DENNIS BROE enjoys the political edge of a series that unmasks British imperialism, resonates with the present and has been buried by Disney
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Science fiction by Mat Coward: August 7, 2019
Hollow Kingdom by Kira Jane Buxton, The Girl In Red by Christina Henry, The Bone by Garden Heather Kassner and The Record Keeper by Agnes Gomillion
[Karen Nadine/Creative Commons] 
STEVE JOHNSON speaks to DJ and singer/songwriter Mark Radcliffe
JAMES WALSH takes advantage of an evening of comedy snippets to pick out which clowns will make it in Edinburgh
MAYER WAKEFIELD is swept up by the tale of the south London venue where music forged alliances across race, class and identity
MAYER WAKEFIELD applauds Rosamund Pike’s punchy and tragic portrayal of a multi-tasking mother and high court judge
FIONA O CONNOR recommends an unflinching depiction of child sexual abuse and its aftershocks, set in a working-class Liverpool family
NARRATED by ST, a foul-mouthed, snack-obsessed crow who identifies as human, Hollow Kingdom by Kira Jane Buxton (Headline Review, £18-99) takes place in Seattle where a mysterious illness is causing hideous transformations in homo sapiens.
Now robbed of his owner-cum-housemate, and thus in sole charge of a daft dog, ST bravely ventures out in search of still-functioning people. He finds a world which is rapidly erasing all traces of its former masters, as the rest of nature takes over.
If he’s to be of any use to his beloved city, ST must combine his human and crow natures to find his true self.
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