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Francis Fukuyama’s Failures of Imagination

7 0
07.10.2026

Francis Fukuyama’s Failures of Imagination

As he looks back on a life in ideas, he is able to see the flaws in his system. But he cannot take seriously the type of politics that might address them.

There is a strange irony in the career that Francis Fukuyama recounts in his new memoir, In the Realm of the Last Man. The Stanford political scientist and former neoconservative rose to prominence, of course, by famously asking in 1989 whether humanity had reached the “end of history.” Arriving in The National Interest magazine just before the fall of the Berlin Wall, Fukuyama’s well-timed query perfectly articulated an idea then becoming a new form of political common sense: Western-style liberal democracy was the eventual destiny of all humankind. Even if some details remained to be sorted out—and some holdouts remained to be convinced—liberalism’s enemies were exhausted and the future seemed determined.

Now in his seventies, Fukuyama’s new retrospective inadvertently reveals that it’s the liberal democratic model that seems unready for the next century. Able to see the flaws in his system but unwilling to countenance the type of politics that might transcend them, Fukuyama has produced a book emblematic of a “centrism” still proudly fighting the last brushfires of the twentieth century long after the wildfires of the twenty-first have swept by them. Apparently meant as a kind of valedictory statement, In The Realm of the Last Man announces not just the latest phase of Fukuyama’s career but the exhaustion of the ideas that career rested on.

This career, as he reveals in the book’s opening vignette, began in California, where he first arrived to take up an internship at the Rand Corporation in 1978. That position was part of a quest to avoid what Fukuyama calls an “overdetermined outcome”: becoming an academic. “While I was growing up,” he writes, “I told myself I didn’t want to be a professor,” a path he rejected even after getting his Ph.D. from Harvard in 1981. The son of first- and second-generation Japanese immigrants, Fukuyama came from an academic family. His father, Yoshio Fukuyama, was a congregationalist minister and sociologist who served on the faculty at the Chicago Theological Seminary and Penn State. His mother, Toshiko, herself the daughter of an economics professor and university president, had survived World War II in Japan before emigrating to the United States in 1949 to attend the University of Chicago.

Yoshio, his son writes, was a “committed liberal and pacificist,” the source of some tension as Francis drifted rightward during his college years under the mentorship of Allan Bloom (the classicist most famous for authoring The Closing of the American Mind). The elder Fukuyama had narrowly escaped internment by the U.S. government during the war thanks to a scholarship program that helped Japanese American students attend universities outside the military exclusion zones on the West Coast. His parents and siblings had not been so lucky, spending the entirety of the war unjustly incarcerated in camps in Colorado and Arkansas. Whether those experiences influenced his father’s views, Francis does not say; regardless, Yoshio “and his church were at the forefront of the Civil Rights Movement and opposition to the Vietnam War.” Yoshio often suggested that his son had been “brainwashed” by right-wing professors, and during a visit to California in the 1980s wondered aloud whether Francis would ever leave the Department of Defense–aligned Rand and “get a real job” elsewhere.

Fukuyama would, eventually, become a professor like his father, the result of another transition in which Bloom played a key role. In 1988, while Fukuyama was working for the State Department, Bloom invited him to speak at the University of Chicago as part of a lecture series gloomily titled “The Decline of the West.” Fukuyama accepted, provided he could present a “more optimistic take.” His talk was called “The End of History?” and it was published in article form the following summer.

In the piece (which he later turned into a bestselling book), Fukuyama championed a new political order—that which emerged in the 1970s and 1980s as Cold War tensions........

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