Allen Porter Mendenhall

Posts Tagged ‘Austrian Economics and Literature’

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Book Review: Paul Cantor and Stephen Cox’s Literature and the Economics of Liberty

In Law-and-Literature, Humane Economy, Literary Theory & Criticism, Book Reviews, Politics, Arts & Letters, Libertarianism, Austrian Economics, Western Civilization, History, Novels, Economics, Conservatism, Communism, Humanities, Liberalism, Fiction, Literature, Essays, Philosophy, Western Philosophy on January 23, 2012 at 4:53 am

Allen Mendenhall

The following book review originally appeared here in the Fall 2010 issue of The Independent Review.

Humans are not automated and predictable, but beautifully complex and spontaneous. History is not linear. Progress is not inevitable. Our world is strangely intertextual and multivocal. It is irreducible to trite summaries and easy answers, despite what our semiliterate politicians would have us believe. Thinking in terms of free-market economics allows us to appreciate the complicated dynamics of human behavior while making sense of the ambiguities leading to and following from that behavior. With these realities in mind, I applaud Paul Cantor and Stephen Cox for compiling the timely collection Literature and the Economics of Liberty, which places imaginative literature in conversation with Austrian economic theory.

Cantor and Cox celebrate the manifold intricacies of the market, which, contrary to popular opinion, is neither perfect nor evil, but a proven catalyst for social happiness and well-being. They do not recycle tired attacks on Marxist approaches to literature: they reject the “return to aesthetics” slogans of critics such as Allan Bloom, Harold Bloom, and John M. Ellis, and they adopt the principles, insights, and paradigms of the Austrian school of economics. Nor do Cantor and Cox merely invert the privilege of the terms Marxist and capitalist (please excuse my resort to Derridean vocabulary), although they do suggest that one might easily turn “the tables on Marxism” by applying “its technique of ideology critique to socialist authors, questioning whether they have dubious motives for attacking capitalism.” Cantor and Cox are surprisingly the first critics to look to Austrian economics for literary purposes, and their groundbreaking efforts are sure to ruffle a few feathers—but also to reach audiences who otherwise might not have heard of Austrian economics.

Cantor and Cox submit that the Austrian school offers “the most humane form of economics we know, and the most philosophically informed.” They acknowledge that this school is heterodox and wide ranging, which, they say, are good things. By turning to economics in general, the various contributors to this book—five in all—suggest that literature is not created in a vacuum but rather informs and is informed by the so-called real world. By turning to Austrian economics in particular, the contributors seek to secure a place for freedom and liberty in the understanding of culture. The trouble with contemporary literary theory, for them, lies not with economic approaches, but with bad economic approaches. An economic methodology of literary theory is useful and incisive so long as it pivots on sound philosophies and not on obsolete or destructive ideologies. Austrian economics appreciates the complexity and nuance of human behavior. It avoids classifying individuals as cookiecutter caricatures. It champions a humane-economy counter to mechanistic massproduction, central planning, and collectivism. Marxism, in contrast, is collectivist, predictable, monolithic, impersonal, linear, reductive–in short, wholly inadequate as an instrument for good in an age in which, quite frankly, we know better than to reduce the variety of human experience to simplistic formulae. A person’s creative and intellectual energies are never completely products of culture or otherwise culturally underwritten. People are rational agents who choose between different courses of action based on their reason, knowledge, and experience. A person’s choices, for better or worse, affect lives, circumstances, and communities. (“Ideas have consequences,” as Richard Weaver famously remarked.) And communities themselves consist of multiplicities that defy simple labels. It is not insignificant, in light of these principles, that Michel Foucault late in his career instructed his students to read the collected works of Ludwig von Mises and F. A. Hayek. Read the rest of this entry »

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Transnational Law: An Essay in Definition with a Polemic Addendum

In Arts & Letters, Austrian Economics, Economics, Humane Economy, Humanities, Jurisprudence, Law, Law-and-Literature, Libertarianism, Literary Theory & Criticism, Rhetoric & Communication, Transnational Law on May 24, 2011 at 8:56 pm

Allen Mendenhall

The Libertarian Alliance (London, U.K.) has published my article “Transnational Law: An Essay in Definition with a Polemic Addendum.”  View the article here, or download it from SSRN by clicking here.  I have pasted the abstract below:

What is transnational law? Various procedures and theories have emanated from this slippery signifier, but in general academics and legal practitioners who use the term have settled on certain common meanings for it. My purpose in this article is not to disrupt but to clarify these meanings by turning to literary theory and criticism that regularly address transnationality. Cultural and postcolonial studies are the particular strains of literary theory and criticism to which I will attend. To review “transnational law,” examining its literary inertia and significations, is the objective of this article, which does not purport to settle the matter of denotation. Rather, this article is an essay in definition, a quest for etymological precision. Its take on transnationalism will rely not so much on works of literature (novels, plays, poems, drama, and so forth) but on works of literary theory and criticism. It will reference literary critics as wide-ranging as George Orwell, Kenneth Burke, and Edward Said. It will explore the “trans” prefix as a supplantation of the “post” prefix. The first section of this article, “Nationalism,” will examine the concept of nationalism that transnationalism replaced. A proper understanding of transnational law is not possible without a look at its most prominent antecedent. The first section, then, will not explore what transnationalism is; it will explore what transnationalism is not. The second section, “Transnationalism,” will piece together the assemblages of thought comprising transnationalist studies. This section will then narrow the subject of transnationalism to transnational law. Here I will attempt to squeeze several broad themes and ideals into comprehensible explanations, hopefully without oversimplifying; here also I will tighten our understanding of transitional law into something of a definition. Having tentatively defined transnational law, I will, in section three, “Against the New Imperialism,” address some critiques of capitalism by those cultural critics who celebrate the transnational turn in global law and politics. Although I share these critics’ enthusiasm for transnational law, I see capitalism – another hazy construct that will require further clarification – as a good thing, not as a repressive ideology that serves the wants and needs of the hegemonic or elite.

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Interview with Troy Camplin, Interdisciplinary Scholar and Author of Diaphysics

In Arts & Letters, Austrian Economics, Communication, Creative Writing, Humanities, Information Design, Libertarianism, Literary Theory & Criticism, News and Current Events, Pedagogy, Rhetoric, Teaching, Theatre, Western Kentucky University, Writing on May 18, 2011 at 3:30 pm

Allen Mendenhall interviews Troy Camplin.

 

Troy Camplin holds a Ph.D. in humanities from the University of Texas at Dallas.  He has taught English in middle school, high school, and college, and is currently taking care of his children at home. He is the author of Diaphysics, an interdisciplinary work on systems philosophy; other projects include the application of F.A. Hayek’s spontaneous order theory to ethics, the arts, and literature. His play “Almost Ithacad” won the PIA Award from the Cyberfest at Dallas Hub Theater.  
 

 

Q:  Your interdisciplinary background seems to lend itself to commentary on this site.  Tell us a bit about that background and a bit about your thoughts on the value of interdisciplinary scholarship.

A:  I have an unusual educational background that I only made more unusual in my independent studies. My undergraduate degree is in Recombinant Gene Technology, with a minor in chemistry, from Western Kentucky University. When I am interested in something, I spend all of my time learning about it. So, as an undergrad, I not only learned about molecular biology through my classes, but also in my independent reading. I read the journals and I read even popular works on molecular biology. This led me to John Gribbin’s book In Search of the Double Helix, in which he talks a great deal about quantum physics. I didn’t know a thing about quantum physics, and I really didn’t understand what he was saying about it in that book, so I decided to read his other books on quantum physics, including In Search of Shroedinger’s Cat. I cannot say I understood quantum physics much after reading that book, either, but I was hooked, and read every popular book on quantum physics I could read. In addition, I ran across several other popular science books that introduced me to what would become much more central to my thinking, including Gleick’s Chaos and Ilya Prigogine’s works on self-organization. These provided several of the seeds of my development as an interdisciplinary scholar.

Another element to my interdisciplinary development was a class I pretty much lucked into. Undergraduates have to take several required courses, of course, and one semester I wanted to take a New Testament class with Joseph Trafton (who was highly recommended, and whose class I eventually did take), but it was full. So I took an Intro. To Philosophy class just to get the hours in that section in. By chance I chose a class taught by Ronald Nash—a random choice that ended up changing my life completely.

Nash taught his class using three texts: a collection of Plato’s dialogues and two books Nash himself wrote. One of the books Nash wrote was Poverty and Wealth: A Christian Defense of Capitalism. It was through Nash that I was introduced to free market economics. I was hooked. I read everything I could find in the university library with the word “capitalism” in the title or as the subject. I read Walter Williams, Milton Friedman, Hayek, and a little book titled Capitalism: The Unknown Ideal  by Ayn Rand. The latter, of course, led me to Atlas Shrugged, and that led me to the rest of her work. Rand hooked me on the idea of being a fiction writer and made me interested in philosophy. I began reading the fiction writers she loved (and the ones she hated, to see why) and the philosophers she loved (and the ones she hated, to see why). I read and fell in love with Victor Hugo and Dostoevsky, Aristotle and Nietzsche. Particularly Dostoevsky and Nietzsche, whose tragic worldviews were deeply appealing to me. Nietzsche deepened my appreciation for philosophy, and introduced me to tragedy. Read the rest of this entry »

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Andrew Ferguson on “Converting Mamet”

In Arts & Letters, Austrian Economics, Conservatism, Economics, Humane Economy, Literary Theory & Criticism, Politics, Rhetoric, Theatre on May 17, 2011 at 8:06 am

Allen Mendenhall

The following post appeared at Austrian Economics and Literature.

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Although I do not read The Weekly Standard unless James Seaton has contributed an article or review (read Seaton’s review of Paul Cantor and Stephen Cox’s Literature & The Economics of Liberty at this link), I was pleased and intrigued by this recent article by Andrew Ferguson that addresses the political conversion of America’s most famous living playright, David Mamet.  Ferguson opens the piece with this:

Three decades ago David Mamet became known among the culture-consuming public for writing plays with lots of dirty words. “You’re f—ing f—ed” was a typically Mamet-like line, appearing without the prim dashes back in a day when playwrights were still struggling to get anything stronger than a damn on stage. Mamet’s profanity even became a popular joke: So there’s this panhandler who approaches a distinguished looking gentleman and asks for money. The man replies pompously: “ ‘Neither a borrower nor a lender be’ —William Shakespeare.” The beggar looks at him. “ ‘F— you’ —David Mamet.” 

Some critics said his plays were pointlessly brutal. As a consequence he became famous and wealthy. It didn’t hurt when it dawned on people that many of his plays, for all the profanity and brutality, were works of great power and beauty, and often very funny to boot. When people began to say, as they increasingly did by the middle 1980s, that the author of Speed-the-Plow and American Buffalo and Lakeboat had earned a place in the top rank of the century’s dramatists, no one thought that was a joke. He took to writing for the movies (The Verdict, The Untouchables, Wag the Dog), won a Pulitzer Prize for one of his masterpieces (Glengarry Glen Ross), and moved to Holly-wood, where he became a respected and active player in the showbiz hustle.

Ferguson goes on to describe a speech at Stanford in which Mamet expressed his disenchantment with higher education:

Higher ed, he said, was an elaborate scheme to deprive young people of their freedom of thought. He compared four years of college to a lab experiment in which a rat is trained to pull a lever for a pellet of food. A student recites some bit of received and unexamined wisdom—“Thomas Jefferson: slave owner, adulterer, pull the lever”—and is rewarded with his pellet: a grade, a degree, and ultimately a lifelong membership in a tribe of people educated to see the world in the same way.

“If we identify every interaction as having a victim and an oppressor, and we get a pellet when we find the victims, we’re training ourselves not to see cause and effect,” he said. Wasn’t there, he went on, a “much more interesting .  .  . view of the world in which not everything can be reduced to victim and oppressor?”

This led to a full-throated defense of capitalism, a blast at high taxes and the redistribution of wealth, a denunciation of affirmative action, prolonged hymns to the greatness and wonder of the United States, and accusations of hypocrisy toward students and faculty who reviled business and capital even as they fed off the capital that the hard work and ingenuity of businessmen had made possible. The implicit conclusion was that the students in the audience should stop being lab rats and drop out at once, and the faculty should be ashamed of themselves for participating in a swindle—a “shuck,” as Mamet called it. Read the rest of this entry »

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Austrian Economics and Literature Poetry Writing Contest

In Arts & Letters, Austrian Economics, Creative Writing, Economics, Humane Economy, Imagination, News and Current Events, Poetry, Writing on May 16, 2011 at 10:47 am

Allen Mendenhall

 

Austrian Economics and Literature Poetry Writing Contest

 

Austrian Economics and Literature is having a poetry writing contest.  The subject of the poems must be, of course, on economics. The poems will be judged on both the author’s demonstration of economic knowledge and on poetic form and skill.Here are the rules:

1. The subject of the poems must be on economics. Naturally, metaphorical treatments are acceptable.

2. Poems are to be submitted to Troy Camplin at zatavu1@aol.com

3. Co-bloggers cannot enter.

4. All judgments are final and cannot be contested.

5. Deadline for entries: June 30, 2011

6. The winning entry will be posted on Austrian Economics and Literature and the author of the winning entry will receive a signed copy of Troy Camplin’s book, Diaphysics.

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Creative Destruction, by Troy Camplin

In Arts & Letters, Creative Writing, Poetry on May 6, 2011 at 7:37 pm
The following poem by Troy Camplin first appeared at Austrian Economics and Literature.
 
 
 
Troy Camplin holds a Ph.D. in humanities from the University of Texas at Dallas.  He has taught English in middle school, high school, and college, and is currently taking care of his children at home. He is the author of Diaphysics, an interdisciplinary work on systems philosophy; other projects include the application of F.A. Hayek’s spontaneous order theory to ethics, the arts, and literature. His play, “Almost Ithacad,” won the PIA Award from the Cyberfest at Dallas Hub Theater.  

 

Creative Destruction

The forest fills with underbrush, dead-
Wood tangling even shrew legs, tiny bones
The evidence, if you could see them. Red,
Burned in the sun, the grass dries on the stones.A gale whips up the grass and dust, a cloud
Emerges, lightning strikes, the flames leap out,
The heat and flames create a dance—they’re proud
Of what they’re doing, live without a doubt.

And in their aftermath, the ground is black,
The brush is gone, the trees, alive, are charred—
Destruction’s all that anyone can track—
They’re sure destruction like this should be barred.

But with the rains, the black gives hints of green,
And with the newfound light upon the ground,
New life can spring up and at last be seen,
And even deer have room enough to bound.

The space between the trees is filled with pink
And scarlet, tall fringed orchids share the field
With cardinal flowers taller still. Both link
A newborn network, building a new yield.

And soon the trees are leafing out and shade
The space beneath—a new environment
Is born, where bluets bloom, ferns fill the glade,
Each using what the last sun-flowers lent.

And changes will continue, changes will
Explore the possibilities that grow,
And over time each space will find its fill
Of every difference we could ever know.

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