GORDON PARSONS is bowled over by a skilfully stripped down and powerfully relevant production of Hamlet
The reactionary basis of identity politics
ALEX HALL is intrigued by a left-wing account of the cleavage between class-based politics and culture-based politics
In which we accompany the Bard into Cymru to meet his musical accomplices, young and old
SUE TURNER is inspired by the example of a librarian’s struggle to confront the book-banning movement
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
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
Not So Black and White: A History of Race from White Supremacy to Identity Politics
Kenan Malik, Hurst, £20
EVENTS have not gone as Kenan Malik would have liked since about the 1960s and definitely not since the late 1980s and the Salman Rushdie affair. As an anti-capitalist activist, journalist, academic and broadcaster, the disarray and ineffectiveness of the left has been a major concern.
The problem has been the disappearance of class-based solidarity in favour of identity-based solidarity, and although he left the left (or perhaps, as he might put it, the left left him) he now explains the intellectual threads which brought the cleavage between class-based politics and culture-based politics.
Today’s “culture wars” are the present tail-end of this phenomenon. This book is a remarkable help in untangling some present threads and themes, although it doesn’t quite give us Ariadne’s thread out of the Labyrinth.
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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