ROB WARZYNIAK wades knee deep through a pile of ‘dead canaries’ of Trumpist policies which exacerbated the horrors of US capitalism domestically
Cosmo Rowe and two Wolverhampton houses
For decades, portraits of great socialists by the same artist hung in very different houses, one working class and one a country estate — and both played a role in labour movement history, writes NICK MATTHEWS
Rowe’s lithograph of Keir Hardy (left) and (right) his painting of William Morris
Without evidence or Nato consultations Berlin’s answer to the Leipzig incident is a rupture of relations. SEVIM DAGDELEN examines why
FRANCISCO DOMINGUEZ introduces the background to a conference on defending Latin America’s sovereignty
The glacier collapse in Nepal is yet another warning that a warming planet is making Himalayan disasters more frequent and destructive – but the countries facing the greatest risks are often those least responsible, says LI YANG
Nick Blair is set to benefit from a hugely lucrative contract to ‘virtually’ train the British army for its next war. Like father, like son, writes SOLOMON HUGHES
Even when tragedy strikes, Western media cannot resist the opportunity to turn it into a sordid propaganda opportunity, as the Nepal-China border tragedy shows, writes CARLOS MARTINEZ
Trade unions should be at the heart of the anti-racist push for reparations for the historic legacy and continuing impact of slavery, writes ROGER McKENZIE
IN 1887 the Mander family decided to move out to the country and purchased part of the Wightwick Manor estate, three miles from their paint factory in central Wolverhampton.
The new house built between 1887 and 1889, designed by Edward Ould, of Port Sunlight fame, was built for Theodore Mander. Mander Brothers, the family firm, was a successful paint and varnish manufacturer with branches all over Europe and North America.
Like all the family, Theodore was very active in local affairs and became mayor of Wolverhampton shortly before his death in 1900.
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The Marx Memorial Library’s Spanish Collection remains a powerful tool for the working-class movement today, writes MML director MEIRIAN JUMP
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