GORDON PARSONS is bowled over by a skilfully stripped down and powerfully relevant production of Hamlet
To Nietzsche or not to Nietzsche
Can the 19th-century philosopher be repackaged for the 21st century? JOHN KENDALL HAWKINS reviews a book that says so
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
Nietzsche Now!
Glenn Wallis, Warbler Press, £19.95
HUMANS enter an age dominated by the super-smarts of artificial intelligence (AI) and will soon be immersed in a souped-up quantum metaphysics where things are true and not true at the same time, and reality has the double-bind effect of the duckrabbit illusion.
Heady stuff ahead. Glenn Wallis believes it’s time for a revaluation of all values and, in his new book, Nietzsche Now! The Great Immoralist on the Vital Issues of Our Time he revisits some of the German philosopher’s most salient and controversial critiques of modern Western society.
Nietzsche often said that he had come too soon with his penetrating observations, and that the world was not ready for his truths. Wallis believes that the time is ripe and that we need Nietzsche now more than ever.
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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by John Kendall Hawkins
