At The Conversation, we are big believers in the health benefits of being near the sea. In fact, we have a whole series dedicated to how our health is intrinsically linked with that of the ocean, called Vitamin Sea. The idea of how the coast can heal is explored in the bestselling memoir The Saltpath, which has been adapted for the screen, and stars Gillian Anderson and Jason Isaacs.
Anderson plays Raynor Winn who documented the whirlwind period that began with her husband Moth being given a terminal diagnosis. In the same week, they also lost their home. In the face of this, the couple made a wild decision: to take a 630-mile year-long coastal walk from Somerset to Dorset, through Devon and Cornwall.
The South West Coast Path has over 115,000 feet of ascent and descent, which is equivalent to scaling Mount Everest four times. In this piece, lecturer in the history of science and the environment, Lena Ferriday explores how this decision might not have been as mad as it might seem.
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The Winns’ decision to walk the path is part of a long history of people seeking wellness and recovery on England’s south-west coast. From taking in the clean air on long gentle walks to bathing in cold waters, it was common for the sickly to be prescribed a trip to the sea. And, as the Winns discover in this beautiful film, they find respite and connection in that history.
Reply to this email to let us know if you have any thoughts on the healing qualities of the coast. We would also love you to answer our poll letting us what you think is the best nature memoir of our of favourite five. If your favourite isn’t there, email us its name.
The Saltpath is in select cinemas now
Read more: The Salt Path taps into a long history of searching for healing on England's south-west coast
The first season of The Handmaid’s Tale aired in 2017 in the early months of the first Trump presidency. Now in its sixth season, the drama is ending in the early months of the second Trump presidency. In that time, the show and its iconography have become synonymous with feminist resistance.
When the Canadian writer Margaret Atwood first wrote The Handmaid’s Tale in 1985, Donald Trump was a mere real estate mogul. Some say it is eerie how she foresaw rising authoritarianism in the United States as well as the erosion of women’s rights. However, Atwood didn’t see the tale as science fiction, everything she wrote, she stressed, had already happened or was happening somewhere.
In this piece, Canadian literature expert Sharon Engbrecht writes about Atwood has made many similar educated predictions about where the roots laid in history will come up in the future. While the last series does deviate somewhat from Atwood’s follow-up The Testaments, it is very much in-line with her view of the world. Hopefully, this last season ends in a much more hopeful place.
The Handmaid’s Tale is airing on channel 4
Read more: _The Handmaid's Tale_ reflects Margaret Atwood’s eerie talent for reading the palm of power
If you’re looking for something a bit more low stakes and whimsical then can we recommend checking out the film The Phoenician Scheme. Wes Anderson is a director with a very distinct vision, you can spot a work by him a mile away. This is what makes a director an auteur.
Fans of his work have come to expect a few things from his films. The first is a star-studded ensemble. The second, a distinct colour palette. The third, boundless whimsy. The Phoenician Scheme has all of this, which as our expert in film Daniel O'Brien notes, will make some of you love it and others hate it.
I like Wes Anderson films. They are incredibly charming and visually delicious. The Phoenician Scheme has more solid narrative than some of his recent films, which I, for one, welcome. It follows wealthy businessman, Zsa-zsa Korda (Benicio del Toro) after he makes his only daughter (Mia Threapleton), a nun, the sole heir to his estate before embarking on a new money-making scheme. Andersonian hijinks and shenanigans ensue as the pair dodge danger in the form of scheming tycoons, foreign terrorists and determined assassins.
The Phoenician Scheme is in cinemas now
The Coin by Yasmin Zaher is a bold debut novel about a young Palestinian woman who is struggling to keep it together. On the surface of things she has it all: she is a teacher at a New York city middle school, she is rich, stylish and meticulously clean. However, buried within her sits history that won’t leave her alone. To be precise, inside her sits an Israeli shekel that she accidentally swallowed on a family road trip during which her parents were killed.
The knowledge of the coin and all it represents tears at the narrator, not letting her know peace. She is pushed to desperate acts in order to gain some sort of control over mind and body. But the coin does not relent. It won’t let her be. She is neither here nor there, in the US or Palestine. In this piece, literature expert Daniel G. Williams explains why he and his fellow judges awarded this debut the 2025 Dylan Thomas Prize.
I love Pulp. One of my formative festival memories is watching a lanky Jarvis Cocker hump a giant neon Pulp sign while singing Disco 2000 at Reading festival. I was at a liberal arts uni at the time and the lyrics of Common People had never made more sense to me.
As expert in popular music Mark Higgins writes, it’s a common misconception that Pulp were Brit Pop. In fact, they were founded in 1978 and their sound and whole shtick were quite a part from the 60’s mania of Britpop boy bands. Listening to the first single of this album Higgins notes, however, that the nostalgia for a better time seems to have hit Pulp belatedly as they wax lyrical about 90s.
Next week, the band release their first album since 2001’s We Love Life. In the lead up to the release of their album More, I have been rediscovering their back catalogue and I would highly recommend you all do the same this sunny weekend.
More by Pulp is out June 6
Read more: Pulp are back and more wistfully Britpop than before
This article was originally published on The Conversation. Read the original article.
