JOHN GREEN surveys the remarkable career of screenwriter Malcolm Hulke and the essential part played by his membership of the Communist Party
‘Because of the Second Intifada and lack of violin teachers the cello became an alternative’
CHRIS SEARLE speaks to jazz cellist NASEEM ALATRASH of the IZE Trio
The Star's critic MARIA DUARTE reviews Last Breath, Sister Midnight, Opus, and The Electric State
HENRY BELL is moved by the account of scientists under seige in Leningrad who preferred to starve rather than sacrifice their life-saving work
RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
IT’S quite an album this, by the cosmopolitan IZE trio. Just consider its four titles, with the first track called Break G4S “On Capitalism”; the second, Resurrecting The Amber Sky “On Environmentalism”; the third All Loved “On Immigration”; and the fourth Elemeno, “On Education”.
The trio are San Diego, California-born pianist Chase Morrin, Cyprus-born percussionist George Lernis and Palestinian cellist, Naseem Alatrash. I asked Naseem about his life in music and the story behind the trio’s album, The Global Suites.
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The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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