cread | read & see

There's a rhythm to Chris Hammer's Scrublands that could easily have become monotonous in the same way driving to and from the small parched town of Riversend to the larger river town of Bellington again and again could be monotonous. Except that both rhythms are edged with beauty and tragedy and cornered by the possibility of salvation or damnation which is why we are often addicted to the most monotonous things. Post Gaza Strip foreign correspondent Martin Scarsden is sent to Riversend by his old-school editor Max Fuller who knows there's a half decent headline in revisiting the horrors of a churchyard massacre on its one-year anniversary. At least equally as important to Max is the hope that it will provide a gently-therapeutic return to form for his star reporter. After all, having done a stint or two in the role, I've always believed editors of newspapers were print-pastors at heart - of their readers' weeping and rejoicing certainly, if not also of the