Culture

On the outskirts of Fort Worth, Texas, there is a two-storey factory churning out a vast number of dollar bills every day for the United States Federal Reserve. When Oliver Bullough visited, he counted 129 pallets in one room, collectively containing more than $4 billion. He also watched a woman use a jack to casually shift another $64 million across the concrete floor. Yet he barely used cash on his visit to the Lone Star state, relying on credit cards and smartphone apps, apart from when tipping waiters. As he points out, this is increasingly typical: many fewer Americans or Brits are bothering with cash, and when they do it is for small transactions. So why is more and more money being printed in such places, and in the biggest denominations?

Before the 1989 revolution, Romania had seen nearly a century of polarisation – a fascist regime swiftly replaced by a communist one. In Blinding, Mircea Cartarescu’s first instalment of an ambitious, surrealist trilogy, that duality, along with other antagonisms central to existence, is represented by the motif of a butterfly. The novel was originally published in Romanian in 1996, and the title refers to the epiphany which, it’s suggested, can be achieved if life’s opposites are reconciled. We first meet the narrator, twentysomething Mircea, languishing in a squalid studio flat in Bucharest, his rapidly industrialising home city. He is writing his own ‘endless book’, his aim being absolute self-knowledge.

Joanna Kavenna is very serious about games. Her novels have a certain playful quality, even her debut Inglorious, where the humour and allusions are Mittel-european. More markedly ludic are her Lewis Carroll-esque fantasy about quantum physics, A Field Guide to Getting Lost and the Philip K. Dickish tech-dystopia of Zed. In Seven, however, it’s not just the style but the subject. As if to make clear that games are neither childish nor mere distractions, there is a pointed reference to Johan Huizinga’s study Homo Ludens¸ published on the eve of the second world war. The narrator here is working for a formidable philosopher in Oslo, whose current project is entitled ‘Thinking outside the Box about Thinking outside the Box’. (‘I’m serious,’ the narrator archly notes.