Crusaders

November 13, 2025

Truth is a casualty of the last century. From the Death of God to the curious disappearance of the human in the Age of AI, truth’s social standing is precarious and weather-beaten. In a remarkably original essay on memory and violence, Mexican writer Tessy Schlosser ventures deeply into the bowels of truth’s fragility.

UK-based author and editor John Merrick follows with no simpler a subject: the miserable mainstreaming of racial and ethnic politics in today’s Britain. Focusing on the writings of Kings College historian David Betz, Merrick grapples with the ways that reactionary ideas have become all too commonplace.

Finally, Imraan Buccus, a South African scholar and journalist, considers the paradoxes in his country’s governance, from its avant garde foreign policy to its rearguard domestic politics. South Africa is mired in contradiction and Buccus helps to explain why.

Our curated section kicks off with a startlingly original essay from Matthew Rochat on how the concept of guanxi can help understand the relational dimensions of global politics.  We follow with a closer look at Nobel laureate Maria Ressa, who has been celebrated the world over for her extraordinary work on behalf of the freedom of expression. This essay, published in Media Asia, considers another side of Ressa’s activities, one less cloaked in glamor.

Next, a video that features Regina Rini and her sharp conception for a new public philosophy for the contemporary moment. And we conclude Ideas Letter 52 with a four-part podcast series you may have missed—Overshoot—which asks, soberly yet concerningly, what happens when the world crosses the 1.5-degree-centigrade threshold.

In other exciting news, we have gathered a selection of essays from our first fifty issues into an anthology, a smorgasbord of intellectual inquiry, which is now out and online.

For our musical selection, listen to Sir Roland Hanna (he cherished the honorific bestowed on him in 1970 by President William Tubman of Liberia), a pianist of great variety. His classical background gives his playing a rigorous form; his stride and modern jazz roots make it swing.  All these influences are evident in Hanna’s interpretation of the postwar jazz standard “Autumn Leaves” from 1973.

—Leonard Benardo, senior vice president at the Open Society Foundations