Tuesday 24th June 2025
Blog Page 1231

OxStew: Unless conscious, college choice does not matter

0

In the two years that I’ve spent as Admissions Officer here at Pembroke College, one of the things I am asked most often by prospective applicants is how to decide which college they should apply for, under the impression that this is an all-important decision. In reality, though, unless you are a fully conscious human being, capable of experiencing emotion and noticing your surroundings, it really won’t matter which college you end up at.

Apart from things like different state/private school composition, altered attitudes towards rustication, completely separate teaching setups, widely varying socio-political atmospheres, and divergent accommodation arrangements, you will have exactly the same student experience no matter which college. It’s all technically Oxford after all, what does it matter if the college forgot to mention their concrete jungle first-year accommodation miles down Cowley Road? Gazing from your window into someone’s garden shed is exactly the same as musing upon the dreaming spires and picturesque lawns of the college prospectus. In any case, being totally unaware of your surroundings due to the torpor into which you have fallen will make it even less likely that these differences will affect your time here at Oxford.

Most students base the decision on their favourite college crest, or just the one with the funniest name. I hear Oriel is full of students with an obsession for Oreos and the Little Mermaid. Got a favourite saint? Perfect. Perhaps there’s a college with the name of your place of birth? Decision made. You won’t regret it, I promise you. Of course you won’t. Regret implies consciousness, whereas you’re able only to conform, all possibility of regret taken from you by this lethargy which has dulled your senses.

Occasionally, you’ll hear people argue that location is an important consideration in terms of which college you might want to pick, but this really is overstated. The easy 25 minute walk from St Hugh’s to Exam Schools every morning will be a leisurely start to your day, and barely different to if you were at one of the colleges in the centre. And you’ll scarcely even the notice the walk – you notice little these days.

Similarly, it is sometimes said that you should take financial matters into consideration when deciding on a college, but although St John’s gives each of its students £300 to spend on books and laptops whilst Pembroke forces its students to pay for formals they might not even be able to attend, financial issues should not be a problem for a student at any college. And in what way would they be a problem? Why would those figures in your bank account even matter? What would even constitute a problem for you, now that you are devoid of the ability to feel pain? Nothing matters anymore.

Bar Review: Pembroke

0

My trip to Pembroke bar had a worrying start when I walked into a completely empty room, with Rick Astley creepily playing in the background. Rather disappointing for 9pm on a Thursday. Where were the blazered Bridge-goers? Where were the bearded Cellar-dwellers?

Alas, neither of my questions were answered, as the bar remained uncomfortably quiet all evening, which seemed odd especially given its central location. Despite this, the lack of customers did allow me to admire what must surely have been a recent renovation. With bare-bricked arches and a stainless steel bar, they’ve come quite close to the continental riverside effect, and if there’d been some Heineken and a couple more stoners I realistically might have been in Amsterdam.

That said, Pembroke’s bar is plagued with the classic ‘spare room’ problem. Quite small and impractically narrow, it borders on claustrophobic as soon asyou walk in. To make matters worse, the sound system has about the same quality as a builder’s radio, 100 metres away, being played painfully through an extensive network of tin cans.

I then understood why the Cellar-ites weren’t so keen on hanging out here. I was somewhat impressed with the beer selection, which included two lagers and one ale on tap, and five or six different bottled beers in the fridge, all of which were slightly cheaper than your average student bar.

The spirit choice, on the other hand, was fairly predictable – the same choice offered by nearly every college bar. The bartender was quiet, and although he didn’t offer the most welcoming of atmospheres, his ‘seen-it-all-before-and-don’t-give-a-fuck’ attitude was admirable in a way.

But the biggest credit must go to their signature drink, the Pembroke Pinky. It’s a half-pint concoction including a triple vodka, grenadine, and ginger ale,vwhich, instead of taking the usual tactic of masking an inordinate amount of alcohol behind utter sickliness, has a more moderate, spicy flavour, thanks to the ginger ale. And because it’s only half a pint, you don’t have to gulp down excessive amounts of liquid before finding the courage to dance. I always find that where alcohol is concerned, efficiency is key. And for £3.50 it packed a punch in terms of value as well as of booze.

Rating: ★★☆☆☆ (2/5)

Although very little stood out as especially impressive here, it’s a good-looking bar in a central location, with an almost adequate array of drinks at respectable prices, so a tentative bravo to Pembroke.

The Campaign: Oxford Climate Society

0

Activism has become a dirty word. With climate action conjuring up images of not-so-peaceful protests and radical stunts such as Greenpeace’s take-over of the rig in the Arctic, it’s no wonder most hesitate from taking action. But it doesn’t have to be like this. The Oxford Climate Society was founded as an inclusive movement which believes in using our creativity to move climate change up the political agenda.

2015 is a pivotal year for climate action, with the General Election, and COP21 UN negotiations in Paris at the end of the year.

One of the pillars of the Oxford Climate Society is action. The actions we take are all about acting local, thinking global — actions you take in your city have the potential to reverberate globally to mobilize politicians to act decisively on climate change.

We are currently focused on the upcoming national #TimeToAct2015 climate march in London on March 7th. It is independently organised but our aim is to maximise Oxford’s presence. Often people are held back by not having anyone to go with or are intimidated by not knowing what it’s all about. This is why we’re providing Oxford students and residents with the opportunity to meet, make banners together, and feel a sense of community with those planning to go. All of this will be happening in the afternoon and evening of March 6th, right before the march the next day (like us on Facebook to keep up to date).

Alternatively, if you feel more connected with the cycling community or think fracking is the number one problem, there will be a multitude of ‘blocs’ marching on the day representing climate causes they connect with most (see timetoact2015.org).

We will also be doing some publicity stunts and mass flyering on February 28th — if you’re keen, meet us at Carfax Tower at 10am.

The action doesn’t just end there. We want people writing to members of government — we can provide template letters. Two debates are also planned for Trinity and Michaelmas involving politicians, leading scientists, thinkers to get people talking. In the lead up to COP21, we will be gathering all our energy to raise awareness and join others in urging leaders to agree on a progressive climate treaty (we are even looking for a separate Campaigns Officer to lead us in this).

Find out more and how to be a part of the movement by visiting us at oxfordclimatesociety.com. 

Creaming Spires HT15 Week 6

0

I went to an awesome party last night and it ended about 8am. I’m not even going to pretend that I’m awake today. But it’s because I went to an awesome party that ended at 8am that I can now talk about something important (for once). You know what those excessively long social gatherings are like – at about 5am it’s just a small group of people savouring the very last dregs of gin and inevitably talking about sex.

I love those conversations. Being an open person, I find talking about  favourite positions and sex toys the next best thing to actually experiencing them. And I have many friends who share this preference, no shame attached. I mean, if a person gives no fucks about loudly screwing someone in a toilet during a house party, they also give no fucks about telling everyone about it afterwards. But of course, not everyone is a crazed over-sharer. I also have friends who talk about sex without going into gruesome detail. They keep their private lives to themselves and that’s fine. I always assumed that behind their discretion hide perfectly satisfying, normal sex lives. One overly long party and a hundred G&Ts later my view changed dramatically.

The conversation turned to ‘Catholic guilt’. I admitted that despite my well-known promiscuity, it took me a long time to stop feeling slightly panicky after each casual encounter. Similar confessions followed. One girl, who is often outspoken about her contraception, admitted that she’s never actually had penetrative sex. Another, who is very open about her high libido,  disclosed that she finds vaginal sex very uncomfortable. A guy known for worshipping his girlfriend and referring to their sickeningly perfect mutual orgasms revealed that actually their sex drives don’t match at all and he’s thinking about ending it. Pretty much everybody I talked to (who didn’t chase me away for being an obnoxious nosy harlot) had a secret that made them think their sex life is not normal.

Erectile problems. Insecurities about pubic hairstyles. Disgust at oral sex. Disgust at any sort of sex. General unhappiness and the feeling of not belonging to our sexy young generation and not fitting in with everyone else except that when everyone else isn’t fitting in either, there’s no longer anything to fit into. Or something like that. What even is a normal sex life?

To me, we’re talking about at least a few times a week, with lots of experimenting. Or at least, that’s how it’s been for the past few years, after I finally decided that I am notnthe whore of Babylon just because I like giving head. Shiny pretty magazines would have everyone believe whatever frequency and level of kink they say ‘normal sex’ involves. Well, I call bullshit.There’s no normal. Stop overthinking your oddities. We’re all odd.

I’m going to sleep.

Interview: Reni Eddo-Lodge

0

I feel the lyrics to ‘Q.U.E.E.N.’ by Janelle Monáe and Erykah Badu aptly encapsulate Eddo-Lodge’s philosophy. “Add us to equations but they’ll never make us equal.”


A talented journalist and social justice campaigner, Reni Eddo-Lodge has written about intersectional oppression since the age of 19. In 2013, she was listed in The Telegraph’s ‘Women to follow on Twitter’, and in 2014 as the Guardian’s ‘30 most interesting people under 30 in digital media’.

Listening to her talk about her vision of liberation rather than equality is truly refreshing. She has a unique ability to cut through the reification and rhetoric of the word ‘equality’ and expose it for what it often becomes, a doff of the hat to oppressive structures.

Eddo-Lodge explains how equality was the offspring of liberalism. She explores how largely white, straight cis-male political theorists sought to tackle inequality by raising the status of the underprivileged so as to achieve ‘equality’ with the privileged. In other words, liberalism’s response to difference between men and women, black and white, gay and straight is to “account for that difference” rather than “recognise that there’s nothing inherently wrong with difference”.

In light of this, it seems equality merely panders to the binaries set up by capitalism. “The idea of equality as climbing a ladder really troubles me, because it doesn’t help at all. If you embody difference in any way, whether through being black, a woman, or a LBGTQIA person, you may be offered the prospect of assimilation but you’ll never be able to shake off discrimination by accumulating wealth or capital.”

She recalls how her mum used tell her to “go and get a job and then you won’t have to worry about racism anymore”. But, she laughs, “Here I am, and racism is still bothering me.” As a little girl, she remembers watching the television, turning to her mum and saying, “When am I going to turn white?” This question was rooted in the media’s portrayal of black people as ‘baddies’ and white people as ‘goodies’.

“A system that was not built in your favour – neoliberalism or late-capitalism – will never work in your favour.

“When you look at discrimination and oppression through the lens of structural inequality, you can really begin to see how disparities are filtered through the system and it can’t survive without these disparities.” In short, equality demands assimilation within certain power structures, while liberation demands freedom from those oppressive power structures altogether.

Equality is an appealing idea, and it is “a very easy message to get out of the media”. But Eddo-Lodge views this as, at best, a misguided transitional stage, and at worst, a reinforcement of existing power structures. “I do advocate assimilation to some extent, like I advocate people who are a little more radicallyminded getting in those spaces and fucking things up and holding people accountable.”

Does “fucking things up” include rioting? After the riots of 2011 and Ferguson, I wonder whether she sees them 
as political acts towards liberation, and even an anarchic form of political participation, as suggested by the film Riots Reframed. She sympathises with this view. “It’s that inequality again… The rapper Okala says it really perfectly when he talks about ‘the environments that breed crime’ – who’s maintaining those environments?”

I ask her about 
how she thinks we can actively promote libera
tion as part of our daily lives. How can we achieve 
a balance between expression and self-preservation? Eddo-Lodge says she has come to realise that you need
 to pick your battles,
and surround 
yourself with those who understand and support you. “I think there are ways of getting the message out there without actively pursuing a conversation with somebody.” In a sense, she says, you can “reach people without trying to reach people, without emotionally draining yourself – you don’t have to do that”.

Eddo-Lodge no longer describes herself as an activist, but a writer. She cites “very basic practical reasons” for this transition. In the midst of the recession, “I couldn’t afford to throw myself into activism as a graduate, I needed to find something to feed me. I don’t feel qualified to call myself an activist – I’m not out there putting my body on the front line, and I hugely admire people who do. But I think we all have our different paths towards progress, and I don’t think that’s mine.”

Given her obvious distrust of capitalist attitudes, I ask her what hope there is for creative work which is often invisible to the market gaze. She tells me how the Internet has revolutionised possibilities for creative work. “The Internet was a huge tool for me. I’m not privately educated, I’m not Oxbridge, I’m from Tottenham. Without the Internet, I would not be able to have the career I have now.” One of the most important things she advocates is joining a union. “Creatives often work in an independent, self-employed way, and that often opens you to exploitation, and that’s why it’s important, if you’re going to pursue your passion in an independent fashion, that you join a union and know your rights.”

Eddo-Lodge speaks in a highly sensitive, patterned, and truly intersectional way. To challenge inequality, we must tear down the structures that construct difference as a negative thing. This must originate in a power analysis whose result is action. “Their power needs to be redistributed; it is not a case of us having a slice of theirs, but them giving theirs up.”

Bexistentialism HT15 Week 6

0

In the world of bad analogies, I would have to say that my week has been like a very slow Chinese burn. But a slow Chinese burn is probably not the most interesting to read about. And of course, this column only ever contains those nuggets of gold-plated delight that you can find nowhere else.

So let’s move on from the feeling of pain, and talk about my Wednesday night. A classic tale of inebriation and regret? Not quite. Because, well, it seems my self-parodying technique has spilled over into another Cherwell realm. It appears that I am now the new Shark Tales presenter.

And so, shortly, I find my face on the internet. But the one thing to learn is that watching Shark Tales does not give you an insight into the presenter’s night. Or at least, not now I’m presenter. I stand on the bridge, surrounded by herds of drunken students. A tenuous rant on the selfie stick suddenly halts. I am abruptly caught in a Dante-style circle, shoves and arms thrust about me. It seems someone’s last downed pint has struck them sharply on the head. Animal instinct is released. Cameraman grabs me and pushes me through the drunken whirlpool. As we back off, the tussle multiplies. Fists are flung, and we freeze, unsure how to act.

Fortunately, Superman, disguised as a taxi passenger, jumps out of a braking car, and soon the initial mayhem is dissected. At this point, we decide it is time for a break. And so I find myself at 1am, in the coldness of sobriety, leaning against the wall next to Park End. Cameraman has stored his camera safely away, and we stare blankly ahead of us, as squeals emit from ebbing and flowing hubbubs. Cameraman puts his arm around me. “It’s okay,” he says. I spy the unmistakably obtrusive glint of a football tie, and realise my friend is in the smoking area. He shouts my name in dulcet and somewhat slurred tones.

After I explain why Cameraman and I are looking obtrusively mopey, a pep talk begins. In the midst of his drunkenness, he seems to still manage to persuade me into retrieving the microphone and returning to my role.

“To be or not to be?” I ask a passing stranger. “Fuck off,” they reply.

As I head home, I pass bedraggled multitudes, their aura unmistakably reeking of the Park End regret which will shackle the morning to come. Whatever else I’ve got myself in for, at least I’m safe from that.

BDSM helped me get over my rape

0

TW: rape, sexual harrassment, body dysmorphia

 

I used to think I could control every aspect of my life. I was a typical Oxbridge applicant – dedicated, intense, and passionate. I played on all the sports teams. I did every extra-curricular possible. I got great GCSEs and A-Levels. And then I went on the prerequisite gap year.

And then I was raped. I don’t want to discuss the actual rape itself, as it was obviously fairly traumatic, but I do want to discuss how I dealt with it. I was raped in Oxford, in an Oxford college, by an Oxford student. It was horrible. My tutors handled it admirably and my friends were great, but for obvious reasons, I was pretty fucked up by the experience, and despite my previous view that I could control every aspect of my life, I soon felt that everything had decided to control me.

For a while afterwards, I wore the most un-flattering and/or covering clothing I possibly could. No leg, no arms, and certainly no cleavage. I wanted to exist behind a kind of screen. I stopped going out. I got kind of fat. I just wanted to be invisible so that I didn’t constantly feel like people were grabbing at me, either physically or mentally. I just wanted to be alone, and since I had such horrible feelings of being outside my body, I definitely didn’t want to have sex for a long time.

The complicated thing was that I was still really horny but physical contact was too much. I am a fairly short person so pretty much anyone who wants to have sex with me is taller than I am. And at that particular moment I really didn’t like the thought of anyone overpowering me in any way.

Everyone has that one friend who does themost extreme things. My version of that friend was at that point working in a really famous sex shop which is known for its more unusual BDSM gear. She taught me all about the  merchandise but I still wasn’t particularly interested, until I met a boy.

I have never met someone like this boy. We had a connection that was instantaneous but it wasn’t at all romantic and it wasn’t quite the usual sexual connection I had with people. We got drunk together once and he told me he was a submissive and had fantasies of being tied up and whipped. Unusually, I had no idea what to say in response. I was initially hesitant, but then I thought about it, and he explained to me what safe words were, and how I could back out at any time, and I thought, “Why not?” We were set.

At first I would just give him a light spanking and be on my way but then  spankings became more and more intense, and I liked beating him up. I think that due to phenomena like 50 Shades of Grey, people think that BDSM just means beating someone up but actually it’s more like a dance – you have to warm up first and then start whipping them really hard. At a certain point, I, who had always thought of myself as fairly submissive sexually, became a domme.

For me, becoming more dominant sexually has meant that I was able to deal with being raped and feeling like I didn’t belong in my body. The freedom I feel when I step on someone’s back or gag someone is extreme and strange. It’s not that I’m trying to enact revenge, it’s that I’m just feeling powerful, and powerful within my own body. I understand that some people would find this bizarre – or even offensive – but being a domme has helped me not only come to terms with raped, but also to feel like myself again

Will hope ever spring eternal?

(This article was amended on 19/04/20 per the author’s request)

There’s a poster that I see quite a lot around Amman. It’s a hand-drawn picture of Jerusalem. In big capital letters at the bottom it reads ‘Visit Palestine’. The irony is that, for most Jordanians, visiting Palestine is not so easy. But I’m a white woman with a British passport. I can visit Palestine without a second thought.

A few months ago, I took advantage of this and visited Palestine. I visited two Palestinian cities during my stay: Bethlehem and Ramallah, the latter being the de facto Palestinian capital. In Bethlehem, there’s a wall which the Israeli government calls the West Bank Barrier. When it is finished, it will stretch 700km along the Israeli-West Bank border. It is justified as an Israeli security precaution and at parts it reaches eight metres high and is topped with barbed wire.

In my ignorance, I didn’t really see the point in visiting the wall – a wall is a wall, I thought, and I’ve already seen it. What I was unaware of was that the wall in Bethlehem, as in many Palestinian cities, has become a space for activism – a space where people rebel against a government that has denied them worth and stripped them of dignity. The wall has a clear purpose, which is to involve the world in the struggle for equality.

The target audience is the tourists who are herded in by European tour companies and then herded back out, their heads full of the history, weeping for Christ’s sacrifice, turning a blind eye to the present injustice.

In Ramallah, unlike Bethlehem, it feels almost possible to forget the Israeli-Palestinian conflict. In Bethlehem, Palestine feels like a courageous rebel group, but in Ramallah, Palestine feels like a state. It is very pretty. There are trees and the air feels clean. There are nice houses, parks for children, and even mansions and shiny cars. But you don’t have to scratch far beneath the surface to find the pain. I stopped in a playground. Like many British playgrounds, the walls were painted with murals. But instead of happy images of animals and flowers, there was a painting of a dead baby. On top of this, the emptiness of the place was striking. There were no children in the park, and further out the streets were deserted.

Apparently the streets weren’t usually this quiet, but the people here are still recovering from the recent attacks in Gaza. Events like that take their toll on the West Bank, too, and it takes a while for life to return to normal. As you go further out of the centre, you will find the refugee camps, in which approximately 30,000 people live, without homes and in danger of being without futures and without hope.

The life of the ‘Visit Palestine’ poster began with the pencil of a Jewish refugee fleeing Nazi Germany. He was expressing his longing for a homeland free from prejudice and fear. Now, in very different circumstances, Palestinians use the poster to encourage people to understand the present conflict. The circumstances in which the poster’s artist fled his homeland and the current Palestinian conflict are not the same – I don’t want to suggest that there is a simple equivalent to be made. What I do see is some hope in this unlikely transition of a poster from one cause to another.

That people of different backgrounds and faiths, speaking different languages and living in different eras, have come to use the same symbol to express a desire for safety and security, reminds us that we are not so different from one another as we might sometimes thing. That, whatever our differences, we are all human.

Monumental Art: Seven Works of Mercy

0

After the first free-standing sculpture of early Renaissance, discussed in this space three weeks ago, our journey through monumental art continues. We’re skipping a few centuries and ending up in the epoch of the Baroque, the Seventeenth Century, with one of the most celebrated artists of the period, Caravaggio, and his Seven Works of Mercy.

The painting is very large (nearly four metres high), but no detail is neglected. The composition is dynamic, and the figures are doing all sorts of things: lying, standing, pulling feet, drinking, stretching, twisting, clasping. All these actions are highlighted by plays of lights and shadows, possibly Caravaggio’s most distinctive trait. Bodies and textures are illuminated by different light sources, and chiaroscuro effects (strong contrasts between light and dark) dominate the surfaces of the picture. This painting therefore embodies the Baroque style well, which, if one had to capture it in just one word, that word would be ‘movement’. Indeed, looking at this painting, one’s eyes shift continually from one figure to the other, enraptured by the hectic activity in the picture.

But what is this hustle and bustle all about? The painting, as much as it may appear to be simply a scene set in a rough Neapolitan street, is in fact packed with allegorical meanings. As the title suggests, it depicts the seven acts of mercy which, according to Matthew’s Gospel, the good Christian should perform towards his neighbours. The theme ties in with the commission and the location of the painting: it is housed in the Church of the Pio Monte della Misericordia in Naples, a charitable organisation founded in 1601 by seven young noblemen with the aim to intervene actively in society in order to alleviate the poverty of poorer classes. The painting is the altarpiece of the high altar of the church, and constitutes a sort of ‘visual creed’ for the institution. In just one canvas, Caravaggio manages to encapsulate all seven works of mercy, with 15 characters in total. Clockwise, we have two men carrying a dead man to bury him, a woman visiting a prisoner and feeding him, a naked and crippled man (in the foreground) being comforted by a gentleman, an innkeeper welcoming a pilgrim, and a bearded man slaking his thirst. In the upper half of the painting, Mary is portrayed as Our Lady of Mercy, with the Child and two angels. The one on the left is stretching his arm towards the men below, as if wanting to jump down and see what was going on down there.

As we can see, the seven works of mercy are not performed by members of the aristocracy, which was the aim of the Monte della Misericordia, but rather by common people, which Caravaggio depicts in a scene that is everything but bombastic and self-congratulatory. It is as if Caravaggio was giving his own twist to the commission, excluding the world of the wealthy by choosing to portray the kind of people the charity wanted to help, rather than those who carried out the charitable actions themselves. Simply put, in this painting we see the clamour and the complexity of the Baroque coupled with the humblest representation of Seventeenth Century society. 

Loading the Canon: Barbara Pym

0

It was in The Times Literary Supplement in January 1977, in a feature remarkably similar to this one – ‘The Most Underrated Books and Authors’ – that Philip Larkin called for a greater recognition of Barbara Pym’s works, writing of the author, “She has a unique eye and ear for the small poignancies and comedies of everyday life.” So in a sense, this article is sort of redundant – or at least, is about 38 years too late to the party. Larkin’s efforts have probably already somewhat eclipsed anything I could achieve in a meagre Cherwell column; his comments in the TLS led to Pym’s previously marginalised works being re-issued by her publishers, and indeed incited the author herself to compose three new novels before her death in 1980. Pym has now become almost a byword for ‘rediscovered author’, so I won’t pretend to be uncovering anything ‘new’ here; instead, I’ll sing the delightful praises of her bestknown work, the politely amusing Excellent Women.

It helps that my copy of the novel is a beautiful Orla Kiely-covered hardback version; if aesthetically pleasing books are your thing, then this one’s for you. The novel itself is almost as picture-perfect as its cover, with a plot as neatly puttogether as its protagonist, Mildred. The story follows Mildred (an unmarried woman in her 30s – though from the way she presents herself, you’d think she was 50) as she navigates the faintly exciting world of 1950s London, met with such insurmountable crises as – gasp – her next-door neighbours maybe or maybe not getting a divorce, or – shock – the vicar’s new fiancée being a bit mean to the vicar’s sister. OK, so the action doesn’t exactly come thick and fast, but that’s patently not the point of the novel; this perfectly-etched comedy of manners presents us with a world in which what happens is infinitely less interesting than the people to whom things happen.

Jane Austen’s influence on the novel hardly needs emphasising; the characters’ magnification of their little lives to a status of all-encompassing importance echoes Mrs Bennet at her best, while the unfailingly polite narration conceals, in true Austenesque style, a gently mocking smile at the trivialities people mistake for events of utmost seriousness.

Excellent Women won’t blow your mind, it won’t change your life, and it certainly won’t spur you on to go out and perform any acts of earth-shattering importance. However, this also does not mean that I’m not recommending you to read it as soon as possible. I’m heartily of the opinion that we all need a little more non-malicious fun-poking in our lives, and Pym is truly one of the masters of the craft. And, if you need more convincing: Philip Larkin said she was the most underrated novelist of the Twentieth Century – what more invitation do you need?