MAXINE PEAKE says the warnings of the International Brigades ring true today
ANDY HEDGECOCK welcomes an entertaining, useful guide to the threats and promises of mathematical rationality
History suggests apartheid ends not through appeals to conscience alone but through sustained economic and political pressure, says HUGH LANNING
As the US marks 250 years since the Declaration of Independence, the People’s World Editorial Collective argues that the real legacy of 1776 lies not in official celebrations but in centuries of popular struggles to make democracy a reality for all
Once a source of national pride, Cuba’s healthcare system declines as energy shortages deepen crisis, writes ANDREA RODRIGUEZ
Socialists, feminists and trade unionists gathered in Manchester to launch a network committed to evidence-based activism with a renewed emphasis on class and collective struggle. ANNA BARRETT reports
By making it simpler to support workers in struggle, Strike Map’s new Solidarity Fund aims to strengthen strikes when they need it most, write ROBERT POOLE and HENRY FOWLER
Only an ambitious programme of state-led investment can restore growth and improve living standards, argues MICHAEL BURKE
Football may not solve the working class’s problems, but it does matter — and politicians know it, writes BERT SHOUWENBURG
JAMES NALTON previews the Three Lions' round of 16 clash against the co-hosts in Mexico City
CHRIS SEARLE welcomes a startling vision of contemporary Newport from a veteran photographer of the British working class
ANGUS REID recommends a very unusual documentary: a love story between two disillusioned journalists
In verse and polemic, the bard points out that he is a poet and musician, not a political party
MARIA DUARTE, JAMES WALSH and ANDY HEDGECOCK review The Invite, My Father’s Island, Nirvanna: the Band, the Show, the Movie, and Oh My Goodness!
PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
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