Ten years after the crash, is any aspect of our daily lives unfettered by the influence of finance capital? It is clear enough that neoliberalism has permeated most layers of public governance, most social interactions, to create a legacy of starved public services, wealth inequality and powerful global capitalism. Surely art has been spared, especially in the contemporary form, which can be an expression of emotion and beauty, or even a space where criticism, resistance and subversiveness are not only allowed but expected. Max Haiven argues instead that art and money cannot be disassociated; that art is in fact dependent on capitalism and in no way apart from it.
Work is changing so rapidly that it can be challenging to keep up with its ongoing iterations of precarity and just how many people are profoundly affected. Independent contractors, foreign or domestic temporary workers, social-services workers and so many others confronting the sudden casualization of employment in their sector all inhabit the ever-growing categories of precarious work. To see how we got here, we need to look at where we came from: In the book Precarious employment: causes, consequences and remedies, the reader will find an in-depth study of the early forms of precarious work that have emerged and thrived in the last 30 years and a detailed look at many facets of that work.
Éva Circé Côté was a diehard Montrealer, writes Andrée Lévesque in her account of a woman whose impact has been, for too long, underestimated. As it turns out, this Montrealer was also a skilled journalist, a prolific writer, a provocative columnist, a lifelong librarian and an independent thinker who occupied a prominent place in the city. Yet her name is barely remembered. And without Freethinker, references to Circé Côté would be limited to a handful of historical documents from the early 1900s.