Mike Lee is an avid reader and former technical writer. Rating system
"We reveal ourselves through our preferences. You are what you like—and, crucially, you aren’t what you don’t."
Saturday, March 29, 2025
Álvaro Enrigue, You Dreamed of Empires **** 1/2
Monday, March 24, 2025
Andy Clark, The Experience Machine ** 1/2
The philosopher and cognitive scientist Andy Clark argues that our minds are best understood as generative prediction models and that our subjective experience derives from the interface between the models' predictions and the incoming sensory signal. We use our senses to validate our expectations, and use "prediction errors" (i.e. mismatch with actual sensory signal) to train our model to make better predictions.
I wholeheartedly agree that we impose our understanding of the world onto the raw sensory data, and that indeed there is no such thing as raw sensory data "untouched by our own expectations." I agree with most of Clark's conclusions, but I find his arguments and conceptualizations hand-wavy. I was particularly unconvinced by his explanation regarding "action as self-fulfilling prediction."
Clark (or his publisher) tries to present this theory as being revolutionary "For as long as we've studied human cognition, we've believed that our senses give us direct access to the world." Really? I don't think we've believed that since the 18th century. He himself cites earlier authorities that go back at least as far as the mid-19th century. Clark's thesis is just an au courant version of the long-standing tendency to understand the mind in terms of the latest technological advances, in this case generative AI modeling.
To me, the most intriguing innovation in Clark's conception is his treatment of conscious attention as comparable to modeling precision.
By increasing or decreasing these "precision-weightings," the impact of certain predictions or of certain bits of sensory evidence can be amplified or dampened. ... What we informally think of as "attention" is implemented in these systems by mechanisms that alter these precision-weightings.
Monday, March 17, 2025
Samantha Harvey, Orbital *** 1/2
Orbital describes a day in the life of six (fictional) astronauts on the International Space Station. They observe the Earth as they circle over it sixteen times—passing from night to day every ninety minutes or so—and ponder their place in the universe.
Many reviewers of the Booker Prize-winning Orbital describe it as "meditative," which turns out to mean that it is the literary equivalent of the music they play when you're getting a massage. It favors atmosphere over development, incorporates images of nature, and encourages contemplation. Like guided meditation, the book is structured around a recurring rhythm (breath, orbits) and makes connections between mundane activities and abstract cosmic questions.
Wednesday, March 12, 2025
Dan Charnas, Dilla Time **** 1/2
Wednesday, February 26, 2025
Kaveh Akbar, Martyr! ***
When people think about traveling to the past, they do it with this wild sense of self-importance. Like, 'gosh, I better not step on that flower or my grandfather will never be born.' But in the present we mow our lawns and poison ants and skip parties and miss birthdays all the time. We never think about the effects of that stuff. Nobody thinks of now as the future past.
Thursday, February 13, 2025
David Wallace, Philosophy of Physics ***
Wednesday, February 12, 2025
Earl Swift, Chesapeake Requiem *****
Tuesday, February 4, 2025
Jennifer Croft, The Extinction of Irena Rey ***
Friday, January 31, 2025
Charan Ranganath, Why We Remember ****
I'll bet that Charan Ranganath is a great teacher (he is a professor at UC Davis). He has a talent for fitting scientific details into a clear big picture conceptual framework, while also tying it back to everyday experiences. He includes personal stories so that we feel like we know him; for example, the preface includes references to Hüsker Dü and fIREHOSE and many of the chapter/section titles are unattributed musical references.
The book is about the neural mechanisms of memory. Ranganath suggests that we should consider the purpose of memory.
Contrary to popular belief, the most important message to come from the science of memory is not that you can or even should remember more. The problem isn't your memory, it's that we have the wrong expectations for what memory is for in the first place. ... The mechanisms of memory were not cobbled together to help us remember the name of that guy we met at that thing.
When you think about why we remember, how we use memories to learn and make decisions, many vagaries of the mind start to make sense: the things we remember vs the things we forget, the malleability of our recollections, the "tip of the tongue" phenomena. Our goal should not be to remember more but to be more intentional about what we remember.
The chapters in "Part 3: The Implications" felt more vague and speculative than the rest of the book. Perhaps that is appropriate given their broader scope, but it means the end was anti-climactic.
Sunday, January 26, 2025
Eric LaRocca, This Skin Was Once Mine ** 1/2
This Skin Was Once Mine is a short collection of four horror stories. The horror in each story derives from a character's mental derangement which turns out to be greater than it seems and/or falls prey to even greater derangement in another character character.
The plots were fine but the stories disappointed me for three reasons:
- None of the characters think or act like normal human beings
- The metaphors for emotional trauma were obvious and not developed in any insightful way
- The prose was clichéd and repetitive
Thursday, January 23, 2025
Adam Shoalts, Where the Falcon Flies ***
Saturday, January 18, 2025
Percival Everett, James ***
Let me start by admitting that I'm not a fan of The Adventures of Huckleberry Finn and recall very few of its plot points. I generally don't care for picaresque novels and didn't find the comic elements humorous.
James tells the same story from the point of view of the runaway slave Jim. The gimmick is that Jim is extremely well educated and merely plays the fool for the benefit of his white oppressors. The first few chapters show Jim teaching young black children "the correct incorrect grammar" for the "slave filter," and several plot developments involve white folks being confused when they hear a slave speak "proper" English.
It is not surprising that James focuses on language given that the vernacular is the most notable aspect of Twain's book and of Everett's earlier book Erasure (filmed as American Fiction).
Everett leans too heavily on his themes. Not only can Jim read and write, he is inexplicably well educated. He has a dream in which he argues with Voltaire about natural versus civil liberties, and has visions of John Locke. When alone, the slaves have explicit conversations about their predicament. At the same time, Everett skims past the adventures, such as when Huck and Jim explore a house that comes floating down the river.
The story comes alive once it deviates from Huckleberry Finn. The ironic humor, the action, and the intensity all increase during the period when Huck and Jim are separated. When they are reunited, it is Jim who drives the action, not Huck. The final chapters are completely different in both incident and tone: Huckleberry Finn ends with controversial chapters that "devolve into little more than minstrel-show satire and broad comedy" (says Ernest Hemingway); James ends with violence and righteous anger.
Monday, January 13, 2025
Tyler Mahan Coe, Cocaine & Rhinestones ****
Cocaine & Rhinestones is a podcast about the history of country music. This book, adapted from its second season, centers on the tragic stories of George Jones and Tammy Wynette. Or, rather, it uses their story as the main through-line for a wide-ranging exploration of country music and beyond.
I enjoyed Coe's discursive style and was especially impressed with his insights into the art and business of country music: the meaning and development of "the Nashville Sound," the marketing of recordings in the era of regional distribution, the changing role of producers, the importance of artists' personas, the line between country and pop.
Many fans believe that the "& Western" part of the genre Country & Western is a reference to western swing. It's not. It's a reference to western music, or at least Hollywood's version of western music, performed by singing actors in Western movies, a.k.a. "horse operas," the biggest of which were given exponentially larger marketing budgets than the entire country music division of any record label at the time.
I appreciated Coe's firm convictions about the quality of the songs and his willingness to call bullshit on significant parts of the official narrative.
I was mostly fine with the totally tangential interpolations about pinball machines, bullfighting, the age of chivalry, and so on. Coe generally brought an interesting perspective to the subjects, and they provided a break from the relentless misery of George and Tammy's lives.
I found a 500+ track Spotify playlist that provided easy access to the referenced music. My favorite discoveries were not tracks from George or Tammy. Cocaine & Rhinestones is the second music book I've loved in the past month despite not being a huge fan of the artists in focus. I would have liked the book to have photos – of Nudie suits, for example, or of Jones' evolving haircuts – but I suppose podcasts don't have photos either.
By the way, the proper pronunciation of "Wynette" is win-net not why-net.