MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Taking the time to engage with the past
JAN WOOLF speaks to Richard Bradbury about his creative initiative in adult education, Riversmeet, and the political trajectory of the work
Nev Connor as Frederick Douglass at a rehearsed reading of The Ocean Can be A Bridge, by Richard Bradbury and Dave Samuels, in front of an invited audience from the local Caribbean, refugee and immigrant and refugee communities hosted by Art Share Exeter in Exeter Customs House
Frederick Douglass cca 1879
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
NAMED after Richard Bradbury’s first novel about Frederick Douglass, the Riversmeet project combines literature with activism.
As the website declares, Riversmeet focuses on high-quality writing, performance and teaching which engages with contemporary issues by linking the past to the present.
Riversmeet is a quiet powerhouse; publishing books, producing theatre, short films and interesting blogs as well as running Slow Reading courses. Eschewing the tacky mission statement, it quotes Walter Benjamin: “In every era the attempt must be made anew to wrest tradition away from a conformism that is about to overwhelm it.”
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While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
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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
