Smiley’s People Wouldn’t Survive This
Ryan’s Second Strike is a taut, post-Brexit techno-thriller in which privatised warfare meets Cold War ghosts, and the real enemy is the story you’re told to believe.
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Ryan’s Second Strike is a taut, post-Brexit techno-thriller in which privatised warfare meets Cold War ghosts, and the real enemy is the story you’re told to believe.
Geoff Dyer’s Homework shows childhood not as innocence, but as class training—plastic toys, unwritten rules, and a welfare state already fraying at the edges.
Britain doesn’t need a softer Starmer or a greener liberalism—it needs a new party of revolutionary ecosocialism, built by those brave enough to walk out and fight for class power, not manage its decline.
They say prisons are overcrowded, as if the cages are too small. As if the problem is spatial. As if all we need is a few more acres of razor wire and reinforced concrete and the crisis will vanish. But prisons aren’t full because we lack space. They’re full because we lack imagination.
Nigel Farage isn’t the voice of the working class—he’s their grifter-in-chief, selling tax cuts to the comfortable while Labour trails behind him, too timid to name the real enemy.
On Jane Borden’s Cults Like Us
They knew he was unfit—and backed him anyway; Original Sin is the story of how denial, deference, and decay brought Trump back.
Whipple’s Uncharted is less a chronicle of Trump’s comeback than an unflinching autopsy of a decaying liberal order that mistook gerontocracy for stability and denial for strategy