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Evelyn Araluen has been named among the six finalists for the 2026 Stella Prize with her second poetry collection, The Rot. This marks her second appearance on the shortlist, four years after becoming the first poet to win the award as an Australian woman and non‑binary writer. The $60,000 prize will be contested alongside five diverse titles: Geraldine Brooks’ memoir Memorial Days, Miranda Darling’s novel Fireweather, Lee Lai’s graphic novel Cannon, Marika Sosnowski’s hybrid nonfiction 58 Facets: On Violence and the Law, and Tasma Walton’s novel I Am Nannertgarrook. Each shortlisted author receives a $5,000 advance. Earlier this year, Araluen’s The Rot captured the top prize and a $125,000 award at the Victorian Premier’s Literary Awards, praised for its exploration of grief and collective anxiety amid the global coverage of the Gaza conflict. The collection was sparked by an incident at Adelaide Writers’ Week in 2024, where Araluen was heckled for describing the Israeli bombardment of Gaza as genocide. She told Guardian Australia that the poems aim to document a "panicked, distressed window of time" that future readers might view with horror and regret. "I wanted the book to clearly record what we knew and did not stop," Araluen said. "If it reads as naive, let it still serve as a record of an uncomfortable truth we all must face." Araluen, a Goorie and Koori poet, first won the Stella Prize in 2022 for her debut collection Dropbear. This year’s shortlist was selected from 212 submissions, underscoring the depth of contemporary Australian women’s and non‑binary writing. Chair of judges Sophie Gee praised the list, noting that the books “move us to the core through language, the truth of their emotion, and the honesty of what it means to be human, across time and space.” The winner will be announced on 13 May 2026. Last year’s prize went to Michelle de Kretser for her novel Theory and Practice.

Wayne Koestenbaum's latest novel, 'My Lover, the Rabbi', defies expectations with its unapologetically obsessive prose and exploration of desire. The story centers around a man who works as an antique furniture restorer and his overwhelming desire for a man who works in a synagogue. This central fact is accepted by all characters, and the writing treats realist conventions with a kind of exalted scorn.The book's 188 chapters are short and plunge the reader into a world of carnality, confusion, and bizarrely specific detail. The title of the book is reiterated throughout, becoming almost a mantra. This insistent and anxious formality is at the heart of the book's uncanny life, matching style to subject in a brilliant and unconventional way.As the plot emerges, it seems almost 19th century in its storyline, with themes of infidelity, illegitimacy, madness, shopping, coincidences, and death. The narrator's need to discover the secret of his rabbi's attractiveness drives the plot, much like Proust's Swann. The mystery of the rabbi's allure and the death of his three-year-old son become central to the narrative, revealing vistas of unknowability.The book's whirlwind invention culminates in a final, fugue-like recapitulation, where the narrator's obsessive desire morphs into a vision of the unknowability of any object of desire. This gloriously original evocation explores what it might feel like to admit to the inability of love to triumph over death. Koestenbaum's writing is like that of the best kind of angel, unafraid to come down to earth and explore the complexities of human desire.

The recent UN General Assembly resolution, led by Ghana, has made a significant statement by declaring the transatlantic slave trade 'the gravest crime against humanity'. Adopted with 123 votes in favor, 3 against, and 52 abstentions, this resolution urges steps including formal apologies, reparatory justice, and the return of looted cultural property.The voting pattern revealed a stark divide, with much of Africa, the Caribbean, and the global south supporting the resolution as a moral imperative. In contrast, Western countries, including the US, Israel, and Argentina, which voted against it, and the UK and EU member states, which abstained, reacted as if acknowledgment itself were a threat to their comfort.Ghanaian President John Dramani Mahama emphasized that the resolution is 'a pathway to healing and reparative justice' and 'a safeguard against forgetting'. The resolution aims to establish, at the highest level, a crime whose scale, brutality, and enduring consequences continue to structure the present.The backlash against the resolution has been revealing, with objections from Britain and the EU framed in terms of legal caution. They argued that the resolution creates a 'hierarchy of historical atrocities' and that the slave trade was not prohibited by international law at the time. However, this stance is seen as a way to avoid confronting the world-making role of transatlantic slavery.The Caribbean Community (Caricom)'s 10-point plan for reparatory justice is crucial in this context. For over a decade, Caricom has insisted that reparatory justice is not merely about writing cheques but about linking formal apologies to development, public health, education, and other areas. The UN resolution is seen as a first step in creating political and moral architecture for reparations claims.The fear of Western countries is not of rhetoric but of precedent. Once the slave trade is officially recognized as foundational and still alive in its consequences, questions about debt, underdevelopment, museum collections, and trade structures inevitably follow. The resolution has exposed who wants the wealth from slavery to remain history's most profitable amnesia.

On April 5, 2026, President Donald Trump posted a vulgar warning on Truth Social and X, demanding that Iran "open the f****** Strait" or face the bombing of its bridges and power plants. The post, framed as a blend of threats and profanity, raised global concerns because the Strait of Hormuz is a critical oil chokepoint. Rather than replying in kind, Iranian diplomatic missions across continents responded with a wave of sarcasm and satire. Embassies from London to Pretoria, New Delhi to Moscow, used short quips, memes, and literary references to ridicule the president’s language and question his mental fitness. The most viral exchange began when the Iranian embassy in Zimbabwe replied on X, "We've lost the keys," to Trump’s demand to open the Strait. The joke quickly spread: the South African mission added, "Shh… the key’s under the flowerpot. Just open for friends," while the embassy in Bulgaria referenced the late convicted pedophile Jeffrey Epstein, writing, "Doors open for friends. Epstein’s friends need keys." These posts coincided with renewed speculation about the Epstein files. Political rivals have suggested that Trump’s aggressive stance serves to distract from the release of millions of documents linking billionaires, academics and politicians to Epstein. Although Trump appears in the files, he denies any wrongdoing, claiming he cut ties with Epstein decades ago. Complicating the political backdrop, U.S. Attorney General Pam Bondi, who oversaw the Epstein investigation, was removed from office on April 2. Analysts argue her dismissal reflected growing pressure on the administration over the handling of the files. Many Iranian missions seized the moment to invoke the 25th Amendment, Section 4, urging U.S. officials to consider removing a president deemed mentally unfit. The South African embassy shared a post by broadcaster Piers Morgan calling Trump’s tweet "embarrassing" and suggesting he had "lost his marbles," and added, "Humanity must know what kind of creatures are leading the American people." Similar sentiments were echoed by the Tajikistan and London missions, the latter posting a Rumi poem about a madman wielding a sword alongside a Mark Twain quote warning against reckless speech. Other embassies took a more direct tone. The Indian mission labeled Trump a "sore loser brats" and urged him to "get a grip," while the Austrian embassy overlaid an "18+" warning on a screenshot of the president’s post, condemning the threats as a potential "War Crime" against civilian infrastructure. Visual satire also featured prominently. In Berlin, the Iranian embassy shared a Der Spiegel cartoon depicting Trump staring into a mirror, imagining himself as an emperor. In Moscow, a Russian illustration portrayed Trump as a delusional Don Quixote charging at a windmill, with a sidekick shouting, "Boss, it’s just a windmill!" All of this digital mockery unfolds as the Middle East braces for Trump’s self‑imposed deadline to reopen the strategic Strait of Hormuz early Wednesday, local time. While geopolitical tensions rise, Iranian diplomatic posts continue to turn the president’s incendiary rhetoric into a global social‑media spectacle, one sarcastic tweet at a time.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

Keith Altham, a trailblazing music journalist and publicist, has passed away at the age of 84 after battling Parkinson's disease. He was a key figure in shaping the careers of some of the most influential musicians of all time.Altham began his career as a music journalist, writing for publications like The New Musical Express and Fabulous. However, it was his work as a publicist that earned him the most recognition. In 1971, he founded KA Publicity, which became a go-to agency for many of the biggest names in rock music.His impressive client list included The Rolling Stones, The Who, Marc Bolan, The Beach Boys, Slade, Status Quo, and Van Morrison. Altham's ability to understand the needs of both artists and journalists made him a natural at PR.One of Altham's most notable contributions to music history was suggesting the stage name Reg Presley for Reg Ball, the lead singer of The Troggs. He also famously advised Jimi Hendrix to set fire to his guitar during a concert, a stunt that became an iconic moment in rock music.Altham's relationships with musicians were built on trust and respect. He was known for his wit and candor, often providing Sting with candid advice during some of the most turbulent years of his career.Throughout his life, Altham was celebrated for his contributions to the music industry. He will be remembered as a pioneer in rock music PR and a true legend in British music history.

Billy Livsey, an American musician who arrived in England in the 1970s, transitioned from touring with Slim Chance and Gallagher & Lyle to writing hits for Shakin’ Stevens, Elkie Brooks and Paul Young before being tapped to write for the teen pop group Five Star. In the mid‑80s Livsey co‑wrote the chart‑topping single “System Addict” with Gary Bell, and a few months later his publisher suggested a partnership with lyricist Peter Sinfield. After a brief exchange of a rough melody, Sinfield asked Livsey to pen the words over the phone, resulting in the lyric sheet for what would become “Rain Or Shine.” The demo featured the renowned session vocalist Tessa Niles, whose résumé includes touring with The Police and singing on Eric Clapton’s “Layla” on his Unplugged album. Livsey recalls that her effortless delivery set the tone for the final recording. Recording took place at London’s iconic Mayfair Studios, a venue that had hosted legends such as George Michael and Tina Turner. Livsey admits he “stole” a sequencer fragment from Donald Fagen’s “New Frontier” to give the track a subtle, progressive‑pop edge. Five Star’s lead vocalist Deniece Pearson remembers the demo’s female vocal as a revelation compared to an earlier male‑sung version of “All Fall Down.” Her father and manager, Buster Pearson, urged her to “listen to the lady on the demo and articulate your words.” Because she was wearing braces, Deniece deliberately over‑enunciated to keep the metal from sticking to her lips – a quirky detail she still laughs about. Studio sessions were far from smooth. Frequent electrical glitches prompted Livsey to joke, “Gremlin. Gremlin.” Yet he remained confident, insisting that such hiccups often precede a hit record – a prediction that proved accurate. Upon release, “Rain Or Shine” became a staple of Five Star’s live repertoire, earning spots on Top of the Pops, the Royal Variety Performance and the Miss World stage. During a tour, a fan pulled Deniece into the audience pit, only to be rescued by her “hunky Italian” security guard, a moment she now recounts with affection. Today the song closes the group’s concerts as an encore, with audiences singing along and often moving Deniece to tears. She credits Livsey’s melodic craftsmanship, noting that the 80s songwriting formula – a strong melody followed by soaring vocals – remains the song’s enduring charm.

The United States has revoked the permanent residency of two women identified as relatives of the late Quds Force commander Qassem Soleimani, the former head of Iran’s Islamic Revolutionary Guard Corps foreign arm.According to a State Department statement released on Saturday, Hamideh Soleimani Afshar—Soleimani’s niece—and her daughter were arrested on Friday night and are now in the custody of Immigration and Customs Enforcement (ICE), which is seeking their removal from the country.The decision has sparked a debate over the limits of free‑speech protections in the United States and whether family members should be penalised for the actions or affiliations of their relatives.In its release, the State Department described Afshar as “an outspoken supporter of the totalitarian, terrorist regime in Iran,” adding that such rhetoric would not be tolerated under the Trump administration. The statement read: “The Trump Administration will not allow our country to become a home for foreign nationals who support anti‑American terrorist regimes.”Iranian media, however, quoted Afshar’s daughter, Zeinab Soleimani, who denied any connection to the late Quds Force leader, stating, “The individuals arrested in the United States have no connection whatsoever to martyr Soleimani, and the claim made by the US State Department is false.”The arrests occur at the five‑week mark of the U.S.‑Israel war on Iran, which began on February 28, 2026.This is the second known instance this month that the Trump administration has stripped legal immigration status from individuals allegedly linked to senior Iranian figures.Secretary of State Marco Rubio took to social media to claim credit for the action, writing, “This week, I terminated both Afshar and her daughter’s legal status.” He added that Afshar had “celebrated attacks on Americans and referred to our country as the ‘Great Satan.’”The State Department also highlighted Afshar’s “lavish lifestyle” in Los Angeles and noted that her husband has been barred from entering the United States.Similar pressure was applied earlier this month to Fatemeh Ardeshir‑Larijani, the daughter of the late Iranian official Ali Larijani. Both she and her husband, Seyed Kalantar Motamedi, had their U.S. immigration status revoked and were prohibited from re‑entering the country. Larijani, a former head of Iran’s Supreme National Security Council, was killed in an Israeli airstrike on March 17.The moves reflect growing influence from conservative politicians and activists demanding the expulsion of individuals with familial ties to Iran’s leadership.Far‑right influencer and Trump ally Laura Loomer claimed she had reported Afshar to the State Department and thanked Rubio, calling the removal a “big scalp.” An online petition on Change.org, launched two months ago, had already gathered more than 4,000 signatures calling for Afshar’s deportation.Ardeshir‑Larijani, who previously worked in oncology at Emory University’s School of Medicine, became a target of protests after Iran’s crackdown on anti‑government demonstrators in December and January. A separate Change.org petition demanding her deportation amassed 157,017 signatures by Saturday.The petition emphasized her familial links to Iran’s Supreme Leader Ali Khamenei, who was killed on the first day of the war, arguing that while she lives peacefully in the U.S., “countless young Iranians are dying in Iran due to the policies and decisions made by Ali Khamenei and his inner circle, including her father.”U.S. Congressman Earl “Buddy” Carter of Georgia echoed the call, urging that Ardeshir‑Larijani’s medical license be revoked. He wrote, “America’s medical institutions must not serve as a safe harbor for individuals connected by blood and loyalty to regimes that openly call for the death of Americans.”According to Emory’s student newspaper, The Emory Wheel, Ardeshir‑Larijani was no longer employed by the university as of January.

A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.