All posts by Michael

Essays, Humanities

The Humanities: ‘We Are Mythmaking Creatures’

OXFORD UNIVERSITY PRESS BLOG (February 9, 2025): Many of us feel disconnected, from ourselves, from others, from nature. We feel fragmented. But where are we to find a cure to our fragmentation? And how can we satisfy our longing for wholeness? The German and British romantics had a surprising answer: through mythology.

The romantics believed that in modern times we’ve forgotten something essential about ourselves. We’ve forgotten that we are mythmaking creatures, that the weaving of stories and the creation of symbols lies deep in our nature.

Today, we view myths as vestiges of a bygone era; products of a time when humanity lived in a state of childlike ignorance, lacking science and technology and the powers of rational reflection. William Blake (1757–1827) rejected this bias against mythology, as did Friedrich Schlegel (1772–1829), Samuel Taylor Coleridge (1772–1834), Friedrich von Hardenberg (1772–1801), and John Keats (1795–1821), among others. They claimed that the worldview we now inhabit is a mythology of its own.

Here are four ways the romantics worked to address them:

1. Reinterpretation. Ancient myths are complex, even confusing, and their meaning is always open to interpretation and reworking.

Shelley’s play Prometheus Unbound is not a simple retelling of a classic myth. He reinvests the story with new meaning by positioning Prometheus as a symbol of humanity who struggles against Jupiter, a symbol of inhumanity. The old myth then acquires fresh significance; it becomes applicable to our modern yearning for community and connection with nature.

2. Reconciliation. The human mind abounds in dualities that can intensify feelings of separation; myths allow us to extend our minds beyond these dualities, thereby instilling feelings of unity.

Blake writes about how the mind creates contraries, such as “reason” and “feeling,” “man” and “woman,” “heaven” and “hell.” His literary and visual work afford us the opportunity to see that these oppositions are not absolute; they are two sides of a whole. A new poetic mythology can allow us to intuit this; it can open the “doors of perception” in ways that allow us to see the unity of the spiritual and the sensual.

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Owen Ware is Professor of Philosophy at the University of Toronto. He is the author of Return of the Gods (OUP, 2025), Fichte’s Moral Philosophy (OUP, 2020), Kant’s Justification of Ethics (OUP, 2021), Kant on Freedom (CUP, 2023), Indian Philosophy and Yoga in Germany (Routledge, 2024), and the co-editor of Fichte’s System of Ethics: A Critical Guide (CUP, 2021).

Essays, Foreign Affairs, Politics

Foreign Affairs Essay: ‘The Post-Neoliberal Delusion’

FOREIGN AFFAIRS MAGAZINE (February 10, 2025): Although there are many explanations for Donald Trump’s victory in the 2024 U.S. presidential election, voters’ views of the U.S. economy may have been decisive. In polling shortly before the election, more than 60 percent of voters in swing states agreed with the idea that the economy was on the wrong track, and even higher numbers registered concern about the cost of living. In exit polls, 75 percent of voters agreed that inflation was a “hardship.”

These views may seem surprising given various economic indicators at the time of the election. After all, unemployment was low, inflation had come down, GDP growth was strong, and wages were rising faster than prices. But these figures largely missed the lasting effects that dramatic price increases had on many Americans, which made it harder for them to pay for groceries, pay off credit cards, and buy homes. Not entirely unreasonably, they blamed that squarely on the Biden administration.

Biden arrived in office in 2021 with what he understood as an economic mandate to “Build Back Better.” The United States had not yet fully reopened after nearly a year of restrictions necessitated by the COVID-19 pandemic, which had suppressed activity in the service sector. Biden set out to restructure the country’s post-pandemic economy based on a muscular new approach to governing. Since the 1990s, Democratic economic policy had largely been shaped by a technocratic approach, derided by its critics as “neoliberalism,” that included respect for markets, enthusiasm for trade liberalization and expanded social welfare protections, and an aversion to industrial policy. By contrast, the Biden team expressed much more ambition: to spend more, to do more to reshape particular industries, and to rely less on market mechanisms to deal with problems such as climate change. Thus, the administration set out to bring back vigorous government involvement across the economy, including in such areas as public investment, antitrust enforcement, and worker protections; revive large-scale industrial policy; and support enormous injections of direct economic stimulus, even if it entailed unprecedented deficits. The administration eventually came to dub this approach “Bidenomics.”

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JASON FURMAN is Aetna Professor of the Practice of Economic Policy at Harvard University. He was Chair of the White House Council of Economic Advisers from 2013 to 2017.

Magazines, Publishing, Reviews

‘The Editorial Battles That Made The New Yorker’

THE NEW YORKER MAGAZINE (February 10, 2025): Harold Wallace Ross, who founded The New Yorker a century ago, had a rule that no one should ever write about writers, because writers are boring, except to other writers, and he figured the same was true about editors—only it was more true, because no one should even know an editor’s name. That didn’t stop William Shawn, who became the editor of the magazine after Ross’s death, in 1951, from naming one of his kids Wallace, for Ross. It didn’t stop Ann Beattie from naming her car Roger, for her New Yorker editor, Roger Angell. And for all I know there are Chihuahuas and nieces and motorcycles at large named Bob Gottlieb, the magazine’s editor from 1987 to 1992; Lady Evans, the titled name of Tina Brown, its editor from 1992 to 1998; and D.R., for David Remnick, its editor since then. (I once had a tuxedo cat named Shaun, with a “u,” but that came from “Finnegans Wake” and doesn’t count.)

Most editors remain unsung. To be unknown is, ordinarily, to be underestimated. “The only great argument I have against writers, generally speaking, is that many of them deny the function of an editor, and I claim editors are important,” Ross once wrote. For him, editors were worth more than writers in the way that a great batting coach was worth more than a great batter. “Writers are a dime a dozen,” Ross told James Thurber. “What I want is an editor.” Writers were children; editors were adults. “I can’t find editors,” Ross fumed. “Nobody grows up.” (The magazine’s editorial director, Henry Finder, once said of Remnick, “I think he regards the editor’s job as being not crazy,” while, on the other hand, “the writer’s prerogative is to be, perhaps, a little crazy.”) Ross also found it useful—and this was a pretty clever trick—to tell writers who balked at being edited that the more they argued with an editor, the less worthy they were of being published. “The worse the writer is, the more argument; that is the rule,” he informed one very quarrelsome contributor. Stating this rule was an exceptionally effective way of getting a writer to pipe down. Then, too: it happens to be true. (I promise that my editor did not write that last sentence—he doesn’t even agree with it.)

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Addictions, Behavior, Essays, Opinion

Opinion Essay: ‘The Price We Pay Betting On Sports’

THE NEW YORK TIMES (February 9, 2025); By Carl Erik Fisher

When we think about any addiction, we tend to focus on people who are utterly consumed by it — those whose lives are visibly falling apart. Yet gambling challenges our usual assumptions about addiction and risk, as its harms extend far beyond the most severe cases.

Consider a young man from my therapy practice, a former college athlete, who isn’t bankrupt or in crisis but feels stuck in a cycle of unhealthy online sports betting. He repeatedly deletes the betting app from his phone, only to reinstall it days later at the prompting of a well-timed email, a group bet with friends or simply the ads plastered across every sports arena. He does fine at work and mostly keeps to the dollar limits he sets, but his internal preoccupation, restlessness and chasing of losses just feel bad. He wouldn’t call himself addicted, but he doesn’t feel healthy, either. At the very least, he has the creeping sense that he’d feel better if he put his attention and energy toward something more meaningful.

Serious gambling addiction is devastating. Beyond financial ruin, it increases the risk of physical health problems, domestic violence and family rupture. Every year, 2.5 million American adults suffer from severe gambling problems. Many suffer invisibly, silently wagering away their lives on cellphones, perhaps in the very same room as their family and friends.

These severe cases demand attention, but focusing only on them obscures something important. As a physician and someone in recovery from alcohol and stimulant addiction myself, I’m concerned by how we have been conditioned to see addiction in all-or-nothing terms. Beyond the millions of Americans who meet the criteria for gambling disorder, five million to eight million more have a mild to moderate gambling problem that still affects their lives — like my patient. Since the federal ban on sports betting was struck down in 2018, sports gambling in the United States has exploded, with annual wagers now approaching $150 billion.

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Dr. Fisher is an addiction physician and bioethicist at Columbia University. He’s the author of “The Urge: Our History of Addiction.”

Book Reviews, Culture, Reviews, The Arts

“Leonardo Da Vinci – An Untraceable Life” (2025)

THE WALL STREET JOURNAL (February 7, 2025): The portrait of Mona Lisa by Leonardo da Vinci, more exactly the portrait of one Lisa Gherardini, was executed by fits and starts very early in the 16th century. By now it has been seen by billions of people and is regarded as a painting like no other. Many visitors to the Louvre, where the “Mona Lisa” is displayed, must surely go only to see what all the fuss is about.

Some people feel that the sitter’s beauty is perfect, others that her looks are nothing special. There are those who say, thinking perhaps of Nat King Cole’s charming song, that her smile is enigmatic. But a smile without a known reason is scarcely an enigma, a puzzle to be solved. What is enigmatic is the extent of Mona Lisa’s stardom.

Whatever its source, the aura surrounding the “Mona Lisa”—in addition to bringing millions of admission-paying visitors to the Louvre each year—has contributed to the pop superstardom of the painting’s creator. Leonardo is everywhere. The proliferation of biographies and videos, the ill-researched journalism, the pseudo-historical claims, the blockbuster shows, the promotion of newly touted works that may just possibly be unknown Leonardo pieces—all this is the subject of Stephen Campbell’s “Leonardo da Vinci: An Untraceable Life.”

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Book Reviews, Social Media, Technology

Book Reviews: ‘How Big Tech Mined Our Attention And Broke Our Politics’

THE NEW YORK TIMES BOOK REVIEW , February 9, 2025 Issue (By Jennifer Szalai)

On April 15, 1912, shortly after the Titanic collided with an iceberg off the coast of Newfoundland, the ship’s radio operator issued a distress call — a formidable display of the power of the radio, a new technology. But a lack of regulation in the United States meant that a cascade of amateur radio messages clogged the airwaves with speculation and rumors, and official transmissions had a hard time getting through. It was an early-20th-century form of information overload. “The false reports sowed confusion among would-be rescuers,” Nicholas Carr writes in “Superbloom.” “Fifteen hundred people died.”

SUPERBLOOM: How Technologies of Connection Tear Us Apart, by Nicholas Carr

THE SIRENS’ CALL: How Attention Became the World’s Most Endangered Resource, by Chris Hayes

Carr has been sounding the alarm over new information technology for years, most famously in “The Shallows” (2010), in which he warned about what the internet was doing to our brains. “Superbloom” is an extension of his jeremiad into the social media era.

Carr’s new book happens to be published the same day as “The Sirens’ Call,” by the MSNBC host Chris Hayes, which traces how big tech has made enormous profits and transformed our politics by harvesting our attention. Both authors argue that something fundamental to us, as humans, is being exploited for inhuman ends. We are primed to seek out new information; yet our relentless curiosity makes us ill equipped for the infinite scroll of the information age, which we indulge in to our detriment.

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Culture, Essays, Opinion, Social Media

‘Americans Are Trapped In An Algorithmic Cage’

THE ATLANTIC MAGAZINE (February 7, 2025): Shortly before President George W. Bush was reelected, in 2004, an anonymous Bush-administration source told The New York Times, “We’re an empire now, and when we act, we create our own reality.” Those in what the adviser called “the reality-based community” would be left “studying that reality—judiciously, as you will.” Then “we’ll act again, creating other new realities, which you can study too, and that’s how things will sort out.”

The private companies in control of social-media networks possess an unprecedented ability to manipulate and control the populace.

Arrogant as this declaration was, I now wonder whether it was merely premature. Although Bush won the 2004 election, reality came crashing down rather rapidly—Bush’s agenda failed in Congress, the American people came to view the war in Iraq as needless folly, Republicans lost control of Congress in 2006, and the economy tumbled into the Great Recession in 2008, after which Democrats recaptured control of the White House.

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History, Literary Journals, Reviews

Hemingway & Ford Madox Ford’s ‘Paris Journal’

LIT HUB (February 7, 2025): In November 1923, Ford Madox Ford, “like everyone else in Paris,” was sick with flu. Yet he was optimistic. He dashed off letters from a typewriter set on “a table across my bed.” In 1908, Ford founded The English Review, and edited its first fifteen issues. Now, as he wrote his daughter, he was “at my old game of starting reviews” again.

The Transatlantic Review had an almost preternatural birth. Paris “gyrated, seethed, clamoured, roared with the Arts. Painters, novelists, poets, composers, sculptors, batik-designers, decorators, even advanced photographers, so crowded the boulevards that you could not see the tree-trunks.” Ford had a “vague sense rather than an idea” of what to do about this “immense seething cauldron” of artists, who “bubbled and overflowed,” but lacked a practical vision. His brother Oliver suggested a magazine. (The original name of the magazine was to be the Paris Review. The name was switched because the first serial advertisement was from Compagnie Transatlantique.)

Ford soon promised H.G. Wells that the first issue of his new magazine, to be published in January 1924, would be better than the inaugural edition of The English Review, which boasted work from Thomas Hardy, Henry James, and Joseph Conrad. Ford hoped that the magazine would “[widen] the field in which the younger writers of the day can find publication.”

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Book Reviews, History

History Book Reviews: “A Century Of Tomorrows” – The Story Of Futurology

THE NEW YORK REVIEW OF BOOKS (February 7, 2025): Invited to compose a message for posterity to be buried in a time capsule at the 1939 New York World’s Fair and opened five thousand years later, Albert Einstein sounded a dour tone: “Anyone who thinks about the future must live in fear and terror.”

A Century of Tomorrows: How Imagining the Future Shapes the Present by Glenn Adamson

His gloom must have disappointed the sponsor, the Westinghouse Electric Corporation, which was promoting the fair’s theme, “The World of Tomorrow,” alongside other paragons of American industry. The Ford Motor Company featured the road of tomorrow, the Borden Dairy Company had the dairy world of tomorrow, and, most popular of all, General Motors presented Futurama, where visitors lined up for an eighteen-minute ride on a conveyer belt across an imagined landscape said to represent the marvels to come in the year 1960. Life magazine said it was “full of a tanned and vigorous people, who in twenty years have learned to have fun.” As they left, each visitor received a badge that read, “I have seen the future.” They really hadn’t.

Einstein was thinking about the looming war, of course, as was Thomas Mann, whose time capsule message was, “We know now that the idea of the future as a ‘better world’ was a fallacy of the doctrine of progress.” 

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Education, Essays, Publishing

Essay: ‘This Is A Golden Age For University Presses’

THE CHRONICLE OF HIGHER EDUCATION (February 7, 2025): As part of my freelance work with Kent State University Press, I’m spending some of this winter drumming up awareness of Ghosts of an Old Forest, by Deborah Fleming, a retired professor of English at Ashland University. It’s a task made considerably easier by the success of Fleming’s previous book, also with Kent State. Resurrection of the Wild won the 2020 PEN/Diamonstein-Spielvogel Award for the Art of the Essay, judged that year by Jelani Cobb, Daniel Menaker, and Judith Thurman.

Those are marquee names, and my Kent State colleagues got to celebrate at a ceremony emceed by Seth Meyers — not the kind of thing most readers typically associate with university-press publishing. But Kent State is not alone in its success, even among its small cohort of university presses in Ohio. Last fall the tiny University of Akron Press had the winner of the National Book Award for poetry with Lena Khalaf Tuffaha’s Something About Living. (That ceremony was overseen by Kate McKinnon.) Ohio State University Press had a National Book Award finalist in the highly competitive nonfiction category back in 2020 with How to Make a Slave and Other Essays, by Emerson College’s Jerald Walter. Just in one state, the list of nationally recognized books from university presses is impressive. Expand out and you get much more, including Percival Everett’s Erasure, the inspiration for the Oscar-nominated movie American Fiction. It was originally published by the University Press of New England. Imagine the world without these books.

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