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Authors and Readers Share Their Favorite Reads of May In a recent article, The Guardian shared recommendations from writers and readers on the books they enjoyed in May. The list includes a diverse range of titles that have captured the hearts of readers. Recommendations from Madeleine Thien Madeleine Thien, author of 'The Book of Records', shared her favorite reads, including: Dorothy Tse's 'City Like Water', a novel translated from Chinese by Natascha Bruce Karen Hao's 'Empire of AI' Hsiao-Hung Pai's 'Scattered Sand: The Story of China's Rural Migrants' Hannah Lillith Assadi's 'Paradiso 17' Michael Ondaatje's selected poems, 'The Distance of a Shout' Stephen's Recommendation Stephen, a Guardian reader, recommended: Francis Spufford's 'Nonesuch', a mystical and captivating read set in early wartime London Sufiyaan Salam's Recommendations Sufiyaan Salam, author, shared his favorite reads, including: Monika Radojevic's 'Strangerland', a story about immigrant parents' love story in pre-smartphone London Alan Moore's 'From Hell', a graphic novel weaving together London's past, present, and future The Oxford Shakespeare, for its insight into the playwright's life and times Sue's Recommendation Sue, a Guardian reader, recommended: Lisa Ridzén's 'When the Cranes Fly South', a moving story about love, friendship, and the end of life

The Resurgence of Proustian AppreciationRecent reader responses to In Search of Lost Time reveal a shift in perception regarding Marcel Proust's magnum opus. While often viewed as an impenetrable, dense classic, these personal accounts suggest the work is far more dynamic, humorous, and accessible than the popular myth suggests.A Reader's Journey Through the Seven VolumesBill Gaver completed a nine-month marathon reading of all seven volumes, noting that despite periods of tedium, the narrative delivers "five to 10 pages of the most revelatory reading" interspersed with modern elements like electric lighting and motorcars.Sally Burch highlights the work's versatility, reading it in French on the Paris Métro to deter unwanted attention, while emphasizing the presence of "a great variety of sex" and unrivaled descriptive powers.Claire Chandy challenges the notion of Proust as a dry author, pointing out that the text is "very funny in places" and contains "surprising plot developments."The Accessibility ParadoxThe letters reveal a tension between the work's intimidating length and its engaging content. Anthony Burton noted the sheer endurance required, even prompting crew members to test his commitment. However, the most significant insight comes from John Prescott Thomas, who recommends the bande dessinée (comic book) adaptation published by Delcourt. This suggests that visual formats are successfully bridging the gap for modern readers who find the prose daunting.Reframing the Literary CanonThe collective voice of these readers is dismantling the "boring" stereotype associated with Proust. By focusing on the humor, the plot twists, and the social intrigue, these accounts argue that the book is not just a study of memory, but a compelling narrative about human nature and society.The Future of Classic ConsumptionAs illustrated by the success of the comic book adaptation, the future of classic literature lies in accessibility. By offering formats that strip away the intimidation factor, publishers can ensure that the "revelatory reading" experienced by these readers is accessible to a broader audience.

The LeadA novel featuring a protagonist whose job is taken by AI has won the Climate fiction prize. Hum by Helen Phillips, the American writer's third novel, explores themes of technological displacement and the commodification of nature in a dystopian future.The Disneyfication of Nature in LiteratureHum is about a woman, May, who loses her job to a "hum" of the title – a humanoid robot. Struggling to find work, she becomes a guinea pig for an experimental injection that alters her face so it can't be recognised by surveillance. When she gets paid for it, she splashes out on family passes to the Botanical Garden, the last remaining green space in her city. There, things take a turn for the worse.The Climate Fiction Prize RecognitionThe prize, worth £10,000, was first awarded last year to Abi Daré for And So I Roar, the follow-up to her bestselling debut The Girl with the Louding Voice. This year's judging panel was chaired by Guardian theatre critic and former literary editor of the Independent, Arifa Akbar. Alongside Kit de Waal and Friederike Otto on the panel were author Jessie Greengrass and book influencer Simon Savidge.Judges' Perspectives on the NovelJudge and writer Kit de Waal described Phillips's book as being about the "Disneyfication of nature … turning nature into a rare place that we have to pay to see". Fellow judge and climate scientist Friederike Otto added that it "tackles the central reason that nothing is done about the climate crisis – privilege", while writer Daisy Hildyard described it as "mesmerising and scary".The Author's InspirationPhillips was inspired to write the book after walking home from work one day and having the thought that she needed to buy dishcloths, before opening her computer at home and finding that dishcloths were being advertised to her. "That eerie feeling stuck with me, and I started to think about what worst-case scenarios might arise from surveillance by an algorithm."Impact on Climate AwarenessHum "helps us connect with what really matters and stops us from sleepwalking into an inevitable dystopia", said Lucy Stone, CEO of Climate Spring, which funds the prize. "In the novel, the machines themselves start to question the insane volume of advertising and the consumer treadmill, and then show the family that there are multiple different futures lying ahead of them."Future RecognitionPhillips will appear at Hay festival to discuss the book on Saturday 30 May. Alongside Phillips on this year's shortlist were Madeleine Thien for The Book of Records, Robbie Arnott for Dusk, Keshava Guha for The Tiger's Share, Susanna Kwan for Awake in the Floating City and Maria Reva for Endling.

The Climate Crisis of the World CupThe 2026 FIFA World Cup is shaping up to be not only the most politically combustible tournament in modern history but also potentially the most environmentally damaging. As soccer fans increasingly watch preparations through their fingers amid controversies over ticket prices, Iran's participation, and ICE's role, a more long-term peril is being overlooked: the tournament's staggering contribution to climate change.The Environmental Footprint of Expanded TournamentScientists conservatively project that the 2026 World Cup will generate around 9 million tons of carbon dioxide equivalent, nearly double the historical average for tournaments between 2010 and 2022. Air travel comprises approximately 7.7 million tons of this carbon budget—more than four times that of the average for previous tournaments. The worst-case upper estimate for air transport is about 13.7 million tons of CO2.This environmental disaster stems from FIFA's decision to expand the tournament from 32 to 48 teams while selecting three host countries—Canada, Mexico, and the US—that encompass a massive geographical expanse. The distances fans and teams need to travel make less carbon-intensive forms of transportation impractical, even with improved infrastructure.The Carbon Cost of FIFA's GreenwashingFIFA has long been a shameless purveyor of greenwashing. Ahead of the 2022 World Cup in Qatar, FIFA President Gianni Infantino implored soccer fans to "raise FIFA's green card for the planet" by recording messages about environmental preservation. In reality, the Qatar tournament was a "carbon bomb in sporty form" that necessitated more than 1,000 daily flights, used an energy-intensive desalination system, and relied largely on bogus carbon-offset schemes.The 2026 tournament is even worse. Scholar Tim Walters argues that this World Cup is the deadliest sporting event in history due to increased greenhouse gas emissions causing premature deaths—a sign of FIFA's "abject misanthropy."Travel Nightmares and Environmental HypocrisyThe geographical challenges are staggering. Bosnia and Herzegovina's squad will have to travel more than 5,000km from Toronto to Los Angeles to Seattle, with their training camp in Salt Lake City adding additional carbon miles. Algeria will rack up about 4,800km journeying from Kansas City to San Francisco and back. Czechia starts in Guadalajara before heading to Atlanta and then Mexico City, notching more than 4,500km.Lacquer on top of this is FIFA's sponsorship deal with Aramco, the state-owned Saudi energy behemoth that is the largest corporate greenhouse gas emitter on earth, responsible for more than 4% of all emissions since 1965. More than 100 professional female footballers, including some of the biggest names in the game, signed a letter condemning the partnership, citing environmental impacts as a serious problem.Extreme Heat Threatens Player and Fan SafetyPlayer safety is also in jeopardy thanks to extreme heat brought on by climate change. The National Weather Service is warning that every single region of the US will experience temperatures that exceed historical averages during the tournament. A Guardian analysis found that "high levels of heat and humidity will impact the ability of teams to perform on the field," with 26 matches likely to be played when the temperature is at or above 26C (78.8F) WBGT—a threshold beyond which cooling breaks are necessary.An academic study found that 14 out of 16 host cities are likely to experience average WBGTs that exceed 28C (82.4F) in June and July. While three of the cities most exposed to dangerous heat—Houston, Dallas, and Atlanta—have air-conditioned stadiums, the energy needed to power that cooling doesn't help climate change.The Path Forward for Sustainable SportsDr. Madeleine Orr of the University of Toronto, one of the authors of the heat study, noted the "lack of commonsense preparations by event organizers to keep people safe in extreme weather conditions." She added, "The only interest is in protecting athletes on the field, with basically no consideration for fans, staff, the media and volunteers working in the stands or on the streets."As climate litigation against unrepentant greenwashers continues to rack up wins, FIFA faces increasing pressure to align its actions with its environmental rhetoric. The 2026 World Cup represents a critical juncture for global sports organizations to either continue down a path of environmental destruction or begin implementing meaningful sustainability measures that address the climate crisis head-on.

The Discovery Jem Calder's writing career had a fairytale start. Sally Rooney emailed him, impressed with a short story he'd submitted to the literary magazine she was editing soon after Conversations with Friends came out. It was the first story he'd ever completed. Calder was already 'a huge fan' of Rooney's, so the whole thing was surreal, he tells me. 'I can't really imagine what could top that, to be honest.' The Writing Career That story ultimately ended up in Reward System, Calder's 2022 collection of six interconnected tales following a cast of sad young things living in an unnamed city. It was hailed as a book of the year; a review in this paper placed Calder among 'the most talented young writers of fiction at work today'. Now, his debut novel, I Want You to Be Happy, picks up some of the themes of the first book: the trials of modern love, millennial ennui, consumer culture, technology, political and ecological doom. The Novel's Themes The novel explores the challenges of modern relationships, with characters struggling with commitment, addiction, and the search for meaning in a dismal macroeconomic climate. Calder's characters are addicted to instant gratification – buying stuff, social media, vaping, porn – anything to ward off the world's horrors. The Author's Perspective Calder grew up in Cambridge, studied English at Leeds, and has since worked a variety of jobs alongside writing, including those of his protagonists – Joey is a barista, and Chuck is a copywriter. He says he 'truly can't relate' to authors who complain of writer's block – having to work a day job 'gives me such motivation to get back to it and force myself to deal with something difficult in my writing'. The Future Calder could be grouped with a cohort of young novelists to whom the 'voice of a generation' label can easily be applied, alongside the likes of Rooney, Oisín McKenna, Madeleine Gray – writers concerned with how a dismal macroeconomic climate impacts young lives. How does Calder feel about that badge? It 'isn't something I consciously pursue at all', he says. 'It's unavoidable not to critique capitalism in some way if you're trying to address the absurdities of how we live now, but I also don't care about putting my political views in my fiction. The goal is always to just write realistically about how life feels.'

After a 90‑year blackout, MGM’s 1932 melodrama Letty Lynton is set for its first legal public screening. The film, starring Hollywood icon Joan Crawford, was withdrawn in 1937 following a plagiarism lawsuit and pressure from the Hays Office, which deemed its risqué themes “unfit for adaptation”.The controversy began when MGM attempted to acquire the rights to the Broadway hit Dishonored Lady, a play notorious for its depictions of booze, drugs and sexual intrigue. After the playwrights demanded $30,000—a sum the studio balked at—MGM settled for the cheaper novel by Marie Belloc Lowndes for $3,500. The resulting film, inspired by the 1857 murder trial of Scottish socialite Madeleine Smith, shocked contemporary censors with scenes such as Crawford’s character watching her ex‑lover sip poisoned champagne.Legal battles intensified when playwrights Edward Sheldon and Margaret Ayer Barnes sued MGM for plagiarism, alleging the movie copied their work rather than the novel. The protracted case forced MGM to pull the film from circulation in 1937, and a year later Crawford herself was labeled “box‑office poison”. Yet both the actress and the film survived, resurfacing in cultural memory through fashion and later adaptations.Beyond cinema, Letty Lynton left an indelible mark on 1930s style. Costume designer Adrian created a white organdy dress with exaggerated sleeves for Crawford; the design was mass‑produced for Macy’s and sparked a nationwide craze. Edith Head later called the dress “cinema’s single biggest influence on fashion”.The film’s revival is largely credited to Crawford’s grandson, Casey LaLonde. In an Instagram post, he announced that the play’s copyright would expire on 31 December 2025, clearing the legal path for a public showing. Warner Bros., which now holds the rights to many pre‑1986 MGM titles, restored the picture in 4K and arranged for its debut at the TCM Film Festival in Los Angeles on 1 May 2026. The movie will also be issued on Blu‑ray and DVD through the Warner Archive.LaLonde thanked Warner Bros. and library historian George Feltenstein for making the restoration possible, noting that without their effort “we wouldn’t have this fabulous film to see again on big and small screens.”Fans of classic Hollywood can finally experience a piece of cinema history that was once deemed too daring for the silver screen, offering a fresh look at Joan Crawford’s daring performance and the era’s bold storytelling.

Tamerlano, a 1724 opera by Handel, has been reimagined in a modern production at the London Handel Festival. The story revolves around the despotic emperor Tamerlano, who has brought the stubborn Bajazet to his court in chains. Tamerlano's infatuation with Bajazet's daughter Asteria leads him to offer his betrothed, Irene, to the Greek prince Andronico. However, both Bajazet and Andronico threaten to end it all, while Asteria plots to assassinate Tamerlano.In an attempt to make the opera more accessible, director Orpha Phelan has aligned each character with a recognizable famous figure. Tamerlano is reimagined as Donald Trump, Andronico as Alexander the Great, and Irene as Elizabeth Bennet or a Bridgerton escapee. The production is billed as 'Social Experiment 2', manipulated by Andronico's friend Leone, played as Sigmund Freud.Despite the modern twist, the opera's musical standards are high, led by Laurence Cummings and the excellent Academy of Ancient Music. The cast, including Benjamin Hulett as Bajazet, Nardus Williams as Asteria, and Kitty Whately as Irene, copes admirably with Phelan's concept. However, James Laing's portrayal of Tamerlano is somewhat overwhelmed by excessive fidgety business, including eating Big Macs and doing the Trump dance.The production runs at Shoreditch Town Hall, London, until 28 March. Despite some reservations, the opera's vital element of danger is somewhat lost in the buffoonery. Nevertheless, it remains a fine cast and a resourceful set by Madeleine Boyd.

Madeleine Dring, born in 1923, was a composer with an unconventional career that spanned theatre, pantomime, and cabaret. Despite her untimely death at 53, her music has been rediscovered, and her seriousness as a composer is now evident.The album Through the Centuries: Songs of Madeleine Dring, performed by Kitty Whately and Julius Drake, features a wide-ranging survey of Dring's work, drawing on poets from Shakespeare to her contemporaries. Dring's ability to find distinctive new melodies for old classics, such as It Was a Lover and His Lass, is showcased, along with her knack for word-setting.Whately's warm, supple mezzo-soprano brings these fervent outpourings to life, while Drake's piano accompaniment provides the perfect balance of support and independence. The album offers a variety of moods, from the passionate Love Is a Sickness and Echoes to the tongue-in-cheek Encouragements to a Lover and The Cuckoo.The encore, Dring's arrangement of Cole Porter's In the Still of the Night, is a delightful addition, showcasing her skill in reinterpreting popular songs. This album puts paid to any idea that Dring was not a serious composer, instead highlighting her unique voice and contribution to classical music.