At the Great Indoors, a hugely successful department store chain, customers can choose from among 250 lavatory faucets. If that represents too little variety, there are more than 1,500 distinct models of drawer pulls. Like it or not, we live in an age where we can minutely dictate every aesthetic choice, to an extent our ancestors would certainly have found disturbingly wasteful and superficial. It is this censure that New York Times
economics columnist Postrel is dead-set on dismantling. Aligning herself against "pleasure-hating" modernists like Walter Gropius and Adolf Loos, Postrel adopts the position that fashion has meaning. One of her argument's charms is that she allows Joe Q. Ray-Ban his own justification for his purchase ("I like it") against the interpretations of theorists who insist an interest in surfaces is linked with deception, status or falsehood. Postrel's apt example of the proliferation in toilet-brush design is an effective rebuttal against such theorists—after all, nobody buys a sleek toilet brush to impress neighbors who will never see it, so aesthetics must constitute much of the rationale. Increasingly, form is simply part of the function. Postrel begins by explaining that appearance has a meaning commensurate to loftier values, then examines the many manifestations of this truth. While her argument is intellectually sophisticated, Postrel's journalistic training ensures the examples she cites are well-chosen and the prose remains crisp and readable. Gracefully representing one endpoint of a certain debate, this ambitious book may someday become a classic of the genre. Agent, Andrew Wylie. (Sept. 5)
Forecast: Postrel's point of view is underrepresented, and her book has stronger prospects long-term than short-term. It could become a staple of syllabi in certain disciplines.
