In economics, Marx is relegated to the history of thought as his ideas were an economic dead end and a political disaster. Yet Marx-influenced literary criticism is a dominant mode of analysis in nearly every English department in the country. It’s not that the English professors are all Marxists, it’s that even the non-Marxists reach for Marxian concepts–class, ideology, alienation, material conditions, commodification–when analyzing texts. These concepts may be useful for analyzing a Victorian novel of the landed classes but they have become a default economics for all of literature. That default is odd. Class analysis predates Marx and society can be divided into more than one set of classes; material conditions do not supersede all artistic agency; and capitalism contains figures—entrepreneurs, speculators, intermediaries, innovators, discoverers—who are great subjects for art yet fit poorly into the Marxist moral geometry. Not surprisingly, Marxism handles capitalism’s protagonists badly.
Is Marxian economics the only economic lens one can apply to literature? What would a Hayekian literary criticism look like? The place to start is the great Paul Cantor’s pioneering essay on Thomas Mann’s “Disorder and Early Sorrow,” a slight-seeming story set in Weimar Germany during the hyperinflation. Cantor shows that when one reads the novella through Hayek and Mises rather than Marx, the story opens up.
Start with inflationary psychology and its ramifications. Inflation shortens time horizons. When money loses value by the hour, saving is foolish and the rational move is to spend as fast as you earn—Mises’s “flight into real goods.” Prudence, discipline, and respect for the past become maladaptive. Speed, improvisation, risk-taking, and a certain youthful irresponsibility become survival traits.