ROX MIDDLETON, LIAM SHAW and MIRIAM GAUNTLETT delve into the technicalities of famine classification to reveal a worldview in tatters
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An empire of appearances
Trump’s policy on Ukraine has shifted the transatlantic order and the illusion of European power has been dispelled – leaving behind the harsh reality of the continent’s irrelevance and its inability to shift the geopolitical dial, writes PAWEL WARGAN
BEHEMOTH: Dmitrii Moor’s poster ‘Death to World Imperialism’
Westminster has been forced to pay out millions over a fire started by a soldier in 2021, opening a new chapter in accountability, writes NICHOLAS KOMU
Following a fratricidal period for the left with Morales and Arce at loggerheads, right-wing, anti-MAS candidates obtained over 85 per cent of the votes cast in the latest general election, writes FRANCISCO DOMINGUEZ
The US could imminently return to the Wild West days of widespread and sometimes violent corporate repression of workers, says MARK GRUENBERG
Thousands rallied in Tel Aviv on Saturday, against the war of extermination of Gaza, reports AMNON BROWNFIELD STEIN
From training Israeli colonels during the slaughter to protecting Israel at the UN, senior British figures should fear Article 3 of the Genocide Convention that criminalises complicity in mass killing, writes IAN SINCLAIR
IN A 1920 poster by the Soviet artist Dmitrii Moor, a snake-like behemoth is prodded and repelled by a colourful army waving bayonets and red flags — the world’s colonised and oppressed.
The snake is coiled around a giant factory, representing not only the precious spoils of imperial plunder but also, as hawk-eyed students of Marx might recognise, the fetters that monopolisation imposes on development. “Death to imperialism!” the poster reads.
The image comes across as a curious relic today, if we take the snake to be those European leaders who, with notable snubs and omissions, met in London on Sunday to discuss Ukraine’s humiliation by Washington. Like a century ago, the snake is all grimace and panic. But where is the factory? And where, really, is the threat?
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