Böcker i Provocations-serien

New, updated edition of the acclaimed polemic by the celebrated libertarian broadcaster and the originator of the term `Snowflake' to describe a perceived lack of resilience in millennials. Previous edition ISBN 9781849549813 sold 4,500 copies.

Pushing back against the contemporary myth that freedom from oppression is freedom of choice, Frank Ruda resuscitates a fundamental lesson from the history of philosophical rationalism: a proper conceptof freedom can arise only from a defense of absolute necessity, utter determinism, and predestination.

The idea of authenticity - deliciously vague and as ubiquitous as Starbucks - has hit the spot in almost every sector of 21st-century life. But can we trust the authentic image of Nigel 'man-of-the-people' Farage, Sarah 'hockey mom' Palin or Gwyneth 'inner life' Paltrow? Are punk bands, distressed denim and rustic furniture really as spontaneous as people seem to think? Is bare-brick Shoreditch just one big authenticity scam? From motivational speakers to PR consultants, music entrepreneurs to devoted foodies, bearded hipsters to earnest YouTubers - and, yes, politicians too - 'authentic' has become the buzzword of our age. But, as Peter York has discovered, its meaning has changed and become corrupted: every advertising agency, micro-connoisseur and charlatan going has re-tooled the language of authenticity for our changing market and it is now practically impossible for us to differentiate between authentic and 'authentic'. Drawing on witty anecdotes and analysing various spheres of everyday life, Peter has set out to uncover the truth behind authenticity - the ultimate con of our generation.

This topic divides people - and it will divide readers of this book too. Many Muslims worldwide either support or adopt religious veiling, and those who argue against it are often criticised, or worse. But, according to Yasmin Alibhai-Brown, the veil throws up a number of concerns, from questions of health and freedom of choice to issues of gender and personal identity. She argues that veiling conceals abuse, propagates eating disorders and restricts access to sunlight and exercise. It is imposed on babies and young girls, allows women to be shamed for not covering up, and has become associated with extremist factions. It demonises men, oppresses feminism and presents obstacles to performance and success. It even encourages racism, distorts Muslim values and strips women of autonomy and individuality. Written from a unique perspective and packed with personal experiences as well as public examples, Yasmin addresses the ultimate question of why Muslim women everywhere should refuse the veil.

Parenting in the modern world is an overwhelming concept. It seems to divide everyone from psychologists and politicians to scientists and salesmen, leaving the parents themselves with a terrible headache as a result. How can anyone live up to such expansive and conflicting expectations? As Zoe Williams explores, the madness begins before the baby has even arrived: hysteria is rife surrounding everything from drinking alcohol and eating cheese to using a new frying pan. And it only gets worse. The list of things you need to consider (as well as the things you never realised you needed to consider) is ever-increasing, and questions of breastfeeding, buggies, staying at home, schooling - and what your mother-in-law thinks you're doing wrong - take over completely. The task of raising a child has been turned into a circus of ludicrous proportions. Combining laugh-out-loud tales of parenthood with myth-busting facts and figures, Zoe provides the antithesis of all parenting discussions to date. After all, parents managed perfectly well for centuries before this modern madness, so why do today's mothers and fathers make such an almighty fuss about everything?

Contemporary art is obsessed with the politics of identity. Visit any contemporary gallery, museum or theatre, and chances are the art on offer will be principally concerned with race, gender, sexuality, power and privilege.The quest for truth, freedom and the sacred has been thrust aside to make room for identity politics. Mystery, individuality and beauty are out; radical feminism, racial grievance and queer theory are in. The result is a drearily predictable culture and the narrowing of the space for creative self-expression and honest criticism.Sohrab Ahmari's book is a passionate cri de coeur against this state of affairs. The New Philistines takes readers deep inside a cultural scene where all manner of ugly, inept art is celebrated so long as it toes the ideological line, and where the artistic glories of the Western world are revised and disfigured to fit the rigid doctrines of identity politics.The degree of politicisation means that art no longer performs its historical function, as a mirror and repository of the human spirit - something that should alarm not just art lovers but anyone who cares about the future of liberal civilisation.

John Sutherland examines the intergenerational conflict as a new kind of 'war' in which institutional neglect and universal indifference to the old has reached aggressive, and routinely lethal, levels.

Rethinks the historical relationship between money and aesthetics in an effort to make critical theory newly answerable to politics. Scott Ferguson regrounds critical theory in the alternative conception of money articulated by the contemporary heterodox school of political economy known as Modern Monetary Theory.

Despite the presence of the Flaming Lips in a commercial for a copier and Iggy Pop's music in luxury cruise advertisements, Jeffrey T. Nealon argues that popular music has not exactly been co-opted in the American capitalist present. Contemporary neoliberal capitalism has, in fact, found a central organizing use for the values of twentieth-century popular music: being authentic, being your own person, and being free. In short, not being like everybody else.Through a consideration of the shift in dominant modes of power in the American twentieth and twenty-first centuries, from what Michel Foucault calls a dominant "disciplinary" mode of power to a "biopolitical" mode, Nealon argues that the modes of musical "resistance" need to be completely rethought and that a commitment to musical authenticity or meaning--saying "no" to the mainstream--is no longer primarily where we might look for music to function against the grain.Rather, it is in the technological revolutions that allow biopolitical subjects to deploy music within an everyday set of practices (MP3 listening on smartphones and iPods, streaming and downloading on the internet, the background music that plays nearly everywhere) that one might find a kind of ambient or ubiquitous answer to the "attention capitalism" that has come to organize neoliberalism in the American present. In short, Nealon stages the final confrontation between "keepin' it real" and "sellin' out." 

Questions the long-accepted notion that translation reproduces or transfers an invariant contained in or caused by the source text. Contra Instrumentalism aims to end the dominance of instrumentalism by showing how it grossly oversimplifies translation practice and fosters an illusion of immediate access to source texts.

Gregg Lambert offers an unprecedented inquiry into the evolution of Deleuze's hopes for the revolutionary goals of minor literature and the related notion of the missing people in the conjuncture of contemporary critical theory.

Dirty Knowledge explains how traditional conceptions of academic freedom, still reflective of the capitalist era in which they were conceived, fail to protect unrestricted inquiry in an academy radically altered by neoliberal economics.

Hatred of Sex draws on Jacques Ranciere's thesis in Hatred of Democracy to help explain the aversion to sex that is evident in numerous forms in the culture around us.

This important book argues that the real elites escape scrutinywhile everything that makes our lives worth living becomesworthy and diluted.

Claire Colebrook examines how postapocalyptic cinema uses images from the past and present to depict what it means to preserve the world—and who is left out of the narrative of rebuilding society.