The Cult of Creativity
In The Cult of Creativity, Samuel W. Franklin explores how creativity, as we know it today, is a modern invention shaped to fit social, political, and economic agendas. Creativity was once seen as the domain of "geniuses," but the post-war period repackaged it as something anyone could cultivate, making it essential for the emerging white-collar workforce. Franklin defines this shift as a move from genius to a skill "more democratic than genius, yet more heroic than intelligence: more whimsical than mere inventiveness or ingenuity, but more useful than mere imagination." Suddenly, creativity was not just for the inventors of the past but for a new kind of worker—a necessary trait in the toolkit of the "average Joe."
The book traces creativity's journey as it became a "social technology," blending the individual's desire for self-expression with corporate interests. From brainstorming sessions to Madison Avenue's embrace of "creatives," Franklin clarifies that creativity's history has strong ties to productivity and, inevitably, capitalism. Through advertising, the concept of creativity was commercialized, becoming a product and sold back to a workforce eager to see themselves as innovators. In Franklin's words, "The industry's ability to understand and incorporate the creative man became a symbol of incorporating dissent and rebellion into the system without destroying it." This system did not just accept creativity—it redefined it as a controlled form of self-expression that appeared radical but never truly disrupted corporate interests.
One of the most interesting aspects is how the shift from a manufacturing economy to a "creative" economy unfolded in the United States. As industries outsourced manufacturing jobs to countries with cheaper labor, the focus shifted to intangible, idea-driven work. While Franklin touches on this economic transition, he hints that creativity was rebranded to keep the economy moving. Rather than producing physical goods, workers could now produce ideas, fulfilling an economic role without directly challenging the foundations of capitalism.
Franklin's critique also dives into how psychology contributed to this shift. By measuring and studying creativity, psychologists turned it into a quantifiable trait that could be taught and monetized. Brainstorming and other structured group exercises were framed as ways to unleash creativity, yet they served to standardize it within the workplace. As The New Yorker article reviewing the book points out, this "creativity" became a tool of corporate discipline—a way to foster expression within very specific limits.
Despite all this, Franklin acknowledges that creativity has taken on a life of its own in the 21st century. Industries, cities, and entire educational models now place a premium on fostering "creative thinking." However, Franklin raises a critical point: as creativity is celebrated more than ever, it is still mostly within a capitalist framework, meaning its liberating potential is often watered down to suit commercial goals. While creativity is marketed as an essential skill, it is also being managed and commodified in ways that benefit the corporate world more than the individual.
Franklin's exploration covers much ground, especially in dissecting creativity's evolution in the post-war and Cold War eras, but he stops short of diving deeply into how this history affects creativity today. He touches on how creativity has "exploded" in recent years, now reaching every industry from tech to education. However, his remarks leave questions about what creativity is doing for society—has it retained any of its individuality and innovation, or is it now just another cog in the capitalist machine?
Ultimately, The Cult of Creativity challenges readers to rethink the myth of creativity as something pure and personal. Instead, Franklin presents it as a concept with strings attached, designed to serve power structures more than personal empowerment. Ultimately, he forces us to ask: What does it mean to be "creative" in a world that profits from our creative impulses?
