Yes, we’ve had bands, tribes, cities, and states; agriculture, inequality, and bureaucracy, but what each of these were, how they developed, and how we got from one to the next—all this and more, the authors comprehensively rewrite. More important, they demolish the idea that human beings are passive objects of material forces, moving helplessly along a technological conveyor belt that takes us from the Serengeti to the DMV. We’ve had choices, they show, and we’ve made them. Graeber and Wengrow offer a history of the past 30,000 years that is not only wildly different from anything we’re used to, but also far more interesting: textured, surprising, paradoxical, inspiring.

In public, Facebook seems to claim that it removes more than 90 percent of hate speech on its platform, but in private internal communications the company says the figure is only an atrocious 3 to 5 percent. Facebook wants us to believe that almost all hate speech is taken down, when in reality almost all of it remains on the platform.

I am a queer feminist artist who is active on Instagram, and weary of struggling with being censored there. Many of my peers depend on Instagram for their livelihood. Many use it for community-building, which can also be life-sustaining. Like many queer, feminist, trans, POC, fat, disabled, and sex worker artists, I use Instagram in constructive ways, but struggle with the platform’s constant censorship of my work. From the perspective of algorithms and content moderators, the bodies I depict in my paintings are legible only as “inappropriate”—read: pornographic. These bodies do not feed the capitalist machine of essentialized “female” bodies as consumable—as selling agents. They are queer, trans, old, fat, disabled, multiracial, and often female-identified. They have breasts that sag, nipples that tell stories, asymmetrical parts, arms that are wrinkled, scars from surgeries and body modification, synthetic hormones that make it all unreadable to the gender binary-entrenched system.