A brilliant probe into the political and psychological effects of our changing relationship with social media Former social media executives tell us that the system is an addiction-machine. We are users, waiting for our next hit as we like, comment and share. We write to the machine as individuals, but it responds by aggregating our fantasies, desires and frailties into data, and returning them to us as a commodity experience. The Twittering Machine is an unflinching view into the calamities of digital life: the circus of online trolling, flourishing alt-right subcultures, pervasive corporate surveillance, and the virtual data mines of Facebook and Google where we spend considerable portions of our free time. In this polemical tour de force, Richard Seymour shows how the digital world is changing the ways we speak, write, and think. Through journalism, psychoanalytic reflection and insights from users, developers, security experts and others, Seymour probes the human side of the machine, asking what we’re getting out of it, and what we’re getting into. Social media held out the promise that we could make our own history–to what extent did we choose the nightmare that it has become?

A collection of essays from today’s most acclaimed authors—from Cheryl Strayed to Roxane Gay to Jennifer Weiner, Alexander Chee, Nick Hornby, and Jonathan Franzen—on the realities of making a living in the writing world. In the literary world, the debate around writing and commerce often begs us to take sides: either writers should be paid for everything they do or writers should just pay their dues and count themselves lucky to be published. You should never quit your day job, but your ultimate goal should be to quit your day job. It’s an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money? As contributors including Jonathan Franzen, Cheryl Strayed, Roxane Gay, Nick Hornby, Susan Orlean, Alexander Chee, Daniel Jose Older, Jennifer Weiner, and Yiyun Li candidly and emotionally discuss money, MFA programs, teaching fellowships, finally getting published, and what success really means to them, Scratch honestly addresses the tensions between writing and money, work and life, literature and commerce. The result is an entertaining and inspiring book that helps readers and writers understand what it’s really like to make art in a world that runs on money—and why it matters. Essential reading for aspiring and experienced writers, and for anyone interested in the future of literature, Scratch is the perfect bookshelf companion to On Writing, Never Can Say Goodbye, and MFA vs. NYC.

Finalist for the NBCC Award for Criticism 'Nothing about Jenny Diski is conventional. Diski does not do linear, or normal, or boring ... highly intelligent, furiously funny' Sunday Times 'Funny, heartbreaking, insightful and wise' Emilia Clarke 'She expanded notions about what nonfiction, as an art form, could do and could be' New Yorker Jenny Diski was a fearless writer, for whom no subject was too difficult, even her own cancer diagnosis. Her columns in the London Review of Books – selected here by her editor and friend Mary-Kay Wilmers, on subjects as various as death, motherhood, sexual politics and the joys of solitude – have been described as 'virtuoso performances', and 'small masterpieces'. From Highgate Cemetery to the interior of a psychiatric hospital, from Tottenham Court Road to the icebergs of Antarctica, Why Didn't You Just Do What You Were Told? is a collective interrogation of the universal experience from a very particular psyche: original, opinionated – and mordantly funny.

From the incomparable Emmy, Grammy, and Tony Award winner, a powerful and revealing autobiography about race, sexuality, art, and healing—now in paperback It’s easy to be yourself when who and what you are is in vogue. But growing up Black and gay in America has never been easy. Before Billy Porter was slaying red carpets and giving an iconic Emmy-winning performance in the celebrated TV show Pose; before he was the groundbreaking Tony and Grammy Award–winning star of Broadway’s Kinky Boots; and before he was an acclaimed recording artist, actor, playwright, director, and all-around legend, Porter was a young boy in Pittsburgh who was seen as different, who didn’t fit in. At five years old, Porter was sent to therapy to “fix” his effeminacy. He was endlessly bullied at school, sexually abused by his stepfather, and criticized at his church. Porter came of age in a world where simply being himself was a constant struggle. Billy Porter’s Unprotected is the life story of a singular artist and survivor in his own words. It is the story of a boy whose talent and courage opened doors for him, but only a crack. It is the story of a teenager discovering himself, learning his voice and his craft amid deep trauma. And it is the story of a young man whose unbreakable determination led him through countless hard times to where he is now; a proud icon who refuses to back down or hide. Porter is a multitalented, multifaceted treasure at the top of his game, and Unprotected is a resonant, inspirational story of trauma and healing, shot through with his singular voice.

A National Book Critics Circle Award Finalist 'Autobiography' The renowned biographer’s unforgettable portrait of a family in ruins—his own. Meet the Baileys: Burck, a prosperous lawyer once voted the American Legion’s “Citizen of the Year” in his tiny hometown of Vinita, Oklahoma; his wife Marlies, who longs to recapture her festive life in Greenwich Village as a pretty young German immigrant, fresh off the boat; their addled son Scott, who repeatedly crashes the family Porsche; and Blake, the younger son, trying to find a way through the storm. “You’re gonna be just like me,” a drunken Scott taunts him. "You’re gonna be worse." Winner of the National Book Critics Circle Award and finalist for the Pulitzer Prize, Blake Bailey has been hailed as "addictively readable" by the New York Times and praised for his ability to capture lives "compellingly and in harrowing detail" by Time. The Splendid Things We Planned is his darkly funny account of growing up in the shadow of an erratic and increasingly dangerous brother, an exhilarating and sometimes harrowing story that culminates in one unforgettable Christmas.

Are you bored of the endless scroll of your social media feed? Do you swipe left before considering the human being whose face you just summarily rejected? Do you skim articles on your screen in search of intellectual stimulation that never arrives? If so, this book is the philosophical lifeline you have been waiting for. Offering a timely meditation on the profound effects of constant immersion in technology, also known as the Interface, Wish I Were Here draws on philosophical analysis of boredom and happiness to examine the pressing issues of screen addiction and the lure of online outrage. Without moralizing, Mark Kingwell takes seriously the possibility that current conditions of life and connection are creating hollowed-out human selves, divorced from their own external world. While scrolling, swiping, and clicking suggest purposeful action, such as choosing and connecting with others, Kingwell argues that repeated flicks of the finger provide merely the shadow of meaning, by reducing us to scattered data fragments, Twitter feeds, Instagram posts, shopping preferences, and text trends captured by algorithms. Written in accessible language that references both classical philosophers and contemporary critics, Wish I Were Here turns to philosophy for a cure to the widespread unease that something is amiss in modern waking life.

“[Myles] has a good time journeying through Hell, and like a hip Virgil, . . . is happy to show us the way.”—NPR In this raucous meditation, Eileen Myles offers an intimate glimpse into creativity’s immediacy. With erudition and wit, Myles recounts their early years as an awakening writer; existential struggles with landlords; storied moments with neighbors, friends, and lovers; and the textures and identities of cities and the country that reveal the nature of writing as presence in time. For Myles, time’s “optic quality” is what enables writing in the first place—as attention, as devotion, as excess. It is this chronologized vision that enables the writer to love the world as it presently is, lending love a linguistic permanence amid social and political systems that threaten to eradicate it. Irreverent, generous, and always insightful, For Now is a candid record of the creative process from one of our most beloved artists.