RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
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An error occurred while searching, try again later.Empire is without virtue
RON JACOBS recommends an exhaustive demonstration that colonialism is insidious, pervasive, positive and negative
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
Reviews of Ella Fitzgerald, My Morning Jacket, and Toria Wooff
GORDON PARSONS admires a version of Marlowe’s grim tragedy that strips it down to its gay essentials
When Cassy’s father fails to connect with his daughter — and misses out on
an evening in the Bitter End — a stranger’s self-mocking charm brings seething resentment.
Empireworld
Sathnam Sanghera, Penguin, £10.99
POET and anti-war priest Daniel Berrigan wrote in his book The Nightmare of God: “We would like to think that the empire is virtuous. Or that it can be made so, converted, so to speak, by a large dose of civic virtue.” He concludes that it is not virtuous nor can it be made so.
I agree with Daniel Berrigan — empire is intrinsically without virtue.
In his newest book titled Empireworld: How British Imperialism Has Shaped the Globe, Sathnam Sanghera considers it at best a mixed bag, with the negatives outweighing the positives.
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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