The Creative Class Gets Organized

by Corey Robin on June 6, 2018

The staff of The New Yorker—the people behind the scenes: editors, fact checkers, social media strategists, designers—are unionizing. They’ve even got a logo: Eustace Tilly with his fist raised. If you’re a loyal reader of the magazine, as I am, you should support the union in any way you can. Every week, they bring us our happiness; we should give them some back. They’re asking for letters of solidarity; email them at

If you look at their demands, they read like a tableaux of grievances from today’s economy: no job security, vast wage disparities, no overtime pay, a lot of subcontracting, and so on.

The creative class used to see itself and its concerns as outside the economy. Not anymore.

A few years back, I read Ved Mehta’s memoirs of his years at The New Yorker under editor William Shawn. Shawn helped Mehta find his first apartment: he actually scouted out a bunch of places with a real estate broker and wrote Mehta letters or called him about what he had seen. Shawn got Mehta set up with a meal service. The money was flowing. Again, not anymore.

The sea change isn’t just economic; it’s also cultural.

When we first started organizing graduate employees at Yale in the early 1990s, we got a lot of hostility. And nowhere more so than from the creative class. People in the elite media really disliked us. Many of them had left grad school or gone to fancy colleges, and we may have reminded them of the people they disliked when they were undergrads. (Truth be told: sometimes we reminded me of the people I disliked when I was an undergrad.) In any event, they saw us as pampered whiners, radical wannabees, Sandalistas in seminars. It was untrue and unfair. It didn’t matter. Liberals have their identity politics, too.

As some of you know, my union experience didn’t end happily. I lost three out of four of my dissertation advisers. And two of them wound up writing me blacklisting letters. After that, I wrote a mini-memoir-ish essay about the whole experience. I had great ambitions to be a personal/political essayist; this was my first stab at the genre. Part of my dissertation had been on McCarthyism and the blacklist, so I wove that into my essay: the experience of writing a dissertation that I wound up living a version of in real life.

I shopped it around to The New Yorker. I even called a top editor there after they turned it down. He answered the phone. That’s how things rolled back then. It was an awkward conversation.

I sent the essay to another top magazine. An editor there read and rejected it. I can’t remember if we spoke on the phone or corresponded by mail, but I remember his objection clearly. He didn’t like my comparison between my being blacklisted and McCarthyism. McCarthyism, he said, was about people going to jail; my essay was about people losing jobs and careers (which had happened to one of my fellow unionists, a student of the conservative classicist Donald Kagan).

The editor, of course, was wrong about that. Relatively few people went to jail under McCarthyism. Thousands upon thousands, however, lost their jobs and careers. That’s what McCarthyism was: political repression via employment. It didn’t matter. He knew what he knew.

Fifteen years later, there was a union drive at the magazine where this editor worked. He led it. He was fired.

My piece wasn’t great; it should have been rejected. I was an amateur, and it needed work. But I can’t help feeling that some part of the disconnect back then—the easy ignorance and confident incuriosity that so often pass in the media for common sense—had to do with where the creative class was in the 1990s: liberal on everything but unions.

Again, not anymore.

Economics in Two Lessons, Chapter 11

by John Q on June 6, 2018

Thanks to everyone who commented on the first ten chapters of my book-in-progress, Economics in Two Lessons.

Here’s a draft of Chapter 11: Market failure: Information, uncertainty and financial markets
. Comments, criticism and praise are welcome.

[click to continue…]