SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
The political advantage of an anti-war position
GAVIN O’TOOLE applauds a uniquely nuanced people’s history of the revolutionary period, told from below
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
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
Blood on the Snow: The Russian Revolution 1914-1924
Robert Service, Picador, £30
REFERENCES abound to similarities between the current geopolitical context — a combustible mixture of warmongering by corrupt elites, resentful nationalism, and brooding popular discontent — and circumstances on the eve of WWI.
Bellicose politicians today banging the war drums as a distraction would, therefore, do well to revisit the starkest lesson to emerge from a period during which a gasping Europe was drowned in a cauldron of blood.
The defining event of that era was not the Treaty of Versailles, but the Treaty of Brest-Litovsk — the separate peace agreed between the new Bolshevik government of Soviet Russia and the Central Powers.
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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