Money Talks

Jan. 23rd, 2026 11:17 am
[syndicated profile] monbiot_feed

Posted by monbiot

The grim truth is that almost the entire political class aligns with the ultra-rich against the rest.

By George Monbiot, published in the Guardian 16th January 2026

There is one political problem from which all others follow. It is the major cause of Donald Trump, of Nigel Farage, of the shocking weakness of their opponents, of the polarisation tearing societies apart, of the devastation of the living world. It is simply stated: the extreme wealth of a small number of people.

It can also be quantified. The World Inequality Report (WIR) 2026 shows that about 56,000 people – 0.001% of the global population – corral three times more wealth than the poorest half of humanity. They afflict almost every country. In the UK, for example, 50 families hold more wealth than 50% of the population combined.

You can watch their fortunes grow. In 2024, Oxfam’s figures show, the wealth of the world’s 2,769 billionaires grew by $2tn, or $2,000bn. The total global spending on international aid last year was projected to be, at most, $186bn, less than a tenth of the increment in their wealth. Governments tell us they “can’t afford” more. In the UK, billionaires, on average, have become more than 1,000% richer since 1990. Most of their wealth derives from property, inheritance and finance. They have become so rich, in other words, at our expense.

The issue affects every aspect of policy. Trump is not seizing Venezuela’s oil wealth for the sake of the US poor. He couldn’t give a damn about them, as his “big, beautiful bill” – robbing the poor to give to the rich – revealed. He covets Greenland on behalf of the same elite interests, of which he is the avatar.

When the world’s richest man, Elon Musk, helped destroy the lives of the world’s poorest by tearing down USAID, he did so on behalf of his class. The same goes for Trump’s assaults on democracy, and his war on the living world. It is the ultra-rich who benefit most from destruction, in making money and in spending it. The WIR shows that the richest 1% of the world’s population account for 41% of greenhouse gas emissions arising from private capital ownership: almost twice that of the bottom 90%. And through their consumption, another study shows, the 1% produce as many greenhouse gases as the poorest two-thirds.

Inequality damages every aspect of our lives. Decades of research by Kate Pickett and Richard Wilkinson shows that higher inequality, regardless of absolute levels of wealth, is associated with higher crime, worse public health, higher addiction, lower educational attainment, worse status anxiety (leading to higher consumption of positional goods), worse pollution and destruction, and a host of other ills.

Extreme inequality creates an “Epstein class” of global predators, exploiting the rest financially – and in other ways. It creates an ethos that no longer recognises our common humanity, that sees other people, as Musk puts it, as “non-player characters”, and believes that, “the fundamental weakness of western civilisation is empathy”.

This is the metric by which you can tell who in politics are your allies and who are your enemies: whether they support or oppose the extreme concentration of wealth. In fact, the matter should be definitional. Those who support it (let’s call them Group 1) are the right. Those who oppose it (Group 2) are the left.

As soon as you understand politics in this light, you notice something extraordinary. Almost the entire population is in Group 2. Polling across 36 nations by the Pew Research Center found that 84% see economic inequality as a big problem, and 86% see the political influence of the rich as a major cause of it. In 33 of these nations, a majority believe their country’s economic system needs either “major changes” or “complete reform”. In the UK, a YouGov poll revealed, 75% support a wealth tax on fortunes above £10m, while only 13% oppose it. But – and here’s the astonishing thing – almost the entire political class is in Group 1. You can search the manifestos of major parties that once belonged to the left, and find no call to make billionaires history.

Quite the opposite in fact. Even when politicians are forced to respond to calls for a wealth tax, they dismiss it, as UK ministers have done, with two excuses. The first is that it won’t raise much revenue. Maybe, maybe not: there’s a wide range of evidence on this matter. But revenue-raising is the least of its benefits. Far more important are two other issues. One is fairness. As the WIR reports, “Effective income tax rates climb steadily for most of the population but fall sharply for billionaires and centi-millionaires.” This undermines trust in the tax system and politics in general. The other is reducing the power of the ultra-rich over our lives. To restore democracy and create a fairer, safer, greener world, we must bring the ultra-rich to heel, cutting their fortunes until they can no longer bludgeon us.

The second excuse is that the uber-rich will flee the country. There are three possible responses to this claim. The first is that there’s no evidence to support it. The second is, if true, good riddance: they do us more harm than good. The third is to say: then the obvious solution is a global tax-avoidance measure. So guess what? While 125 nations supported this approach, Keir Starmer’s government was one of nine that opposed it. Our government doesn’t tax the ultra-rich enough not because it can’t, but because it doesn’t want to.

It’s not just politicians. Almost all the media belongs to Group 1. As the wealth and power of the proprietor class becomes ever greater and harder to justify, the views expressed in their outlets become ever crazier. Immigrants, asylum seekers, Muslims, women, transgender people, disabled people, students, protesters: anyone and everyone must be blamed for our dysfunctions, except those causing them. Ever more extreme “culture wars” (a euphemism for divide-and-rule) must be waged.

It’s also why imaginary threats (Venezuela, “cultural Marxists”, “domestic terrorists”) must constantly be drummed up. You cannot have both a free market in media ownership and a free market in information and ideas. The oligarchs who dominate the sector stifle inconvenient thoughts and promote the policies that protect their fortunes.

No one would claim that taking on extreme wealth is easy. But the battle begins with political parties spelling out this aim, clearly and unequivocally. Either they represent the great majority, or they represent the tiny minority: they cannot do both. So where, we might ask, are our representatives?

www.monbiot.com

Amy Hagstrom

Jan. 22nd, 2026 11:05 am
[syndicated profile] writers_read_feed

Posted by Unknown

Amy Hagstrom is the author of The Wild Between Us and Smoke Season. She is a writer and editor with two decades of experience in the travel and outdoor industry, recognized as an O Magazine Insider and previous columnist and feature writer at Travel Oregon, US News, and Huff Post. She holds a bachelor’s degree in Creative Writing from Whitworth University. A lifelong outdoors enthusiast, she

Nina McConigley

Jan. 20th, 2026 05:05 am
[syndicated profile] writers_read_feed

Posted by Unknown

Nina McConigley was born in Singapore and raised in Wyoming. Her short-story collection Cowboys and East Indians was the winner of the PEN Open Book Award and a High Plains Book Award. Her work has appeared in The New York Times, Orion, Ploughshares, Alaska Quarterly Review, High Country News, O, Oprah Magazine, Parents, Virginia Quarterly Review, American Short Fiction, and The Asian American
[syndicated profile] fantasy_book_critic_feed

Posted by Łukasz

 


Book links: Amazon, Goodreads

ABOUT THE AUTHOR: Philip Fracassi is the Bram Stoker and British Fantasy Award-nominated author of the novels Don’t Let Them Get You Down, A Child Alone with Strangers, Gothic, and Boys in the Valley. His upcoming books include the novels The Third Rule of Time Travel, The Autumn Springs Retirement Home Massacre, and Sarafina.

Publisher: Tor Nightfire (September 30, 2025) Page count: 416 Formats: audiobook, ebook, paperback 

I loved this book. 

The Autumn Springs Retirement Home Massacre is, basically, a slasher horror set in a retirement home. 

Rose DuBois is a fantastic protagonist. She’s in her late seventies, but still sharp, and tired of nonsense. She's also a little lonely, and carrying a lifetime of quiet damage she doesn’t talk about much. When residents at Autumn Springs start dying, she first mourns her friends. That's the thing with a retirement home - people die there all the time. But with deaths piling up, Rose decides to investigate.

The book is quick to read thanks to shot chapters and brisk pacing. I also enjoyed the setting. Life in Autumn Springs revolves around schedules, medications, compromises, and small social ecosystems. People know each other’s habits. They notice when someone doesn’t show up. They also know how easy it is for a death to slide by unquestioned. That tension between community closeness and institutional indifference plays an important role.

Since it's a slasher, you know there'll be violence. It's not extreme or gratuitous, but characters you'll root for will die. The violence isn’t goofy or exaggerated. It’s ugly, abrupt, and often sad. The story switches between cozy-ish mystery and slasher brutality. The investigation side, mostly driven by Rose and her friend Miller, is fun and their relationship adds warmth without tipping into sentimentality. Then the killings arrive and snap that comfort in half. The violence isn’t goofy or exaggerated. It’s ugly, abrupt, and often sad. I'll emphasize that Fracassi respects his characters too much to treat them as fodder. Most deaths sting, true, but they're well written.

The mystery holds together. You’re given enough to speculate without being led by the nose, and suspicion moves as new information comes out. The eventual reveal makes sense. There’s a light supernatural touch to it that some readers may wish were either pushed further or cut entirely. 

You’ll like this if you prefer horror character-driven and if you enjoy mysteries where character matters more than clever twists, and if the idea of a slower, observant final girl appeals to you. 

Andromeda Romano-Lax

Jan. 18th, 2026 08:05 am
[syndicated profile] writers_read_feed

Posted by Unknown

Born in Chicago and now a resident of Vancouver Island, Canada, Andromeda Romano-Lax worked as a freelance journalist and travel writer before turning to fiction. Her first novel, The Spanish Bow, was translated into eleven languages and chosen as a New York Times Editors’ Choice, BookSense pick, and one of Library Journal’s Best Books of the Year. Her next four novels, The Detour, Behave (an
[syndicated profile] fantasy_book_critic_feed

Posted by Caitlin G.




FORMAT/INFO: The Trident and the Pearl will be published February 24th, 2026. It is 464 pages long and available in paperback, ebook, and audiobook formats.

OVERVIEW/ANALYSIS:
With a storm threatening to wipe out her people, Queen Coralys strikes a desperate bargain: she will marry the first person to step foot on her island's pier, in return for an end to the disaster. Unfortunately, the first person to arrive is not the hoped for prince from a neighboring kingdom, but a lowly, smelly fisherman. But Queen Coralys honors her word, marries the fisherman, and sails off to her new home. What she doesn't know is that her new husband is actually the god of the sea - and he believes Queen Coralys is the key to stopping a dark threat facing mortals everywhere. Unfortunately for the sea god, Queen Coralys may have obeyed her bargain, but she secretly harbors revenge in her heart against the gods themselves.

Despite a strong start and lovely prose, The Trident and the Pearl completely flounders in creating romantic tension. That's quite a big thing to stumble over, given that this book is being marketed as a romantasy. While I could believe the sea god Okeanos had fallen for Coralys, I didn't for a second believe the reverse was true at any point in the story. Any tender moments towards the end of the story struck me as false.

I will give the book credit for having some high points that made me wish I liked it more. I was really pulled into the beginning of the story, with the initial introduction of Coralys's island nation, their culture, and the bargain she strikes with the gods. I enjoyed the turn the plot took at the midpoint, and thought it was taking the story into a genuinely interesting direction. The overall atmosphere is well done, and I loved the style of writing that felt appropriate for a story about a woman caught in the machinations of gods.

But overall, the plot just felt a bit of a mess. Characters refuse to divulge information to a frustrating degree, stalling out story momentum. Other characters seem deliberately obtuse. Even allowing for the emotions at play, the sheer refusal to consider evidence that they are being lied to or manipulated made me want to scream. The last third of the book felt scattered and meandering, and I ultimately lost interest in the plot.

I really wanted to like The Trident and the Pearl, and for the first several chapters it seemed like it would hit all the right boxes. Unfortunately, the plot completely stalled and characters behaved in a way that was frustrating to watch. I sadly cannot give this book a recommend.

Kelli Stanley

Jan. 14th, 2026 12:05 am
[syndicated profile] writers_read_feed

Posted by Unknown

A critically-acclaimed, bestselling author of crime fiction, Kelli Stanley is the author of the award-winning Miranda Corbie historical noir series (City of Dragons, City of Secrets, City of Ghosts, City of Sharks), featuring "one of crime's most arresting heroines" (Library Journal), private investigator Miranda Corbie, and set in 1940 San Francisco.

Stanley also writes an award-winning,
[syndicated profile] fantasy_book_critic_feed

Posted by Łukasz

 

Book links: Amazon, Goodreads

ABOUT THE AUTHOR:

Publisher: Page count: Formats: audiobook, ebook, paperback


I loved Ling Ling Huang’s Natural Beauty and couldn’t wait to read this one too. Sadly, Immaculate Conception didn’t fully live up to my expectations.

There’s a lot here that I admired. The ideas are strong and timely; we get cloning, AI replacing artists, art as commodity, art as theft. The obsessive dynamic between the narrator, Enka, and Mathilde is fascinating. That slow burn of jealousy and the way admiration curdles into resentment, guilt, and self-loathing is incredibly well written. Huang nails that emotional ugliness. 

Enka isn't likable, nor is she relatable. She makes selfish, cruel choices and justifies them badly. But she’s believable in her pettiness and envy. She want what others have instead of building something of her own and I know people like this.

Despite my appreciation for the ideas, the book felt very detached and emotionally distant to me. I finished it, but I never truly connected to Enka, to Mathilde, or to the story as a whole. I wanted deeper character development early on, especially for Enka and Mathilde, before everything spiraled. Their bond is supposed to be intense, but I struggled to feel it.

Huang is an excellent writer, though. The art discussions are fantastic. I actually went and looked up the artworks mentioned, and that genuinely improved my experience. The performance art sections, in particular, are powerful. 

To sum it up, where Natural Beauty pulled me in immediately, this one took effort. I was also, admittedly, hoping for a bit more weirdness and a little more unhinged energy. And while I appreciated what the book was saying, I think it could’ve been shorter.

In the end, I liked it more in theory than in practice. It's smart, thoughtful novel about awe, jealousy, and artistic obsession, but it kept me at arm’s length. Despite my reservations, I’ll absolutely pick up whatever Huang writes next.
[syndicated profile] fantasy_book_critic_feed

Posted by Caitlin G.

 



FORMAT/INFO: The Red Winter was published by Tor Books on February 24th, 2026. It is 544 pages long and available in hardcover, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: Twenty years ago, Professor Sebastian Grave killed the Beast. At least, that's what he hoped. But when word arrives that the Beast is stalking the French countryside once more, Sebastian resigns himself to returning to Gevaudan to finish the Beast once and for all. Returning to Gevaudan means facing the ghosts of his past, but also the chance to reconnect with an estranged lover Sebastian hasn't seen in two decades. But as Sebastian draws near to his destination, he realizes the situation is far more complicated than he realizes. As Frances teeters on the brink of revolution, can he slay the Beast without plunging the country into war?

The Red Winter is a fantastic reimagining of the story of the Beast of Gevaudan, one sure to appeal to fans of European-style monster-slaying adventures. It is fantastically atmospheric and does a great job of envisioning a supernatural layer to the world, creating a version of Europe closer to The Witcher in feel than standard history. There are ghosts and small monsters alongside powerful forest spirits who can grant boons - or curses. There are immortal beings who play power games from the shadows, using humans as pawns. And at the center of it all is Sebastian Grave, a man caught up in these power games by a quirk of fate.

And it is Sebastian Grave that I wrestle with the most as I wrap my head around how I feel about this book as a whole. On the one hand, Sebastian is your classic grizzled monster hunter character, one who is exceedingly good at his job and does it all with the wry weariness of someone who has seen humans be idiots far too many times in his life. But he is also morally gray, someone who proves that just because you hunt monsters, you aren't automatically a good person.

Sebastian is driven by a quest for power and by complicated feelings for a man he, despite everything, still loves. But as the book came to a close, I struggled with whether this was enough to make me interested in the character's fate. Sebastian wants power...and then what? Does anything else drive this man? There are moments in the book that raise this very question and suggest the purposelessness is part of the struggle of the character...but towards the end I found myself not quite caring.

I will also admit that I occasionally found it easy to get muddled over what events happened in which timeline. Large parts of the book take place in the same area with some of the same characters, just twenty years apart. Unlike a visual medium like film, I didn't have a constant reminder that a character has visibly aged and therefore we're in 1785, not 1765, or vice versa. It's a small note, one that is admittedly more of a personal problem, but it happened often enough I wanted to mention it.

The Red Winter is a well-crafted dark fantasy tale. Although I'm not sure how I feel about lead character Sebastian Grave, the fact that I'm still thinking about him weeks after finishing the book is a testament to how much this story got inside my head.

 

Van Jensen

Jan. 11th, 2026 01:05 pm
[syndicated profile] writers_read_feed

Posted by Unknown

Van Jensen is an acclaimed novelist, screenwriter, and comic book writer. Godfall, his debut novel, is in development as a TV series with Academy Award winner Ron Howard attached to direct. Jensen began his career as a newspaper crime reporter, then broke into comic books and graphic novels as the writer of ARCA (IDW), Two Dead (Gallery 13), and Tear Us Apart (Dark Horse). Jensen has written

Profile

lizabelle: (Default)
lizabelle

June 2014

S M T W T F S
1234567
89 1011121314
15161718192021
22232425262728
2930     

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags