WILL STONE samples the 20th anniversary atmosphere of this eclectic end-of-season indie festival
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The New Abject
Real and abstract revulsion compelling themes of dread-zone anthology
ORACLE OF ABJECTION: Julia Kristeva
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Comics are not just superheroes and spandex – it can be public art, telling public stories, suggests HARRIET EARLE
The bard serenades the Diggers of Wigan and their festive followers
ALEXEI SAYLE speaks to Angus Reid about a lifetime of protest, how to hone political art – and what to do now
ANDY HEDGECOCK, JAMES WALSH, LEO BOIX and MARIA DUARTE review Just An Illusion, Everybody Digs Bill Evans, Blue Film, Oasis: Don’t Look Back in Anger, and Runner
MARIA DUARTE recommends a nerve-wracking reconstruction of the 72 hours before the Normandy landings
ACCORDING to critic and psychoanalyst Julia Kristeva, abjection involves either a confrontation with our sense of physical being or a separation between the self and a rejected “other.” Objects of revulsion can be tangible, such as faeces and bodily fluids, but some forms of dread are abstract and ambiguous.
The New Abject collection of horror stories draws on the broad nature of Kristeva’s definition, which has inspired a loosely related set of tales that deal with the things that make us shudder and retch.
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MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
Do frozen colonists carry the virus of empire? Why is monstrosity a great way to describe capital? Was God a dustman?
ANDY HEDGECOCK is astonished by a portrait of contemporary Greece, complete with political protest, organised crime and people trafficking, told from the point of view of — wait for it — runaway poultry
