Jonathan Clark in Esquire:
On March 20, 1995, members of a religious cult released toxic gas in three Tokyo subways, killing thirteen people. Some months later, the Japanese novelist Haruki Murakami happened to be reading the letters page of a banal Ladies’ Home Journal–type magazine in which a reader described her husband’s psychological inability to return to his job at the transit authority after surviving the terrorist attack. Murakami decided to interview survivors to examine the many traumatic effects of such a horrific event. The resulting book, Underground: The Tokyo Gas Attack and the Japanese Psyche, is an oral history in the vein of Studs Terkel. In one of the few moments that come from Murakami and not the victims, he inadvertently summarizes one of the core themes of his fiction. Without the ego, he explains, we lose the “narrative” of our identities, which, for him, is vital for our ability to connect with others.
Of course, a narrative is a “story,” and “stories” are neither logic, nor ethics. It is a dream you continue to have. You might, in fact, not even be aware of it. But, just like breathing, you continue incessantly to see this dream. In this dream you are just an existence with two faces. You are at once corporeal and shadow. You are the “maker” of the narrator, and at the same time you are the “player” who experiences the narrative.
Translated by Matthew Carl Strecher
The inescapable duality of human consciousness—that is the terrain of much of Murakami’s fiction. What drew him to this work of reportage also animates his inventions. Murakami’s approach to consciousness is less representational than literal, with many of his characters literally being transported to a realm created by (or wholly inside of) their minds.
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In the days after Daphna Cardinale delivered her second child, she experienced a rare sense of calm and wonder. The feeling was a relief after so much worrying: She and her husband, Alexander, had tried for three years to conceive before turning to in vitro fertilization, and Daphna, once pregnant, had frequent and painful early contractions. But now, miraculously, here was their baby, their perfect baby, May, with black hair plastered on her head. (May is a nickname that her parents requested to protect her privacy.)
I think and talk a lot about the risks of powerful AI. The company I’m the CEO of, Anthropic, does a lot of research on how to reduce these risks. Because of this, people sometimes draw the conclusion that I’m a pessimist or “doomer” who thinks AI will be mostly bad or dangerous. I don’t think that at all. In fact, one of my main reasons for focusing on risks is that they’re the only thing standing between us and what I see as a fundamentally positive future. I think that most people are underestimating just how radical the upside of AI could be, just as I think most people are underestimating how bad the risks could be.
Imagine sitting down with an AI model for a spoken two-hour interview. A friendly voice guides you through a conversation that ranges from your childhood, your formative memories, and your career to your thoughts on immigration policy. Not long after, a virtual replica of you is able to embody your values and preferences with stunning accuracy.
Fernando Morais’s Lula, a new biography of Brazil’s current third-term president, describes the tension on the morning of April 7, 2018. The night before, Luiz Inácio Lula da Silva—known simply as “Lula”—had been charged with corruption and given a day to turn himself in. He’d headed to São Paulo’s Metalworkers Union headquarters to discuss his next moves with a few close associates. “As the sun came up, fourteen of the twenty-four hours given by Judge Moro had come and gone,” Morais writes. “They can come and get me here,” Lula announces.
In his 1974
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The election victory by Donald Trump and his Republican Party was a rebuke of a Democratic Party that has positioned itself as protector of a despised status quo, rendering it unable to connect with an electorate desperate for change. Defeating Mr. Trump in the future will require liberals, progressives and others on the left to articulate a positive vision that can capture the imagination of a broad majority of Americans.
Like a pre-teen prodigy performing for grown-ups, Wallace is too show-offy, intent on dazzling us. Thomas Pynchon’s prose has this same adolescent “Look at me!” quality, which is why I could never get through Gravity’s Rainbow. Wallace also reminds me of J.D. Salinger, who sneerily divides characters into the cool, who get it, and the uncool, who don’t.
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