In her novel Frankissstein (2019) – a reimagining of Mary Shelley’s Frankenstein (1818) that embraces robotics, artificial intelligence (AI), and transhumanism – Jeanette Winterson writes, ‘The monster once made cannot be unmade. What will happen to the world has begun.’ This observation might have served as an epigraph for her new book, 12 Bytes. Comprising twelve essays that ruminate on the future of AI and ‘Big Tech’, 12 Bytes contends that looming technological advances will demand not only resistance to the prejudices and inequalities endemic in our current social order, but also a reconsideration of what it means to be human: ‘In the next decade … the internet of things will start the forced evolution and gradual dissolution of Homo sapiens as we know it.’
Olivia Laing describes her latest book, Everybody: A book about freedom, as one about ‘bodies in peril and bodies as a force for change’. I would describe Everybody as a biographical project, about people whose work engaged with the ideas of bodies and freedom in the twentieth century. This might seem like a subtle difference, but it’s an important one: had Laing conceptualised and framed the book in the latter way, I think Everybody would be a less frustrating read. As it stands, Laing’s biographical writing, while insightful and rigorously researched, ends up feeling like an (admittedly deft) avoidance tactic; Everybody sets out to be a book that takes a hard and uncomfortable look at the topic of bodies and their roles in the pursuit and denial of freedom, but it doesn’t quite dare to do so directly. It ends up being a book about people who have.
‘I just want you to feel free, I said in anger disguised as compassion, compassion disguised as anger.’ These are Maggie Nelson’s words to her partner, artist Harry Dodge, as the two negotiate the shapes of love, family, and gender. These include Harry’s gender fluidity (‘I’m not on my way anywhere, Harry sometimes tells inquirers’), children, and marriage, which they ‘kill ... (unforgivable). Or reinforce ... (unforgivable)’ when they rush to wed ahead of the Proposition 8 legislation that, for a time, eliminated same-sex marriage in California.
Once, during a teaching exchange in Germany, I found myself learning as much from my students as I was trying to teaching them. This is not unusual. Delivering my thoughts to others, and then having them modified during discussions, helps me to understand what I want to say. By the end of the class, I begin to see what I probably should have known from the start.
In The First Time I Thought I Was Dying, the photographer–artist Sarah Walker brings into focus ideas about anxiety, control, bodily functions, and the uses of breached boundaries. The essays of this book are personal, and readers of confessional non-fiction will delight in their tone: equal parts jocose and sincere.
Gerard Windsor had a rocky start to his writing life. Out of the Jesuits after seven years, he scored a contract with his old school, Riverview, in Sydney, to write its centennial history. I was one of the alumni he interviewed; I remember suggesting that he take steps to guarantee the publication of his text. After all, I argued, a school run by a religious order was like a family commissioning its history: it would have tender feelings towards its dead and be wary of any diminution of their legends.
‘Land isn’t always meant to be grasped any more than art is, or dust,’ writes Michael Farrell in the arresting opening sentence of the first essay of Kate Leah Rendell’s Randolph Stow: Critical essays. Stow’s writing shows just how provisional meaning and territoriality can be, and the statement is a fitting beginning to a new book about his work.
‘Experimental writing’ can sometimes seem like a wastebasket diagnosis for any text that defies categorisation. Even when used precisely, it begs certain questions. Isn’t all creative writing ‘experimental’ to some degree? Isn’t the trick to conceal the experimentation? And what relationship does it bear to the ‘avant-garde’? If avant-gardism implies a radical philosophy of art, where does ‘experimentalism’ fit today? Is it not part of the valorisation of novelty, of innovation for innovation’s sake, which has gripped the literary establishment in recent decades? (When books like Milkman  and Ducks, Newburyport  fall victim to the cosiest of literary prizes, where have the real radicals gone?)
Liz Byrski’s introduction to Women of a Certain Rage is, among other things, a homage to second-wave feminism and a lament that feminism, ‘originally a radical countercultural movement’, has been ‘distorted into a tool of neoliberalism’. While there is no doubt that strains of feminism have been co-opted by neoliberalism to debilitating effect, this narrative – that feminism has become ineffectual since the 1970s – is one that erases many contemporary feminisms, as well as broader feminism-informed political movements and the work that they have done and continue to do.
In the frantic days after the recent US presidential election, Donald Trump’s team – led by his attorney Rudy Giuliani – held a media conference in a suburban Philadelphia carpark. The establishment that formed the backdrop to this unusual performance is called Four Seasons Total Landscaping. Neighbouring businesses included a crematorium and an adult entertainment store (soon translated on social media into a ‘dildo shop’). At the time of writing, the explanation for how this had happened is still not forthcoming, but most commentators assumed a mix-up with one of the city’s major hotels, also called Four Seasons.