The Critic is Britain’s new monthly magazine for politics, ideas, art, literature and much more. Co-edited by Michael Mosbacher and Christopher Montgomery, The Critic exists to push back against a self-regarding and dangerous consensus that finds critical voices troubling, triggering, insensitive and disrespectful. The point is not provocation or trolling. The point of honest criticism is to better approach truth, not deny its possibility.
Ossified thought and a lack of intellectual rigour are depressing features of all sides of today’s political and cultural debate. Our writers will subscribe to no editorial line nor serve the interests of any party, faction or cause. We ask them to write because we expect them to be honest, and lucidly so. Look to our contributors and fault us if they are not.
Contributors to the magazine include Jonathan Meades, Douglas Murray, Nick Cohen, Joshua Rozenberg, Anne McElvoy, Norman Lebrecht, Daniel Johnson, Lisa Hilton, Hannah Betts and Artists in Residence Adam Dant and Miriam Elia.
In the November issue of The Critic Barry Norris probes into the failure of any offshore wind power developers to bid for new contracts and makes some disturbing discoveries about the sustainability of making Britain’s energy supply dependent upon when the wind blows.
Also, while Jaspreet Singh Boparai wonders why the Conservatives seem clueless about the role of the Arts Council in cultural spending, Pierre d’Alancaisez argues that whilst twenty years ago visiting museums and galleries was extolled as filling the void once occupied by church attendance, now the museum sector’s loss of confidence and purpose mirrors the churches’ decline.
Ian Pace listens to Communist music, Rhys Laverty reappraises C.S. Lewis, Peter Caddick-Adams assesses the danger of other countries being drawn into Israel’s conflict with Hamas, and Patrick Kidd looks at whether including minor underdog nations serves well the football, cricket and rugby world cups. All this and the customary survey of contemporary arts, culture and mores from The Critic’s top team of reviewers and correspondents.