I have celebrated writing by Rebecca Solnit many times on this blog. In this post I’m reproducing in its entirety ‘Protest and persist: why giving up hope is not an option’, today’s Guardian long read. Because it is a magnificent essay, one of her best pieces. Every paragraph burns with passion and sings like poetry. The Guardian’s strapline reads: ‘The true impact of activism may not be felt for a generation. That alone is reason to fight, rather than surrender to despair.’ Read on and find inspiration in these troubled times. Continue reading “Protest and persist: why giving up hope is not an option, by Rebecca Solnit”
‘The world that I knew, it has vanished and gone,’ sang Eliza Carthy during Blood and Roses: The Songs of Ewan MacColl, a special concert at the Liverpool Philharmonic this week that marked the centennial of the songwriter and Communist activist’s birth. It was a marvellous evening of passionate songs of politics and love which caused me to reflect on the significance of MacColl’s songs in our changed times. Continue reading “Blood and Roses: The Songs of Ewan MacColl”
Election day. Some words from Leonard, who always lets in the light: Continue reading “Election day: Everybody knows”
Through the long, hot summer of 1976, for eleven weeks, I was gripped by Bill Brand, a TV series written by left-wing playwright Trevor Griffiths and broadcast on ITV in prime-time. Regarded at the time as a brilliant example of how radical ideas could be presented in popular television drama, as the years went by I often recalled the series and hoped to be able to see it again. But the story of how Bill Brand (played by Jack Shepherd), an FE college lecturer from a working-class background, and former member of the Trotskyite International Socialists, is elected as a Labour MP seemed to have forever dissolved into the ether. Continue reading “Bill Brand: glimpses of the past that have relevance still”
A revival of David Hare’s 1993 play, The Absence of War, seemed an enticing prospect. A drama portraying the Labour Party as lost in ideological confusion, drained of vitality, and unable to mobilise public support or present a vision or values in any compelling way promised to be highly relevant in present circumstances.
But at the Liverpool Playhouse the other night I found Headlong’s revival an uninspiring disappointment. The production seemed drained of energy, suffering from lifeless acting and direction which did little to overcome a script that suffered from flatness of dialogue and shallowness of characterisation. It was as airless as the meeting rooms in which most of the action took place and the arguments that were batted back and forth in them. Continue reading “The Absence of War: parliamentary socialism, anybody?”
Leviathan, the latest film from Russian director Andrey Zvyagintsev, opens with waves beating upon a barren shore where rocks as old as the earth face an implacable, slate-grey sea.
Tracking inland across barren wastes to an insistent Phillip Glass score, the camera encounters signs of human imprint on this unforgiving landscape: power lines, the hulks of wrecked and abandoned boats, a settlement of worn clap-board houses. Continue reading “Leviathan: politics, religion, and vodka (lots)”
There was a rather silly documentary hidden away on BBC4 on night last week all about the crisis facing Europe. Called The Great European Disaster Movie and set in a not too-distant future after the collapse of the EU, it featured an archaeologist (played by Angus Deayton) on a flight to Berlin beset by a menacing storm, explaining to a little girl what the European Union had been. These unconvincing sequences were intercut with case studies of individuals in 2015, in different member states, affected by the present crisis. Continue reading “The eurozone: ‘this machine from hell’”