SOLOMON HUGHES recommends Sunjeev Sahota’s recent novel set in a trade union election campaign for its fresh approach to what unites and divides workers, but wishes the union backdrop was truer to life
Echoes of Robeson with creative fire
Chris Searle on Jazz
Morning Star international editor ROGER McKENZIE says Trump’s ceaseless belligerence is a desperate effort to prevent the emergence of a multilateral world
Don’t dismiss Lebanon as a side theatre of this war, warns SEVIM DAGDELEN — there are signs Israel has expansion in mind, and it has demonstrated its willingness to expel and kill whole populations
The media present Starmer as staying out of Trump’s war — but we’re already deeply involved in a conflict that sees the US and Israel kill civilians on a huge scale, argues IAN SINCLAIR
LINDA PENTZ GUNTER reports on this week’s conference unveiling the findings of the Gaza Tribunal established by Jeremy Corbyn
CHRISTOPHE IMMER of the Morning Star’s German sister paper Junge Welt reports on a Berlin conference on the politics of art and the legacy of Marxist critic Hans Hess
Eric Reed
Groovewise
(Smoke)
IN MAY 1952 and again in August 1958, the great singer, actor and cultural militant Paul Robeson, having been denied a passport by his own US government and confined within the boundaries of the world’s most powerful imperial nation, gave historic concerts on the back of a flat-bed truck in Blaine, Washington state, under the Peace Arch, a few feet from the Canadian border.
He sang across the US/British Columbia frontier which he was forbidden to cross, to 40,000 US and Canadian citizens in a unique and defiant performance of international solidarity.
I thought of these momentous events and Robeson singing Joe Hill, No More Auction Block or Ol’ Man River as I listened to the first very evocative track, Powerful Paul Robeson on the live album by the Philadelphia-born (in 1970) pianist Eric Reed and his quartet, recorded at New York’s Smoke Jazz Club in 2014, and called Groovewise.
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