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Euro 2012 Preview: Group D

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How will Ukraine fare on home soil? Could Sweden spring a surprise? Are France back on track? And can England be the tournament’s surprise package?

 

Ukraine

The Coach: Oleh Blokhin

The 59 year old Ukrainian legend scored more goals for the Soviet Union than any other player and was voted European Footballer of the Year in 1975. His proudest moment as coach to date was to lead his country to the quarter-finals of the 2006 FIFA World Cup.

Key Player: Anatoliy Tymoshchuk

With 114 international appearances to his name, the FC Bayern Munich defensive midfielder is the Ukraine’s most capped player. At the age of 33 he remains a pivotal part of the set-up and relishes the task of breaking up the opposition’s play and dictating the midfield – so much so that he rarely ventures over the halfway line.

Formation: 4-1-3-2

Ukraine’s strategy will be to sit deep, soak up opposition pressure and try to break on the counter-attack through their wingers, Yevhen Konoplyanka and the exciting Andriy Yarmolenko. Goalscoring duties will fall at the feet of the rejuvenated Andriy Shevchenko and his Dynamo Kyiv strike partner Artem Milevskiy. Oleksandr Kucher and Yaroslav Rakitskiy look like they will be Blokhin’s preferred central defensive partnership. 

How Did They Qualify? Qualified directly as co-hosts of the tournament

Best European Championship Finals Performance: No previous participation as an independent nation

 

Sweden

The Coach: Erik Hamrén

A highly respected coach in Scandinavia, he guided Aalborg BK into the UEFA Champions League Group Stages in the 2007-8 season and succeeded the long-serving Lars Lagerbäck in November 2009. The 54 year old is known to be an excellent motivator who is intent on playing expansive football.

Key Player: Zlatan Ibrahimović

A player with undoubted skill and talent who splits pundits and fans alike. Sweden’s chances of progressing into the quarter-finals will largely rest on the shoulders of the enigmatic 30-year-old AC Milan striker. Erik Hamrén has decided that the captain’s best position in which to cause maximum damage is in behind the lone striker Johan Elmander. 

Formation: 4-2-3-1

Sweden’s strength lies in the midfield and striking departments where Erik Hamrén has plenty of attacking options at his disposal in the form of Sebastian Larsson, Rasmus Elm and Ola Toivonen. Despite having the experienced Olof Mellberg alongside Jonas Olsson in defence, it remains their weakest area, meaning greater responsibility for the two midfielders, Anders Svensson and Kim Källström, to shield their backline.

How Did They Qualify? Qualified as best runners-up having been runners-up in Euro 2012 Qualifying Group E

Best European Championship Finals Performance: Quarter-finals (2004)

 

France

The Coach: Laurent Blanc

Following the debacle at the 2010 FIFA World Cup, the former Manchester United centre-back has restored some much needed pride and credibility to the National Team. He was a popular appointment having led Bordeaux to a Ligue 1 and Coupe de la Ligue double in 2009.

Key Player: Karim Benzema

The Real Madrid striker has an impressive 32 goals to his name this season. Tasked with the responsibility of spearheading the attack, the 24 year old with an accurate shot on him, will be strong and direct – elements which will crucial as he looks to bring in the likes of Samir Nasri and Frank Ribéry into the attack.

Formation: 4-2-3-1

There’s no question that as an attacking force, France are up there with the best in Europe. The holding midfielders, Yann M’Vila and Yohan Cabaye, pick themselves whilst the attacking quartet are, to a certain extent, flexible. Defensively, question marks continue to hang over the central defensive partnership of Philip Mexès and Adil Rami who can be stretched by pace through the middle and especially out wide. 

How Did They Qualify? Winners of Euro 2012 Qualifying Group D

Best European Championship Finals Performance: Winners (1984 and 2000)

 

England

The Coach: Roy Hodgson

A wealth of experience at domestic and international level, tactically disciplined and with a reputation for getting the best out of his players, the 64 year old has impressed pundits and fans alike in his first month in charge with his measured and refreshing approach to the job. 

Key Player: Scott Parker

Wayne Rooney, Steven Gerrard and Ashley Young all provide an attacking threat but it is defensively where England will have to be wary. The hard-working midfielder’s ability to protect the ball, break down opposition attacks and, above all, win back possession for the team could make him an unsung hero for England at this year’s tournament. 

Formation: 4-4-1-1

Compact, well-organised and difficult to break down – this is Roy Hodgson’s England. His team won’t necessarily dominate possession and so will rely heavily on their ‘flair’ players to cause opposition defences problems. Winger Alex Oxlade-Chamberlain will be the wild card whilst Andy Carroll will be a handful for defences with his aerial ability. Both full-backs will have to be disciplined and not over commit themselves in an attacking sense.

How Did They Qualify? Winners of Euro 2012 Qualifying Group G

Best European Championship Finals Performance: Semi-finals (1996)

 

Twitter: @aleksklosok

Procrastination Destination – Port Meadows

Whether you’re procrastinating before your prelims or can now relax blissfully guilt-free in a post-Finals haze, Port Meadow is the place to be. It’s basically a park, but a really nice park: you can swim, you can eat, you can go for a pint, you can indulge in bird watching. A park with thrills, if you like. A park to beat all parks.

Admittedly, we haven’t tried swimming in the river – it looks far too cold and uninviting. But we hear it’s all the rage when it’s sunny and people are in need of a bracing dip (or a post-trashing clean off).

It’s not often you get to swim outdoors in England, and rarely in such a scenic spot. The blazing sun may have disappeared for now, but if you think you’re brave enough, jump on in anyway. Or just stick your feet in – whatever floats your boat (and if you actually fancy floating a boat, there are plenty of punts to rent). One tripadvisor user commented, ‘Always a nice walk following the river and watching students making fools of themselves’, so try not to disappoint her.

There are many different anecdotes that concern this spot where in the golden old days dons could bathe naked and enjoy the sunrise. One of the most famous concerns Maurice Bowra, the warden at Wadham for 32 years. When sunbathing naked with friends he was confronted by the spectacle of many women punting upstream. Worried and in haste the other men used their hats to cover their dignity, but Bowra covered his face remarking, ‘I will cover what they know me by.’

Barbecues and picnics are more our style, and generous jugs of Pimm’s or lashings of ginger beer (although a pint in The Perch doesn’t go amiss). It’s easy to feel like you’re in the countryside, as this is the largest area of common land in Oxford. Bring a Frisbee; bring a rounder’s set. Don’t bring your book pile, because you will inevitably ignore it; who are you kidding? Go for a walk or something instead – getting fresh air is good for your brain. Port Meadow is nice in the daytime but also lovely as the sun sets, so settle in for dinner al fresco.

So this summer, if the sun comes out, Cherwell Lifestyle advises you to round up your friends, jump on your bike and head for Port Meadow. As you recline in the soft grass and look up through the branches blowing gently in the breeze, your cares will fly away and you’ll real- ize: this is what Oxford summers are meant to be like. The rain will inevitably start up again and chase you back to the library, but that’s the English summer for you. 

Cheer up London Welsh, the Sirens are here

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The final day of May, and the final day of our abrupt (albeit appreciated) Oxford heatwave was the beginning of a new chapter in history for the Oxford University cheerleaders.

The Oxford Sirens, the University’s premier cheer squad, performed at the Kassam stadium last Wednesday in front of an audience in excess of 3,400. Supporting the London Welsh Rugby Club, the Sirens performed a routine which took them an intense ten days to devise and rehearse.

The cheerleaders danced and stunted to a complication of the Black Eyed Peas ‘Pump it’ and Rihanna’s ‘Turn Me On’ amongst the club’s notorious dragon mascot. The routine was performed prior to the match and during half time of the Championship final, rallying the crowd as the Exiles clinched their long-awaited Championship title.

‘It was an amazing opportunity to show people who wouldn’t usually watch cheerleading all the great things we can do!’ Steph Burrel commented. The flyer added, ‘I would jump at the opportunity to do it again as the atmosphere of performing in the stadium was electric.’

Suze Hawkins, biological scientist at Catz, is president of the 30-strong team, which accepts both male and females in the squad.  ‘As president, it took a lot of phone calls and emails to organise the event, and I’m so glad it paid off!’ Suze told the Cherwell. ‘I’m so proud of everyone’s commitment and hard work, it looked amazing, even the rugby fans loved it! I’m looking forward to more events like this, as well as competition season next Hilary with a whole new squad.’

Grace Lavelli, finalist and Siren’s veteran, describes the performance as being ‘a very different style of cheerleading to what we usually do’, the cheerleaders usually competing in competitions against other Universities and all-star squads. This year the Sirens have competed three times across the country, claiming a respectable fourth place at University Nationals for their level 3 co-ed routine in Doncaster.

The Sirens are delighted with the response. DPhil student and Vice-President Michelle Savage commented ‘the performance was a really fun and enriching experience and I’m really glad to have been able to share it with the Oxford Sirens. It really showcased what is possible to achieve given hard work and dedication.’

Interview: Boris Becker

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Tennis season is upon us, with the world’s sport media descending onto Roland Garros before the annual movement to Queen’s Club and then finally SW19. This meant Boris Becker had plenty to talk about, and was on sparkling form, when I spoke to him this past week after his talk at the Union. If this was anything to go by then BBC audiences are in for a treat when the blonde Bavarian graces living rooms around the country during Wimbledon.

Few know more, or are more qualified to talk about the world’s premier tennis tournament than Becker, of course. Along with two Australian Opens and one US, he won Wimbledon three times over the course of a jewelled career, most famously his first at 17. He’s disarmingly modest about this baffling achievement, saying of it when juxtaposed with what most people are up at the same age that ‘everyone has their own path’, which made me feel just a little better – perhaps the Arthur Ashe stadium beckons next year. The journey was a bit less monomaniacal than what most aspirant tennis players can expect these days: ‘I picked up my first tennis racket at the age of three, but I was lucky my parents allowed me to play football, basketball, and to cross-country ski. Only later, when I was 14, did I realise tennis was my number one sport.’

Even after this though, he had to persuade his school, which was fairly level-headed about the whole affair. He negotiated two years off to prove himself, and after this he had a meeting with the school officials. ‘I had won two Wimbledons, was number two in the world, and had a couple of million in the bank and still the director asked – are you sure?’ The whole thing must’ve been slightly surreal.

Becker isn’t sure why there haven’t been many recently able to compete at Grand Slam level at the sort of age he started out at – Nadal aside, they’ve been rare. ‘I don’t think it’s necessarily a good thing that they start them so young now,’ he says, adding that to avoid the kind of career-shock described by David Foster Wallace in his piece ‘String Theory’ young players need ‘a supporting cast, family friends, to tell you you’re good but not great, and maybe you should finish school and have something to fall back on’.

For himself though he’s obviously glad he pushed on. ‘My best years were 1989 to 1991 – that was when I played my best tennis. I was used to the media attention and spent a lot of time and effort becoming a better tennis player.’ After these glory years he persevered. He doesn’t think there’s enough time in a modern player’s life to plan out an end-of-career strategy. But, he says, ‘If you have the character and courage to play it out, accept you’re older and that it’s OK to reach a quarter-final now, you don’t have to win, and not beat yourself up. I was able to do that, played less and less and worse and worse and slowly came down the rankings. A couple of wins still and the drug slowly left. It’s tough to do if you’re used to winning all the time, and then suddenly you’re 15th in the world, which isn’t bad! But you’re not number one anymore.’

He doesn’t quite remember how the broadcasting gig came about, whether he was sought out or chased it up himself, but it’s been a source of happiness since. ‘I find it rewarding, I find it satisfying – it gives me my youth back. Walking through the ground talking about something I know pretty well, it’s a good feeling.’ Sharing a commentary box with John Lloyd and Tim Henman, he feels his experience gives him an edge, that ‘they’re great guys and I love commentating with them but they never won a tournament. Bottom line is that they don’t know what it feels like to hold a trophy.’ Apart from the commentary he spends his time these days either with his family or on the European Poker Tour. Having had a bit of fun with the outstandingly entertaining Mansour Bahrami and co on the Masters circuit, he decided it wasn’t for him.

Punditry keeps him pretty busy, however. His thoughts on the state of the men’s game? ‘Behind the top four I don’t see anybody! Where’s Berdych? I saw Tomic, but where is he now? Del Potro for a while but then he was injured out for a year. There is one guy from Canada, Milos Raonic, he’s young too and has a big game. Maybe him.’ He’s sure the summer should throw up some new candidates for the next big thing candidacy though – ‘Queen’s, Wimbledon, then the Olympics – it’s a summer of tennis.’ A summer of tennis that the marvellous Münchner will be looking over and analysing with interest, along with flirting with Sue Barker and ribbing John Inverdale. We wouldn’t have it any other way.

Those sticks and stones can be thrown

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Hollie Avil’s painfully honest, and extremely brave, article in The Telegraph (22nd May) about her retirement from triathlon, at the age of just 22, reminded me of the power that poorly chosen words can have. In particular coaches’ insensitivity about, especially female, athletes’ weight.

Similarly it has been revealed in the media recently that Commonwealth heptathlon champion, Louise Hazel, and Jessica Ennis (now British record holder after her excellent performance in Gotzis at the weekend), have both been called ‘fat’ or ‘overweight’ by high-ranking figures within UK Athletics.

Fortunately for the state of athletics, Ennis and Hazel have shrugged off these second-hand comments. However for Avil, who was told in person by another coach at the Triathlon Junior World Championships in 2006 that she needed to watch her weight if she wanted to run quickly, the words hit more of a nerve. As she wrote in her article, ‘That comment planted a seed in my head that didn’t need to be planted.’

On its website, the International Olympic Committee (IOC) warns that ‘the healthy body image of some female athletes can suffer through sport’. Faced with the sight of incredibly lean and slight African athletes who win the majority of middle and long distance medals, it is perhaps no surprise that, as Hazel put it, ‘people think that you have to look like you are completely emaciated to actually be in physical shape’. Importantly though, and as Hazel goes on to say, ‘that’s not the truth’. Yes it is true that carrying less weight will, often but not always, enable you to run quicker – it’s just simple physics: it takes less energy and force to move a lighter weight than it does a heavier one.

Trying to lose weight, when already balancing the physical stresses of training at an elite level, is a dangerous game. As Avil found out, not eating properly or sufficiently impedes performance progression and often leads to injuries and illnesses, as the body struggles to cope with insufficient nutrition to fuel training and replenish the depleted energy systems, and consequently greater depression.

Eating disorders are frequently caused by a desire for ‘perfection’ and greater control; under the stringent control of governing bodies and training regimes this problem is even more prevalent. I know, I’ve seen many athletes, girls and boys, eating only one meal a day (even when training twice!) to get down to ‘racing weight’. I’ve even tried it myself in the past. It only provides, if any, short-term gains and can cause far more detrimental problems.

Body weight undoubtedly has an impact on sporting performance, but, excluding extreme examples, it should never be the first thing that coaches try to change about an athlete, and even then there are more helpful ways than off-hand comments or the insensitivity of labelling someone ‘fat’. In 2010 Chris Solinsky shocked many people when he broke the American 10,000m record and, in doing so, became the first non-African born runner to break 27 minutes. Perhaps more importantly, at 73kg he was heaviest person ever to do so – 9kg heavier than the 29 other athletes to have run that fast. Just as Avil and her friends joked that she ‘still had [her] big swimmer arms and needed the body fat to be buoyant’, Solinsky joked that his friends told him he’d broken the ‘fatty world record’.

Many athletes are able to see the funny side of body composition differences, but words can hurt. With great power comes great responsibility: coaches must do the best for their athletes, training partners must support each other,

Teaching the old dog new tricks

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There’s a pile of things that undergrads don’t appreciate about being undergrads: how easy it is to impress girls in their late teens, hangovers that only last a morning, and embarrassingly tolerant junior deans.

Another of those underappreciated things is getting to play team sports with a group of people you know and, usually, like. When I was working full-time, I missed the camaraderie and banter of a sports team more than almost anything else about uni life. Cracking jokes with colleagues about how you dominated that half-three meeting with a well-timed jest about fourth quarter earnings is far less entertaining than recounting your devastating right-foot step or sparkling footwork at the batting crease.

If you’re working a real job (i.e. not HR, advertising etc) it’s nigh on impossible to slink out of the office early enough to train with a team. Bosses, in my experience, rarely respond well to being told that your goal-kicking is sub-par but that you have been watching Carter YouTube clips all day and feel that you can iron out some technical shortcomings if you could just leave the office at 5.02pm to work on them.

And so, given that I was coming to Oxford after three or four years of unpleasant toil in the grim service of capital, I was pretty excited about college rugby this year. And it was excellent – I played with a great group of guys, we won some games, we drank beer, went on the occasional crew date (Oxford Brookes netball – you were magnificent). Sport is also one of the few ways that grads and undergrads get to interact and that, in itself, is worth the time investment.

However, there were a few things that are a little idiosyncratic about college sport, particularly when one is a little older. I’m sure I was just the same as an undergrad, but memory dims when surveying one’s old foibles and so the following stood out.

I’ve never seen so much aggrieved bleating at referees in my life. It’s not just that some lads disagree with a decision, but more that they are genuinely appalled that someone had the temerity to penalise them. If I was a college rugby referee I’d issue a lot more yellow cards and probably a couple of sharp backhanders.

It’s very sensible, but I was a bit devastated that playing sport for your college didn’t make you a bigger deal around the quad. As an undergrad, all the young ladies in Australia would come out to cheer the college 1st XV and you couldn’t help but feel like a bit of a hero. A gender theorist would no doubt correctly point out that this was patriarchal conditioning and to be deplored, but it was nonetheless excellent if you were the recipient of said conditioning. Oxford girls are probably smarter and spend more time around gender theorists, alas. They realise that college sport is played at an abysmally low standard. I staggered up to a girl at an early bop and announced I was the fly-half for the college team and was therefore a big deal. She replied that she wasn’t sure whether she should feel more sorry for the team or me. While it stung a little at the time, I couldn’t help but think, ‘Well played, you’ll go far.’

There don’t appear to be a lot of tough blokes at Oxford. One lad hurt himself and started crying, coming across the field weeping and looking, I presume, for some sort of emotional sympathy. I did the only polite thing and looked away in embarrassment and mild disgust. Alas, this type of behaviour is not atypical.

There’s not much inter-team banter or sledging in college sport which, to my mind, removes at least half the fun. An afternoon is always more satisfying when you impugn the ability, breeding or mother of a rival. Perhaps the English are too polite for the fairly basic repartee pursued by Australian cricket players and that may well be a good thing, but a silent cricket game does drag somewhat. There’s a legendary story that circulates between Australian postgrads about an Aussie bowler who made an undergrad batsman cry by asking whether he had crossed the threshold into manhood and developed pubic hair (the fact that he cried is probably a good indication as to whether he had). While this is all horribly crude, it is nonetheless immensely humorous at the time and justifies writing off six hours to play mediocre cricket in marginal weather.

Age is, indeed, wearisome and I am broken for days after a game of sport. As such, after- match drinks are more for pain-killing than for any social interaction. Undergrads should respect the longer recovery time required for battle-scarred veterans and fetch drinks for them at every opportunity.

Undergrads here are so desperately academically earnest. If you skip a Cuppers cricket semi-final to make a tutorial you are letting down a long and distinguished line of sportsmen who have scraped through Oxford with borderline thirds and sound batting averages

There are many more aspects of college sport that are worthy of comment, but time and space forbids. Don’t take it for granted, belittle your opponent at every opportunity, and remember that once you leave Oxford and commence full-time work, someone will ask you whether you miss college sport and you will reply, as did Wodehouse’s Mike, with ‘[A] nod. A sombre nod. The nod Napoleon might have given if somebody had met him in 1812 and said, “So, you’re back from Moscow, eh?”’

Light Blues get hit for six

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On the kind of summer afternoon that will stick long in the memory, the Blues edged Cambridge in a last-over thriller in Varsity 20/20, putting on a real show for the handsome crowd before they returned to the library (or to quaff more Pimm’s).

Cambridge captain Richard Timms won the toss and chose to bat, with Tom Elliot getting stuck in during the power-play overs before Rajiv Sharma had Timms caught behind by Westaway in the fifth over with the score on 36. From here, for the next ten overs Oxford managed to put the brakes on Cambridge, who were constrained to around a run a ball, bringing up the 100 in the 15th over. Credit for this must go to Owain Jones and Freddie Fox, who applied pressure in the crucial middle overs, with Jones picking up danger man Elliot for 37 to a good catch from Fox, and Fox himself then getting amongst the wickets trapping the dangerous Ansari LBW for four.

From then on, Cambridge began to score more freely, with Jon Evans and Matt Hickey putting on 44 unbroken runs towards the end of the innings, including 25 off the final two overs to drag Cambridge to 151-5 off their 20 overs, a score that seemed around par on good wicket, when the pressure of batting second in a big game is taken into account. The Oxford attack on whole performed admirably, with Agarwal, Jones and Fox all economical.

The Oxford openers set about the run chase with vigour, with the first over seeing Sharma dispatch Matt Hickey for six, and Oxford flew to 28-0 off three overs, cashing in on the fielding restrictions that limited the number of men Cambridge could have protecting the boundary. However the fall of Sharma, for a swift 21, caused the run rate to slow, with Oxford behind the required 7.5 runs per over, reaching 49-1 off eight overs. As in the Cambridge innings, good bowling after the early power-play overs had passed, particularly from left-arm spinner Paul Best, piled the pressure on the batsmen as the runs began to dry up.

The pivotal moment came when Oxford captain Ben Williams was dropped on the boundary. Williams immediately capitalised on this second chance, launching a six in the very next over as he and Sam Agarwal began to open their shoulders and put the Cambridge attack to the sword. The pair added 53 runs between the tenth and 15th over, setting up a thrilling run chase with Oxford needing 32 runs off the final 30 balls.

When Williams was bowled by Elliot Bath one run short of his half-century, the result seemed once again to be hanging in the balance, especially when Jones fell at the end of the 17th over to leave Oxford still 14 runs short of victory with two overs left. The large crowd, evidently well-oiled thanks to making the most of the refreshments stands, vociferously cheered Agarwal as he brought up his third consecutive Varsity 20/20 half-century, and it looked like he would see Oxford home, with seven required for victory off the final over.

With four runs off the first two balls of the 20th over, Oxford looked to have it in the bag until disaster struck and Agarwal was caught on the long-off boundary for a finely crafted 61 off 54 balls. With Ben Jeffery on strike, Oxford the equation was simple: three balls left, three runs needed, as a nervous crowd watched on. Jeffery was less concerned however, as he launched the very next ball for an enormous six over the leg side boundary, sealing victory in an emphatic fashion and cueing a pitch invasion from his team-mates. No-one failed, but credit to Agarwal for and Williams, whose swift 91 stand set the stage for the tense finale and meant that with wickets in hand, the Oxford middle order were able to swing freely during the tense finale.

Oxford coach Graham Charlesworth paid homage to the extremely high standard of cricket on show, and stressed the importance of the victory, given the psychological boost it will give the Blues in winning the first Varsity match in the lead up to the One Day and Four Day games.

As the only taste of Men’s Varsity cricket on offer in Oxford this year, the game certainly did not disappoint. With an extremely high standard of cricket on show, and the magnificent weather no-doubt helping to swell numbers, the Blues can go on with confidence after proving that they have the temperament as well as the ability to close out tense matches on the big stage in front of a large crowd

Oxford Oddities #6 – LMH

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It was about time we included a woman amongst Oxford’s unusual literati and this week we look at one of the boldest women of the nineteenth century. Gertrude Bell was a writer, traveller, archaeologist, political official and part-time spy. An influential and remarkable women, she made her mark on history despite the constraints imposed by her gender.

Gertrude was born in County Durham to a wealthy family. Her mother died when she was just three years old, creating a close relationship with her father who encouraged her love for travelling. She went to university at Queens College London before attending LMH aged seventeen. Bell studied Modern History, one of the few subjects allowed offered to women at university and graduated with a first.

She had a considerable contempt for virtually all of her sex; there were few women who had earnt her admiration or respect. Perhaps this is due to a lack of female figures in her life. Nevertheless, her step-mother, Florence Bell appears to have instilled in Bell a passion for writing through her work as a playwright and children’s author. Florence also encouraged her anti-feminist tendencies. Bell became secretary of the Women’s Anti-Suffrage League, feeling that women were not sufficiently educated to deserve the right to vote. This may have inspired her to promote the education of Iraqi women later on in her life as a means of ameliorating the position of women.

This woman towered over others intellectually, exuding confidence and commanding the attention of all. Virginia Woolf described her as ‘a masterful woman who has everyone under her thumb, and makes you feel a little inefficient.’ Few men could keep up with her but she found her equal in a married man, Charles Doughty-Wylie. Rather uncharacteristically, Bell wrote passionate love letters to Charles but the pair never consummated their love. Tragedy ensued when Charles led the troops at Sith and one of the first to die.

She then threw herself into her work to distract herself. A thirst for adventure drove Bell across Syria, Arabia and Mesopotamia. She was fluent in several languages and very knowledgeable about the cultures and traditions of countries in the Middle East. Bell played a key role in forming modern Iraq and with British communication and policy-making. Known as the ‘uncrowned queen of Iraq’, she schmoozed with politicians, charming and exerting her influence.

Increasing conflicts between tribes in Iraq hindered her work and Bell eventually turned to archaeology. In her spare time Gertrude also climbed the Swiss alps including peaks rarely attempted by men. She became one of the greatest mountaineers of her time and now has a ridge named after her.

Her achievements and confidence would be remarkable even today and are all the more impressive given the period. Fearless, genderless,and adventurous, Gertrude Bell was undeniably unlike any other Victorian woman.

Swanky flash of fiction

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Hard, sharp and as short – in some cases – as a single paragraph, Diane Williams’ short stories in Vicky Swanky Is a Beauty are ethereal gems. Williams has enjoyed a long career in fiction to date, both as a writer and an editor. Currently editing NOON – an American magazine committed to promoting the most original and avant-garde of contemporary authors – Williams is constantly exposed to the latest developments on the literary scene.

As such, her prose is interesting in the sense that it is born out of the most progressive of literary circles. In Vicky Swanky is a Beauty, Williams’ style is elliptical and economical, matched by honesty and revelation. The stories are very short, some only a paragraph long; they are composed of an exciting amalgamation of abstract fantastical ideas and practical honest-to-goodness human application.

Although some stories are opaque to the point of being baffling, usually Williams manages to tread the fine line between intriguing and simply inaccessible fantasy. Williams has previously described how music is an important influence on her composition process, and this comes out in the patterning and repetition of sounds and rhythms that structure her work at the level of sentences, paragraphs and whole stories.

Take the final sentence of ‘Protection, Prevention, Gazing, Gratified Desire’, for example, ‘You must have heard of the expression – the apple of my eye? – And we know how to cry – Help!’ The assonance which echoes through ‘eye’ and ‘cry’, coupled with the tonal modulations engendered by question followed by exclamation, instils a sing-song quality to the prose, echoing the fantastical element of its subject matter.

The stories themselves are mere instances, yet I would resist the term ‘flash fiction’ to describe them. This seems inappropriate even for the stories only 28 words long, each mini-narrative contains a rich seam of implication, connotation and conceptual progression within it. Williams ties these aspects together in an imaginative construct which entirely displaces, entirely frustrates, and entirely surprises the consciousness that approaches them. This is one of the most engaging features of Williams’ work: the reader is irresistibly engaged, if only because in some cases one has to work quite hard to get to grips with it.

I would say, however, that the stories are best read in conjunction with each other. One story alone cannot give you enough of a flavour of Williams’ style – her language, the sound and tone of her prose – and it is better to read several together in order to get this rewarding sense of her method. Her stories are poised with extraordinary balance, relying on an equilibrium that is always in danger of slipping away. A badly placed comma or a poorly chosen phrase could cause collapse, but Williams maintains them beautifully.

This is a fantastic and diverting collection of short stories which I would thoroughly recommend. Their strength lies in their deft combination of intellectual and aesthetic appeal.

Piercing the prejudice

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Modern Art Oxford’s incumbent exhibition, ‘Piercing Brightness’ by the London-based artist Shezad Dawood, is not for the casual viewer. Comprising two video installations and a number of ‘Paintings on Textile’, this collection is an intellectual and aesthetic assault on the senses.

However, this is not a dismissal of the artistic merits of the exhibition but simply a warning to those who might normally expect the art to do the bulk of the work. Instead, Dawood forces his audience into unexpected places, following channels of thought that confront ideas of racial integration, universal existence and transcendence of reality. The task is not easy but Dawood surprises us with his ability to transform MAO into his own playground of dreams.

The exhibition leads us through three distinct phases of thought, each one building on the previous until the final climactic film, which is both the culmination of the previous works and the apex of Dawood’s achievement here. Ascending the stairs to the first floor, one is plunged into an overwhelming darkness punctuated only by the sounds and sights of Dawood’s Trailer to the eponymous feature length film Piercing Brightness.

The film ‘tells the story of Shin and Jiang, a young Chinese man and woman, sent to earth from another planet to retrieve the ‘Glorious 100’’. Plot, however, seems irrelevant in this film of rapid cuts and hypnotic sequences, which features the repeated image of a hand stacking sugar cubes. The non-linear narrative forces the reader to forfeit their ingrained perceptions of film and embrace a fragmented vision of the world.

If the film achieves anything beyond the presentation of a chaotic existence, it is to suggest that whilst life is a continuous process, death is itself a singular event; the collision of human interaction, made explicit through the violent coming together of both characters in a road accident, reminds us of our own desire to communicate on both a verbal and physical level.

The second room is anti-climactic after the powerful imagery of his initial assault. A series of paintings entitled ‘Textile Painting’ is at best an examination of alternative texture in the medium of painting. Rather than building up layers with the paint, Dawood reverses the traditional process, painting flat blocks of colour onto undulating textile surfaces. Through pieces such as ‘Cosmic Egg’, a giant red egg-shape with a blue centre, and ‘Iris’, a similar shape but on its side, we can appreciate Dawood’s jokes on context and perception.

In all of Dawood’s paintings, the apparent randomness of the image is given meaning – whether sincerely or ironically – through the title. Thus he demonstrates the disjuncture between art and language in presenting images and ideas. In the final room, the distinction between art and life breaks down as we view this film. We can no longer be considered viewers but become active participants.

The film builds a visual and musical dreamscape in which modernity and tradition collide. The hypnotic effect of the Moroccan music, combined with the abstract images of light and the figurative representation of musicians, creates a meditative vision in which the film becomes for us a waking dream

By providing giant beanbags in which to rest while watching, the soporific effect is redoubled. The mystical elements of the film, coming to light as it pays its debt to Gysin’s Sufism-influenced Dream Machine, fascinate, but it is ultimately Dawood’s expansive vision that entrances. This exhibition will no doubt be condemned by those whose experience of art has been exclusively understood through the mediums of painting and sculpture.

Whilst I am the first to question the effectiveness of film as art, having seen many examples in which the potential artistic impact was lost in the excitement of technological modernity, Dawood’s films, especially New Dream Machine Project, rank alongside the most interesting one will ever see.