DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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A communist heroine
ANGUS REID examines the life and work of Gerda Taro, the woman who invented political photojournalism
COMMUNIST PIONEER: (L to R) Gerda Taro; Gerda Taro, Guadalajara front, July 1937
[Pic: G Taro / Walter Reuter/CC]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
GERDA TARO’s funeral on August 8 1937, which would have been her 27th birthday, was a moment of immense propaganda value for the left in a struggle that was not yet lost.
Pravda wrote: “Millions and millions of women, when they decide to take a stand against Fascism, will remember brave little Gerda,” and thousands turned out for the event.
It was organised by the fledgling French communist newspaper Ce Soir for which, as part of an 18-strong team reporting from Spain, Taro had been a photojournalist.
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