Best-selling journalist Antony Loewenstein trav­els across Afghanistan, Pakistan, Haiti, Papua New Guinea, the United States, Britain, Greece, and Australia to witness the reality of disaster capitalism. He discovers how companies such as G4S, Serco, and Halliburton cash in on or­ganized misery in a hidden world of privatized detention centers, militarized private security, aid profiteering, and destructive mining.

Disaster has become big business. Talking to immigrants stuck in limbo in Britain or visiting immigration centers in America, Loewenstein maps the secret networks formed to help cor­porations bleed what profits they can from economic crisis. He debates with Western contractors in Afghanistan, meets the locals in post-earthquake Haiti, and in Greece finds a country at the mercy of vulture profiteers. In Papua New Guinea, he sees a local commu­nity forced to rebel against predatory resource companies and NGOs.

What emerges through Loewenstein’s re­porting is a dark history of multinational corpo­rations that, with the aid of media and political elites, have grown more powerful than national governments. In the twenty-first century, the vulnerable have become the world’s most valu­able commodity. Disaster Capitalism is published by Verso in 2015.

Profits_of_doom_cover_350Vulture capitalism has seen the corporation become more powerful than the state, and yet its work is often done by stealth, supported by political and media elites. The result is privatised wars and outsourced detention centres, mining companies pillaging precious land in developing countries and struggling nations invaded by NGOs and the corporate dollar. Best-selling journalist Antony Loewenstein travels to Afghanistan, Pakistan, Haiti, Papua New Guinea and across Australia to witness the reality of this largely hidden world of privatised detention centres, outsourced aid, destructive resource wars and militarized private security. Who is involved and why? Can it be stopped? What are the alternatives in a globalised world? Profits of Doom, published in 2013 and released in an updated edition in 2014, challenges the fundamentals of our unsustainable way of life and the money-making imperatives driving it. It is released in an updated edition in 2014.
forgodssakecover Four Australian thinkers come together to ask and answer the big questions, such as: What is the nature of the universe? Doesn't religion cause most of the conflict in the world? And Where do we find hope?   We are introduced to different belief systems – Judaism, Christianity, Islam – and to the argument that atheism, like organised religion, has its own compelling logic. And we gain insight into the life events that led each author to their current position.   Jane Caro flirted briefly with spiritual belief, inspired by 19th century literary heroines such as Elizabeth Gaskell and the Bronte sisters. Antony Loewenstein is proudly culturally, yet unconventionally, Jewish. Simon Smart is firmly and resolutely a Christian, but one who has had some of his most profound spiritual moments while surfing. Rachel Woodlock grew up in the alternative embrace of Baha'i belief but became entranced by its older parent religion, Islam.   Provocative, informative and passionately argued, For God's Sakepublished in 2013, encourages us to accept religious differences, but to also challenge more vigorously the beliefs that create discord.  
After Zionism, published in 2012 and 2013 with co-editor Ahmed Moor, brings together some of the world s leading thinkers on the Middle East question to dissect the century-long conflict between Zionism and the Palestinians, and to explore possible forms of a one-state solution. Time has run out for the two-state solution because of the unending and permanent Jewish colonization of Palestinian land. Although deep mistrust exists on both sides of the conflict, growing numbers of Palestinians and Israelis, Jews and Arabs are working together to forge a different, unified future. Progressive and realist ideas are at last gaining a foothold in the discourse, while those influenced by the colonial era have been discredited or abandoned. Whatever the political solution may be, Palestinian and Israeli lives are intertwined, enmeshed, irrevocably. This daring and timely collection includes essays by Omar Barghouti, Jonathan Cook, Joseph Dana, Jeremiah Haber, Jeff Halper, Ghada Karmi, Antony Loewenstein, Saree Makdisi, John Mearsheimer, Ahmed Moor, Ilan Pappe, Sara Roy and Phil Weiss.
The 2008 financial crisis opened the door for a bold, progressive social movement. But despite widespread revulsion at economic inequity and political opportunism, after the crash very little has changed. Has the Left failed? What agenda should progressives pursue? And what alternatives do they dare to imagine? Left Turn, published by Melbourne University Press in 2012 and co-edited with Jeff Sparrow, is aimed at the many Australians disillusioned with the political process. It includes passionate and challenging contributions by a diverse range of writers, thinkers and politicians, from Larissa Berendht and Christos Tsiolkas to Guy Rundle and Lee Rhiannon. These essays offer perspectives largely excluded from the mainstream. They offer possibilities for resistance and for a renewed struggle for change.
The Blogging Revolution, released by Melbourne University Press in 2008, is a colourful and revelatory account of bloggers around the globe why live and write under repressive regimes - many of them risking their lives in doing so. Antony Loewenstein's travels take him to private parties in Iran and Egypt, internet cafes in Saudi Arabia and Damascus, to the homes of Cuban dissidents and into newspaper offices in Beijing, where he discovers the ways in which the internet is threatening the ruld of governments. Through first-hand investigations, he reveals the complicity of Western multinationals in assisting the restriction of information in these countries and how bloggers are leading the charge for change. The blogging revolution is a superb examination about the nature of repression in the twenty-first century and the power of brave individuals to overcome it. It was released in an updated edition in 2011, post the Arab revolutions, and an updated Indian print version in 2011.
The best-selling book on the Israel/Palestine conflict, My Israel Question - on Jewish identity, the Zionist lobby, reporting from Palestine and future Middle East directions - was released by Melbourne University Press in 2006. A new, updated edition was released in 2007 (and reprinted again in 2008). The book was short-listed for the 2007 NSW Premier's Literary Award. Another fully updated, third edition was published in 2009. It was released in all e-book formats in 2011. An updated and translated edition was published in Arabic in 2012.

Where are books and story-telling going?

My weekly Guardian column is below:

How many e-book consumers realise that some publishers, writers and distributors know an awful lot about their reading style? They have knowledge about how far into the book you’ve reached, when you get bored, which characters you like and those you don’t. Amazon, Apple and Google, along with countless large publishers, embrace the idea of providing products that readers are apparently craving.

It’s yet another way that our digital footprint is commercialised, marketed and analysed. Nothing is private anymore. Curling up on the couch with an e-book is not a solitary act but instead a way for corporations to learn about your habits and then sell you items you’ll think you need.

Novelist Scott Turow told the Wall Street Journal in 2012 that writers still didn’t know who bought their books or why. “If you can find out that a book is too long and you’ve got to be more rigorous in cutting”, Turow said. “Personally I’d love to get the information.” The president of publisher Farrar, Straus and Giroux pithily responded: “We’re not going to shorten War and Peace because somebody didn’t finish it.”

Along with the music and newspaper industries, the publishing world is undergoing a profound transformation that will affect every book that you buy or write. A 2009 New Yorker article on whether the Amazon Kindle could “improve on the book”, is today a redundant question. The device, despite its technological limitations and mundane aesthetics, has sold in the millions (not that Amazon ever releases actual sales figures).

The days of extravagant publishing parties, sales reps enjoying spa treatments and wine tastings are almost gone. The result is that author advances have plummeted, Amazon now controls vast swathes of the industry, bookstores are closing across the Western world and yet at no time in history have more people been reading. Publishers in Australia and globally are trying to adapt, recognising that readers want more choice in how they purchase books. The Australian industry, while perhaps healthier than in years past, remains risk-averse though online opportunities for genre fiction has never been stronger.

The reasons for the publishing malaise is both complex and predictable (yes, the internet kills and nourishes all art forms). In a seminal 2009 essay on the subject, by Elizabeth Sifton, senior vice president of Farrar, Straus and Giroux, a litany of figures are blamed, including the industry itself. She worried about the commodification of books, the “internet types” who see books as items to be shifted as opposed to critical cultural artefacts in a healthy democracy and “lucrative junk”. Sifton laments “booklike objects created by the teams working on, say, famous generals in televised wars, cooks, telly dons, ballplayers, realty-show contestants, famous pats. These flashy items dominate shelf space, ad budgets and public attention; they leave nowhere near enough air, space or money for true literature.”

I would counter and say a healthy market should sustain all types of books, from the literary masterpiece to the quickie title based on an instantly forgettable TV show.

Despite it all, the book will survive and perhaps thrive, though our understanding of what a book can do and how it relates to the reader must change. Amazon remains a behemoth and yet a recent New Yorker feature on the company painted a picture of multinational disinterest in building a quality collection of books and literary culture (perhaps because they’re too busy selling garden tools, dildos and toys on their website).

Books, like newspapers, aren’t just products to be bought, discarded and forgotten; they contribute to the necessary exchange of ideas, policies and dreams in any stable nation. Simon and Schuster CEO Carolyn Reidy urged her colleagues this year to strongly promote the “marketplace of ideas” that they create. Books can inspire fear and hope, love and pain. They allow any individual to shut out their own lives and imagine a different reality. Whether this is fiction or non-fiction and in print or online, we should celebrate, nourish and support the realisation of creative works. This takes time, money, patience and a diversity of views. Never forget that only six corporations control 90% of media in the US. Smaller, independent presses have therefore never been so important (along with challenging the idea that a company like Google can digitise every book ever written, handing one firm unimaginable and dangerous cultural and financial power).

So what will the reading future look like? It may be dominated by new ideas around wearable technology such as Google Glass. Wired magazine claimed in January that these devices “will be as big as the smartphone”. It’s entirely conceivable that people will want innovative ways to read content as they live, work and sleep. Publishers will need to be ready or the public will simply bypass them and design their own methods of reading. As an author myself, I’d love a book that can be accessed on multiple devices, each giving the reader a different experience about my journalistic work, some static and others interactive.

Perhaps the most interesting interventions in this debate over narrative are coming from gamers and digital storytellers. Sydney based Guy Gadney, group executive director of The Project Factory, blogged this month – under the headline, Why Ancient Stories Bring Transmedia Inspiration (Or Why Books are Shit) – that consumers should no longer accept the rules set by publishers. “Books are now centralised and controlled by monolithic publishing houses which make the decisions over what we should read and what stories will never see the light of day”, Gadney argued. “But behind this corralling of story form and structure, a new wave of storytelling has recently been emerging that will challenge the orthodoxy.”

He advocated a “dialogue not monologue” around engaging audiences and used one example of a project that will assist Australian Indigenous cultures in sharing their stories to a wider audience via an app, Ringbalin: River Stories. A normal book simply cannot fulfil this mission.

I don’t see this project as replacing traditional books but a direct challenge to the failure of the written word to publish or even acknowledge so many Indigenous stories. With the public increasingly consuming information on countless devices and screens with limited time to read and reflect, non-linear forms of storytelling must be considered by any serious producer of content.

Books will exist in 100 or 500 years, and not just in museums. How we as a society manage the online disruption to traditional forms of publishing will determine how we want to tell our own stories and how they should be remembered. Are we no more or less than what is recorded on a retrievable device? Memories fade. History has been traditionally written by the elite so I welcome the ability for anybody today to document their lives, every intimate detail, on equipment of their choosing. Books need to adapt to this changed reality or face being principally embraced as nostalgia.

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