe, the literacy gap in America between whites and all minorities was huge for the first 200 years of our history. Just after the Civil War, in 1870, 79.9 percent of blacks and minorities were illiterate. That rate dropped steadily until 1910, at which point the illiteracy rate among minorities was 30.5 percent. The literacy rate continued growing, albeit slower than before, until the race gap was finally closed in 1980.

21st-Century Reading

All the technological, social, and economic advances made during the explosive 18th and 19th centuries carried through into the modern era, spreading literacy and dispelling weird rumors until the world literacy rate went from 12% in 1800 to 85% in 2014. With the internet, e-readers, and all our smart devices, people are reading more now than ever; and the availability and variety of content is unlike anything even imagined just a century ago.

So when a relative or stranger tells you to put your phone down, ask them when they last read a book, and then quote something smart from the article you’re reading on your phone.

Eileen Wittig is an Associate Editor and author of the Lazy Millennial column at FEE. You can follow the Lazy Millennial Twitter here.

This article was originally published on FEE.org. Read the original article.

Children Should be Encouraged to Read Fantasy Fiction – Article by Jon Miltimore

Children Should be Encouraged to Read Fantasy Fiction – Article by Jon Miltimore

The New Renaissance HatJon Miltimore
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Recently I spoke with a friend who expressed some angst that his 12-year-old son was primarily interested in reading fantasy novels. Efforts to introduce the lad to higher forms of literature were proving more difficult than he’d expected.

Not to worry. Fantasy novels and science fiction yarns, I said, are often gateways to the higher forms of literature. This was not just my opinion, I added, it was my experience.

When I was 12, I was not yet much of a fan of reading. I had enjoyed some young adult fiction writers (S.E. Hinton, R.L. Stein, Christopher Pike, etc.) and enjoyed the histories of NFL football teams, but I didn’t have a passion for books. That changed when my father gave me J.R.R. Tolkien’s Lord of the Rings.

For years my father had tried to get me interested in the classics and his favorite histories to no avail. Then he tried a new tactic. Perhaps taking a tip from Montaigne, he gave me Tolken’s epic trilogy, which I devoured in a couple weeks. Terry Brooks’ Shannara books followed, and then the first few books of Robert Jordan’s Wheel of Time series. Then a new book came out with a cool title — A Game of Thrones — that blew them all away.

I bring all this up not to demonstrate how big of a fantasy dork I am. (I also occasionally played real-time strategy computer games. Sue me.) I share it to make a point: these books taught me to love reading.

Fantasy fiction is often pooh-poohed by academics and intellectuals, but it can whet the appetite learning. In my case, the great historical fictions of James Clavell, Gary Jennings, and Ken Follet followed Lord of the Rings. Tolstoy, Nabokov, and Dostoevsky came not long after; then the histories of Foote, Barzun, and Michener.

But the case for fantasy fiction goes beyond my personal experience. Scientific research shows there are clear positive neural affects to novel reading. For example, Emory University researchers found that students experienced heightened activity in the left temporal lobe of the brain, the area associated with semantics, for days after reading novels.

It should go without saying that reading nothing but fantasy fiction, even good fantasy fiction, is not a path to a well-rounded education or intellectual maturity. But fantasy novels can awaken imaginations, inspire creativity, and create a passion for story-telling.

So if you’re a little worried that your teenage daughter seems a little too obsessed with, say, Hunger Games, relax. She’ll likely be reading George Eliot and Byron in a year or two.

Jon Miltimore is the Senior Editor of Intellectual Takeout. Follow him on Facebook.

This article was originally published on Intellectual Takeout.

A Totalitarian State Can Only Rule a Desperately Poor Society – Article by Ryan Miller

A Totalitarian State Can Only Rule a Desperately Poor Society – Article by Ryan Miller

The New Renaissance HatRyan Miller
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I recently finished Anthem by Ayn Rand. In this short novella she tells the story of Equality 7-2521 (later called Prometheus), a man living in a dystopian collectivist society which has eclipsed the individual to such a degree that words such as “I” and “my” no longer even exist. The story is about Prometheus’ discovery of himself as an individual and of the world as it was before.

In this society babies are taken immediately from their “parents”, who were assigned to one another by the Council of Eugenics for the sole purpose of breeding, raised in the Home of Infants and then in the Home of Students, and then finally assigned their life-long profession at the age of 15 by the Council of Vocations. Everything is done for the supposed benefit of your brothers, preference is not allowed, superior ability is not allowed, and back-breaking toil is praised as such and not as a way to improve your own or humanity’s situation.

Dictatorship Means Poverty

But what is striking about this story is how accurately it portrays how the world would look under such life-throttling conditions. The Home of the Scholars is praised for having only recently (100 years ago) (re)invented marvels such as candles and glass. Since the times before the “Great Rebirth” and the discovery of the “Great Truth”—namely, “that all men are one and there is no will save the will of all men together”—humanity has, in reality, lost the progress of thousands of years and has reverted back to a time before even such basic utilities as oil lamps or clocks.

But Ayn Rand’s genius is that this is exactly what would happen to the world should it ever discover and truly act upon this “Great Truth.” Yet this is not typically how dystopian stories portray this type of society. Stories such as Brave New World1984The GiverDivergentEquilibrium, and many others, all love to show some type of ultra-technologically-advanced world in the backdrop of total or near total oppression, suppression of the individual, and enforcement of conformity.

Despite the almost total (and often drug-induced) destruction of individual will, drive, and creativity, these societies have reached unprecedented levels of technological competence. This is especially true when one considers when many of these stories were written.

In Brave New World, written in 1931, everyone has a personal helicopter, science has advanced to such a degree that mothers and fathers are no longer necessary parts of the breeding process, and everyone is kept docile and happy by the apparently side-effect lacking drug Soma.

In 1984 (published in 1949) there are two way telescreens, miniscule microphones and cameras, and speak/writes which turn whatever you say into text. In the other stories technology is advanced enough to, among other things, control weather (The Giver), give kids serum-induced psychological aptitude tests (Divergent), and to completely suppress emotions (Equilibrium). In addition to these there are countless other inventions or practices in these stories and the many others of the dystopian future genre.

Invention Requires Freedom

The question that needs to be asked, however, is who invented all these things? These marvel feats, which in the stories are often used for the end of some malevolent goal, are really all potentially awesome, or at least highly complex and complicated, inventions or innovations. Their conception and ultimate realization would have required years of thought, testing, failure, tinkering, and then success—things which all require individual ingenuity, creativity, and the incentives arising from the prospect of individual pride and gain.

Every great break-through in history was achieved by some odd-ball going against the grain or traditionally accepted view of things in their particular field. If they had done things the way people had always done them, they would never have had the ability to think outside the box and discover or create a unique solution to the problem at hand. Inventors and innovators need their quirkiness, eccentricity, social awkwardness, or will and ability to stand up to the existing order. And they need that coupled with the idea that they have something to gain.

But all of these stories, to different degrees, have built societies that destroy our differences, our emotions, our passions, our ability to think differently, and our incentives to create if were even able to.

So where do these advanced societies come from? Sure they could drink from the well of wealth created by the society that may have preceded it, but only for a while. It would eventually dry up. And without new generations of ambitious and intelligent dreamers, tinkerers, outside-the-boxers, there would be no one around to rebuild the wealth. This is the world that Ayn Rand creates in Anthem. The hopeless world without individuals.

The existence of advanced societies in many dystopian stories is reminiscent of the problem with the thinking in our world today and in the past: the thinking that things “just happen”—that innovation, invention, and progress are phenomena which occur naturally, regardless of conditions. Though the worlds portrayed in these other novels are far from desirable, the progress alone that the societies in them have reached is a reflection of this idea that most people, at least passively or unknowingly, buy into.

In reality the world would look much more like that of Anthem.

 

ryan_miller

Ryan Miller is a University of Michigan graduate, freelance translator, and aspiring blogger. He is also a Praxis participant in the September 2016 cohort.

This article was originally published on FEE.org. Read the original article.

Plot Holes in Fiction and in Life – Article by Sanford Ikeda

Plot Holes in Fiction and in Life – Article by Sanford Ikeda

The New Renaissance Hat
Sanford Ikeda
August 23, 2014
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Fans of J.R.R. Tolkien’s trilogy The Lord of the Rings (LOTR) have long been aware of a possible plot hole. The central narrative concerns the hero, Frodo Baggins, who must destroy a powerful ring by walking through forbidding terrain and defeating or eluding monstrous foes and throwing the ring into a live volcano. The journey takes many months and costs Frodo and his companions dearly.

Over the years, many readers have noticed a much easier and less dangerous solution. Why, they ask, didn’t Frodo just have Gandalf ask his friends the mighty eagles to fly him swiftly over enemy territory so he could then simply toss the ring into the volcano? I’ve run across this post on Facebook a few times, which cleverly patches that hole with only a slight change in the narrative. (Others argue that there’s really no hole to patch because the “eagle solution” itself has flaws. And so the debate continues.)

Anyway, it occurred to me that the kind of social theory that I and many Austrian economists engage in could usefully be framed in terms of plot holes.

What’s a plot hole?

I’ll define a plot hole as a failure of logic, a factual mistake, or an obvious solution to a critical problem central to a story. (Here’s a slightly different definition from Wikipedia.) Of course, any particular plot hole may involve more than one of these errors of fact, logic, or perception, and there may be more kinds of plot holes than these. But here are examples of each of the ones I’ve mentioned. They come from movies, but some of them, such as the plot hole in Lord of the Rings, have literary counterparts.

Factual hole: In the movie Independence Day, key characters survive a massive fireball by ducking into the open side-door of a tunnel just as the inferno blasts by. Anyone who knows about firestorms would tell you that the super-heated air alone would instantly kill anyone in that situation.

Logical hole: In Citizen Kane, miserable Charles Foster Kane dies alone. How then does anyone know that his last word was “Rosebud”? Keep in mind that it’s a reporter’s search for the meaning of that word that drives the story forward.

Perceptual hole: The LOTR problem mentioned above is an example of this. No one seems to realize that there may be a much safer and effective way to defeat the enemy.

I would think that one of the things that makes writing fiction difficult is that events and characters have to hang together. The writer needs always to keep in mind the rules of the universe she’s creating, to recall what her characters know and when they know it, and to make sure that these details all constrain every action and event.

Life is full of “plot holes”

In real life, we make mistakes all the time. I think it’s interesting that those mistakes appear to fit neatly into the three categories of plot holes I’ve identified.

Factual hole/error: A person who doesn’t know the difference between liters and gallons buys a 100-liter barrel to hold 100 gallons of rainwater. No explanation necessary.

Logical hole/error: Thinking that since you’ve made a string of bad investment decisions, your next decision is therefore more likely to be a good one. But it’s quite the contrary: If you’ve been consistently making bad decisions, it follows that if nothing else changes, your next decision will also be bad one. (See “gambler’s fallacy.”)

Perceptual hole/error: Selling your car for $15,000 when, unbeknownst to you, you could have sold it for $20,000. The better deal simply escapes your notice and, if you were ever to learn about it, you would feel regret.

Here’s the difference though: In fiction, a writer can get away with any of these three plot holes as long as no reader sees it. Even if you do notice one, but you otherwise enjoy the story, you might be willing to overlook it. But in real life, you can’t ignore factual or logical plot holes. If you try to, they will come back and bite you. It will be painfully obvious that you can’t put 100 gallons of water into a 100-liter barrel. And if you bet on your next investment being a winner because you’ve just had a bunch of losers, it’s very likely that you’ll be disappointed. These kinds of holes you’re bound to discover.

I wrote about errors in an earlier column, but the distinction comes from my great teacher Israel Kirzner. He identifies a class of errors that derive from “overoptimism.” The more optimistic you are, the more likely it is that you’ll deliberately pass up solid opportunities for gain and thus the more likely it is that you’ll be disappointed. That’s not to say that optimism is a bad thing. If you weren’t optimistic and so never acted on that optimism, you’d never know if that optimism were warranted or not. You would never learn.

The other kind of error, what Kirzner calls “overpessimism,” happens when you’re so pessimistic that you unwittingly pass up a realizable opportunity. And because you don’t take chances, you don’t learn. This type of error is akin to a perceptual hole. Thinking you can only get $15,000 for your car means not selling to someone who would in fact pay more. Here, it’s not inevitable that you will discover your error because, after all, someone does buy your car (for $15,000). But you could have done better if you’d been more alert.

So errors of overpessimism, what I’m calling perceptual holes, are very different from factual and logical holes in that they are much harder to detect.

Plot holes and social theory

For many Austrian economists like me, economics, as a branch of a social theory, accepts as a datum that people are prone to make mistakes. But given the right rules of the game—private property, free association—they can discover those mistakes and correct them via an entrepreneurial-competitive process. Unlike plot holes in fiction writing, then, plot holes in living social systems are a feature, not a bug.

So our challenge as flesh-and-blood people, and what makes our lives interesting, is to discover plot holes, especially perceptual ones, and to fill them in. The challenge of social theorists is to understand as much we can about how that happens. In novels it’s the people outside the story who discover holes; in society it’s the people living the story who do.

Plot holes in novels spell failure. Plot holes in real life mean opportunity.

Sanford Ikeda is an associate professor of economics at Purchase College, SUNY, and the author of The Dynamics of the Mixed Economy: Toward a Theory of Interventionism.
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This article was originally published by The Foundation for Economic Education.
“Exploring Capitalist Fiction” – Allen Mendenhall Interviews Edward W. Younkins

“Exploring Capitalist Fiction” – Allen Mendenhall Interviews Edward W. Younkins

The New Renaissance Hat
Allen Mendenhall and Edward W. Younkins
February 16, 2014
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This interview is reprinted with permission from Allen Mendenhall’s blog.

Read Mr. Stolyarov’s review of Dr. Younkins’s book, Exploring Capitalist Fiction.

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AM:       Thank you for taking the time to do this interview.  I’d like to start by asking why you chose to write Exploring Capitalist Fiction.  Was there a void you were seeking to fill?

EY:          The origins of this book go back to the Spring of 1992 when I began teaching a course called Business Through Literature in Wheeling Jesuit University’s MBA program.  Exploring Capitalist Fiction is heavily based on my lectures and notes on the novels, plays, and films used in this popular course over the years and on what I have learned from my students in class discussions and in their papers.

The idea to write this book originated a few years ago when one of Wheeling Jesuit University’s MBA graduates, who had taken and enjoyed the Business Through Literature course, proposed that I write a book based on the novels, plays, and films covered in that course.  I agreed as I concluded that the subject matter was important and bookworthy and that the book would be fun for me to write and for others to read.  I went on to select twenty-five works to include in the book out of the more than eighty different ones that had been used in my course over the years.  I have endeavored to select the ones that have been the most influential, are the most relevant, and are the most interesting.  In a few instances, I have chosen works that I believe to be undervalued treasures.

I was not intentionally trying to fill a void as there are a number of similar books by fine authors such as Joseph A. Badaracco, Robert A. Brawer, Robert Coles, Emily Stipes Watts, and Oliver F. Williams, among others.  Of course, I did see my evenhanded study of business and capitalism in literature as a nice complement and supplement to these works.

AM:       I assume that you’ll use this book to teach your own courses, and I suspect other teachers will also use the book in their courses.  Anyone who reads the book will quickly understand the reason you believe that imaginative literature and film have pedagogical value in business courses, but would you mind stating some of those reasons for the benefit of those who haven’t read the book yet?

EY:          The underpinning premise of this book and of my course is that fiction, including novels, plays, and films, can be a powerful force to educate students and employees in ways that lectures, textbooks, articles, case studies, and other traditional teaching approaches cannot.  Works of fiction can address a range of issues and topics, provide detailed real-life descriptions of the organizational contexts in which workers find themselves, and tell interesting, engaging, and memorable stories that are richer and more likely to stay with the reader or viewer longer than lectures and other teaching approaches.  Imaginative literature can enrich business teaching materials and provide an excellent supplement to the theories, concepts, and issues that students experience in their business courses.  Reading novels and plays and watching films are excellent ways to develop critical thinking, to learn about character, and to instill moral values.  It is likely that people who read business novels and plays and watch movies about business will continue to search for more of them as sources of entertainment, inspiration, and education.

AM:       Who are the intended audiences for your new book?

EY:          My target audiences include college students, business teachers, general readers, and people employed in the business world.  My summaries and analyses of twenty-five works are intended to create the feel of what it is like to work in business.  The premise of the book is that fiction can provide a powerful teaching tool to sensitize business students without business experiences and to educate and train managers in real businesses.  Studying fictions of business can provide insights to often inexperienced business students and new employees with respect to real-life situations.

In each of my 25 chapters I provide a sequential summary of the fictional work, interspersed with some commentary that highlights the managerial, economic, and philosophical implications of the ideas found in the work.  My emphasis is on the business applications of the lessons of particular novels, plays, and films.  This book highlights the lessons that an individual can take from each work and apply to his or her own life.  It is not literary analysis for its own sake.

I do not delve deeply into these novels, plays, and films in order to identify previously-covered and previously-uncovered themes in existing scholarship.  My book is essentially a study guide for people interested in becoming familiar with the major relevant themes in significant works of literature and film.  The book can also serve as a guide for professors who desire to expand their teaching approaches beyond the traditional ones employed in schools of business.

Of course, literary scholars can use my book as a starting point, catalyst, or reference work for their own in-depth scholarly studies of these and other works.  For example, I can envision a number of scholars, from a variety of viewpoints, contributing essays to book collections devoted to different literary works.  One possible collection that readily comes to mind would be devoted to David Mamet’s Glengarry Glen Ross.  Other candidates for potential collections might include Howell’s The Rise of Silas Lapham, Norris’s The Octopus, Dreiser’s The Financer, Cahan’s The Rise of David Levinsky, Lewis’s Babbitt, Miller’s Death of a Salesman, Hawley’s Executive Suite, Lodge’s Nice Work, Sterner’s Other People’s Money, among others.  It would be great if some of the contributing literary scholars to these volumes would come from pro-business, pro-capitalist thinkers such as Paul Cantor, Stephen Cox, Ryan McMaken, Sarah Skwire, Amy Willis, Michelle Vachris, and yourself.  As you know most literary critics are from the left.  Those mentioned above celebrate individualism and freedom in place of collectivism and determinism.

AM:       What can be learned from business fiction?

EY:          Fiction can be used to teach, explicate, and illustrate a wide range of business issues and concepts.  Many fictional works address human problems in business such as managing interpersonal conflict and office politics; using different styles of management; the potential loss of one’s individuality as a person tends to become an “organization man”; the stultifying effect of routine in business; the difficulty in balancing work life and home life; hiring and keeping virtuous employees; maintaining one’s personal integrity while satisfying the company’s demands for loyalty, conformity and adaptation to the firm’s culture; communication problems a business may experience; fundamental moral dilemmas; depersonalization and mechanization of human relationships; and so on.  Fictional works tend to describe human behavior and motivations more eloquently, powerfully, and engagingly than texts, articles, or cases typically do.  Literary authors and filmmakers are likely to develop and present ideas through individual characters.  They depict human insights and interests from the perspective of individuals within an organizational setting.  Reading imaginative literature and watching films are excellent ways to develop critical thinking and to learn about values and character.

Many novels, plays, and films are concerned with the actual operation of the business system.  Some deal directly with business problems such as government regulation, cost control, new product development, labor relations, environmental pollution, health and safety, plant openings and closings, tactics used and selection of takeover targets, structuring financial transactions, succession planning, strategic planning, the creation of mission statements, the company’s role in the community, social responsibility, etc.  Assessing fictional situations makes a person more thoughtful, better prepared for situations, and better able to predict the consequences of alternative actions.  Fiction can address both matters of morality and practical issues.  There are many fine selections in literature and film which prompt readers to wrestle with business situations.

Older novels, plays, and films can supply information on the history of a subject or topic.  They can act as historical references for actual past instances and can help students to understand the reasons for successes and failures of the past.  Older literature can provide a good history lesson and can help people to understand the development of our various businesses and industries.  These stories can be inspiring and motivational and can demonstrate how various organizations and managers were able to overcome obstacles, adapt, and survive.  Fictional works are cultural artifacts from different time periods that can be valuable when discussing the history of business.  Many fictional works present history in a form that is more interesting than when one just reads history books.

Imaginative literature reflects a variety of cultural, social, ethical, political, economic, and philosophical perspectives that have been found in American society.  Various images of businessmen have appeared in fictional works.  These include the businessman as Scrooge-like miser, confidence man, robber baron, hero, superman, technocrat, organization man, small businessman, buffoon, rugged individualist, corporate capitalist, financial capitalist, man of integrity, etc.

AM:       How will your teaching approach change in your Business Through Literature course now that you have published your own book on the subject?

EY:          In the past students in this course have read, analyzed, and discussed novels, plays, and films.  Each student prepared a minimum of 6 short papers (2000 words each) on the assigned works.  Grades were based on these papers and class discussions.

I am experimenting this semester using my book in the class for the first time.  I am requiring each student to take notes on each chapter of the book to help them in bringing up topics for class discussion and in participating in class discussions.  Each student is also required to prepare and turn in three essay questions on each chapter.  These are turned in before each relevant class.  Grades for the class are based on class participation and two essay tests.

AM:       Isn’t the reverse also true that literature students ought to study economics or at least gain an understanding of business from something besides imaginative literature and film, which tend not to portray capitalists in a favorable light?

EY:          It would definitely be beneficial for literature students to study classes in business areas such as management, marketing, accounting, and finance.  It would help them somewhat if they took a course or two in economics.  Unfortunately, almost all college-level economics courses are based on Keynesian economics.  I would encourage anyone who takes such courses to read and study Austrian economics in order to gain a more realistic perspective.

AM:       You’ve written a great deal about Ayn Rand, and the chapter on Atlas Shrugged is the longest one in your book.  Rand can be a divisive figure, even, perhaps especially, among what you might call “libertarians” or “free marketers” or “capitalists” and the like.  But even the people in those categories who reject Objectivism tend to praise Rand’s novels.  What do you make of that, and do you think there’s a lesson there about the novel as a medium for transmitting philosophy?

EY:          I suspect that there are a lot of people like me who value “novels of ideas.”  There have been many good philosophical novels but none have been as brilliantly integrated and unified as Atlas Shrugged.  Rand characterizes grand themes and presents an entire and integrated view of how a man should live his life.  Rand’s great power comes from her ability to unify everything in the novel to form an integrated whole.  The theme and the plot are inextricably integrated.  Rand is a superb practitioner of synthesis and unity whose literary style and subject are organically linked and fused to the content of her philosophy.  She unifies the many aspects of Atlas Shrugged according to the principles of reality.  People from the various schools of “free-market” thought are in accord in promoting an appropriate reality-based social system in which each person is free to strive for his personal flourishing and happiness.

AM:       I want to ask about Henry Hazlitt’s Time Will Run Back, the subject of chapter twelve of your book.  Why do you think this book has not received much attention?  It has been, I’d venture to say, all but forgotten or overlooked by even the most ardent fans of Hazlitt.  Is the book lacking something, or are there other factors at play here?

EY:          Hazlitt’s novel may not be “literary” enough for many people.  However, in my opinion, the author does skillfully use fiction to illustrate his teachings on economics.  I think that the book also has a good story line.  Economics professors tend to shy away from using it in their classes.  Some may be so quantitatively oriented that they cannot envision using a novel to teach economics.  Others may perceive the Austrian economics principles found in Time Will Run Back to not fit in with the Keynesian economics principles found in most textbooks (and of course they are right).

AM:       Thank you again for doing this interview.  All the best in 2014.

Exploring_Capitalist_Fiction Edward W. Younkins. Exploring Capitalist Fiction:  Business Through Literature and Film. Lanham, Maryland: Lexington Books, 2014.

***

Dr. Edward W. Younkins is Professor of Accountancy at Wheeling Jesuit University. He is the author of Capitalism and Commerce: Conceptual Foundations of Free Enterprise [Lexington Books, 2002], Philosophers of Capitalism: Menger, Mises, Rand, and Beyond [Lexington Books, 2005] (See Mr. Stolyarov’s review of this book.), and Flourishing and Happiness in a Free Society: Toward a Synthesis of Aristotelianism, Austrian Economics, and Ayn Rand’s Objectivism [Rowman & Littlefield Pub Incorporated, 2011] (See Mr. Stolyarov’s review of this book.). Many of Dr. Younkins’s essays can be found online at his web page at www.quebecoislibre.org. You can contact Dr. Younkins at younkins@wju.edu.

***

Allen Mendenhall is a writer, attorney, editor, speaker, and literary critic.  As of January 2013, he is a staff attorney for Chief Justice Roy S. Moore of the Supreme Court of Alabama.  He holds a B.A. in English from Furman University, M.A. in English from West Virginia University, J.D. from West Virginia University College of Law, and LL.M. in transnational law from Temple University Beasley School of Law.  He is a Ph.D. candidate at Auburn University, where he received a Graduate Dean Fellowship. He is managing editor of the Southern Literary Review and has been an adjunct legal associate at the Cato Institute as well as a Humane Studies Fellow with the Institute for Humane Studies in Arlington, Virginia.  He is a member of The Philadelphia Society and an associate of The Abbeville Institute and soon will serve as an ambassador for the Foundation for Economic Education (FEE).

He has studied at the University of London (Birkbeck College), the Shakespeare Institute of the University of Birmingham, Centro Universitario Vila Velha, Fundacao Getulio Vargas (Direito Rio), and the Tokyo campus of Temple University Beasley School of Law.

He is the author of over 100 publications in such outlets as law reviews, peer-reviewed journals, magazines, newspapers, literary journals and periodicals, and encyclopedias.  He lives in Auburn, Alabama, with his wife, Giuliana, and son, Noah, and blogs at The Literary Lawyer, The Literary Table, Austrian Economics and Literature, and TheMendenhall.

Review of Edward W. Younkins’s “Exploring Capitalist Fiction” – Article by G. Stolyarov II

Review of Edward W. Younkins’s “Exploring Capitalist Fiction” – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
October 12, 2013
******************************

Exploring Capitalist Fiction, a new volume of literary analysis by Dr. Edward W. Younkins, offers perceptive, relevant, and engaging commentaries on 25 works of fiction which portray the business world and its relationship to all areas of human life. The novels, plays, and films featured in the book span 125 years of literary culture – from The Rise of Silas Lapham (1885) by William Dean Howells to the 2010 Oliver Stone film Wall Street: Money Never Sleeps. This volume offers thorough coverage of both works that portray heroic entrepreneurs and economic liberty in a positive light – such as Ayn Rand’s Atlas Shrugged, Garet Garrett’s The Driver, and Henry Hazlitt’s Time Will Run Back – as well as works that are more critical of the business world – including Edward Bellamy’s Looking Backward, Sinclair Lewis’s Babbitt, Frank Norris’s The Octopus, and the Wall Street films. In each of his essays, Younkins provides a sequential summary of the fictional work, interspersed with commentary that highlights the philosophical and economic implications of major elements and integrates them with the historical context of the time period in which the work takes place.

Younkins is to be commended for emphasizing the value of fiction as a teaching tool for both students of business and individuals immersed in the business world. A thorough reading of the book’s Conclusion is highly recommended for attaining an understanding of the unique ability of fiction to communicate memorable lessons rooted in specific, richly detailed situations which render the conflicts, dilemmas, and options faced by individuals in the business world more palpable and engaging than would a sole reliance on lectures, case studies, and outlines of business and economic concepts. In addition, the Conclusion offers a fast-paced chronological overview of many more fictional works which address business themes and which have made their mark on the world of artistic culture.

As with his previous volumes, where Dr. Younkins provided integrated presentations of the thoughts of great philosophers and economists throughout the centuries, this book provides a refreshing focus on human flourishing and the application of the lessons of particular novels, plays, and films toward the improvement of both one’s own condition and the degree of prosperity found in the broader economy. This is not literary analysis for its own sake, but rather a book that highlights the lessons an individual can take from each great work and apply to his or her own life.

Younkins combines his support for free markets, entrepreneurial innovation, individualism, reason, and moral responsibility with an ability to point out the many valuable insights in those works which criticize capitalism as conventionally understood. He utilizes the insights of Austrian economics and his extensive knowledge of economic history to show how the bleak portrayals of businessmen and the business world in these books stem from the consequences of situations where the principles of honest free commerce and individual rights were violated. When critics of capitalism express their objections through fiction, they inevitably portray situations where fraud, corruption, morally questionable manipulation, corporatist special privileges, thoughtless conformity, and zero-sum thinking are involved. All of these are indeed negative attributes from the standpoints of free markets and rational philosophy as well, and Younkins’s analysis shows that the works of the critics do make valid points – provided that one understands that the system they are criticizing is the one that has actually prevailed in the Western world over the past century. This is the system which mixes aspects of capitalist free enterprise with significant aspects of corporatist cronyism as well as central planning. It is a system quite different from the free-market capitalism advocated by Henry Hazlitt, Garet Garrett, and Ayn Rand. Indeed, in Atlas Shrugged, the protagonists go on strike precisely against this sort of cronyist system, though one that is farther-gone than our own. In Tucker: The Man and His Dream, an excellent movie to which Younkins devotes  a chapter, this is also the system which attempts to suppress a genuine forward-thinking capitalist innovator, Preston Tucker, through the use of political force, motivated by the lobbying of the staid Big Three automobile companies.

For readers of all persuasions, Exploring Capitalist Fiction is an excellent means to appreciate the richness and variety of fictional portrayals of business, especially since the Second Industrial Revolution of the late 19th century. The book offers a concise introduction to many works and endeavors to motivate readers to seek out and experience the original novels, plays, and films. Hopefully, it will inspire many people to explore these great works of fiction, as it has already inspired me on multiple occasions.

Disclosure: The author received a free copy of the book in advance of publication.

Bookstore Wars: Creativity versus Scale – Article by Sanford Ikeda

Bookstore Wars: Creativity versus Scale – Article by Sanford Ikeda

The New Renaissance Hat
Sanford Ikeda
August 22, 2013
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Independent bookstores appear to be making a comeback after several years of decline. As reported by MSNBC, the number of independent bookstores has risen significantly.

Some 1,000 independent bookstores went out of business between 2000 and 2007, according to the American Booksellers Association (ABA), as consumers turned to online buying, downloading e-books, or flocking to Barnes & Noble and (now defunct) Borders. But the ABA said that since 2009, the number of independent bookstores has risen 19 percent, to 1,971.

If my arithmetic is right, that still means the industry hasn’t rebounded to where it was in 2000 (about 2,600 stores), but it’s not bad. Meanwhile e-book sales, which had been rising at triple-digit rates, have evidently lost a bit of steam, last year growing at about 5 percent overall.

These facts perhaps illustrate two important lessons:  First, the scale of a business’s operations is not the same thing as its competitiveness; and second, the kind of competition that counts in free markets has much less to do with efficiency than with creativity.  Selling books and digital media in massive volume seems to make firms sluggish in addressing customer preferences for more personalized service and responsiveness.

Efficiency and Scale Are Important

Free-market economists are typically painted by friends and foes alike as cheerleaders for efficiency. Indeed, many economists do tout efficiency as the prime virtue of the free market, keeping prices low and employment high. In standard economics, efficiency refers to using the lowest-cost means to reach a given end.

If Jack is in New York and wants to be in Philadelphia, then among the alternative means available to him—walking, boating, flying, driving, or taking the train—efficiency implies that Jack chooses the one that minimizes the cost to him of getting to Philadelphia. In manufacturing, the production process that, other things equal, produces a given rate of output at the lowest cost is the efficient one.

(Note:  Cost, like benefit, always refers to the cost to someone of doing something.  Sometimes the chooser experiences the costs, sometimes someone else does, but neither costs nor benefits are ever disembodied.)

One form of efficiency is economies of scale. Economies of scale occur when using more of all inputs (scaling up) increases output so much that the cost per unit of output falls. (In econ-speak that’s when the long-run average-cost curve slopes downward.) Critics pick up on this and argue that the free market therefore necessarily favors big businesses over small businesses because the bigger a firm is, the more efficient in terms of unit costs it tend to be, and that allows it to charge lower prices and drive smaller firms out of the market.

But Not as Important as Competition

That story, however, only looks at the relative efficiencies of existing firms and markets. If the fundamental goal is to improve the well-being of people as they see it, then you have to pay more attention to competition, particularly entrepreneurial competition. In that sense, competition trumps efficiency (as Israel M. Kirzner has explained).

That’s because, again, efficiency means choosing from among given alternatives the one that achieves a given goal at the lowest cost. Where the standard economic concept of efficiency falls short is that in the real world neither ends nor means are simply given to anyone. Ends and means, outputs and inputs, have at some point to be discovered by someone. Yes, efficiency is a good thing, like having a clean and orderly workplace, but it’s entrepreneurship in the competitive process that does the heavy lifting of finding the work to be done and putting you in a position to do it.

The resurgence of independent bookshops in the face of book megastores, I think, is an example of how creative competition overcomes the scale efficiency of providing a particular product. There’s nothing inherently wrong or uncompetitive about megastores or inherently virtuous about small businesses. Big and small businesses have their niches, whether online or in brick-and-mortar shops. But central to the competitive process is the ability, whatever your size, to be aware of changing circumstances and to adjust appropriately to them. The MSNBC article quotes an independent bookseller as saying, “We learned how to get books that people couldn’t find online, and to cater as much as we could to the customer. When a customer walks in, we try to make them feel wanted and at home.”

Scale economies in both the online and brick-and-mortar parts of the industry do little to win over customers who prefer personalized service or the intangibles of local businesses. Independent bookstores are more flexible, for example, at staging readings of local authors and other neighborhood events. The giant bookseller Borders Books, one of the pioneers of book retailing, apparently didn’t do a good job adjusting and closed a couple of years ago (I wrote about it here). Today Barnes & Noble scrambles to cope with competition from the e-book, Amazon.com, and, it seems, local bookshops.

While the diminished growth of e-book sales is hardly a harbinger of decline—5 percent is nothing to sneeze at—it does suggest that sometimes the demand side of the market doesn’t change quite as fast as the supply side—that is, a lot of innovation is just discovering better ways to satisfy fairly stable tastes. Still, it’s competition—for new markets, new techniques, new resources, and yes, new tastes—and not efficiency that drives, and is driven by, the creative discovery of ends and of means.

The Lesson Applied

The other day a friend told me that, when she told her fiancé she couldn’t understand why a mildly alcoholic beverage called “Chu-hi,” which is very popular in Japan, isn’t sold in stores here, his response was something like, “If there were a demand for it, it would be.” Knowing that I write this column she then said to me, “That’s the free market, right?”

Okay, class, what do you say?

Sanford Ikeda is an associate professor of economics at Purchase College, SUNY, and the author of The Dynamics of the Mixed Economy: Toward a Theory of Interventionism.
***
This article was originally published by The Foundation for Economic Education.
The Eyes Watching You: “1984” and the Surveillance State – Article by Sarah Skwire

The Eyes Watching You: “1984” and the Surveillance State – Article by Sarah Skwire

The New Renaissance Hat
Sarah Skwire
June 19, 2013
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George Orwell. 1984. New York: Plume, [1949] 2003. 323 pages.

In the kind of horrifying coincidence that surely would have prompted one of his more acerbic essays, the news that various U.S. government surveillance agencies have been gathering data from millions of citizens’ phones, email accounts, and web searches broke during the week of the 64th publication anniversary of George Orwell’s 1984. As the news reports poured in, and as sales of 1984 surged by an astonishing 6,884 percent, a friend asked me whether the PRISM story strikes me as more Orwellian or more Kafkaesque.

My response? We’d better hope it’s Kafkaesque.

No one wants to inhabit a Franz Kafka novel. But the surveillance states he describes do have one thing going for them—incompetence. In Kafka’s stories, important forms get lost, permits are unattainable, and bureaucrats fail to do their jobs. Like the main character in Kafka’s unfinished story, “The Castle,” if you were trapped in Kafka’s world you could live your whole life doing nothing but waiting for a permit. But at least you could live. Incompetence creates a little space.

What is terrifying about Orwell’s 1984 is the complete competence of the surveillance state. Winston Smith begins the novel by believing he is in an awful, but Kafkaesque world where there is still some slippage in the state’s absolute control, and still some room for private action. Winston says that Oceania’s world of telescreens and Thought Police means that there are “always the eyes watching you and the voice enveloping you. Asleep or awake, working or eating, indoors or out of doors, in the bath or in bed—no escape.” But he follows that by saying, “Nothing was your own except the few cubic centimeters inside your skull.” He also believes that while the diary he keeps will inevitably be discovered, the small alcove in his apartment where he writes his diary puts him “out of the range of the telescreen.”

The feeling that some tiny space for private thought and action can be found leads Winston into his relationship with Julia. Though they know they will inevitably be discovered, Winston and Julia believe that, for a time, their relationship and their meeting place will remain secret. They could not be more wrong.

One day after making love to Julia in their clandestine room, Winston, prompted by a singing thrush and a singing prole woman who is doing laundry, has a vision of a future that “belongs to the proles.”

The birds sang, the proles sang. The Party did not sing. All round the world, in London and New York, in Africa and Brazil, and in the mysterious, forbidden lands beyond the frontiers, in the streets of Paris and Berlin, in the villages of the endless Russian plain, in the bazaars of China and Japan—everywhere stood the same solid unconquerable figure, made monstrous by work and childbearing, toiling from birth to death and still singing. Out of those mighty loins a race of conscious beings must one day come. You were the dead; theirs was the future. But you could share in that future if you kept alive the mind as they kept alive the body.

 

In this very moment, just as Winston comes alive to what feels like hope and possibility and the dream of some kind of a future for humankind, the telescreen that has been hidden in the room all along speaks to Winston and Julia. The Thought Police break down the door. The couple is taken off to be imprisoned, tortured, and broken.

There has never been any private space for Winston or Julia—not in their “secret” meeting places, not in their sexual rebellion, not even in the few cubic centimeters inside their skulls. “For seven years the Thought Police had watched him like a beetle under a magnifying glass. There was no physical act, no word spoken aloud, that they had not noticed, no train of thought that they had not been able to infer.” Winston should have taken more seriously the description of Oceania he read in the forbidden book The Theory and Practice of Oligarchical Collectivism, by Emmanuel Goldstein:

A Party member lives from birth to death under the eye of the Thought Police. Even when he is alone he can never be sure that he is alone. Wherever he may be, asleep or awake, working or resting, in his bath or in bed, he can be inspected without warning and without knowing that he is being inspected. Nothing that he does is indifferent. His friendships, his relaxations, his behaviour towards his wife and children, the expression of his face when he is alone, the words he mutters in sleep, even the characteristic movements of his body, are all jealously scrutinized. Not only any actual misdemeanour, but any eccentricity, however small, any change of habits, any nervous mannerism that could possibly be the symptom of an inner struggle, is certain to be detected.
***

The Orwellian surveillance state is terrifying not because—as in Kafka—you might be arrested because of a rumor or a mistake, or because despite your innocence you might be caught in the surveillance state’s unnavigable maze. It is terrifying because it never makes mistakes. It does not need to listen to rumors. And it knows that no one is ever innocent.

Sarah Skwire is a fellow at Liberty Fund, Inc. She is a poet and author of the writing textbook Writing with a Thesis.

This article was originally published by The Foundation for Economic Education.

 

The Best Novels and Plays about Business: Results of a Survey – Article by Edward W. Younkins

The Best Novels and Plays about Business: Results of a Survey – Article by Edward W. Younkins

The New Renaissance Hat
Edward W. Younkins
May 10, 2013
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My Koch Research Fellows, Jomana Krupinski and Kaitlyn Pytlak, and I conducted a survey of 250 Business and Economics professors and 250 English and Literature professors. Colleges and universities were randomly selected and then professors from the relevant departments were also randomly selected to receive our email survey. They were asked to list and rank from 1 to 10 what they considered to be the best novels and plays about business. We did not attempt to define the word “best”,  leaving that decision to each respondent. We obtained sixty-nine usable responses from Business and Economics professors and fifty-one from English and Literature professors. A list of fifty choices was given to each respondent and an opportunity was presented to vote for works not on the list. When tabulating the results, ten points were given to a novel or play in a respondent’s first position, nine points were assigned to a work in the second position, and so on, down to the tenth listed work, which was allotted one point. The table below presents the top twenty-five novels and plays for each group of professors. Interestingly, fifteen works made both top-25 lists. These are noted in bold type.
***

The Best Novels and Plays about Business

Business and Economics Professors
Points
English and Literature Professors
Points
1.   Atlas Shrugged, Ayn Rand
457
1.   Death of a Salesman, Arthur Miller
282
2.   The Fountainhead, Ayn Rand
297
2.   Bartleby: The Scrivener, Herman Melville
259
3.   The Great Gatsby, F. Scott Fitzgerald
216
3.   The Great Gatsby, F. Scott Fitzgerald
231
4.   Death of a Salesman, Arthur Miller
164
4.   The Jungle, Upton Sinclair
143
5.   Time Will Run Back, Henry Hazlitt
145
5.   Babbitt, Sinclair Lewis
126
6.   The Jungle, Upton Sinclair
136
6.   Glengarry Glen Ross, David Mamet
121
7.   The Gilded Age, Mark Twain and Charles Dudley Warner
95
7.   The Rise of Silas Lapham, William Dean Howells
98
8.   Glengarry Glen Ross, David Mamet
89
8.   American Pastoral, Philip Roth
85
9.   God Bless You, Mr. Rosewater, Kurt Vonnegut, Jr.
57
9.   The Confidence Man, Herman Melville
75
10. Other People’s Money, Jerry Sterner
57
10. The Fountainhead, Ayn Rand
75
11. Bartleby: The Scrivener, Herman Melville
55
11. A Hazard of New Fortunes, William Dean Howells
66
12. A Man in Full, Tom Wolfe
48
12. The Octopus, Frank Norris
65
13. Babbitt, Sinclair Lewis
47
13. Atlas Shrugged, Ayn Rand
62
14. The Man in the Gray Flannel Suit, Sloan Wilson
43
14. Nice Work, David Lodge
62
15. Rabbit is Rich, John Updike
41
15. The Big Money, John Dos Passos
59
16. Major Barbara, George Bernard Shaw
39
16. The Gilded Age, Mark Twain and Charles Dudley Marner
58
17. Dombey and Son, Charles Dickens
33
17. Rabbit is Rich, John Updike
55
18. The Goal, Eliyahu M. Goldratt
33
18. Seize the Day, Saul Bellow
55
19. The Driver, Garet Garrett
32
19. Mildred Pierce, James M. Gain
54
20. Executive Suite, Cameron Hawley
32
20. The Financier, Theodore Dreiser
53
21. The Way We Live Now, Anthony Trollope
32
21. Dombey and Son, Charles Dickens
51
22. American Pastoral, Philip Roth
29
22. Sometimes a Great Notion, Ken Kesey
45
23. The Octopus, Frank Norris
29
23. The Last Tycoon, F. Scott Fitzgerald
44
24. Sometimes a Great Notion, Ken Kesey
28
24. The Moviegoer, Walker Percy
43
25. North and South, Elizabeth Gaskell
27
25. God Bless You, Mr. Rosewater, Kurt Vonnegut, Jr.
39

 

Dr. Edward W. Younkins is Professor of Accountancy at Wheeling Jesuit University. He is the author of Capitalism and Commerce: Conceptual Foundations of Free Enterprise [Lexington Books, 2002], Philosophers of Capitalism: Menger, Mises, Rand, and Beyond [Lexington Books, 2005] (See Mr. Stolyarov’s review of this book.), and Flourishing and Happiness in a Free Society: Toward a Synthesis of Aristotelianism, Austrian Economics, and Ayn Rand’s Objectivism [Rowman & Littlefield Pub Incorporated, 2011] (See Mr. Stolyarov’s review of this book.). Many of Dr. Younkins’s essays can be found online at his web page at www.quebecoislibre.org. You can contact Dr. Younkins at younkins@wju.edu