Nuclear brinkmanship and the doomsday scenario
The risk posed by the global weapons complex is much worse than you know
The Latest
‘Human Flow’: visual metaphors cut through political apathy
Ai Weiwei’s new documentary finds new ways of seeing an accepted global trauma
Australia is on the brink of momentous change, but only if we can face up to the past – a Quarterly Essay extract
Masculinity in crisis in ‘Off the Record’
Craig Sherborne’s satire could be an ingenious portrait of deluded conceit
‘The Workshop’: teen angst in a post-Charlie Hebdo France
Laurent Cantet’s new film explores the lure of political extremism for the young and bored
Unholy trinity suffers a setback
The sacking of Roman Quaedvlieg is only a minor impediment to Dutton’s plan
The Nation Reviewed
A change in our head of state won’t change everything, and other lessons for the next push
The republic is an Aboriginal issue
Recognition must be at the heart of constitutional reform
Could a computer mark a NAPLAN essay?
If student assessment is automated, what might it miss?
A local tour guide proves there is still plenty of life in the Cross
The Monthly Essays
Our corrective services struggle to cope with the mental health requirements of inmates
Nuclear brinkmanship and the doomsday scenario
The risk posed by the global weapons complex is much worse than you know
The co-founder of GetUp! might be the most influential Australian in the world
Arts & Letters
Ceridwen Dovey’s ‘In the Garden of the Fugitives’
Reality flexes at the edges of Dovey’s second novel
Armando Iannucci’s ‘The Death of Stalin’
This Soviet satire pushes comedy’s tragedy-plus-time formula to the limit
The Scottish group’s third album proves they don’t sound like anyone else
Noted
Tim Winton’s ‘The Shepherd’s Hut’ One of Australia’s most acclaimed novelists offers a painful and beautiful story of redemption
Zadie Smith’s ‘Feel Free’ In this collection of essays, Smith shines when she’s addressing the personal
In-depth analysis of the moments that define the day from Paddy Manning.
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