Wednesday, May 28, 2025
Blog Page 1525

Fathers suffer at childbirth too

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Recent findings by Oxford University researchers have shown that fathers as well as mothers can be severely affected by the trauma a difficult childbirth can induce.

The researchers, from the National Perinatal Epidemiology Unit (NPEU), interviewed eleven fathers and partners whose partners’ childbirths had been marred by life-threatening complications. They went on to look at the effects of these experiences.

The results suggest that particularly difficult births, as well as being severe for the mothers, also cause long-term issues for partners to the extent that in some cases they are diagnosed with post-traumatic stress disorder.

Factors leading to particularly stressful and dangerous births can vary from heavy, uncontrollable bleeding to amniotic fluid embolism, where birthing fluids get into the mother’s bloodstream. However, such events are rare with only one in 100 births involving such complications.

Professor Marian Knight of NPEU, who led the work, said, “Many of these emergencies happen during labour or immediately after, and involve severe bleeding. The mums are severely ill and need lots of care. And while everyone is running around looking after mum, it can affect dads too.”

However, the results of the findings have caused controversy. In an article for the Telegraph, Milli Hill, founder of The Positive Birth Movement, said, “Already the number of articles and media discussions about the study greatly outnumber the tiny number of husbands and partners who took part in it.

“Yes, it’s no wonder the men folk are traumatised by childbirth, because it’s a gory freak show that women alone must suffer, and, if you must be there at all, you’re best off sticking at the head end and keeping a low profile, mate. Birth is bloody, birth is horrific, birth is dangerous.”

One comment left in response to Hill’s article expressed a similarly traditional view, saying, “Allow the father to be there during the preliminaries then boot him out into the waiting room when things really get going. This is women’s business and a man shouldn’t be at the business end.”

Harriet Moorhouse on the other hand, a third year geographer with a place to study graduate-entry medicine in September,  focused on the positives of childbirth. Having worked on labour wards, she was able to give the following anecdote.

“I saw a routine caesarean-section delivery of IVF twins. The father was present for the c-section, and the couple had undergone several rounds of IVF before finally conceiving twins. The birth of these twins was therefore an overwhelmingly exciting and joyous event in the couple’s lives. Save for the anxiety associated with any surgical procedure, the father was over-the-moon and visibly excited – almost giddy.

“He observed the entire procedure, including the surgeon making an incision, essentially tearing the skin apart and then reaching under the skin to pull the babies out. When the babies were removed from the mother’s body, the father cut the umbilical cord. He was thrilled.”

"Zero tolerance" sexual harassment policy passed at Wadham

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Wadham SU has passed a motion to implement a “Zero Tolerance” policy regarding sexual harassment at college events.

The proposers of the motion ask for the SU to “To implement a Zero Tolerance policy for all bops, Wadstock and Queerfest.”

The new policy means suspected perpetrators of sexual harassment or assault will be immediately ejected from the premises by security staff. The motion passed with approximately two thirds of the student vote.

Modelled on the OUSU ‘zero tolerance’ contract with Varsity Events, the policy further states that a record must be kept of any alleged perpetrator ejected which will then be sent to college harassment officers. The motion specifies that the policy must be advertised in the Queerfest and Wadstock handbooks and at the entrances and bathrooms of these events, and that ignorance of the policy will not be considered a valid defence.

The motion was proposed by 3rd year PPE student Sarah Pine, who told Cherwell “Assault is a real problem and it happens here. Anyone attempting to deny assault because we’re ‘all friends in college’ is entertaining a spectacularly high level of denial.”

“This isn’t so much a ‘Wadham problem’ as a problem that affects everywhere, including Wadham. However, in a college context, it’s a lot more difficult for victims, because they have to see their attacker in the library, around college events and in their collections.”

Pine continued “There was a lot of support for providing a mechanism by which victims of assault and harassment no longer had to put up with their attacker being at the same event to them. People seemed to really care about the experiences of members who had been assaulted.”

Wadham SU president, Jahni Emmanuel voted against the motion.

Sarah Pine told Cherwell, “I’m confused and disappointed at our President for voting against the motion. Rejecting any way for coping with assault and harassment protects a system in which abuse and assault are common experiences.”

2nd year English student Maeve Scullion, who seconded the motion, said that the motion “should have the desired effect of opening up healthy conversations about the definitions of sexual consent and sexual harassment, as well as giving victims of sexual harassment the right to be removed of the immediate threat of further sexual and/or physical violence.”

Wadham SU president Jahni Emmanuel told Cherwell: “The motion was brought forward because the people who proposed it felt that the college’s current policy on sexual harassment was not sufficient.”

“In terms of specific reasons for the timing of this motion, as far as I’m aware it was not inspired by any specific incident – I believe it was prompted by some statistics recently published about the high rate of sexual harassment across the University.”

However, a student who wished to remain anonymous added that the SU meeting was attended by a victim of sexual assault at a former Wadham event.

Emmanuel voted against the motion, explaining, “Personally, I think that, although this is a very sensitive issue, changing an otherwise universal policy of innocent-until-proven guilty is difficult to justify. Although we have put procedures for appeals in place, this will not stop people automatically being ejected from an event.”

When approached for comment, a spokesperson for Oxford University said, “The University and colleges take cases of harassment, abuse, assault or rape extremely seriously. Anyone who is the victim of mistreatment, harassment, assault or in the most serious cases, rape, is advised to talk to their tutors, their college welfare officers, or the University Counselling Service.”

“Allegations of this nature will be dealt with confidentially. Whilst allegations are treated confidentially, matters of concern may be referred to the police, with the permission of the student concerned, resulting in criminal or disciplinary proceedings.”

Victorian graffiti found on Natural History Museum

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Victorian graffiti has been found in the roof of Oxford University Museum of Natural History during renovation work.

Painted high in the rafters is the message: “This roof was painted by G. Thicke and J Randall, April 1864.” Although it is a tradition for craftsmen to leave their marks in places that cannot be seen, it is not known whether the message was sanctioned.

The graffiti is dated six years after the Museum opened in 1860, suggesting that decoration was still going on when the building was being used by academic staff.

Bloggers on the Museum’s website have now taken up the story, suggesting that the two craftsmen were Oxford locals. Using the census, Debbie Moorwood argues that the G. Thicke may have been George Thicke, a painter from St Clements and her husband’s great great great grandfather. Similarly, J Randall is perhaps John James Randall, a resident of St Ebbes. If such claims can be confirmed, the graffiti marks an interesting piece of social history as well as possible 150-year old bad behaviour. 

However, Rachel Parle, the museum’s education officer, was keen to emphasise that the museum’s decision not to paint over the graffiti meant that any contemporary scrawls would be allowed: “old masons’ marks are found in cathedrals and heritage sites across the country and the purpose is very different to someone just scrawling their name.” The sentiment was echoed by Ms Parle’s colleague Scott Billings, who said, “any modern graffiti applied to a visible area of the Museum would obviously be a different matter.”

The Museum, which holds some of the first dinosaur’s discovered as well as a preserved dodo, has been closed for 2013 to allow renovations to its Grade-1 listed building. The repairs to the neo-Gothic architecture are expected to conclude in early 2014.

Review: The Place Beyond the Pines

It takes an actor with stealth, attraction, and candour to steal the limelight from Ryan Gosling, but Bradley Cooper has pulled it off. Much to the chagrin of the teenage girls surrounding me in the cinema, this film is no Drive. Here, Gosling forms the backdrop, not the centrepiece. 

A tale of fathers and sons, The Place Beyond the Pines traces the repercussions of a split-second face-off between two men: one a stunt biker turned bank robber, the other a rookie cop. Their actions echo through the years, shaping the lives of their children. Both characters – motorcyclist Luke Glanton (Gosling) and Officer Avery Cross (Cooper) – have one-year old sons, Jason and AJ. Fifteen years down the line, Jason (Dane DeHaan) has become a ‘loner stoner’ and AJ, played irritatingly by Emory Cohen, resembles a spoilt Jersey Shore character. 

Director Derek Cianfrance structures the story in a triptych, with the final chapter amplifying the consequences of violence. This follow-up to Blue Valentine is extremely visceral: the camera work is unobtrusive, and the dialogue straight. This is fortunate, as it’s the performances that keep the film from buckling under its scope. Gosling’s flashy character is perfectly matched by Cooper, who gives a compelling performance as a cop with an unbending sense of justice. The supporting roles are just as impressive: Ben Mendelson is perfect as Luke’s amusing confidante and Dane DeHaan’s performance only leaves one wanting more. 

Although its narrative is plagued with bittiness, The Place Beyond the Pines has a sense of grandeur that should be admired. Not only does it tie together themes of fatherhood and masculinity, but it also showcases problems of inheritance and class that dominate the lives of two families in small-town America. It’s an ambitious script and one that ultimately produces a powerful film about legacy.  

Blackwell’s Music continues despite relocation

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Blackwell’s, the bookshop of more than a hundred years that originated in Oxford, recently moved its music shop from 23-25 Broad Street to join its main bookshop and headquarter  200 feet away. The former site, owned by Oxford City Council, had accommodated the music shop for twelve years since its first move from Holywell Street in 2001. 

Luke Rickett, the music shop manager, told Cherwell no redundancy was resulted from the relocation. All its twenty employees have been kept in position. Despite the smaller space, the music shop managed to fit in all its collections after some remodelling. 

Rickett said, “Our old location needed a refit. It wasn’t up to date with the latest standards for disabled customers because there was no lift. Essentially, we decided that it was just much easier to leave that premises and move here.”

He added, “We have got less room but the same stock. So we had to get a bit creative about display.” 

Besides the convenience of technical support and additional footfall from main shop, the relocation is also one of Blackwell’s series endeavours to cut cost and refocus the business on its core retail services.

David Prescott, Blackwell’s chief executive officer, emphasized their new restructuring strategy, “the Blackwell’s board is focused on our bookshop business and the direct opportunity to develop our digital offering to student, academic and professional customers.”

Owner Toby Blackwell aims to deploy “employee partnership” similar to that of John Lewis once the company turns profits.

Rickett responded positively to the plan, “I think it’s a good idea. It’s a real incentive for staffs and workers behind the scene to put an effort into the company and make sure it performs as well as it can.”

Blackwell’s has made steady progress in turning around the dwindling business. It has reduced its operating losses from £10.2 in 2010 down to £1.5m in 2012 and expects to yield a profit by the end of the year. 

When asked about the difficulties Blackwell’s faces with the rapid structural shift of consumer behaviour in the market, Rickett answered, “Our biggest challenge is to make sure we offer expertise and customer service and specialist knowledge that people can’t get on Amazon.”

 

Interview: Anya Reiss

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At 21, Anya has had a sell-out production at the Royal Court, written an adaptation of Chekhov’s classic ‘The Seagull’ and is currently writing a screenplay… the novelty of collections is starting to ebb away at this point. Having enrolled in a course at the Royal Court she won a competition and was accepted into the adult course, where she received a lot of support from the theatre in her early career. I wondered how, at the prime age of 14, when I (and many others like me) was merely awaiting my GCSEs, she got noticed in such a way that it started her career – for her it was simply a case of “doing the same as everyone else on the course”, she says.

Her age seemed to me and to others a huge bolster for her success within the industry – not only is she successful in her own right, but this success seems to have come so early on. She describes her age as a positive force, giving her publicity, but also unremarkable to her: “I only only noticed it once articles were being written about it” she recalls.

Despite this she says that “constant focus on her age” from the press has been “frustrating” as it gives license to undermine what she means to do with her plays. It is undeniable that most interviews with Anya and reviews of her plays (which have been hugely complementary) reference her age, with one applauding her ability to understand and portray the emotional stand-point from each character in her plays (ranging from teen to middle-aged parent). She is able to fully understand these different generational figures and viewpoints but yet her age is sometimes used as a defence for something that she did very readily intend to portray in her plays.

Her age has both evidently helped her with publicity, but at the same time has been a bit of a kick in the teeth, she muses. As someone who is four years fully integrated in the industry, she says that after a few plays you’re “experienced whatever your age”.

A lot of Anya’s work has been based around young people: one of her most recent works has been part of a collaboration with the National Theatre in their “Connections” project.

Projects are “essential” for young people, a happy relief from being “frustrated that there were so few real plays which young people could perform” as a teenager.

Ten playwrights were commissioned this year to write plays, the National Theatre then cast young people from all round the country for these plays as a way to involve a younger generation with drama. Working with the likes of Lenny Henry and Howard Brenton, Reiss has been described as part of a “stellar line-up” but denies any hint of this simply expressing her enthusiasm for the project which is “exciting because [the plays] are written about British teenagers and for British teenagers” rather than just using them as props. Although Reiss had a personal interest in the project, having been part of it from a young age helping to develop the plays, she claims that these types of projects are “essential” for young people that were a happy relief from being “frustrated that there were so few real plays which young people could perform” as a teenager. In fact her most enthusiastic statement about the industry is when she starts talking about her friends’ engagement with her work, saying “Nothing has felt better than when I get a friend who doesn’t go to the theatre to watch a play and they’ve had a good time.”

Reiss’ interaction with her friends and peer group is normal, she claims that she does “live mainly like a student, a very lazy student in that I can go out whenever I want and unless I have a meeting I don’t have to worry about a hangover or a late night” but that the difficulty of her job lies in the fact that “free-time” isn’t really a thing – at any point she “could/does feel like [she] should be working” as her job isn’t a 9 to 5 affair. So her lifestyle is not that dissimilar in the sense that her time-constraints are personally motivated rather than being in an office environment. Despite her assertion that she is a “lazy student” she stresses her obsession with her work (which might not be a steady feature in a student’s lifestyle…). The fact that her job has “no point where you feel like you’re allowed to switch off” is “bizarre” to a lot of her peers as well as being seen as an “excuse”. Apparently “most people seem quite bemused” by her job and “often jealous of the freedom and flexibility of being self employed” as apposed to the weighty confines of “deadlines and dissertations”. So although she is not an office 9-to-5-er Reiss’ dedication to her job is pretty intense, her mention of hangovers and procrastination later on in the interview bring her back down to my level at least!

So after considering her own place in her peer group how does she think younger people can engage and get involved in playwriting? The answer is experience, experience, experience according to Anya – the Royal Court Young Writers program helped her in this respect and she describes the course (and other courses like it – for example the BBC Writers Room, the Lyric Young Company and the Young Vic Direc- tors program) as “invaluable”.

Last year she tackled adapting Chekhov’s The Seagull having been approached by Russell Bolam. With her adaptation not only being prone to criticism from “the wrath of classicists” but also from comparison with other versions by distinguished playwrights – Mark Lawson of the Guardian comparing her to Michael Frayn, Tom Stoppard and Christopher Hampton, found her emerging “creditably from the comparison” – it is remarkable that it has been reviewed as “fresh, colloquial, sexy and downright perceptive”. Despite Reiss feeling “very nervous” and even expecting “disappointment” in her effort she says that “Chekhov won out” however at this point I’m trusting the good reviews rather than Reiss’ modesty! In terms of adapting Chekhov’s themes Reiss says that it was “surprisingly easy”, with “universal” themes for the most part but still some “radical” thinking. We have all seen the dark side of modernisation and connecting the youth to old plays; Reiss speaks of “gimmicky Facebook references” never being part of her vision for the project but also of the difficulties of actually regenerating the play rather than just putting a “modern dress” on it, describing the difference as a “difficult line to walk”. As adaptations are in the line of fire from not only critics and previous lovers of the play it seems that Reiss has come out on top, giving the classic a modern-day focus.

After branching out into adaptation, Reiss is extending her grasp even further into TV and Film. Currently writing a screenplay and contributing towards a TV series, the focus has changed dramatically (excuse the pun) with “rules unlike in theatre”. The move into this medium seems to have been a bit alien for Reiss as she jokes “if you’re writing a Rom-Com and by page 7 the boy and girl haven’t met each other, you’re already in trouble… apparently” but far from her initial attitude towards these “I don’t think anything can beat your first play: it was full of quite steep learning curves but because the Court was so fantastic…I never felt that daunted by it at all, I just enjoyed myself.”

Restrictions as “arbitrary” her understanding of this medium has grown to acceptance. Obviously the content and the target audience of different TV slots change the brief for a program but Reiss stresses the reversed importance of the story and the audience with the audience being number one for TV. She seems excited by this new venture but incredibly wary of the precarious TV and Film industry resolving “to treat it as a bucking bronco and not to take it personally when you inevitably get thrown off”.

My last question to her was asking what the most enjoyable production that she has written, she responded with a happy but slightly apprehensive advertisement for the industry: “I don’t think anything can beat your first play, it was full of quite steep learning curves but because the Court was so fantastic, and because, as I keep on saying, I knew nothing about the workings of Theatre when I started, I never felt that daunted by it at all, I just enjoyed myself. Now I know better.” However, would she do another adaptation despite the mass of external pressure? Yes. Will she continue to work in the TV and Film sector? Yes. Can we eagerly await another Anya Reiss original? Of course and many of us already are! So however “daunting” it may be after losing her naivety in the industry she’s powering through like noone’s business.

Reiss plays the part of successful playwright well and she was a pleasure to get to know. 

Creaming Spires: Week Two

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The first week of Trinity term brings with it the start of lectures, tutorials, and for me a rather different kind of assignment.

To gently ease you in to this series of scandalous sex stories I have decided to focus on foreplay. This however, is a unique slant on foreplay; where thinking out of the box proves to be unimaginably pleasurable.

Feeling a little guilty that I have managed to coerce my guinea-pig of a boyfriend into letting me publish our sex life every week for the next two months, I let him go first this week. An urban myth that we had both been curious to try out is whether or not Altoid mints enhance sensation during blow jobs. So I crunched down on five or so of these über strong fuck-off mints and got to it, sticking to my usual technique, with the only change being the minty sensation.

Well, what can I say. It certainly was no urban myth. The mintyness made him so aroused that every action I made was mind blowing for him. We are certainly on to a winner with this Altoid mint tekkers – less effort for the girls and more pleasure for the boys. Although, Cherwell lovers be warned: my other half has now depleted Tesco on Magdalen Street of their entire stock. and the Sainsbury’s is his next target.

Now for my turn. My boyfriend is exceptionally good at giving head; but I have to admit for most of the time I am so preoccupied that I have no idea what he is doing down there. So I asked him to talk me through exactly what he did to make it feel so good. Apparently he likes to play this game with himself of spelling out the alphabet on my clitoris, and pays attention to the letter which makes me climax every time. I thought this was all rather childish, but I guess if it keeps him entertained whilst I am enjoying myself then it works for me. Once I was aware of this little game I tried to play along too – ‘S’ is particularly arousing.

Only Oxford couples get kicks out of foreplay scrabble… 

The Top 12: 2nd Week

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1. Withnail and I 

@Ultimate Picture Palace, 11pm Friday 26th

This is the greatest comedy film of all time. If you haven’t seen it, do. If you have seen it, see it again. Grant, McGann and the late Richard Griffiths make the tale of two alcoholic actors a tragicomic tour de force.

 

2. Itchy Feet

@O2 Academy, 10 pm Tuesday 30th

If you’re unfamiliar with May Day, Dots Funk Odyssey or Itchy Feet, then you clearly need to get out more. Dust off your dancing shoes and your Pulp Fiction moves – it’s a long night ahead.

 

3. The Dreamboys

@New Theatre, 7:30pm Wednesday 1st

They’re apparently the UK’s most famous male strip act. Not that we’d know about that. If you fancy an evening of heavily be-muscled men gyrating on a stage, this would seem to be the event for you.

 

4. Rope

@Old FireStation, 8pm Saturday 27th

Patrick Hamilton’s play, inspired by a real-life murder, was the basis for Hitchcock’s seminal film . This production, from the team that did POSH, takes it back to the source material.

 

5. Keble Arts Festival

@Keble College, Until Sunday 28th

It’s your last chance to experience the Keble Arts Festival. Make sure not to miss out on the Oxford Art Showcase.

 

6. Audrey

@Wheatsheaf, 9pm Tuesday 30th

 Widely acknowledged as “not quite as good as the footlights”, the Revue is the lifeblood of Oxford comedy. Make of that what you will. Their showcase of new material is sure to be pretty damn funny.

 

7. Oxford Ukeleles

@Port Mahon, 7:30pm Monday 29th

Have you ever wanted to learn a proper instrument? Well, if you can’t do that, you may as well give the Ukelele a go. This informal group meets every other Monday and promises both a musical education and a good time.

 

8. Iron Man 3

@Almost any cinema, from Friday 26th

As terrible as the last film was, as awful as Ben Kingsley’s accent as “The Mandarin” promises to be, as woeful as Gwyneth Paltrow’s acting skills are, we must all take some guilty pleasure in watching Robert Downey Jr. jetting around the screen. If nothing else, the improbable engineering of the Iron Man suit will continue to anger science students, and that is always something to be commended. 

 

9. Manju Netsuke

@Ashmolean, Until September

 These Japanese carvings are named after a type of sweet bun, and depict the culture and history of the country. The exhibition ought to be worth a look, and they’re around for an absolute age, so there’s really no excuse to miss it!

 

10. Major Lazer

@O2 Academy, 7pm Thursday 2nd

Diplo’s side project, Major Lazer is performing – who knows what lunacy may occur. If you’re a fan of their debut album, Guns don’t kill people, Lazers Do, you should definitely attend. It’ll be fun. Probably.

 

11. Alister McGrath – C.S. Lewis: A Life

@Blackwell’s, 7pm Thursday 2nd

The author of the newest and most thorough biography of the creator of Narnia is talking about his findings and signing copies of the book.

 

12. Modern Art Tour

@Modern Art Oxford, Afternoon of Sunday 28th

The team at Modern Art Oxford are giving a short and informal tour of the exhibitions. Apparently it’s popular enough to make booking essential, so get in early!

‘Suspended coffee’ arrives in Oxford

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If you visit Java & Co in Oxford today, you can purchase a coffee – and leave £1.50 in aid of the city’s homeless.

The owners of the coffee shop on New Inn Hall Street cited an Italian tradition of buying ‘suspended coffee’ as their source of inspiration. Customers in a charitable mood would buy their own beverage and pay for a second, a caffè sospeso, to leave behind the bar for someone in need.

Java & Co will not be letting customers offer a coffee for later, but all donations will be given to The Gatehouse, a local homeless charity based in St Giles Church.

‘Suspended coffee’ has recently become an international social sensation. This week (22-28 April) is also Official Coffee Week in the UK.

Cherwell’s Harriet Smith Hughes met the Bowens, owners of Java & Co, to discuss the scheme.

Blurb: Xin Fan

The Cherwell Profile: Walter Isaacson

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The former US Sec­retary of State, Henry Kissinger once recalled the days when he had been a professor at Harvard. “I tended to think of history as run by im­personal forces,” he said of his views from the ivory tower. “But when you see it in practice, you see the difference personalities make.” 
Four decades later, academ­ics still focus on the “imper­sonal forces” of history, to the exclusion of the study of the individual, as any undergradu­ate lecture will show. Walter Isaacson, a Rhodes Scholar at Pembroke College in the 70s – and biographer of Steve Jobs, Kissinger, Albert Einstein and Benjamin Franklin – dissents from the popular academic view, finding that “great people” are equally powerful catalysts as the “grand forces of history”.

Seeking to find the forces be­hind Isaacson the biographer, I turn to his time at Oxford. Isaacson went up in Michael­mas 1975, and within a year was getting his hands dirty in the personality-driven politics of the Oxford Union. He fell in on the side of Benazir Bhutto, an acquaintance from their un­dergraduate days at Harvard. Bhutto was elected President in the Hilary Term of 1977.

Amusingly, history does re­peat itself, or at least rhyme: then, as now, Union elections were plagued by allegations of backroom campaigning, with candidates flouting a prohibi­tion on canvassing. Later on, after Bhutto’s asssassination, Michael Crick, himself a Union president in Michaelmas 1979, summarised the sentiment dogging Bhutto’s campaign, “Some people thought she was using her name and money to buy the presidency.” Isaacson remembered the campaign differently, highlighting his be­lief at the time that her elec­tion would bolster her father’s political position in Pakistan. Regardless, Isaacson’s idée fixe with powerful figures, both as an observer and accessory, was formed early on at Oxford.

Though he did not realise it at the time, Isaacson’s first brush with a history-shaping Oxford personality occurred before he arrived, at his Rhodes Scholar­ship interview in New Orleans in the fall of 1974. On the inter­viewing panel sat 1968 Rhodes Scholar and Univ alumnus Bill Clinton, though Isaacson re­calls being more intimidated by the southern writer Willie Mor­ris, and taking little notice of Clinton. He does recall Clinton’s ruminative question: “if three people are in a boat lost at sea, and the boat can only handle two, is it permissible to force everyone to draw straws and throw one person off the boat?” Isaacson replied no, because even though the suggestion was a utilitarian approach he believed in the necessity of “an individual liberty approach.” (At a minimum this exercise pro­vided an ounce of preparation for the ethical millstones that come with writing a Kissinger biography.)

Once at Pem­broke, Isaacson took to the Hegel scholar and politi­cal philosophy tutor Zbigniew Pelczyn­ski. For one tutorial, Isaacson recalled, “Pel­czynski asked me to write a piece on democracy in Russia, and when he read my essay he said it wasn’t very good. He showed me one from somebody he had taught a couple years earlier, and he said, ‘Do you know Bill Clinton?’ and I said, ‘No, I’ve never heard of Bill Clinton.’” Pelczynski as­sumed that the two Americans with heavy southern accents must have run into each other before. (Clinton’s has unfortu­nately faded after two decades in D.C. and New York, but must have stood out dissonantly from the rest of Oxford in the late 60s.)

“Years later [in 1992] Pelczyn­ski called me, and said that with Clinton running for President people wanted to interview him, and he said, “Should I give them that paper?” referring to Clinton’s… And I thought, “Oh my God, that means Bill Clinton won’t be President”—because that would have been used by his opponents to show how na­ïve he was about Russia.” Clin­ton had al­ready been criti­cised for travelling to Russia as a student. Isaacson advised Pelczynski to consult then- Governor Clinton first, and he requested that the paper not be released. Isaacson related his journalistic dilemma in this instance: his belief in releasing information, and his desire to get a scoop for Time magazine, both of which were tempered by ethical qualms.

Shuffling back to Isaacson’s contemporary work, I men­tioned that his biography of Ste­ve Jobs had been noted for jux­taposing reverential praise for Jobs’s genius with anecdotes of his acrimonious personality. I asked him whether this was an incognito form of hagiography. “There may be truth to the un­derlying premise that a flawed hero is more appealing than a perfect one,” Isaacson an­swered. “Novelists through the ages, starting with Henry Field­ing and Cervantes, operate on that premise. But that was not my conscious intent. My aim was simply to be honest. I por­tray Jobs as petulant and of­ten rough on people, because he was. As he often reminded me, he was a brutally honest person. If something sucks, he said, then he would say it sucks. He urged me, in turn, to write an honest book about him. Such a book would not make him more popular, he thought; it was that an honest book would avoid the trap of being dismissed as an in-house book that nobody would believe. It was hard to write an honest book with all of his flaws, because I liked him.”

Emerson wrote that “All biog­raphy is autobiography.” Isaac­son has adapted this to state that he sees his family, as well as himself, in all of his biographi­cal subjects. Isaacson sees his reflection in the ever-curious Ben Franklin; his father, a hu­manist Jewish scientist, is Ein­stein; and his daughter Betsy is the creative but “bratty” Jobs. In Kissinger, Isaacson sees his “dark side”. Yet when I ask him who he would like to write his bi­ography, he tersely replies, “No one,” though after a moment he admits that if a biography were to be written he would prefer a series of anecdotal vignettes— “half remembered sketches”— instead of a traditional biogra­phy.

As our interview concludes, Isaacson hastens to note his membership of Vincent’s, the locus of Oxford Blues and big names—despite not being a varsity athlete himself. Proving that, at least as a student in the Oxford bubble, the world really does revolve around personalities.