Category Archives: Reviews

Book Reviews, Economics, History, Reviews

‘Recalculating The Economic Gains Of Slavery’ (Review)

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TIMES LITERARY SUPPLEMENT (April 2, 2025):

In 2011, builders in the Rio de Janeiro docklands uncovered the ruins of the Cais do Valongo, a wharf where, between 1780 and 1831, 800,000 enslaved people disembarked. Of the roughly 10.7 million people who survived the passage across the Atlantic in the nearly four centuries of the transatlantic slave trade, nearly 5 million were sent to Brazil – almost five times as many as to Jamaica and more than fourteen times as many as to North America. More slave ships left for the West African coast from the Americas than from Europe; the majority of those vessels sailed from Brazil, where slavery was abolished only in 1888. The foundations of modern Brazil are poured over the infrastructure of the transatlantic slave trade.

Yet, though the history of Brazilian slavery is not “untold”, the histories of Caribbean and North American slavery are generally better known among anglophone readers. Two new books by distinguished historians of slavery, Humans in Shackles: An Atlantic history of slavery by Ana Lucia Araujo and Atlantic Cataclysm: Rethinking the Atlantic slave trades by David Eltis, offer a correction, emphasizing the longevity and scale of slavery in Brazil and the South Atlantic. In Enslavement: Past and present, another distinguished academic, the sociologist Orlando Patterson, shows the relevance and utility of his theory of slavery as “social death”, a powerlessness whose malignance structures slave societies and persists long after emancipation. What follows, however, from recognizing that Brazil was first, last and largest in Atlantic slavery? Slavery existed long before the beginning of the transatlantic slave trade; are the ruins of the slave-ship dock under Rio relics of the longue durée of enslavement or evidence of the violent birth of the modern world?

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Literature, Reviews

‘The Restless Analyst’

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LITERARY REVIEW (April 1, 2025) by Peter Rose:

In 1904, Henry James decided to return to America. He was feeling isolated at Lamb House in Rye. In a letter to Grace Norton, he wrote: ‘The days depart and pass, laden somehow like processional camels – across the desert of one’s solitude.’ Since the flop of Guy Domville, his dreams of success as a dramatist had been dashed. The Wings of the Dove had been published in 1902, followed by The Ambassadors in 1903, in serial form. The Golden Bowl – written in little more than a year and, for many, his sovereign achievement – was almost finished. Now, after this awesome outpouring, he was ready to review his homeland, last visited in 1882.

James’s reasons for returning were complex, some obvious and professional, others psychological and obscure. Family drew him back, just as it had subtly hurried him on his way in 1875, when he left America, first for Paris, then for London. Planning his itinerary, James wrote to his nephew Harry: ‘I can’t tell you how I thank you for offering me your manly breast to hurl myself upon in the event of my alighting on the New York dock, four or five weeks hence, in abject and craven terror.’ (One can only imagine the tremulations this caused in young Harry’s manly breast.)

He also began work on what he pointedly called the New York Edition of his preferred writings. The commercial failure of this work, with its ruminative prefaces and startling omissions, led to years of clinical depression. In a letter to Morton Fullerton, one of his late passions, James wrote: ‘The port from which I set out was, I think, that of the essential loneliness of my life … This loneliness (since I mention it!) – what is it still but the deepest thing about one?’ For this noblest of modernists, it was the saddest confession.

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Politics, Reviews

‘W.G. Sebald And The Politics Of Melancholy’

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THE NEW REPUBLIC (March 31, 2025) by Colin Dickey:

W.G. Sebald’s premature death from a heart attack, in December 2001, at 57—months after the publication of his novel Austerlitz propelled him to the height of his literary fame—has left his readers wanting more, and ever since, his publishers have increasingly delved deeper into his oeuvre for posthumous releases. Six full-length books have already appeared in English since his death, and now, 23 years after his death, we have the seventh—and perhaps last: Silent Catastrophes: Essays.

Kafka, Sebald notes, recognized fundamentally that power is “parasitic rather than powerful.”

At first blush, the book risks feeling off-putting to the casual reader: Academic in tone, it focuses on a literary tradition often overlooked in America, featuring many writers who are largely unknown in English-speaking countries. But its focus on Austria—a crumbling empire that slowly but willingly descended into fascism as a means of trying to capture its former glory—means that Silent Catastrophes, unfortunately, is arriving at an apposite time. And the reader willing to wade through the academic style will soon find not only Sebald’s trademark concerns emerging but unexpected reflections on how we might navigate the end of empire and the rise of authoritarianism.

So much of Sebald’s work is rooted in the awareness that though memory and history are mercurial, often contradictory, and impossible to fix permanently, it is nonetheless vital to document and preserve it all, even the contradictions and confusions. For it is the job of the artist—melancholic though they may be—to sift among these contradictory pasts in search of possible futures that may yet be open to us.

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Physiology, Reviews, Science

Science: The Mysterious Flow Of Fluid In The Brain

QUANTA MAGAZINE (March 26, 2025) by Veronique Greenwood:

Incased in the skull, perched atop the spine, the brain has a carefully managed existence. It receives only certain nutrients, filtered through the blood-brain barrier; an elaborate system of protective membranes surrounds it. That privileged space contains a mystery. For more than a century, scientists have wondered: If it’s so hard for anything to get into the brain, how does waste get out?

What’s more, during NREM sleep norepinephrine levels change rhythmically. This neurotransmitter could help tie together their hypotheses — the physical movement of CSF through brain tissues and the “brainwashing” occurring during sleep.

The brain has one of the highest metabolisms of any organ in the body, and that process must yield by-products that need to be removed. In the rest of the body, blood vessels are shadowed by a system of lymphatic vessels. Molecules that have served their purpose in the blood move into these fluid-filled tubes and are swept away to the lymph nodes for processing. But blood vessels in the brain have no such outlet. Several hundred kilometers of them, all told, seem to thread their way through this dense, busily working tissue without a matching waste system.

However, the brain’s blood vessels are surrounded by open, fluid-filled spaces. In recent decades, the cerebrospinal fluid, or CSF, in those spaces has drawn a great deal of interest. “Maybe the CSF can be a highway, in a way, for the flow or exchange of different things within the brain,” said Steven Proulx, who studies the CSF system at the University of Bern.

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Veronique Greenwood is a science writer and essayist. Her work has appeared in The New York Times Magazine, Smithsonian, Discover, Aeon and other publications.

Book Reviews, Business, Economics, Reviews, Technology

‘It’s Time To Question The Relationship Between Technology & Capitalism’

The Mechanic and the Luddite book cover

LSE REVIEW OF BOOKS (March 24, 2025):

With the ongoing dismantling of the US administrative state by a handful of ill-informed programmers, I would like to declare the current moment a failure of tech criticism. For decades, academics in the social sciences and humanities have built a critical edifice that challenged the cultural hegemony propping up the US tech industry, an industry grounded in science fiction parables, speculative fiction, “rationalist” dreaming, and an endless stream of technological solutionism. We can now count “AI safety” as a new field of knowledge production about technology captured by industry interests. I do not attribute blame to tech critics for this state, but now is a good moment to stop and reflect: what are we doing? In being so caught up in cataloguing new horrors of the digital age, we have been unable to stop its worst excesses. We need a new way of thinking about that project, of how we catalogue the problems of technology and hope that corporate appeals or policymaking will address them.  

While there is plenty of tech criticism around, much of it is not comfortable explicitly labelling itself as anti-capitalist tout court.

In his new book, The Mechanic and the Luddite, Jathan Sadowski provides a model of “ruthless criticism” that might meet that requirement. As he explains, many academics have created criticism isolated from the source of its complaints: “Too much of the tech criticism that exists today is happy to ignore, if not remain ignorant of, the links between technology and capitalism. We can see this anodyne style in the sudden burst of work on “AI ethics,” which is content with offering superficial tweaks to, say, the training data for an algorithm without ever challenging how that algorithm will be used or why it should exist at all” (24). In contrast, he calls for more materialist analysis of technology and the internet – that is, Marxism.  

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The Mechanic and the Luddite: A Ruthless Criticism of Technology and Capitalism. Jathan Sadowski. University of California Press. 2025.

Jathan Sadowski’s The Mechanic and the Luddite critiques technology’s entanglement with capitalism, advocating for “ruthless criticism” of this dual system in order to dismantle it. Sadowski’s forthright materialist approach and argument for actionable, anti-capitalist tech critique make the book an original and vital read for our times, writes Sam DiBella.

Book Reviews, Philosophy, Reviews

Review: ‘Hope, Despair And Retreat In An Unquiet Age’

TIMES LITERARY SUPPLEMENT (March 13, 2025):

Three years before he vowed, in “Carrion Comfort”, not to feast on despair, the poet Gerard Manley Hopkins grieved the physical decay of growing old: “And wisdom is early to despair: / Be beginning; since, no, nothing can be done / … So be beginning, be beginning to despair”. We age, decline and die, like everyone we love.

Yet despair is not, to put it mildly, a popular stance. In his “Sonnets of Desolation”, Hopkins fought against it; and the poem that bids us despair was paired with verse consoled by “beauty’s self and beauty’s giver”, God. Forced to choose between optimism and pessimism, hope and despair, the well-adjusted opt for optimistic hope.

PESSIMISM, QUIETISM AND NATURE AS REFUGE by David E. Cooper

HOPEFUL PESSIMISM by Mara van der Lugt

Two recent books take issue with this upbeat orientation. Both defend pessimism, though to very different ends. Their arguments are timely. The past ten years have made it hard to be optimistic about humanity. We’ve squandered our best chance to confront the coming climate chaos – storms, droughts and famines that will mean suffering on a massive scale – and the looming crises of forced migration and resource scarcity have spawned reactionary nationalism, not solidarity. In the US, democracy is under threat. The damage will be difficult to repair: it’s easier to wreck trust and infrastructure than to build them up.

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Arts & Literature, Reviews

‘Rembrandt And Literature’ (Review)

LOS ANGELES REVIEW OF BOOKS (LARB):

ALTHOUGH ONE CAN never get enough of Vermeer or van Gogh, a regrettable consequence of this current age of blockbuster art exhibitions is that more and more great artists are being viewed in isolation from each other. Turning the 18th-century notion of the singular genius into a marketing ploy, museums around the world present their subjects as rebels, outcasts, and troublemakers who operated outside time and space, when all of them were, in fact, closely connected with—and creatively indebted to—their culture and time period.

It is refreshing, then, to stumble upon a show like Impulse Rembrandt: Teacher, Strategist, Bestseller (2024–25) at the Leipzig Museum of Fine Arts in Germany, whose accompanying English-language catalog of critical essays plugs the most revered of the Dutch masters back into the ecosystem that influenced him as much as he influenced it.

Born in Leiden to a well-to-do miller in 1606, Rembrandt in early youth began to draft sketches of the Dutch countryside and portraits of his Protestant mother, who instilled in him a lifelong reverence for Christian mythology. In his teens, he apprenticed first with Jacob Isaacszoon van Swanenburg, a history painter freshly returned from Italy, then with Pieter Lastman, who also taught Jan Lievens. At 22, Rembrandt began taking on students of his own, many of whom, including Ferdinand Bol, Gerard Dou, and Carel Fabritius, became successful painters in their own right. Contrary to popular belief, writes the head of paintings and sculpture at Leipzig Museum, Jan Nicolaisen, in the exhibition catalog, these students—some as young as 14 when they first appeared at Rembrandt’s stately house and studio on Amsterdam’s Jodenbreestraat—didn’t spend their time completing Rembrandt’s masterpieces so much as copying them, adopting his style and sensibilities as their own. Concerned more with light and emotion than idealized forms, and increasingly painting in loose, expressive strokes, Rembrandt has been deservedly called one of the first “modern” painters, his well-documented influence running from his immediate disciples to Paul Cézanne, Pablo Picasso, and Salvador Dalí.

By and large, the development of 17th-century Dutch literature followed the development of 17th-century Dutch painting, Amsterdam’s writers and poets moving away from the dominant, classical style of their French neighbors in much the same way Rembrandt looked beyond the masters of the Italian Renaissance. 

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It is, in light of this conclusion, rather fitting that both academic and literary treatments of Rembrandt have slowly moved beyond the one-sided interpretations of the past, viewing him neither as a nuisance—as the classicists and Victorians did—nor as a Romantic genius, but rather as a man of unresolvable contradiction, a hungry miller’s boy who bit off more than he could chew. Possessed of both innate talent and acquired skill, he was equally sensible to corporeal and aesthetic pleasures, and willing to change and develop in response to both his surroundings and his own better judgment. A best-seller indeed.

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Tim Brinkhof is a Dutch journalist and researcher based in the United States. He studied history and literature at New York University and has written for Vox, Vulture, Slate, Esquire, Jacobin, GQ, New Lines Magazine, and more.

Book Reviews, Literature, Reviews

‘In Praise Of Artistic Experimentation In Literature’ (Review)

LITERARY HUB (February 14, 2025): I first read Laurence Sterne’s The Life and Opinions of Tristram Shandy as a teenager. I was hungry to assert maturity through my reading habits, to bypass YA fiction in favor of books for adults, and so initially its playful visuals made me frown; I associated illustrations with children’s books. Soon, however, I realized how sophisticated and delightful they were.

The squiggle representing the emphatic twirling of Corporal Trim’s cane. A blank page where the reader is invited to imagine how Widow Wadman might look—”paint her to your own mind.” A marbled block which the reader can gaze into and contemplate the mysteries of life. And—my favorite—the iconic black page that represents the death of Parson Yorick.

Whilst Sterne was certainly an innovative writer ahead of his time, it is worth noting that this was not anarchic at the time of publication; other texts published in his era, such as funeral publications, also included black pages as a symbol of death. However, the image was unusual for a novel, and is a perfect visual representation of grief, inviting multiple interpretations—a dark tombstone, funeral attire, a bleak starless night, a black hole of grief.These books felt idiosyncratic, shaped by authorial intent, as if harking back to those medieval manuscripts where monks wrote in calligraphy and included beautiful pictures in colors bright as stained glass.

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Book Reviews, Reviews, Science

‘Can Understanding The Brain Make Us Better People?’ (Book Review)

THE NEW YORK TIMES BOOK REVIEW (February 14, 2025)

CEREBRAL ENTANGLEMENTS: How the Brain Shapes Our Public and Private Lives, by Allan J. Hamilton

A profound and profoundly important book that, using the most up-to-date revolutionary discoveries in neuroscience, shows us how to understand the brain; how it allows us to think, feel, experience and perceive, written by an acclaimed Harvard-trained neurosurgeon.

The human brain! It’s amazing! A master conductor of our emotional symphonies, a supercomputer of intelligence, a treasure inside the “temple” of the skull, where it gloriously shimmers “vivid, vital, jewel-like.” I mean, is it any wonder we’re such a special species?

Sorry: I had to get that out of my system. Books built on hyperbole seem to bring out the worst in me. And “Cerebral Entanglements,” a new book by the surgeon and medical consultant Allan J. Hamilton, is so breathlessly excited about our brains and how they work, about the dazzle of new insights and technologies, that occasionally this reader felt compelled to take a break and fan herself.

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Deborah Blum is the director of the Knight Science Journalism Program at M.I.T. and the author of “The Poison Squad: One Chemist’s Single-Minded Quest for Food Safety at the Turn of the Twentieth Century.”

Book Reviews, History, Reviews

Reviews: ‘The Art Of Walking In London’

CAMBRIDGE UNIVERSITY PRESS (February 13, 2025): When, in his 1716 poem Trivia: or, the Art of Walking the Streets of London, John Gay announced he would instruct his readers on “How to walk clean by Day, and safe by Night”, he firmly positioned his account between two different modes of representing the city. Like Ned Ward’s The London Spy, Gay’s poem acknowledges the chaotic energy – and the dirt and odours – the pedestrian is likely to encounter. At the same time, it offers an account of good conduct and urban sociability like that found in Addison and Steele’s Tatler and Spectator, albeit adapted to the busy streets of the commercial city. In so doing, Gay’s generically playful poem – which borrows from epic, georgic, and pastoral to produce a commentary on modern urban life – raises fascinating and still pertinent questions about what it means to be a walker of the city’s streets.

Taking its cue from Trivia, my book The Art of Walking in London: Representing the Eighteenth-Century City, 1700-1830 considers what representations of pedestrianism can tell us about how the metropolis was imagined and experienced – by writers and artists, visitors and inhabitants – in the eighteenth and early nineteenth centuries. In the popular imagination, the idea of eighteenth-century London evokes a Hogarthian underworld of dirty streets, daring pickpockets, and chaotic scenes in which new arrivals trace well-worn routes to poverty and prostitution, criminality and death. This image of eighteenth-century London as dark and dangerous has helped to shape a common misconception that only criminals and the poor walked the streets, while Romantic-period poems like William Blake’s “London” and Book VII of William Wordsworth’s The Prelude suggest that the early nineteenth-century was defined by a sense of alienation, as captured in the latter’s pronouncement that “‘The face of every one / That passes by me is a mystery’”.

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