The Critic
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November 2019 / Issue 1
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70 issues
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.
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Welcome to The Critic — Britain’s monthly current affairs and culture magazine, dedicated to rigorous content and first-rate writing — and unafraid to ask the questions others won’t.
The summer double issue of The Critic magazine provides the perfect reading matter to accompany and enliven summer days, including a bumper-sized section of book reviews as well as all the latest coverage of the arts and culture.
Andrew Orlowski discovers a potentially calamitous flaw in Whitehall’s IT, David Shipley investigates claims of deception at the heart of the Athenaeum Club and Chris Bayliss finds more flaws with the government’s clean energy strategy. With Andy Burnham in Downing Street, Henry Hill separates hopes and realities, whilst, after the first attempt failed, Madeline Grant assesses the chances of the renewed assisted-dying bill passing into law.
Michael Prodger explores the art and troubled life of the Victorian painter, Richard Dadd; Robert Thicknesse finds that England’s summer opera scene is thriving, Zoe Strimpel despairs at what the “influencers” have done to Hackney and Boris Starling recounts what became of the England Football team’s “Heroes of 66” after the cheering stopped.
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