ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
Class menagerie
FIONA O’CONNOR assesses a dense and overpopulated novel that isn’t satire and doesn’t go deep
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
Caledonian Road
Andrew O’Hagan
Faber, £20
FREDERIC JAMESON used the term “national allegory” for the view that literature is really an attempt to discover a country’s identity, and therefore its inhabitants.
In Caledonian Road, big thumper of a novel at over 600 pages, Scottish writer Andrew O’Hagan offers a post-Brexit, liberalist mea culpa of sorts, repositioning Britain in its isolated decline.
O’Hagan’s focus is a London “levitating on a sea of dirty money,” as Sergei Magnitsky put it. Emerging from the pandemic in 2020, the masks are coming off and there’s profit to be extracted.
More from this author
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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