Helen Benedict

Apr. 17th, 2026 12:05 am
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Posted by Unknown

Helen Benedict, a British-American professor of journalism at Columbia University, is the author of nine novels, six books of nonfiction, and a play.

Her new novel is The Soldier's House.

Recently I asked the author about what she was reading. Benedict's reply:

Like so many people these days, I feel overwhelmed and distressed by the many injustices crowding in on us, from the wars in the
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Posted by Caitlin G.


 
Buy The Republic of Memory

FORMAT/INFO: The Republic of Memory will be published by Saga Press on May 5th, 2026. It is 480 pages long and available in paperback, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: Two hundred years ago, the Sarafina set out on a journey to a new planet. While thousands of people sleep in cryogenic pods, generations of living crew members work to keep the ship running smoothly and ensure the safe delivery of the sleepers to their new home. But when a crisis faces the ship, a growing number of people begin to ask a critical question: Do they still want to dedicate every aspect of their lives to serving and protecting people they've never met?

The Republic of Memory is an engrossing tale of a ship in crisis that also digs into some juicy existential questions. What do you do when your ship's values and identity no longer align with the civilization that gave the ship its mission in the first place? Why are the lives of those in cryostasis more honored than the lives of the people who keep the ship running today?

I really enjoyed how the disaster that hits the ship really forces its everyday inhabitants to question things that they've taken for granted and to see the contradictions in their lives. They revere those in cryo as "ancestors," and consider the journey to their new planet as a sacred mission, but the culture of the ship has fundamentally changed since it began its voyage. If the crew were to wake the ancestors today, would they even get along with those who woke up?

To explore all these facets of a culture in upheaval, the story skips around to several different viewpoints over the course of the book, from a mid-level administrator to a teen street artist to the head of a rebel faction. While a few POVs get more of the lion's share of the tale, it's almost hard to point to the "main" characters of this book as there are so many POVs. And yet it is done in a way that is never confusing, as many characters show up in other POV chapters; you are now simply getting a different angle of the same story. It gives a pretty broad look at the different ways people are handling the crisis and grappling with the choices put before them and really enjoyed seeing the different cultures and parts of the ship.

Where I'm a little more mixed is in how well the author engaged with one of the unique aspects of the ship. On this generation ship residential areas are divided not by nation or by job description, but by the language a person speaks. Dividing on those lines is supposed to allow residents more flexibility in migration, as anyone can learn a language but they can't change their religion or heritage. And I did enjoy some of the ways the author plays with language. For instance, when listening to the voice of an ancestor, the current ship inhabitants hear it as "ye olden days" style language, but in flashbacks, the dialogue is perfectly normal.

But language is also supposed to be a huge barrier between the different berths. In fact, there's a whole occupation dedicated to translation, as only Admin people speak English as a primary language, and common folk need a Translator to process paperwork. Aside from some initial encounters with Translators, however, language didn't seem to cause too much friction. I myself grapple if this was the intent, that language evolves to its needs and people will find a common language. But as this is being sold as a linguistic sci-fi, it didn't feel like the author did enough with it.

The Republic of Memory is exactly what I was hoping for: a deep dive into a fully realized culture that has uniquely evolved in support of its mission. I really enjoyed the many different POVs it used, and how well fleshed out this microcosm of civilization felt. I am eagerly awaiting the next installment in this journey and can't wait to see how the crew evolves in the aftermath of this first crisis.

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Posted by Łukasz

 


Book links: Amazon, Goodreads

ABOUT THE AUTHOR: Over a writing career that spanned three decades, Philip K. Dick (1928-1982) published 36 science fiction novels and 121 short stories in which he explored the essence of what makes man human and the dangers of centralized power. Toward the end of his life, his work turned toward deeply personal, metaphysical questions concerning the nature of God. Eleven novels and short stories have been adapted to film; notably: Blade Runner (based on Do Androids Dream of Electric Sheep?), Total Recall, Minority Report, and A Scanner Darkly. The recipient of critical acclaim and numerous awards throughout his career, Dick was inducted into the Science Fiction Hall of Fame in 2005, and in 2007 the Library of America published a selection of his novels in three volumes. His work has been translated into more than twenty-five languages.

First published February 1, 1974 Page count: 204 pages Formats: all Literary awards: Hugo Award Nominee (1975), Nebula Award Nominee (1974), Locus Award Nominee for Best Novel (1975), John W. Campbell Memorial Award for Best Science Fiction Novel (1975)

There are, broadly speaking, two kinds of bad mornings.

The first is when you wake up late, miss your alarm, and step on something on the way to the bathroom.

The second is when you wake up and discover that you do not legally, socially, or bureaucratically exist, which is considerably worse.

Jason Taverner experiences the second kind. And it’s a strong start. In fact, it’s such a strong start that the rest of the book spends a fair amount of time trying to catch up with it. 

In the world Jason wakes up to, authority is everywhere, and it makes a routine of invigilating people. Taverner himself was a celebrity, and he spends most of the book trying to get his life back. Understandable, but it makes him less interested in big questions about identity and reality than in the more practical issue of not being arrested.

Anyway, he’s not awful to read about, but he’s also not that interesting. The book hints that losing everything might change him, but it mostly doesn’t. He stays focused on getting his life, status, comfort, and place at the top back. There are a few chances for him to actually connect with people, but he tends to fumble them or just move past them. That might be the point, but it doesn’t make him more engaging. That said, scenes describing his confusion and panic impressed me. And his attempts at explaining what love is are quite good.

Still, people around him are much more interesting. Buckman, in particular, is a fascinating character who knows a lot about life and certain life altering substances. 

The structure is loose. Taverner moves through a series of encounters, each of which feels like it is going somewhere, but often isn’t. Characters appear, say something interesting, and then vanish. The explanation of the mystery didn't shock me since I read most books by Philip K. Dick and also his biography. But I won't spoil it.

So, did I like it? Mostly. There is something here, a sense that people are stuck being themselves, even when the world shifts under their feet. In the end, it’s an interesting book that never quite becomes a great one. It's full of good parts, just loosely assembled. You can see why people remember it. You can also see why they argue about it.

It makes it worth a read, I guess.

Alex Ritany

Apr. 15th, 2026 12:05 am
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Posted by Unknown

Alex Ritany is a nonbinary Canadian artist, musician, and author of Dead Girls Don't Say Sorry, I Wish You Wouldn't, and Maybe Tomorrow I’ll Know.

Recently I asked the author about what they were reading. Ritany's reply:

For fiction:

Murderbot Diaries by Martha Wells

I’m working away at the Murderbot series whenever my library has copies for me. At the moment I have just finished the first

Anica Mrose Rissi

Apr. 12th, 2026 08:05 am
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Posted by Unknown

Anica Mrose Rissi is the award-winning author of more than a dozen books for kids and teens, including picture books, chapter books, middle grade, and YA. Her essays have been published by The Writer and the New York Times, and she plays fiddle in and writes lyrics for the band Owen Lake and the Tragic Loves. Rissi grew up in Maine and spent many years in New York City, where she worked as an

The case of the missing notifications

Apr. 11th, 2026 11:58 pm
denise: Image: Me, facing away from camera, on top of the Castel Sant'Angelo in Rome (Default)
[staff profile] denise posting in [site community profile] dw_maintenance

I keep forgetting to post about this: we've been troubleshooting the "missing notifications" problem for the past few days. (Well, I say "we", really I mean Mark and Robby; I'm just the amanuensis.) It's been one of those annoying loops of "find a logical explanation for what could be causing the problem, fix that thing, observe that the problem gets better for some people but doesn't go away completely, go back to step one and start again", sigh.

Mark is hauling out the heavy debugging ordinance to try to find the root cause. Once he's done building all the extra logging tools he needs, he'll comment to this entry. After he does, if you find a comment that should have gone to your inbox and sent an email notification but didn't, leave him a link to the comment that should have sent the notification, as long as the comment itself was made after Mark says he's collecting them. (I'd wait and post this after he gets the debug code in but I need to go to sleep and he's not sure how long it will take!)

We're sorry about the hassle! Irregular/sporadic issues like this are really hard to troubleshoot because it's impossible to know if they're fixed or if they're just not happening while you're looking. With luck, this will give us enough information to figure out the root cause for real this time.

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Posted by Victoria Strauss

Header image: an iPhone screen with the Anthropic logo, against a multi-colored background of $100 bills (Credit: Ascannio / Shutterstock.com)

The deadline to file a claim in the $1.5 billion Bartz v. Anthropic copyright settlement passed at midnight on March 30, 2026. Now that all claims have been filed, I’m taking a look at where things stand and what’s yet to come.

If you need a refresh, my backgrounder on the settlement and the class action lawsuit that spawned it is here.

The Fairness Hearing is currently scheduled for May 14…

…though it could be further delayed. It’s already been pushed back once.

The hearing is a final step in the process of approving or rejecting the settlement. The court considers objections, opt-outs, attorneys’ fees, and the fairness of the settlement as a whole. Per the judge’s order, class members who’ve filed objections can speak at the hearing via Zoom (there’s a Zoom link in the order). I’ve heard from a couple of people who were hoping to attend in person; I don’t know what the status of that is.

Payouts to class members will be issued only after the judge has granted final approval, and any appeals of the settlement have been resolved. There’s currently no timeline for that; you can ignore the August 10 estimate in settlement FAQ #35, which was optimistic even last September when the FAQ was created. So don’t expect to get a check (or checks: payments may be issued in installments) anytime soon. On the plus side, the settlement fund, into which Anthropic is paying in installments, will be earning interest, so any delays will increase individual payments.

Disputes between rightsholders will be resolved by a court-appointed Special Master.

Class participation has been robust

The pirate datasets that Anthropic used for training comprised around seven million works. Because the settlement’s definition of the class excluded foreign works and works without a US copyright registration–with such works representing the vast majority of the pirated works–the estimated number of works eligible to be incuded in the settlement was only 500,000. The finalized list of eligible works wound up slightly smaller, at 482,460. (Settlement FAQs #51 and #52 explain how the list was compiled.)

According to the motion for final approval,

The Class’s participation in the Settlement has been outstanding. As of March 19, there are 99,450
claims for 264,809 Works, representing 54% of the Works List. By contrast, there are 350 opt-outs (less than 0.5% of the Works List) and 41 objections (only 32 of which are from Class Members).

If you’re wondering why participation of just over 54% qualifies as outstanding, participation in class action settlements is typically extremely low–below 10%, according to some estimates. Average payouts are correspondingly small. The Anthropic settlement, by contrast, guarantees a payout of at least $3,000 per eligible work–and unlike many other class actions, the settlement fund is non-reversionary, which means that any leftover funds will be distributed to class members, potentially making the payout even higher. Though many authors will have to split their payout with their publishers, the unusually large payout, along with major publicity about the settlement and extensive outreach by authors’ groups and others, has incentivized response.

The number of claims will certainly have risen in the two weeks between the filing of the motion and the March 30 deadline. Will they come close to the full number of eligible works? My bet is no, but stay tuned.

Lawyers’ fees have been reduced

Class counsel initially requested a fee of 20% of the settlement fund ($300 million plus several million in expenses), with a quarter of that amount going to the several additional law firms brought on to handle administration of the settlement. The original judge in the case (Judge Alsup, who retired at the end of December 2025), was extremely blunt in his opposition to this request, especially regarding payment to the proliferating law firms.

In a filing on March 20, class counsel capitulated, cutting their request nearly in half:

Plaintiffs move for (1) 12.5 percent of the $1.5+ billion Settlement Fund in attorneys’ fees
to Class Counsel; (2) reimbursement of $2,779,950.26 in litigation expenses incurred by Class
Counsel; (3) a cost reserve of $18,220,000 for future expenses, including payment to the Settlement
Administrator; and (4) service awards of $50,000 to each Class Representative.

Average lawyers’ fees in this type of class action typically range between 25%-35%.

Macmillan’s promise re: failure to register copyright

An unpleasant corollary of the Anthropic settlement has been writers’ discovery that their publishers may not have registered their copyrights as required by their contracts, making those works ineligible for the settlement even though they were part of the pirated datasets used by Anthropic. Alone among such publishers AFAIK, Macmillan has promised to address this lapse. From Publishers Lunch:

On that front, at least, there is some good news for Macmillan authors. The company shares with PL that it has been communicating to authors and agents who have inquired about unregistered copyrights, acknowledging, “From what we currently understand, this was largely our mistake and we take full responsibility. If your work was excluded from the settlement for this reason, we will make you whole by paying you what you otherwise would have been paid under the settlement.”

I’ve seen confirmation of this promise in a recent agency email.

It’s more complicated than just making payments for unregistered books, however. Macmillan will have to figure out whether the works were among the seven million included in the datasets. As far as I know, only one of the two datasets used by Anthropic (LibGen) is publicly available.

Anthropic wants to consolidate cases

Several authors who opted out of the settlement subsequently filed infringement lawsuits against Anthropic and several other AI companies. The lawsuits were filed as a group, but not as a class, with the plaintiffs seeking individualized awards of statutory damages to be determined by a jury.

In a March 25 filing, Anthropic gave notice that it has moved to sever these lawsuits’ claims against it from the claims against the other companies and, if severance is granted, that it will move to consolidate the claims with Bartz. While consolidation would presumably limit those authors’ restitution to the amount guaranteed by the settlement, which is considerably less than the up to $150,000 per work in statutory damages the authors are seeking, that’s less than pocket change to Anthropic, so I’d guess that it mostly doesn’t want to have to deal with the legal hassle of these individual suits. (The new judge in the case, Judge Martinez-Olguin, has indicated that she’s unlikely to grant Anthropic’s request.)

One objection to the settlement could make a significant difference…if the court agrees

In addition to claims and opt-outs, there have been objections to the settlement. As noted above, as of March 19 the number of objections stood at 41, 32 of which were from class members.

The motion summarizes these, starting on page 25, including those filed under seal (the court has ordered that these be unsealed, but as of this writing, most aren’t yet available on the docket). They include objections to the amount of the settlement (either that the total amount is inadequate or that the per-work award isn’t sufficient), objections to the amount of attorneys’ fees, objections to the court-approved notice sent to class members and/or the way it was distributed, objections from writers who missed the opt-out deadline and are seeking an exception, miscellaneous objections including one arguing that books that serve a “more important function” should recieve a higher payout than “fiction and humor” books (!), objections to the inclusion of publishers in the award distribution, and objections seeking to expand the class definition by including foreign and non-copyright registered works.

Regarding the latter two issues, one objection is especially interesting. Filed by law professor Lea Bishop, this objection takes issue not only with publishers’ inclusion in the distribution plan and the sharply-limited class definition that locks thousands of pirated works out of the settlement, but with class representation, alleging that class counsel and publishers coordinated to enable publishers to insert themselves as payees (in a post on the Authors Cuild’s discussion forum, the AG has disputed this characterization). The entire objection is worth reading, but here’s the basic argument:

I. SUMMARY OF ARGUMENT2Publishers did not file this case because these damages are not theirs to recover. After discovery,they inserted themselves and corrupted the settlement process by entering into an undisclosedfee-sharing arrangement with Class Counsel. From that position, publishers drafted a distributionplan that systematically disadvantages authors, without ever proving they belong in the Class.34567 Outgoing .ludge Alsup smelled that the settlement was unfair to authors. When he uncovered thefee-sharing scheme in December 2025, he condemned it, ordered preservation of evidence, andrecommended that his successor authorize an independent investigation before approvinganything. Dkt. No. 515. Class Counsel’s Motions for Final Approval and Fees significantlymislead incoming Judge Martinez-Olguin as to her predecessor’s views by selectively quotingfavorable early statements while concealing his recent findings. Dkt. Nos. 619-6238910111213The undersigned does NOT ask the Court to reject the $1.5 billion settlement—only to ensure itreaches its rightful recipients. Authors should keep what is lawfully theirs. Toward that end, theobjector respectfully requests:1415161. Class Counsel be temporarily suspended from representing authors, pending the outcomeof the ethics investigation that Judge Alsup recommended in December 2025, and authorsbe provided with court-appointed, uncompromised counsel.2. Leave of the Court to brief two critical issues of copyright law: (1) whether foreign,unregistered, and/or pre-1970s authors have been unlawfully excluded, and (2) whetherpublishers are legally entitled to any portion of authors’ recovery.17181920212223Resolving those two questions will ascertain Class Membership with the certainty that Rule 23requires. In the meantime, the judge may withhold final approval. Ultimately, the properlyidentified Class Members—with assistance of uncompromised counsel—can stipulate withAnthropic to a revised distribution plan the Court can approve with confidence.2425262728-2-CaseNo. 3:24-cv-05417-AMO OBJECTION TO MOTION FOR FINAL APPROVAL

Excluding publishers would obviously raise the payouts to authors. But including foreign and unregistered works would vastly expand the scope of the settlement, adding tens of thousands if not millions of works. If you’re thinking that would in turn reduce payouts, the terms of the settlement ensure otherwise (see page 13):

Finally, $1.5 billion (plus accrued interest) is the minimum size of the Settlement Fund….If the Works List ultimately exceeds 500,000 works, then Anthropic will pay an additional $3,000 per work that Anthropic adds to the Works List above 500,000 works.

This would be the exact nightmare Anthropic agreed to the settlement to prevent.

For that and other reasons, I’m thinking it’s a long shot. Ms. Bishop has asked to speak and present at the Fairness Hearing, but the judge has denied her request because she “is not a member of the class and therefore lacks standing to object to the settlement.”

Once again–stay tuned!

The post Anthropic Copyright Settlement: April Update appeared first on Writer Beware.

Chris Nickson

Apr. 10th, 2026 01:05 pm
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Posted by Unknown

Chris Nickson is the author of eleven Tom Harper mysteries, eight highly acclaimed novels in the Richard Nottingham series, and seven Simon Westow mysteries. He is also a well-known music journalist. He lives in his beloved Leeds.

Nickson's new novel, The Faces Of The Dead, is the second title in his WWII historical thriller series featuring Sergeant Cathy Marsden – a female police officer
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Posted by Caitlin G.

 


Buy The Fake Divination Offense

FORMAT/INFO: The Fake Divination Offense will release on May 19th, 2026 from Bramble Romance. It is 336 pages and available in paperback, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: It's time for a new chapter in Orok's life. He's starting the rawball season on a new team, and ready to make a clean break with the Church of Uzroth (patron god of aggression). But when Orok protects cheerleader Alexo at a bar, the Church of Uzorth approaches Orok and Alexo with a proposal: be part of a fake relationship for the season to give the Church a needed PR boost, and they'll sponsor Alexo off the bench and onto the main cheerleading squad. Orok's already attracted to Alexo and he can see how much the sponsorship would mean to the man, so he agrees to the deal. But while genuine sparks fly between Orok and Alexo, Alexo has dangerous secrets in his past - ones that threaten much more than a simple sponsorship.

The Fake Divination Offense is an adventure-filled fantasy sports romance that's about all kinds of love: self-love, platonic love, and yes, romantic love. Main character Orok is a half-giant, raised in a church that believes its followers should resolve all conflict through physical violence and posturing, and should always be the alpha in the room. (Quick Note: Although Orok struggles with his church in this book, this is a queernorm world, and none of his struggles have the slightest thing to do with homophobia.) While Orok doesn't follow his church's tenets, he also wrestles with his own belief that relying on his friends just drags them down. He shouldn't bother them with his problems, he should be strong enough to deal with them on his own. Learning to accept his friends' help is just one journey this quiet giant goes on.

What's nice about this romance is that although it's a fake-dating story, from the jump Orok makes it clear to Alexo that he's interested in a real relationship. There's no dancing around what's pretend and what's real; the two have frank conversations about their feelings and what their boundaries are. That doesn't mean there aren't secrets or that their relationship is perfect. But as someone who hates when miscommunication is used, it was nice to not have to deal with "is any of this real?" type story-lines.

Speaking of not-perfect, Orok is a possessive person by nature. While he is constantly checking in on Alexo and his wants and boundaries, Orok is also the kind of person who sees the person he loves and thinks "this person is MINE, I will protect them at all costs." Naturally, Alexo has been written as the kind of love interest who is fine with this dynamic, but if possessiveness isn't your cup of tea, you might bounce a little on this. But as Alex is in a certain amount of danger throughout the story from nefarious individuals, it's a dynamic that does make sense, as Orok will do whatever it takes to keep his love safe, whether it's sucking up to people he doesn't like or physically defending Alexo from a villain.

I did also enjoy the fantasy sports aspect of the storyline. Orok plays a fantasy sport called rawball (the name is a play on a D&D term) that vaguely resembles football if magic was allowed. The rules of the sport aren't important; what IS important is Orok's journey to integrating with his new team. After a bad experience with his previous team, Orok is constantly looking for his teammates to undercut him, ignore him, or outright attack him. Learning to let go of past social traumas and to open up to his teammates is part of Orok's own growth, and a story I really enjoyed watching.

The Fake Divination Offense is another lovely story of love, healing, and acceptance from Sara Raasch. I've really enjoyed this romance duology and look forward to checking out more of her work in the future!

 

Gateway Dump

Apr. 8th, 2026 02:34 pm
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Posted by monbiot

How the deregulation of waste disposal has turned this country into a magnet for the mafia.

By George Monbiot, published in the Guardian 1st April 2026

This country’s a dump. I don’t mean that metaphorically. I mean it literally. From the point of view of criminal waste gangs, it is one big potential landfill. The chances of being caught range between minimal and nonexistent, and the penalties are mostly laughable. Successive governments have given criminals a licence to print money.

Last week, the Commons public accounts committee reported that illegal waste dumping is “out of control”. The UK is now blighted with between 8,000 and 13,000 illegal waste sites. Most consist of a few lorry loads. Some contain tens of thousands of tonnes of waste, which might incorporate everything from household products to asbestos, heavy metals and highly toxic, flammable and explosive organic chemicals. The rubbish blows through local neighbourhoods, flows into rivers and seeps into soil and groundwater. And, in most cases, nothing is done.

This is no glitch, but the inevitable result of a sustained ideological assault on regulation. Governments treat essential public protections as “red tape” that must be slashed, and regulators as “checkers and blockers” who must be vanquished. But ministers cannot simply delete protections from the statute books, for fear of provoking public fury. So instead they cut the funds for monitoring and enforcement: deregulation by stealth. The result, over the past 15 years, has been to build a whole new industrial sector almost from scratch: organised waste crime. It is perhaps our most successful growth industry.

It’s great business. Someone who wants their waste removed pays you a fee to cover transit, landfill tax and the gate charges at an official disposal site. But instead of taking it to a registered landfill, you dump it on farmland, on nature reserves, in ancient woodlands, across country lanes or even, as in Bickershaw, near Wigan, on the green space next to a primary school. You pocket the difference: about £2,500 per articulated lorry load. Anyone can play, as I discovered when I registered my deceased goldfish with the Environment Agency as an upper-tier waste dealer.

The chances of being caught are so low and the profits so high that waste dumping, as the House of Lords environment and climate change committee reports, has become a “gateway” to organised crime, creating networks that then branch into drugs, guns, money laundering, fraud and modern slavery. Waste crime is changing the character of the country, socially as well as physically.

So underfunded, demoralised and utterly useless have the regulators become that, even in some of the rare cases in which they’ve begun investigations and prosecutions, the dumping has continued. This is what has happened at Bickershaw, where a 25,000-tonne illegal tip has forced closures of the primary school, filled the neighbourhood with rats and flies, damaged local people’s businesses and ruined their lives. Locals first reported the dumping in late 2024. Eventually, the Environment Agency launched what it called a “major criminal investigation”. But in mid-February this year, drone footage showed that activity at the site continued: the agency, council and police had failed to secure it.

It’s the same story almost everywhere. When the first trucks began arriving on the banks of the River Cherwell, north of Oxford, in summer 2025, local anglers, neighbours and landowners reported them. The Environment Agency’s response was to issue “a cease-and-desist order”. But that was it. Not only did it fail to block the entrance, it didn’t even install a trail camera to monitor the activity and identify the culprits. Unsurprisingly, the lorries kept coming. Only months later did the Environment Agency secure the site, by which time a 20,000-tonne waste mountain, slipping into the river, had become a “critical incident”.

At Hoad’s Wood in Kent, a “strictly protected” ancient woodland, locals reported in 2020 that several acres of trees had been illegally cleared: the dumpers were preparing their site. The authorities failed to respond. Between 2020 and 2023, the gangsters deposited more than 30,000 tonnes of construction and household waste there. Local people supplied the authorities with footage of the dumping and even the names of the companies involved. Nothing happened. It wasn’t until January 2024 that the Environment Agency imposed a restriction order on the site, and it was only in February 2025 that three men were arrested.

As Kent’s police and crime commissioner told a House of Lords inquiry, people “report it to the borough council, which will tell them to report it to the police, who will tell them to report it to the Environment Agency, which will tell them to report it to the council, which will tell them to report it to the police. They will just keep going round and round and round, and no one cares.” Now the cleanup operation will cost taxpayers £15m.

That’s deregulation for you. It’s yet another instance of successive governments’ bizarrely lopsided version of “fiscal discipline”, which counts the costs of action, but not the costs of inaction. On a conservative estimate, illegal dumping costs the economy in England £1bn a year. The cost of cleaning up all the criminal dumps that have accumulated over the past 15 years will, if it ever happens, amount to tens of billions. This is before we take into account the potential contamination of aquifers by toxic waste seepage, whose costs and impacts could be many times greater. And it’s all because of the cuts, saving a tiny fraction of these costs, inflicted on regulators in the name of “efficiency”.

A fortnight ago, the government published its “waste crime action plan”. Some of the measures are welcome, but they in no way match the scale of the crisis. It allocates an extra £15m a year for waste crime enforcement: a mere wooden sword to wield against the vast organised crime networks that have grown in the regulatory vacuum. This also happens to be the cost of cleaning up just one of the 8,000 sites: Hoad’s Wood. Everything this plan proposes is undermined by the prime minister’s ongoing deregulation agenda, which also appears to be “out of control”.

Underfunding and deregulation, now in their fifth decade, are destroying our country. They ensure we cannot solve our problems, spreading hopelessness and passivity. They open the door to economic mafias and to political profiteers exploiting misery and despair. There could scarcely be a more potent symbol of dysfunction and neglect than the waste piling up around us. The literal dump becomes a metaphorical one.

www.monbiot.com

Diana Awad

Apr. 8th, 2026 08:05 am
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Posted by Unknown

Diana Awad is an Arab American who grew up all over the world as the daughter of a United States Foreign Service Officer. After college, she became a local television journalist and often covered stories about violent crimes and mysterious disappearances. She eventually decided to write her own stories with unexpected endings. Awad also writes historical romance as Diana Quincy and historical
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Posted by Łukasz


Book links: Amazon, Goodreads

ABOUT THE AUTHOR: Cameron Sullivan was born in Perth, Western Australia. He grew up with the dark fantasy and horror icons of the ’80s and went on to study classics and creative writing at the University of Western Australia.

After several years working and studying in Italy and the UK, he returned to Australia and settled in Melbourne. He will easily lose a weekend to a good book, a new recipe or games of any kind.

Publisher: Tor Books (February 24, 2026) Page count: 544 (Hardback) Formats: all


Sebastian Grave is a centuries-old occult practitioner, who makes a living off the dead. He shares his body with a demon, Sarmodel, who is extremely effective, provided you don’t forget what it is.

The story opens with a dead girl, a curse, and a misunderstanding involving a witch’s bone. It works because it’s fun, well-written but also shows that in this world the supernatural is not mysterious so much as procedural. Things happen for reasons and Sebastian’s job is to find them.

Soon, things get complicated. A young nobleman, Jacques d’Ocerne, arrives with a summons tied to an old, unfinished contract concerning a Beast of Gévaudan. Against his better judgement, Sebastian agrees to return there.

And so a journey starts, and it's not a cheerful one. It involves mud, infection, poor financial planning, and mayhem. From there we follow a few timelines, learn about demons, church politics, and follow a thread of doomed romance. The shifting timelines are handled well enough that you don’t feel lost, and there’s a steady drip of reveals that keeps things moving.

I enjoyed the business of the supernatural most. The scenes involving it are grim, and often carry a dry edge of humor that lands well with me. I also loved Sarmodel’s presence. I mean, he is Sebastian’s inner voice that has opinions about how edible his clients are. The conversations between them are some of the strongest parts of the book.

Jacques, on the other hand, functions as an obstacle with legs. His secrecy, pride, and general refusal to communicate make sense once explained, but the explanation arrives late. Until then, much of the interaction follows a familiar pattern where Sebastian asks a reasonable question, Jacques refuses to answer it, and both suffer for it. Repeatedly.

There’s also Livia - Sebastian's secretary (well, not really but I won’t spoil everything for you) and a succubus. She feeds on desire and leaves very little behind when she is done. Her chapters and scenes are some of the most entertaining in the story. She says what she wants, goes after it, and resents every rule that stops her halfway. On the page, she’s lively. In the audiobook, she’s something else entirely. Imogen Church narration is brilliant, rich, theatrical and over the top in the best way.

Structurally, the book is uneven. After an excellent opening, the middle section sags. Things happen, but they don’t always feel like they’re building toward something larger. The central threat (the Beast, the old contract) waits too long while the story circles smaller conflicts and Sebastien's history.

That said, the atmosphere is consistently good, the writing remains entertaining and both POV characters have strong and memorable voices. So yes, The Red Winter is carried by its characters.




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lizabelle

June 2014

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