The Professor in the Cage is a straightforward work of popular science bookended by what Jonathan Gottschall himself calls a "memoir stunt": One day in his late thirties, Gottschall, a "cultured English professor," decided to join the mixed-martial-arts gym that had opened across the street from his campus office, with the ultimate goal of engaging in at least one professional fight.
Anonymous's ethos of "motherfuckery" (a commitment to mayhem) coexists alongside what some less politically engaged Anons derisively call "moral faggotry" (a devotion to social and political causes). As a result, Anonymous is a remarkable, if confounding, witches' brew, into which a wide variety of human characteristics have been poured.
THERE'S SOMETHING endearing about people who loudly proclaim their love of books. Forget the suspicions kicked up by trumpeting something as universal as “books” as one’s true love (also loves: baby animals, pizza, oxygen); forget the anachronism of loving physical objects in space and not some
In Countdown to Zero Day Kim Zetter argues that our physical world is increasingly vulnerable to digital sabotage. Her vision of the future—which features computer viruses that can bring machinery and entire systems to a standstill—is hair-raising and, in light of the Sony hacks, increasingly relevant.
HAS ELENA FERRANTE ANY RIVAL? Only one: Lila, a fictional character, whom Ferrante, in her Neapolitan Novels, immortalizes and annihilates. Lila is charismatic and wild. Lila acts and Elena, Ferrante’s fictional stand-in, responds. Lila excels and Elena struggles to keep up. Or that’s how Elena
“HE WORE A PURPLE PLAID SUIT his staff abhorred and a pinstripe shirt and polka-dot tie and a folded white silk puffing up extravagantly out of his pocket.” This was not some tea-sipping Edwardian dandy. It was Ronald Reagan announcing his presidential candidacy at the National Press Club in November
The champions of innovation-speak are as confused by the subject as anyone. To them, technology is a thing with a life of its own. And it can evidently only be understood via the ministrations of a class of reverent spiritual adepts, duly catechized in treating its essence as holy and its creators as demigods.
Two new works of fiction about war, Phil Klay's Redeployment and Hassan Blasim's The Corpse Exhibition, share a nightmarish view of Americans' role in Iraq. If you think these have been unjust wars, fought for specious reasons, and therefore productive of great evil, these books will only fortify your opinion.
For a long time, it has been unclear why the Americans are still fighting in Afghanistan. In 2001, when the Bush administration launched the invasion, the mission was to destroy Al Qaeda and the Taliban leadership. But thirteen years later, with Osama bin Laden dead and Al Qaeda's operations and leaders dispersed well beyond Afghanistan's borders, how can we sum up the main objective of America's longest-running war? Who is the enemy now?
Major policy changes and crime epidemics rightly generate front-page headlines, but daily press coverage only hints at the complicated experiences of individual women serving in the US military. With a handful of notable exceptions, war memoirs are written predominantly by men, and most war stories have male protagonists; it is as if war itself, and the stories we tell about it, were inherently masculine.