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Danger, disaster and the loss of life are emblematic features of Britain’s cultural memory of coal mining. Netflix’s hit series, The Crown, prominently reinforced these motifs through its recent portrayal of the 1966 Aberfan disaster in South Wales.
The English Uprising: Peterloo opens with the words ‘Two hundred years on, it is still possible to be angry about Peterloo’ … this was not ‘a clumsy exercise in crowd control’ when ill-disciplined troops panicked, but ‘an atrocity which requires explanation’ (p. 1).
There are many unsettling images that come to mind when one thinks of war, images that contrast starkly with commemorations that come after. Vulnerable, scared people dragged from their homes, animals carried off, and children ripped from their families all elicit very different sensations than that of a dignified memorial, a political treatise, or a celebratory account.
Sarah Badcock has made a name for herself as, alongside the likes of Aaron Retish, one seeking to spread and deepen our understanding of the Russian Revolution in hitherto under- or little-explored regions – both geographical (the Volga provinces) and social (the peasantry of European Russia’s periphery).(1) She has now moved both eastwards and backwards to explore the
Histories of the fate of the Ottoman Armenians have long, and understandably, been dominated by two themes. Firstly, the quest for ‘proof’ of the genocidal intent behind the treatment of the Armenians in 1915.