Unlike David Kelley, I see no reason why "art" and "journalism" shouldn't cover similar ground and I see no reason why his defense of Barron's exposés shouldn't extend to other forms. One of the defining characteristics of capitalism--perhaps the defining characteristic, to the chagrin of many despairing Marxists--is its ability to incorporate challenges and criticisms. In any case, I'm less interested in authorial intention--Barron's ostensibly means to save capitalism, the director of Boiler Room to unmask it--than the ways in which audiences ultimately receive and use texts. As I suggested in my piece, there is little reason to believe that negative depictions of capitalists and capitalism in popular culture necessarily undermine support for markets. Indeed, we might well ponder how, after a century of much art that was emphatically anti-capitalistic, we have arrived at a moment in history where capitalism is virtually everywhere ascendant.
What's an Education Worth?
The text with the graph in "Powerful Credentials" by Michael W. Lynch (Citings, May) implies that the measure of the worth of a college education is the difference between median annual earnings for high school and college graduates. I think this is misleading from two standpoints.
First, the median annual earnings undoubtedly reflect a difference of scholastic aptitude and motivation between high school graduates who go on to college and those who do not. Furthermore, the higher income probably also reflects that college graduates are more likely to be from affluent families and thus have greater earnings because of their positions in society. To imply that those who do not go on to college would reap the same monetary rewards if they did seems erroneous.
Second, to discuss only the monetary value of a college education is to ignore its value for living a fuller life.
Allan Halderman
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