By making ‘newness’ into a psychological category, as the book does, we are in danger of forgetting that new cultural products are typically marketed as variations on existing (exemplary) goods. And by emphasizing personal stories central to the valuation of goods, we lose sight of the social aspect of stories, and meaning more generally. The social and institutional aspects of consumption are themes to which cultural economists have a lot to contribute, but this book does not quite deliver on these fronts.