It presents Chomsky's latest thinking on terrorism, U.S. foreign policy, and alternatives to militarism and violence as solutions to the world's problems. Chomsky challenges the United States to apply to its own actions the moral standards it demands of others, and arrives at a surprisingly optimistic conclusion rooted in his faith in the power of an informed public.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex

    Orwell gives an anecdotal account of his experiences in a french public hospital which triggers a contemplation of hospital literature in the context of 19th-century medicine.

    First published before the World Trade Organization protests in Seattle, this is an infuriating, inspiring, and altogether pioneering work of cultural criticism that investigates money, marketing, and the anti-corporate movement.As global corporations compete for the hearts and wallets of consumers who not only buy their products but willingly advertise them from head to toe—witness today's schoolbooks, superstores, sporting arenas, and brand-name synergy—a new generation has begun to battle consumerism with its own best weapons. In this provocative, well-written study, a front-line report on that battle, we learn how the Nike swoosh has changed from an athletic status-symbol to a metaphor for sweatshop labor, how teenaged McDonald's workers are risking their jobs to join the Teamsters, and how "culture jammers" utilize spray paint, computer-hacking acumen, and anti-propagandist wordplay to undercut the slogans and meanings of billboard ads (as in "Joe Chemo" for "Joe Camel").No Logo will challenge and enlighten students of sociology, economics, popular culture, international affairs, and marketing."This book is not another account of the power of the select group of corporate Goliaths that have gathered to form our de facto global government. Rather, it is an attempt to analyze and document the forces opposing corporate rule, and to lay out the particular set of cultural and economic conditions that made the emergence of that opposition inevitable." —Naomi Klein, from her Introduction

    Along the way, he takes us on an exploration of lost islands, mythical realms, and the medieval world. Eco also sheds light on the indignant reviews of James Joyce’s Ulysses by fascist journalists of the 1920s and 1930s, and provides a lively examination of Saint Thomas Aquinas’s notions about the soul of an unborn child, censorship, violence, and WikiLeaks. These are essays full of passion, curiosity, and obsessions by one of the world’s most esteemed scholars and critically acclaimed, best-selling novelists.

    He believed that the deepest reality of human life lies in the relationship between one being and another. Between Man and Man is the classic work where he puts this belief into practice, applying it to the concrete problems of contemporary society. Here he tackles subjects as varied as religious ethics, social philosophy, marriage, education, psychology and art. Including some of his most famous writings, such as the masterful What is Man?, this enlightening work challenges each reader to reassess their encounter with the world that surrounds them.

    But Vidal was also a terrific conversationalist; indeed Dick Cavett once described him as “the best talker since Oscar Wilde.” Vidal was never more eloquent, or caustic, than when let loose on his favorite topic: the history and politics of the United States.This book is made up from four interviews conducted with his long-time interlocutor, the writer and radio host Jon Wiener, in which Vidal grapples with matters evidently close to his heart: the history of the American Empire, the rise of the National Security State, and his own life in politics, both as a commentator and candidate.The interviews cover a twenty-year span, from 1988 to 2008, when Vidal was at the height of his powers. His extraordinary facility for developing an argument, tracing connections between past and present, and drawing on an encyclopedic knowledge of America’s place in the world, are all on full display. And, of course, it being Gore Vidal, an ample sprinkling of gloriously acerbic one-liners is also provided.

    The celebrated author explores new ways to view ourselves and the society we live in, and gives us fresh answers to such enduring questions as how to think for ourselves and understand what we know.

    In Homo Deus, he looked to our future. Now, one of the most innovative thinkers on the planet turns to the present to make sense of today's most pressing issues.How do computers and robots change the meaning of being human? How do we deal with the epidemic of fake news? Are nations and religions still relevant? What should we teach our children?Yuval Noah Harari's 21 Lessons for the 21st Century is a probing and visionary investigation into today's most urgent issues as we move into the uncharted territory of the future. As technology advances faster than our understanding of it, hacking becomes a tactic of war, and the world feels more polarized than ever, Harari addresses the challenge of navigating life in the face of constant and disorienting change and raises the important questions we need to ask ourselves in order to survive.In twenty-one accessible chapters that are both provocative and profound, Harari builds on the ideas explored in his previous books, untangling political, technological, social, and existential issues and offering advice on how to prepare for a very different future from the world we now live in: How can we retain freedom of choice when Big Data is watching us? What will the future workforce look like, and how should we ready ourselves for it? How should we deal with the threat of terrorism? Why is liberal democracy in crisis?Harari's unique ability to make sense of where we have come from and where we are going has captured the imaginations of millions of readers. Here he invites us to consider values, meaning, and personal engagement in a world full of noise and uncertainty. When we are deluged with irrelevant information, clarity is power. Presenting complex contemporary challenges clearly and accessibly, 21 Lessons for the 21st Century is essential reading.

    To be published on the first anniversary of Kurt Vonnegut's death, Armageddon in Retrospect is a collection of twelve new and unpublished writings on war and peace, imbued with Vonnegut's trademark rueful humor.

    A substantial portion of the book expands on this salvo: it analyses Gandhians and psuedo-Gandhians, Marxists and anti-Marxists, Nehruvians and anti-secularists, democrats and Stalinists, scientists and historians, environmentalists and cricketers - in short all those who comprise the intellectual life of thinking Indians today.

    The subjects treated include Abraham, Angel and Anthropophages; Baptism, Beauty and Beasts; Fables, Fraud and Fanaticism; Metempsychosis, Miracles and Moses; all of them exposed to Voltaire's lucid scrutiny, his elegant irony and his passionate love of reason and justice.

    At the same time, Roy makes clear that what millions of Indians need is not merely formal democracy, but liberation from the oppression, shame, and poverty imposed on them by India’s archaic caste system.

    For Albert Camus, the urge to revolt is one of the "essential dimensions" of human nature, manifested in man's timeless Promethean struggle against the conditions of his existence, as well as the popular uprisings against established orders throughout history. And yet, with an eye toward the French Revolution and its regicides and deicides, he shows how inevitably the course of revolution leads to tyranny, as old regimes throughout the world collapse, The Rebel resonates as an ardent, eloquent, and supremely rational voice of conscience for our tumultuous times.Translated from the French by Anthony Bower.

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.