A timely and disturbing study of flawed, dangerous thinking.
A Daily Beast reporter probes the relationship between flat Earth beliefs and the rise of modern conspiracy theories.
Before the pandemic, the 2020 presidential election, and civil unrest changed the world, Weill regarded flat Eartherism as “something close to a joke.” Yet as the Trump administration and its penchant for “alternative facts” fed social and political turmoil at home and abroad, Weill was “stripped…of [the] smugness” she felt for believing that most people were grounded in reality. She looked more closely into the flat Eartherism she derided and discovered social parallels that intrigued as much as they unsettled. As the author notes, anti-globalism emerged out of the ashes of a failed socialist experiment—itself intended as a form of rebellion against the Industrial Revolution—in 19th century Britain. Weill attributes the persistence of this anti-scientific belief less to the delusions of crackpots like flat Earth movement founder Samuel Rowbotham and more to the idea that the conspiracy thinking in which flat Eartherism is grounded results when humans are faced with the incomprehensible and uncontrollable. Turning her attention to contemporary history, the author suggests how the internet—in particular, social media—has wrought havoc on truth by helping to disseminate disinformation. In turn, this has helped create a paranoid culture and “conspiratorial melting pot” in which Rowbotham’s flat Eartherism has not only flourished, but also “cross-pollinated” with everything from anti-vaccination advocates to QAnon conspiracy theories. Perhaps most unnerving of all of Weill’s observations is that conspiratorial movements and cults are “cousins”—both have dogmatic followers that not only “keep each other in line,” but also keep themselves “away from the outside world.” This provocative book is sure to inspire debate about conspiracy theories as well as how citizens of a fractured world can learn to overcome their fear of radical planetary change.
A timely and disturbing study of flawed, dangerous thinking.Pub Date: Feb. 22, 2022
ISBN: 978-1-64375-068-2
Page Count: 256
Publisher: Algonquin
Review Posted Online: Nov. 2, 2021
Kirkus Reviews Issue: Dec. 1, 2021
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
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