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Karahan Tepe, and its penis chamber, and everything that inexplicably surrounds the chamber – shrines, cells, altars, megaliths, audience halls et al – is vastly older than anything comparable, and plumbs quite unimaginable depths of time, back before agriculture, probably back before normal pottery, right back to a time when we once thought human ‘civilisation’ was simply impossible.

After all, hunter gatherers – cavemen with flint arrowheads – without regular supplies of grain, without the regular meat and milk of domesticated animals, do not build temple-towns with water systems.

Taken together with its age, complexity, sophistication, and its deep, resonant mysteriousness, and its many sister sites now being unearthed across the Harran Plains – collectively known as the Tas Tepeler, or the ‘stone hills’ – these carved, ochre-red rocks, so silent, brooding, and watchful in the hard whirring breezes of the semi-desert, constitute what might just be the greatest archaeological revelation in the history of humankind.

The solitary Kurdish man, on that summer’s day in 1994, had made an irreversibly profound discovery – which would eventually lead to the penis pillars of Karahan Tepe, and an archaeological anomaly which challenges, time and again, everything we know of human prehistory.

in late 1994 the German archaeologist Klaus Schmidt came to the site of Gobekli Tepe to begin his slow, diligent excavations of its multiple, peculiar, enormous T-stones, which are generally arranged in circles – like the standing stones of Avebury or Stonehenge. Unlike European standing stones, however, the older Turkish megaliths are often intricately carved: with images of local fauna. Sometimes the stones depict cranes, boars, or wildfowl: creatures of the hunt. There are also plenty of leopards, foxes, and vultures. Occasionally these animals are depicted next to human heads.

over time archaeological experts began to accept the significance. Ian Hodden, of Stanford University, declared that: ‘Gobekli Tepe changes everything.’ David Lewis-Williams, the revered professor of archaeology at Witwatersrand University in Johannesburg, said, at the time: ‘Gobekli Tepe is the most important archaeological site in the world.’

Urfa man now has a silent hall of his own in one of Turkey’s greatest archaeological galleries. More importantly, we can now see that Urfa man has the same body stance of the T-shaped man-pillars at Gobekli (and in many of the Tas Tepeler): his arms are in front of him, protecting his penis

‘Gobekli Tepe upends our view of human history. We always thought that agriculture came first, then civilisation: farming, pottery, social hierarchies. But here it is reversed, it seems the ritual centre came first, then when enough hunter gathering people collected to worship – or so I believe – they realised they had to feed people. Which means farming.’ He waved at the surrounding hills, ‘It is no coincidence that in these same hills in the Fertile Crescent men and women first domesticated the local wild einkorn grass, becoming wheat, and they also first domesticated pigs, cows and sheep. This is the place where Homo sapiens went from plucking the fruit from the tree, to toiling and sowing the ground.’

People were already speculating that – if you see the Garden of Eden mythos as an allegory of the Neolithic Revolution: i.e. our fall from the relative ease of hunter-gathering to the relative hardships of farming (and life did get harder when we first started farming, as we worked longer hours, and caught diseases from domesticated animals), then Gobekli Tepe and its environs is probably the place where this happened

‘I believe Gobekli Tepe is a temple in Eden’. It’s a quote I reused, to some controversy, because people took Klaus literally. But he did not mean it literally. He meant it allegorically.

‘We have found no homes, no human remains. Where is everyone, did they gather for festivals, then disperse? As for their religion, I have no real idea, perhaps Gobekli Tepe was a place of excarnation, for exposing the bones of the dead to be consumed by vultures, so the bodies have all gone

I do definitely know this: some time in 8000 BC the creators of Gobekli Tepe buried their great structures under tons of rubble. They entombed it. We can speculate why. Did they feel guilt? Did they need to propitiate an angry God? Or just want to hide it?’ Klaus was also fairly sure on one other thing. ‘Gobekli Tepe is unique.’

These days Gobekli Tepe is not just a famous archaeological site, it is a Unesco World-Heritage-listed tourist honeypot which can generate a million visitors a year. It is all enclosed by a futuristic hi-tech steel-and-plastic marquee (no casual wandering around taking photos of the stones and workers

Necmi shows me the gleaming museum built to house the greatest finds from the region: including a 11,000 year old statue, retrieved from beneath the centre of Sanliurfa itself, and perhaps the world’s oldest life size carved human figure

This number is so large it is hard to take in. For comparison the Great Pyramid at Giza is 4,500 years old. Stonehenge is 5,000 years old. The Cairn de Barnenez tomb-complex in Brittany, perhaps the oldest standing structure in Europe, could be up to 7,000 years old.

Aslan tells me how archaeologists at Gobekli have also, more recently, found tantalising evidence of alcohol: huge troughs with the chemical residue of fermentation, indicating mighty ritual feasts, maybe.

he explains how scientists at Karahan Tepe, as well as Gobekli Tepe, have now found evidence of homes.

The builders lived here. They ate their roasted game here. They slept here. And they used, it seems, a primitive but poetic form of pottery, shaped from polished stone. They possibly did elaborate manhood rituals in the Karahan Tepe penis chambe

Yet still we have no sign at all of contemporary agriculture; they were, it still appears, hunter gatherers, but of unnerving sophistication.

Another unnerving oddity is the curious number of carvings which show people with six fingers. Is this symbolic, or an actual deformity? Perhaps the mark of a strange tribe?

Karahan Tepe is stupefyingly big. ‘So far,’ he says, ‘We have dug up maybe 1 per cent of the site’ – and it is already impressive. I ask him how many pillars – T stones – might be buried here. He casually points at a rectangular rock peering above the dry grass. ‘That’s probably another megalith right there, waiting to be excavated. I reckon there are probably thousands more of them, all around us. We are only at the beginning. And there could be dozens more Tas Tepeler we have not yet found, spread over hundreds of kilometres.’

Karahan too was definitely and purposely buried. That is the reason Necmi and his team were able to unearth the penis pillars so quickly, all they had to do was scoop away the backfill, exposing the phallic pillars, sculpted from living rock.

the most remarkable answer of all, and it is this: archaeologists in southeastern Turkey are, at this moment, digging up a wild, grand, artistically coherent, implausibly strange, hitherto-unknown-to-us religious civilisation, which has been buried in Mesopotamia for ten thousand years. And it was all buried deliberately.

guided by a fascination with the wayward paths to fame, he half-unwittingly sows doubt about the justice of the American rise to artistic leadership in the postwar era. In his erudite account, artistic success owes little to vision and purpose, more to self-promotion, but most to unanticipated adoption by bigger systems with other aims, principally oriented toward money, political advantage, or commercial churn

For the greatness and inevitability of artistic consecration, Menand substitutes the arbitrary confluences of forces at any given moment.

The curriculum runs chapter by chapter through George Kennan, George Orwell, Jean-Paul Sartre, Hannah Arendt, Jackson Pollock, Lionel Trilling, Allen Ginsberg, Claude Lévi-Strauss, Robert Rauschenberg and John Cage, Elvis and the Beatles, Isaiah Berlin, James Baldwin, Jack Kerouac, Andy Warhol, Susan Sontag, and Pauline Kael. Each biography opens a door to a school or trend of work

Menand’s is not a “great man” view of history, because no one seems particularly great. One gets a feeling for Sartre as a person, a limited knowledge of how Sartre made Being and Nothingness, and a vivid sense of how the book made Sartre a celebrity. Then one learns how a troupe of others came along and rode his success like a sled.

Menand zooms in and out between individual egomaniacs and the milieus that facilitated their ascent and profited from their publicity.

group biographies, in miniature, of the existentialists, the Beats, the action painters, the Black Mountain School, the British Invasion, the pop artists, and many coteries more—are enchanting singly but demoralizing as they pile up

All of these enterprises look like hives of social insects, not selfless quests for truth or beauty. Menand is a world-class entomologist: He can name every indistinguishable drone, knows who had an oversize mandible, who lost a leg, who carried the best crumbs.

From this vantage, the monuments really are just anthills.

Menand is truly one of the great explainers. He quotes approvingly a lesson taken by Lionel Trilling from his editor Elliot Cohen: “No idea was so difficult and complex but that it could be expressed in a way that would make it understood by anyone to whom it might conceivably be of interest.”

Menand’s account of each is an abbreviated tour de force. His explanations work at all levels: interpretation for scholars, review for general readers, introductions for neophytes. Where another writer would take 20 pages to tell us why someone or something mattered historically, Menand does it in two.

He is accurate, he is insightful, and he is not a dumber-downer

The underlying theory of the book rests on a picture of what makes for “cultural winners,” works and ideas that Menand defines as

Menand’s recountings are less concerned with the changing meanings of individual works than with their successive adoptions and co-optations, in defiance of depth and meaning. It is a process of “winning” often based on cults of personality, indifference to complex origins, and the fortune or misfortune of timing

goods or styles that maintain market share through “generational” taste shifts—that is, through all the “the king is dead; long live the king” moments that mark the phases of cultural history for people living through it.

Menand is notably excellent on how commercial, regulatory, and technological changes determined which kinds of artwork made it to the public. His analysis helps demystify trends in commercial forms like film and pop music, especially when they otherwise seemed to run against the grain of pure profit

Often Menand’s point seems to be that the culture’s reigning talkers and salespeople and debaters need to conjure figures to venerate and attack (in ceaseless alternation) for short-range purposes of attention and competition. Any given work—1984, say, or Bonnie and Clyde—isn’t much of anything until it becomes a counter in other people’s games.

The central question of this period in culture might be whether U.S. artists lived up to expectations

In 1945, Europe was in ruins. America was rich and productive and dictated the terms of the postwar economic and political order. Certainly the U.S. had the power to pretend to cultural glory, too. But was it a pretense, or did Americans really continue and exceed the prewar triumphs of European modernism?

Most histories of the arts after 1945 assume that the greatest American successes deserved their fame.

The thrust of many of Menand’s retellings is that “in the business of cultural exchange, misprision is often the key to transmission.” Fame comes through misreadings, fantasies, unintended resonances, charisma, and publicity.

Menand’s book bequeaths the sense that the last laugh may truly have been on the self-seriousness of a whole historical period, one that treated its most publicized and successful arts figures far too generously, giving them too much credit for depth and vision, while missing the cynical forces by which they’d been buoyed up and marketed

Where did rock ’n’ roll come from?” Menand wonders. He answers that it was “the by-product of a number of unrelated developments in the American music business” that redirected sales to teenagers, and also the result of new radio-station competition, the partial racial desegregation of the music charts, and the arrival of 200-disc jukeboxes

The idea of a “culture industry”

is used unironically by Menand to name the vastly scaled-up production and consumption of all artistic experience. “The culture industries, as they expanded, absorbed and commercialized independent and offbeat culture-makers, and the university, as it expanded, swallowed up the worlds of creative writing and dissident political opinion.”

With his eye on this process, we miss out on artists and thinkers who dug deep and stayed home, who produced as hermits or eccentrics or introverted students of their art

“Foreign film” in America in the ’50s and ’60s—when independent art cinemas emerged, showing imports such as work by Ingmar Bergman and the French New Wave—proves to have been energized by a successful federal-government antitrust action against the monopolistic Hollywood studios

I can imagine The Free World leaving my hypothetical college senior, denizen of the bleak attention economy of the 21st century, feeling liberated to discover that culture was no better—no more committed to a quest for what is true, noble, lasting, and beautiful—in the world of the Baby Boomers and beaming grandparents.

The book is so masterful, and exhibits such brilliant writing and exhaustive research, that I wonder whether Menand could truly have intended where his history of the postwar era landed me. I learned so much, and ended up caring so much les

a lot of people who came out of third-world countries felt, “We are never going to catch up with the West if we just wait for the market to work its way over hundreds of years.” They looked at, in the ’30s, the Soviet Union and thought, “This is a way to accelerate modernization, industrialization.” They all were much more comfortable with the idea of something that sped up the historical process of modernization.

Milton Friedman used to say that there are two groups of people who don’t like the free market. Academics, intellectuals because they think they can do it better than the market, and businessmen because they don’t like competition. What they really want — this is a variation of the Peter Thiel argument — what they all really want is to be monopolists. That former part is, I think, what explains the Bengali intellectuals.

I think that the reality is, the market is much more powerful than they are in these areas. To give you one simple example, they decided, “Okay, we need to be making high-end chips.” Who do they bet on? They bet on Intel, a company that has failed miserably to compete with TSMC, the great Taiwanese chip manufacturer. Intel is now getting multi-billion-dollar grants from the United States government, from the European Union, because it fills all the categories that you’re looking for: big company, stable and well-run, in some sense, can guarantee a lot of jobs.

But of course, the reality is that chip making is so complicated

Who knew that, actually, it’s Nvidia, whose chips turned out to be designed for gaming, turned out to be ideal for artificial intelligence? That’s a perfect example of how the Hayekian market signals that come bottom-up are much more powerful than a political elite who tries to tell you what it is.

COWEN: What did you learn from the Anglican Book of Common Prayer?

One was a reverence for tradition, and in particular, I loved the hymnal. I think Britain’s great contribution to music is religious music. It doesn’t have anything to compete with the Germans and the Italians in opera and things like that. Religious music, I think the Brits and the English have done particularly well.

The second thing I would say is an admiration for Christianity for its extraordinary emphasis on being nice to people who have not been lucky in life. I would say that’s, to me, the central message of Christianity that I take, certainly from the Sermon on the Mount, and it’s imbued through the Book of Common Prayer: to be nice to the people who have been less fortunate than you. Be nice to poor people. Recognize that in God’s kingdom, the first shall be last and the last shall be first.

There is an enormous emphasis on the idea that those things that make you powerful in this world are not the things that really matter, that your dignity as a human being doesn’t come from that. I think that’s a very powerful idea. It’s a very revolutionary idea

Tom Holland has a very good book about this. He’s a wonderful historian in Britain. I think it’s called Dominion.

He points out what a revolutionary idea this was. It completely upended the Roman values, which were very much, the first shall be first. The powerful and the rich are the ones to be valued. He points out, here is this Jewish preacher coming out of the Middle East saying, “No, the first shall be last, the last shall be first in the kingdom of heaven.”

COWEN: I went to Amritsar the year before, and it was one of the most magical feelings I’ve ever had in any place. I’m still not sure what exactly I can trace it to — I am not a Sikh, of course. But what, for you, accounts for the strong, powerful, wondrous feeling one gets from that place?

I think there’s something about it architecturally, which is that there is a serenity about it. Sometimes you can find Hindu temples that are very elaborate. Sikhism is a kind of offshoot of Hinduism. The Hindu temples can be very elaborate, but very elaborate and ornate. This somehow has a simplicity to it. When you add to that the water — I’ve always thought that water adds an enormously calming effect

Hindi and Urdu are two Indian languages, very related. They both have roughly the same grammatical structure, but then Hindi derives its vocabulary entirely from Sanskrit, or almost entirely from Sanskrit, and Urdu derives its vocabulary almost entirely from Persian. Urdu is a language of Indian Muslims and is the official language for Pakistan. It’s a beautiful language, very lyrical, very much influenced by that Persian literary sensibility.

If you’re speaking one of the languages, there’s a way to alternate between both, which a lot of Indian politicians used to do as a way of signaling a broad embrace of both the Hindu and the Muslim communities. Nehru, India’s first prime minister, used to often do that. He would say, “I am delighted to be coming here to your home.” He’d repeat the word home, first in Urdu, then in Hindi, so that in effect, both constituencies were covered.

Modi, by contrast, India’s current prime minister, is a great Hindu nationalist. He takes pains almost never to use an Urdu word when he speaks. He speaks in a kind of highly Sanskritized Hindi that most Indians actually find hard to understand because the everyday language, Bollywood Hindi, is a mixture of Hindi words and Urdu words

I think the partition of India was a complete travesty. It was premised on this notion of religious nationalism. It was horrendously executed. The person who drew the lines, a man named Radcliffe, had never been to India. He’d never been east of the Suez and was given this task, and he did it in a month or two, probably caused a million-and-a-half to two million lives lost, maybe 10 million people displaced. It broke that wonderfully diverse, syncretic aspect of India.

If you look at cities like Delhi and Lahore, what was beautiful about them is that they mix together all the influences of India: Hindu, Muslim, Punjabi, Sindhi. Now what you have is much more bifurcated. If you go to Lahore, Lahore is a Muslim city in Pakistan, and it has a Punjabi influence. Delhi has become, essentially, much more Indian and Hindu and has lost that Muslim influence. To me, as somebody who really loves cosmopolitanism and diversity, it’s sad to see that. It’s almost like you’ve lost something that really made these places wonderfully rich.

I feel the same way when you read about the history of Europe. You think of a place like Vienna, which, in its most dazzling moment, was dazzling precisely because it was this polyglot population of people coming from all over the Habsburg Empire. A large segment of it was Jewish, and it had, as a result — think about Freud and Klimt and the music that came out of there, and the architecture that came out at the turn of the 19th century. And it’s all gone. It’s like, at this point, a somewhat beautiful but slightly dull Austrian city.

I remember once being asked when I was a graduate student at Harvard — Tony Lake was then national security adviser, and his office called and said — I’d written something in the New York Times, I think — “Mr. Lake would like you to come to the White House to brief him.”

I think, in a sense, Islam fit in within that tapestry very easily, and it’s been around for a while. When people talk about cleansing India, Hindu nationals talk about cleansing India of foreign influences. Islam has been in India since the 11th century, so it’s been around for a long time

I was amazed that America — it wasn’t America; it was where I was at Yale and Harvard and all that — that nobody cared where I came from. Nobody cared.

the syncretic nature of India, that India has always been diverse. Hinduism is very tolerant. It’s a kind of unusual religion in that you can believe in one god and be Hindu. You can believe in 300. You can be vegetarian and believe that’s a religious dictate. You can be nonvegetarian and believe that that’s completely compatible with your religion. It’s always embraced almost every variant and variation.

I walked in and there were five people around the table: Tony Lake; Deputy National Security Advisor Sandy Berger; George Stephanopoulos, who was then director of communications at the White House; Joe Nye, who was a senior professor at Harvard; one other person; and myself. And I kept thinking to myself, “Are they going to realize at some point that I’m not an American citizen? They’re asking me for my advice on what America should do, and I am on a student visa.” And of course, nobody ever did, which is one of the great glories of America.

My thesis topic was, I tried to answer the question, when countries rise in great power, when they rise economically, they become great powers because they quickly translate that economic power into diplomatic and military power. What explains the principal exception in modern history, which is the United States?

My simple answer was that the United States was a very unusual creature in the modern world. It was a very strong nation with a very weak state. The federal government in the United States did not have the capacity to extract the resources from the society at large because you didn’t have income taxes in those days.

COWEN: What put you off academia? And this was for the better, in my view.

ZAKARIA: I think two things. One, I could see that political science was moving away from the political science that I loved, which was a broad discipline rooted in the social sciences but also rooted in the humanities, which was rigorous, structural, historical comparisons. Looking at different countries, trying to understand why there were differences.

It was moving much more toward a huge emphasis on things like rational choice, on game theory There was an economist envy. Just as economists have math envy, political scientists have economist envy. It was moving in that direction

COWEN: After 9/11 in 2001, you wrote a famous essay for Newsweek, “Why Do They Hate Us?” You talked about the rulers, failed ideas, religion. If you were to revise or rethink that piece today, how would you change it? Because we have 23 more years of data, right?

He had a routine, which is, he’d get up about 6:00 a.m. He’d go down to the basement of his townhouse, and at 6:30, he would start writing or working on whatever his next big research project was. He’d do that, uninterrupted, for three hours at least, sometimes four. Then, at about 9:30, 10:00, he would take the subway to Harvard.

His point was, you got to start the day by doing the important work of academia, which is producing knowledge. All the rest of it — teaching, committee meetings, all that — you can do later. He was so disciplined about that, that every five years or so, he put out another major piece of work, another major book

I looked at that, and I said to myself, I do not have the self-discipline to perform at that level. I need to go into something that has deadlines,

It’s all within you, and you have to be able to generate ideas from that lonely space. I’ve always found that hard. For me, writing books is the hardest thing I do. I feel like I have to do it because I feel as though everything else is trivia — the television, column, everything else.

The second piece of it was actually very much related to Huntington. Sam Huntington was quite an extraordinary character, probably the most important social scientist in the second half of the 20th century. Huge contributions to several fields of political science. He lived next to me

ZAKARIA: Yes. Not very much, honestly. The central point I was making in that essay was that if you look at the Arab world, it is the principal outlier in the modern era, where it has undergone almost no political modernization.

The Arab world had remained absolutely static. My argument was that it was largely because of the curse of oil and oil wealth, which had impeded modernization. But along with that, because of that failed modernization, they had developed this reactionary ideology of Islam, which said the answer is to go further back, not to go forward. “Islam is the solution,” was the cry of the Islamic fundamentalists in the 1970s.

COWEN: I’m struck that this year, both you and Ruchir Sharma have books coming out — again, Fareed’s book is Age of Revolutions: Progress and Backlash from 1600 to the Present — that I would describe broadly as classically liberal. Do you think classical liberalism is making a comeback

the reason these books are coming out — and certainly, mine, as you know, is centrally occupied with the problem that there’s a great danger that we are going to lose this enormous, probably the most important thing that’s happened in the last 500, 600 years in human history, this movement that has allowed for the creation of modern liberal democratic societies with somewhat market economies.

If you look at the graph of income, of GDP, per capita GDP, it’s like a straight line. There’s no improvement until you get to about, roughly speaking, the 17th, 18th century in Europe, and then you see a sharp uptick. You see this extraordinary rise, and that coincides with the rise of science and intellectual curiosity and the scientific method, and the industrial revolution after that. All that was a product of this great burst of liberal Enlightenment thinking in the West.

If you think about what we’ve gone through in the last 30 years — and this is really the central argument in my book — massive expansion of globalization, massive expansion of information technology so that it has completely upended the old economy. All of this happening, and people are overwhelmed, and they search in that age of anxiety. They search for a solution, and the easy solutions are the ones offered by the populists.

They’re deeply anti-liberal, illiberal. So, I worry that, actually, if we don’t cherish what we have, we’ll lose what has been one of the great, great periods of progress in human history.

COWEN: Why does your book cover the 17th-century Dutch Golden Age? ZAKARIA: The Dutch are the first modern country. If you think about politics before that — certainly with the exception of ancient Greece and Rome — in modern history, the Dutch invent modern politics and economics. They invent modern politics in the sense that it’s the first time politics is not about courts and kings. It is about a merchant republic with powerful factions and interest groups and political parties, or the precursor to political parties.

It’s the beginning of modern economics because it’s economics based not simply on land and agriculture, but on the famous thing that John Locke talked about, which is mixing human beings’ labor with the land. The Dutch literally do this when they reclaim land from the sea and find ways to manage it, and then invent tall ships, which is, in some ways, one of the first great technological revolutions that has a direct economic impact.

You put all that together, and the Dutch — they become the richest country in the world, and they become the leading technological power in the world. It was very important to me to start the story — because they are really the beginnings of modern liberalism

COWEN: Circa 1800, how large were the Chinese and Indian economies?

Circa 1800, the Chinese and Indian economies are the two largest economies in the world, and people have taken this to mean, oh, the West had a temporary spurt because of colonies and cheap energy, and that the Chinese and Indians are just coming back to where they were.

First of all, the statistic is misleading because in those days, GDP was simply measured by using population. All society was agricultural. The more people you had, the larger your GDP. It was meaningless because the state could not extract that GDP in any meaningful way, and it’s meaningless because it doesn’t measure progress. It doesn’t measure per capita GDP growth, which is the most important thing to look at.

If you look at per capita GDP growth from 1350 to 1950, for 600 years, India and China have basically no movement. It’s about $600 in 1350 and $600 in 1950. The West, by comparison, moves up 600 percent in that period. It’s roughly $500 per capita GDP to roughly $5,000 per capita GDP.

You can also look at all kinds of other measures. You can look at diet. There are economic historians who’ve done this very well, and people in England were eating four to five times as much grain and protein as people in China and India. You can look at the extraordinary flourishing of science and engineering. You can look at the rise of the great universities. It’s all happening in the West.

The reason this is important is, people need to understand the rise of the West has been a very profound, deep-rooted historical phenomenon that began sometime in the 15th century. The fact that we’re moving out of that phase is a big, big deal. This is not a momentary blip. This is a huge train. The West define modernity. Even when countries try to be modern, they are in some way becoming Western because there is no path we know of to modernity without that.

One other way of just thinking about how silly that statistic is: in pure GDP terms, China had a larger GDP than Britain in 1900. Now, look at Britain in 1900: the most advanced industrial society in the world, ruling one-quarter of the world, largest navy in the world, was able to humiliate China by using a small fraction of its military power during the opium era. That’s what tells you that number is really meaningless. The West has been significantly more advanced than the rest of the world since the 16th century at least.