![The two covers of the 4 November edition of the Guardian Weekly.](https://media.guim.co.uk/34eb908f0558d50e4177b3c902f3f8f17adc00be/133_0_6554_3934/1000.jpg)
For readers of the Guardian Weekly magazine’s North American edition this week, the cover focuses on the Democrats’ precarious hopes in the midterm elections. Elsewhere, the spotlight shines on the Cop27 climate summit in Egypt.
Cautious optimism followed the last Cop conference in Glasgow, where an international roadmap was agreed to keep the world within 1.5C of global heating. On the eve of this year’s summit, however, a slew of alarming reports have shown that carbon emissions are still rising.
Further carbon cuts therefore ought to be a priority, argue scientists. However, Cop27 is likely to be dominated by debate about compensation that poorer nations feel richer countries should be paying for climate damage. Observer science and environment editor Robin McKie sets the scene for a summit that seems engulfed in a storm of its own. And there’s a fascinating report by Mark Townsend on the Just Stop Oil protests, as debate stirs among activists about whether direct action tactics are effective in changing attitudes.
The US midterm elections next week could see a Republican party still dominated by Donald Trump gain control of both the House of Representatives and the Senate. David Smith asks whether an intervention by former president Barack Obama could give a late kickstart to the Democrats’ hopes.
Jubilation and relief accompanied Luiz Inácio Lula da Silva’s narrow election victory in Brazil, ending Jair Bolsonaro’s era of Amazon destruction. Latin America correspondent Tom Phillips reports on a much-needed moment of hope for the region and the world, but Andrew Downie warns that difficult challenges await the returning president-elect.
On the culture front there’s an interview by Simon Hattenstone with the actor Damian Lewis, who talks about life after the death of his wife, Helen McCrory. And Jonathan Jones meets the artist David Shrigley, for whom a move to the countryside has not exactly mellowed his anxiety-laden brand of pop art.