Saturday 26th July 2025
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Interview: Steven Pinker

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Why is Denmark happy? Do you believe in self-domestication? Is George Orwell right? By the end of Steven Pinker’s Union talk, the questions he is asked have become impossibly broad. The Harvard Professor of Psychology seems unphased. In the space of an hour, his answers leap between history, criminology, philosophy and anthropology.

Pinker’s interests appear varied, but one main principle underpins his research. In the 1980s, he wrote about humans’ innate ability for language acquisition. This seemingly innocuous subject led him to attack swathes of modern academia. In his 2002 book The Blank Slate, he condemned the ‘modern denial of human nature’ which overemphasises nurture and suggests everything is socially constructed – a theory which he thinks underpins movements from Maoist politics to postmodern art.

I ask Pinker why a ‘blank slate’ view of the human mind remains popular. “I think there are a number of appealing moral and political areas within the doctrine of the blank slate, at least among the people who consider themselves to be the educated or the enlightened,” he says.

“I don’t think the blank slate is as common among people who just apply their own common sense, but I think the educated elite have developed the idea that there is something reactionary about the idea of human nature, and so the blank slate is a more politically correct view… One reason the idea is popular is that it seems to make equality easier to achieve. That, if the slate is blank, it means zero equals zero equals zero, and that we’re all the same.”

Another element to the blank slate’s success is the “fear of fatalism”: if human nature is emphasised, it seems “people cannot be held responsible for their actions, so you won’t be able to reward, punish, criticise, hold anyone accountable because they’re just machinery. Then there’s the more nebulous fear that if we’re all products of evolution, that somehow makes life less worth living. The idea, for instance, that I don’t really love my children, I’m just perpetuating my genes.”

Twelve years have passed since Pinker first condemned the idea of ‘the blank slate’. Is the concept less dominant today? “I don’t know. All I can say is that the idea of human nature is nolonger taboo. One can raise questions that one couldn’t have raised twenty years ago.” However, postmodernism remains “a kind of relativism and ‘blank slate’ view on steroids”, which prevents rationality in the humanities.

The ‘denial’ of human nature has undermined progressive political movements, Pinker argues. He opposes the notion that gender is entirely socially constructed, viewing the idea as unnecessary when advocating equality. “In public opinion polls, most people are equity feminists, and this is true, surprisingly, not just in the West but in slightly more benighted parts of the world – in conservative, fundamentalist Islamic countries. The majority believe men and women should have equal opportunities.

“I think the more ideological, tendentious aspects of academic feminism are held more unevenly in the population. There are certain aspects of academic, gender feminism which have become parts of conventional wisdom – like the idea that rape has nothing to do with sex, but only to do with domination – you hear that a lot, just because it’s been something that is drummed into people for enough decades, and there’s been enough continuation that if you diverge from that then you’ll be attacked as justifying rape.”

His criticism of postmodern feminist philosophy has resulted in his vilification on parts of the blogosphere. He concedes that he sometimes vets his views to avoid criticism. “I’d say I’ve been tactful in what to emphasise, and what to downplay. Largely because it’s possible that one thing could overwhelm all public attention to a work. You pick your battles, you choose which aspects to emphasise, so I don’t blurt out everything on every topic.”

Nevertheless, his recent work has caused controversy. 2011’s The Better Angels of Our Nature argues that levels of violence have decreased throughout history. For some, the view is counterintuitive to the point of insensitivity: how can one suggest that brutality is declining while images of terror and war dominate our TV screens? Pinker rejects this criticism. “If we’re really concerned about violence we need to understand it, we need to know how much there is, and what causes it to decrease. In fact, that’s our only hope of reducing violence. So it’s never a good idea to systematically delude ourselves. And I think the press does delude us. Not intentionally – they just want to sell papers and attract clicks – but it’s part of human nature that we gravitate towards big, violent, salient events.”

He believes that if we are committed to reducing violence, we must acknowledge its recent decline. “You have to diagnose the disease before you can treat it; you have to know which cures work and which ones are quack. Indeed, the fact that violence has gone down in recent history gives us hope that we can reduce it further – you should not see parts of the world like Congo and Sudan as hell-holes that will always be violent.”

But to many on the left, the notion of declining violence seems a triumphalist defence of the West’s system of government. “In part I plead guilty. I think that liberal democracy is a good thing. I think that the question of whether free markets are conducive to values such as less genocide, less war, is a question worth asking, and I think there is empirical evidence that that’s true. If that’s the case then we should promote it.”

I suggest that this is a principled, not scientific, conclusion. Pinker refutes this. “It’s not an ideological attempt which begins with the idea that, say, free trade is an inherent good: rather it’s an empirical question of whether it leads to things that we value, and I present evidence that in fact [free trade] does.”

In university common rooms this idea would induce fury, but the professor is warmly received at the Union – our interview is delayed as he is swamped by people keen to discuss his theories. In spite of his attacks on the axioms of left wing academia, Steven Pinker is unscathed.

Review: Pterodactyls

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Nicky Silver’s absurdist black comedy Pterodactyls excavates to the bare bones the nuclear American family. In this Fudge Baldwin production of the play the dissecting of familial politics is accompanied by the gradual construction of a hanging papier-mâché dinosaur skeleton; Calum Suggett’s set design makes clear the symbolic extinction of Philadelphian high society. As Todd obsessively rebuilds this impressive set piece the Duncan family disintegrates, tensions mount and the façade flakes away to leave each character burning with postmodern angst. 

The simple props and setting effectively emphasise the dinosaur in the room, while the shifting coloured lighting that accompanies the character monologues casts interesting and eerie shadows around the intimate theatre.  Even from the back row of the Burton Taylor Studio I feel close and personal to the action, as though I’m another member of the Duncan family; hearing their confessions, party to their secrets which are by turn dark, shocking, and hilarious. Tom Dowling, playing the part of the brother and black sheep of the family, Todd, navigates these monologues with great success. His dead-pan tone and brooding looks deliver Todd’s explicit recounts of joyless sexual escapades with poetic fervency. 

The opening scenes are full of unexpected humour, as the usual meet-the-inlaws awkwardness is made strange by mother Grace’s insistence that her prospective son-in-law Tommy take up the role of household cleaner. Kaiya Stone plays the part with a kind of nervous energy and an excellent upperclass American accent which suggests Desperate Housewives and one too many Xanax. Only too compliant, Tommy takes up cross-dressing, appearing on-stage in a comically skimpy French maid outfit. Ali Leverett in the role is attune to the audience’s amusement, camping it up to reel in the laughter. The dialogues between the betrothed Tommy and Emma, played by Ellie Lowenthal, are full of a farcical inexperience as the characters struggle to understand their sexuality. Ellie delivers her line that ‘There’s nothing to know. My breast’ll make milk.’ with a wide-eyed and girlish innocence which takes human nature back to its essentials. The characters’ naivety and their sense of displacement in their own household effectively captures Silver’s own comment that the play is about ‘systems of denial and the price they carry in the world today.’

A polished and compelling adaption, this production of Pterodactyls reveals with each satiric layer these ‘systems of denial’ and the taut emotional turmoil bubbling underneath. 

 

Review: Oxford Fashion Week – The Concept Show

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What an evening. The penultimate night of Oxford Fashion Week, the ‘Concept’ show, was impressive to say the least. Behind every piece was imagination, creativity, innovation — and then some.

Arriving at the Randolph Hotel, first came an hour of casual socialising, which I expected to be a rather dull prelude to the main event. However, what began as awkward small-talk soon turned into the buzzing chatter of style enthusiasts. Yes, here was a room filled with people who all shared (cliché as it sounds) a passion for fashion. And you could tell. Spotted were: two sequined jackets, one oversized lizard ring, six statement necklaces and an exquisite floor-length kimono. One might have said the show had already begun. There was even a miniature dog there, bejewelled lead and all. Musing around, I asked a few people what they were looking for in the show. “Adventurous outlines”, “creative shapes”, “experiments in structure” were just some of the answers, or as one American put it, “something wild, wacky and damn good.”

The show certainly lived up to these expectations. First came an exploration of structure clearly influenced by the Amazon jungle, with Trine Young showcasing dresses inspired by exotic flowers, both in colour and texture. Indeed, the theme “imitating the natural” was channelled by a number of designers across the show. James Hadric created grey “dishevelled” suits that might have been inspired by fossils, whilst designers Rebecca Marsden and Why So Serious used glossy bits of fray akin to seaweed. Meanwhile, one design presented by Alysha Dalamal had a “volcanic” feel – think textured black jacket, red-palette leggings and sheer, smoky grey fabric. All used organic structures inspired by the environment. There also emerged a number of looks stemming from the “urban jungle”, with Rebecca Elley using black pieces of rubber in her designs. Monochrome industrial forms featured particularly in men’s fashion, as seen by James Pilcher.

The main focus, however, was shape, shape and more shape. Trust me, the term ‘oversized shoulders’ meant nothing until now. The basic peplum skirt was another structure hugely exaggerated, as was the severely belted waist. All this experiment gave way to some seriously bold outfits. Channelling a futurist space vibe, designer Hughes Jennifer Jade had his models wear metallic visors, whilst Francesca Walosa created the most unusual piece, a jacket that also paired up as a head-scarf.

But it was Anoosh who stood out. If it was Anoosh who closed the show, it was also Anoosh who stole the show. Saving the best till last was never truer. As soon as the first model appeared, all eyes were glued to the catwalk. (Hell, even the dog, which had, up until this point been sleeping, decided to fix its attention). These outfits were certainly the most experimental, conveying the essence of what it is to be imaginative. One outfit played on the tartan dressing gown whilst another infused Eastern harem with English bridal wear, the model wearing both a belly dancing top and a wedding veil. Indeed, Anoosh created a selection of mesmerising headpieces which took various shapes, from a bubble to horns to a fringed lampshade. Yes, really. And if this wasn’t ‘out there’ enough, the model wearing the fringed lampshade pulled behind her a Pixar style lamp as she walked down the catwalk. Don’t ask me how, don’t ask me why, but it worked.

Of the twenty designers who took part in the Concept show (twelve of which were backstage) very few failed to impress. Almost every designer had something original to bring to the table, or should that be catwalk. Here we had clothes which were not only pieces of art but pieces of sculpture. Whether you would be brave enough to actually wear the clothes is another question. (Although if I could ever own a jacket as beautiful as the peacock creation by Rebecca Marsden I would be a very happy bunny indeed). Enigmatic and captivating, the show was a real success, or in the words of the American, “wild wacky and damn good.”

Paris: A view from the backstreets

Paris is certainly not short on tourist attractions: whether it’s braving the queues at the Eiffel Tower or at the Louvre, it’s not easy to go to Paris and explore the city outside of the context of being conspicuously British, despite your best efforts at the French you can remember from GCSE. Yet this is exactly what I tried to do over the four days I was there and the result of my undercover trips into the backstreets of various arrondissements is a somewhat alternative guide to the belle ville.

I was able to begin the trip by dipping into the vintage shops Paris had to offer after having not researched which days the Pompidou centre was open. This meant that I arrived there to a miraculous lack of crowds but also a miraculous lack of entry. The fortunate result was extra time to explore the surrounding area, starting with the FACTORY vintage shop situated just opposite. Where most vintage shops can be an equal amount of trendy patterns and clothes your grandmother would not be seen dead in, FACTORY was bursting to the brim with denim shorts, silk shirts and puffer jackets just asking to be bought. The price range (20-40 euros) was reasonable enough to entice me into buying a new flowery shirt but I could easily have spent my entire budget in my first half an hour there.

Lying in the streets behind the Pompidou if you were to make your way towards Notre Dame is the Hippy Market. Carefully colour co-ordinated and with a pet bird in the shop, the Hippy shop was a bit more expensive than FACTORY, but had a similarly brilliant array of clothes. Whereas FACTORY plays it quite safe with its selection, the Hippy Market goes a bit deeper into the world of fashionable exoticism. This was demonstrated through gingham dungarees and thigh high leather red boots, and whilst this might seem to push the shop into the realm of fancy dress, it gives it an added eccentricity. Rounding another corner, you can find a One Kilo shop spread out across two shop spaces. The selection of clothes here is not as varied and it is much harder to seek out any gems, and of course once you do you have to find a kilos worth of them.

Carrying on down past Notre-Dame allows you to find Shakespeare and Company in the Latin Quarter. The fairly well-known English bookshop is easy to miss out if you are unaware of its charms: an extensive collection of books to buy, as well as an upstairs filled with books to sit and read in the store, complete with several typewriters and a sleepy fat cat. Based on Sylvia Beach’s 1920s store which was frequented by Fitzgerald, Hemingway and Gertrude Stein, the narrow spaces of the shop can get quite crowded although the pretentious statements which can be heard among the bookshelves are even more aggravating.

Staying in Le Montclair hostel in Montmartre gave us the run of its best bars and brasseries, the most exclusive of which was easily Le Refuge Des Fondus. It’s made up of 4 benches allowing around 40 people to eat in there at one time, all sat next each to other. With a 21 euro set menu for one, it certainly isn’t the cheapest place to eat in Montmartre, but that’s not to say it doesn’t fill you up, as it includes several courses of cheese and meat fondue. The walls are covered in scribbles made by diners and you are presented with your wine in a baby bottle, which makes it cheaper as it avoids tax in this way. Certainly an unusual experience, even by Parisian standards. An added bonus is the bar next door which sells pints at a steal for four euros, given that that’s the price for a half everywhere else.

Sticking in Montmartre, Les Deux Moulins rocketed to fame when it became the café where Audrey Tautou worked in Amelie, and it’s just round the corner from the Moulin Rouge. You can get everything from coffee to crepes to beer, like a typical Parisian café, but with the added bonus of pretending to be Amelie or Nino or whoever your favourite character is. Even better, it seemed not to be overrun with tourists and is fairly reasonably priced compared with everywhere else. Plus it’s about halfway up Montmartre, making it a fantastic break if you’re walking up to the Sacre Coeur, or about to visit the Montmartre Cemetery. 

In terms of Parisian museums, L’Orangerie often seems to be missed out as it is sandwiched between the Musee d’Orsay and the Louvre in the Tulerie Gardens, both of which tend to be more time-consuming and busier. It boasts the most stunning set of wall panels in Paris in the form of Monet’s Water Lilies. Downstairs is the collection of Paul Guillaume, the founder of the gallery, featuring marvellous works by Piccasso, Gaugin and Renoir. The power of l’Orangerie as a space emphasises the importance of not ignoring the attractions which are right in front of you, in favour of spending days wandering the back streets. Whilst the only true way to discover the gems of a city is to go off the beaten track, that does not mean there is nothing to be said for the most popular moments of it either. After all they’re popular for a reason, and I spent a wonderful day in Disneyland as part of my trip. Well, you can’t be cool all the time.

Review: Dial M for Murder

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“Do you believe in the perfect murder?” “…Absolutely, on paper”

Frederick Knott’s intensely charged thriller, Dial M for Murder (famously adapted by Alfred Hitchcock) tells the story of one man’s resentment, jealousy, and greed and how quickly they escalate into murderous intentions.

Behind the seemingly smooth facade and ordinariness of the lives of a married couple lies a web of deceit and mistrust. Believing that his wife is having an affair, Tony, an ex-professional tennis player (skillfully played by Daniel Betts), meticulously plans to kill his wife, calling on the help an old school friend to commit the deed. The skill of Knott’s writing deliberately takes the audience straight into the mind of the man and his motives for killing his wife. This is not a typical ‘whodunnit’ murder mystery, instead we are given the plans behind Tony’s plotted murder from the outset and left simply to watch the chaos and lies play out helplessly.

When Tony’s carefully mapped-out intentions go awry, the tension builds to a harrowing struggle between the hired murderer and Tony’s wife. Whilst this is deliberately dramatic, it was a very overacted passage, which interrupted the fluidity between the other scenes.  Despite the play’s dark undertones there were brilliantly executed moments of humour as Max (played by Philip Cares), who writes murder mystery scripts for a living, accidentally unravels the exact process by which the husband had plotted and carried out the intended murder casually dropping in “I’ve been writing this stuff for years”. Sheila’s character seemed to be simply a puzzle piece amongst the other characters, Kelly Hotten’s portrayal was solid throughout if not lacking in a little force and energy at times.

Whilst the Oxford Playhouse’s stage naturally lends itself to large-scale productions, the set’s aesthetics were particularly well executed. The blood red saturated setting was immersive and illuminating, oscillating between plush luxurious sitting room and mysterious murderous backdrop. Such a closed environment was seemingly stifling yet the revolving stage felt intensely voyeuristic.

The play was carried off with skill and ease placing us, the viewers, in a position to examine the psychology of a man driven to plot an act of extreme violence. Anchored in a skillful cast of five and coupled with the brilliance of Knott’s writing Dial M for Murder is a celebration of thriller-cum-murder mystery.

Review: The Curious Case of the Improvised Musical

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It wasn’t an auspicious start to The Curious Case of the Improvised Musical when the on-stage costume rail collapsed before the show had even begun. However, the Imps’ ‘Musical’ took off from this point keeping the audience enthralled and laughing for the entire performance.

The premise of The Curious Case of the Improvised Musical is that Agatha Christie, recovered from her “almost permanent state of, well, death!” has been commissioned to write a musical for the BBC. However, due to the distractions of Twitter she has run out of time and needs to improvise a story. The audience had to suggest various aspects of the plot before the show began, including the murder weapon, the location, character names and song title suggestions. The running motif in our production was the winter sport Curling, which provided much amusement for the audience, as the Imps had to weave not only the murder weapon of a curling broom into their plot but also keep the curling theme running throughout the production!

There were some stellar performances in the Imps cast last night. Vicky Hawley’s Agatha Christie delivered some fantastic one-liners and was able to mould her humour to the natural mishaps of improvised comedy. Her sardonic comments were brilliant compliments to the absurd yet hilarious action of the Musical and were proof of the genuine improvisation of the performance. For example, her reminder to her fellow Imps that they had named a character ‘Figglesworth Bigglesmith’ and then promptly forgotten this name. The men of the cast stole the show: Dom O’Keefe was fantastic as the “stupid Curling champion” Tallulah. He had fun reminding his fellow Imp, Tanner Efinger, of his occasionally moments of forgetfulness, however this added to the humorous atmosphere of the night. Their repartee was an integral part of the humour of the night.

My only caveat would be that the musical side took a backseat; you should not go to this performance expecting much that is in the musical genre. However, this is probably to be expected when characters have to improvise all the lyrics of their songs and the comedy undoubtedly should and did take centre stage. The on-stage band, however, should be applauded for their accompanying music. Overall, The Curious Case of the Improvised Musical was a thoroughly entertaining performance which will keep you enraptured all evening. 

Review: Devised Play I – Fear

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Here’s a fun game you can play anywhere in Oxford: infiltrate a crowd of arts & humanities types and say the words “devised theatre”. Watch their faces contort as they tamp down oceans of bile, desperate to remain open-minded. Drink every time one of them explodes from the effort of suppressing his or her instinct to mistrust non-traditional art forms.

 Wisecracks aside, it’s easy to hate Devised Play One: Fear when you assume that terms like “devised” are just shorthand for “sophomorically daft and contrived to alienate”. Watch me: tripe! Self-indulgence! Not enough vised plays done well in this reviewer’s opinion! Easy like Sunday morning — but give yourself some credit, if only so you have some to give Fear. Yes, the title makes you think atonal soundscapes and actors writhing in dance bags, but unclench. The reality is more like a Python sketch-cum-episode of Black Mirror, loosely arranged around one family’s ordinary and extraordinary unhappinesses.

Fear’s six-headed mother is a cast blessed with mutant strength, their only weakness a tendency to tilt the filters of their mime-cigarettes downwards and mime-light their trousers on mime-fire (and even that’s really more of a charming foible). Phoebe Hames and Sam Ward are skilled shaders, balancing the dark and the darkly comic beautifully, and Cameron Abery’s tetris-loving teen who falls down a rabbit hole of online child pornography that should pull the heartstrings of anyone who lost their innocence to 4chan. Lamorna Ash does a commendable job as his mother, her vindictive glee by turns funny and unsettlingly relatable — ditto Nick Finerty’s sadistic gameshow host, who captures the voice of social anxiety so well that, every night, fifty people’s sphincters retract simultaneously into their bodies. Special mention, though, must go to Emma D’Arcy, for an aching and mesmeric final monologue.

 In developing Fear, Rough-Hewn Theatre have taken only the finest 100% organic vulnerability from human actors, distilled via improvisation and writer Emma Levinkind’s quill nib into something performable. Their product is unpolished: it lacks structure, there are no proper characters, it’s not set anywhere, lighting and sound are minimal, the stage doesn’t transform into a car. Instead, for 45 minutes, some strangers with giant balls will let you wander around their inner lives like open houses, in the hope that you might see something there that makes you feel less alone. Even if it fell down onstage, Fear would deserve props for exploring theatre’s potential to create these kinds of actor/audience relationships. Personally, I’m psyched for Devised Play II: The Fearing.

Oxford polarised over 2014 Budget

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Oxford East MP Andrew Smith has said Wednesday’s budget did “very little for students or young people”, amid criticism from the National Union of Students and Oxford activists.

In his Budget speech, George Osborne unveiled plans to provide financial support for apprenticeships, and praised the role of international students in the UK economy. However, some people have said that the Budget’s bigger announcements will do little for students. 

Andrew Smith, Labour MP for several of Oxford’s colleges, told Cherwell, “The budget did very little for students or young people. It was a budget aimed at better-off older people in an attempt by the Tories to win votes they had been losing to UKIP, while doing nothing to address the fact that the majority of people are worse off under this government. There was nothing to help people who are facing a cost of living crisis, and who are not seeing the benefits of the supposed economic recovery. On average workers are £1600 a year worse off under the Tories and Lib Dems.”

He added that the Coalition, “Has consistently shown that it is not on the side of young people and students. It has trebled tuition fees, cut higher education funding, scrapped EMA, cut funds such as the National Scholarship Programme and Student Opportunities and introduced immigration rules which make it harder for international students to study here.”

Smith’s comments followed broader student discussion of the Budget. On Wednesday the National Union of Students (NUS) issued a statement which said that the Budget, “Failed to follow through for students.”

The NUS expressed “support” for the proposal to fund 100,000 apprenticeships, but noted, “For these to be meaningful, thought needs to be given as to apprenticeship pay, which can legally be as low as £2.68 per hour.”

NUS President Toni Pearce said, “The government has acknowledged some important student issues but has failed to answer how they will follow through with some real action on their promises.

“We are glad that the Chancellor recognises the enormous contribution that international students make to the UK, with our education sector representing one of the UK’s most successful exports. But this sadly isn’t reflected when the government continue to introduce shoddy legislation, such as the Immigration Bill, which sees international students being treated as a political football. 

“The Government also need to seriously think about how they will attract students to postgraduate courses when the costs are sky high and when there is limited financial support for this particular group of students.”

James Heywood, President of the Oxford University Conservative Association, responded to NUS’s stance.

“I am actually surprised at the mild tone of this NUS statement. Students who do not inhabit the Left of politics have often found the NUS to be unrepresentative and childishly unrealistic about policy. The fact that they have welcomed measures such as new apprenticeships and increased funding for attracting international students shows an unusual level of maturity, in my opinion. Far too often it has been the case that the NUS protests against everything this government has done for purely party-political reasons, rather than representing the views of its wider membership,” he told Cherwell.

Heywood welcomed Budget policies, noting “the announcement of over £200m of investment in science and engineering projects”, which “will be welcomed by many in the universities sector.” He said, “Policies like these can utilise the strength of our higher education institutions to boost economic growth and are an important part of our long term economic plan.” 

The Budget was Osborne’s fifth since the Coalition’s election in 2010, and included announcements of pension savings reform, an increase in the bottom tax threshold, and a welfare cap at £119bn for 2015-2016. Osborne also announced increases in the GDP forecast for next year.

Oxford researchers test personalised cancer treatment

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Researchers at Oxford University are beginning the first human trial of a personalised cancer treatment this week. 

The new drug, called CXD101, will be investigated alongside a new test which could predict which patients could be successfully treated by this class of drug.

One of the major challenges in drug development is that each patient responds differently to treatment. The presence of a test which could determine whether a patient could be successfully treated by the drug would save time for patients with quickly-developing cancers, avoid the cost of unnecessary treatments and prevent damaging side effects.

Lead researcher Nick La Thangue, Professor of Cancer Biology at the University of Oxford, said, “This is really the shape of things to come, and avoids the problem of testing drugs on patients who have little chance of benefiting from the treatment.”

Professor Mark Middleton, the clinical lead for the trial and Professor of Experimental Cancer Medicine at Oxford University, said, “As we grapple with the affordability of new drugs we are always looking for ways to define who benefits from new treatments. If we can develop a test to say who should have a new drug we save the NHS money, patients from trying ineffective treatment and spare them side effects unless there’s a good chance of benefitting from treatment. For CXD101 there’s a long way to go to reach this goal, but by evaluating the biomarker from the start we stand the best chance of making it clinically useful.” 

The clinical trial will investigate CXD101, a next-generation histone deacetylase (HDAC) inhibitor. This blocks HDAC enzymes, which are important in the regulation of gene expression. Blocking these enzymes can stop cancer cells from multiplying, and may even kill cancer cells entirely. 

The test for the efficacy of the drug involves measuring the levels of a protein biomarker, HR23B. A high level of protein has been shown to make tumours more vulnerable to CXD101. 

The trial will involve 30-40 cancer patients. The first group will be given increasing doses of the drug to determine the most effective dose. The second group will be tested for the biomarker, and those with high levels will be treated with the best dose of the drug. 

This has significant implications for the future of cancer treatment, and can be effective on a wide spectrum of cancers for late-stage cancer patients. Professor La Thangue said, “Any cancer could be high in HR23B, from breast cancers to blood cancers, so we are screening a broad range of patients to identify anyone who might benefit.”

Personalised medicine has been growing in popularity over the past decade to increase the efficiency of treatment. Samuel Kim, a first year medic at Oxford University, said: “Personalised medicine has been the next ‘big thing’ in medicine for a while now, and it is good to see novel treatments being trialled here at Oxford. However, I do worry that it will follow much the same story as gene therapy; something that promises so much, but has delivered so little.”

The drug and associated test are still in Stage I of clinical trials, and it will be a minimum of 10 years before it is implemented as a treatment for cancer.

Marco Narajos, online editor of Bang Science and a first year medic, commented, “Whilst the trial for CXD101 and the biomarker is exciting, we’re definitely not out of the woods yet. Certainly, we don’t know yet if it works, how much it will cost the NHS, and whether it will cause short term or long term side effects, and call me a cynic, but certainly it won’t be a panacea for cancer. The drug is meant for late-stage cancer patients, and potentially it will be useful to extend the lives of these patients, even if for a few months. We can still be hopeful, and I am excited to see the results of the trial.”

Alternative Therapies

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It is estimated that in Britain, people spend £450 million every year on “treatments” known as complementary and alternative medicine. No, these are not drugs that taste more palatable in combination with your usual prescribed drugs, nor are they invented by small, indie pharmaceutical companies. These are therapies like herbal medicine, homeopathy, and aromatherapy – treatments that are not evidence-based, and may even cause damage. These therapies are based on pseudoscience – unfortunately not a subject you can take at Oxford – but a set of practices that appears to have a scientific basis but in reality fails substantial scientific testing.

Take the example of colonic hydrotherapy. This is when someone inserts a tube through your anus and flushes out waste material (supposedly containing toxins that build up in there forever) with water. Some “therapists” even use water with herbal infusions in the mix. Think chamomile tea poured into your arse… Feeling healthier yet? Whilst the basis for it seems on face value scientifically sound, there is no way this will become a staple procedure done by doctors in A&E. Princess Diana once attributed her glowing complexion to colonic hydrotherapy, but why we don’t use this therapy to help people remove their heads out of their own backsides, I will never know.

Some are seemingly and beguilingly more innocuous, however. Hopi ear candling isn’t so much of a pain in the arse so much as a pyromaniac’s dream alternative therapy. In ear candling, the patient (read: rich victim) lies on their side and a hollow candle is placed over their ear and is lit. The theory goes that the flame melts the earwax and then draws it out of the ear through a negative pressure or vacuum effect. Toxins are also supposedly drawn out. It all sounds very risk-free until you find that there are cases of patients having burnt eardrums from the wax and with some patients having burnt their houses down because of DIY ear candling.

And if you think you can survive having your guts washed out or your eardrums burnt, how about drinking your own urine? This practice has been around for hundreds of years. Even Catullus writes in a poem about urine therapy being used for tooth whitening. In some Hindu texts, urine is cited as a cancer therapy. Hundreds of years later, we find public figures like Madonna talking about urinating on her feet to prevent or treat Athlete’s foot. Even J.D. Salinger, author of The Catcher of the Rye, was said to have drunk his own urine. Whether this promotes existential crises as a side effect is currently the subject of much debate.

Would you ever have an alternative therapy to treat an illness? Let us know on bangscience.org