Thursday, May 1, 2025
Blog Page 1047

JCRs fund coaches to Yarl’s Wood

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On Sunday evening, the Magdalen and Wadham JCRs each voted in favour of motions to donate £250 to Movement for Justice (MFJ) to support the organisation’s protest next month at the Yarl’s Wood Immigration Removal Centre. A similar motion was proposed at New College’s JCR meeting, although it was not passed.

The detention centre holds over 350 detainees, overwhelmingly women, who are awaiting either the approval of their asylum applications or deportation.

The centre has faced controversy since opening in 2001, including allegations of human rights abuses. Yarl’s Wood was burnt down during protests by detainees in 2002. In a report last summer, Nick Hardwick, chief inspector of prisons, described the centre as “a place of national concern”. According to the report, 15 of the detainees had been held without charge for over six months.

According to the Surround #YarlsWood demonstration’s Facebook event, Movement for Justice ‘‘Will be returning to Yarl’s Wood in force to demand that ALL the women are freed, Yarl’s Wood is SHUT DOWN and ALL detention Centres are closed once and for all!’’

MFJ goes on to describe the protest as ‘‘fighting to win the most basic of demands as human beings.’’ The JCRs’ donations are to be spent by the Movement for Justice on “coaches to the demonstration and advertising for the demonstration’’.

Ella Sackville Adjei, who proposed the Wadham JCR motion, described Yarl’s Wood as ‘‘A truly horrific institution, where people who have committed no crime are forced to endure prison-like conditions’’ and ‘a source of national shame’. Ms Sackville Adjei went on to tell Cherwell, “The money raised will go towards subsidising the Oxford coach, and paying for coaches from elsewhere in the country so that people who otherwise could not afford travel to the demo in Bedfordshire will be able to attend – it is vital that activist spaces are open to all, regardless of financial status, and I think it is really important that institutions with as much spare money as Oxford colleges help to facilitate this.”

Movement for Justice described the JCRs’ decisions as “so exciting”, telling Cherwell, “The donation from Magdalen means so much to us because it means we can continue to make getting ex-detainees and asylum seekers to the demonstrations seats – we want no one to feel they cannot come because of lack of money, these donations help make that happen.”

John Stephens of Magdalen, told Cherwell that at a talk earlier this month by Movement for Justice, students were “shocked by accounts of the conditions in Yarl’s Wood,” which included allegations of “withholding of vital medication and sexual assault by guards”.

In its motion, Magdalen JCR notes, “The demonstration aims to bring together activists, organisers and asylum seekers from across the country to help build a network of campaigners and create links between movements.

“It is also an opportunity for detainees (many of whom are not native English speakers) to contact campaigners and access legal counsel.”

In response to Cherwell‘s request for comment, A Home Office spokesman said, “Detention and removal are essential parts of effective immigration controls, helping to ensure that those with no right to remain in the UK are returned to their home country if they will not leave voluntarily. 

“We take the welfare of our detainees extremely seriously, which is why the Home Secretary commissioned the Stephen Shaw review which was published last month. We are now working on significant reforms in relation to mental health, how those “at risk” are considered and ensuring there is a stronger focus on removal so that people spend the minimum amount of time in detention before they leave the country.” 

Serco, the firm responsible for operating Yarl’s Wood, did not respond to Cherwell’s request for comment.

 

 

Second-hand book holds a hidden secret

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A William Blake book containing a first draft of Thom Yorke’s ‘Airbag’ was found at the Oxfam charity shop on St Giles. It is projected to be sold at auction in March for upwards of £3,500. Yorke has agreed to donate the proceeds from the sale of Songs of Innocence and Experience to Oxfam.

The book, Songs of Innocence and Experience, was donated by Yorke in early 2015 along with a batch of other books. Mispriced initially by volunteers working in the shop who weren’t aware of who its donor was, the book was found by volunteer Alexander Barker in the 50 pence section of the shop.

‘Airbag’ is the opening song on Radiohead’s classic 1997 album OK Computer, inspired by a car crash Yorke and his girlfriend had in 1987.

Barker, a political theory tutor at St Benet’s Hall, who has been volunteering at Oxfam since 2003, said that it was luck that he made the discovery, not having expected anything of the sort when he opened the book. He said that prior to finding the Yorke lyrics, the most exciting thing he had found in Oxfam shops were annotations by prominent academics in books they had donated.

Barker, who is himself an avid Radiohead fan, told Cherwell, “I’m obviously happy about it. Everything else pales in comparison to finding this.” Still beaming, he said that another positive for him was that it was, “Nice to work in an environment where absolutely everyone involved is gaining something.”

He added that he and another volunteer, Andrew Chapman, knew immediately how valuable the discovery was, both as memorabilia for hard-core Radiohead fans and as an insight into Yorke’s creative process.

Chapman, who works as an airline pilot but has moonlighted as Oxfam’s rare books specialist for the past 16 years, has experience with discoveries like this one. In 2007 the Oxfam branch in which he worked found a first edition copy of Graham Greene’s Rumour at Nightfall, which ended up being sold for £15,000.

Regarding the Blake book, he told Cherwell, “Radiohead is one of the few bands that will only increase in popularity. With this discovery, we get to see Thom’s working method.

It looks like he wrote these lyrics in about 20 minutes, but in a good way. There is an immediate sense of potency when you see what he’s written.” But he also said it was difficult to determine exactly how much it was worth, a sentiment that was shared by Lydia Wilkinson of

Bloomsbury Auctions, the group that Oxfam uses to sell books that are likely to be too expensive for usual store customers – usually anything that is worth more than £1,000.

Wilkinson told Cherwell, “While this book was very clearly special, we don’t have any precedent, so made the decision to take it to auction.” Though the auction will not begin until 18th March, she said that even in these early stages there had already been a lot of interest.

“I expect that it could make a few thousand pounds at least,” she said. Barker also made a prediction in that range, telling Cherwell that he thought the price could go as high as five or six thousand pounds.

But that said, the book pales in comparison with other charity shop finds. For example, at a charity store in Burlington, North Carolina, one customer paid $2.48 for what was actually one of 20 officially-commissioned copies of the Declaration of Independence. It ended up fetching £331,335 at auction.

Oxfam itself once realised that six Mozart sonatas had been incorrectly bundled with other items and were about to be sold for only £3,000. But in that case, the donors asked for a return of their donation, meaning that Oxfam wasn’t able to profit from the discovery.

College JCRs ponder pet tortoise logistics

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Balliol’s recent decision to sponsor George, the Durrell Foundation’s 100-year-old radiated tortoise, follows the return into favour of these cold-blooded creatures as every proud college’s must-have pet animal.

This year’s Comrades Tortoise, the elected tortoise representative in the Balliol JCR, Phoebe Grant-Smith and Lottie Dodd, proposed the motion for Balliol to adopt its own tortoise. It was overwhelmingly approved by the College’s JCR on Sunday of Fifth Week.

The two finalists originally intended to keep the animal on college grounds, but after having discussed the necessity for upcoming student bodies to provide adequate quantities of lettuce and strawberries during the next century or so, the committee opted for sponsoring the Durrell Foundation’s own reptile from a distance.

For a few years now, Balliol JCR members have been forbidden from keeping a tortoise after the last one passed away.

During their election campaign for the Comrades Tortoise position in Michaelmas 2015, Grant-Smith and Dodd were determined to bring the long-missed animals back to Balliol, yet they claimed that “a tortoise is for life, not just the fleeting desires of a student body,” to remind everyone of the serious responsibilities entailed. Grant-Smith told Cherwell, “We had this genius idea of sponsoring a tortoise from the Durrell Foundation so that technically the College has a tortoise but we don’t have to look after it (and potentially accidentally kill it). They can do this for us.”

It came as a disappointment to some members of the JCR that sponsoring a tortoise would not allow them to choose its name.

The Durrell Foundation compromise was not enough to satisfy one first year, who told Cherwell that, “This isn’t getting a tortoise! I am going to call for a vote of no confidence in our current Comrades Tortoise.”

Balliol is not alone in its pursuit of a slow companion. Tempted to join the half-dozen colleges that already have a tortoise, Oriel passed a motion on the Sunday of Fourth Week to start looking for one to adopt.

In answer to animal welfare concerns similar to those raised in Balliol, the species’ habit of hibernating in unused fridges or empty boxes for around five months was mentioned as a way to lighten the burden of the designated tortoise keepers. Unsure of which breed would suit the college’s ideals best, Oriel JCR decided that the matter would be discussed in greater detail in Sixth Week, once practical questions had been thoroughly investigated.

Magdalen, on the other hand, has succeeded in avoiding these difficulties by electing a new “human tortoise” every year. Called Oscar d’Tortoise, this individual participates in Corpus Christi’s historical Tortoise Fair in the Trinity term and is tasked with eating an entire head of lettuce at every meeting of the JCR.

This strict diet is partly in preparation for the tortoise race, the culminating point of the festivities organised by Corpus Christi for charity. In order to facilitate Oscar’s training, a new amendment has just been made to the original ‘Lettuce Allowance’ constitution.

In dedicating 60p of its budget to the regular purchase of the required amount of lettuce, the JCR also encouraged Oscar d’Tortoise to eat only organic lettuce, thus making the most of the money spent by Magdalen JCR.

The present Oscar, Missourian Zachary Klamann told Cherwell, “I find it incredibly demanding on my stomach capacity.” But this is a sacrifice which he is willing to make as part of his vocation. “I’m a big tortoise fan. As they say imitation is the sincerest form of flattery, I just thought I’d flatter tortoises as much as possible.”

When recalling the elections for his position, Klamann noted, “I ran unopposed but still somehow managed to only get 88 per cent of the vote or something like that, so that’s relatively embarrassing, no matter – tortoises don’t cry.”

Ink and Stone: Nuffield College

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The more I read about Oxford architecture, the more I realise that architectural historians are, for the most part, hyper-critical narcissists. The phrase ‘those who can’t do, write’ comes to mind – although that might be something of a boulder catapulted through the fragile glass walls of student journalism. In keeping with this cliché of excessive negativity, I’d like to reproduce some of the choice quotes that have been expressed in relation to Nuffield College. “Oxford’s biggest monument to barren reaction”; “a hodge-podge from the start”; “a gauche parody of the steeples of medieval Oxford” or that the “best hope for the college is vegetation.”

The college was built in 1949 on the former site of the Oxford canal basin – it’s situated on New Road, opposite the car park – so the next time you’ll walk past it will probably be on the way to Park End. Despite the critical timbre of the writing that pertains to Nuffield, I think peeking in through its west gate would be a gratifying diversion next time you’re drunkenly careening towards a small hot and loud room full of thwarted conversations and inevitable regret.

I like Nuffield college, and the reason I like it is basically the same reason that a lot of people dislike it – it’s a bit of a “hodge-podge”. The quad of Nuffield exudes an air of parochialism, with high gables; irregular stone slate roofing and wooden framed hip-roof dormers. Stylistically, it could almost fit into the standard cottage model of so many of Oxford’s outlying villages – expressed in archetypal honey-coloured Cotswold stone. And yet, the inscrutably smooth ashlar facades, the curiously sharply cut mullions – particularly the rounded arches of the doorways evoke a retro-futurist sense of modernity – the ideas of modernism expressed in the language of tradition. Nowhere is this more evident than in the copper-spiked library tower, whose modernist sharp lines and regimented windows rise inexplicably out of the quad. All of this makes a walk around Nuffield slightly surreal – it feels like stepping backwards to step forwards, seeing an architect desperately reaching towards the future, out of the past.

This was not what architect Austen Harrison first envisaged when he started work on Nuffield – the noted designer of several buildings for the diplomatic core in the Middle East, including the high commissioner’s residence in Jerusalem. He produced the blueprints for a massive, round arched, Greek Doric building, with split-level quad and vaulting lantern tower. Lord Nuffield, the benefactor behind the founding of the college, rejected Harrison’s initial plans as being “un-English”. This search for a more ‘English’ style drove Harrison to the curious hodge-podge reality of the parish-pump modernism of the college’s architecture. Lord Nuffield was, of course, William Morris (not that one) – the founder of Morris Motors, whose interwar car factories so transformed the outskirts of eastern Oxford. His legacy is acted out in the motor wheel motifs that adorn the gable ends of the quad – a homage to the technology which allowed for the college to be built in the first place.

However, in insisting on the ‘Englishness’ of his collegiate legacy, Morris fulfils the archetype of that certain class of English industrialist who revered the bucolic particularism of old England, and yet acted as one of the primary motors of its disappearance. This entrenched doublethink – the nostalgic moderniser, lies at the heart of the curious beauty of this much maligned piece of Oxford’s landscape, which may not deserve a reappraisal by those who actually know about architecture, but certainly deserves a few minutes of your attention. 

OUSU backs training for Oxford’s bouncers

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Good Night Out (GNO) Oxford has requested process of negotiating with four other clubs and expect to £250 at the Fifth Week OUSU council meeting to run training sessions to educate nightclub staff on how to respond to harassment of women, as well as homophobic and transphobic incidents, raising awareness and changing the handling of harassment around Oxford.

GNO Oxford is part of the national Good Night Out Campaign, launched in London, which seeks to reduce harassment in licensed venues by educating staff on how to respond appropriately to instances of harassment.

The campaign is co-ordinated in London but, according to their website, it has “a dedicated network of regional organisers across the UK, Ireland and beyond – spreading the message that harassment is never okay.” The organization works in partnership with councils, women’s groups and charities across the country, delivering specialist training and support.

GNO Oxford has so far made substantial progress, contacting clubs in Oxford, which received positive responses. For example, this year GNO Oxford secured training for all the staff at Plush later in Hilary term. According to OUSU, they are currently in the have training dates confirmed by the end of the month.

This news comes amid rising fears that sexual harassment is on the rise at Oxford, with reports in 2015 of groping at parties within the College and the University, rape jokes overheard in communal areas and students coerced into sexual acts.

Last year, Alice Prochaska, the principal of Somerville College, announced female students face a barrage of “sometimes threatening behaviour on a scale unprecedented in my time as principal”. In order to train their pool of volunteers, funding is needed and GNO Oxford has successfully raised money through some university Common Rooms, which covered some of the costs. £250 pays for one facilitator training session, which includes bringing in a member of the national team to train up to 15 volunteers and all materials to distribute to participant clubs.

The OUSU motion proposed to contribute £250 to GNO Oxford as well as to mandate the VP Welfare and Equal Opportunities, Ali Lennon, to work with GNO Oxford, which is not currently formally affiliated with OUSU, as it is with many other student unions in British universities.

The OUSU Council motion went on to say that it believed, “Harassment is unacceptable in all instances and can be particularly distressing when it is focused against minority individuals. The negative effects of harassment can also be increased when met with a negative, blaming or doubting response from those in a position of authority, and as such it is extremely important to educate staff about harassment and how to respond to reports and disclosures.”

At the meeting on Wednesday, Tom Wadsworth, proponent of the motion, affirmed that £250 is needed to pay national trained leaders to go into clubs “the Wadsworth claimed that the work of GNO in Oxford will become much more prevalent in the future, saying, “We are hoping to train all the main clubs in Oxford by the end of Trinity.”

An amendment was proposed by Ali Lennon at the meeting which required that the money be spent in association with other stakeholders, including Oxford Brookes Student Union, Thames Valley Police, the Student Advice Service and liberation groups, to make the resolves more inclusive and broad-ranging. Lennon stated that although he “greatly sympathised with the aims and goals [of GNO]”, the reason he proposed the amendment was that there is “no evidence of this leading up to police level”. Lennon concluded, “We’re not saying no, we’re saying let’s refocus it, lets reframe it, let’s get more people in- volved and make it more intersectional.’’

Lucy Delaney, OUSU VP Women, seconded the amendment, saying, “I love Good Night Out and think their work should be implemented”, and that their work was “badly needed” in Oxford clubs. She praised the updated GNO Oxford policy, which included on harassment on grounds of race and disabilities. Following a revised motion, which proposed postponing further discussion until the Seventh Week OUSU meeting in order to resolve these concerns, the funding was granted. A training day has been scheduled for 4th March.

Review: Yuck – Stranger Things

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★★☆☆☆

London quartet Yuck, who sit somewhere between tame indie rock and half-hearted shoe-gaze, return with a bland third album. On opener ‘Hold Me Closer’, frontman Max Bloom whines over fuzzed-up guitar on a track that is catchy enough, and melodic enough, but that’s about it. The roundabout repetition of one decent riff is lacklustre and quickly proves the drab nature of what is to come.

‘Like a Moth’ initially feels like a welcome change as the tempo slows and the band settle into a comfortable groove. But this comfort is not enough (we want cutting-edge, after all), and, in any case, the game is too soon given away. “Like a moth I see you / Burning like a fl ame / When I try to approach you / I get burnt away” sings Bloom. These lyrics, riddled with clichés and messy syllable-fillers, illustrate the sentiment of these songs – the sound is hardly offensive; but it’s the predictability that is more than irritating.

‘Swirling’ does, in fact, have a swirly, rippling sound, though hardly enough to be reminiscent of shoe-gazers My Bloody Valentine to whom Yuck have been compared. ‘Only Silence’ begins with a radio-play-like effect which serves only to make the main bulk of the song seem slightly more interesting when it eventually appears. But these vague experimentations lack conviction and do not mask the obviousness that is Stranger Things’ only characteristic strong enough to be remembered.

Review: Kanye West — The Life of Pablo

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★★★☆☆

The album is called The Life of Pablo , but is Kanye playing Picasso or Escobar? Genius or tyrant? Misogynist or..?

That line on ‘Famous’ has cast a shadow over this album’s release. Kanye’s claim that he might have sex with Taylor Swift because he “made her famous” is moot considering he interrupted her onstage as she picked up an award for an album seven times platinum, and it detracts from the true strength, here, which is the production. The end of ‘Famous’ itself sounds really, really fresh, reminiscent of J.Dilla’s sound yet with Aphex Twin’s sense of adventure. Opener ‘Ultra Light Beams’ is straight out of the Drake-40 collaboration book, whilst Chance the Rapper’s feature suits the understated production (a rarity on TLOP) down to a tee.

There are some lovely melodies and beats, and even some strong verses, here but they don’t get much chance to breathe as Kanye chops and changes throughout. This album would be stronger with another half an hour added to let the listener become familiar with all the disparate strains of influence. It’s a generally accepted fact that Kanye is at his best when he is outspoken yet introspective, but whilst he manages the former on the underwhelming ‘Facts’, it’s the more sober ‘FML’ and ‘Real Friends’ on which Kanye finally lets down the façade, and we understand why Kanye has done everything he has both on this album and in real life. The beat is allowed time to develop and we are allowed a glimpse of the truth through the clouds of ego and media hype.

Too often, TLOP seems like the stream-of consciousness creation of someone with an attention span of only half a minute. Metro Boomin’ production means ‘Father Stretch My Hands Part One’ starts on a more nominally ‘hip-hop’ beat, but the track shifts into Part Two before we get a chance to even really appreciate what’s going on. As a result, the second half, about which Kanye said he “cried while writing”, is disjointed and lacks emotional punch. My Beautiful Dark Twisted Fantasy had both twists and fantasies, but that album was like a journey that took the listener through numerous disparate landscapes while still offering a discernible path from one track to the next. Not so here. People who thought Yeezus was too bitty will not like this. I can’t help but think that here he has fallen behind Kendrick Lamar and To Pimp a Butterfly in terms of making the progressive albums both aim for.

There are moments of real aestheticism; if Kanye took a step back and allowed the music to breathe he could have made a moving album, whether beautiful or ugly.

An evening of Illuminations in Iffley

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It really was a dark and stormy night. The weather and the trek down to the church of St John the Evangelist might in fact have contributed to heightening the audience’s expectations of what was already a relatively ambitious programme. Performed by the Oxford-based string ensemble Corona, Benjamin Britten’s musical adaptation of French poet Arthur Rimbaud’s visionary collection of prose poems, Les Illuminations, effectively added to the gloomy atmosphere of the evening by its intensity and the nine contemplative texts’ underlying tensions, which it translates rather accurately into another form of art.

Conducting the formation which mixes period instruments and the more usual selection of strings, Janet Lincé equally directs soprano Erica Eloff for the central piece of the evening. Elgar’s Serenade in E minor, his Opus 47 Introduction and Allegro and John Ireland’s milder Concertino Pastorale come to complete the programme built around Britten’s work and the general theme of early 20th century “Englishness.”

One of the peculiarities of this ensemble is the wide range of sounds it covers. Larger than a chamber orchestra and far too experienced to be compared to a single instrument-category band still focusing on its coherence, Corona makes being constituted exclusively of diff erent types of strings an original advantage among Oxford’s many quality classical formations. The depth of the sound produced by two basses easily balances the absence both of wind and percussion instruments. They achieve a particularly rhythmic eff ect when playing pizzicato, almost bringing too much of the audience’s attention to their part. Although not the subtlest of associations, this combination of short, deep notes and longer strokes of the bow from the violas and violins avoids all monotony and successfully renders the mood and tempo contrasts in Britten’s intense suite of pieces.

Erica Eloff ’s strong presence and full voice resonate under the beautifully painted ceiling of St John’s with an air of dramatic authenticity well suited for the third part of the lluminations, ‘Royalty’. After the intellectual, persistent style of Britten’s composition, Ireland’s piece comes with its pleasingly lighter mood, toying with the artistic cliché of pastoral scenes full of warmth and gaiety.

Reflecting the evocative imagery of the poems which go from mentioning fantasised historical settings such as “old craters, surrounded by colossal statues and palms of copper” to the freer “streams of the barren land and the immense tracks of the ebbtide,” Corona delivers a colourful performance.

The formation demonstrates its own capacity to switch rapidly from a series of musical interjections to the longer, lighter phrases of John Ireland’s rarely played Concertino Pastorale as well as Elgar’s oscillations between mellow and troubled themes

The Coral: always getting proggier

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Nick Power contemplates time. “We’ve gone up to four, four and a half minutes, which is like prog for us,” says The Coral’s Nick Power ahead of the release of new album Distance Inbetween, the first after a five year hiatus. Speaking to me from home in Hoylake on the Wirral Peninsula, The Coral’s keys-player muses on the idea of timing from two perspectives on the new record – for this will mark the quintet’s eighth studio album – as well as Power’s intrigue in each individual track being longer than ever before. “To do a four and a half minute song is quite unbelievable for us.”

It is this balancing act between pop and tame psychedelia that makes The Coral. Renowned early single ‘Dreaming of You’ is a mix of woozy psych groove moulded to a tight pop tune, much like 2005 hit ‘In the Morning’, which inhabits, too, a vocal familiarity ahead of disjointed guitar. Power explains this marriage of pop and psych simply: “We just try out our maddest ideas and turn them into a three minute little crafted song”. In an age where internet-friendly attention spans are short and listening options are endless, perhaps it is for the best that The Coral have more or less maintained this temporal sensitivity.

Looking back on how the industry has changed since The Coral formed in 1996, Power grows bold in his speech for the first time. He describes this shift to the age of the internet vividly. “It did completely turn on its head, this ‘industry’. It’s no exaggeration – there was two or three years, I think, when people were sort of just wandering round going ‘what the fuck do we do? How do we … What is this business anymore?’”

But this technological upheaval was liberating for a band like The Coral. Power speaks faster as he expresses the sheer excitement this freedom brought. The independent thrill of the internet meant the band could move away from a major label, where they had had to “fight to do our own videos and artwork”, and finally get the chance to be in charge of their whole artistic output. “Now we get to do more stuff that we always wanted to do. We always wanted to put records out all the time and just be the master of our own world.” The Coral haven’t quite been putting out records “all the time” – a five year hiatus followed 2010’s Butterfly House and former The Zutons’ Paul Molloy now joins them on guitar – but surely this opportunity to break and do their own thing is an even larger part of this free- dom than Power could iterate. I ask what the band was up to during this time, and what strikes me about Power’s reply is the broad, open-minded range of the members’ artistic pursuits: “Ian [Sully] has always drawn and painted comics. Paul [Duff y] did some soundtracks. I released some books. This album is a kind of weird marriage of all those things.”

Whether the casual listener hears these intelligent cross-media references in the woozy guitar of new singles ‘Miss Fortune’ and ‘Chasing the Tail of a Dream’ is another matter. Power talks too of writer Richard Yates, film maker David Lynch and photographer Gregory Crewson, embroidering the ideas of these creatives together to form his own definition of psychedelia: “It’ll be like a nondescript mundane event or relationship – a description of that. But it’ll be so heavy in the person’s mind that it’s apocalyptic. And it’s the juxtaposition of the two things. And that’s a kind of psychedelia in a way.”

If what Power says is true, fans awaiting the ten-date UK tour will not be disappointed. The desperation of such a long wait this time around gives Power a stark sincerity as he says “I don’t think we’ve played like this live for about ten years.

It’s basically the hungriest we’ve ever sounded: we want to make these shows sound loose and angry.”

The art of creating the past

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“The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.” – Jorge Luis Borges

Traces of Kafka, Borges writes, can be found across previous generations and cultures. He is in the works of Zeno, Han Yu, Kierkegaard and Browning. Each of those authors can be considered Kafka’s precursors. But if Kafka had never been, nor could any of his precursors contain traces of his work. They would have been no precursors at all.

In this way, the present creates the past. We interpret and our interpretation conjures up millennia of history and art and literature. From the here and now, we dream our escape to the not-here and the not-now, the elsewhere – an escape that, in being a dream, is no less and no more fiction than any other.

Borges was not supplying a thesis of historical relativism – just a statement “de una verdad literal”, of a literal truth. The past is shaped by the present, with the corollary that the present is directed by the past. His focus was primarily on the history of poetry, with the implication that he, a Latin American author, was in someway able to influence the Western literary tradition with his work.

TS Eliot writes about tradition too, saying, “The poet…must be aware that the mind of Europe – is a mind which changes and that this change is a development which abandons nothing en route”. Change happens, but change is not loss.

The Tanakh was once only the canon of the Hebrew Bible; it is now also the foundation of the Old Testament. The American Civil War was to many a battle over state rights, but the victors write the history books: now, it was fought and won over slavery. The story of artists gaining fame and recognition only years after their death is a common one. Van Gogh died penniless, having sold but one work.

The personal is itself the historical. Take the friend you once thought to be honest, but was revealed to be otherwise. Your view of her does not only change going forward. Your past impressions are reformed as well. Sometimes the past can be rewritten dramatically: We were not placed at the centre of the cosmos by a deity. We make revolutions around the sun in one infinitesimally small corner of the universe. Humans did not appear on this earth fully formed. We evolved from apes over the course of millions of years.

These changes in the narrative are not progress. They are no more than revisions. We might think they’re good ones today; it might be realised that they were rotten ones tomorrow. But for right now, in this present, we have our story – one that allows us escape to daydreams, to reveries and fantasies.

As cultures, we embrace great illusions. Elide our faults, laud our strengths. We find comfort in these lieux de mémoire, each people sharing a collective remembrance. Tragedies are transcribed so as to make them palatable; we reinforce each other in times of doubt and of fear.

And I, how many hours must I spend at my desk thinking about the past? The time slips by. In the act of reflection, of scribbling each day’s notes and memories in that small black-bound journal, I cement an account of time passed. I analyse, forgetting for a minute, for an hour, that analysis is interpretation and interpretation, revision. And as I write, I provide myself escape: one day by allowing overindulgence in misery, the next by celebrating my smallest accomplishments. I am writing a fiction, but it is my fiction – and also my reality. I find myself free in the elsewhere of the past.

Borges is famous for how he quoted previous authors. He was loose with their words, adding phrases, modifying them, transplanting sentences from one page to another. He did this in his translations too. He did not say he was making the changes, either; he merely made them.

What he recognised, I think, is that our history is not immutable, an intransigent obstacle with which we must grapple. He was free with other authors’ words because he saw that in being so, he could alter the narrative little by little so that it would read more like how he thought it should. There is honesty and deceit in this. Deceit, in the overt manipulation of someone else’s text and presenting it sans acknowledgement of having done so. But honesty in not disingenuously agreeing to tradition against his own interpretation. Borges pitted societal fable against his own; the latter won.

So let me conclude with Eliot’s words: “The appearance of a new work of art affects all those works of art that preceded it. The order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered. The past is altered by the present, created again in each moment imperceptibly different but after long enough, unrecognisable.”