Kieran Fionn Murphy writes: Depictions of type 2 diabetes remain virtually absent from English-language novels, even though 589 million people worldwide have the disease. A mere mention of a character with type 2 diabetes who isn’t feckless, gluttonous, evil or dissolute, even as an aside, could help a vast, marginalised population feel recognised.
David William Sheehan writes: I learned to read power from a puppet throwing toast. Most afternoons of my Irish childhood ended in front of The Den with Zig and Zag, two aliens on a couch, telling each other and occasionally the nation to feck off.
Jonathan Becker writes: When I was packing up my grandmother’s apartment in Chicago after she died, I found an unusual book among her otherwise conventional collection: Henry Miller’s ‘Tropic of Cancer’. It was many years later that I would learn the book’s significance.
John Simmons writes: Is Homer the most influential writer of all time? We don’t know much about whoever he, she or they might have been, and we don’t know with any certainty how old the Iliad and the Odyssey are. They brought us the power of storytelling, and for that we should give them the highest praise.
Enda O’Doherty writes: Populists claim they represent the views of ‘ordinary people’, ignored by out-of-touch, ‘cosmopolitan’ political elites. But their methods of communicating with this segment of society are laden with calculation and condescension.
Alexander Obolonsky writes: Russia has something positive to present – both to itself and to the world. Alongside the dominant culture of subjugation, an alternative counter-culture of resistance has always existed and survived, even in the darkest times.
Andy Storey writes: the old, better-managed order mourned by the writers in Foreign Affairs was no less violent and exploitative than Trump’s grotesque carnival of hustle and hubris.
Stephen O’Neill writes: What is stopping a conversation about a United Ireland which doesn’t knowingly inhabit the same structures that it seeks to replace, or repeat the same cliches and reinscribe the same privileges that those structures have perpetuated?
Maurice Fitzpatrick writes: The fiasco marring this year’s Berlin Film Festival shows once again that the most vital art does not emerge from approval but thrives on the margins. A lesson the BFF needs to (re)learn.
Ciarán O’Rourke writes: On the evidence of his work to date, Martin Dyar might be thought of as an able, and often savagely funny, dramatist of the universal human parish.