by Varun Gauri

In my last speech of my last high school debate round, at the finals of the Ohio championships, I claimed victory because our opponents, a team from the local private academy, our nemesis, neglected or “dropped” our argument that taxing cigarettes would certainly, absolutely, trigger nuclear war. Therefore, I declared, whatever you, dear judge, think of that argument or of our fast-talking style, a notorious debate technique known as “the spread,” there is no choice but to declare us winners. The rules of the game are binding.
“In the middle of the spread” are the last words of Ben Lerner’s widely acclaimed novel The Topeka School, which centers on a Kansas high school debater (Adam Gordon, seemingly a Lerner stand-in), as well as his partying friends, in the narrative retellings — de-centered, non-chronological, tense-shifting, montage-like — of his psychologist parents, his young debating self, a troubled family friend, and the debater as parent and “well-known poet,” who Lerner is. The primary thematic concern of the novel is the role of language in personal and public life. “A quote like that can save your life,” says the debater’s father, speaking of his colleague Klaus, whose family died in the Holocaust.
“The spread,” both a concentration and deformation of language, is a prominent image throughout this mesmerizing novel, standing in for the “thousands of generations technical progress” that make automobiles and other modern marvels possible, but also widespread alienation and predation in the modern world (“corporate persons deployed a version of the spread all the time”). Even poets will deliver “nonsense as if it made sense.” There appears to be an “instinct to spread,” given that language and culture, like the intermingling personal and professional relationships among the debater’s parents’ colleagues, commingle self-referentially, incestuously. They are quotation machines. For the person ensnared in the spread, “there is no outside, but one vast interior.” The novel, as it progresses, enacts the poetic spread by constructing an ever thicker, and continually illuminating, web of internal quotations and references. Some novels are praised for their “world building.” This novel is a hypnotizing feat of consciousness building. Read more »

The world we live in is changing, and our politics must change with it. We are in what has been called the ‘anthropocene’: the period in which human activity is threatening the ecosystem on which we all depend. Catastrophic climate change threatens our very survival. Yet our political class seems unable to take the necessary steps to avert it. Add to that the familiar and pressing problems of massive inequality, exploitation, systemic racism and job insecurity due to automation and the relocation of production to cheaper labour markets, and we have a truly global and multidimensional set of problems. It is one that our political masters seem unable to properly confront. Yet confront them they, and we, must. Such is the scale of the problem, the political order needs wholesale change, rather than the small, incremental reforms we have been taught are all that are practicable or desirable. And change, whether we like it or not is coming anyway: between authoritarian national conservative regimes, which with all the inequality, xenophobia, or that of a democratic, green post-capitalism. The thing that won’t survive is liberalism.




Over recent times, many books have been published with the aim of writing women into history and crediting them for the achievements they have made to the benefit of humanity more broadly. Janice P. Nimura’s The Doctors Blackwell is in that genre of women’s history and she effectively narrates the biographies of the first two remarkable women to study and practice medicine in the United States: Elizabeth Blackwell and her younger sister, Emily.
Cynthia, let me begin by asking you to describe your path to the book—a double path that led you to Joseph Brodsky and to George L. Kline.
Philosophy of science, in its early days, dedicated itself to justifying the ways of Science to Man. One might think this was a strange task to set for itself, for it is not as if in the early and middle 20th century there was widespread doubt about the validity of science. True, science had become deeply weird, with Einstein’s relativity and quantum mechanics. And true, there was irrationalism aplenty, culminating in two world wars and the invention of TV dinners. But societies around the world generally did not hold science in ill repute. If anything, technologically advanced cultures celebrated better imaginary futures through the steady march of scientific progress.



For some time, Sir Kazuo Ishiguro has been slyly replacing Dame Iris Murdoch as the author to whom I most regularly return. His enchanting and disturbing new novel, Klara and the Sun, his first since winning the 2017 Nobel Prize, is unlikely to diminish this trend. I wrote in a
have instrumental value. That is, the value of given technology lies in the various ways in which we can use it, no more, and no less. For example, the value of a hammer lies in our ability to make use of it to hit nails into things. Cars are valuable insofar as we can use them to get from A to B with the bare minimum of physical exertion. This way of viewing technology has immense intuitive appeal, but I think it is ultimately unconvincing. More specifically, I want to argue that technological artifacts are capable of embodying value. Some argue that this value is to be accounted for in terms of the 

