Wednesday 20th August 2025
Blog Page 1193

Creaming Spires TT15 Week 4

0

There are, roughly speaking, two conversations you have on Grindr. The first kind is the one you have earlier on in the evening, or when you’re just starting off. You pick profiles with wholesome names like ‘student’, ‘Tim’ or ‘hey there’, and engage in polite chitchat about what he studies, what you’ve been doing today and what films you’re both into. The key thing, however, is that while you’re both there to fuck (it is, technically, possible to be on Grindr and actually be looking for honest-to-goodness coffee dates — I’ve even been on one – but we shall set these aberrances aside), in this conversation no-one must be the first to put sex on the table. 

So, with strategy that would put UN negotiators to shame, it is crucial to be the first one to ask, ‘What are you looking for?’ That way, he has to be the one to bring sex (Grindr lingo: ‘fun’) into the picture, and you can finally drop the worry that you were revealing your harlot ways to an innocent young man who just wanted a gym buddy. 

The other conversation one has on Grindr is the one you have once you get frustrated with that delicate dance. Maybe you take your face off your profile, maybe you shrug and throw caution to the wind. ‘Horny?’ you message every likely candidate (the pool getting older as your standards drop through the night) within five minutes’ biking radius. Exchange a few photos to confirm he has the anatomy you’re interested in and head on over. 

You meet. Horny optimism encounters sober reality, and with no roadmap we revert to the manners our mums taught us, offering drinks and (no, really) sometimes even shaking hands, with a few strained words about the weather outside. Finally you work up the mettle to lean over and make out with this stranger you met two minutes ago, and like a skydiver’s leap it falls into place from there, and – bonus – since you don’t have to care about each other, you can be as selfish as he’ll let you be. Half an hour later you’re back on the street, slightly stickier, lighter on your feet, and wondering if everyone recognises that smug just-got-rimmed expression on your face. 

The vinyl to Grindr’s MP3, gay saunas are an institution many people don’t know still exists. Think men wandering around darkened corridors in only towels (with cheaper or free entry to under-25s, this genuinely isn’t Night of the Living Dead), generally with some sort of steam room, jacuzzi and mattress-sized cubicles (‘cabins’) for privacy. No pretences of delicacy here; it’s all on show: eye contact or a gentle grope as you pass is the favoured statement of intent, and if you’re going at it in a public space you’ll probably look up to find yourself in an impromptu orgy (note: saunas ruin you for Never Have I Ever). Finished, shower off the encounter and find someone new. 

Romantic dry spells I know all about. But going without sex? Sorry: not my style.

When Ms, Miss and Mrs don’t work

0

Unless you are particularly qualified, a Doctor or a Professor for example, you will have to choose your title from a binary mix of Miss, Mrs, Ms or Mr. Not only is the gender specific nature of this selection restrictive for those who do not identify as male or female, but the choices for those who do identify as female are contingent upon their relation to a man. 

A man will almost always be ‘Mr’ – regardless of marital status. A man’s title stands alone, as does he himself. But as a female, I must be addressed according to my relationship, or lack of, with a man. I must be identified as either single and up for grabs, or as married, a man’s possession. Have we really not moved on from the time when women were so subordinated that they could only be referred to in relation to men? 

Even Ms has bad connotations – it seems evasive, a product of this social conditioning that a woman should be married, intimating that Ms is a way to cover up one’s spinsterhood. It is for Misses who are ‘too old’ to be a Miss; and here lies the ageism suffered by women regarding their relationship to men, not endured by men themselves. When a boy comes of age and crosses the threshold into adulthood, he gets to upgrade his title from Master to Mr immediately, on the principle that he is now a ‘man’. He is independent and acquires the superiority of the title ‘Mr’ on account of his age alone. On account of himself, alone. A single man in his forties is a bachelor, a word with all sorts of glamorous connotations – bachelorhood is a choice, a lifestyle, a freedom. Yet the female equivalent, spinsterhood, is reminiscent of decrepit old ladies hoarding cats or snakes or mothballs. 

It is a situation in life that women do not choose, apparently, rather like being picked last in PE lessons, or in this case not being picked at all. And again this antiquated approach to relations between men and women – the latter relegated to passivity – is reinforced by the titles we must pick from – available, taken, I’d rather not say. 

And for those who do not fit the gender binary, there is a wide array of titles – Ind, Misc, M, Mx, Pr – but how often do you see them in the drop-down box for your delivery address? 

There are so many of these gender-neutral titles, yet so few are widely recognised. People are not giving enough attention to the significant portion of our society that does not play by the antiquated and intolerant rules of the binary system currently still in place. Our failure to progress beyond these conventions makes me wonder whether we need titles at all. 

Hasn’t society moved on from the days when a title was a necessary formality? In many professions, being on first name terms is considered positive behavior and the terms Mr, Mrs, Ms etc genuinely provide little added information about a person. There is a strong case for saying that titles are indeed redundant. 

In an atmosphere of greater acceptance of identities that do not conform to the patriarchal norms of a male dominated society, isn’t it about time that we rid ourselves of the titles that restrict us to gender binary roles? Moreover, the continued use of Miss and Mrs consigns those who do identify as female to the patriarchal ideal of a woman as a man’s property; whereas men get upgraded to Mr simply on account of their age. In fact, we hardly hear the distinction between Master and Mr these days – if men can drop this ageist approach to prefixing their name, why can’t women do the same without even more offensively differentiated titles? Why must women be referred to only in relation to men? 

Our society has started to progress out of the patriarchal dark ages to see gender in a more enlightened, open minded and less binary way. There is much more awareness of female emancipation and transgender identification and the more we talk about and engage in this discussion the better.

Athletes fall at final hurdle

0

Despite Cambridge’s home advantage, spirits were high in the Oxford camp as their athletes travelled to Wilberforce Road for the 141st varsity match. Having regained the trophy last year after a barren spell, the men were hoping to repeat their success, whereas the women looked to overturn a three match losing run, though both knew the result hung finely in the balance.

The day started well for Cambridge, as was expected, as GB hammer thrower Michael Painter led in his favoured event, which proved to be the first of his three wins on the day in the throws. Oxford responded well, though, as captains Sam Trigg and Montana Jackson led from the front with victories in the long jump. Both would follow this result up with further wins, Trigg with a match-record leap of 15.37m and Montana with victories in both the 400m hurdles and the triple jump. In the latter of these, he produced a huge personal best to break 12 metres for the first time and record a place in the top 100 of UK all-time jumps.

President Adam McBraida then continued to provide an example to the team with a victory and Blues standard in the 400m hurdles, despite a brave challenge from Alastair Stanley of Cambridge, who finished only a fraction behind. It was at this point that the first major upset of the day occurred, the first of many marginal battles that Cambridge would unfortunately come out on top in, as Billy Pinder took a hard-fought victory from the front in the 800m, edging out Louis Rawlings in the home straight by 0.07 seconds.

After this, Cambridge started to build momentum, as they subsequently took victory in both the men’s and women’s 100m and 400m, with Alice Kaye and Barney Walker winning excellent 400m races. The victorious Walker was able to avenge his infamous fall five metres from the line in 2014.

The Light Blues then took the narrowest of victories in the men’s 100m, with only the width of a vest separating Isaac Kitchen-Smith from victory, as well as in the high jump and the pole vault. In the high jump, both events were lost on countback, as jumpers from Oxford and Cambridge both cleared the same height, and the same was true in the women’s pole vault, with captain-elect Sam Rawlinson sadly denied victory.

Also in the pole vault, while recovering from wrist surgery following a freak training accident, GB international Rowan May vaulted using only one hand to obtain his full blue, clearing a highly impressive 2.80m. Having been injured for varsity in both of his first two years, Rowan will be hoping to arrive next year fully fit, at his best a 5.25m vaulter.

Oxford then started to re-gather their momentum, but sadly it would be too late to salvage either the women’s or men’s match. In the 1500m, Will Christofi led a hard race from the front for a big PB and a full blue, only just being overhauled by one Cambridge runner who used his finishing speed having been dragged round. Adam McBraida returned to the track for the 200m hurdles, an event that he has made his own the last few years with four successive wins, to take a commanding victory and a second Blues time of the day. George Gundle followed this with a big PB in the 200m flat to avenge his 400m defeat and end a highly prolific Varsity career on a high.

Of particular note in the women’s match for Oxford was Grace Clements, a Commonwealth Games bronze medalist in the heptathlon, who provided strong performances in multiple events in the field, competing against the university where she was an undergraduate.

[mm-hide-text]%%IMG_ORIGINAL%%11795%%[/mm-hide-text] 

Also playing a vital role was Anna Niedbala, who produced a dominating performance in the discus for a comfortable victory. Such performances would sadly not be enough to overturn a terrific Cambridge performance across the board, but provided two varsity matches which many claimed to have been the highest calibre that they had ever seen. The effort that every single athlete put in to their event is typified by Dani Chattenton in the women’s 2000m steeplechase, who briefly fainted with exhaustion at the end of her race, having being pipped for the victory and within a second of the Blues time.

Strong performances would also sadly see Cambridge take both seconds matches in a very closely contested competition. This was despite particularly notable efforts from Ralph Eliot (200m and 400m winner) and Adam Speake (1500m winner), both competing in their last varsity match of prolific Oxford careers.

How to… Defeat fifth week blues

0

A gargantuan monster unfurls from its tightly-kept foetal position, and rises its drowsy head, bearing saliva-soaked fangs which reek of lethargy and drunken arguments. That’s right. 5th Week is approaching. 

I don’t know what it is about 5th Week. I don’t know why, or what, or who, or where, or how. But I do know that 5th Week is not for the merry. 

Now over the last few thousands of years, Oxonians have developed several coping techniques for 5th Week Blues. I don’t have time to go over all the tried and failed remedies, instead I come with one new tactic.

So. Right now it’s Friday, which means you’ll be limbering up for 5th Week, and all the tears, pain, exhaustion, and indulgent complaints it entails. At least you think you are.

But of course if you follow the magic words which you are about to read, inscribed upon this good-quality thin material derived from dried pulp with wood n grass n ting in it, then you will never step anywhere near aquamarine, navy, turquoise, teal, or azure. 

You’re going to need to buy some supplies. Your shopping list is as follows:

1. An A5 Diary, where two pages map a week‘s worth of time. 

2. One new black fine-tipped sharpie

3. A pack of five Tesco’s Finest Belgian Deluxe Triple Chocolate cookies

4. Monster Munch

5. An eraser/rubber

So you’ve done your shopping, and you are now sitting in your room. Unpack all your shopping and lay it beside you. Pick up the A5 diary, and turn to the double-page spread which depicts 5th Week. Pick up the rubber. Fiercely rub across the whole page, imagining that you are obliterating the week. This is what some people like to call a metaphor. Never underestimate a metaphor. 

(If at any point someone tries to interrupt you, pick up a pack of Monster Munch (placed handily beside you as I instructed), and throw it instantly at the particular acquaintance who is trying to socialise with you. This will naturally dispel them with ease, either due to the acutely queasy fumes that Monster Munch emits, or the strange fanatic reaction of those Monster Munch obsessors. Who will grab the pack, and scarper, to eat away their soul in peace.)

Once you feel you have sufficiently metaphorised the week, brush the rubber shavings into a neat pile and then rush to the nearest sink and wash wash away. There can’t be a shaving in sight. 

Now obviously the 5th Week is still there. Don’t worry. Use the sharpie and make quick and aggressive swipes across each day’s dated titling. Ha! Fuck you 5th Week. As we know Sundays mark the beginning of the week in Oxford (what is that even about), so at 11.55pm on Saturday, clutch the diary to your chest and chant the colours of the rainbow over and over again. DO NOT SAY BLUE. It’s probably best not to say Indigo either. You can never be too safe.

With good luck, and the right spiritual spheres, life should zoom straight on to 6thWeek. I hope all is more pleasant over there for you.

Oh, and the cookies are for me, as a thank you present. You know where to find me.

Diary of an… OUSU President

0

Them little blue lights on the ceiling are the first thing I see as I open my eyes to the dreary articulations of the driver saying “St Clement’s”. There is always a tonne of people on the Oxford Tube on a Sunday night. I hate every single one of those people. 

I schlep my stuff off the bus and wonder back to the Temple, a house of wonder and mystery where I live with the gang. Its about 11:59pm so I’ve missed the tri-wizard tournament – a weekly FIFA battle between Hector, Callum and myself. I shed a tear – I lament the hat-trick Wilfred Bony might have scored for the Ivory Coast.

Mondays, like most days, is a work day. Unsurprisingly then, I go to work. I’ll get to the office about 9ish and check through the important emails from the weekend. I can’t operate before I’ve had my first avocado. I have this one with balsamic vinegar. I spill vinegar on my trackies. I’ll get a suit on and go to meetings. Sometimes they are interesting, often they aren’t. Today I am representing students on a committee about alumni relations. In short, they want us to get rich and give them money. If, as part of an attempt to get rich, we die trying, they hope we will put something in our will. This is understandable because the University genuinely believes it is strapped for cash. It kind of is, but also just announced it raised £2 billion. I play hard to get and say I’ll mentor people and stay in touch.

I have an iPad. At intervals of between 30 and 105 seconds, it pings with an email. 9 times out of 10, it’s an email with no relevance to anybody. No I don’t want translation services, debt collection services or to help you pick up your euro millions jackpot. Sometimes it’s an alert to tell me OUSU is in the news. It’s a nervous wait for the ever-reliably unreliable eduroam to load the email. It’s normally fine – just the Daily Mail saying how bad it is we invited a certain speaker.

I’ll head back to the office and get some work done – writing papers for university committees, speaking to students who want help with stuff, arranging more meetings, another avocado. I’ll listen to some Biggie, Fleetwood Mac, or JME to get me through. Sometimes I’ll be running or attending Uni or OUSU events, other times, I won’t.

My evenings vary greatly. Sometimes, I’ll be meeting common room presidents or going to OUSU council, or seeing some actually normal students who may or may not be my friends. Sometimes I’ll go on an inevitably ill-fated date. (If you can help me find love, please email [email protected]).

However tonight, as happens a few times each week, I am DJing at one of Oxford’s fine night time establishments. 

I’m at Cellar painfully early, so much so that everywhere, there are still half-full tinnies of Red Stripe that were being nursed for about two hours before their nurses decided to go home in order to save themselves for the next Cellar night. In the light, it’s not that cool a place. I’ll find the person organising and they’ll be running around worried that their zine is going to crumble if tonight isn’t equalling Bully-level waveyness. They tell me I’m on at some god-forsaken time. I ask what I should play for this impressively edgy night? They say nineties. I wonder if Oxford will ever get over the decade that was the least notable for music except for the wonderful Garage and Acid House stuff that defines modern electronic music. But whenever I drop some Sweet Female Attitude, there is still only about four people who get as excited as they should. Three of those four work behind the bar at Cellar. The requests for Steps, S Club and Five are like daggers through my soul. It’s late and I’ve been worn down over my now 18 hour day. I dance along to ‘Reach’ reluctantly, and the zine makes enough money to get published.

Another early morning and more of the same. When there is an issue that is likely to hit the headlines about Oxford, I meet with a lovely man named Jeremy. He is in charge of the University’s Public Affairs Directorate and his team read the student newspapers religiously. Hello. We normally meet in the mornings. 

On weekends, I’ll often go back to Watford to watch the mighty (and now Premier League) Hornets. I’ll have to be reading emails and work things at half time, but it’s ok because I love my job. But I love Watford FC more.

I get the Oxford Tube back to Oxford.

The actual reality of boredom

0

No matter how many times you wrote about the incredible passion you have for your subject in your personal statement, you will have experienced mind-crushing boredom at one stage or another at Oxford. Whether your mind is drifting away in a lecture, in a tutorial, or when writing a Cherwell article, boredom is a pervasive aspect of everyday life. So pervasive in fact, that we rarely question why we even feel it. 

Even if you don’t know why you get bored, you’ll certainly know when you get bored. An overwhelming lack of interest in your surroundings and difficulty in concentrating on tasks leads to the sensation of your mind ‘slipping away’, unable to focus on anything in particular. Boredom is typically viewed as an emotion you feel when you have nothing to do. Psychologist John Eastwood, after interviewing hundreds of people on how they experience boredom, defined boredom as having the desire to be stimulated, but being unable to pay attention to the task at hand or to your environment. 

This has obvious repercussions in education, as anyone in the midst of an essay crisis can confirm. Being bored prevents effective learning, given that not only do you do less work overall, but the little work that is completed will have been done when highly distracted. Hence prolonged boredom is often inversely related to learning. If a task is predictable or a student easily understands the material, this can be as damaging to effective learning as a difficult task. In both situations the student will be unable to be stimulated because the task is either repetitive or routine, or they cannot apply themselves to it. 

A study conducted in 1989 by Damrad- Frye and Laird reflects this, where volunteers conducted a task while noise played in the background. The louder the noises were, the more distracting they were because the volunteers could not pay as much attention to the task. The louder the noise, the more bored the volunteers reported feeling, and interestingly the task associated with the loud noise was less pleasant. It seems that even if inattention results from an external source unrelated to the task, the task is still perceived to be less interesting. 

This underpins the function of boredom. Emotions have developed for the same reason that other mental processes such as memory have – they help us survive and reproduce. Fear helps us avoid danger, while disgust helps us avoid infection and disease. 

In the same way, boredom encourages us to seek stimulation. Whether that stimulation comes internally and so drives more creative ways of thinking, or comes externally, motivating exploration of your environment, boredom is very beneficial. This desire for stimulation is so strong that a team of researchers led by Timothy Wilson reported that participants left in a room for up to 15 minutes, with nothing to do except think, said they actually preferred to give themselves a painful electric shock rather than do nothing. 

But as with every emotion, excess is damaging. Proneness to boredom is just as damaging as inappropriate anger, being linked to tendencies to engage in harmful activities such as smoking, alcohol, drugs, and even comfort-eating. Indeed, a study conducted in South Africa found that the biggest factor influencing drug use was boredom, while a study investigating the health of over 18,000 British civil servants found that those who were most likely to get bored were around 30 per cent more likely to have died over the period of the study. 

A tendency to be bored also makes your everyday life just that bit more difficult, with silly mistakes like pouring orange juice into your tea instead of milk more frequently made by bored people. 

Boredom may not be the most glamorous of emotions, but without it mankind would not be as driven to create and explore. This causes problems in the modern world, where education and the workplace demand a fair amount of repetitive activity. Whether this consists of simple rote learning of course material or completing paperwork every working day, it is not in any sense stimulating. 

Although I would recommend against claiming to your tutor that your innate desire for stimulation prevented you from learning your notes for the tutorial, recognising the cause of boredom means you can take steps to avoid it, or evenutilise it.

Preview: Medea

Tucked behind towers, turrets, and quads, Christ Church Cathedral Garden lies out of sight, out of mind. This week, one hundred pairs of prying eyes will stare fixated, with bated breath, on a lonesome leafy enclave, not knowing – not wanting to know – the horrors itching to spill forth. Medea, in all its grisly glory, has returned to the spotlight this May for what promises to be an unforgettable production.

The outdoor set, but a small earthen stage, prostrates itself bare beneath fading beams of sunlight and the gentle rustling of two aged trees. Silent, bar the whims of nature, a figure emerges. Pearly white clad garments afloat in the breeze, the nurse rhymes off a brief prologue in lyrical Greek and the audience, mesmerised from the outset, are transported back to the Dionysia.

From offstage, a shrill shriek fills the air: Medea has plunged headlong into a frenzy of despair. The voice, of course, belongs to that of certain Alma Prelec, who, it must be said, inhabits this complex character with prodigious ease.

Tensions stir and swell as commotion gushes onto the congested stage. With the arrival of Creon, played by Jas Rajput, things reach a feverish pitch. First abandoned by her husband for Creon’s daughter (Glauce), now, she is also to be banished, cast aside. As if walking a tightrope, Rajput strides regally left and right along the outermost perimeter of the stage – the bustling set scarcely able to contain such excitement. So close, in fact, that the hissing laments of Medea send a perfect chill down one’s spine.

Like a caged animal, lunging this way and that, Prelec’s sheer dynamism makes full use of every square inch of space available. Sprawled across the ground, pleading with the hardened king, the murderess clasps at the gravelly soil. Savage though Medea undoubtedly is, there is something palpably natural, untamed about the physicality of these stage directions. Yet, even wild beasts, let alone ‘barbarians’, rarely exhibit the ruthlessness with which Medea lashes out. Capriciously, she lusts after the gruesome details of Glauce’s untimely end. Smelling, swooning, salivating she feasts on the trembling Servant’s (Jacob Warne) stuttered words. Head reclined, Medea falls into a fit of quivering-lipped ecstasy, a sickly voyeuristic convulsion.

She is a mother who loathes the father of her sons more than she loves those same children.  As long as they live, she is mixed with Jason and he with her: by this she cannot abide. The last bitter drops must be poured, and Prelec reliably delivers with unparalleled acerbity.

Stellar performances in the respective roles of Jason (Christian Amos), Aegeus (Tom Jackson) and the Chorus, especially during the choral odes, bring O. Taplin’s translation to life.

The director, Helena Khullar, bucks the trend of recent modern adaptations, preferring a more traditional, character-driven interpretation of the ancient text. Quite literally, the audience are lured along the garden path, on course for a crash collision with the play’s “emotionally unbalancing” conclusion. What will become of her children, will she “destroy her soul in a quest for vengeance?” As the sun sets, the cloak of night descends on the stage, their troubled fates wisped away into the deadening darkness. Truly, this is a must-see!

Medea will be running from Thursday 21st of May to Saturday 23rd in Christ Church Cathedral Garden. 

Tumblr: Where aesthetics meets activism

0

Picture a billboard for a couture designer. You’ve probably imagined a picture of an image featuring lithe, beautiful people right? They’re probably mostly white, or so overexposed by flashbulbs as to appear to be. Their skin’s likely a single smooth colour. If it’s a mixed gender group, there’s probably some intimation of sexuality. If it’s a same sex group it’s probably still there, but probably so is some irony that suggests it’s all just a bit of fun. This is how fashion has been sold for the last two decades.

But things are changing, as control over the image, and access to an audience, has slowly slipped away from the behemoths of the media industry. Models outside of high fashion’s conception of “marketable” are taking control of their image and capitalising

on the influential mass of engaged couture fans on social media. Suddenly, aspiring models are just a few massively ‘liked’ and ‘reblogged’ photos away from the kind of exposure only previously offered by a Vogue spread. They’re shaping their own identities and cultivating a following that provides a real, legitimising, measure of their popularity.

Tumblr has been vital in this struggle. The blogging service’s ease of sharing content has attracted audiences of socially conscious youths who engage with minority communities, and an audience searching for beautiful images and iconography. The effect? A cross-pollination of aesthetics and activism, a blend of marginalised, discerning, taste-making demographics hungry to support each other in demanding high profile representation. A Tumblr feed brings a diverse range of aspiring models to the fore. Their following then spills over onto Instagram, where the model shapes their branding, as their audience swells with every click of the ‘Follow’ button. In a culture where attention is perhaps the most valuable commodity, the under- dog has created its own spotlight.


So what’s the result? Well, last week, @jarlos420 became the first real-life gay couple signed to a modelling agency, starring in the DKNY campaign, a huge victory in an industry that is obsessed with homoeroticism but conflicted about homo- sexuality. Elsewhere, the fashion industry is being challenged by Tumblr favourite @winnieharlow, who has vitiligo, but more importantly a following of 682, 000 and contracts with Diesel and Desigual. Meanwhile Albino models Shaun Ross and Diandra Forrest have a combined reach of a quarter of a million.

Andreja Pejic’s Instagram account has reached 104,000 followers after her break from the industry last year to undergo gender reassignment surgery. She has most recently walked for Giles at London Fashion week, and having just won a huge cosmetics contract, will be the first transgender model ever profiled in Vogue. Meanwhile Calvin Klein model Myla Dalbesio is challenging size-zero casting with her 15,000 followers, as is Stefania Ferrario with her following of almost 100,000. Whilst these numbers may pale in comparison to those of Vogue’s more conventional “Instagirl” September cover stars, which highlighted Cara Delevingne and her ilk with their millions of followers, they’re a vital foothold in the industry, a tangible, exploitable, persuasive reason for audience- hungry fashion houses to cast less traditional models in their campaigns.

But the fear lingers that an Instagram following as a basis for a modelling career is a little like foundations built in sand. As easy as a following can be to amass, it can be just as easy to lose. And as always with fashion, things can fall out of style in a season. But for those hungry for diversity, the best they can do is seek it out, and give it their likes, their pennies, and their attention. Then perhaps eventually that billboard might not be quite so easy to imagine.

Don’t Mind The Gap

0

Don’t Mind the Gap. What could be more apt a slogan for a conference on Anglo-German encounters in literature hosted by the German Academy for Language and Literature in London between 13 and 17 May. Among panels, talks and readings with guests from the poetic and literary scenes of Germany, England and other countries as well as the Academy’s special prize winners Neil MacGregor – former Head of the British Museum and now co-chair of the Humboldt-Forum in Berlin – and Anne Birkenhauer, a renowned translator of Hebrew into German, the conference featured an evening on writing and translating of poetry.

In the London Institute of Contemporary Arts German poet Jan Wagner chaired a highly concentrated and friendly discussion between Jamie McKendrick and Michael Hofmann, both British poets with a unique take on the evening’s topic: McKendrick has translated extensively from the Italian and Spanish and Hofmann, son of the expatriate German novelist Gert Hofmann, has become a poet writing in what is not his first tongue. To say it briefly: There were essentially two experts, two poets translating and two poets being translated present in this discussion and the format of the night really exploited this. It moved from an expert introduction of the important questions regarding potential pitfalls of translations to a truly personal engagement of the poets with their own work, to which translation leads them and which the audience was allowed to witness in this panel.

Standing out among the poems, which each panellist had brought along was Hofmann’s choice, The biology teacher, as the translation from the Polish by Zbigniew Herbert was entitled. Even without any knowledge of the polish original it was clear that Hofmann felt the gap between the two languages strongly, that the English would remain an imitation, rather than a translation of the Polish. ‘English has become very un-self-aware as a language’, Hofmann said. The discussion brought out, how compromise and sacrifice is always at the heart of translating poetry. Anyone who has put himself to the challenge of translating a poem before will know the problem: poetry is highly economical, uses dense and allusive language and, once complete, it is rigid in its form. Translation requires the opposite: freedom of expression, alternatives and most importantly it cannot afford ambiguity. Or can it? Should the reader of the translation be brought to the poem or the poem be brought to the reader? The great translations of the Classics of Homer and Vergil showed how essential these questions could be to the cultural identity of a society. How different would our literature be, had we chosen to force Homeric hexameter epic onto the English language? You name the issue, but whenever we read poetry that has been translated from another language, we should really think twice how and why it got there.

The next step was to inquire into McKendrick’s and Hofmann’s own experience of translating. ‘Often you are better off just learning the language’, McKendrick ironically remarked at some point and retold an anecdote of his relationship with the Italian poet Valerio Magrelli, whose poets he translated. Pages and pages of remarks that the Italian had made about the translations were boiled down in the process of endless telephone calls to about 6 points which show what the real crux of translating poetry is: interpretation. When the translator’s interpretation is at odds with the poet´s, who is to hold sway over what the translation should read? Is writing a poem in translation not also writing a poem and what happens to the artistic license when a translator is merely carrying out a job he is assigned? These disagreements can be tremendously fruitful for the criticism and understanding of an author’s work. As to his agreements with Magrelli, McKendrick remarked: ‘Out of the six, I think I won 4-2. Or maybe it was 3 all’…

At last things became really personal as the two poets read out their own poetry in translation. The sense of having one’s own work taken away must have been particularly poignant for Michael Hofmann, who as a native German speaker confronted his own work translated into his mother tongue. The question whether a translated poem is anything like what the author would have written, if he could write in that language, is of course imminent. Hofmann himself had felt ‘very uncomfortable’ about justifying what he translated himself, and with ‘whatever works is best’ he showed himself highly charitable to other people’s translation of his poetry. McKendrick in turn showed how the experience of translating can enrich the experience of being translated as he tried to keep his nose out of foreign poets´ translation of his work. With his light touch of humor, he merely recalled his surprise at how much of his poetry ‘could be missed out’ in the process of making sacrifices.

Wagner had begun the discussion by reading translations of Goethe’s famous poem Wandrers Nachtlied II, in English. The point of this was to question the authorship of the translations and by the end of the evening the problem behind this had unfolded a bit more. Translating poetry requires sacrifice and choice and to responsibly make such decisions, we need to interpret the poem. McKendrick, Wagner and Hofmann have shown that poets are right to struggle with this question, not accepting either to be writing someone else’s poetry anew in another language, or to simply transfer what exists into other words. There must be something in between, something that is found in translation. 

Should subfusc remain compulsory?

0

Click here to vote in the OUSU referenda on subfusc.