ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
Don’t just oppose war, oppose the arms industry
RAE STREET recommends a useful guide that scotches the misguided belief that the arms industry is needed for the economy and jobs
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
Monstrous Anger of The Guns – How The Global Arms Trade Is Ruining The World & What We can do About it
Rhona Michie, Andrew Feinstein and Paul Rogers, Pluto Press, £12.99
THE title of the book is taken from Wifred Owen’s poem Anthem For Doomed Youth: “What passing-bells for these who die like cattle? Only the monstrous anger of the guns.”
On September 16 2024 the Morning Star commented that “opposition to war is too vague: we need to oppose the arms industry itself.” This book, sponsored by the Peace and Justice Project, provides us with a tool to do just that.
In the opening preface, Jeremy Corbyn states: “We live in an age of rapid armament, rising geopolitical tensions, and growing division between the super-rich and the more than a billion people who suffer poverty, hunger and reduced life prospects.”
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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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