On Reading “Amusing Ourselves to Death,” Introduction

Jack Lule
Jack Lule
Aug 31, 2018 · 3 min read

I am planning on teaching a first-year college class next fall on Media and Society. I usually avoid traditional overview and review textbooks. I would much rather have my students spend their precious reading time on a thought-provoking book. Students too seldom are asked to engage in, or with, a book-length study or argument.

In our age when a reality television star has become president of the United States, I have seen numerous references to Neil Postman’s Amusing Ourselves to Death, with its subtitle, Public Discourse in the Age of Show Business. It was published in 1985. The book became a touchstone in media and communication circles soon after it appeared. I likely crossed paths with Postman at journalism and communication conferences in those years and read the book or parts of it. But 1985 is . . . a long time ago.

Despite my doubts over whether a book about media (or almost any topic) written more than 30 years ago can be relevant, I have found myself thinking about the book. Trusting my instincts, I have decided to read (re-read?) the book with an eye on its relevance for today.

My doubts were not dispatched as I picked up the 20th anniversary edition — even the 20th anniversary edition is more than a dozen years old. But Andrew Postman, son of the author, in his introduction to the 20th anniversary edition, immediately addressed me:

“Now this? A book of social commentary published twenty years ago?”

Postman (Andrew) goes on to acknowledge all the doubts one might have about the relevance of a book about media written before the world was infiltrated by “the Internet, cell phones, PDAs, cable channels by the hundreds, DVDs, call-waiting, caller ID, blogs, flat-screens, HDTV, and iPods.” He asks:

“Can such a book possibly have relevance to you and The World of 2006 and beyond?” (vii).

He cites the many scholars, teachers and respected figures around the world who swear to the book’s relevance, including Roger Waters, co-founder of the rock group, Pink Floyd, who titled his solo album, “Amused to Death.”

But, Postman writes, perhaps the best arbiter of the book’s relevance would be . . . college students. It seems that Andrew Postman had anticipated my arrival. He goes on to say that he contacted college teachers around the world who confirm the book’s relevance to their students.

The reason, Postman says: “my father asked such good questions that they can be asked of non-television things, of all sorts of transforming developments . . . His questions can be asked about all technologies and media. What happens to us when we become infatuated with and then seduced by them? Do they free us or imprison us? Do they improve or degrade democracy? Do they make our leaders more accountable or less so? Do they make us better citizens or consumers? Are the trade-offs worth it?” (xv).

Indeed, one professor tells Postman that his current students (of 2005) are more responsive to Amusing Ourselves to Death than students of ten years ago. The book seems more true today, the professor said.

In the days ahead, I will see if the same can be said in 2018–19.

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