the Labor government wrote: “There arenpeople there in their thirties and fortiesnwho have never worked in their lives,npeople with grown-up children whonhave never seen their fathers do a day’snwork. You have to look at those men’sneyes to understand what West Belfast isnabout. There’s no sparkle there, nonhope.” Srodes and Fallon swallow thisnexcuse for the deficits that big welfarengovernment yearns to create, and tell usnthat “men who had never worked inntheir lives were enthusiastically seizingnthe opportunity they thought wouldnnever come” at the DMC plant. But laternin the same act they write: “There is anlong industrial tradition in NorthernnIreland, and although many of the newnmen had never had jobs, some had beennmechanics, garage workers, or hadnworked in the Grundig factory nearby, atnthe shipyard, or in one of the factoriesnnow closed.” All too late the LondonnFinancial Times would warn after thenBritish cut their losses: “There is nonsecurity in jobs which depend on permanentngovernment subsidy.” Here at thenend of Act Three oi Dream Maker thenaudience gets its closest look at DeLorean’snMephistopheles; the resemblancento Michael Harrington is striking. Oncenwe know who is the real Mephisto—^thenself-serving spending of big government—thenirony of the final act ofnDream Maker improves from thenridiculous to the sublime.nAmidst all the questions about whonentrapped whom in the cocaine affair,nand about secret warnings exchangednbetween the U.S. and the U.K. in the daysnbefore the bust, there emerges somethingnmore significant: the identity ofnwhat DeLorean put up for the $3 millionnseed money falsely extended by U.S.nagents to buy the drugs that would grossnsome $60 million on the street. DeLorean’snante was 50 percent of DeLoreannMotor Car. In other words, the very samenbig government which had inflatednDeLorean was now going to buy him outnone more time in order to bust him.nMore ironic is the feet that DMC seemsnto have been nothing more than a papern12inChronicles of Culturenshell at the time; so that if DeLorean hadnmanaged to sell himself once more, henwould have realized a 2000 percentnincrease in capital (ca. $300Kto S60M)nin under ten years.nDream Maker is certain proof that wenno longer want the things that moneynbuys; we simply want more and morenmoney. Money doesn’t just make us rich;ninstead, being rich makes a new us. Anculture which values money as a thingnper se, the DeLorean culture, is a culturenhung up on images. Money is whatnmakes those images real because it isnitself the image of an unlimited fi-eedomnof identity that human consciousnessnturns to with Faustian yearning. Underlyingnthis change in money’s meaning is anchange in our understanding of thenconcept of value itself. If the culture ofnrelative morality, constantly advocatingnus to “do our own thing,” cues thenDeLoreans of this world, the concept ofnrelative value that they are driven to isnwhat destroys them. Mankind can nevernhave enough in a relative universe. Thisnis why wisdom finds in money the root ofnall evil—not because of money butnbecause of the nature of evil. Moneynmust possess our souls in a culture ofnrelative value; because evil must fill thenvacuum created when relative moralityndestroys ultimate and necessary restraintsnon human behavior. Thesenrestraints define what is human. Inhumanitynis the meaning of evil. That is whynwe ask the Lord to “deliver us fromnevil”—at least until we begin to thinknthat money is more important thannprayer.nJVloney as more than money, and ourndesire for more and more of it connectnDream Maker and Elizabeth Drew’snPolitics and Money. “What is driving thenchase for money is its own momentum,”nwrites Drew, bent on exposing “thengreat rivers of private money, much of itnIn the forthcoming issue of Chrou ides of Culture.nRenounce Yaltan”One of the most persistent soureesneducated Americans is llie failure tonleeis\hicli do not correspond to tiioseofde?iiocraticnsocieties. (.)n(,(i