Climate activist and writer JANE ROGERS introduces her new collection, Fire-ready, and examines the connection between life and fiction
Latest editorial
No More War by Dan Kovalik
Accessible introduction to international law is a powerful plea for global peace
ILLEGAL: US navy cruise missile attack on Libya, 2011
[Roderick Eubanks/Wikipedia]
ELEANOR DOBSON reflects on a stark visual record of the violent desecration of Tutankhamun’s mummified remains
RUTH AYLETT appreciates the rich blend of poetry and music that accompanied the launch of the Morning Star’s anthology of poetry, Who We Are
WANJA KIMANI explores the many bonds of community experience expressed in in the bold and colourful imagery of a new mural
New releases from Keeley, Lucinda Williams and Ye Vagabonds
JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
IN HIS latest book, Pittsburgh-based lawyer and peace activist Dan Kovalik is at pains to stress that the UN Charter, the principal instrument of international law since its signing in 1945, lays down a number of important precepts regarding humanity’s need for peace, equality and freedom from oppression.
Prevention of war is at its core, and states are to resolve disputes by peaceful means if these are available. An armed attack on one state by another can only be considered legal if, having exhausted all non-violent paths, the attack has been approved by the UN security council, or if it is carried out in urgent self-defence against an armed attack, or if the invading party has been granted consent by the leader of the host state.
Similar stories
Ben Cowles speaks with IAN ‘TREE’ ROBINSON and ANDY DAVIES, two of the string pullers behind the Manchester Punk Festival, ahead of its 10th year show later this month
RON JACOBS welcomes the long overdue translation of an epic work that chronicles resistance to fascism during WWII
JOHN GREEN surveys the remarkable career of screenwriter Malcolm Hulke and the essential part played by his membership of the Communist Party
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement