Is Reality Optional? Thomas Sowell’s Sharp Warning Against Wishful Thinking

My copy, purchased in 1994

When it comes to thinking clearly and speaking pointedly about contemporary issues, there are few better minds than that of Thomas Sowell, an American economist, social theorist, and senior fellow at the Hoover Institution. He's widely regarded as one of the most influential conservative thinkers of the past half-century for his clear-eyed, data-driven critiques of liberal social policies and his emphasis on empirical reality over ideological wishful thinking.

In 1993, Sowell published a short but powerful collection of essays titled Is Reality Optional? And Other Essays. Don’t let the title fool you — this isn’t some abstract philosophy book. It’s a no-nonsense straight-talking takedown of the idea that we can simply ignore reality when it doesn’t fit our favorite theories.

If you step off the roof of your house there will be consequences, whether you believe in the law of gravity or not. So, too, there are laws of economics, which we ignore to our own peril.

Sowell’s central argument is blunt: too many intellectuals, activists, and politicians treat reality as optional. They believe that with enough good intentions, clever policies, or bold social engineering, we can reshape human nature, fix complex problems, and create a better world — even if the evidence says otherwise.
He contrasts two very different ways of looking at the world. One vision (which he calls the “unconstrained” or visionary view) sees humans as highly malleable. If society has problems, it must be because of bad institutions or not enough compassion. The solution? Big government programs and new theories to remake everything.
The other view (the “constrained” or tragic vision) is more realistic. It says human nature has built-in limits — scarcity, self-interest, imperfect knowledge, and trade-offs. Good policy, Sowell argues, must work with these limits instead of pretending they don’t exist.
A quote on the back cover (of my copy) captures the problem perfectly:

““Much of the social history of the Western world, over the past three decades, has been a history of replacing what worked with what sounded good. In area after area—crime, education, housing, race relations—the situation has gotten worse after the bright new theories were put into operation. The amazing thing is that this history of failure and disaster has neither discouraged the social engineers nor discredited them.” (EdNote: This was more than three decades ago, and the trend has continued unabated.) 

Sowell points to real-world examples in crime, education, welfare, housing, and race relations. Again and again, “bright new ideas” were tried, problems got worse, and yet the people pushing those ideas rarely faced any consequences. 
He repeatedly warns against what he calls “intellectual hubris” — the dangerous belief that experts know better than millions of ordinary people making decisions in their own lives. Sowell stresses the importance of empirical evidence and common sense (which, as they say, is as rare as the dodo). Start with observable facts and historical results, not beautiful-sounding theories.
At just 192 pages, Is Reality Optional? is short, readable, and often contrarian. Sowell writes like a man tired of watching the same mistakes get repeated while reality keeps sending the bill.
In a world full of grand ideological promises, Sowell reminds us of a simple truth: reality is not optional. You can ignore scarcity, incentives, trade-offs, and human nature for a while — but eventually, they push back.
Here are a few quotes that will give you the flavor of Sowell's ideas.

On Economics vs. Politics

“The first lesson of economics is scarcity: There is never enough of anything to satisfy all those who want it. The first lesson of politics is to disregard the first lesson of economics.”

On Faith Masquerading as Science

“Some things must be done on faith, but the most dangerous kind of faith is that which masquerades as ‘science.’”

On Forgiveness and Being Right

“People will forgive you for being wrong, but they will never forgive you for being right—especially if events prove you right while proving them wrong.”

A few more notable quotes from the book:

--“Ordinary people, lacking that gift [of ignoring reality], are forced to face reality.”

--“The welfare state is the oldest con game in the world. First you take people’s money away quietly, and then you give some of it back to them flamboyantly.”

--“It takes considerable knowledge just to realize the extent of your own ignorance.”  

Recommended: Thomas Sowell, who was born in 1930, is still alive and kicking. YouTube has a treasure trove of videos that will give you an opportunity to engage directly with Sowell's ideas. His brain is stuffed with truckloads of facts from a lifetime of research, facts that often remain buried because they fail to fit the Progressive narrative.

Throwback Thursday: Sometimes Even When You Don't Understand a Dylan Song You Can "Get It"

“I don't like the idea of 'understanding' a film. I don't believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn't. If you are moved by it, you don't need to have it explained to you. If not, no explanation can make you moved by it.” ~Federico Fellini

There it is. This is what some people mean when they talk about art, whether music, poetry or a painting. It's like a joke; you shouldn't have to explain why the punch line was funny.

To this day I don't "get" Dylan's "Changing of the Guard," but it moves me every time I hear it, and remains one of my favorite Dylan songs. What's it all about, Alfie? The images connect with something inside like a series of dreams, rising up from a subconscious sea teeming with shimmering mysteries.

In his book The Dylanologists David Kinney devotes one chapter to the Lyrics Dissecters. These are the ones Fellini is calling out above. It's like Dylan's lyrics are a secret code to be cracked, if only we had an Enigma Machine.

People have the same problem with abstract art. "I don't get it" has been exclaimed in art museums and galleries all over the world.

"Ballad of a Thin Man" is another song that falls into this category, difficult to apprehend but one that definitely haunts. The opening bars on the piano send a chill through the room and the confounding imagery shocks and frightens. Something's happening, even if you don't know what it is. "You try so hard, but you don't understand," Dylan hisses.

The words and images can confuse, but when ignited there can be light, revealing the outlines of shapes and scenes that darkness conceals.

* * * *

For what it's worth, Duluth Dylan Fest is just around the corner. May will be here faster than you know it. The events are slated for May 17-24 this year. If you want to celebrate with us here in Dylan's home town, mark your calendars. There will be a birthday celebration on his 85th, May 24, in front of the house he grew up in. And there will be plenty of music... some of it you'll "get" with your head and some with your heart.

Meantime life goes on all around you. Be a part of it. 

Project Hail Mail Reflects Recurring Images and Storylines from Film History

I'd heard enough raves for Project Hail Mary that it got my attention. As I considered going, what caught my eye was that directors Phil Lord and Christopher Miller had been screenwriters for The Lego Movie, which I found sizzling with great lines and a clever storyline. 

Imdb.com places the film in several categories including Buddy Comedy, Sci-Fi, Epic, Adventure and Comedy. My take is that it's essentially the story of a lonely problem-solver in space, with both overt and subtle echoes of earlier films. We'll return to this after briefly outlining the story.

Here's how Amazon MGM summarizes it: Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction... but an unexpected friendship means he may not have to do it alone.

In other words, it begins as a mystery. Who am I? Where am I? Why am I here? Why am I all alone? There's a sense in which we ourselves periodically need to take stock of our lives and ask outselves these fundamental questions.

Tributes
A few days after seeing this film I reflected on how many previous films were echoed here. The most obvious, of course, is Stanley Kubrick's 2001: A Space Odyssey. The lighting and manner in which Ryland Grace's spaceship silently glides through deep space is pure Kubrick magic. The infinite frontier, the massive emptiness, and the loneliness.

A second film seems directly echoed in this one, in a different way: Spielberg's E.T., the curiously cute creature from another world who is unable to effectively communicate that he wants to go home. And yes, that is the trajectory of Project Hail Mary as Ryland Grace succeeds in making contact. with alien life. And "Surprise!" The film transforms from a mission to save the world into a love story.

The Martian is a third film this story pays tribute to. As it turns out, both Project Hail Mary and The Martian are based on novels by Andy Weir. Both involve hard science and technology, and both feature a character in similar circumstances, alone and a long ways from home.

The next echo for me, and I'd like to know if it was intentional, is Fellini's 8½. You may be curious how that film relates to this one. If you recall the storyline, it is about Italian director Guido Anselmi (Marcello Mastroianni) who is having an existential crisis. But the backstory is that he has been contracted to direct is an epic science-fiction project about humanity fleeing a dying, post-apocalyptic Earth. In several scenes we see a large set made of vertical pipes, poles, and scaffolding is the massive, unfinished rocket launch pad / spaceship launch tower built for the science-fiction film that the protagonist, Guido, is supposed to be making.

The reason I draw attention to this is that when Ryland Grace reaches his destination, the spaceship for the alien (Rocky) looks like this strange assembly of rods, poles and pipes. Having seen Fellini's famous flick twice this past year, the rods, pipes and poles image was fresh in my mind. 

Other films this film may have drawn inspiration from might include Oppenheimer (sparks and SFX in his semi-lucid dream sequences), Apollo 13 (survival through improvisation), and Close Encounters of the Third Kind (communication across species barriers). There are no doubt others, but these are all films I'm familiar with that seem reflected here.

One last comment. Yesterday Artemis II launched, the first step in a new chapter for the space program. This has been a long time coming. Was there some measure of coordination between these events? Maybe not. Sci fi fiction has a long history, and whatever unfolds in real life will likely have been foretold in one form or another creative minds making imaginative connections.