James Pogue

‘This American says he’s heard of Cross but that he’s still just passing through.’ He laughed and formed the shape of a pistol with his right hand. ‘Well you heard that part, didn’t ya? That is one thing that will never change here.’

Issue 136

Jacob Aue Sobol & Joanna Kavenna

‘A series of extraordinary portraits of the Arctic wilderness and the intimacies of love.’

Sarah Moss

‘I can’t think, my mother said as we sat down, why people think a play that’s all about unsanctioned sexual desire is suitable for little girls.’

Una Mullally

‘Living in the only democratic country in the world with a constitutional ban on abortion, I felt an acute and visceral shame.’

Darrell Hartman

From The Revenant through Jurassic Park and Godzilla, Darrell Hartman traces the evolving meaning of megafauna in popular culture.

Linda H. Davis

‘Plunged inside the skin of the horse, I felt his sensory burdens, sufferings and fears: his keen sensitivity to sound, smell and touch (even the weight of a saddle)’

Tara Bergin

Melissa Febos

‘In a country whose government we do not trust, who do we need more than writers and teachers? And what is more powerful than an inspired youth?’

Astrid Alben

‘2016 is almost over but the impact of this year’s political events will reverberate around the globe for decades.’

Colin Grant

‘No matter how I attempted to interpret the email, it could only be read in one way: I was out of the Bunny Wailer club. Jah Bunny had put a curse on me.’

Snigdha Poonam

‘The Hindu cowboy accords to the cow the holiest status in his imagination: of mother. It is his duty to protect her honour; it is his privilege to kill for her.’

Leslie Jamison

‘I feel afraid, and I do not know what to make of yesterday’s belief. I can see that belief like an object shimmering underwater, a kind of relic.’

Philip Ó Ceallaigh

‘Britain has made the control of borders and the free movement of people its central obsession, its fundamental national anxiety.’ Philip Ó Ceallaigh on Brexit.

Jennifer Kabat

‘In Hollin Hills, we believed our flatware could change the world.’ Jennifer Kabat on the intersection of modernist architecture and espionage.