RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Beside the seaside
HELEN MERCER is disappointed by a depiction of Englands ‘coastal commons’ that lacks compassion and fails to illuminate the root causes of their decay
coast
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
Coast of Teeth: Travels to English Seaside Town in an Age of Anxiety
by Tom Sykes and Louis Netter
Signal Books, £14.99
IF you have ever caught the train to Brighton of a weekend or bank holiday, you may have noticed the excited anticipation rippling through the carriage as it pulls into the station.
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All races, cultures, ages, sexes and even classes have the prospect of a day of earthly pleasure-seeking: wide and windy beaches stretch to the horizon, along with bad food, slot machines and shivering dips.
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For Britain, direct military aid is just the tip of the iceberg compared to the spiralling energy crisis that has fueled inflation, driven millions into fuel poverty and inflated corporate profits, reveals HELEN MERCER
HELEN MERCER welcomes an account of how US labour leadership collaborated with the state and betrayed their membership
A look at the writing of war correspondent James Aldridge 40 years ago reminds us of the eastern perspective when a second front was finally opened on D-Day, 1944, says HELEN MERCER
HELEN MERCER casts an experienced eye over an ambitious exhibition that nevertheless contains painful gaps