Paul Roberts

What do soaring debt, endemic narcissism, road rage, political attack ads and killer drones share in common? All are symptoms of a society that moves, reflexively and relentlessly, to exploit the fastest, most efficient means to any end, without regard to cost. This is the 'impulse society' in which we live. In every facet of postindustrial society - the way we eat, the way we communicate and entertain, the way we work, the way we court lovers and raise children, educate and govern - technology and affluence has let us reach our goals with a speed and efficiency unimaginable even a generation ago. But the result is not all milk, honey, and gold. Companies now reflexively maximise short-term gain at the expense of long-term success. Politicians resort with ever-greater speed to nasty campaign tactics, and can count on their damaging claims to spread before the facts catch up with them. Consumers engage in serial over-indulgence and pursue instant gratification of every whim with speed and greed. The costs of living this way are substantial: financial volatility, health epidemics, environmental exhaustion and political paralysis, to say nothing of a growing, gnawing dissatisfaction. In this epoch-defining book, Paul Roberts traces the roots of this problem, damningly revealing how it has permeated society, and cogently argues how it may, perhaps, still be reversed.

Born near Paris in 1862, Claude Debussy was one of the most influential composers of his age, affecting profoundly the works of later generations of composers, both in his native France and elsewhere. He was trained at the Paris Conservatoire, and decided there on a career as a composer rather than as a pianist, his original intention. His highly characteristic musical language, thoroughly French in inspiration, extended the contemporary limits of harmony and form, with a remarkably delicate command of nuance, whether in composition for the piano or in the handling of a relatively large orchestra. Considered by many to be the most important composer of piano music since Chopin, Debussy also produced a single opera, "Pelleas et Melisande", which brought an entirely new tone to the genre. This, however, was his only completed opera and instead his work predominantly comprises orchestral pieces, piano sets and songs. The orchestral works include "The Three Nocturnes" (1899), "The Three Images" (1912) and "The Ballet Jeux" (1913). Debussy's piano music begins with works that, Verlaine fashion, look back at earlier musical styles with a modern cynicism (Suite bergamasque, 1890, Pour le piano, 1901). But then, as in the orchestral pieces, Debussy began to associate his music with visual impressions of the East, Spain, landscapes etc, in a sequence of sets of short pieces. His last volume of "Etudes" (1915) interprets similar varieties of style and texture purely as pianistic exercises and includes pieces that develop irregular form to an extreme, as well as others influenced by the young Stravinsky (a presence too in the suite En blanc et noir for two pianos, 1915). A planned set of six chamber sonatas was sadly cut short by the composer's death from cancer in 1918. Perhaps the most influential composer of his generation (and certainly one who provoked much contemporary controversy), Debussy's influence continues to be felt in the twenty-first century.