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Interview: The Cribs at the O2 Academy

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In a nondescript dressing room backstage at the O2 Academy, Ryan Jarman, guitarist of Wakefield trio The Cribs, tells me the story of the  band since their first show in Oxford  11 years ago.

Then, the three Jarmans, Ryan, twin Gary and younger brother Ross,  were touring relentlessly following the release of their raw and self-produced eponymous debut . They often played for free or multiple times a night in tiny venues, to hone their act and raise their profile. But Ryan is far from nostalgic for those early days, happy to move on to bigger and better things. “We’ve already had that intimacy”, he tells me.

Now, the band are playing in support of their sixth record, For All My Sisters. This is the first release following their move to Sony from the independent Wichita Recordings. “I feel like our relationship had changed a little”, Jarman explains, though alas without further elaboration . But it’s been a very positive move, he tells me.  “Because we’ve been around for so long, they know what band they’re getting, so we’re kind of more independent than before”.

More than just the label has changed since those early days. Though Ross has remained in Wakefield (where a plaque commemorates the city’s most famous musical sons), Ryan now lives in New York and Gary is based in Portland, Oregon. Ryan sees this as broadening the band’s musical horizons. “If we all still lived together, we’d have a lack of inspiration. Now we’re all very different people, who bring different things to the table.” Indeed, Ryan delights in telling me about his projects outside of The Cribs, including forming a band with his American wife as well as collaborating with Julian Casablancas of The Strokes.

But it’s not all different on this album for The Cribs. Jarman tells me how it represents something of a return to an earlier sound.  The band’s third album, Men’s Needs, Women’s Needs, Whatever, progressed from their initial lo-fi offerings (being slickly produced by Alex Kapranos of Franz Ferdinand) and  propelled them into the realm of critical and commercial success. Subsequently, ex-The Smiths and Modest Mouse guitarist Johnny Marr joined the band from 2008 to 2011. “Once that record came out, Johnny joined the band and that took us in a different direction. Then Johnny left, and that sent us off in another completely different direction”. Thus, whereas Jarman describes their previous release, In the Belly of the Brazen Bull, as “dark, heavy and sprawling”, he sees their newest record as “a bit more stripped back, a bit simpler, a bit poppier” – the follow-up to Men’s Needs… that never was.

Out on stage, Esper Scout and The Wytches warm up the crowd with a punchy style clearly influenced by heavy listening to The Cribs in their formative years (“It makes us feel old”, Jarman had told me earlier). However, they received a fairly lukewarm reception from a crowd clearly full of ardent fans awaiting their heroes. Jarman had told me they ” try to keep it as interesting as possible… we do everything to make sure this doesn’t feel like a job” by avoiding endless repetition of setlists and trying to focus on newer material. Though, of course, this is hard to balance against the demands of a crowd yearning  for the hits. Indeed, their efforts to rest fan favourite Another Number earlier in this tour were curtailed when the crowd  began to sing the characteristic riff as they attempted another song.

The band’s 90 minute set was well-received by the energetic and engaged crowd, who went wild for classics such as “Hey Scenesters” and “Mirror Kissers”, and rapidly warmed to the diverse introductions from the new album, including the catchy “Burning for No One”, the Weezer-esque “An Ivory Hand” (the album is produced by Ric Ocasek, who worked on Weezer’s Blue album) and the swirling, mesmeric “Pink Snow”,  which ended their sweaty set.

The Cribs are a remarkable band. They’ve released six albums that are each unique and special in their own way, yet they’re able to deftly blend choice pickings from each together to create a phenomenal live set. From the performance given tonight, and the bubbling enthusiasm of the Jarman brothers for their music and their fans, it’s clear this will continue for many years and albums to come. 

When the World is Not Enough

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We meet again. Bond is back, and with him a flurry of advertisements starring Daniel Craig’s chiselled physique, seductive snarl, and icy blue gaze. From Omega watches (‘James Bond’s Choice’) to Champagne Bollinger (‘the champagne of James Bond’) and Belvedre Vodka (imaginatively, ‘An excellent choice, Mr Bond’), one only has to flip through the pages of GQ, or even walk down the street, to see the actor Craig – and the fictional character associated with him – endorse product after product.

Of course, when it comes to Bond, there’s a distinct element of British pride, and our nation’s slight infatuation with the cool, slick character to take into account. Bond is beyond our aspirations; playing, one suspects, a large role in the fact that his character can slide out of the most improbable situations with not a sniff from film critics, and waltz, martini in hand, away from allegations from Craig himself that the spy is ‘actually a misogynist’. The large brands using Craig as their poster boy seem perfectly comfortable with extending our desire to emulate Bond to a fixation with Craig; and herein lies the crux of the issue – is celebrity endorsement; be the celebrity existent or invented – good for the fashion industry?

Celebrity culture is rife. The late 1990s and early noughties saw our obsession with the upper echelon of pop society: the beautiful; the wealthy; the talented, soar. Before the launch of celebrity perfumes, handbags and makeup lines, the major fashion houses dominated sales. Now, although undoubtedly less respected, and often, much cheaper, the shelves in department stores are crammed with bottles and jars plastered with the faces of Kardashians, One Direction and Nicki Minaj. It’s true that many of these endorsed products are, in reality, owned by the companies from which we might suspect the singers and reality TV stars to be taking profit – Nicki Minaj’s range, for example, is manufactured by Elizabeth Arden. Inescapable, however, is the fact that by essentially killing two birds with one stone, the production of these commodities, and associated advertising campaigns, transform singers, actors and footballers into conglomerates with fingers in too many pies.

By using a celebrity to endorse anything; be it a bag, a foundation, or a bottle of vodka, the associations and experiences of that celebrity intrinsically become part of the campaign. For many brands, this is only a good thing. Daniel Craig wears an Omega watch? Bond wears an Omega watch. If you buy an Omega watch, the world’s most beautiful women will fall at your feet (and, you know, you might get to shoot a gun). Gwyneth Paltrow wears Boss Ma Vie? Boss Ma Vie must be the elixir of life. Smell like Gwynnie, get Gwynnie’s legs. And so the list goes on. Calvin Klein jeans, the brand that discovered 18-year-old Kate Moss (or certainly boosted her dizzying rise to fame), has recently chucked the real models, opting for David Beckham, Justin Bieber and Kendall Jenner, to name a few. Jenner’s own status as a model-cum-celebrity, ranking her among the likes of Cara Delevinge, Gigi Hadid, and the supers of the early 90s, place her without question in a different league; one obscenely elevated from their modelling peers.   

For, as model and actress Isabella Rossellini explains, ‘it’s the celebrity that gives them the longevity. Most models start working less at 30, and then by the time they are 35 it’s over completely.’ Magazine covers; adverts; major campaigns – the celebrities and the models are embroiled in a battle to the death, and the celebrities are winning. Gone are the days when endless legs and a pretty face might land you a contract; can you sing? Can you act? Bookings Model agency concedes ‘It’s all about celebrity culture these days’, echoing a recent Cindy Crawford interview, in which the super model claimed the ‘modelling heyday’ of the 1990s to be ‘over’.

American Vogue editor Anna Wintour was widely criticised for her Kimye cover, with many claiming that by shifting the focus of the magazine from couture to Kardashian, Condé Naste had lost integrity. But Wintour’s ever-savvy approach was unquestionably a reaction to something we all knew anyway – the market has spoken, and the market wants celebs. Now, was that martini shaken, or stirred? 

Canal Coating

Fur, feathers, fabulousness; welcome to winter.

Photography: Mark Barclay

Styling: Emily Pritchard

Artistic Direction: Emmanuelle Soffe

Models: Elena Zanchini, Andrea Sisko, Hannah Cassens Marshall

Location: Jericho Canal

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From left to right: Hannah wears Faux Fur Coat, Topshop. Elena wears Military Coat, Asos, and Fur Scarf, Primark. Andrea wears Wool-Mix Coat, Her Own.

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Andrea wears Ostrich Feather Jacket, Stylist’s Own. Andrea wears Bohemian Peacock Coat, Story of Lola. Hannah wears Silk Kimono, Stylist’s Own.

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Elena wears Faux Fur Coat (just seen), Urban Decay. Andrea wears Wool Cape and Suede Mittens, both New Look. Hannah wears Coat, Elena’s Own, and Faux Fur Scarf, as before.

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Andrea wears Cape and Mittens, as before. Cashmere Scarf, Marks and Spencer.

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Metallic Backpack, Topshop. Silver Boots, Handmade by Model.

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Andrea wears Scuba Jacket, Topshop. 

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Watch, Model’s Own.

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Faux Fur Coat, Urban Decay.

 

 

A view from the cheap seat

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“Oh that this too edgy episode could blunt… that it should come to this just three episodes in” 

A fragment from the first folio entitled ‘A View From the Cheap Seat’

 

Productions featured in this week’s episode…

 

Spring Awakening: Wednesday to Saturday, Sixth Week, Keble O’reilly, 7:30

https://www.facebook.com/Spring-Awakening-at-the-Keble-OReilly-18th-21st-November-2015-914453848592415/?fref=ts

Dart:Wednesday to Saturday, Sixth Week, BT, 9:30

https://www.facebook.com/DARTplay1721/?fref=ts

 

 

On brunch

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“One cannot think well, love well, sleep well,” Virginia Woolf tells us, “if one has not dined well.” Cutting to the truth of the matter as ever, Woolf nevertheless gives me cause to quibble. The formal, candle-lit, smartly-dressed connotations of ‘dining’ are smugly satisfactory in their own way, but dinner is not the meal through which we can really achieve the balanced fulfilment Woolf envisions. 

Dinner marks the closing of the day; there’s no new hope in it. Once one has settled down to dinner, one resigns any right to carpe diem – one instead seizes the carp and tucks in. Its communal ideal is what we find in Woolf’s To The Lighthouse: “Some change at once went through them all, as if this had really happened, and they were all conscious of making a party together in a hollow, on an island.” The rich food of dinner time ties us to sleep and to each other.

I could say a great deal about lunch, but little of it would be complimentary. It has always struck me as the most difficult of meals, coming as it does in forms as varied as a sandwich wrapped in cling fi lm or a steak with all the trimmings. What is lunch? I leave this dilemma to other pens.

Breakfast is, of course, the most important meal of the day. All my worst days begin with a bad breakfast. It is the meal that promises a whole new day ahead, and it must be attended to with care. But breakfast taken alone at an early hour can feel perfunctory. The truest unification of reinvigoration, communality, and inspiration comes in breakfast’s sexy younger brother, brunch.

First suggested by Guy Beringer in 1895, brunch is the perfect solution to finding breakfast too light and lunch too heavy. It brings people together but it also provides the individual with a way to recharge and regain confidence for the week ahead.

I learnt the craft of brunch at home. I have memorised the recipe for American pancakes, and found the perfect time to boil eggs. My father rises early on the weekends for a bike ride and by the time he returns my mother and I are wandering the ground floor in our dressing gowns. We make eggs with cheese and spinach, coffee is poured, and the three of us eat together at the oversized dining table. We delight in it more than any other meal, buying treats to go with it like smoked salmon or brioche.

When friends visit, we lose all sense of proportion and ridiculously over-cater. Some of my most vivid childhood memories involve laying the table for a huge eight-person brunch. In the kitchen, the adults would battle spitting fat to produce bowls of bacon and sausages. A basket of pains au chocolat was passed around. These could last past midday and even require a refill of the large cafetière, but we were still left with the entire afternoon to dispose of as we pleased.

In brunch, time does not exist in the same way that it does elsewhere. It glides on in measures of “one more coffee” rather than minutes. There is no strain to achieve in brunch. Satisfaction is reached through the completion of a crossword with friends, or the slant of the sun through the window, or the discovery that there are indeed more hash browns. At Somerville, brunch is served for twice as long as any other meal; the concept of midday becomes so elastic that it can be spread to cover several hours of reading, talking, eating, and drinking.

Going ‘out’ for brunch is, I grant you, a different experience. But what it loses in affordability and homeliness, it makes up for in luxury. Breakfast foods are among the easiest to prepare, but there are certain things that I will never have the inclination nor the imagination to produce. Professionally made French toast or eggs Benedict are a gift worth paying for. 

In this setting, the natural community feel which comes from brunch at home or college is put under strain. Instead it is replaced by an air of celebration. This is a tool to be used as frequently as possible. I have comforted old friends in hard and hungover times by taking them out for a reassuring full English. I have forged new connections through a mutual appreciation of eggs Royale. I have been for countless birthday brunches in London and Winchester and Portsmouth, each of them with a group of people I want to see happy and well-fed.

Brunch is not just a meal, it is an experience. At over 100 years old, it is still relatively novel to us, and to some is still appears unnecessary. This is precisely the point. I do not need brunch, but its very uselessness removes any pressure on the meal. Instead, one can relax, refresh, and enjoy.

Home or Roam: Glasgow, a cultural mecca?

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As an Oxford student with an accent, I am frequently asked upon meeting people, “So, where are you from?” To this blunt query I have three possible answers: Somerville College, if I’m feeling sarky; Scotland, if I want them to like me; and Glasgow; if I don’t. To say that Glasgow’s got a slightly different reputation to the rest of Scotland is an understatement. The latter seems invoke for most Southerners a magical, Macbethian world of castles and ceilidhs and Glenfiddich and faeries, the former a gritty city full of tracksuited Buckfast drinkers committing knife crimes all over the place (while teenage and pregnant). Though it may be true that Glasgow is very different to the rest of Scotland, these reputations are, somewhat, unfair. Trainspotting was, as any indignant Wegie will tell you, set in Edinburgh, and though they may have their fancy castle, it’s Glasgow that has the culture.

Described by Vice as “a paradise,” and not just because of the cheap and abundant drugs, Glasgow is not-so-secretly a cultural hive. With one of the best and most beautiful art schools in Europe and more hipstery music and theatre venues than lamp posts, there’s always fifteen things you could be doing right now, and they’re all less than twenty minutes away on the genuinely excellent bus system or adorably miniature one-line underground system. You can seek out cool house, electronic and techno club nights in semi-refurbished warehouse and train arches if that’s your thing (the latter even has a FunktionOne soundsystem), or you can down one pound Jaegerbombs to the sounds of the Sugababes in one of Glasgow’s many LGBTQ+ or friendly clubs. 

Whether you take your tea with scones or shisha, party White Lightning or White Russians, eat veal or vegan, you’ll always find your fix. I’m not exaggerating – the Willow Tea Rooms on Buchanan, the main shopping street, let you enjoy high tea in the beautifully preserved rooms designed by the internationally renowned Art Deco architect Charles Rennie MacIntosh. Tchai-Ovna serves over 100 types of tea and offers hookah pipes for rent. Although voted Britain’s vegan capital in 2013, you don’t even have to leave the train station to find top quality Angus beef steaks – just pop into Alston Bar & Beef.

Glasgow doesn’t just have things to do, it has things to see: due to its immense wealth accumulated through its involvement in shipping and trade, the second city of the Empire is packed with beautiful Victorian and Art Deco buildings. There are a vast selection of museums and galleries that showcase not just the work of international artists but many of our own making. While the Turner Prize exhibition on right now is not to be missed, neither are the beautiful and culturally critical works of the Scottish Colourists and the Glasgow boys, to be found at Scotland’s oldest public museum, the Hunterian.

If this all gets a bit overwhelming, you can always find some peace and quiet in one of Glasgow’s many lush and gorgeous parks, such as the Botanic Gardens, home to the iconic Kibble Palace hothouse and the Bard in the Botanics outdoor Shakespeare productions in summer. If that isn’t enough of an escape you can drive the hour it takes to get to the infamous Loch Lomond, surrounded by the The Trossachs protected National Park. Once you’re up there, you may as well drive a little further and pay a visit to Loch Fyne, along with its famous fresh oyster bar (Madonna’s favourite restaurant in Britain).

Glasgow may not quite evoke the glamour of the other cultural meccas of Europe, but it doesn’t have the prices, either. For a cheap, trendy, busy weekend away, it’s the perfect unexpected location.

Creaming Spires MT15 week 5

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In recent times, this column has become a bastion of male homosexual erotica. I’m here to change that.

Cast your minds back to the sultry summer days of Trinity Term 2015. I, a naïve (ok, well not really) young Classicist, arrive at my first meeting with my tutor that term. When I walk in, tutor and students alike are giggling about another, rather eccentric, Keble don, who just happens to be my favourite evil genius around. One undergrad is particularly on point with acerbic quips. I glance across the room at the purveyor of such flawless banter. She is on the cute side, but with that evil glint in her eye that makes me want her there. 

And it just so happens that Sarah will be my tute partner this term. The difficulty in achieving my classical fantasy is that I have already spent a steamy night or two with the majority of her best, male, friends. On one of these occasions, my unlucky night-time companion was deaned for noise complaints relating to the proximity of a certain communal bathroom to a junior dean’s bedroom. I assume that to her I seem like the towering pinnacle of heterosexual promiscuity. Little does she know that my interest in ancient history isn’t limited to uprisings; I’ve always had a distinct penchant for Roman and Greek (non-Platonic) caves.

I spend my next few tutorials giggling a little too much at her sardonic back-and-forth with our tutor, each tute moving steadily closer to her side of the sofa. Sadly, it seems she’s more interested in flirting with our professor than she is with getting to know the finer details of my… personality. We do, however, share a number of not-too-fleeting moments of eye contact. Could it be that she knows that I’m yearning to see something more than her tutorial notes?

The next week, following another round of repartee in the don’s room, Sarah casually slips into the conversation that she is in fact very queer. My face, and elsewhere, lights up; is she suggesting that, like me, she’s interested in a more hands-on approach to peer criticism? I decide to take the plunge at the ball we are both attending that night.

My evening becomes devoted to hunting her down. Eventually, I find her in the main stage tent. She’s looking amazing in a black dress that clings to her great body. Her personality and wit aren’t her only huge assets. We dance together for a while, hands finding their way to unknown territories. The sexual tension is mounting, and we finally kiss, hotly and sensuously. We make the excuse of needing to get a tampon and quickly make our escape to the bedroom.

Almost before we’re through the door, our ball gowns are on the floor. She pushes me onto the bed and climbs on top. My intrepid classical adventurer begins to explore my southern hemisphere with fearless pleasure. She’s definitely done this before, and her graceful fingers quickly lead to noise levels that could easily result in another deaning. Sated, we lie in each other’s arms as the sun rises over the post-ball carnage outside. 

We continue our dalliance for the remainder of our tutorials together. I wonder if our professor is aware that his two students’ fingers aren’t spending most of their time typing up essays. Our tryst is great, but I inevitably feel the pull of my voyage of sexual discovery, and by the end of term I’m back in the Bridge smoking area with one thing on my mind.

Suffice it to say, though, that Homer isn’t the only thing I’ll remember this term.

A guide to unblocking grandad

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I, like the vast majority of my university attending social peers, have a Facebook account. Like my particularly sneaky peers, I also have a second one under a slight variation of my name that I will not put in print for fear of people finding it. It’s stocked with slightly embarrassing childhood and family photos (including an entire album dedicated to school picture days in which my siblings and I sport an exciting range of mismatched polo shirts) and whichever whistle-clean pictures of me and my friends having wholesome fun I could find. Now five years old, it has served its purpose well. Throughout high school I could fearlessly allow myself to be tagged in edgy (and usually anxiously posed) house party pictures, even if they included such shocking props as cigarettes, mini skirts, middle fingers and even (gasp!) Smirnoff Ice. I could smugly watch the likes roll in, safe in the knowledge that my family, all blocked, would never see them. My personality front of a lame, tame, well-behaved mathlete was impenetrable, all thanks to my computer skills being slightly better than my parents’.

Over the years, as my family members either died of old age or got slowly less technologically incompetent and more unwillingly tolerant of my teenage behaviour, I found myself unblocking them one by one from my side account and adding them on my main one. Lucky them, I thought, getting such privileged glimpses into my super-cool life as a high school going-on university student. Naturally, the thought that most of them didn’t particularly care never occurred to me. This narcissistic obsession of mine was only encouraged by my great aunt Elaine’s enthusiastic commenting on anything involving recognisable Oxford objects or backgrounds and my mum calling me once a month to list the various boys I had been tagged in pictures with to see if any of them were now my boyfriend.

Eventually, I had so few people left on this second account that my only activity on it was one annual logging on in August to reply to my Grandad’s solitary birthday wishes. The bastion and final upholder of my family’s once proud working-class social conservatism, he had never really let go of the politics of the late 70s, or the innocence of my seven-year-old self. Considering his fury when I once offered him a “facon sandwich” – referring, of course, to the delicious vegetarian meat alternative; he had misunderstood me as swearing with a heavy accent – I never thought he’d approve of pictures of me getting bop juice poured into my mouth while dressed like a French maid, or being put in the bin outside the Rad Cam (shout-out to any prospective employers reading this).

I’ve like to claim that I acquired enough maturity and humility to approach The Final Unblocking on my own, but that is sadly not the case. I was instead prompted to by my sister, and more specifically, by a picture of my sister at a house party wearing a miniskirt and drinking Echo Falls. Being considerably cooler than I was at her age, she was even sitting on her boyfriend’s lap. I was thus shocked to see that my stern granddaddy had not only liked this picture, but commented. And what was this comment – a severe reprimand about delinquent behaviours? A passive aggressive expression over concern for her welfare? No, merely, “LOL.”

I immediately called my sister to ask if he’d ever brought up her Facebook activity with her, convinced this couldn’t be his entire reaction. It wasn’t. She told me that he’d told our mum he was worried about her drinking, and that he strongly disapproved of that Jack Davidson character who kept cropping up. But what could he do about it? Impose a curfew from his flat in Spain, or get another, more well-behaved behaved granddaughter? She’d rather that he knew about this stuff and not approve and love her anyway than barely know her at all. Sheepishly and in awe of my little sister’s great wisdom, I unblocked and added him, only to find that he’s got old photos too. We like each others’ pictures every so often, but I’m not sure I approve of everything he did in the 70s

The death of a green and pleasant land

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I spent the weekend in Derbyshire, the English county at the geographical heart of England. It could also lay claim to being at the literary centre, having inspired such novelists as Jane Austen, George Eliot and D.H. Lawrence. It’s hard to think of a place which better fits the description ‘green and pleasant land’. Even the clouds really seem to ‘unfold’ just as they do in Blake’s hymn ‘Jerusalem’. While I was there I visited the village of Tissington, a quaint, quintessentially English village. Every year the villagers ‘dress’ the wells with flowers, a tradition that dates back centuries. It’s done to celebrate the running of clean water at a time when the surrounding countryside was struck by plague, and the Biblical scenes give thanks to God (who is obviously from Tissington) for this act of mercy.

Earlier this year the village joined the rest of the country and gave thanks for something else; namely, Victory in Europe. A number of the wells were dressed in red, white and blue and declared such things as ‘A Nation Rejoices’. But the idea of rejoicing in times of remembrance has always seemed strange to me. Especially when we reflect on the things this
country lost in the wars of the 20th century. It’s for this reason that the phrase ‘Lest We Forget’ has always seemed, to me, so powerful. It comes from a deep and universal human urge: the urge to remember and commemorate sacrifice.

Perhaps that is why we do not use the word ‘celebration’ when we mark the end of the First World War. Remembrance Sunday is sombre, with none of the joy that we associate with the end of the Second World War and which we saw in the VE Day celebrations. The 11th November is a day for remembering the Unknown Soldier. It fulfils an almost religious function even in our irreligious society. Collectively we mourn a collective loss – even if to a cynic like myself it often seems that we have forgotten the very things that once made our country such a peaceful place.

By coincidence I had just finished reading a biography of Patrick Shaw-Stewart when I went to Tissington to look at the wells. He died in 1917, leaving one poem to posterity, as well as a host of letters. The poem he wrote, ‘Achilles in the Trench’, was written during his time in Gallipoli and is as much a product of The Illiad and his classical education as of the Great War. It’s a beautiful poem, made more beautiful, poignant and heartbreaking by the life and death of the poet. After serving in Gallipoli he was able to have himself posted to France, where he died. Perhaps most tragic are the letters he wrote home, and the ones he received. Of the latter a great many bring news of the deaths of his friends. By 1916 all his closest friends from school and Oxford had. The ‘Corrupt Coterie’ of which he was a leading figure had been killed off one by one. 

It seems only natural that we should be sombre when reflecting on the deaths of men like Patrick Shaw-Stewart. For they died defending their country in a war that would destroy their country as they knew it. When we mark the minute’s silence on Armistice Day we mark the passing of a world to which we cannot return. The ‘sights and sounds, dreams happy as her day’ described by Rupert Brooke (a friend of Shaw-Stewart) are no more and the England that he knew is gone.

So despite appearing to have been unchanged for hundreds of years, the village of Tissington and its dressing of the wells tells us something very important about the way that England has been transformed. The effect that that truly Great War had on this country. One feels it’s only right to feel a kind of profound sadness, not just for those who died, but for the death of the country they had died for.

By a curious twist of fate, Shaw-Stewart’s poem was found scribbled inside a copy of A.E. Housman’s A Shropshire Lad, which contains the following lines, and which express these feelings better than I ever could:

Into my heart an air that kills

From yon far country blows,

What are those blue remembered hills,

What spires, what farms are those?

That is the land of lost content,

I see it shining plain,

Those happy highways where I went

And cannot come again.

From Park End to paid employment, via Paris

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After three years spent studying for a BA in English Language and Literature at Oxford, I came home to my parents this June with a first class honours degree and scabies.
“It’s not an STI,” I repeated desperately, as I handed over the cream which the pharmacist had given to me for the whole family to apply. At first, I found it all quite amusing, to have contracted such a bizarre, archaic-sounding, contagious disease. It felt like the icing on the cake of what had already been a comically stressful year. However, when it came to the actual logistics of ridding the household of these irksome mites, my humour began to vanish. As I furiously shoved yet another load into the washing machine, my mother told me off for slamming the door.
“I’m sorry mum,” I apologised. “It’s just that I’ve been feeling kind of down lately because, well… I’m twenty-one and unemployed and I have scabies!” Embarrassingly, I burst into sudden, uncontrollable tears, prompting my bemused mother to inquire as to whether I thought I might be suffering from a small bout of depression.
And thus began my life as a graduate.
For the following two months, I spent the majority of my time complaining about My Future. I was rejected from an internship at a major publishing house after two interviews for having too little experience (by which I think they meant unpaid experience). I was rejected from Pret for a part-time job making sandwiches. I whinged endlessly about the job market whilst applying for all sorts of unsuitable positions. Needless to say, I did not receive many positive responses (as a raging vegetarian, I was never going to have much luck in my application for the role of Features Writer at Meats Trade Journal). Frenzied, I drew up various charts entitled things like ‘Ella’s Graduate Plans’, containing sub-headings such as ‘Travel’, ‘Employment at Home’, ‘Employment in London’, etc. Variables included ‘Masters’ and ‘Money’ and ‘Debt’. Sometimes there were even illustrations. Given the immense thought to which I initially gave planning my graduate life, it seems peculiar that what I then eventually decided to do was chosen on such a whim: I moved to a houseboat in Paris to become an au pair.
I think I chose it because it sounds good. It sounded good to tell a friend with a scholarship at Grey’s Inn that I would be spending a year sailing on the Seine. It sounded good to tell an ex with a training scheme at Goldman Sachs that I had escaped to Paris so I could finally write my novel. And anyway, to me, it sounded better than fermenting at home for any longer. I did not know what I wanted to do just yet, and this way I would be – quite literally – floating.
However, I was to find that gay Paris was not quite what I had imagined. You know that expression, “It’s like working with a child”? Well, I know where that comes from. I always thought I was quite good with children, but my respect for childcare workers has increased exponentially since my employment as an au pair.
Homework was the worst. Whenever I would open the little boy’s homework diary, he would invariably roll his eyes at me and loudly bellow, “Oh la laaaaa!” Writing two sentences would take us an hour and a half and a series of increasingly scandalous threats. Lego was confiscated. Pudding was compromised. His very own iPhone 6 was banned for two weeks. Another source of boundless conflict was dinner time. To my great distress, I was to discover that these miniature French people liked neither ratatouille, nor brie, nor garlic. All they wanted was pasta, which I would have been happy to provide for them, except that it would have been deemed unacceptable by their parents.
My life had spun rapidly from The Graduate to The Nanny Diaries. I thought it was going to be like Amélie.
Intimidating power-parents like the ones I worked for colonise the streets of gentrified Paris, brandishing their chihuahuas and Chanel and chic live-in au pairs, and masking all trace of familial unhappiness. In my case, what eventually threw me overboard was the criticism I received on child-rearing from these people who, within a few days of me being there, had left me – in all respects, a stranger – to bath their kids. There were several other reasons why I decided to leave: the lack of wifi in my room; the repeated nit infestations; and just generally having to live with someone else’s family after three years of independence. However, it was mostly because of the way I was made to feel like The Help. And so, I threw in the towel.
Now, I am about to return to my childhood home, jobless and clueless once again, and while I acknowledge that I am incredibly fortunate to have a home to return to, it nevertheless feels somewhat disappointing. In my four months of graduate life so far, I have been unemployed, a drop-out, and periodically contagious.
In Paris, I did not succeed in finding my Nino (like Amélie), and nor did I write my magnum opus. However, I have learnt that: a) I need a job which I find intellectually stimulating, whatever that may be; b) Paris is a beautiful city and one day I would like to return not as an au pair; and c) I will never live on a houseboat ever again. Also, now more than ever, I have such an immense feeling of gratitude towards my own parents for the way that they raised me (themselves), for their continual presence even in their absence, and for putting up with me through the tantrums, the angst, and now the uncertainty.
Fundamentally, I think my problem over the past four months has been that I do not know what I want to do with my life. I do not have a clear path, like my Grey’s Inn lawyer friend, or my Goldman Sachs banker friend, or my Teach First teacher friend. And I hope that it may be a comfort to others to know that even people who may seem like they have the brightest prospects are sometimes still left in the dark.
However, our generation will be working well into our seventies, and I want to find something that I will love spending the next fifty years of my life on. So, for now, I am choosing to be happy, even though this means taking some time to make the choice. And, until I come to a decision, I am going to look for temporary employment at home to tide me over financially, and spend a little time with my own family. In a house. On land. Where I can eat as much ratatouille and brie and garlic as I like.