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Just under a week to go till our much-anticipated Moomin event in Bradford, celebrating 80 years of Tove Jansson’s magical creatures that inspire so much affection and nostalgia in generations of readers who have found solace and delight in her Moominvalley tales.

On Friday May 23, we are hosting a film event in conjunction with Cine Spotlights at Bradford’s National Museum of Science and Media. We’ll celebrate this special anniversary with a screening of Moomins on the Riviera, followed by a Q&A with our very own panel of Conversation Moominologists.

Jansson’s first book, The Moomins and the Great Flood, was published in 1945, telling the story of a family of “Moomintrolls” who become refugees after a flood washes away their home. Written at the end of the second world war when millions of people were displaced, it reflects the struggles of rebuilding lives after disaster. After the screening, we will be discussing the theme of refugee experiences in Jansson’s work with four Conversation authors.

This is a particularly apt discussion to be having in Bradford, designated a City of Sanctuary and also the site of one of four Moomin art installations around the country. Basel Zaraa’s work is an immersive, multi-sensory installation that creates a lush world within a refugee tent, inviting audiences to imagine life beyond occupation and exile.

We’d love to see you there, so come along and join in the discussion.

The fall of a giant

First, there was the furore surrounding the revision of the language in his children’s books. Now, a play examining the extent of Roald Dahl’s anti-semitism has transferred to London’s West End. It explores the fallout from Dahl’s 1983 review of God Cried, a photographic book about Israel’s siege of West Beirut.

In the play’s blend of fact and fiction, the very real controversy arises from an interview Dahl gave to The New Statesman shortly afterwards. Many Jewish (and non-Jewish) people objected to it as strongly anti-semitic, while others saw it as justified criticism of Israel’s actions. In the play, this is meshed with a fictitious situation where Jewish staff from Dahl’s publishers visit him at home to help counteract the backlash.

But there is so much more to this fascinating play, which features an extraordinary performance from American actor John Lithgow. It engages with issues around language – how it is interpreted and how meaning is formed – as well as misogyny, racism, and the idea of genius being excused its sins. And it returns to the ever-open wound of cancel culture, and the way children’s literature has become a political hot potato.

Giant is at London’s Harold Pinter Theatre until August 2 2025.

With echoes of the theme of refugee experience in our Moomin event, Madeleine Thien’s new novel is an astonishingly original and deeply philosophical work that blends historical and speculative fiction.

Exploring issues of migration, the refugee crisis and cultural conflict, The Book of Records centres around the tale of a young girl called Lina and her ill father who flee to a strange otherworldly enclave called The Sea, where Lina feels the pain of separation from her mother and brother. She endures here for years, finding succour in three books from The Great Voyagers encyclopedia series, each of which represents a famous (real) philosopher through which she learns about exile and survival.

As our reviewer Manjeet Ridon explains, The Book of Records is “a sobering meditation on the human condition in times of crises”. A book to savour and reflect upon in a world that is distressed by the rising tide of refugees, but seems unable or unwilling to do anything about it.

Climate fact and fiction

For 70 years, David Attenborough has shaped how we see the natural world through his memorable nature documentaries. From the BBC’s groundbreaking Zoo Quest in 1954 to Life on Earth in the late 1970s and the spectacular Blue Planet in the 2000s, Attenborough, with his quietly compelling voice, has brought viewers the glory and wonder of the natural world. In doing so, he pioneered a nature documentary style that is accessible, educational and entertaining.

But now, at the age of 99, Attenborough’s latest film, Ocean, brings a change of tone: one of serious urgency as the world seemingly fails to get to grips with the climate change crisis.

As our reviewers Neil Gostling and Sam Illingworth explain, after a lifetime of gentle narration, Attenborough now speaks unflinchingly of the scale of the crisis and the need to act, combining stunning imagery with a stark assessment of the health of our oceans. From the horrific destruction wreaked by bottom trawling to plastic consumption and pollution, Attenborough doesn’t pull his punches on the moral and existential imperative to restore the balance of our oceans. As the great man puts it: “If we save the sea, we save our world.”

Ocean is on at select cinemas now

This week saw the announcement of the inaugural Climate Fiction Prize, which has been won by the Nigerian writer Abi Daré’s And So I Roar.

A poignant follow-up to her debut novel, The Girl with the Louding Voice, Daré follows the stories of Tia, an environmental activist, and Adunni, the Nigerian teenager from her debut, who has escaped child marriage and domestic abuse for shelter under Tia’s care in Lagos.

Daré masterfully explores how environmental crises collide with domestic pressures and abuse, revealing how women who exist in poverty disproportionately shoulder the burden of climate change. But it also celebrates solidarity across class, ethnicity and generational divides, standing as a powerful testament to female courage and resilience.