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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The Day After
by Omar Sabbagh
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
After the remote attacks in Beirut, September 2024 Beirut
Our pockets are full of blood,
as we hoard what we cannot hoard,
and lives that might have taken flight
and soared, have flown-away now
to the bower of a very different God
to that nightly visitor the killers of the light
bow to, snuffing as they do the innocent and the dead.
We, the survivors, must now fill the hollows
left-over, and think again of the impossible:
what those who’ve passed might have wished
and done, the tattered paper of their bucket lists,
the small, shy children of their vanishing wills.
How does one speak to the victims of horror,
when all we have are lips and paltry words?
Omar Sabbagh is a widely published poet, writer and critic. The Day After is taken from Night Settles Upon The City, an evocative collection that blends personal experience with the brutal realities of life today in a war-torn Beirut. It is published by Daraja Press.
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