Canadian socialist and feminist Suzanne Weiss begins her recent memoir with these words by W B Yeats: “There are no strangers here, only friends you have not yet met.” More than just an epigram, they describe a practice of solidarity that saved Weiss from the Holocaust and later shaped her more than six decades of activity as a life-long socialist, writes James Clark.
During 1990s, the Chicago Bulls dominated US basketball, with Michael Jordan at the centre of the team. The Last Dance gives us a nostalgic look at the rise of that dynasty, writes Alex Salmon.
Hearts and Bones is a compassionate portrayal of the refugee experience that empowers and dignifies, without romanticising the trauma and struggle, writes Annolies Truman.
For a film that claims to be about breaking the environment/climate movement away from the tentacles of capitalist-funded NGOs, Planet of the Humans fails to articulate a vision of what an alternative, people powered climate movement could look like, writes Zane Alcorn.
Mat Ward takes a look back at April's political news and the best new albums that related to it.
“Heung gong jan, gaa jau!” (Hong Kongers, add oil) is a rallying cry that could be translated to mean “Go Hong Kongers!” according to Anthony Daripan, as he recounts the experience of Hong Kong protesters last year facing police tear gas. Alex Salmon takes a look at his detailed account of the protest movement that erupted in June last year.
"Cry Me a River", the March 2020 Quarterly Essay by Margaret Simons, charts the course of the Darling River and its historic demise from an inland paddle steamer route to a broken chain of algal ponds of recent years, writes Tracey Carpenter.
Climate and Captialism editor Ian Angus looks at six new books for ecosocialists.
Sociology and critical theory are at their best when they reveal anew what we take most for granted. Who in their right mind would have anything critical to say about happiness? Edgar Cabanas and Eva Illouz certainly do in Manufacturing Happy Citizens, writes Gwenael Velge.
Barry Healy reviews two stories — one a novel, the other a play — that examine the artists' colony on the Greek island of Hydra from the early 1950s to the early '60s.