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Hoping to Be There When the End Comes
Jeffrey L. Kosky considers Mark C. Taylor’s “After the Human: A Philosophy for the Future.”
All Reviews
One Microbe, One Vote?
Carl Abbott dives into Joan Slonczewski’s “Minds in Transit.”
History’s Back Staircases
Emily Van Duyne explores Diana Arterian’s “Agrippina the Younger.”
Spooking the Censors
Michael O’Donnell reads Charlie English’s “The CIA Book Club: The Secret Mission to Win the Cold War with Forbidden Literature.”
Preferring the Company of Parrots and Dogs
Nolan Kelly watches two movie adaptations of Sigrid Nunez novels, “The Room Next Door” and “The Friend.”
The Case for Pragmatic Progress
Michela Massimi reflects on Philip Kitcher’s vision for the future in “The Rich and the Poor.”
Ways and Means
Carey Mott reviews Andrea Louise Campbell’s “Taxation and Resentment: Race, Party, and Class in American Tax Attitudes” and Ruth Braunstein’s “My Tax Dollars: The Morality of Taxpaying in America.”
The Gaza Generation
Shaan Sachdev explores Pankaj Mishra’s “The World After Gaza: A History,” moral authority, and a generation of young dissenters.
You’re Not Anyone
Winnie Code considers Andrew DeYoung’s debut feature film “Friendship.”
An Active Project of Exclusion
Geertje Bol and Jan Eijking review “Erased: A History of International Thought Without Men,” by Patricia Owens.
Images of the Life That Exists Beyond Everything
Priya Gandhi explores Hilma af Klint’s studies of nature.
In the Shadow of Stalin
Ed Pulford reviews Ben Nathans’s “To the Success of Our Hopeless Cause: The Many Lives of the Soviet Dissident Movement” and Perry Link and Wu Dazhi’s “I Have No Enemies: The Life and Legacy of Liu Xiaobo.”
Mindless Machines, Mindless Myths
Erik J. Larson thinks about “Mindless: The Human Condition in the Age of Artificial Intelligence,” which traces Robert Skidelsky’s philosophical reckoning with AI, automation, and the illusion of progress.
Bringing Back New Concepts to This Mad City
Caroline Hagood explores Jason Weiss’s “Other Lives Our Own,” a collection she hears in spectral conversation with the work of Kendrick Lamar and Agnès Varda.
As Long as You Love Him
Hattie Lindert listens to Justin Bieber’s “SWAG.”
In a Language Beyond What Is Given
Tia Glista watches Eva Victor’s directorial debut, “Sorry, Baby.”
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