Update 3/11/13
After 24 hours of non-stop rowing the team report a total of £4,070. This was more than double their original target.
Article by organiser Edward Beard
Update 3/11/13
After 24 hours of non-stop rowing the team report a total of £4,070. This was more than double their original target.
Article by organiser Edward Beard
★★★★☆
Four Stars
Before I start this review we should get one thing straight, this album is a big deal. A very big deal. Arcade Fire are a huge name in independent music. Their debut album, Funeral, received the second largest number of inclusions in “top 10 albums of the noughties” lists of any album, being only narrowly beaten to number one by Radiohead’s seminal Kid A. There are a large number who even see them as this generation’s Radiohead. It is not too much of an overstatement to call this equivalent to a band in the 70s being touted as the Beatles of that generation. Such is the band’s eminence among music critics, hipsters and other followers of so-called ‘art rock’.
But on top of this it is also the first album James Murphy of LCD Soundsystem (“coolest man alive” according to a major music magazine) has produced since that band disbanded in early 2011. Ever since Arcade Fire appeared as surprise guests at his final Madison Square Garden concert, people have been dreaming of a collaboration between the two. And what has been the result of almost 3 years of extreme anticipation?
Well… profound uncertainty. Lyrically the album abounds with references to light, reflections, cameras; the possibility of confusing images for the things they represent. This is all couched in some kind of vaguely futuristic post-colonial context that’s made quite explicit in songs like ‘Flashbulb Eyes’ (“what if the camera really do take your Soul?”) and the persistent presence of what can only be described as ‘electro-bongo beats’. Perhaps as a result of this emphasis on uncertainty, the album feels less fulfilling than their previous work, The Suburbs, which was grounded in memories of their suburban childhoods.
The thematic vagueness means the songs just can’t reach the level of emotional heft of songs like ‘Suburban War’ and ‘Ready To Start’ on their last album. With the recent explosion of popular guitar bands all over the scene, Arcade Fire clearly realized they had a point to prove on this record. It’s a musically exciting and ambitious album, particularly in the title track and songs like ‘Porno’ and techno-orchestral lullaby ‘Supersymmetry’ but ultimately feels like more an experiment than a fully fledged artistic statement.
Track to download: Reflektor
Last Friday, Portico Quartet played in Newman Rooms to an enrapt audience. If you don’t know them, then I’m in a tricky position, because they’re very difficult to describe. They’ve been called everything from Jazz to Ambient, and that night they proved why, shifting through different tones and styles with enormous fluidity and ease. The only constants were a sense of calm from the hypnotic beats that layered every song, and the driving urgency infusing every tone, keeping everyone in the audience rocked forward for more.
I spoke to Milo before the gig, who explained that Portico Quartet aren’t afraid to shift their roles: “The band used to be the drummer plays drums, Jack plays sax, hang player plays hang, I play bass and basically that was it, we never went beyond our tools which were in front of us, that was the sound you got. Now we felt that that was as far as we wanted to go with that kind of pallet of sounds.” It was evident that night, when the four (occasionally accompanied by Cornelia) edged across the low stage from instrument to instrument, combining differently to create a different sound in every piece.
This sense of restless adventure summed up my interview with Milo, who seems to resist stasis. When asked how he would describe the London based band he replied; “Well we’ve never been able to describe ourselves, whatever anyone thought we might do we didn’t do that!” He did, however, consent to pin them down to “something in between live electronic, semi-electronic music.”
They’re currently working on a new album, though giving occasional gigs. Milo seemed excited about this “completely fresh material”, which will be using a lot of vocalist collaborations, especially after the success of ‘Steepless’, a collaboration with the eerily beautiful if more than slightly terrifying Cornelia.
Each of their gigs, though, has something individually unique about them, perhaps explained by the group’s focus on building acoustics, “looking at the capabilities of each venue so we can make it a proper sonic experience” as Milo put it, characterizing the sheer amount of thought and care that seems to go into everything the band touches. This Newman Rooms gig was exceptionally intimate and personal, especially in comparison to their exuberant Koko gig in April.
Portico Quartet retain their minimalist ambience, driven bass and superb sax-playing, yet they have changed. Their melodies are harder to find, but even more rewarding when discovered. Their build-ups are longer, but intense in their house-like suspension. They no longer stick to their hang/bass/sax/drums formation: Milo excitedly said “We’re making the instrumentation as wide as it can be, it can be anything now”, and I believe him. Portico Quartet refuse to be pinned down; after all, as Milo said, “It’s about forward progression”.
Portico Quartet’s third, self-titled album is available now on iTunes.
BOOKS: “Reading for fun” somehow becomes the phrase used for reading outside your degree-work at Oxford, which I feel is kind of sad. Jorge Borges is an author I would recommend, even politely implore, anyone to read, especially his dazzling short stories. You put the book down and realise that you were stolen away to a twisted, magical place but have no idea how you got there. Many of his short stories deal with time and quite profound philosophical questions, but read effortlessly.
FILM: I think the last ï¬lm I saw at the cinema was the Alan Partridge ï¬lm which shows how often I get out. It was well worth the visit though. Great comedy that isn’t cruel but still has the right amount of edge – a hard balance to strike. Scrolling through the memory reel, one of the best ï¬ lms I watched recently was The Intouchables, in which a young underdog inadvertently becomes the carer of a wealthy paraplegic and a profound friendship forms between the two. It’s incredibly warm, tender and funny.
MUSIC: Ahhh music! I tend to get obsessed with songs or albums and play them on repeat until I hate them, wait a few weeks, and then return to them with even more love. One album that really got me in this way last year was Channel Orange (ask my ex-housemates), specifically the bit in Pink Matter when the slap bass makes an appearance. As for music in Oxford, Tama Sumo was excellent at Cellar last week – it was the best kind of night. People loving life and music with all the joy and none of the pretension.
This week, Cherwell investigated the extent of sexual violence in Oxford. Here, leading activists in the university respond. Read the original investigation here
Patricia Stephenson: When will inconsistencies in Oxford’s approach to sexual violence end?
Reading the Sexual Violence Survey one thing seems clear: the inconsistency in how sexual violence is handled across the University. Some students were grateful for the way their college handled the situation, but they seem to be in the minority.
Sexual violence has a profound effect on the survivor’s life, so it is absurd that the University doesn’t take the lead in ensuring that all colleges offer the same standard of support.
A decade ago, when the University realised harassment existed, they established harassment advisors, a senior member in each college to deal with harassment. On paper, I’m sure this ticks the “we support our students” box, but in reality these advisors can take the form of an obscure fellow without harassment training.
This is just one example of how poor the support provisions are across the University. It’s not fair to say that all colleges don’t provide support, but it is so poorly publicised that students don’t know it exists. Many colleges provide a Welfare Room for students who don’t feel comfortable going back to their own, or who are too drunk to get home, but no one knows about these things so their existence is redundant. The nearest Solace Centre, which provides forensic examination for survivors of sexual violence, is in Slough. Not all colleges will reimburse the taxi fare, a simple demonstration of support.
Oxford Sexual Abuse and Rape Crisis Centre, which provides support for survivors of sexual violence, is a wonderful service for students in Oxford. They are badly under-financed. Oxford University RAG has provided financial support for Oxford Sexual Abuse and Rape Crisis Centre, but why doesn’t the University?
Just because someone doesn’t want to go to the police, does not mean their college shouldn’t support them. The vast majority of cases happen in college so you’re likely to know to the perpetrator; for a college official to tell you it’s not a big deal can be incredibly damaging for someone who has experienced sexual violence.
Oxford once led the way for student college welfare provisions across the UK, with Balliol being the first higher education institution to provide free contraceptives. However, it has always been student led and student driven.
Colleges need to start realising that it really does happen heredity’s great that there are student led campaigns about sexual violence, from those Sexual Consent Workshops to WomCam Events, but this shouldn’t have to be the case. It’s the Colleges and University, those bodies who claim responsibility overuse that should be starting these initiatives and supporting them financially.
Patricia Stephenson is JCR President at Corpus Christi College
Abigail Burman: It is time the university ended its silence on sexual violence
One in four female undergraduates and three in 20 men nationally are survivors of sexual violence. For Oxford, this means that of the undergraduate women alone, almost 3,000 people have experienced sexual violence.
Image what that number of survivor’s means. If you gathered them together in a single group, there would be people thronging the streets of Oxford, spilling out of buildings and filling quadrangles and courtyards. There are also the stories, so many stories of pain and struggle and resilience- enough stories to overflow libraries. But in the face of these numbers, these stories and these people there’s silence.
When I came to Oxford the only mention of sexual violence was a short entry in the welfare guide. There are few policies at the college or university level addressing sexual violence. There is nothing guiding survivors through getting support. People who try to reach out face inadequate policies and people who don’t have the experience needed to help them.
Silence at an administrative levels matched by silence between people. So many of the stories submitted to It Happens Here are from people who have never told anyone else. Some people do tell others, but all too frequently the people they tell just silence them again by not believing them. Sexual violence is an epidemic in our community.
It’s an epidemic that we have an obligation to fix because we have an obligation to each other, but silence will not make the violence stop. It will not protect anyone. It will not make it easier for survivors to heal. Silence just buries the pain. It Happens Here was created to give people a chance to breathe silence. We believe that if we join together to say that sexual violence happens here we can dedicate ourselves to creating an Oxford where it doesn’t.
We can make Oxford a place where survivors are able to share their experiences and can find support, and we can ingrain consent and respect for each other in our culture so that there are fewer attacks in years to come. Our community is already taking the first steps in this direction. The OUSU Consent workshops are being instituted in more colleges each year and the university is working towards trainings on sexual violence for welfare staff.
There are also incredible individuals across the university who advocate for survivors. But to create a community where sexual violence is understood we must go further. We need to institute comprehensive policies on sexual violence across the university, policies that commit our university to acknowledging and standing against sexual violence. If we come together and make that commitment, we can begin make the university place where everyone is safe to live and to learn.
Abigail Burman is an organiser of the It Happens Here campaign
The Good Lad Workshop: Why we need a positive masculinity
Sexual violence and harassment are everywhere. Whether we choose to see it or not, the statistics are pretty clear: 68% of UK University women reported some sort of harassment — from verbal harassment to sexual assault — during their tenure in higher education.
We know the problem isn’t just strangers hiding in the bushes, or sloppy, unthinking drunkards. Key part of ending this epidemic of gender inequity is getting to grips with the culture and social norms that allow these sorts of behaviours to not only proliferate, but tube viewed as acceptable. But how do we address these expectations and perceptions? To end gender inequity, we need to look at how our behaviours — and the behaviours of our teammates, friends and colleagues —are influenced by, and influence, the social norms that allow it to occur.
It all starts with a conversation: about ourselves and our relations to others, including our relations to women. We must consider how our actions, thinking and unthinking, create inclusion or exclude others. We should stop to think about how tube more affirming, empowering people, not just for ourselves, but for our teams and ourcommunities. And in taking this time to think, we can develop the sorts of skills that help us to transform potentially negative situations into opportunities for more fulfilling relationships, more productive teams, and more inclusive spaces. In short, men should involve themselves as part of the solution to these problems, and by doing so can produce positive outcomes forthemselves, people they have relationships with, and the community as a whole. This is positive masculinity.
Our Good Lad workshops, which try to promote this positive masculinity with male groups and teams, have found the same problems time after time. Throughout our conversations with other men, we’ve found that university men feel constrained to act in ways that don’t necessarily stack up with their values. In fact, our own evaluations have shown that while many participantswould personally prefer not to engagein the sorts of negative behaviours that ourworkshops bring to the table for discussion. Instead, many of them feel that their peer groups would be more likely to support the sorts of behaviours that foster gender inequity and that manifest it: objectification of women, sexual aggression, and verbal harassment amongst them.
So herein lies the critical insight: if most of the men we talk to feel these behaviours are wrong, then how can they develop the skills to intervene and to stand up and say something? Or to model themselves the affirming people they can be? Our several months of workshops have shown the potential for men to take part in creating a culture of inclusion—one where gender inequity, and sexual violence, will one day be history.
Changing our social norms towards equity of every sort is a long-term project, but one well worth the effort, and one that starts when all of us are partners in this project. To end gender inequity, we all need to join the conversation. Are you ready to join the Good Lad revolution?
To sign up for a Good Lad workshop, visitgoodladworkshop.wordpress.com
Rebekka Hammelsbeck: The national discourse on sexual violence needs to change
The public discourse on rape and sexual violence is largely dominated by myths and misconceptions which is incredibly frustrating but is perhaps not very surprising given the pervasiveness of rape culture. So it might help to debunk some of the most popular rape myths once again:
No, most rapes are not committed by strangers jumping out of a dark alleyway, but by someone the victim knows. Some 70% in fact. It might be a friend, a classmate or a long-term partner. And yes, they can be nice people.
No, false accusations of rape are not higher than false accusations of any other crimes. They’re only around 3%.
And yes, it can happen everywhere: and it does happen here in Oxford too. The newly launched zine from OUSU’s It Happens Here Campaign sheds light on the local situation and features stories and experiences from students at our university. It also highlights the shortcomings of the university in dealing with sexual violence in our community. It’s a great resource although very shocking to read.
We also shouldn’t forget that even within the debate around sexual violence, many of the most vulnerable groups are still being marginalised and their voices are not being heard.
Sex workers, for instance, are a group which experiences high levels of sexual violence and receives little to no protection from the law and the police, since sex work is illegal in the UK. This means that if sex workers decide to report sexual assault and rape, as a consequence they will then often themselves be prosecuted for their work, while the initial charges against the people who assaulted them are being dropped. In addition, the current laws make it very difficult for sex workers to put basic safety measures in place. The law against brothel keeping, for example, is frequently used against sex workers working together on a premises in order to protect themselves and each other.
It doesn’t help that many prominent feminists consider all sex work to be coercive and are therefore in favour of its criminalisation. It is crucial however, to acknowledge that there’s a difference between consensual sex when payment is involved, and rape. And as feminists, we should campaign against the latter, not the former.
And of course, let’s not forget about trans* people, disabled people and asylum seekers. Like sex workers, these are all groups that face high levels of (sexual) violence, are often given very little support and protection from the state and whose experiences are often not considered by campaigners and activists against sexual violence.
If we believe that “a dress is not a yes”, then we have to realise that “being trans* is not a yes” nor is your work, your legal status or your disability. Rape is rape is non-consensual sex. No matter who the victim is.
Rebekka Hammelsbeck is organiser of WomCam, OUSU’s autonomous women’s campaign.
Anna Bradshaw: only students can force change in policy on sexual violence
1 in 7 women are seriously sexually assaulted during their time in higher education (NUS, 2010). It is beyond clear that sexual violence is a serious problem at universities across the country.
At Oxford, the situation is exacerbated by what should be our greatest strength: the college system. Rather than tighter-knit communities that can offer immediate support, we have a system where survivors fall through the cracks between colleges, departments, and the central administration.
College harassment officers, supposedly the first line of contact, are rarely trained, and, as Cherwell’s investigation shows, often invisible. The actual first responders – porters, chaplains, personal tutors – have even less training, and are often far out of their depth. Students end up unsure of where to go for help, and feeling dismissed when they get there.
The confusing situation in colleges is made worse by the central university’s woefully inadequate sexual harassment policy. Out of date – it does not even include online harassment – it subsumes everything from stalking to rape under the broad title of ‘harassment’. The university’s squeamishness about legal complexities does not excuse their blatantly failing survivors.
Departments are even worse equipped than colleges. The fact that they are academic institutions only (colleges manage the pastoral side) means that they won’t touch ‘discipline’. Complaints tend to be resolved informally, which means that they often go nowhere, and contributes to the (not unfounded) perception that complaints leveled at staff come out in favor of the accused.
These problems – in colleges, the central university, and departments – combine to make Oxford Uni something of a perfect storm for confusing and failing victims of sexual harassment and assault.
There are a number of very practical things that we could be doing better. With more training and publicity for harassment officers, colleges could certainly make the first response stronger.
Departments need to step up and acknowledge that they have a part to play in preventing harassment. And we can only hope that the university’s policy will soon cover the more serious cases.
But these institutional considerations only go so far: creating a better response to instances of sexual violence does not stop them from happening to begin with. The culture of rape and harassment that surrounds these assaults is pervasive, even finding its way onto our sports teams’ mailing lists.
Initiatives that come from OUSU and from Women’s and Welfare Officers within colleges, offer some hope. For example, the sexual consent workshops for Freshers, sports teams, and other committees are expanding rapidly. I had the privilege to be a pilot participant as a Fresher, and this year I ran a program of compulsory workshops in Wadham’s Freshers’ Week. WomCam, the It Happens Here Campaign, and the Good Lad Workshops are all reaching more and more people.
But change won’t happen by itself. Students need to call for serious reform to the way that the university deals with sexual violence. Cherwell’s report makes this need crystal clear.
Anna Bradshaw is Wadham Student Union’s Women’s Officer
Four fifths of Oxford students are unaware of the support available for survivors of sexual violence.
In a Cherwell survey, 83% of students said that they were unsure or unaware of “any options at the University should you wish to report any kind of sexual assault.” Only 17% of people said they knew about the support available for survivors.
The revelations come as part of an investigation into sexual violence across the university. Cherwell asked 225 students from most JCRs in the university about their experiences of sexual violence.
The investigation, which defined sexual violence as “any form of non-consensual sexual act”, received 71 responses from people who had experienced assaults. Of these people, only eight (11%) “felt able to report the incident” to college.
Respondents who reported their experiences to college had mixed feelings about the response. Six out of ten people said their case was not taken seriously, with one more person “unsure.” Eight said they were unhappy with the outcome of the incident.
An Oxford University spokesperson commented, “The University of Oxford takes allegations of rape or sexual assault extremely seriously and the welfare teams, peer supporters and harassment advisors based in the colleges, would be on hand to offer immediate support to students involved in any cases of sexual harassment or violence.
“They would support students who report having been raped or sexually assaulted and would encourage them to report those allegations, which are a criminal matter, to the police.”
There are other resources provided for survivors of sexual consent, including OUSU’s It Happens Here campaign, Oxford Rape Crisis Centre, and the university’s counselling service.
Several respondents to the survey described the university’s response, with some criticising the welfare provided.
One student said, “When I reported the incident, I was told that I was naive and “did not understand boys” as I had been to an all-girls school. I was also told that “things happen when heavy drinking is involved.”
Several criticised welfare officers, with one respondent saying that after a complaint, she “never heard from them again… Months later, I emailed one of them. Their response was that they didn’t think I was actually making a report.”
Another undergraduate expressed anger that “nothing happened”, with the perpetrator only “being a bit told off.”
But others praised the welfare provided. “I was eventually taken to our college Chaplain, after I had suffered severe after effects,” one respondent said. “He was fantastic, and is possibly the only reason I am still at Oxford.”
Another undergraduate commended their college for ensuring the aggressor moved out of their house.
The main reason victims felt unable to report their assaults was fear of not being taken seriously. One student who had been raped said, “I didn’t want to get stick for ‘playing the victim’ after ‘regretting a one night stand’.”
Another woman said she “felt that it would not have been taken seriously because I had taken part in sexual activity with the guy in question, but had told him I didn’t want to have sex.”
One student said, “I was treated so poorly by the college, and made to feel like such an unwanted outsider, that I felt unable to trust anyone to help me.
“Plus I started to blame myself for what had happened; I felt so ashamed and traumatised and there was no one to turn to, so I decided it must have been my fault.”
Others said they “didn’t want to be called slut”, or that they “felt that it wouldn’t be seen as abuse” having consented to other sexual acts.
Another major reason for choosing not to talk to college authorities was a sense that nothing could be done. One student, assaulted by a fellow Oxford student in a different country, said she “didn’t feel support from college was possible on my year abroad”.
Difficulties in reporting sexual assaults were exacerbated by the size of colleges – many victims knew their attackers well, or wanted to avoid drawing attention to themselves.
One student wrote that “the perpetrator was someone I’ve slept with in the past so I felt that it wouldn’t be seen as abuse.”
In one account which happened in Freshers’ Week, a student said she “felt it was necessary to keep a low profile as I did not want to be seen as ‘stirring up trouble’.”
There was a gender split among those who had experienced violence. Only six men told Cherwell they had experienced sexual assault, and none reported it violence to college authorities. Many suggested this was because men are rarely heard when they complain about sexual assault. One said that “males are never taken seriously in such situations.”
A second man echoed the sentiment, commenting, “I think there’s a prevailing sense that when a guy sleeps with a woman without his consent it’s less of an issue as in the opposite case. Especially if the guy is drunk – if a girl is raped when drunk it’s unacceptable; if a guy is raped when drunk it isn’t really even considered sexual abuse.”
The University of Oxford does not have a specific policy on sexual violence: sexual assaults are included in the Harassment and Bullying Policy.
The policy states that “Allegations of harassment or bullying which arise within the college environment will normally be dealt with under the appropriate college procedure,” and condemns “unwanted physical contact, ranging from an invasion of space toe serious assault.”
If you would like support having experienced sexual violence, several Oxford organisations are available.
• Oxford Sexual Abuse and Rape Crisis Centre (OSARCC) – 01865 726295. OSARCC was strongly recommended by survey respondents.
• University Harassment Advisors – 01865270760
• University Counselling Service – 01865270300
The death of a 71 year old former Rock n Roll star and heroin addict shouldn’t come as a surprise, but Lou Reed was a man who lived to shock. After all, the artist who thrust the deepest pits of the underground into the public domain and released a ‘screw you’ 2 hour album of pure feedback was hardly going to give the people what they wanted.
Lou Reed was an outsider from the start. 1967’s The Velvet Underground and Nico was released within a year of classics such as Pet Sounds, Blonde on Blonde and Sgt Pepper; albums that would define an era of flower-power imagination and love. The Velvets instead – with their tales of nihilistic excess – would come to define the future of rock n roll. Where other groups experimented with orchestras and overdubs, Reed and Cale’s band stripped rock n roll back to its raw potential. David Bowie, Morrissey, Iggy Pop, The Ramones, The Smiths, Joy Division, The Strokes, Arctic Monkeys and countless others have all professed the direct influence Lou Reed’s music had on their own. The whole landscape of modern music would be unrecognisable without the impact Reed had on Glam, Punk and Pop. With 45 years of hindsight, his influence truly was profound.
Reed implemented a fresh kind of honesty to rock n roll music with often unnervingly candid lyrics and simply structured, three chord songs. It was this talent as a song writer that enabled The Velvets to seamlessly switch between the full-bloodedness of White Light/White Heat to the more tender tracks such as Pale Blue Eyes without ever seeming contrived.
His solo work will always be remembered for two of the greatest all time pop classics in Walk on the Wild Side and Perfect Day though he was never a pop artist. Reed was always selfish in his work, only writing for himself. He would frequently disregard the desires of critics, fans and record labels. Berlin was hardly the pop follow up to Transformer that was anticipated at the time but it’s rediscovery as a forgotten great this last decade has cemented Reed’s legacy as a timeless songwriter. For better or worse, he was always original (at least that’s a way to excuse Metal Machine Music).
Reed’s death has impacted the music community unlike many others before him. Once they survive past 27, these rock legends seem like almost eternal figures, a continual reference point for generation after generation. No one saw one of alternative culture’s corner stones being removed so suddenly. After years shaping alternative culture whilst remaining so enigmatic, it’s strange to think that Reed was mortal after all. It even casts into doubt the other worldly magic of his surviving contemporaries, and who could ever replace such figures as Reed, Dylan and Bowie. If Reed started an alternative revolution, perhaps his death also symbolises its end.
In tribute to Reed, Morrissey wrote that “his music will outlive time itself”, it had started to feel that rock’s ultimate survivor would do too.
The promise of a new addition to the James Bond franchise brings with it expectations of beautiful women, fast cars, alcoholic excess and plenty of action. However, the latest offering from William Boyd places Bond’s own character firmly in the foreground, creating a much more complex and human incarnation of the agent the majority feel so familiar with.
The novel opens with Bond in the streets of Chelsea, but he is soon sent off into the jungles of Africa, finally ending up in Washington DC. Sent on a mission to end a brutal civil war in the fictional country of Zanzarim, he quickly finds himself part of a much wider plan to extract the country’s new-found oil reserves. Confronted with his mirror-image nemesis, Jakobus Breed, (Jacobus being the Latin name for James), Bond jumps from journalistic investigation to military action.
This, however, is where the book falls down the most. The plot is not only confusing but seemingly anti-climactic. Bond’s final showdown comprises him simply taking out three incompetent guards and confronting Breed.
For a reader who is used to the modern blockbuster, it all seems a little unassuming.
However, the author comes into his own when he explores the character of Bond himself. Rather than blasting his way into the villain’s volcano lair, he must rely on his own skills and experience in a much more nuanced way. Boyd’s use of a grizzled, middle aged Bond allows him to construct a character who is much more complex than we might expect. In fact, it is a slightly sad figure that is created; the book opens with Bond hungover and alone in the Dorchester Hotel after a night drinking by himself and lusting over a young woman.
Yet this Bond is still the cruel and in many ways cold character of Fleming’s creation. It should not be forgotten that the brutal torture scene from the Casino Royale film that drew criticism for its violence is taken directly from Fleming’s own novel. Bond demonstrates his desires to exact revenge on those who have done him wrong, taking risks to ensure his enemies feel as much pain as possible.
Solo is a book that delights in many ways but disappoints in others. Boyd carries Bond smoothly from the excess of the Dorchester Hotel to the African jungle with only a few hiccoughs along the way, yet it seems that a more cohesive plot would be required in order to really hold everything together. Fortunately, Boyd’s wonderfully complex 007 ensures that the book still manages to do justice to the world’s most famous spy.
Solo is published by Jonathan Cape and available here.