A society that isn't sure what's true can't function, but increasingly we no longer seem to know who or what to believe. We're barraged by a torrent of lies, half-truths and propaganda: how do we even identify good journalism any more? At a moment of existential crisis for the news industry, in our age of information chaos, News and How to Use It shows us how. From Bias to Snopes, from Clickbait to TL;DR, and from Fact-Checkers to the Lamestream Media, here is a definitive user's guide for how to stay informed, tell truth from fiction and hold those in power accountable in the modern age.

Nothing in life works without facts. A society that isn't sure what's true can't function. Without facts there can be no government or law. Science is ignored. Trust evaporates. People everywhere feel ever more alienated from - and mistrustful of - news and those who make it. We no longer seem to know who or what to believe. We are living through a crisis of 'information chaos'. News and How to Use It is a glossary for this bewildering age. From AI to Bots, from Climate Crisis to Fake News, from Clickbait to Trolls (and more), here is the definitive user's guide for how to stay informed, tell truth from fiction and hold those in power accountable in the modern age.

We are living in a modern world where falsehood regularly seems to overwhelm truth. The ability of billions of people to publish has created a vast amount of unreliable and false news which now competes with and sometimes drowns more established forms of journalism. So where can we look for reliable, verifiable sources of news and information? What does all this mean for democracy? And what will the future hold? Reflecting on his twenty years as editor of the Guardian at a time of unprecedented digital disruption; and his experience of breaking some of the most significant news stories of our time, Alan Rusbridger answers these questions and offers a stirring defence of why quality journalism matters now more than ever.

In 2010, Alan Rusbridger, the editor of the Guardian, set himself an almost impossible task: to learn, in the space of a year, Chopin's Ballade No. 1 - a piece that inspires dread in many professional pianists. His timing could have been better. The next twelve months were to witness the Arab Spring, the Japanese tsunami, the English riots, and the Guardian's breaking of both WikiLeaks and the News of the World hacking scandal. In the midst of this he carved out twenty minutes' practice a day - even if that meant practising in a Libyan hotel in the middle of a revolution as well as gaining insights and advice from an array of legendary pianists, theorists, historians and neuroscientists, and even occasionally from secretaries of state. But was he able to play the piece in time?