by Josh Chin & Liza Lin ‧ RELEASE DATE: Sept. 6, 2022
The underside of digital technology on full, frightening display.
A study of the Chinese government’s sweeping surveillance program.
Chin and Lin, veteran reporters on China for the Wall Street Journal and other outlets, have spent enough time in the country to effectively trace the development of an extraordinary surveillance system, a defining feature of the Xi Jinping era. It began in Xinjiang province, supposedly to keep track of Uyghur dissidents, but the Communist Party leaders quickly saw the broader potential. Featuring a nationwide network of cameras feeding into a massive database, the program connects with online shopping giants such as Alibaba and Tencent, and it also extends to internet usage and mobile phones. Using this data, Chinese authorities established an algorithm-based “social credit system,” under which “responsible” people could be rewarded while others could be monitored and, if necessary, punished. “By solving social problems before they occur and quashing dissent before it spills out into the streets,” write the authors, [the Party] believes it can strangle opposition in the crib.” Another crucial piece is facial recognition software, and the government is reportedly working on “emotion recognition” software, aiming to pick up individuals who have not done anything wrong but might think about it in the future. “China’s leaders,” write the authors, “wanted to redefine government using the same tools that Google, Facebook and Amazon had used to remake capitalism….They could engineer away dissent. China would have optimization.” Party officials understand that most citizens will trade privacy for order. Worryingly, the system is now being exported around the world, with aspects of it appearing in India, Uganda, and Singapore. Occasionally, the authors wander away from their main theme, but they paint a grim, disturbing portrait that deserves close scrutiny, especially as the technology becomes more precise and easier to deploy. While tech giants in the U.S. “exploit this technology for profit…the Communist Party has adopted it as a means to maintain power.”
The underside of digital technology on full, frightening display.Pub Date: Sept. 6, 2022
ISBN: 978-1-250-24929-6
Page Count: 320
Publisher: St. Martin's
Review Posted Online: May 13, 2022
Kirkus Reviews Issue: June 15, 2022
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by Howard Zinn ‧ RELEASE DATE: Jan. 1, 1979
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
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by Alok Vaid-Menon ‧ RELEASE DATE: June 2, 2020
A fierce, penetrating, and empowering call for change.
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Artist and activist Vaid-Menon demonstrates how the normativity of the gender binary represses creativity and inflicts physical and emotional violence.
The author, whose parents emigrated from India, writes about how enforcement of the gender binary begins before birth and affects people in all stages of life, with people of color being especially vulnerable due to Western conceptions of gender as binary. Gender assignments create a narrative for how a person should behave, what they are allowed to like or wear, and how they express themself. Punishment of nonconformity leads to an inseparable link between gender and shame. Vaid-Menon challenges familiar arguments against gender nonconformity, breaking them down into four categories—dismissal, inconvenience, biology, and the slippery slope (fear of the consequences of acceptance). Headers in bold font create an accessible navigation experience from one analysis to the next. The prose maintains a conversational tone that feels as intimate and vulnerable as talking with a best friend. At the same time, the author's turns of phrase in moments of deep insight ring with precision and poetry. In one reflection, they write, “the most lethal part of the human body is not the fist; it is the eye. What people see and how people see it has everything to do with power.” While this short essay speaks honestly of pain and injustice, it concludes with encouragement and an invitation into a future that celebrates transformation.
A fierce, penetrating, and empowering call for change. (writing prompt) (Nonfiction. 14-adult)Pub Date: June 2, 2020
ISBN: 978-0-593-09465-5
Page Count: 64
Publisher: Penguin Workshop
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
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by Shavone Charles ; illustrated by Ashley Lukashevsky
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