The year is 1933. Hannah Arendt escapes Berlin, seeking refuge among the stateless gathering in Paris. Simone de Beauvoir reimagines the dance between consciousness and the world outside in a Rouen café. Ayn Rand labours in Hollywood exile in the novel she believes is destined to reignite the flame of liberty in her adoptive nation. Simone Weil, disenchanted with the revolution’s course in Russia, devotes her entire being to the plight of the oppressed. Over the next decade, one of the darkest in Europe’s history, these four philosophers will conceive in parallel ideas that would circle the globe in the second half of the century, reshaping it.
The Visionaries follows in its protagonists’ footsteps from Leningrad to New York, Spain at civil war to France under occupation, as each is uprooted by totalitarianism’s ascendence. It shows them facing the injustices, unfreedom and unfathomable violence of their time as women, refugees, activists, resistance fighters – but above all as thinkers.
Big Tech has sold us the illusion that artificial intelligence is a frictionless technology that will bring wealth and prosperity to humanity. But hidden beneath this smooth surface lies the grim reality of a precarious global workforce of millions that labour under often appalling conditions to make AI possible. Feeding the Machine presents an urgent, riveting investigation of the intricate network of organisations that maintain this exploitative system, revealing the untold truth of AI.
Based on hundreds of interviews and thousands of hours of fieldwork over more than a decade, this book shows us the lives of the workers often deliberately concealed from view and the systems of power that determine their future. It shows how AI is an extraction machine that churns through ever-larger datasets and feeds off humanity’s labour and collective intelligence to power its algorithms. Feeding the Machine is a call to arms against this exploitative system and details what we need to do, individually and collectively, to fight for a more just digital future.
In early 2021, popular artist Anna Marie Tendler checked herself into a psychiatric hospital following a year of crippling anxiety, depression, and self-harm. Over two weeks, she underwent myriad psychological tests, participated in numerous therapy sessions, connected with fellow patients and experienced profound breakthroughs, such as when a doctor noted, “There is a you inside that feels invisible to those looking at you from the outside.”
In Men Have Called Her Crazy, Tendler recounts her hospital experience as well as pivotal moments in her life that preceded and followed. As the title suggests, many of these moments are impacted by men: unrequited love in high school; the 28-year-old she lost her virginity to when she was 16; the frustrations and absurdities of dating in her mid-thirties; and her decision to freeze her eggs as all her friends were starting families.
This stunning literary self-portrait examines the unreasonable expectations and pressures women face in the 21st century. Yet overwhelming and despairing as that can feel, Tendler ultimately offers a message of hope.
At the start of the 1860 presidential campaign, a handful of fired-up young Northerners appeared as bodyguards to defend anti-slavery stump speakers from frequent attacks. The group called themselves the Wide Awakes. Soon, hundreds of thousands of young White and Black men, and a number of women, were organising boisterous, uniformed, torch-bearing brigades of their own. These Wide Awakes – mostly working-class Americans in their twenties – became one of the largest, most spectacular, and most influential political movements in American history. To some, it demonstrated the power of a rising majority to push back against slavery. To others, it looked like a paramilitary force training to invade the South. Within a year, the nation would be at war with itself, and many on both sides would point to the Wide Awakes as the mechanism that got them there.
Virginia Woolf compared her to a caterpillar; Anne Frank kept pictures of her on the wall of her annexe; Jimi Hendrix played her tune; Haile Selassie gave her a gold tiara; Dirk Bogarde watched Death in Venice with her; Andy Warhol envied her fame; Donald Trump offended her; EM Forster confessed he would have married her if only she had been a boy.
Queen Elizabeth II was famous for longer than anyone who has ever lived. When people spoke of her, they spoke of themselves; when they dreamed of her, they dreamed of themselves. She mirrored their hopes and anxieties. To the optimist, she seemed an optimist; to the pessimist, a pessimist; to the awestruck, charismatic; and to the cynical, humdrum. Though by nature reserved and unassuming, her presence could fill presidents and rock gods with terror. For close to a century, she inhabited the psyche of a nation.
Combining biography, essays, cultural history, dream diaries, travelogue and satire, Craig Brown presents a kaleidoscopic portrait of this most public yet private of sovereigns.
In the turbulent late 1970s, six-year-old Susanna Crossman moved with her mother and siblings from a suburban terrace to a crumbling mansion deep in the English countryside. They would share their new home with over 50 other residents from all over the world, armed with worn paperbacks on ecology, Marx and radical feminism, drawn together by utopian dreams of remaking the world. They did not leave for 15 years.
While the Adults adopted new names and liberated themselves from domestic roles, the Kids ran free. In the community, nobody was too young to discuss nuclear war and children learned not to expect wiped noses or regular bedtimes. Instead, they made a home in a house with no locks or keys, never knowing when they opened doors whether they’d find violent political debates or couples writhing under sheets.
Decades later, and armed with hindsight, Crossman revisits her past, turning to leading thinkers in philosophy, sociology and anthropology to examine the society she grew up in, and the many meanings of family and home. In her memoir, she asks what happens to children who are raised as the product of social experiments and explores how growing up estranged from the outside world shapes her as a parent today.