Books

Books are technically part of research.  But they're also a little different, in that they try to reach a different audience.  I've written three books (and I've participated in a few others).

The Tyranny of the Market, Harvard University Press, 2007

Economists have long counseled reliance on markets rather than on government to decide a wide range of questions, in part because allocation through voting can give rise to a "tyranny of the majority." Markets, by contrast, are believed to make products available to suit any individual, regardless of what others want. But the argument is not generally correct. In markets, you can't always get what you want. This book explores why this is so and its consequences for consumers with atypical preferences.

When fixed costs are substantial, markets provide only products desired by large concentrations of people. As a result, people are better off in their capacity as consumers when more fellow consumers share their product preferences. Small groups of consumers with less prevalent tastes, such as blacks, Hispanics, people with rare diseases, and people living in remote areas, find less satisfaction in markets. In some cases, an actual tyranny of the majority occurs in product markets. A single product can suit one group or another. If one group is larger, the product is targeted to the larger group, making them better off and others worse off.

The book illustrates these phenomena with evidence from a variety of industries such as restaurants, air travel, pharmaceuticals, and the media, including radio broadcasting, newspapers, television, bookstores, libraries, and the Internet.

Scroogenomics, Princeton University Press, 2009

Christmas is a time of seasonal cheer, family get-togethers, holiday parties, and … gift giving. Lots and lots—and lots—of gift giving. It’s hard to imagine any Christmas without this time-honored custom. But let’s stop to consider the gifts we receive—the rooster sweater from Grandma or the singing fish from Uncle Mike. How many of us get gifts we like? How many of us give gifts not knowing what recipients want? Did your cousin really look excited about that jumping alarm clock? Lively and informed, Scroogenomics illustrates how our consumer spending generates vast amounts of economic waste—to the shocking tune of eighty-five billion dollars each winter. Economist Joel Waldfogel provides solid explanations to show us why it’s time to stop the madness and think twice before buying gifts for the holidays.

When we buy for ourselves, every dollar we spend produces at least a dollar in satisfaction, because we shop carefully and purchase items that are worth more than they cost. Gift giving is different. We make less-informed choices, max out on credit to buy gifts worth less than the money spent, and leave recipients less than satisfied, creating what Waldfogel calls “deadweight loss.” Waldfogel indicates that this waste isn’t confined to Americans—most major economies share in this orgy of wealth destruction. While recognizing the difficulties of altering current trends, Waldfogel offers viable gift-giving alternatives.

By reprioritizing our gift-giving habits, Scroogenomics proves that we can still maintain the economy without gouging our wallets, and reclaim the true spirit of the holiday season. 

Digital Renaissance, Princeton University Press, 2018

The digital revolution poses a mortal threat to the major creative industries—music, publishing, television, and the movies. The ease with which digital files can be copied and distributed has unleashed a wave of piracy with disastrous effects on revenue. Cheap, easy self-publishing is eroding the position of these gatekeepers and guardians of culture. Does this revolution herald the collapse of culture, as some commentators claim? Far from it. In Digital Renaissance, Joel Waldfogel argues that digital technology is enabling a new golden age of popular culture, a veritable digital renaissance.

By reducing the costs of production, distribution, and promotion, digital technology is democratizing access to the cultural marketplace. More books, songs, television shows, and movies are being produced than ever before. Nor does this mean a tidal wave of derivative, poorly produced kitsch; analyzing decades of production and sales data, as well as bestseller and best-of lists, Waldfogel finds that the new digital model is just as successful at producing high-quality, successful work as the old industry model, and in many cases more so. The vaunted gatekeeper role of the creative industries proves to have been largely mythical. The high costs of production have stifled creativity in industries that require ever-bigger blockbusters to cover the losses on ever-more-expensive failures.

Are we drowning in a tide of cultural silt, or living in a golden age for culture? The answers in Digital Renaissance may surprise you.