"Do We Know What We Want?"

Geert Lovink, Nettime

Review of George Monbiot, The Age of Consent: A Manifesto for a New World
Order,

London: Flamingo, 2003 (published in the US by The New Press, early
2004).

No doubt the times they're a-changing when internal strategic debates of the
'anti globalisation movement' make it into mainstream publishing. According
to Amazon "Naomi Klein's No Logo told us what was wrong. George Monbiot's
The Age of Consent shows us how to put it right." Its publisher, Rupert
Murdoch's HarperCollins sells Monbiot's manifesto as "authoritative and
persuasive de facto figurehead for the contrarian movements in the UK."
Environmental activist Monbiot is columnist for the Guardian and author of a
bestseller about UK's privatisation disasters. Thanks to Rupert's
distribution network The Age of Consent made it into a newsagent at Sydney
airport where I purchased a copy.

"Fear and Loathing in Globalization"

Fredric Jameson, New Left Review

Reviewing William Gibson, Pattern Recognition

Has the author of Neuromancer
really ‘changed his style’? Has he even ‘stopped’ writing Science Fiction, as some old-fashioned critics have put it, thinking thereby to pay him a compliment? Maybe, on the contrary, he is moving closer to the ‘cyberpunk’ with which he is often associated, but which seems more characteristically developed in the work of his sometime collaborator Bruce Sterling. In any case, the representational apparatus of Science Fiction, having gone through innumerable generations of technological development and well-nigh viral mutation since the onset of that movement, is sending back more reliable information about the contemporary world than an exhausted realism (or an exhausted modernism either).

Anonymous Comrade submits:

"One-to-One Words of a Blacklistee"

Bruce Weber, NY Times, Sept. 5, 2003

Even beyond the sonorous trochees that make it stick in the mind like a musical phrase, Dalton Trumbo is a memorable name in Hollywood. You can still see it on the screen a lot. Trumbo, who died in 1976, was a prolific screenwriter whose 50 or so film credits included "Thirty Seconds Over Tokyo," "Lonely Are the Brave," "Spartacus," "Exodus," "Papillon," "The Fixer," "The Sandpiper," "Hawaii" and "Johnny Got His Gun," which he adapted and directed from his own antiwar novel. And of course he was a leading member of the Hollywood 10, a group of writers, producers and directors who, after appearing before the House Un-American Activities Committee in Washington in 1947, were branded as Communist sympathizers and blacklisted by the studios.

"Where the Twain Should Have Met"

A Review of Edward Said's Orientalism,

Christopher Hitchens

The cosmopolitan Edward Said was ideally placed to explain East to West and West to East. What went wrong?
 

I first met Edward Said in the summer of 1976, in the capital city of Cyprus. We had come to Nicosia to take part in a conference on the rights of small nations. The obscene civil war in Lebanon was just beginning to consume the whole society and to destroy the cosmopolitanism of Beirut; it was still just possible in those days to imagine that a right "side" could be discerned through the smoke of confessional conflagration.

Palestinian resistance to Israeli occupation was in its infancy (as was the messianic "settler" movement among Jews), and the occupation itself was less than a decade old.

Egypt was still the Egypt of Anwar Sadat — a man who had placed most of his credit on the wager of "Westernization," however commercially conceived, and who was only two years away from the Camp David accords. It was becoming dimly apprehended in the West that the old narrative of "Israel" versus "the Arabs" was much too crude. The image of a frugal kibbutz state surrounded by a heaving ocean of ravening mullahs and demagogues was slowly yielding to a story of two peoples contesting a right to the same twice-promised land.