In the opening poem of Samantha Walton's 2018 collection, Self Heal, the speaker is on the tube, that evergreen metaphor of capital's specific barrelling momentum. The tube "will help you see yourself properly for once, all the way through", the poem goes, ie. as one of urbanity's little facilitators, one automaton amongst many. The toll of this is self-negation: "it only takes a moment to cut a line into yourself gently / it's a wonder everyone isn't doing it." So the book, ostensibly about healing, opens with harm (the play is made explicit by the prefix "self").

At no point in their near-30-year career have “shy” or “retiring” been adjectives you could apply to Garbage - and yet, on this their seventh record, the Scottish-American rockers go to places that they never have before.

Gary Numan says that his new album “looks at climate change from the planet’s point of view… it feels betrayed, hurt and ravaged… it is now fighting back.” Intruder is, then, a bleak, apocalyptic concept album. Given his last album explored similar terrain and that gothic dystopian wordplay has been central to his work for a decade, this isn’t new territory. Then again, his Eighties fans shouldn’t quibble.

Strangers: Essays on the Human and Nonhuman is a powerful invitation to rethink, to doubt and to engage. Beginning among the Diggers’ tilled earth in 1649 and the eco-socialist "watermelon" juices that soil still stirs, the book makes an urgent argument for recognising our uneasy intimacy with the nonhuman.

On Fire brings together a decade’s worth of dispatches from the frontline of the climate disaster – spanning the BP Deepwater Horizon oil spill (“a violent wound in the living organism that is Earth itself”), devastating tropical cyclones in Puerto Rico and choking wildfires in British Columbia.

Coming from a family of farmers, with periods of time spent working on a farm in the past ten years, I found James Rebanks’ English Pastoral: An Inheritance to be a highly urgent, important book. It is a perfect encapsulation and explanation of how and why farming in Britain has changed over the past century, and what a devastating effect this has had on the land.

At the age of 80, John Cleese probably doesn't care what people think of him. But then, when you were one-sixth of Monty Python and co-creator of one of TV's funniest sitcoms, you can afford not to play to the gallery as the royalties from Flying Circus and Fawlty Towers still roll in (even if, as he never tires of telling his audiences, a fair chunk goes in alimony).

It’s fair to say that humanity’s relationship with nuclear energy over the last 50 years has had more highs and lows than a Spanish soap opera. From the Manhattan Project to Hinkley Point, it’s been a controversial technology that has promised both humanity’s salvation and damnation.