The bard gives us advance notice of his upcoming medieval K-pop releases
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Crime fiction with Mat Coward: January 7, 2025
A late Christmas cornucopia, a Canadian wolf, a dodgy motel and Peter Diamond’s last bow
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
CRIME stories have been a fixture at Christmas for well over a century now, and Death Comes At Christmas (Titan, £19.99), edited by Marie O’Regan and Paul Kane, is one of the best anthologies of its type I can remember.
There’s not a single weak entry among the 18 pieces by as many authors, and several real winners, with a good variety of tone and type, from locked rooms reminiscent of the Golden Age to forensic techs wearing bloodstained paper suits.
I won’t try and pick out highlights, for fear of slighting the others, except to say that Alexandra Benedict deserves a Best Punning Title prize for The Midnight Mass Murderer.
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