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The main problem with the book review today is not that its practitioners live in New York, as some contend. It is not that the critics are in cahoots with the authors under review, embroiled in a shadow economy of social obligation and quid pro quo favor trading. The problem is not that book reviews are too mean or too nice, too long or too short, though they may be those things, too. The main problem is that the contemporary American book review is first and foremost an audition — for another job, another opportunity, another day in the content mine, hopefully with better lighting and tools, but at the very least with better pay. What kind of job or opportunity for the reviewer depends on her ambitions.

He wants honest reviews of novels; instead he gets hype and a dizzying, outrageous, stultifying profusion of adjectives. He wants serious literary criticism of novels; instead he gets withering assessments of the era in which said novels are written, which, by endlessly discussing the same five novels, only confirm his fears that literature has reached the unsustainably small gene-pool era of its long, slow slide to extinction. The contemporary reviewer is unhappy too: she works too hard, and still everything she does is wrong and insufficiently compensated. Her careful reviews end up reading like stenography, and when she swings for the fences her actual readers — unlike the trigger-happy tweeters — complain that she has swung too far.

Here the technologist stands, choosing what kind of future, out of the infinite possibilities, that will actually materialize based on our scientific understanding of the present world.

A piece of technology prioritizes some low-resistance path to achieve an end, and its essential nature involves instrumentality and free will. It must inherently be purposive.

Writing SwiftUI is like riding a bicycle downhill on a beautiful sunny day. Until the bike suddenly explodes, killing you.