JAMIE BRITTON recommends that we all buy at least two copies of a remarkable book of poems
Covert crime exposed
An eye-opening documentary on the 1953 toppling of Iranian prime minister Mohammad Mossadeq by MI6 and the CIA sheds new light on a history-changing coup, says IAN SINCLAIR
Re-releases from Iain Matthews, Quicksilver Messenger Service, and The Charlie Daniels Band
JAMIE BRITTON recommends that we all buy at least two copies of a remarkable book of poems
The bard joins the Carnival Against Fascism, which summer fun sends him down Memory Lane
FIONA O’CONNOR is bowled over by a stunning Welsh language drama
MARIA DUARTE and MICHAL BONCZA review Virginia Woolf’s Night & Day, Familiar Touch, Nino, and Toy Story 5
MATTHEW HAWKINS explores the initiatives proposed by HEALING ARTS SCOTLAND
Coup 53
Directed by Taghi Amirani
“THE WEST has an extremely ugly history” in the Middle East, US dissident Noam Chomsky told the BBC in 2011 and though we may not pay attention to it, the people in the region negatively impacted by Western military and economic interference do not forget.
A good example of Chomsky’s truism is the 1953 coup in Iran, the subject of Taghi Amirani’s brilliant new documentary Coup 53.
Similar stories
Trump threatens war and punitive tariffs to recapture Iranian resources – just as in 1953, when the CIA overthrew Mossadegh and US corporations immediately seized 40% of the oil, says SEVIM DAGDELEN
MOHAMMAD OMIDVAR, a senior figure in the Tudeh Party of Iran, tells the Morning Star that mass protests are rooted in poverty, corruption and neoliberal rule and warns against monarchist revival and US-engineered regime change
The Committee for the Defence of Iranian People’s Rights (Codir) welcomes demonstrations across Iran, which have put pressure upon the theocratic dictatorship, but warns against intervention by the United States to force Iran in a particular direction
The US’s bid for regime change in the Islamic Republic has become more urgent as it seeks to encircle and contain a resurgent China, writes CARLOS MARTINEZ