Sci-fi meets the aesthetic vanguard in cyberspace, where a new metalanguage addresses problems and solutions alike.

NEW DARK AGE

TECHNOLOGY, KNOWLEDGE AND THE END OF THE FUTURE

A British visual artist, journalist, and “New Aesthetic” champion offers nightmarish prophecies on the descent into darkness.

“Our vision is increasingly universal,” writes Bridle, “but our agency is ever more reduced. We know more and more about the world, while being less and less able to do anything about it. The resulting sense of helplessness, rather than giving us pause to reconsider our assumptions, seems to be driving us deeper into paranoia and social disintegration.” Like an Orwell of the computer age, he has been shaped by the very forces that now fill him with dread, convinced that there is a connection between climate change and information overload and between the network that nobody understands and the increased disparity between the haves and the have-nots. Though his prose can be dense, Bridle’s analytical leaps are both illuminating and terrifying, suggesting that, on levels beyond surveillance and conspiracy, we have unleashed technology to establish systems of such complexity and control that it can be difficult for anyone to understand who’s in charge and what they want. The new paradigm requires new language, new perspective, and new understanding. Yet we are losing data and our connection with the past as the data overflow turns the prospects for a brighter future into the new dark age of the manifesto’s title. So should we abandon all hope? “Our understanding of those systems and their ramifications, and of the conscious choices we make in their design, in the here and now, remain entirely within our capabilities,” he concludes. “We are not powerless, not without agency and not limited by darkness. We only have to think, and think again, and keep thinking. The network—us and our machines and the things we think and discover together—demands it.”

Sci-fi meets the aesthetic vanguard in cyberspace, where a new metalanguage addresses problems and solutions alike.

Pub Date: July 17, 2018

ISBN: 978-1-78663-547-1

Page Count: 288

Publisher: Verso

Review Posted Online: May 9, 2018

Kirkus Reviews Issue: June 1, 2018

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A clear and candid contribution to an essential conversation.

SO YOU WANT TO TALK ABOUT RACE

Straight talk to blacks and whites about the realities of racism.

In her feisty debut book, Oluo, essayist, blogger, and editor at large at the Establishment magazine, writes from the perspective of a black, queer, middle-class, college-educated woman living in a “white supremacist country.” The daughter of a white single mother, brought up in largely white Seattle, she sees race as “one of the most defining forces” in her life. Throughout the book, Oluo responds to questions that she has often been asked, and others that she wishes were asked, about racism “in our workplace, our government, our homes, and ourselves.” “Is it really about race?” she is asked by whites who insist that class is a greater source of oppression. “Is police brutality really about race?” “What is cultural appropriation?” and “What is the model minority myth?” Her sharp, no-nonsense answers include talking points for both blacks and whites. She explains, for example, “when somebody asks you to ‘check your privilege’ they are asking you to pause and consider how the advantages you’ve had in life are contributing to your opinions and actions, and how the lack of disadvantages in certain areas is keeping you from fully understanding the struggles others are facing.” She unpacks the complicated term “intersectionality”: the idea that social justice must consider “a myriad of identities—our gender, class, race, sexuality, and so much more—that inform our experiences in life.” She asks whites to realize that when people of color talk about systemic racism, “they are opening up all of that pain and fear and anger to you” and are asking that they be heard. After devoting most of the book to talking, Oluo finishes with a chapter on action and its urgency. Action includes pressing for reform in schools, unions, and local governments; boycotting businesses that exploit people of color; contributing money to social justice organizations; and, most of all, voting for candidates who make “diversity, inclusion and racial justice a priority.”

A clear and candid contribution to an essential conversation.

Pub Date: Jan. 16, 2018

ISBN: 978-1-58005-677-9

Page Count: 256

Publisher: Seal Press

Review Posted Online: Oct. 9, 2017

Kirkus Reviews Issue: Nov. 1, 2017

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However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

I KNOW WHY THE CAGED BIRD SINGS

Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."

Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."

However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

Pub Date: Feb. 1, 1969

ISBN: 0375507892

Page Count: 235

Publisher: Random House

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: Feb. 1, 1969

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