有關(guān)2023年互聯(lián)網(wǎng)行業(yè)行將告一段落的(數(shù)字)文章隨處可見:埃隆·馬斯克的Twitter動蕩,山姆·阿爾特曼通過人工智能創(chuàng)造性地顛覆了普通人的生活,多起反壟斷調(diào)查讓谷歌在搜索領(lǐng)域的主導(dǎo)地位遭到威脅,外加人工智能大軍——正如馬克斯·瑞德在近期發(fā)表的《紐約時報》專欄中寫的那樣,塑造了早期互聯(lián)網(wǎng)形態(tài)的千禧一代正在因歲數(shù)的增長而失去對時代思潮的主導(dǎo)權(quán)。在很多方面(在我看來,而不是馬克斯),新技術(shù)讓網(wǎng)絡(luò)變得四分五裂,并逐漸向上個世紀(jì)90年代不受控制的原始狀態(tài)靠攏。不過,盡管網(wǎng)絡(luò)行業(yè)在近些年來毫無起色,但不可否認(rèn)的是,我們迎來了閱讀的黃金年代。
已經(jīng)20歲的iPhone可能已經(jīng)不再是最熱門的科技產(chǎn)品,不過,自平面媒體之后,還有哪一項(xiàng)發(fā)明在激勵人們的讀寫方面發(fā)揮過比iPhone更大的作用嗎?得益于iPhone,文字以無與倫比的速度和頻率從掌上躍入我們的大腦。這個設(shè)備還催生了我已經(jīng)為之奮斗了四年的數(shù)字媒體行業(yè)。我2022年初加入《財富》雜志,從事新數(shù)字新聞編輯部的組建工作,并了解了iPhone-adjacent模式在《商業(yè)內(nèi)幕》(Business Insider)雜志的效果(我在今年的一本書中也稍稍提到了這一內(nèi)容),以及手機(jī)閱讀的黏性如何讓《財富》實(shí)現(xiàn)了跨越式增長,哪怕《財富》是一家已然93歲的初創(chuàng)企業(yè)。雖然算法如今似乎正在改變,然而有一件事是肯定的:文字在21世紀(jì)是如此的唾手可得,以至于我們幾乎認(rèn)為這是一件理所當(dāng)然的事情。我們每日都暢游在文字的海洋中(這些文字中有一小部分源于《財富》的故事,不過其比例在不斷增長),而且書雖不起眼,但永不會過時,倒是可能會披上數(shù)字的外衣。
盡管如此,我和其他《財富》編輯選出了我們的最愛,其中甚至包括年度最佳書作,以及多部紀(jì)實(shí)類書作。這些書作不僅解釋了生命與商業(yè)算法的變化方式,同時還介紹了這個算法世界的締造者,也就是我們每日暢游的這片文字之海。祝2024年依然是文字豐收之年。
“是否有被騙的感覺?!彪S著Sex Pistols這支樂隊在朋克搖滾的首次勁爆現(xiàn)場表演中發(fā)揮失常,美國民眾便深深記住了該樂隊的這句話。不過,它也可能是本·史密斯對媒體行業(yè)朋克搖滾時刻的反思:20世紀(jì)初期數(shù)字流量的暴增。然而,史密斯并沒有提及約翰尼·羅騰和席德·維瑟斯這類人物,而是羅列了尼克·鄧頓和喬納·佩雷蒂(其前老板),也就是那些掌握了互聯(lián)網(wǎng)2.0變現(xiàn)秘訣的人士:瘋狂傳播然后賺取大量的流量。當(dāng)然,這些人的初創(chuàng)企業(yè)都已經(jīng)風(fēng)光不再。博客先驅(qū)Gawker Media被前摔跤運(yùn)動員胡克·霍根起訴到了崩潰的邊緣,而這起案件有一位顯而易見的幕后推手——億萬富翁彼得·蒂爾。隨后,這家公司被拆分成多個部分,基本都出售給了有著私募股權(quán)背景的GO Media,并在這個過程中失去了自身的特質(zhì)。Buzzfeed News在今年關(guān)停,不過Buzzfeed這個品牌與《赫芬頓郵報》(Huffington Post)一道,因背靠大樹而活了下來,其市值一落千丈,較其峰值時期蒸發(fā)了數(shù)十億美元。史密斯這本報道詳實(shí)、文筆尚佳的書作使人想起了莎士比亞對《哈姆雷特》一書中羅森克蘭茨和吉爾德斯特恩這兩名角色的處理方式,只不過史密斯在提及這二位的時候采用的是斯托帕德式手法。這種手法命名自湯姆·斯托帕德,他是一位偉大的英國劇作家,于1966年通過《羅森克蘭茨和吉爾德斯特恩已死》(Rosencrantz and Guildenstern are dead)而聲名鵲起。該劇本講述了哈姆雷特的大學(xué)朋友和準(zhǔn)殺手為什么會認(rèn)為自己是主角,最后發(fā)現(xiàn)自己在這部偉大的作品中始終只是個小角色。不過我無法忽視的是,朋克搖滾對音樂的改變是永久性的,即便它僅持續(xù)了數(shù)年的時間。所有的革命都是如此?!狽ick Lichtenberg,新聞執(zhí)行主編
《基金:瑞·達(dá)利歐,橋水基金和華爾街傳奇揭秘》(The Fund: Ray Dalio, Bridgewater Associates, and the Unraveling of a Wall Street Legend),作者:羅布·科普蘭(Rob Copeland ),出版社:Macmillan
這部未經(jīng)授權(quán)的揭秘書作有著漫長而又(有時候不怎么)光彩的歷史,但是像這部小說那樣嚴(yán)苛、深入地剖析全球最大對沖基金文化的作品并不多。十多年以來,羅布·科普蘭一直通過美國頂級新聞媒體來報道這一行業(yè),尤其是億萬富翁瑞·達(dá)利歐,一開始是《華爾街日報》,目前是《紐約時報》。他對這位康涅狄格州最富有人士及其橋水基金的大量報道結(jié)出了令人驚嘆的碩果。從后來成為總檢察長的詹姆斯·科米為百吉餅訂單丟失案件而開展數(shù)周的調(diào)查(以及模擬法庭?。?,到達(dá)利歐向一位頂級咨詢師傳授其“棒球卡”打分系統(tǒng),后者旨在模仿其獨(dú)創(chuàng)的知名“準(zhǔn)則”(principles)。此舉意味著達(dá)利歐自己在“可信度”方面做的并不好。這篇報道講述了大量對達(dá)利歐“準(zhǔn)則”的膜拜行為,其中還包含了令人驚悚的性騷擾描述,讓人聯(lián)想到以同樣首字母開頭的另一個單詞panopticon(圓形監(jiān)獄),而且是帶有不間斷監(jiān)控的圓形監(jiān)獄。在這里,達(dá)利歐播放著一位受其羞辱的(女)中尉視頻,多年來一直通過殘忍的儀式公開向員工們喊話。當(dāng)達(dá)利歐11月底在《財富》雜志于阿布扎比舉行的全球論壇上講話時,他依然對此書憤慨不已,不過,他并未在橋水自家康涅狄格州總部之外的任何法庭發(fā)起任何起訴,以自證清白。——N.L.
《光鮮亮麗:美麗、野心以及Glossier公司的內(nèi)幕》(Glossy: Beauty, Ambition, and the Inside Story of Emily Weiss’s Glossier) 作者:馬麗莎·梅爾策(Marisa Meltzer ),出版社:Atria/One Signal Publishers
記者馬麗莎·梅爾策所撰寫的Glossier公司興衰錄,是一本文筆不俗同時又發(fā)人深省的警示錄。在2010年代末,直銷品牌Glossier借助其極簡主義營銷以及對“素顏妝產(chǎn)品”的專注,成為了化妝品行業(yè)的主導(dǎo)力量。該公司的掌門人是艾米麗?韋斯,曾參演MTV真人秀《Hills》,也曾供職于《VOGUE》雜志,亦是美妝網(wǎng)站Into the Gloss創(chuàng)始人,后來又成為了目前已經(jīng)銷聲匿跡的“女老板”時代的多產(chǎn)型領(lǐng)導(dǎo)者。梅爾策對韋斯這位神秘人物的描述賦予了此書精致感和可讀性。書中對Glossier這個瀕危帝國的描述似乎印證了2010年代到20年代期間整體的“氛圍轉(zhuǎn)變”:在這段時間,消費(fèi)者厭倦了千禧粉,TikTok毫不遮掩的真實(shí)性替代了Instagram精心打造的華美,而且投資者開始逐漸警惕所謂的“獨(dú)角獸”。本書文筆優(yōu)美、內(nèi)容豐富,且?guī)в袘雅f色彩,我在短短數(shù)天內(nèi)便讀完了整本書?!狝shley Lutz,編輯發(fā)展部執(zhí)行總監(jiān)
《潘多拉之盒:本能、狡猾和貪婪如何顛覆電視》(How Guts, Guile, and Greed Upended TV),作者:彼得·畢斯肯德(Peter Biskind),哈珀柯林斯出版社
20世紀(jì)70年代出現(xiàn)了杰克·尼科爾森式反英雄。90年代獨(dú)立電影革命,代表人物昆汀·塔倫蒂諾。始于21世紀(jì)之交的巔峰電視時代涌現(xiàn)了托尼·索普拉諾、唐·德雷珀,隨后是漫長緩慢的衰落。這就是長期觀察好萊塢(也是丑聞揭發(fā)者)的彼得·畢斯肯德娓娓道來的故事,他已完成所謂娛樂“運(yùn)動”的非官方三部曲,分別是《逍遙騎士》( Easy Riders)、《憤怒的公?!罚≧aging Bulls),然后是《低俗電影》(Down and Dirty Pictures),現(xiàn)在推出了《潘多拉之盒》。對于像我這樣的畢斯肯德粉絲來說,讀到《首映》(Premiere)雜志前執(zhí)行主編,《名利場》(Vanity Fair)現(xiàn)任特約編輯對于電視革命的看法就像呼吸到新鮮空氣,這場革命先是在HBO爆發(fā),然后蔓延到有線電視,又波及流媒體。他獨(dú)具匠心地將文化批評與犀利報道相結(jié)合,書中HBO前負(fù)責(zé)人邁克爾·??怂箍鄻穮氲刂v述上世紀(jì)90年代被迫退出如何“傷透了心”,而他的新書副標(biāo)題透露了對流媒體革命的真實(shí)感受:“本能、狡猾和貪婪如何顛覆電視?!眲⊥柑嵝眩赫{(diào)查結(jié)束后他發(fā)現(xiàn)內(nèi)容不是王道,錢才是王道。——N.L.
《離職面談:我雄心勃勃的職業(yè)生涯生與死》(Exit Interview: The Life and Death of My Ambitious Career),作者:克里斯蒂·庫爾特(Kristi Coulter),法勒、斯特勞斯和吉魯出版社
如果說疫情后所謂的“大改組”和“靜默辭職”讓員工體驗(yàn)到一股賦權(quán)的氣息,那么《離職面談》及時地審視了人們曾拒絕的拼命文化。這本回憶錄讀起來經(jīng)常讓人有疲憊感,記錄了庫爾特在亞馬遜西雅圖總部工作的經(jīng)歷,但亞馬遜并不是真正的主角:庫爾特身陷用企業(yè)術(shù)語包裝的不斷升級的需求迷宮中,雄心壯志屢遭打擊才是本書重點(diǎn)。本書有點(diǎn)類似企業(yè)界的《恐怖谷》( Uncanny Valley),每個人都能從中有所收獲:既簡陋混亂得像初創(chuàng)公司(員工有時坐著木板凳在“桌”邊工作),又有美國第二大公司令人厭煩的官僚作風(fēng)(庫爾特介紹了周日晚上就開始加班為周三全公司會議做準(zhǔn)備;有的會議上,管理者會隨意給下屬排名,決定誰先走人。)這出戲時而荒謬,時而令人憤怒,任何曾混跡男性占主導(dǎo)的科技圈的女性都會有共鳴?!狪rina Ivanova,新聞副主編
《即將到來的浪潮:技術(shù)、權(quán)力和21世紀(jì)最大困境》(The Coming Wave: Technology, Power, and the Twenty-first Century’s Greatest Dilemma),作者:穆斯塔法·蘇萊曼(Mustafa Suleyman)和邁克爾·巴斯卡(Michael Bhaskar),出版社:Crown
盡管書名提到困境,DeepMind和Inflection AI聯(lián)合創(chuàng)始人穆斯塔法·蘇萊曼這本里程碑式著作并不完全悲觀。他認(rèn)為,人工智能可以解決人類最大的挑戰(zhàn),也有可能導(dǎo)致災(zāi)難性事件,而由于變革性技術(shù)的既有特點(diǎn),人類沒法搶占先機(jī)。
真正的問題是人類的系統(tǒng)是否迅速適應(yīng)。正如蘇萊曼在9月《財富》雜志一篇評論文章中警告,他早已發(fā)現(xiàn)人工智能操縱選舉的威脅。隨著2024年數(shù)十個國家舉行關(guān)鍵選舉,未來幾個月這一理論或?qū)Ⅱ?yàn)證,加劇了世界各地的不確定性。幾年內(nèi),人類熟知的過往世界將不復(fù)存在,因?yàn)槿藗兊拿\(yùn)將被技術(shù)轉(zhuǎn)型顛覆。
想正確對待作者的嚴(yán)厲警告和田園詩般的承諾,請記住這些并非科技企業(yè)家對最新技術(shù)的看法,而是來自發(fā)現(xiàn)身處于技術(shù)革命前線,或者所謂權(quán)力轉(zhuǎn)移前線的道德和政策極客。——Mohamed El Aassar,編輯,評論部
《破解資本主義:市場激進(jìn)分子與無民主世界之夢》(Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy),作者:奎恩·斯洛博迪恩(Quinn Slobodian),出版社:Macmillan
首先有“全球主義者”,然后才會“崩潰”。這是加拿大歷史學(xué)家奎恩·斯洛博迪恩描繪的景象,他是韋爾斯利學(xué)院(Wellesley College)教授,很快將前往波士頓大學(xué)(Boston University)。他上一本書主要介紹新自由主義的誕生,以及聽起來像007電影反派的朝圣山學(xué)社真實(shí)故事,該學(xué)社實(shí)際上由傳奇歷史學(xué)家弗里德里希·哈耶克在瑞士一處村莊創(chuàng)立。本次他的新書則是關(guān)于讓人難以發(fā)現(xiàn)的經(jīng)濟(jì)大發(fā)展。他問道,為什么資本主義發(fā)展想要脫離民主國家?他認(rèn)為,國家更愿意在“經(jīng)濟(jì)特區(qū)”開展業(yè)務(wù)。舉出了上世紀(jì)70年代,90年代和21世紀(jì)初蓬勃發(fā)展的香港、新加坡和迪拜當(dāng)例子,當(dāng)時大企業(yè)希望減輕稅收負(fù)擔(dān),規(guī)避諸多令人生厭的法規(guī)。但也有洪都拉斯的案例,以及斯坦福大學(xué)經(jīng)濟(jì)學(xué)家保羅·羅默推動的名為“Prospera”的潛在特區(qū)。有一點(diǎn)可以肯定:這一特區(qū)不會是最后一個——N.L.
《無瑕:韓國美妝之都的美容與文化課》(Flawless: Lessons in Looks and Culture from the K-Beauty Capital),作者:愛麗絲·胡(Elise Hu),出版社:Dutton
韓國化妝品是全世界最好的——至少我聽說過這種說法。但這一觀察結(jié)果并不讓我驚訝:長期以來,韓國在創(chuàng)新、文化影響力和軟實(shí)力方面都超越了自身體量。不過“K-Beauty”行業(yè)——不僅包括化妝品,還有K-pop和整容手術(shù)——實(shí)際什么樣?這對韓國女性和男性意味著什么?在《無瑕》一書中,愛麗絲·胡以擔(dān)任美國全國公共廣播電臺(National Public Radio)駐首爾記者期間的報道為基礎(chǔ),拓展到對商業(yè)、性別政治和技術(shù)的廣泛調(diào)查——Nicholas Gordon,香港編輯
《地下的戰(zhàn)爭:鋰、銅和爭奪電源的全球戰(zhàn)爭》(The War Below: Lithium, Copper, and the Global Battle to Power Our Lives),作者:歐內(nèi)斯特·謝德(Ernest Scheyder),出版社:Atria/One Signal Publishers
為揭示能源轉(zhuǎn)型中尷尬的真相和經(jīng)常被忽視的各方博弈,路透社(Reuters)記者歐內(nèi)斯特·謝德帶領(lǐng)讀者踏上了一段穿越美國歷史、地緣政治和商業(yè)世界的旅程。
聽起來幾乎有些諷刺。為了擺脫化石燃料,人類必須轉(zhuǎn)而依靠不太靠譜的領(lǐng)域:有著暴力和污染歷史的采礦業(yè)。由于全球各國競爭對未來電動汽車和電子設(shè)備中關(guān)鍵金屬,沒什么好選擇。美國要在關(guān)鍵礦產(chǎn)方面依賴中國,還是接受大規(guī)模開采可能對美國土地和社區(qū)造成的破壞?鼓勵采用清潔技術(shù)的《通脹削減法案》(Inflation Reduction Act)執(zhí)行非常不順時,政府是否清楚知道在做什么?如果關(guān)鍵項(xiàng)目面臨嚴(yán)重挫折,未來的企業(yè)能否兌現(xiàn)崇高承諾?
《財富》讀者會發(fā)現(xiàn)有幾章當(dāng)中介紹了蒂芙尼(Tiffany & Co.)首席執(zhí)行官邁克爾·J·科瓦爾斯基20年前在遵守道德采購方面的革命性立場,以及埃隆·馬斯克為確保對特斯拉未來特別重要的關(guān)鍵礦產(chǎn)做出的努力——M.E.
《脫稿:媒體帝國與紅石家族遺產(chǎn)的史詩之戰(zhàn)》(Unscripted: The Epic Battle for a Media Empire and the Redstone Family Legacy),作者:詹姆斯·斯圖爾特(James Stewart)和雷切爾·艾布拉姆斯(Rachel Abrams),企鵝出版社
過去幾年家族大戲?qū)映霾桓F,一方面電視和小報對卡戴珊家族、默多克家族和英國王室連篇累牘,另一方面在小屏幕上,HBO的《繼承之戰(zhàn)》(Succession)和Netflix的《王冠》(The Crown)中各大世家與虛構(gòu)對手也好戲不斷。這一背景下,《紐約時報》記者詹姆斯·斯圖爾特和雷切爾·艾布拉姆斯推出了《脫稿》一書,講述了媒體界的陰謀、操縱和極其厚顏無恥的幾乎難以置信的真實(shí)故事。書中介紹了薩姆納·雷德斯通晚年經(jīng)歷,2020年去世前是維亞康姆(Viacom)和哥倫比亞廣播公司(CBS)大數(shù)股東,從中可看到一位影響力超過心智能力的大亨逐漸衰落的過程,以及他的女兒莎麗與公司董事會里年長男性(和一名女性)的戰(zhàn)爭。書中背景在女性反性騷擾運(yùn)動之前,所以偶爾會出現(xiàn)令人瞠目結(jié)舌的場景。其中一個案例中,一名警察隊長接到哥倫比亞廣播公司高管性騷擾的報告,立刻向公司通風(fēng)報信,幾乎成了他的副業(yè)。沒過多久,董事會一名成員調(diào)查了有關(guān)性騷擾的謠言,詢問被指控的嫌疑人騷擾是否存在,將回應(yīng)當(dāng)成事實(shí)。將幾個誤判自身影響力的有權(quán)勢男性打倒,有些無情也會讓人不適,也許唯一永恒的教訓(xùn)是:權(quán)力和金錢總是導(dǎo)致腐敗?!狪.I.
《北京特快:劫持火車,震驚西方,破壞中華民國的土匪》(The Peking Express: The Bandits Who Stole a Train, Stunned the West, and Broke the Republic of China),作者:詹姆斯·齊默爾曼(James Zimmerman),出版社: Public Affairs
1923年,一伙中國土匪——如果問起的話他們會自稱政治自由斗士——襲擊了上海和北京之間一趟火車,還劫持了很多富有的乘客當(dāng)人質(zhì),其中包括小約翰·D·洛克菲勒的嫂子?!芭R城事變”很快給羸弱的中華民國引發(fā)一場危機(jī):當(dāng)?shù)剀婇y想不顧人質(zhì)安全武力剿匪,而外國公使們則要求政府盡可能保證人質(zhì)安全。
中國美國商會(American Chamber of Commerce in China)前會長詹姆斯·齊默爾曼這本書提醒人們,兩次世界大戰(zhàn)之間的中國有多么不穩(wěn)定。
《掠奪:私募股權(quán)掠奪美國的計劃》(Plunder: Private Equity’s Plan to Pillage America),作者:布蘭登·巴盧(Brendan Ballou),出版社:Public Affairs
最近,美國的社會結(jié)構(gòu)似乎出現(xiàn)衰敗跡象。放眼望去,生活成本更高,然而實(shí)際獲得似乎更少,費(fèi)用和細(xì)則像雨后蘑菇一樣激增。曾經(jīng)由公共資助的急救服務(wù),包括救護(hù)車、消防部門,甚至醫(yī)院在美國大部分地區(qū)已無力繼續(xù)。擁有住房的夢想似乎越發(fā)遙遠(yuǎn),人們被迫向不露面的實(shí)體支付越來越多租金。如果有人認(rèn)為消費(fèi)經(jīng)濟(jì)很健康,隨便一瞥近年來破產(chǎn)的諸多零售業(yè)就能放棄幻想。在《掠奪》一書中,反壟斷律師布蘭登·巴盧收集了困境中的美國方方面面信息,找出了非常令人信服的惡人:私募股權(quán)。該行業(yè)在金融圈曾經(jīng)只是小眾,今年價值已飆升至超過22萬億美元且涉足各行各業(yè)。巴盧在司法部工作,他的政法背景極大提升了本書閱讀體驗(yàn),條理清楚地列舉了一系列管理最差的公司如何推動讓人氣血翻涌的結(jié)果。想象一下:療養(yǎng)院里開放性創(chuàng)傷病人得不到救治,只因?yàn)楣ぷ魅藛T“事情太多”;監(jiān)獄囚犯被供應(yīng)“不適合人類食用”的腐爛肉;一個小鎮(zhèn)處理廠出故障導(dǎo)致水中有毒,還在提升居民水費(fèi)。從加強(qiáng)政府的執(zhí)法權(quán)力到禁止特定類型的并購,巴盧的“突擊檢查”結(jié)尾也提出了解決社會衰退的建議?!狪.I.
《財富集市:香港的形成》(Fortune’s Bazaar: The Making of Hong Kong),作者:沃丁·英格蘭(Vaudine England),出版社:Scribner
每個資本主義經(jīng)濟(jì)體都紀(jì)念自己的大亨,香港也不例外。就像美國到處都是紀(jì)念卡內(nèi)基和洛克菲勒的建筑一樣,這座中國城市里到處都是渣打、嘉道理和霍頓家族的建筑。19世紀(jì),來自世界各地的移民紛紛前往新成立的英國殖民地尋找發(fā)財機(jī)會。記者出身的歷史學(xué)家沃丁·英格蘭在《財富集市》(Fortune’s Bazaar)一書中講述了香港的“狂野西部”史——或者應(yīng)該說“狂野東部”。該書提醒世人,香港的歷史不能簡單歸于英國或中國,而是各方影響、世界主義和創(chuàng)業(yè)精神大雜燴?!狽.G.
《哥斯拉與哥斯拉的反擊》(Godzilla and Godzilla Raids Again),作者:香山滋(Kayama Shigeru),翻譯:杰弗里·安格爾(Jeffrey Angles),明尼蘇達(dá)大學(xué)出版社
哥斯拉回來了?!陡缢估?1.0》(Godzilla Minus One)是日本東寶(Toho Studios)的最新電影,也是日本國內(nèi)票房最高的真人電影。明年華納兄弟也將鏡頭對準(zhǔn)怪獸,推出《哥斯拉大戰(zhàn)金剛:新帝國》(Godzilla x Kong: The New Empire)。這部系列電影始于1954年日本作家香山滋的《哥斯拉》(Godsilla)。杰弗里·安格爾首次翻譯了香山滋這部電影及其續(xù)集小說,也傳達(dá)了強(qiáng)烈的反核武器信息。安格爾還介紹了香山滋寫《哥斯拉》系列的重要背景,其中包括作者越發(fā)不滿人們忽略不受控制的科技進(jìn)步發(fā)出的警示,而是任由怪獸變成受人喜愛的吉祥物。——N.G.(財富中文網(wǎng))
譯者:夏林
有關(guān)2023年互聯(lián)網(wǎng)行業(yè)行將告一段落的(數(shù)字)文章隨處可見:埃隆·馬斯克的Twitter動蕩,山姆·阿爾特曼通過人工智能創(chuàng)造性地顛覆了普通人的生活,多起反壟斷調(diào)查讓谷歌在搜索領(lǐng)域的主導(dǎo)地位遭到威脅,外加人工智能大軍——正如馬克斯·瑞德在近期發(fā)表的《紐約時報》專欄中寫的那樣,塑造了早期互聯(lián)網(wǎng)形態(tài)的千禧一代正在因歲數(shù)的增長而失去對時代思潮的主導(dǎo)權(quán)。在很多方面(在我看來,而不是馬克斯),新技術(shù)讓網(wǎng)絡(luò)變得四分五裂,并逐漸向上個世紀(jì)90年代不受控制的原始狀態(tài)靠攏。不過,盡管網(wǎng)絡(luò)行業(yè)在近些年來毫無起色,但不可否認(rèn)的是,我們迎來了閱讀的黃金年代。
已經(jīng)20歲的iPhone可能已經(jīng)不再是最熱門的科技產(chǎn)品,不過,自平面媒體之后,還有哪一項(xiàng)發(fā)明在激勵人們的讀寫方面發(fā)揮過比iPhone更大的作用嗎?得益于iPhone,文字以無與倫比的速度和頻率從掌上躍入我們的大腦。這個設(shè)備還催生了我已經(jīng)為之奮斗了四年的數(shù)字媒體行業(yè)。我2022年初加入《財富》雜志,從事新數(shù)字新聞編輯部的組建工作,并了解了iPhone-adjacent模式在《商業(yè)內(nèi)幕》(Business Insider)雜志的效果(我在今年的一本書中也稍稍提到了這一內(nèi)容),以及手機(jī)閱讀的黏性如何讓《財富》實(shí)現(xiàn)了跨越式增長,哪怕《財富》是一家已然93歲的初創(chuàng)企業(yè)。雖然算法如今似乎正在改變,然而有一件事是肯定的:文字在21世紀(jì)是如此的唾手可得,以至于我們幾乎認(rèn)為這是一件理所當(dāng)然的事情。我們每日都暢游在文字的海洋中(這些文字中有一小部分源于《財富》的故事,不過其比例在不斷增長),而且書雖不起眼,但永不會過時,倒是可能會披上數(shù)字的外衣。
盡管如此,我和其他《財富》編輯選出了我們的最愛,其中甚至包括年度最佳書作,以及多部紀(jì)實(shí)類書作。這些書作不僅解釋了生命與商業(yè)算法的變化方式,同時還介紹了這個算法世界的締造者,也就是我們每日暢游的這片文字之海。祝2024年依然是文字豐收之年。
《流量:數(shù)十億美元病毒式傳播競賽中的天才、競爭和幻滅》 (Traffic: Genius, Rivalry, and Delusion in the Billion-Dollar Race to Go Viral) 作者:本·史密斯(Ben Smith),企鵝出版社
“是否有被騙的感覺?!彪S著Sex Pistols這支樂隊在朋克搖滾的首次勁爆現(xiàn)場表演中發(fā)揮失常,美國民眾便深深記住了該樂隊的這句話。不過,它也可能是本·史密斯對媒體行業(yè)朋克搖滾時刻的反思:20世紀(jì)初期數(shù)字流量的暴增。然而,史密斯并沒有提及約翰尼·羅騰和席德·維瑟斯這類人物,而是羅列了尼克·鄧頓和喬納·佩雷蒂(其前老板),也就是那些掌握了互聯(lián)網(wǎng)2.0變現(xiàn)秘訣的人士:瘋狂傳播然后賺取大量的流量。當(dāng)然,這些人的初創(chuàng)企業(yè)都已經(jīng)風(fēng)光不再。博客先驅(qū)Gawker Media被前摔跤運(yùn)動員胡克·霍根起訴到了崩潰的邊緣,而這起案件有一位顯而易見的幕后推手——億萬富翁彼得·蒂爾。隨后,這家公司被拆分成多個部分,基本都出售給了有著私募股權(quán)背景的GO Media,并在這個過程中失去了自身的特質(zhì)。Buzzfeed News在今年關(guān)停,不過Buzzfeed這個品牌與《赫芬頓郵報》(Huffington Post)一道,因背靠大樹而活了下來,其市值一落千丈,較其峰值時期蒸發(fā)了數(shù)十億美元。史密斯這本報道詳實(shí)、文筆尚佳的書作使人想起了莎士比亞對《哈姆雷特》一書中羅森克蘭茨和吉爾德斯特恩這兩名角色的處理方式,只不過史密斯在提及這二位的時候采用的是斯托帕德式手法。這種手法命名自湯姆·斯托帕德,他是一位偉大的英國劇作家,于1966年通過《羅森克蘭茨和吉爾德斯特恩已死》(Rosencrantz and Guildenstern are dead)而聲名鵲起。該劇本講述了哈姆雷特的大學(xué)朋友和準(zhǔn)殺手為什么會認(rèn)為自己是主角,最后發(fā)現(xiàn)自己在這部偉大的作品中始終只是個小角色。不過我無法忽視的是,朋克搖滾對音樂的改變是永久性的,即便它僅持續(xù)了數(shù)年的時間。所有的革命都是如此?!狽ick Lichtenberg,新聞執(zhí)行主編
《基金:瑞·達(dá)利歐,橋水基金和華爾街傳奇揭秘》(The Fund: Ray Dalio, Bridgewater Associates, and the Unraveling of a Wall Street Legend),作者:羅布·科普蘭(Rob Copeland ),出版社:Macmillan
這部未經(jīng)授權(quán)的揭秘書作有著漫長而又(有時候不怎么)光彩的歷史,但是像這部小說那樣嚴(yán)苛、深入地剖析全球最大對沖基金文化的作品并不多。十多年以來,羅布·科普蘭一直通過美國頂級新聞媒體來報道這一行業(yè),尤其是億萬富翁瑞·達(dá)利歐,一開始是《華爾街日報》,目前是《紐約時報》。他對這位康涅狄格州最富有人士及其橋水基金的大量報道結(jié)出了令人驚嘆的碩果。從后來成為總檢察長的詹姆斯·科米為百吉餅訂單丟失案件而開展數(shù)周的調(diào)查(以及模擬法庭!),到達(dá)利歐向一位頂級咨詢師傳授其“棒球卡”打分系統(tǒng),后者旨在模仿其獨(dú)創(chuàng)的知名“準(zhǔn)則”(principles)。此舉意味著達(dá)利歐自己在“可信度”方面做的并不好。這篇報道講述了大量對達(dá)利歐“準(zhǔn)則”的膜拜行為,其中還包含了令人驚悚的性騷擾描述,讓人聯(lián)想到以同樣首字母開頭的另一個單詞panopticon(圓形監(jiān)獄),而且是帶有不間斷監(jiān)控的圓形監(jiān)獄。在這里,達(dá)利歐播放著一位受其羞辱的(女)中尉視頻,多年來一直通過殘忍的儀式公開向員工們喊話。當(dāng)達(dá)利歐11月底在《財富》雜志于阿布扎比舉行的全球論壇上講話時,他依然對此書憤慨不已,不過,他并未在橋水自家康涅狄格州總部之外的任何法庭發(fā)起任何起訴,以自證清白?!狽.L.
《光鮮亮麗:美麗、野心以及Glossier公司的內(nèi)幕》(Glossy: Beauty, Ambition, and the Inside Story of Emily Weiss’s Glossier) 作者:馬麗莎·梅爾策(Marisa Meltzer ),出版社:Atria/One Signal Publishers
記者馬麗莎·梅爾策所撰寫的Glossier公司興衰錄,是一本文筆不俗同時又發(fā)人深省的警示錄。在2010年代末,直銷品牌Glossier借助其極簡主義營銷以及對“素顏妝產(chǎn)品”的專注,成為了化妝品行業(yè)的主導(dǎo)力量。該公司的掌門人是艾米麗?韋斯,曾參演MTV真人秀《Hills》,也曾供職于《VOGUE》雜志,亦是美妝網(wǎng)站Into the Gloss創(chuàng)始人,后來又成為了目前已經(jīng)銷聲匿跡的“女老板”時代的多產(chǎn)型領(lǐng)導(dǎo)者。梅爾策對韋斯這位神秘人物的描述賦予了此書精致感和可讀性。書中對Glossier這個瀕危帝國的描述似乎印證了2010年代到20年代期間整體的“氛圍轉(zhuǎn)變”:在這段時間,消費(fèi)者厭倦了千禧粉,TikTok毫不遮掩的真實(shí)性替代了Instagram精心打造的華美,而且投資者開始逐漸警惕所謂的“獨(dú)角獸”。本書文筆優(yōu)美、內(nèi)容豐富,且?guī)в袘雅f色彩,我在短短數(shù)天內(nèi)便讀完了整本書?!狝shley Lutz,編輯發(fā)展部執(zhí)行總監(jiān)
《潘多拉之盒:本能、狡猾和貪婪如何顛覆電視》(How Guts, Guile, and Greed Upended TV),作者:彼得·畢斯肯德(Peter Biskind),哈珀柯林斯出版社
20世紀(jì)70年代出現(xiàn)了杰克·尼科爾森式反英雄。90年代獨(dú)立電影革命,代表人物昆汀·塔倫蒂諾。始于21世紀(jì)之交的巔峰電視時代涌現(xiàn)了托尼·索普拉諾、唐·德雷珀,隨后是漫長緩慢的衰落。這就是長期觀察好萊塢(也是丑聞揭發(fā)者)的彼得·畢斯肯德娓娓道來的故事,他已完成所謂娛樂“運(yùn)動”的非官方三部曲,分別是《逍遙騎士》( Easy Riders)、《憤怒的公牛》(Raging Bulls),然后是《低俗電影》(Down and Dirty Pictures),現(xiàn)在推出了《潘多拉之盒》。對于像我這樣的畢斯肯德粉絲來說,讀到《首映》(Premiere)雜志前執(zhí)行主編,《名利場》(Vanity Fair)現(xiàn)任特約編輯對于電視革命的看法就像呼吸到新鮮空氣,這場革命先是在HBO爆發(fā),然后蔓延到有線電視,又波及流媒體。他獨(dú)具匠心地將文化批評與犀利報道相結(jié)合,書中HBO前負(fù)責(zé)人邁克爾·福克斯苦樂參半地講述上世紀(jì)90年代被迫退出如何“傷透了心”,而他的新書副標(biāo)題透露了對流媒體革命的真實(shí)感受:“本能、狡猾和貪婪如何顛覆電視。”劇透提醒:調(diào)查結(jié)束后他發(fā)現(xiàn)內(nèi)容不是王道,錢才是王道?!狽.L.
《離職面談:我雄心勃勃的職業(yè)生涯生與死》(Exit Interview: The Life and Death of My Ambitious Career),作者:克里斯蒂·庫爾特(Kristi Coulter),法勒、斯特勞斯和吉魯出版社
如果說疫情后所謂的“大改組”和“靜默辭職”讓員工體驗(yàn)到一股賦權(quán)的氣息,那么《離職面談》及時地審視了人們曾拒絕的拼命文化。這本回憶錄讀起來經(jīng)常讓人有疲憊感,記錄了庫爾特在亞馬遜西雅圖總部工作的經(jīng)歷,但亞馬遜并不是真正的主角:庫爾特身陷用企業(yè)術(shù)語包裝的不斷升級的需求迷宮中,雄心壯志屢遭打擊才是本書重點(diǎn)。本書有點(diǎn)類似企業(yè)界的《恐怖谷》( Uncanny Valley),每個人都能從中有所收獲:既簡陋混亂得像初創(chuàng)公司(員工有時坐著木板凳在“桌”邊工作),又有美國第二大公司令人厭煩的官僚作風(fēng)(庫爾特介紹了周日晚上就開始加班為周三全公司會議做準(zhǔn)備;有的會議上,管理者會隨意給下屬排名,決定誰先走人。)這出戲時而荒謬,時而令人憤怒,任何曾混跡男性占主導(dǎo)的科技圈的女性都會有共鳴。——Irina Ivanova,新聞副主編
《即將到來的浪潮:技術(shù)、權(quán)力和21世紀(jì)最大困境》(The Coming Wave: Technology, Power, and the Twenty-first Century’s Greatest Dilemma),作者:穆斯塔法·蘇萊曼(Mustafa Suleyman)和邁克爾·巴斯卡(Michael Bhaskar),出版社:Crown
盡管書名提到困境,DeepMind和Inflection AI聯(lián)合創(chuàng)始人穆斯塔法·蘇萊曼這本里程碑式著作并不完全悲觀。他認(rèn)為,人工智能可以解決人類最大的挑戰(zhàn),也有可能導(dǎo)致災(zāi)難性事件,而由于變革性技術(shù)的既有特點(diǎn),人類沒法搶占先機(jī)。
真正的問題是人類的系統(tǒng)是否迅速適應(yīng)。正如蘇萊曼在9月《財富》雜志一篇評論文章中警告,他早已發(fā)現(xiàn)人工智能操縱選舉的威脅。隨著2024年數(shù)十個國家舉行關(guān)鍵選舉,未來幾個月這一理論或?qū)Ⅱ?yàn)證,加劇了世界各地的不確定性。幾年內(nèi),人類熟知的過往世界將不復(fù)存在,因?yàn)槿藗兊拿\(yùn)將被技術(shù)轉(zhuǎn)型顛覆。
想正確對待作者的嚴(yán)厲警告和田園詩般的承諾,請記住這些并非科技企業(yè)家對最新技術(shù)的看法,而是來自發(fā)現(xiàn)身處于技術(shù)革命前線,或者所謂權(quán)力轉(zhuǎn)移前線的道德和政策極客?!狹ohamed El Aassar,編輯,評論部
《破解資本主義:市場激進(jìn)分子與無民主世界之夢》(Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy),作者:奎恩·斯洛博迪恩(Quinn Slobodian),出版社:Macmillan
首先有“全球主義者”,然后才會“崩潰”。這是加拿大歷史學(xué)家奎恩·斯洛博迪恩描繪的景象,他是韋爾斯利學(xué)院(Wellesley College)教授,很快將前往波士頓大學(xué)(Boston University)。他上一本書主要介紹新自由主義的誕生,以及聽起來像007電影反派的朝圣山學(xué)社真實(shí)故事,該學(xué)社實(shí)際上由傳奇歷史學(xué)家弗里德里?!す嗽谌鹗恳惶幋迩f創(chuàng)立。本次他的新書則是關(guān)于讓人難以發(fā)現(xiàn)的經(jīng)濟(jì)大發(fā)展。他問道,為什么資本主義發(fā)展想要脫離民主國家?他認(rèn)為,國家更愿意在“經(jīng)濟(jì)特區(qū)”開展業(yè)務(wù)。舉出了上世紀(jì)70年代,90年代和21世紀(jì)初蓬勃發(fā)展的香港、新加坡和迪拜當(dāng)例子,當(dāng)時大企業(yè)希望減輕稅收負(fù)擔(dān),規(guī)避諸多令人生厭的法規(guī)。但也有洪都拉斯的案例,以及斯坦福大學(xué)經(jīng)濟(jì)學(xué)家保羅·羅默推動的名為“Prospera”的潛在特區(qū)。有一點(diǎn)可以肯定:這一特區(qū)不會是最后一個——N.L.
《無瑕:韓國美妝之都的美容與文化課》(Flawless: Lessons in Looks and Culture from the K-Beauty Capital),作者:愛麗絲·胡(Elise Hu),出版社:Dutton
韓國化妝品是全世界最好的——至少我聽說過這種說法。但這一觀察結(jié)果并不讓我驚訝:長期以來,韓國在創(chuàng)新、文化影響力和軟實(shí)力方面都超越了自身體量。不過“K-Beauty”行業(yè)——不僅包括化妝品,還有K-pop和整容手術(shù)——實(shí)際什么樣?這對韓國女性和男性意味著什么?在《無瑕》一書中,愛麗絲·胡以擔(dān)任美國全國公共廣播電臺(National Public Radio)駐首爾記者期間的報道為基礎(chǔ),拓展到對商業(yè)、性別政治和技術(shù)的廣泛調(diào)查——Nicholas Gordon,香港編輯
《地下的戰(zhàn)爭:鋰、銅和爭奪電源的全球戰(zhàn)爭》(The War Below: Lithium, Copper, and the Global Battle to Power Our Lives),作者:歐內(nèi)斯特·謝德(Ernest Scheyder),出版社:Atria/One Signal Publishers
為揭示能源轉(zhuǎn)型中尷尬的真相和經(jīng)常被忽視的各方博弈,路透社(Reuters)記者歐內(nèi)斯特·謝德帶領(lǐng)讀者踏上了一段穿越美國歷史、地緣政治和商業(yè)世界的旅程。
聽起來幾乎有些諷刺。為了擺脫化石燃料,人類必須轉(zhuǎn)而依靠不太靠譜的領(lǐng)域:有著暴力和污染歷史的采礦業(yè)。由于全球各國競爭對未來電動汽車和電子設(shè)備中關(guān)鍵金屬,沒什么好選擇。美國要在關(guān)鍵礦產(chǎn)方面依賴中國,還是接受大規(guī)模開采可能對美國土地和社區(qū)造成的破壞?鼓勵采用清潔技術(shù)的《通脹削減法案》(Inflation Reduction Act)執(zhí)行非常不順時,政府是否清楚知道在做什么?如果關(guān)鍵項(xiàng)目面臨嚴(yán)重挫折,未來的企業(yè)能否兌現(xiàn)崇高承諾?
《財富》讀者會發(fā)現(xiàn)有幾章當(dāng)中介紹了蒂芙尼(Tiffany & Co.)首席執(zhí)行官邁克爾·J·科瓦爾斯基20年前在遵守道德采購方面的革命性立場,以及埃隆·馬斯克為確保對特斯拉未來特別重要的關(guān)鍵礦產(chǎn)做出的努力——M.E.
《脫稿:媒體帝國與紅石家族遺產(chǎn)的史詩之戰(zhàn)》(Unscripted: The Epic Battle for a Media Empire and the Redstone Family Legacy),作者:詹姆斯·斯圖爾特(James Stewart)和雷切爾·艾布拉姆斯(Rachel Abrams),企鵝出版社
過去幾年家族大戲?qū)映霾桓F,一方面電視和小報對卡戴珊家族、默多克家族和英國王室連篇累牘,另一方面在小屏幕上,HBO的《繼承之戰(zhàn)》(Succession)和Netflix的《王冠》(The Crown)中各大世家與虛構(gòu)對手也好戲不斷。這一背景下,《紐約時報》記者詹姆斯·斯圖爾特和雷切爾·艾布拉姆斯推出了《脫稿》一書,講述了媒體界的陰謀、操縱和極其厚顏無恥的幾乎難以置信的真實(shí)故事。書中介紹了薩姆納·雷德斯通晚年經(jīng)歷,2020年去世前是維亞康姆(Viacom)和哥倫比亞廣播公司(CBS)大數(shù)股東,從中可看到一位影響力超過心智能力的大亨逐漸衰落的過程,以及他的女兒莎麗與公司董事會里年長男性(和一名女性)的戰(zhàn)爭。書中背景在女性反性騷擾運(yùn)動之前,所以偶爾會出現(xiàn)令人瞠目結(jié)舌的場景。其中一個案例中,一名警察隊長接到哥倫比亞廣播公司高管性騷擾的報告,立刻向公司通風(fēng)報信,幾乎成了他的副業(yè)。沒過多久,董事會一名成員調(diào)查了有關(guān)性騷擾的謠言,詢問被指控的嫌疑人騷擾是否存在,將回應(yīng)當(dāng)成事實(shí)。將幾個誤判自身影響力的有權(quán)勢男性打倒,有些無情也會讓人不適,也許唯一永恒的教訓(xùn)是:權(quán)力和金錢總是導(dǎo)致腐敗?!狪.I.
《北京特快:劫持火車,震驚西方,破壞中華民國的土匪》(The Peking Express: The Bandits Who Stole a Train, Stunned the West, and Broke the Republic of China),作者:詹姆斯·齊默爾曼(James Zimmerman),出版社: Public Affairs
1923年,一伙中國土匪——如果問起的話他們會自稱政治自由斗士——襲擊了上海和北京之間一趟火車,還劫持了很多富有的乘客當(dāng)人質(zhì),其中包括小約翰·D·洛克菲勒的嫂子。“臨城事變”很快給羸弱的中華民國引發(fā)一場危機(jī):當(dāng)?shù)剀婇y想不顧人質(zhì)安全武力剿匪,而外國公使們則要求政府盡可能保證人質(zhì)安全。
中國美國商會(American Chamber of Commerce in China)前會長詹姆斯·齊默爾曼這本書提醒人們,兩次世界大戰(zhàn)之間的中國有多么不穩(wěn)定。
《掠奪:私募股權(quán)掠奪美國的計劃》(Plunder: Private Equity’s Plan to Pillage America),作者:布蘭登·巴盧(Brendan Ballou),出版社:Public Affairs
最近,美國的社會結(jié)構(gòu)似乎出現(xiàn)衰敗跡象。放眼望去,生活成本更高,然而實(shí)際獲得似乎更少,費(fèi)用和細(xì)則像雨后蘑菇一樣激增。曾經(jīng)由公共資助的急救服務(wù),包括救護(hù)車、消防部門,甚至醫(yī)院在美國大部分地區(qū)已無力繼續(xù)。擁有住房的夢想似乎越發(fā)遙遠(yuǎn),人們被迫向不露面的實(shí)體支付越來越多租金。如果有人認(rèn)為消費(fèi)經(jīng)濟(jì)很健康,隨便一瞥近年來破產(chǎn)的諸多零售業(yè)就能放棄幻想。在《掠奪》一書中,反壟斷律師布蘭登·巴盧收集了困境中的美國方方面面信息,找出了非常令人信服的惡人:私募股權(quán)。該行業(yè)在金融圈曾經(jīng)只是小眾,今年價值已飆升至超過22萬億美元且涉足各行各業(yè)。巴盧在司法部工作,他的政法背景極大提升了本書閱讀體驗(yàn),條理清楚地列舉了一系列管理最差的公司如何推動讓人氣血翻涌的結(jié)果。想象一下:療養(yǎng)院里開放性創(chuàng)傷病人得不到救治,只因?yàn)楣ぷ魅藛T“事情太多”;監(jiān)獄囚犯被供應(yīng)“不適合人類食用”的腐爛肉;一個小鎮(zhèn)處理廠出故障導(dǎo)致水中有毒,還在提升居民水費(fèi)。從加強(qiáng)政府的執(zhí)法權(quán)力到禁止特定類型的并購,巴盧的“突擊檢查”結(jié)尾也提出了解決社會衰退的建議?!狪.I.
《財富集市:香港的形成》(Fortune’s Bazaar: The Making of Hong Kong),作者:沃丁·英格蘭(Vaudine England),出版社:Scribner
每個資本主義經(jīng)濟(jì)體都紀(jì)念自己的大亨,香港也不例外。就像美國到處都是紀(jì)念卡內(nèi)基和洛克菲勒的建筑一樣,這座中國城市里到處都是渣打、嘉道理和霍頓家族的建筑。19世紀(jì),來自世界各地的移民紛紛前往新成立的英國殖民地尋找發(fā)財機(jī)會。記者出身的歷史學(xué)家沃丁·英格蘭在《財富集市》(Fortune’s Bazaar)一書中講述了香港的“狂野西部”史——或者應(yīng)該說“狂野東部”。該書提醒世人,香港的歷史不能簡單歸于英國或中國,而是各方影響、世界主義和創(chuàng)業(yè)精神大雜燴。——N.G.
《哥斯拉與哥斯拉的反擊》(Godzilla and Godzilla Raids Again),作者:香山滋(Kayama Shigeru),翻譯:杰弗里·安格爾(Jeffrey Angles),明尼蘇達(dá)大學(xué)出版社
哥斯拉回來了?!陡缢估?1.0》(Godzilla Minus One)是日本東寶(Toho Studios)的最新電影,也是日本國內(nèi)票房最高的真人電影。明年華納兄弟也將鏡頭對準(zhǔn)怪獸,推出《哥斯拉大戰(zhàn)金剛:新帝國》(Godzilla x Kong: The New Empire)。這部系列電影始于1954年日本作家香山滋的《哥斯拉》(Godsilla)。杰弗里·安格爾首次翻譯了香山滋這部電影及其續(xù)集小說,也傳達(dá)了強(qiáng)烈的反核武器信息。安格爾還介紹了香山滋寫《哥斯拉》系列的重要背景,其中包括作者越發(fā)不滿人們忽略不受控制的科技進(jìn)步發(fā)出的警示,而是任由怪獸變成受人喜愛的吉祥物?!狽.G.(財富中文網(wǎng))
譯者:夏林
So much (digital) ink has been spilled about 2023 marking the end of a certain era of the internet: Elon Musk’s Twitter misadventure, Sam Altman’s creative destruction of the commons via artificial intelligence, Google’s dominant position in search assailed by multiple antitrust challenges, not to mention the AI forces mentioned above—as Max Read noted in a recent New York Times column, the millennials who formed the shape of the early internet are aging out of their dominance over the zeitgeist. In many ways (in my opinion, not Max’s), new technology is splintering the web back to its wild mid-1990s roots. Still, though it may be a poor era for the web, you can’t convince me it’s not a golden age of reading.
The iPhone, at nearly two decades old, may not be the hottest tech anymore, but has any invention since the printing press done more to encourage literacy? Words jump from our palms into our brains at unparalleled immediacy and frequency thanks to the device that also gave birth to the digital media industry that has employed me for going on four years now. I joined Fortune to build a new digital news desk in early 2022, having learned how the iPhone-adjacent model works at Business Insider (which makes a cameo in one of my books of the year), and the centrality of phone-based reading has allowed Fortune to grow by leaps and bounds, even if we are something of a 93-year-old startup. The algorithm appears to be changing now, but one thing is certain: Words are immediate in the 21st century in such a way that we take them almost for granted. We swim in a sea of words daily (a minor but increasing portion of those words being Fortune.com stories), and the humble book will never go out of style. It just might be a digital one.
That being said, I and other Fortune editors have picked our favorite, even the best books of the year, the non-fiction books that explain not only how the algorithm of life and business are changing, but who the humans are who created this algorithm world, this sea of words that we swim in every day. Here’s to a 2024 full of words, too.
Traffic: Genius, Rivalry, and Delusion in the Billion-Dollar Race to Go Viral by Ben Smith (Penguin)
“Ever get the feeling you’ve been cheated?” That was the Sex Pistols’ famous message to America as the Sex Pistols flamed out in punk rock’s first searing explosion onto the scene, but it might be Ben Smith’s reflection on the media industry’s punk rock moment: the explosion of digital traffic in the early 20th century. But instead of Johnny Rotten and Sid Vicious, Smith gives us the figures of Nick Denton and Jonah Peretti (his former boss), the men who figured out the currency of internet 2.0: going viral and getting big traffic. Of course, neither of their startups quite exist in the same way anymore. Blogging pioneer Gawker Media was sued into oblivion by former wrestler Hulk Hogan, famously and secretly backed by billionaire Peter Thiel, before being sold for parts, largely to private equity-backed GO Media, losing its entire character in the process. Buzzfeed News shuttered this year, while Buzzfeed the brand lives on in a bigger company with Huffington Post that trades for pennies on the dollar, billions off its valuation at its peak. Smith’s beautifully reported and written book explicitly conjures a Shakepearean analogy to the Hamlet characters, Rosencrantz and Guildenstern, except he brings them up in the Stoppardian sense. That would be Tom Stoppard, the great British playwright who burst onto the scene in 1966 with “Rosencrantz and Guildenstern are dead,” about how Hamlet’s college friends and would-be assassins believed they were the main characters only to find out they had just a cameo in the greatest play of all time. But I can’t look beyond how punk rock changed music forever, even though it died after just a few years. All revolutions do. —Nick Lichtenberg, executive editor, news
The Fund: Ray Dalio, Bridgewater Associates, and the Unraveling of a Wall Street Legend by Rob Copeland (Macmillan)
The unauthorized tell-all has a long and (sometimes in)distinguished history, but there can’t have been many like this scathing look inside the culture at the world’s biggest hedge fund. Rob Copeland has been covering the industry, and billionaire Ray Dalio in particular, for well over a decade at the top newsrooms in the U.S., first The Wall Street Journal and currently The New York Times, and his copious reporting on Connecticut’s richest man and his fund, Bridgewater Associates, yields astonishing fruits.From future Attorney General James Comey running a weekslong investigation (and mock trial!) into a case of a missing order of bagels, to Dalio instructing a top consultant that a “baseball card” ranking system designed to mimic his famous invented set of “principles” meant that Dalio himself needed to have the top score in “believability.” The reporting includes horrific accounts of sexual harassment, sprinkled amongst its many anecdotes of cultish behavior around Dalio’s “principles,” which bring to mind another word starting with the same letter: a panopticon of constant surveillance, with Dalio playing video of one (female) lieutenant that he humiliated, openly crying, for years afterward to staff in a ritual of cruelty. Dalio was still furious about the book when he addressed Fortune’s Global Forum in Abu Dhabi in late November, but so far he isn’t challenging any of its claims in any courtroom outside Bridgewater’s own Connecticut headquarters, which of course, isn’t a real one.—N.L.
Glossy: Beauty, Ambition, and the Inside Story of Emily Weiss’s Glossier by Marisa Meltzer (Atria/One Signal Publishers)
Journalist Marisa Meltzer’s chronicle of Glossier’s rise and fall is both an enjoyable read and a thought-provoking cautionary tale. In the late 2010s, direct-to-consumer brand Glossier dominated cosmetics with its minimalist marketing and “no-makeup makeup” focus. At its helm was Emily Weiss, the MTV Hills and Vogue alum and Into the Gloss founder who would go on to become a prolific leader of the now defunct “girlboss” era. Meltzer’s portrait of the enigmatic Weiss makes the book grippy and readable. The book’s portrayal of Glossier’s crumbling empire seems emblematic of the overall “vibe shift” from the 2010s to the 2020s: when consumers tired of millennial pink, TikTok’s raw authenticity replaced Instagram’s curated sheen, and investors became increasingly wary of so-called “unicorns.” Equal parts dishy, informative, and nostalgic, I found myself finishing Meltzer’s book in just a few days.—Ashley Lutz, executive director, editorial growth
Pandora’s Box: How Guts, Guile, and Greed Upended TV by Peter Biskind (HarperCollins)
The ‘70s gave us the Jack Nicholson-style antihero. The ‘90s gave us the indie movie revolution personified by, among others, Quentin Tarantino. The peak TV era that started at the turn of the 21st century gave us Tony Soprano, Don Draper and then a long slow decline. That’s the story told by the longtime Hollywood watcher (and muckraker) Peter Biskind, who has completed an unofficial trilogy of sorts on what he calls “movements” in entertainment, first with Easy Riders, Raging Bulls, then Down and Dirty Pictures, and now Pandora’s Box. To Biskind-heads like myself, it’s a breath of fresh air to have the take of the former Premiere magazine executive editor, and current Vanity Fair contributing editor, on what is now the well-trodden subject of the revolution that was televised, first on HBO, then basic cable, then the streamers. His distinctive mix of cultural criticism with hard-nosed reporting has former HBO head Michael Fuchs waxing bittersweet about how being forced out in the 1990s “broke my fuckin’ heart,” while the subtitle of his book gives away what he really feels about the streaming revolution: “How guile, guts and greed upended TV.” Spoiler alert: He finds by the end of his investigation that content isn’t king, it’s always been cash. —N.L.
Exit Interview: The Life and Death of My Ambitious Career by Kristi Coulter (Farrar, Straus and Giroux)
If the post-pandemic years brought a breath of worker empowerment with the so-called “Great reshuffle” and “Quiet quitting,” Exit Interview offers a timely examination of the hustle culture that they rejected. The often-exhausting memoir chronicles Coulter’s time working at Amazon’s Seattle headquarters in the aughts, but Amazon isn’t really the star: It’s Coulter’s frequently frustrated ambition as she tries to navigate a maze of ever-escalating demands presented in proprietary corporate jargon. A sort of Uncanny Valley for the corporate set, the memoir holds something for everyone: the chaos of a bare-bones startup (employees sometimes work on ‘desks’ mounted on sawhorses) with the mind-numbing bureaucracy of America’s now-second-largest employer (Coulter describes starting work Sunday night to be ready for a company-wide meeting on Wednesday; in other meetings, managers breezily ranked their direct reports according to the order in which they’d be tossed off a lifeboat.) The sometimes absurd, often infuriating drama will strike a chord with any woman who has spent time in the heavily male land of tech.—Irina Ivanova, deputy editor, news
The Coming Wave: Technology, Power, and the Twenty-first Century’s Greatest Dilemma by Mustafa Suleyman and Michael Bhaskar (Crown)
Despite its title, DeepMind and Inflection AI co-founder Mustafa Suleyman’s landmark book is not entirely pessimistic. The advent of artificial intelligence, he argues, can solve humanity’s greatest challenges–and there are chances it could lead to catastrophic events that we are unable to preempt due to the very nature of transformative technologies.
The real question is whether our systems can adapt fast enough. Immediately, Suleyman sees the threat of AI being used to manipulate elections, as he warned in a Fortune commentary piece in September. The coming months are set to test that theory as dozens of nations hold critical elections in 2024, heightening uncertainty around the world. Within a few years, the world as we know it will not exist, as our fortunes are upended by this transformation.
To take full stock of the author’s stark warnings and idyllic promises, bear in mind that these are not the words of another tech entrepreneur opining on the latest technology, but those of an ethics and policy geek who found himself at the frontline of a technological revolution–or as he calls it, a shift in power. —Mohamed El Aassar, editor, commentary
Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy by Quinn Slobodian (Macmillan)
First, there were the “globalists,” then came the “crack-up.” That’s the vision painted by Canadian historian Quinn Slobodian, a professor at Wellesley College soon moving to Boston University. Where his last book focused on the birth of neoliberalism and the somehow-true story of the Bond villain-sounding Mont Pelerin Society, which was literally founded by the legendary historian Friedrich Hayek in a village in Switzerland, his new book is about other earth-shaking economic developments hiding in plain sight. Why is it, he asks, that capitalist development wants to divorce the democratic nation-state? It would much prefer to make business in “special economic zones” instead, he argues. As evidence he offers up Hong Kong, Singapore, and Dubai as zones that flourished in the 1970s, ‘90s, and 2000s when big business wanted to lighten its tax burden and a lot of pesky regulations. But there’s also the example of Honduras and a potential zone there called “Prospera,” boosted by Stanford economist Paul Romer. One thing’s sure: That zone won’t be the last. —N.L.
Flawless: Lessons in Looks and Culture from the K-Beauty Capital by Elise Hu (Dutton)
Korean cosmetics are the world’s best—or, at least, so I’ve heard. But the observation doesn’t surprise me: South Korea has long punched above its weight in innovation, cultural influence, and soft power. But what does the “K-Beauty” industry—not just cosmetics, but K-pop and cosmetic surgery—look like in practice? What does it mean for South Korea’s women and men? In Flawless, Elise Hu turns her reporting during her time in the country as National Public Radio’s Seoul correspondent into a broad investigation of business, gender politics, and technology.—Nicholas Gordon, editor, Hong Kong
The War Below: Lithium, Copper, and the Global Battle to Power Our Lives by Ernest Scheyder (Atria/One Signal Publishers)
To uncover the inconvenient truths and the often overlooked tradeoffs of the energy transition, Reuters reporter Ernest Scheyder takes readers on a journey through American history, geopolitics, and the business world.
It’s almost ironic. To move away from fossil fuels, humanity must rely on an unlikely hero: the mining industry, with its history of violence and pollution. And in light of global competition over key metals to power tomorrow’s electric vehicles and electronic devices, there are no good choices. Does the U.S. rely on China for key minerals, or accept the havoc their mass mining could wreak on American landscapes and communities? Does the government know what it’s doing, when the implementation of the Inflation Reduction Act, which encourages adoption of clean technologies, seems to be so uncoordinated? Can the businesses of the future deliver their lofty promises, when key projects are facing serious setbacks?
Fortune readers will find the chapters about Tiffany & Co. CEO Michael J. Kowalski’s revolutionary stand on ethical sourcing 20 years ago, and Elon Musk’s efforts to secure Tesla’s future supply of critical minerals of particular interest.—M.E.
Unscripted: The Epic Battle for a Media Empire and the Redstone Family Legacy by James Stewart and Rachel Abrams (Penguin)
The past few years have been a rich era of family drama, seen in TV and tabloid coverage of the Kardashians, the Murdochs, and the British royal family—as well as on the small screen with their fictionalized counterparts in HBO’s Succession and Netflix’s The Crown. Against that backdrop, New York Times journalists James Stewart and Rachel Abrams deliver Unscripted, a barely-believable true tale of intrigue, manipulation, and colossal amounts of chutzpah in the media world. A chronicle of the last few years of Sumner Redstone, who before his 2020 death was majority owner of Viacom and CBS, the book depicts the waning days of a mogul whose influence outlived his mental capacity—and the war that ensued between his daughter, Shari, and the older men (and one woman) on the companies’ boards. The pre-Me Too setting makes for occasionally jaw-dropping scenes. In one, a police precinct captain who received a report of an assault by a CBS executive immediately tips off the company, which is also his side hustle. Some pages later, a board member investigates rumors of assault by asking the alleged perpetrator whether he did it and taking the response as fact. This unsparing and often uncomfortable takedown of several powerful men who misjudged the extent of their influence ends with perhaps the only eternal lesson: Power and money always corrupt.—I.I.
The Peking Express: The Bandits Who Stole a Train, Stunned the West, and Broke the Republic of China by James Zimmerman (Public Affairs)
In 1923, Chinese bandits—or political freedom fighters, if you asked them—attacked a train between Shanghai and Beijing and took its many wealthy passengers, including a sister-in-law to John D. Rockefeller Jr., hostage. The “Lincheng Incident” soon sparks a crisis for the weak Republic of China: The local warlord wants to go in guns blazing, hostage safety be damned, while foreign diplomats demand Beijing to do everything in its power to keep the foreigners alive.
This book by James Zimmerman, former chair of the American Chamber of Commerce in China, is a reminder of how precarious the country was in between the two world wars–a situation that leaders in Beijing still complain about today.—N.G.
Plunder: Private Equity’s Plan to Pillage America by Brendan Ballou (Public Affairs)
It can seem like America’s social fabric, of late, is fraying. Everywhere you look, life costs more but seems to deliver less, with fees and fine print proliferating like mushrooms. Once-publicly funded emergency services, including ambulance care, fire departments, and even hospitals have abandoned large chunks of the country. The dream of homeownership seems ever more out of reach, with people relegated to paying more and more rent to faceless entities. And lest you think the consumer economy is healthy, a quick look at the many retail bankruptcies of recent years would convince you otherwise. In Plunder, antitrust attorney Brendan Ballou gathers the disparate strands of a troubled nation to point to a very convincing villain: Private equity, a once-niche corner of the financial world that this year has ballooned to more than $22 trillion in value, with a foot in every industry. Ballou works for the Department of Justice, and his prosecutorial bona fides shine through the writing, where methodical examples of the worst-managed companies add up to frequently blood-boiling results. Consider: Nursing-home residents with open wounds who are left untreated because the staff has “too much to do;” prison inmates served rotten meat “not fit for human consumption;” a town that jacks up residents’ water bills even as the treatment plant fails and the water becomes toxic. Ballou’s takedown ends with recommendations for fixing this societal decay—from beefing up the government’s enforcement authority to banning specific types of mergers.—I.I.
Fortune’s Bazaar: The Making of Hong Kong by Vaudine England (Scribner)
Every capitalist economy celebrates its tycoons, and Hong Kong is no exception. Much like how the U.S. is littered with buildings celebrating the Carnegies and Rockefeller, the Chinese city is littered with references to the Chaters, Kadoories, and Hotungs. In the 19th century, migrants from all over the world traveled to the newly-founded British colony to make their fortune. Journalist-turned-historian Vaudine England takes on Hong Kong’s Wild West—or, should I say, “Wild East”—days in her book Fortune’s Bazaar, a reminder that the city’s history isn’t exclusively British or Chinese, but a hodgepodge of influences, cosmopolitanism, and entrepreneurial grit. —N.G.
Godzilla and Godzilla Raids Again, by Shigeru Kayama, translated by Jeffrey Angles (University of Minnesota Press)
Godzilla is back. Godzilla Minus One, the latest movie from Japan’s Toho Studios, has the highest domestic box office for a live-action Japanese movie. And Warner Bros. will get its own shot at the monster movie with next year’s “Godzilla x Kong: The New Empire.” But this franchise got its start with 1954’s “Godzilla,” written by Japanese author Shigeru Kayama. Jeffrey Angles has put out the first English translation of Kayama’s novelizations of the film and its sequel, and their strong anti-nuclear messaging. Angles also gives important context behind Kayama’s time with Godzilla—including the author’s growing discomfort with how the kaiju became a beloved mascot, instead of a warning against uncontrolled progress.—N.G.