Thursday, May 1, 2025
Blog Page 14

Labour must do more for student renters

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One of the joys of being a second year at St Edmund Hall is making your first foray into the private rental sector. This year, as the bulk of the cohort ‘lives out’ in private accommodation, stories about the shoddiness of student houses have become a staple of college small talk. Tales of rats, mould, and leaking roofs are mixed in with the usual recruitment for Thursday nights in Bridge, complaints about deadlines and competitive comparisons of how little sleep everyone got. Taking the cake was the story from one group who moved into their home for the year to find a mural of naked presidents Trump and Putin painted on their living room wall. The response of their landlord when they asked what on earth it was doing there? “Oh yeah, I was going to cover that up, but I couldn’t be bothered”. 

But behind these comedic anecdotes is the much less funny reality: the state of the Oxford rental market is atrocious. The most pressing issue is the sheer cost  – the University estimates that students will be expected to pay between £745 and £945 in rent each month. This rapidly depletes maintenance loans, making the expectation that students avoid employment during term entirely unrealistic for those without financial support from their parents.  The massive demand and short supply also means private tenants have no bargaining power and are forced to accept the dodgiest of accommodations. Nor are these issues confined to the 2,500 Oxford University students who live out. As those at Wadham found out when it was announced last year that their rent would be going up by 10% over the summer vacation, enormous endowments do not insulate students from eye-watering costs. 

However, after fifteen years of business as usual, 2025 could be a year of change for Britain’s broken rental system. On the 15th of January, the House of Commons passed the new government’s Renters’ Rights Bill, expected to take effect this summer. It contains some substantial reforms supposed to provide safeguards for tenants. The key change is the abolition of Section 21 evictions, preventing landlords from reclaiming their property without justification. Instead, if they wish to repossess it for personal use or sale, they must provide tenants with four months’ notice. Perhaps more importantly, landlords have been restricted to raising rent once a year, and renters are given greater powers to challenge above ‘market rate’ rises in tribunals, without the fear of rent being backdated if the courts do not rule in their favour. 

So what does this do for student renters in Oxford? The answer, unfortunately, is not much. True to Starmer’s style as a diligent details man, it outlaws some of the worst practices and obvious legal shortcomings of the rental sector. The ban of Section 21 evictions is very welcome, on the mere principle that renters should not have to live with the constant fear of losing their shelter with little notice. But for students with reasonably secure yearlong contracts, however, this is not the principal issue. What Labour fails to recognise is that, even when landlords are on their best behaviour, the situation is untenable. There’s little use to courts that make sure rental increases are in line with market rates if those rates are themselves astronomical.

To put it simply, things won’t improve until there is more housing in Oxford. So, what are Labour’s plans for homebuilding, and will it be able to solve the issue? The government certainly seems to have big aspirations, promising 1.5 million new homes by the next parliament. Their ideas focus on reforming planning permission to increase approvals, which are at a record low, by permitting development on ‘grey’ sections of lower-quality land within the green belt.

There’s only one small issue – virtually everyone is in agreement that Labour’s commitment is a fantasy. Reforming planning permission may in theory allow for more projects to be approved, but the applications are simply not forthcoming. The handful of companies that dominate the market in the UK are keener to sit on the vast amounts of land that they have bought up than to take on the costly construction. This is because, as Barratt Developments explained whilst announcing it would reduce the number of homes it would build this year, a “combination of cost of living pressures, much higher mortgage rates and limited consumer confidence” had knocked out demand. Another jewel in the crown of Liz Truss’ impeccable legacy.

Nor do things look set to improve once inflation calms down. The homes being built are not necessarily designed for first-time buyers, whose numbers are dwindling as young couples remain trapped in costly rental agreements that hinder their ability to save. Whilst the government has committed to building more social housing, which used to make up the bulk of affordable accommodation in the UK, there are serious concerns about whether councils have the skills to do so after forty years of ‘Right to Buy’ preventing them from engaging in significant construction. 

This lack of serious solutions point to Labour’s biggest problem: its worrying lack of intellectual capital. In their time in opposition, Starmer and Co spent too long pointing out obvious Tory transgressions and not nearly long enough thinking about what they would do differently. The grand reveal of what fantastic policies lay behind the impenetrable promise of ‘change’ has been thoroughly fumbled. as the government contents itself with reheating many of the same policies which have been in place for well more than a decade. 

There are radical options out there which could improve the rental market for students – from measures to break up the oligarchic home building industry to the Joseph Rowntree Foundation’s proposal for councils to purchase rental units from landlords to rent out at below market rates. Assessing all the pros and cons of all of these is beyond me; I haven’t deluded myself into thinking I can fix the rental market in a thousand words. But you know who should be thoroughly examining these options? Our government. Until Labour starts thinking big, it looks like it will be more soaring prices, mould, and artistic depictions of naked authoritarians for Oxford’s student renters. 

Have an opinion on the points raised in this article? Send us a 150-word letter at [email protected] and see your response in our next print or online.

Cartoon: ‘The people’s Chancellor’

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Selina Chen responds to Lord William Hague’s admission as Oxford University’s new Chancellor and his professed habit of checking Oxfess.

Have an opinion on the points raised in this cartoon? Send us a 150-word letter at [email protected] and see your response in our next print or online.

University launches new Centre for Democratic Resilience

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The launch of a Centre for Democratic Resilience has been announced by the University of Oxford’s Department of Politics and International Relations (DPIR). The research centre will aim to understand and promote the resilience of liberal democracy in the context of rising authoritarian populism. 

Recent research shows that global freedom declined for the eighteenth year in a row in 2023 across all regions of the world and measures of democratic performance. The new Centre will seek to combat these trends by gaining a better understanding of the threats that authoritarian movements pose to liberal democracy and by working to promote greater democratic engagement around the world.

The Centre aims to produce cutting-edge empirical research using interdisciplinary technical expertise and data science to analyse threats to democracy at the societal, institutional, and international levels. This research will be used to develop concrete policy recommendations that can help policymakers, civil servants, and NGOs develop practical measures for strengthening liberal-democratic institutions and values.

The Centre is constituted with various different ‘policy labs’ which seek to provide flexible responses to urgent issues. They focus on four different areas: Social transformations, institutional innovation, international resilience, and observing authoritarianism. Between them they cover topics such as rapid shifts in voting behaviour, democratic engagement, multilateralism, and democratic sustainability. In collaboration with other research institutes, the Centre will develop early warning signals and intervention strategies to counteract democratic backsliding. 

Professor Petra Schleiter, Professor of Comparative Politics at the University and lead researcher at the Centre, said: “We have a proud tradition of leadership not just in education, but also in research, that sees us consistently ranked as ‘world leading’ in the UK and internationally. The Centre for Democratic Resilience is uniquely positioned to generate impactful research and forge vital collaborations to safeguard democracy in an era of growing uncertainty.

“This is one of the most defining challenges of our time. Our world-class research together with international partnerships will mean we can develop and implement impactful, agile, and scalable solutions to safeguard democracy for the future.”

Unboxing the past: Snapshots of self-reflection

My friends say I’m quite a nostalgic person. You name it, I’ve kept it. Concert tickets faded at the edges, postcards scribbled from far away places, love letters from a past that still lingers in ink. It’s all there, stashed away in a 6×8 Selfridge’s box given by someone I once held dear. The back of my phone is home to metro tickets from trips across Europe – scraps of memory preserved in flimsy plastic. My shoebox of a uni room is covered wall to wall with pictures of friends, family and holidays, offering comfort on days where the light shines less brightly. All around me are memories, reminding me of who I once was and who I have become.

Those who are fortunate enough to be subjected to my stream-of-consciousness-style Instagram posting, a concept to make even Virginia Woolf turn in her grave, know that they’re never safe from me and my trusty camera. Being the designated photographer friend means knowing the quiet trade-off: always the observer, rarely the subject. But this is part of the joy. These memories captured will last a lifetime, the smiles frozen mid-laughter, questionable bop outfits, and moments of pure chaos, all preserved for years to come.

But I’ve come to realise that these memories aren’t just windows into the past – they’re about preserving pieces of who we are now. Each ticket, photo and memento holds a moment of joy, a glimpse of growth and a connection to the people and places that have shaped us. In a world which never stops turning, these keepsakes provide a semblance of stability, serving as anchors connecting us to people, places, and feelings that might otherwise fade with time. These memories are not just our own, they belong to the people we share them with.

Through the lens of my camera or the slip of a metro ticket, these memories intertwine with the lives of others. As much as I love reminiscing, nostalgia isn’t just about clinging to the past, it’s about welcoming the future. With each new memory comes a new story to be told. Looking at the photos on my wall, I’m reminded of how much I’ve grown, how time has shaped me, and how the world around me continues to evolve. They are not just snapshots of what once was but reflections of change, evidence that every fleeting moment has led me to where I am now. Each photo holds a quiet reminder that the moments I once took for granted were shaping me in ways I never realised. Photographs aren’t just fragments of yesterday; they are stepping stones to the future, proof that life moves forward, and so must we.

So I’ll keep taking photos, until my box overflows and I must find another to fill.

Work hard, drink harder: Alcohol dependence and the Oxford experience

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CW: Discussion of alcohol abuse

Since I arrived at Oxford, alcohol has been woven into the fabric of my university experience. Drinking isn’t just expected – it’s encouraged, celebrated, and deeply embedded in student culture. Nights out, pub trips, drinking societies, formals: Oxford demands drinking, and I’ve obliged, over and over again.

Drinking seems essential to having a good time. It’s there after a long day, a social glue that binds people together. It’s a rite of passage, a measure of belonging. At university, you’re supposed to drink, and you’re supposed to drink a lot.

You’re praised for it. Being a ‘heavyweight’ is a badge of honour. If you drink heavily, you’re a legend. If you say no, you’re no fun. The pressure is relentless when you’re already overworked and overwhelmed and looking for an easy fix, and the embarrassment of being the only one without a drink in hand is enough to push you back into the cycle, again and again.

Oxford is a place where pressure is constant and relentless. The eight-week terms condense what should be months of study into an exhausting sprint, where essays seem to be due at an impossible pace, and the expectation is always that you will have read more, thought harder, and argued better than your peers. The workload is overwhelming, but the culture is such that admitting you’re struggling feels like admitting failure. So, instead of slowing down, you speed up.

Alcohol offers an escape from the suffocating perfectionism. After a day of tutorials where every sentence feels scrutinised and every idea must be defended, the prospect of shutting off your brain for a few hours is irresistible. A trip to the Four Candles with your friends turns the imposter syndrome down to a whisper and makes the academic intensity feel like background noise rather than a crushing weight. It’s the pressure valve that allows students to keep going.

But in a place where overworking is normalised, so is over-drinking. Post-essay drinks turn into post-tutorial drinks, which turn into “just one to take the edge off.” The college bar is always there, the pub is always full, and the idea of saying no feels like opting out of the student experience.

The toll of drinking isn’t just social – it’s financial, physical, and mental. I’ve spent money I don’t have on overpriced bottles of wine because I was too hungover to get to the cheaper shops earlier in the day. I’ve justified drinking over food because I ‘needed’ the bottle more than I needed my dinner.

Academically, it wrecks you. I can have a 10am I’m terrified of, not because of the work, but because I don’t know if I’ll be able to wake up. I’ve set four alarms just to drag myself out of bed. Once, I took cider in a water bottle to a tute because my accent had been mocked in the last session, and I needed the confidence to get through it. I’m never caught.

I can deal with anything, I tell myself – so long as I get to drown my brain again.

Despite everything, I can’t imagine myself stopping. The idea of sobriety frightens me. If I stop drinking, will I still be fun? Will I still belong? The scariest part is not knowing who I am without alcohol. I’ve rationalised it in every way possible. I don’t wake up in shop doorways, I don’t drink in the mornings, I don’t get into fights. I know my wines, I’m ‘sophisticated’ and I’m fine. But I’ve also taught myself that an £8 Mendoza Malbec is somehow essential. I’ve justified my drinking with knowledge, with culture, with class. I can do that at Oxford.

I read self-help books. I was once proud of myself for reading two books on the topic; only to realise I’d read it before and forgotten about it in the morning. I bought smaller wine glasses to drink less. They’re still in the box. I won’t go to a meeting. I’m too afraid they’ll tell me abstinence is the only way forward. If I can’t imagine a life without alcohol, how can I possibly stop?

How do we fix a culture that thrives on excess? Universities claim to care about student wellbeing, yet there are no meaningful conversations about alcohol unless someone reaches crisis point, and by then, it’s often already too late. What would it take to change things? Would students drink less if social events didn’t revolve around alcohol? Would we think differently if heavy drinking wasn’t normalised as ‘part of the experience’? And what happens to those of us who don’t know how to function without it? I don’t know the answers. I just know I’d like to.

If you have been affected by the issues discussed in this article, support is available. Please consider reaching out to the following resources for help:

Oxford dancers reclaim the spotlight with Varsity win

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In the dead of night, five figures emerge from the darkness. Blazers over their shoulders and hands on their hips, they start to sashay down a cobbled street. It looks like they mean business. Over the span of two minutes, we see a swathe of other performers, clad in a variety of colourful outfits, join them in strutting their stuff around Radcliffe Square to the tune of P!NK’s anthemic ‘Get the Party Started’. Despite what you might have heard in Saltburn, it appears that the groove is alive and well in Oxford.

There aren’t many other sports that can boast a polished, professional trailer for an upcoming competition (imagine a 2s football team trying to generate hype by doing keepy-uppies down Cornmarket…), but competitive dance isn’t like other sports. Though the video is actually a teaser for their upcoming showcase, it served equally well as a preview for Oxford University Competition Dance’s clash against Cambridge on Sunday, 16th February.

This year’s iteration of the Varsity Dance competition was fiercely contested to say the least, with both OUCD and their Tab counterparts bringing their A game. After tickets for the event sold out in under an hour, spectators crowded into St John’s College auditorium to watch the dancers go toe to toe. Among those in attendance were Raymond Chai, Lois Samphier-Read, and Amy Ireland, the three guest judges for the competition.

The two sides competed in a total of seven different disciplines, ranging from the more classical Ballet to more modern styles, like Hip-Hop and Contemporary.

After the action had concluded, a hush descended over the auditorium as the guest judges assembled in the middle of the stage to announce the results. Cambridge came out on top in the Hip-Hop, Wildcard and Solo/Duo/Trio categories, but standout displays in the Ballet, Tap, Jazz, and Contemporary rounds secured a 4-3 victory for Oxford. The narrow scoreline is a testament to the skill brought to the table by both teams, and marks only the second time that Oxford has emerged victorious in the competition since its inception.

Victory in Varsity was made possible by months of hard work, dedication, and rehearsing. In the words of OUCD president Josh Redfern and VP Niamh Tooher, “it was incredibly inspiring to see such a high level of dance performed by university students across a diverse range of styles. Beyond the competition itself, Varsity is about celebrating our shared passion for dance, and illuminating an often under-appreciated discipline which bridges the sports and arts. We are incredibly proud of both teams, and can’t wait for next year’s competition!” Anyone who witnessed the spectacle on Sunday can certainly agree with that last sentence.

New cinema proposed for Magdalen Street

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The plans for a new cinema on Magdalen Street has been proposed through a licensing application that has been submitted to the Oxford City Council. The proposed cinema will, if approved, replace the Odeon on the street that closed in 2023.

The original cinema first opened in 1924 and was built by the theatre conductor business Frank Matcham & Company. It was later bought by Odeon in 2000, before closing in 2023.

Alejandro Whyatt, who runs a cinema in Burnham-on-Crouch, has proposed to transform the vacant site of the original, into a new cinema multiplex with two screens capable of hosting over 700 people and a café. He registered a new company named Roxy Movies (The Oxford Cinema) Limited in January and has applied for the proposed venue to be open every day each week from 8:30am to 11:30pm.

This new cinema proposal follows the closure of the Odeon on George Street last month, which had been operating as a cinema since 1936. The council plans to replace it with a £37 million “aparthotel” containing 145 rooms, a bar and a café, which a spokesperson said would likely take three years to complete.

The council stated that Odeon did not wish to renew its lease of the location and argued that the building’s demolition and replacement with a hotel area would increase tourism, although the plan faced 97 formal objections from local residents.

As a result of its removal, the only remaining cinemas in Oxford currently are the Curzon in Westgate, Phoenix Picturehouse in Jericho, Ultimate Picture Palace on Cowley Road and Vue on Grenoble Road.

There are fears, moreover, that a proposed redevelopment project, ‘Ozone Leisure Park Reimagined’, will cause the Vue to be reduced to contain only three or four screens. The proposal for the Park contains new labs, offices and community facilities.

The planned new cinema on Magdalen Street may therefore compensate for the increasingly reduced opportunities for public film-viewing in the city. Oxford City Council has yet to either approve or reject the proposal.

Oxford study recommends methods to ‘future proof’ cocoa production

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Research from the University of Oxford and other global universities has provided recommendations on how to make chocolate production more sustainable and environmentally friendly. It highlights the detrimental impact of climate change on cacao plantations and local ecosystems and the rapid expansion of plantations in the face of increased demand for cocoa products. 

Published by Nature in their Communications Earth & Environment journal, the study acknowledges the economic incentives behind the extension of cacao plantations and the desire to “intensify cacao cultivation methods”. Cacao refers to the earlier stage of cocoa production, before the beans have been roasted or fermented. The study says that the trees are not producing their maximum possible yield due to insufficient levels of pollination because of the significant expansion of such agriculture. The authors claim this has contributed to enhanced deforestation in areas already vulnerable to climate change and also threatened local ecosystems. 

The study looks at ways to reduce the yield gap, which is the difference between achieve and potential cacao crop yield. Specifically, it looks at how different levels of pollination can impact yield and concludes that higher levels of pollination could increase the overall total level of production from plantations without them having to expand. 

Findings from the study show that using hand pollination is an effective means of increasing the amount of cacao that each tree can produce. However, it notes that this method is not always an economically viable option for large-scale cacao production, and is often done by children and low-paid workers under poor conditions. As an alternative, the study recommends “land management interventions that may increase natural pollination”. These include practices such as applying more leaf litter and soil to the area, providing moderate shade, and reducing the use of agricultural chemicals. 

Scientists also noted a correlation between high temperatures and low cacao pod yields in all three areas, demonstrating the ongoing negative impacts of climate change. Cocoa yields were seen to decrease by between 20-31% in locations where temperatures were up to seven degrees warmer. 

The research was conducted in collaboration with Westlake University, China, Universidade Estadual de Santa Cruz, Brazil, and University of Göttingen, Germany. It is based upon data collected in Brazil, Ghana, and Indonesia between 2017-2020, which are some of the largest cocoa producers in the world. 

Data collected between 2017 and 2020 in Brazil, Ghana and Indonesia was used to suggest ideal conditions to maximise cacao yield with minimal environmental harm. 

Lead author of the study from Oxford Dr Tonya Lander commented: “By adopting biodiversity-centred, climate resilient farming techniques, the cacao sector can both increase production and safeguard farmers’ livelihoods.”

Oxford study investigates at-home diabetes tests

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A new study at Oxford University Hospitals is investigating at-home diabetes tests which could play a key role in screening type-1 diabetes. The new tests have been labelled as “revolutionary” and offer a more efficient and less intrusive than previous tests for children. 

The ‘GTT@home’ test was developed by Digostics, a British company focusing on digital clinics diagnostics and diabetes home testing. The test has already been implemented successfully at NHS trusts in Southeast England, where over 2,500 women were screened for gestational diabetes in pregnancy. However, this will be the first study looking at children.

This study is being led by researchers at the National Institute for Health and Care Research (NIHR) Oxford Biomedical Research Centre (BRC) and is based at Oxford University Hospitals NHS Foundation Trust. It aims to fund and deliver health and social care research. The study will assess 90 children and young people to try to determine whether at home type-1 diabetes testing could become commonplace across the NHS.

The new at home test is a much more child-friendly way of testing for type-1 diabetes. Traditional tests involve undergoing blood draws and having to fast the night before. The new test consists of a blood sample collected with a finger prick. A glucose drink is then consumer, followed by a second finger prick two hours later. 

Diabetes is caused by the destruction of cells in the pancreas which produce insulin, which results in elevated blood glucose levels. It leads to an increased risk of major health problems such as heart disease, blindness, and kidney failure.

Approximately 1 in 350 children are affected by type 1 diabetes, making it the most common autoimmune disease in children. Overall, it is estimated that type one diabetes costs the UK economy over £1.8 billion every year.

Rabbi Swaby, the study lead and Clinical Research Fellow in the Nuffield Department of Medicine, told Cherwell: ‘If successful, our study could pave the way for a more accessible way to perform the oral glucose tolerance test in children and young people of all ages, both in NHS care, and large research trials that rely on this test. We are recruiting until August 2025 and hope to have results by the end of 2025.’

Who is Oxford’s Coffee Shop Artist? In conversation with Julia Whatley

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It is a Wednesday morning in Blackwell’s bookshop and the café is full. The table in front of me is flooded: pencils, scattered scrap papers, flowers folded into greeting cards, thick reading glasses parted from their case (and its decorative penis sticker), a magnifying glass, an eye patch. I try to clear an alcove from the pencil ocean for my cappuccino. In the artist’s absence – she’s bustled off to send an email – I seem to have inherited her studio.

I’m here to interview Julia Whatley, the white-haired, eye patch-wearing, (table-hogging?) artist I sometimes glimpse, hunched over her notebooks, in Blackwell’s Nero. Apparently I am a less captivating figure to her; when she returns, she’s forgotten my name: “I have a mind like Swiss cheese – full of holes.” She assures me, though, that she is far more lucid in her art: “it comes to me effortlessly… I’m just the flesh lump that gets in the way of the vision”. As she talks, it becomes evident she means this quite literally. Julia sees herself as the conduit through which an artistic vision is realised. Where does this vision come from? “Somewhere else.” In fact, she confesses: “I feel very much not of this world.”

A critic once wrote that Julia’s art comes from a gentler age. It is easy to see what they meant: Julia’s pieces are buoyed by the fantastical and carnivalesque, relics from a world of childhood imagination. Is this the somewhere else Julia never left? Reflecting on her own childhood, she remembers looking out at the reality from a realm of fantasy; to Julia and her siblings: “Alice in Wonderland was our world”, and she remembers being captivated by John Tenniel’s illustrations of Lewis Carroll’s classic novel. Having attended Winchester School of Art and Goldsmith’s College, Julia pursued a career as a professional illustrator herself, in the course of which she has illustrated the Royal Ballet Sinfonia orchestra and rehearsals of prestigious ballerinas at the Royal Opera House, including Sylvie Guillem. Watching them dance was mesmerising, she recalls. Traces of them still dance across her sketchbooks today – feathery tutus and ribboned calves, the effortless dynamism that seems to animate all her subjects. I cannot help but think of Degas’ ballerinas, though the fluidity of her line and penchant for collage owe more to Matisse.

At 70, Julia says, she is no longer interested in commercial illustration. What drives her now is not financial, or even reputational, interest. It is something far more altruistic: humanitarian and vaguely spiritual. To understand Julia’s art – to understand Julia – is to step into her fantastical somewhere else, and to look back at our imperfect world from there. I try to do this as she tells me her plan. When Julia’s project (which she calls Gadfly) is up and running, she intends the sales of her drawings to fund art supplies for children across the world, especially for those most in need. She tells me: “Children aren’t respected. We need to respect the mysticism of children.” This will change everything. It is hard to tell how literally Julia believes this. She talks to me earnestly about a future where unnamed billionaires download digital scans of her art, while she sends paper to far flung, war-torn nations. She invites me to believe with her. That we can raise a generation that channels pain through creative mediums, who speak and are understood. In the rock, paper, scissors of the world, Julia is betting on paper. But in the collage of our conversation, I sense we have veered from the rugged edge of reality into one of her dreamlike compositions.

Real world aside, her generosity of worldview is uncontestably genuine. When I ask where her intricate designs and whimsical enchantment come from, she does not seem to understand what I mean: “the artworks come from my mind; my mind is like that.” It is simply how she sees the world. Julia sits above the bookshop making a beautiful world, one drawing at a time. If we peer through her page-shaped windows perhaps we can also catch a glimpse.