IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
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There’ll always be an England
MIKE QUILLE relishes political theatre at its most entertaining, engaging and effective
England
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
ALEX HALL is intrigued by a detailed history of Gaza that demonstrates its historic resilience and changing economy
England and Son,
Summerhall, Edinburgh
He’s done it again!
A few years ago, Ed Edwards exploded into Edinburgh with A Political History of Smack and Crack, performed at the Fringe Festival. It was a brilliant piece of political theatre, setting personal stories of drug addiction in ’80s Britain against the background of brutal Tory policies of deindustrialisation and the historical encouragement of the international drugs trade by the US, Britain and France in the course of their imperialist adventures.
Now he’s back in Edinburgh, together with Mark Thomas, the actor, comedian and political activist, with the equally explosive England and Son, which could well have been called “The Political History of Toxic Masculinity.”
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