New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
O land of my full-backs
LYNNE WALSH laments the hard truth that Welsh rugby was bought out by English clubs
JAN WOOLF wallows in the historical mulch of post WW2 West Germany, and the resistant, challenging sense made of it by Anselm Kiefer
ANA ISABEL NUNES points to the empowering legacy of Augusto Boal’s Theatre Of The Oppressed
CARLOS MARTINEZ welcomes the publication of the writings of the great Palestinian author, political theorist and spokesman for the PFLP
The Star's critic MARIA DUARTE review Cottontail, Memoir of a Snail, Bridget Jones: Mad About the Boy, and Captain America: Brave New World
PAUL DONOVAN is fascinated by an account of the long history of Catholic Church’s involvement in espionage
ROGER McKENZIE welcomes an important contribution to the history of Africa, telling the story in its own right rather than in relation to Europeans
Welsh Rugby: What Went Wrong?
Seimon Williams
Y Lolfa, £9.99
THIS is a hard book to digest, for a lifelong fan of Welsh rugby.
It is almost 200 pages of tough love, a forensic examination of the tribulations and internecine bickering that has beset the glorious game in the country where rugby is a nation’s heartbeat.
Seimon Williams's book should be read by every official of the Welsh Rugby Union (WRU), past and present. If I had my way, it would be hurled at most of them. This account of a deepening crisis will demonstrate to any true supporter that, although our devotion may remain boundless, we can acknowledge the harsh realities here.
More from this author
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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