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Fake Work: How I Began to Suspect Capitalism is a Joke [Kõva köide]

  • Formaat: Hardback, 180 pages, kõrgus x laius: 190x133 mm, Illustrations
  • Ilmumisaeg: 13-Aug-2025
  • Kirjastus: Haymarket Books
  • ISBN-13: 9798888903674
  • Formaat: Hardback, 180 pages, kõrgus x laius: 190x133 mm, Illustrations
  • Ilmumisaeg: 13-Aug-2025
  • Kirjastus: Haymarket Books
  • ISBN-13: 9798888903674

In this genre-bending memoir, Leigh Claire La Berge reflects on her stint at one of the most prestigious management consulting firms in the country and what it teaches us about the absurdity of work—for readers of Bullshit Jobs and fans of Office Space and Sorry to Bother You

The year is 1999, and the world is about to end. The only thing standing between corporate America and certain annihilation is a freshly employed twenty-two year old and her three-ring binders.

While headlines blazed with doomsaying prophecies about the looming Y2K apocalypse, our protagonist Leigh Claire was quickly introduced to the mysterious workings of The Process—a mythical and ever-changing corporate ethos The Anderson People (her fellow consultants) believe holds world saving powers. Her heroic task: printing physical copies of spreadsheets and sending them to a secure storage facility somewhere in the bowels of New Jersey. After a series of equally mundane tasks, and one well timed deployment of an anecdote about a legendary quarterback, she soon found herself jet-setting on the firm's dime to thirty-minute lunch meetings in Johannesburg, giving impromptu lectures to Japanese executives about limiting liability at the end of the world, and leaping from burning vehicles on Mexico City's busiest highway.

As present-day Leigh Claire reflects on the inanity of her former employment, we're introduced to a carousel of characters plucked from a Mike Judge screenplay, and are treated to post-facto theoretical interjections about the nature of financialized capitalism that recall David Graeber at his best.

Arvustused

"[ A] memorable portrait of the mad hunger of corporate toil...superbly committed to its own beliefs truthful, dryly funny and often subtly moving."

Charles Finch, The New York Times





In this brilliant fusion of memoir and critique, La Berge has given us the anti-bildungsroman of the second millennium. As it slowly dawns on her that management consulting is an exercise in interminable interpretation, with no discernible referent, she finds an unexpected use for her training in 1990s poststructuralism, but also has to unlearn everything she thought she knew about corporate capitalism. At once hilarious and deadly serious, La Berges chronicle of the absurd tells us more about the logic of contemporary capitalism than any work of standard economic history or organization theory.

Melinda Cooper, author of Family Values





What if Severance was a documentary? Leigh Claire's Y2K autofiction is a message in a bottle, an artifact from a lost world, a reminder that evenor preciselywhen it was most buoyant, the lifeworld of capitalism was most hollow

Quinn Slobodian, author of Hayeks Bastards and Crack-Up Capitalism

Prologue: The Almost End of the World





Phase I: Taking Inventory





Chapter 1: Millennial Transitions


Chapter 2: Quality Assurance


Chapter 3: Il ny a pas de hors-texte


Chapter 4: Write What You Know


Chapter 5: Teamwork





Phase II: Media and Mediations





Chapter 6: My Putative Promotion


Chapter 7: A Total Bitch and an Absolute Fraud


Chapter 8: A Tepid Marxist and a Bubble Popped


Chapter 9: My Joke of a Promotion





Phase III: Contingency Planning





Chapter 10: Continental Comportment


Chapter 11: Frequent Fliers


Chapter 12: Floods and Fires


Chapter 13: The End of the End





Afterward: Weeks and Decades





Acknowledgements
Leigh Claire La Berge is Professor of English at Borough of Manhattan Community College, City University of New York, and author of Wages Against Artwork: Decommodified Labor and the Claims of Socially Engaged Art and Marx for Cats: A Radical Bestiary. Her writing has appeared in Texte zur Kunst, n+1, and The Los Angeles Review of Books.