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Posted by Łukasz

 


Order The Lost War over HERE

About Justin: Justin was a professional writer and editor for 15 years before his debut novel, Carpet Diem, was published in 2015. He wrote restaurant and theatre reviews, edited magazines about football and trucks, published books about fishing and golf, wrote business articles and animation scripts, and spent four years as the writer, editor and photographer for an Edinburgh guide book.

Justin now writes full-time and is a partner in his own publishing company. He also writes scripts with his wife Juliet, who he met through the BBC Last Laugh scriptwriting competition.

FORMAT: Self-published by the author on August 30, 2019, The Lost War is the first book in Eidyn series. It's available in ebook, paperback, and audio format. The book is 560 pages long. Cover design by Damonza.


Łukasz

The Lost War has a lot going on. A lot. With its multi-POV narration and complex world, it requires a level of trust and patience from the reader. Once the pieces fall into place, the initial confusion turns into excitement. And then the ending blows you away (no spoilers - but wow!).

Aranok, an earth draoidh with the ability to control elements, brings a group of strangers together to uncover a conspiracy threatening to bring down the kingdom, and the king who trusted him. The plot follows their dangerous road trip. Years of war left the land and its people devastated and with little hope. To make matters worse, demons burn farmlands, violent Reivers roam the wilds, and a mysterious plague turns people into zombies (not really, but close). 

As the group travels through the ravaged country, they face mysteries and reveal lies. Nothing new, but strong characterization and chemistry between team members make it work.

Anderson fleshed out multiple characters, all important to the plot, most with their POV sections. Besides Aranok, we follow Allandria, his bodyguard and lover; Glorbad - a heavy drinker with the rough-spoken manner; Nirea - traumatized and feisty pirate; Meristan - a monk; Samily - a young knight trained to battle demons, and Vastin - a young blacksmith who lost everything during the war. 

Whew. 

That’s A LOT of characters to keep track of, especially in the beginning. Because all have distinct personalities and quirks, I learned quickly to tell them apart and get the hang of individual arcs. Well, quickly, by epic standards, anyway. It took me around 25-30% of the ebook version, and that equals around 150 pages… The many, many POVs didn’t help - I didn’t feel emotionally engaged in character arcs. Sure, I was curious about how and where they would end, but I didn’t connect with them. 

The Lost War focuses as much on individual characters and relationships as it does on the events in which they are caught up. The book uses many tropes common in epic fantasy, such as long struggles against an all-devouring foe, powerful artifacts, demons, long and perilous journey. Anderson understands how to pace the book and create interesting chapter hooks. I found the middle section of the book meandering, but not boring. Creepy and scary things kept me engaged. 

Despite grim circumstances (demons, plague, evil king), The Lost War doesn't get cynical or nihilistic. It never indulges in gratuitous violence or gory details. It never loses sight of the human level and the human need for interpersonal connections. I found Anderson’s work surprisingly kind and leavened with humor. As much as I enjoy a good grimdark story, I appreciate books that remain exciting without making everyone miserable and cruel. 

My biggest complaint concerns the world. The team spends a lot of time meandering about, but none of the individual locations come to life. Not really. It’s all doom and gloom around, but a week after ending the book I barely remember visited locations. But that’s ok; I was here for the plot, not for the setting. And the setting provides a solid platform for the plot and brilliant ending.

I usually bounce off most epic fantasy, but The Lost War had me flipping through the pages. I didn't see the last twist coming, and I loved it. And I can't wait to see where's the series going from here.

                                                                      Mihir

OVERVIEW/ANALYSIS: The Lost War is definitely a title that will make you scratch your head at the high praise when you start reading it. It begins in very stereotypical medieval environment that (on purpose) lulls you into a state of comfortableness. That’s the first trick that the author employs within this book among others until he finally shocks you. All of this and more is within this SPFBO finalist.

The book’s synopsis has been covered by my blogmates and I don’t wish to rehash it. The book definitely has an epic fantasy feel with a medieval setting, and a high number of POVs. The author certainly does a fine job of immersing us within the story as with the multiple POV characters who are distinct and a bit confusing from time to time (more on that in just a bit). The story begins with an aftermath of a pyrrhic victory, which has left the nation and our main protagonist Aranok is tasked by the king with a mission.

Several different characters who have their own agendas but are going along with the king’s wishes join him. It’s from here on that story takes on quest(s) narrative and we are taken along a geographical tour of the country. I must confess that I had a bit of trouble keeping the names separate as they all sounded similar beginning from towns to regions. This facet however didn’t detract a lot from my enjoyment of the story but I had jumbled up a lot of names in my head as the reader is taken through a lot of places.

The plot pace is another interesting facet of the book that perhaps could have been better. The story begins very energetically and proceeds to set up all the character introductions and scenario very quickly. But once the quest aspect of the story begins, the pace becomes stunted and this happens to a major degree. It however picks up again in the last third of the story leading up to the final climatic twist. Which brings us to the main highlight about this story which is the end twist. I want to highlight that unlike thriller-mystery books, fantasy books rarely have a twist planned within the story that completely upends the plot. So kudos to Justin L. Anderson for bucking the genre trend.

The plot twist goes a long way in explaining quite a few character deficiencies as well as story speedbumps. Retrospective it explains things a lot but on its own, it was an all-satisfactory one. For me, I did wonder why the antagonist did go through all this trouble and not just bump off several folks, which would have made their victory a more satisfactory one. I would like to highlight that this is entirely my opinion and this definitely might not be the case with other readers.  For many of fellow judges, this twist was an excellent one and so this definitely is a subjective piece.

Lastly I want to highlight that this is a 550-plus paged tome and so definitely on the hefty side. With my observations about the loss of plot pace in the middle and the quest like nature of the story. I do have to wonder how much of a different story this would have been if atleast 120-odd pages had trimmed. Would it have created a streamlined story? Would the end twist be equally effective or would it have a lesser impact? All of these things have lowered my personal score as I originally thought I would definitely be scoring it higher.

CONCLUSION: The Lost War is definitely a story that deserves its place in the SPFBO finals. It plays on readers expectations while serving us up to pull the rug from under our feet towards the very end. Yes there are some things to be bettered but this book definitely sets up the series spectacularly. I’m sure almost all of us SPFBO readers will be queuing ourselves for the sequel and I certainly can’t wait to see what the author does next. 

  1. The Sword of Kaigen by M.L. Wang 
  2. Orconomics by J. Zachary pike
  3. Where Loyalties Lie by Rob J. Hayes
  4. The Lost War by Justin Lee Anderson
  5. The Thief Who Pulled on Trouble's Braids by Michael McClung
  6. By Blood, By Salt by J.L. Odom

Francesca Catlow

Sep. 24th, 2025 12:05 am
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Posted by Unknown

Francesca Catlow writes bestselling fiction filled with passionate love stories that feature flawed, and sometimes broken, characters as they face a crossroads in their life. She often explores heartbreaking themes while also whisking readers off to beautiful locations.

Catlow loves to travel. Born and raised in the heart of Suffolk, England, she has travelled extensively in Europe with her

The Propaganda of Power

Sep. 23rd, 2025 01:34 pm
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Posted by monbiot

The mainstream media, with a few exceptions, is a single-issue lobby group, whose purpose is to assert the rights of capital.

By George Monbiot, published in the Guardian  20th September 2025

The BBC I joined on my first day of professional journalism – 40 years ago this week – is unrecognisable today. While, for most of its history, the corporation had largely defended the status quo, under the director general at the time, Alasdair Milne, its journalists were sometimes allowed to stick it to power. This, I believe, is what journalism exists to do – and seldom does.

As a student, I’d hammered on the doors of the BBC’s Natural History Unit, insisting there was a major gap in its coverage: investigative environmental reporting. If they took me on, I argued, I could help them fill it. The phone rang as I was leaving the house for one of my final exams. It was the head of the unit, saying: “You’re so fucking persistent you’ve got the job.”

My immediate boss, the head of radio, instructed me to “get the bastards”. Investigative journalists were much freer then. It was easier to obtain permission to set up a fake company, pose as a buyer and penetrate criminal networks and unethical corporations.

We broke some big stories. On one occasion, we amassed powerful evidence to suggest that a ship leaking oil on a sensitive coastline had been deliberately scuppered. That programme won a Sony award. On another, I had the head of customs in Abidjan, in Ivory Coast, offering to sell me chimpanzees for experiments. It was gripping and felt meaningful: we could see the difference we made. This was all I ever wanted to do, and I thought I was set up for life.

On 29 January 1987, disaster struck. The BBC’s investigations had infuriated the Thatcher government, particularly the Secret Society series, which had exposed clandestine decision-making, and the Panorama programme Maggie’s Militant Tendency, alleging far-right views among senior Conservatives (which they denied). The BBC board forced the resignation of Alasdair Milne. The following day, when my boss came into the office, he told me: “That’s it. No more investigative journalism.” How can you have journalism if it’s not investigative, I countered. “Don’t tell me that. It’s come from the top.”

It wasn’t just my career that hit the buffers: it was my worldview. I had naively believed that humanity’s problem was an information deficit. Shine a light and change would follow. Now, I began to see, while the pen might be mightier than the sword, the wallet is mightier than the pen.

I was recruited at the tail end of the “great compression”: a period of radically lower inequality. The two world wars had destroyed much of the political power of capital, enabling high taxation of the very rich, the creation of a welfare state and a widening spectrum of politics and opinion. Since then, as the money and power of the very rich have multiplied once more, the governments they support have sought to crush dissent.

When Milne was sacked, I had been working on our biggest investigation yet: into the transmigration programme in Indonesia run by the Suharto dictatorship – and funded by the World Bank and the UK and US governments. The policy involved moving hundreds of thousands of people to the country’s outer islands, to displace and corral local populations. It was a brutal, ecocidal and, in West Papua, genocidal scheme. I sold the story to a publisher instead. But I felt unready, so I took a six-month job producing current affairs at the BBC World Service. It was an excellent schooling in global politics, but I realised I could never thrive in a newsroom. On a slow news day, we were debating the lead for our programme among several dull options. Ten minutes before transmission, the editor strode into the studio, clapped his hands and announced: “Great – 110 dead in Sri Lanka!”

I spent the next six years working freelance in the tropics, investigating some extremely dangerous stories, scraping a living by writing books and making occasional radio programmes. When I returned, I found the BBC and other broadcasters had become furiously hostile to environmental programming. I decided to try print.

I entertained another crazily naive belief: that I should work only for the rightwing press, reaching people who would otherwise never see such stories. I managed to place a couple of articles in the Telegraph, though they were severely trimmed and relegated to the back pages. I knew a sympathetic junior editor at the Daily Mail, who commissioned me, across three years, to write 21 articles. All but one were spiked by her seniors. Finally, I had one published, on the impacts of car pollution. Discussing my proposal, an editor had asked me: “So what’s the solution? More research?” No, I answered, “stronger regulation”. Reading the published article, I discovered that the solution was “more research”.

I finally saw the bleeding obvious: you cannot speak truth to power if power controls your words. I was lucky to be taken on by the Guardian. It remains among the very few mainstream outlets, anywhere, in which you can freely criticise the real elite.

Three weeks ago, after a long absence, I appeared on the BBC’s Moral Maze, to discuss media power. I was shocked to discover how far things have gone. The Telegraph columnist Tim Stanley “argued” that the media can’t be predominantly rightwing, because GB News says it has been “captured by the loony left”. The rightwinger Inaya Folarin Iman called the idea that billionaires influence the media they own a “grand conspiracy” and “false consciousness”. Such people are now so dominant that they no longer even have to make sense.

Power is the rock on which truth founders. It will always find willing enforcers: no one ever lost money by telling billionaires what they want to hear. The mainstream media, with a few exceptions, is a single-issue lobby group, whose purpose is to assert the rights of capital.

But perhaps the ground is shifting. Citizen journalism is flowering, through the Bylines network, openDemocracy, Double Down News , Novara, Declassified and DeSmog, and in particular at the local level. Most established local newspapers are a graveyard of good journalism. But they’re being pushed aside by innovative new outlets, such as the Bristol Cable, Glasgow’s Bell, View Digital in Belfast, Manchester’s Mill, the Leicester Gazette, West Country Voices, Birmingham’s Dispatch, the Oxford Clarion, the Hastings Independent, the Waltham Forest Echo, Inside Croydon, the Sheffield Tribune and the Liverpool Post.

Something is stirring; something that could become very big – a citizens’ revolt against the propaganda of power. We fight for the day on which the pen beats the wallet.

www.monbiot.com

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Posted by Łukasz




J. D. Evans writes fantasy and science fiction romance. After earning her degree in linguistics, J. D. served a decade as an army officer. She once spent her hours putting together briefings for helicopter pilots and generals. Now she writes stories, tends to two unreasonable tiny humans, knits, sews badly, gardens, and cultivates Pinterest Fails. After a stint in Beirut, J. D. fell in love with the Levant, which inspired the setting for her debut series, Mages of the Wheel.

Originally hailing from Montana, J. D. now resides in North Carolina with her husband, two attempts at mini-clones gone rogue, and too many stories in her head.



Looking back to when you entered SPFBO, did you ever imagine your book would take the top spot? What made you take the plunge and submit? 

No, I didn’t expect to make it past the first round. I mostly submitted as a kind of “haha! Romantasy exists” sort of attitude.

How has life changed since winning SPFBO? More book sales? Wild parties? Paparazzi at your grocery store? 

Not really much has changed. The one big positive thing that came of SPFBO for me was interest from Podium to produce the audiobooks, which has been great.

Many champions talk about the pressure of following up a winning book. Did you feel that? How did it shape your next projects (if at all)? 

When Reign & Ruin won I already had several more books in the series out, so I didn’t feel that particular pressure. It was nerve-wracking to have it thrust into an audience that was maybe less a fit than a more romance friendly audience. But in general, readers have been really fair with it, even if romance isn’t their thing.

There are nearly 3,000 SPFBO entries out there. What, in your opinion, helped your book climb to the top? 

I don’t know that folks will love my answer, but luck. So much of reading is mood, preference, and timing. The reviewers that got my book were open to, or in the mood for a more romance heavy fantasy. On a different year, it might not have even made it past the first cull. I think what I want people to take away from that is timing – right place, right time – has as much to do with success as good writing does. So don’t be discouraged.

Imagine your main character finds out they’re competing in the Champions' League. Are they thrilled? Terrified? Confused? Demanding a rewrite? 

Naime is the main protagonist of Reign & Ruin, and she is a composed thinker. I think she would be examining the blogs, the competition and have a run down of how she thought things would go and wouldn’t have a lot of emotion attached to the outcome.

Every author has that “this is never going to work” moment. Did you? How did you push through and keep writing? 

Every single book. I keep thinking maybe I’ll gain confidence but I never do. Now that my series has more readers I’m convinced I’ll never live up to their hype. Be an author, they said. It’ll be fun. I don’t know that I have any magic advice. You just have to do it anyway. We all have dark moments, and challenges and interruptions. At some point you decide, “I’m going to do it” or “I’m not going to do it”. Keep putting one foot in front of the other (one more sentence). That’s it. That’s the secret.

Apart from your own novel, is there a past SPFBO book (any year, any entry – doesn’t have to be a winner or a finalist) you’d hype up to readers - maybe one you loved or thought deserved more of the spotlight? 

All the books in my year were very good. Our scores were so close. Krystle Matar deserved that win as much or more than I did, so definitely go read “Legacy of the Brightwash”.

What’s the project currently on your desk - and is it behaving, or making you question all your life choices? 

Bird & Blade is the next installment in my Mages of the Wheel series (of which Reign & Ruin is book one) and I have never had a book behave. This one and I fight daily. I hate it. It hates me.

What’s one piece of writing advice you completely ignore - and one you swear by? 

I don’t put a lot of agonizing thought into my first sentence. I see people spend all kinds of energy over that and I just…don’t. I swear by – write through the writers block. What you write when you aren’t feeling the muse is exactly the same quality as what you write when you ARE feeling the muse, or can be made that way in editing. Years down the line, you will not be able to tell what you wrote when you felt inspired and what felt like pulling teeth to write.

Win or lose, your book’s in the top 10 of nearly 3,000. But personally, what would be your proudest writing achievement - published or still locked away on your hard drive? 

Ice & Ivy is book four in my series and I really loved the FMC in that one, and some of the themes I tried to incorporate. A lot of what I had built in the first few books came together in it. Now if only I could beat my current work into submission.










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Posted by Łukasz

 

Book links: Amazon, Goodreads

ABOUT THE AUTHOR: ADRIAN TCHAIKOVSKY was born in Lincolnshire and studied zoology and psychology at Reading, before practising law in Leeds. He is a keen live role-player and occasional amateur actor and is trained in stage-fighting. His literary influences include Gene Wolfe, Mervyn Peake, China Miéville, Mary Gently, Steven Erikson, Naomi Novak, Scott Lynch and Alan Campbell.

Publisher: Solaris (August 12, 2025) Length: 178 pages Formats: ebook, paperback, audiobook


Adrian Tchaikovsky knows how to turn strange ideas into entertaining stories. The Hungry Gods is short, focused, and filled with tech-bro satire packed in a post-apocalyptic survival story. I liked it, but not as much as his other novellas / short novels.

We follow Amri, a Rabbit. Well, not literally a rabbit, but a girl from a tribe called Rabbits, whose one rule is to run. Unfortunately, she doesn’t run fast enough when her home is wiped out, and she ends up tagging along with Guy Vesten, a fallen god. He’s not divine, mind. He’s one of the tech geniuses who ditched Earth ages ago and have now returned, brimming with arrogance and world-fixing schemes. Scrappy people who survived without them don’t interest them much.

Guy is pompous and manipulative; he embodies every Silicon Valley pitch deck with a messiah complex. The other “gods” are equally ridiculous, and obsessed with rebuilding Earth in their own bizarre image (plants, bugs, plastics, etc.). They clash, obviously. They also underestimate ordinary survivors. Obviously. Their fights are brutal and imaginative.

Amri herself is an okay protagonist. I wanted to care more about her, but couldn’t. She lacked personality. I admit, at times I was confused about what the tribes actually were - mutants, humans, hybrids? This vagueness blurred things for me. Or maybe I lacked focus.

The pacing, though, is excellent. Tchaikovsky never wastes a word, and the novella format suits him. He doesn’t reach for cheap twists or over-explanation. The ending is satisfying, even though I saw it coming early (in broad strokes).

In the end, The Hungry Gods feels a little like a lighter version of Tchaikovsky’s best works. Still worth a read.


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Posted by The Reader

 


Official Author Website

Pre-order A Winter's Mercy over HERE

Add A Winter's Mercy on Goodreads

Today we are thrilled to take part in the cover reveal for Phil Williams' A WINTER MERCY (The Bloodscouts #3), featuring cover art by Stefan Koidl. It releases on October 28th 2025 & checkout the glorious cover below. 


OFFICIAL BOOK BLURB: They say if you see the Stranded, it’s already too late

Tasked with transporting a monster-hunting “ghost” to the Vulgar Division artillery unit, far from the fighting, Wild Wish is ready to take a break for the winter. Their destination, Lake Harmonial, is a place of peace and tranquillity. An idyllic, safe retreat.

Until now.

This ghost is no ordinary soldier, and Command want Wild Wish with him for a reason. When the ice comes to Harmonial, it will bring a threat that could unbalance the entire war. One that only the Blood Scouts can stop.

These peaceful woods contain forces darker than any Wish has seen before. Win or lose, this mission is going to leave deep and terrible scars.

Return to the world of the Rocc for another thrilling, chilling chapter in the One War, as the Blood Scouts come to face the true cost of survival.

Review: Kill the Beast by Serra Swift

Sep. 18th, 2025 03:00 am
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Posted by Caitlin G.

 


Buy Kill the Beast

FORMAT/INFO: Kill the Beast will be published by Tor Books on October 14th, 2025. It is 320 pages long and available in hardcover, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: All faeries must die. That's the creed Lyssa lives by as she makes her living slaying all manner of faerie creatures. It's a task she's pledged herself to ever since her brother was killed by a faerie monster known as the Beast. She's spent over a decade trying to track this elusive creature, but she's never been able to find it - until one day, she's approached by an eccentric dandy named Alderic. Alderic recently stumbled across the Beast's lair, and having also lost family to the monster, he's willing to pay handsomely for its death. Unfortunately for Lyssa, she'll need to bring the hapless Alderic along to collect the ingredients she needs to forge a weapon capable of killing the Beast. But as the two slowly bond over their past losses, Lyssa may find friendship in the most unlikeliest of people.

Kill the Beast is an excellent story of friendship, love, grief, and loss, all told while fighting monsters. This is all grounded in its two central characters, Lyssa and Alderic. They are complete opposites, clashing over how to handle almost every aspect of their quest. Lyssa is competent, efficient, and stubborn, the kind of person who believes force is the most expedient way to solve problems. Alderic, meanwhile, delights in life's pleasures, and prefers empathy and conversation (and occasionally large sums of money) to overcome problems. Alderic would be so easy to dismiss as useless if there wasn't often some wisdom in his actions. His compassion and willingness to simply talk to people opens more doors than Lyssa can break down, and with far less collateral damage.

I absolutely loved watching Lyssa and Alderic learn from each other and slowly, ever so slowly open up to each other. This is a slow-burn enemies to friends to lovers story (no spice) that earns every step along the path. It isn't without some heartbreak along the way, but I was never mad at the story or thought that any bumps were unnecessary. In fact, those bumps often WERE necessary to break through the last few walls preventing emotional growth.

There was one thing I didn't love, though it largely has to do with personal preference. There is an element in this story that I don't think will take many people long to figure out, and I think the author is aware of that fact. But I HATE being ahead of a character when it comes to discovering information. I fully realize that the structure of the story demands things get revealed when they do, but I personally was impatient for everybody to finally be on the same page.

Kill the Beast is a lovely standalone tale that I highly recommend. It has action, mystery, and romance, with two characters I adored. It's an excellent debut and I will definitely be back to see what the author writes in the future.

Sonora Reyes

Sep. 18th, 2025 12:05 am
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Posted by Unknown

Born and raised in Arizona, Sonora Reyes is the award-winning and bestselling author of The Lesbiana's Guide to Catholic School, The Luis Ortega Survival Club, The Broposal, and The Golden Boy's Guide to Bipolar. They also have contributed short stories to the anthologies Transmogrify! and For the Rest of Us.

They write fiction celebrating queer and Mexican stories in a variety of genres, with

Trussed Up

Sep. 16th, 2025 09:07 am
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Posted by monbiot

Astonishingly, the Tufton Street junktanks that shaped Liz Truss’s agenda are still operating at the heart of government.

By George Monbiot, published in the Guardian 11th September 2025

Forgive me if I’ve got this wrong, but I seem to recall the country voting the Tories out last year. Part of the reason, if I remember correctly, was their staggering incompetence and insouciance, epitomised by Liz Truss’s mini-budget. That catastrophe was, like Truss’s political career, formed and steered by the neoliberal junktanks of Tufton Street.

But now I begin to doubt my recollections. We booted them out through the front door, right? Yet they still appear to be in the house. Perhaps they came round the back. After taking an interest in the Department for Business and Trade’s “growth school” speaker sessions for civil servants, I sent a freedom of information request. Given that Keir Starmer, like Truss, has placed his growth “mission” at the centre of policy, and that this department is responsible for delivering it, the instruction given to its officials is crucial to the economic and political direction the country takes.

Who, I wondered, would be speaking at these sessions? The answer surpassed my worst fears. Among the external instructors used by the department’s “growth school” so far are no representatives from trade unions, social justice, human rights or environmental groups, and no representatives from left or liberal thinktanks such as the New Economics Foundation or the Institute for Public Policy Research. But there are four who work or have worked for the Tufton Street junktanks that surrounded Truss. They are Samuel Hughes from the Centre for Policy Studies, Ben Southwood, formerly of Policy Exchange and currently a senior fellow at the Adam Smith Institute, Sam Bowman, also a senior fellow at the Adam Smith Institute, and Sam Dumitriu, formerly head of research at the Adam Smith Institute and now head of policy at Britain Remade.

Truss delegated key functions of government to the dark-money thinktanks. Among her senior staff were the former head of economic and social policy at Policy Exchange, a former senior researcher at the Centre for Policy Studies and the former head of government affairs at the Adam Smith Institute. These lobby groups are ranked by the transparency campaign Who Funds You? as either opaque or highly opaque.

On the day of her mini-budget, the junktanks lined up to claim responsibility for it. The Centre for Policy Studies wrote: “Great to see so many CPS policies included in today’s announcement by the Chancellor.” These, it said, were “just a few” of its wins.

I found the inclusion of Britain Remade in the department’s grooming sessions particularly dismal. This group, formed after Truss’s ejection from No 10, seems to exert an extraordinary grip on government policy. Alongside Dumitriu, it is run by former special advisers to Boris Johnson and Truss. It has lobbied vigorously for new road building, while attacking environmental groups.

Where is the experience of business and trade that such speakers are, presumably, supposed to bring? It is hard to see what the junktanks have to offer, other than discredited neoliberal theory and a long record of failure. So why might they have been chosen? Well, like Truss, and in the face of powerful evidence, the Starmer administration believes growth will be delivered by deregulation – which happens to be a fundamental tenet of neoliberalism.

Truss, who singularly fails to take responsibility for her decisions, claims her premiership was terminated by the “deep state”: a conspiracy fiction imported from the US. Well, judging by the disturbing continuity between arguably the most extreme Conservative government in modern history and its Labour successor, we could agree with her that entrenched forms of political power persist, regardless of who wins the election. I wouldn’t call it the deep state, but it does make you wonder what we voted for.

Like its Conservative predecessors, Starmer’s is a government beholden, to a shocking degree, to lobbyists. Their influence appears to explain a wide range of policies, from the ban on Palestine Action, to the planned deregulation of the financial sector (as if the 2008 crash never happened) and new private partnerships in the NHS; from the environmentally disastrous planning and infrastructure bill to this week’s decision to allow bottom trawlers to keep ripping up England’s “marine protected areas”.

The work of Ethan Shone, an investigative journalist at openDemocracy, is indispensable in explaining the weird commissions and omissions of this government. He has shown how assiduously commercial interests courted the Labour party before the last election, and how that courtship has turned into policy. Corporate representatives were seconded into political offices and frontbenchers attended “client roundtables”. Rachel Reeves, now the chancellor, told corporate executives just before the election that “I hope you …. see your fingerprints all over” our manifesto. A former Labour minister, Jim Murphy, gleefully predicted that Starmer’s administration would be the “first private-sector government in Labour’s history”.

He wasn’t wrong. The new environment secretary, Emma Reynolds, was a managing director of TheCityUK, a lobby group for banks and other financial services. In January, she became City minister.

Among the current government’s advisers is the City lobbyist Iain Anderson, whom Truss appointed as one of her “business champions”. When she stood for Conservative leader, he tweeted a selfie of the two of them, with the caption “I’ve been a Conservative for almost 4 decades … I’ve worked with Liz on economic reform and boosting opportunity. She has fresh ideas and real energy. She does what she says and is strong and loyal. That’s why I’m backing #LizForLeader.” Now, though he continues to work as a lobbyist, Starmer’s government has appointed him as a non-executive director of the Department for Business and Trade, which hosts those “growth school” talks.

The great political contest, ever since the dawn of the thing we call democracy, is between the public interest and the power of money. Money’s tools include the direct funding of political parties and politicians, bullying by the billionaire media, the misinformation machine of social media and a massive lobbying effort, some of which is conducted by acknowledged lobby companies, some by groups whose affiliations are not disclosed.

The dark-money junktanks have become essential to capital’s assault on democracy. They are the glue that connects the media onslaught to active policy formation, creating a united front. Opaque neoliberal thinktanks are among the unfortunate realities any nominally progressive government has to navigate. But we would not expect such a government to invite them back on to the throne from which they were so recently evicted.

www.monbiot.com

Kitty Zeldis

Sep. 15th, 2025 11:05 am
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Posted by Unknown

Kitty Zeldis is the pseudonym for a novelist and non-fiction writer of books for adults and children. She is the author of Not Our Kind and The Dressmakers of Prospect Heights. She lives with her family in Brooklyn, NY.
Zeldis's new novel, One of Them, is "a story of secrets, friendship, and betrayal about two young women at Vassar in the years after World War II, a powerful and moving tale

Jessica Bryant Klagmann

Sep. 12th, 2025 11:05 am
[syndicated profile] writers_read_feed

Posted by Unknown

Jessica Bryant Klagmann grew up climbing mountains, paddling rivers, and scampering through the woods of New Hampshire. She studied writing there and in Fairbanks, Alaska, before falling in love with northern New Mexico. Klagmann is the author of the novel This Impossible Brightness, and when she isn’t writing, she can be found illustrating, trail running, or teaching her two kids the fine art of

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lizabelle

June 2014

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