Tuesday, April 29, 2025
Blog Page 1715

Noughtie Oxford

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Just before Christmas a few thousand people were getting letters and phone calls offering them their places at Oxford. They have the rest of the year to fully indulge in the fantasy of their lives to come. If they haven’t already, they will most likely read Brideshead Revisited. The slightly more adventurous will notice a few other books that traditionally pop up this kind of list: Max Beerbohm’s Zuleika Dobson, Philip Larkin’s Jill, and the surprise winner of last autumn’s Blackwell’s poll, Dan Holloway’s The Company of Fellows.

With Noughties, Ben Masters has taken a shot at this list. What he certainly has not done is brought anything new to the genre. It’s hard to imagine that this novel would have flown with Penguin if the Oxbridge pedigree had not been able to accompany his handsome author photo on the back cover.

The plot of Noughties would serve to fill a few episodes of Hollyoaks. It has the anguish of the long-distance school-to-uni relationship; the drama of pregnancy, abortion, and suicide attempt; the guilt and adrenalin of romantic treachery and dancefloor hookups. Any of this might have avoided the banal in other hands. Instead, Noughties tries to cover the modesty of its narrative with the wet towel of literary allusion.

I could have compared the plot structure to Ulysses and the faux-nonchalant lingo to The Rachel Papers; I could have picked out the paraphrases of Ginsberg and Keats. But no need, for Masters helpfully provides an ‘author’s note’ at the end. ‘This book contains numerous literary resonances, allusions, and quotations (mostly adapted and distorted), including…’ Joyce, both the Amises, and all the rest.

In a way, the author’s note, in the ultimate ‘dick move’, threatens to put the book on a new level, its meta-textual playfulness, in the manner of Nabokov, undercutting the careful distinction between author and protagonist. Because Eliot Lamb, our antihero, is a prize knob. His louche punnery and self-besotted angst, his easy buy-in to each cheap snobbery, mark him as the justified target of every tabloid anti-Oxford sneer. It is clear that Masters knows this, and that he also knows that Eliot is himself. He has employed a useful and popular trick for the debut novel: write your worst self.

There’s a therapeutic element to the technique. Get it all out. The characterisation of Eliot has all the self-consciousness that Eliot himself lacks. I’m almost surprised Masters didn’t list David Foster Wallace in his note. But this self-flagellating approach covers a multitude of grimy sins, too. Eliot’s world is hyper-stylised, more constricted than any actual Oxford bubble. His friends are more cardboard than even your own nerdy tute-partner or floppy-haired rah nemesis. You won’t find them here. But what is most horrifying about this book is the chance that, reading it, you might see yourself.

Masters at Work

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Could you tell me about your experience writing Bloodhill with Ewan Fernie?

The process of collaboration between Ewan Fernie and I came about when we began editing a series together called Shakespeare Now! We wanted to think of new ways in which to write literary criticism in order to break the restrictions of scholarly discourse. We were trying to get under the skin of Macbeth. Macbeth is a play of gaps. There is no scene showing the murder of Duncan for example. We wanted to find new ways of probing the puzzle of the play and look at the links between the characters and the audience. How can the audience come to be on the side of infanticidal tyrant? And yet they are. When we were writing this book the critical and the creative began to blur, as it should.

Did you enjoy the process of collaboration?

It’s interesting that there are virtually no novelistic collaborations. Collaboration is harder than working on your own and it depends a huge amount on personal relations. You’ve got to have a resilient ego and be able to accept having your ideas questioned. You have greater freedom when working by yourself, but there are greater imaginative and creative possibilities involved in collaboration. Macbeth said you need a third ear, and collaboration is just like that, as if you’ve been gifted with an extra sense.

How is your play adaptation of The Faerie Queene going?

I wanted to see how this great classic of English literature – fundamentally unread and, for many, unreadable – could be communicated in different forms, spaces and ways to audiences today. It’s an archaic poem but with many pertinent preoccupations: religious fundamentalism, violence and the struggle for virtue. I carried out workshops in schools to test the material. Then I spent a few days with a group of Oxford students, in intense discussion, about how to stage the play. I didn’t want the play to be a metaphysical fantasy so I set it in my native Tasmania in the 1800s. It’s strange collaborating with students when you’re an ‘Oxford don’. I didn’t want there to be any hierarchy or deference. You’ve got to break the barriers. I often wonder why there’s not more work done between the different constituents of Oxford. The worlds of students and fellows are rather separate and it’s a shame. 

How do you divide your time between your academic and creative pursuits?

It’s hard to find time for anything. Everyone at Oxford is busy. So it was sort of hard to combine the two, but not hard in terms of intellect or imagination. It’s harder than writing academic prose.

Did you always want to do creative work alongside your research?

Yes, always. I fell into scholarship rather it being my destiny. I was living in Australia and I wanted to get away. I had no money and the only way to get to Europe was by being a scholar – although temperamentally I’m not one. 

Film’s four-legged friends

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Apparently more money is given to animal charities than to their two legged (and depressingly non winged) counterparts in the UK. Perhaps it is with this in mind that Spielberg recently announced he had finally ‘realized that I’d made my first British film with War Horse. Through and through.’ In this sprawling epic, whose glowing sunsets, hopeful close ups and a score that is bordering on the dictatorial, the lingering sense is one far more akin to ‘golden age ‘ Gone with the Wind Hollywood than to a ‘British sensibility’. This is despite the obvious dialectic effort made by actors attempting to re-create an authentic Devonshire accent, whilst remaining intelligible to American audiences.

In this way, War Horse falls into a bracket of Hollywood films enraptured by the picturesque ‘old worldliness’ of our Isle. Braveheart, the heroic tale of a commoner who single-handedly unites 13th century England and Scotland, starred the once-bankable Mel Gibson, who also directed the picture. Similarly sentimentally gluttonous in all its sensory modes of assault, for me Braveheart failed to tap out so much of a tear, other than those spent on its eye-searing length of 177 minutes.

It is then to a hero’s face-off that War Horse packs it’s watery punch (I cried continuously from approximately 7 minutes in until the end); an easy defeat. If likeability could be measured in face-length, bewigged Mel is reduced to a speck in Joey the horse’s lengthy features. Obviously Spielberg has been taking tips from the Advertising gurus behind The Brooke Charity ‘donkey rescue’ advert. Here the donkey narration ‘yesterday, today, tomorrow, every day the same. I work till I can’t take another step’ is enough to lead the most stiff-lipped to Plathian depths of despair. Joey shares this heavy load, from his first encounter with a harness and plough, to the genuinely frightening flight sequence through ‘no-man’s land’, barbed wire fences in tow.

Perhaps it is peculiar to the horse, whose natural physical majesty evokes such extreme attachment. The sadness of animal-cruelty has been cinematically exploited on a regular basis, with the ‘horse-tales’ lead by National Velvet, featuring a young Elizabeth Taylor, and of course, the equine godfather Black Beauty. In both, episodes of horse sickness and/or maltreatment are denouements of emotion, often used to mirror exterior troubles. In fact, my childhood memories of these films can only recall a strangling desire to ensure the welfare of the horses, eclipsing any wider social commentary, and I’m unsure if it would be different now. Here War Horse differs, perhaps through a combination of the intertwined narrative of War and Joey, with Spielberg’s extensive preoccupation and practice in ‘shooting’ the battlefield, ranging from Schindler’s List to the War Horse-esque Saving Private Ryan. The emotional pull of War Horse is a kind of hybrid of all of these films, with references extending to the casting of David Thewlis, famous for his work in Harry Potter, The Big Lebowski and Kingdom of Heaven, though ever remaining, for me, the caring-yet-sickly ‘Jerry’ from Black Beauty.

War Horse is undeniably simplistic, particularly in its sustained correlation between ‘goodies’ and horse-lovers, vs. ‘villains’ who care more for winning the war than tending to a lame horse. The result is a plaintively emotional film, that throws you in a darkened room and forces you to watch all the goodness, bravery and sunlight in the world be repeatedly held at gun-point, whilst pummeling your stomach with a bat if your sobs aren’t quote convulsive enough. 

Review: War Horse

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There is no point in saying War Horse ‘doesn’t work well’, because it works more than well. The majority of people will leave the cinema satisfied; their hearts full and tear ducts empty. So how can that be wrong? Films are made for certain audiences and Spielberg is the audience whisperer. He knows what the mass crowd generally respond to — gone are the days of Jaws and Close Encounters where there was room left for doubt – and his target demographic of the ‘something in my eye’ types will no doubt be won over by this tooth-rottingly sweet tale of a boy and his horse. As for me, the film takes a few tentative steps in the right direction before drudging itself into a saccharine coma of fairytale morality.

We begin with Albert (Jeremy Irvine) bonding with his father’s recently purchased horse named Joey on a farm in Devon. These opening scenes are pleasantly whimsical, unapologetically revelling in the archetypal rural Britain, complete with Wurzle ‘oo-arr’-ing, weathered cloth caps and an overprotective goose. But, facing financial ruin, Albert’s father suddenly sells Joey to the cavalry for the efforts in World War One, and so begins the plodding emotional journey that charts the eponymous animal’s cross-continental odyssey through the entire four year breadth of the war. What attempts to be a record of hope and courage in the face of conflict soon becomes so episodic that it feels as if the narrative structure was assembled from a batch of individual instalments of a History Channel series. Such a picaresque approach to the brutal folly of war struggles to elevate the characters we meet above a one-dimensional caricature. And how can we identify with a horse supposedly pining for its soulmate when it appears quite content to be anywhere that has some spare hay lying around?

Of course the bloody battlefield sequences are viscerally effective, but these sporadic forays of flair make up only a fraction of the film. What’s left in their absence, depending on your personal affinity for childhood yearning and adult grief, is either a heart-warming tear-jerker or a fairly daunting assault of weepy denouements. It has its share of exhilarating moments – a tracking shot of Joey bolting through No Man’s Land is truly breathtaking – yet these epic-scaled set pieces are smothered beneath an increasingly tiresome parade of grindingly overwrought emotional payoffs. There’s even a scene where Joey becomes entangled in barbed wire, which cynically tugs on the heartstrings with almost surgical skill. ‘War Horse’ milks its tears through mawkish tenacity, picking away until it draws its blood, and continues to bludgeon you into submission with endless emotional clichés until, after 146 minutes, our equine hero finally runs into the waiting arms of Spielberg-sanctioned immortality.

1.5 STARS

Press Preview: Cabaret

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In the depths of Oxford’s bitingly cold winter, the cast of Cabaret invite you to join them within the decadent warmth of 1930’s Berlin’s Kit Kat Klub. Musicals are always a risky (and in this case, risqué) business, and in all fairness to Cabaret, it’s certainly atmospheric- I am informed that a portion of the audience will be invited to sit on stage and offered wine. Unfortunately when the cast begin cajoling the audience to sing along, the effect was cheapened slightly due to a distinct lack of enthusiasm and participation, and I wonder if Sabi’s penchant for breaking the fourth wall has not been properly thought through. Granted, with a bigger audience the whole thing might have been less uncomfortable, but as it stood it was pretty agonising. 

Of course, Cabaret is a musical that is designed to incite discomfort. The sexual decadence and Nazi themes were certainly out in full force in this interpretation; with the former being utilized to great comic effect. However, it did strike me that too often sensuality was sacrificed for overbearing vulgarity. Additionally, the character Emcee tended to oscillate between the asexual film version and hypersexualized character present in numerous stage productions, and I rather wish Sabi had made his mind up. Cliff was similarly unconvincing, lacking the enigmatic writer’s charisma that would surely be needed to hook Sally. Her character, masterfully presented by Alice Pearse, was easily the strongest aspect of the piece thanks to excellent comedic timing and a powerful singing voice.

In short, the innovative directorial ambition behind this version of the musical is laudable in its attempt to truly immerse one in the seediness of the Kit Kat Klub,  but it is ultimately  let down by lack of commitment and weak performances. This is not to say that sitting at the cabaret tables of the O’Reilly, you are unlikely to enjoy yourself; the effect might be quite different on opening night, with the adrenalin rush and atmosphere of a real crowd hopefully giving Cabaret the boost it needs. 

3 STARS

For The Love of Film

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It’s the end of another week and Matt Isard has gone to the cinema so you might not necessarily have to. This week there is a film for the high-brow intellects and also for the low-brow adrenaline junkies, but guess which one is which.

Leaving a generation behind

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The small set of offices next to a primary school in an unremarkable part of south London is a long way from the ancient honeyed architecture of Oxford. And, while I’m interviewing Donna Sinclair, CEO and founder of charity Options4Change, it occasionally feels like I’m being introduced to a front line I didn’t even know existed. Located in Lambeth – one of the most deprived districts in the country – this is the real world.

Set up in 2005 in response to “a lack of easy access to young people’s services”, Options4Change supports young people to achieve academic excellence. But children and their problems do not come in neat, easy packages. That means dealing with what Sinclair calls the “whole package”: creating aspirations for the future, dealing with children as well as their parents, education and gangs. It’s a two-pronged attack, focused on both encouraging aspirations and academic attainment, while trying to catch and support the children and parents who “just get left” by social services and the education system. It’s also about countering the negative approaches to young people’s welfare, instead trying to help young people make “lasting life achievements”. Sinclair calls the organisation “small, but influential”. According to conservative estimates by the charity, they contributed over £120,000 to Lambeth last year alone.

Throughout the interview Sinclair talks about the dysfunctional nature of what should be society’s last safety net.  She tells me about a 12 year old boy she knows. He witnessed a street shooting and a violent car incident. When his parents broke up, and the child developed depression, the GP called it a problem for the school to deal with. The school suggested the boy move to another school where he might be happier. There was no engagement from either party to address the problem. “But where is that frustration and anger going to go later?”, Sinclair asks.  

She tells me about children she knows personally who were ridiculed by their teachers for just saying they wanted to apply to university. A boy whose teachers colluded to keep him back a year doing nothing but reading a book each class. Why? Because he wrote to the headteacher complaining about his head of year.  It seems less surprising, then, that nationally only 40% of African-Caribbean children achieved five good GCSEs last year. Young black children are the second-worst performing ethnic group in schools.

And where do universities like Oxford figure in this system? Deprivation correlates with low academic achievement, especially with low entrance rates to top universities. What’s it like trying to get to Oxford from a Lambeth council estate? According to Sinclair, “You’ve got to be the absolute best. No-one wants to mould you, no-one believes that you can make it”. She says she knows many black boys who have talent and capability, but “no-one want to give them a chance to prove themselves”. Going to Oxbridge is a dream that’s so far beyond reality, it’s barely worth considering. “Who goes to Oxford? The echelon of society, and not just British society, any society. Not your local boy from down the road.”  Significantly, Sinclair tells me “it’s difficult to sell Oxford, because black kids don’t think it’s possible”.  

According to Sinclair, the cuts and the increase in university fees will simply exacerbate the problem. She tells me how she met Nick Clegg, who told her, “But you won’t have to pay a penny till you’re earning.” Her response is scathing. “It’s a debt!” To families earning minimum wage, the thought of paying £9,000 a year just for tuition is enough to put you off applying. As Sinclair puts it: “Everyone keeps saying we need to tighten our belts. But you can’t tighten your belts on lives.” Figures released on Monday show a fall of 9.9% in university applications in England – compared to a drop of only 1.5% in Scotland, where fees are not changing.

Sinclair is quick to stress she doesn’t think students should have everything done for them, “It should be no more difficult, by any measure, for any young person from any background”. Asked whether the university system is fair for young black people, her answer is direct: “No, it’s not fair. They’re there – if you look at the figures, they’re there. But they can only get into the ones it’s easy to get into.” When her son graduated from UCL two years ago, he was one of only two black people out of 200 students receiving degrees that afternoon. And it’s not just at university level: according to figures cited in a Cherwell article last year, out of 36,000 students in the UK getting AAA or better at A-level, only 452 were black. Sinclair tells me there are not enough school places for children in Lambeth. “There are lots of kids being temporarily educated at home…they’re not in our schools.” It’s a shocking revelation. As Sinclair exclaims, “They’re missing out on their most fundamental years!”

So what is the remedy? According to Sinclair it lies in grassroots and in Options4Change’s “people-centred approach”: the charity takes children to the House of Commons to meet MPs who themselves came from deprived areas, and Sinclair encourages children as young as six to start looking at career paths they hadn’t considered. “I get them researching astronauts!” she says. And what should the university do? “They should get out here, and start talking to charities like Options4Change.” I asked if she had heard anything from Jesus College, which is assigned Lambeth by the university’s regional outreach programme. Nothing, despite the charity’s links with Lambeth council and three of the London universities. When I mentioned the university’s Young Ambassadors program, the reaction was instantaneous. “But where are these students coming from? How are they meant to relate to the problems and obstacles kids from Lambeth have to overcome?” She was, however, highly supportive of the idea of charities like Teach First encouraging graduates of top universities to go into teaching – especially in difficult areas.

I came into the interview looking for neat, easy answers: grassroots initiatives, more funding for schools, the Big Society or that the big universities are simply not trying. But the picture that emerged was bigger than that. The theme that kept coming up is social architecture: the system set up in such a way that children in Lambeth have less support, fewer opportunities, and less access to education than their counterparts in more affluent areas. What I saw being laid out in front of me was a state and a society ignoring the needs and aspirations of young people in its deprived communities. And it’s more than a question of race. Sinclair points out it’s about culture, lifestyle, parenting, as well as the support systems the state is meant to provide.

Oxbridge, being the most selective educational aspect of that society, is a barometer for what is going on elsewhere.  Although the university must take some of the blame, the fact that a mere 32 black students were admitted this year is not just a comment on Oxford. The deeper issue at stake is that, as Sinclair put it, “Black kids aren’t even getting to the door.”

 

 

Misanthrope: let students make fools of themselves

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I don’t really care about whether or not the Black Cygnets’ predilection for chasing girls dressed as animals was harmless fun or degrading barbarity, but one thing about it does actually irritate me. Colleges are so paranoid about tabloids getting their hands on evidence that Oxford students not only drink, but even, just occasionally, have a tasteless sense of humour, that they are willing to dean, suspend and actually fine students guilty of little more than making themselves into objects of general ridicule.

I’m not endorsing whatever was done that was so terribly offensive, of course. But you have to wonder who colleges are actually representing when they punish students for moral laxity, now that forging undergraduates into sober, Godly little scholars is no longer the central goal of tertiary education. Colleges are small enough that genuinely nasty or offensive behaviour is hard to get away with. Sanctions do little more than force an air of musty Victorian outrage onto the issue.

But what really grates is the way Oxford is singled by the tabloids as if our drunken antics were any more bizarre, offensive and amusing than what goes on at other universities or even, dare I say it, among adults. I’m quite sure that the most offensive, vomit-slicked mess ever to stumble out of a crewdate pales in comparison to a Friday night pretty much anywhere else in the country. Oxford is, after all, a place where ‘Oh god, I’ve done no work’ means that one has been spending only daylight hours in the library. And yet, the simple fact that this university was founded in twelve hundred and something somehow means that a student passed out in black tie is worth printing.

Colleges should stop panicking so much about what gets printed. People love a story about invariably posh Oxford students staggering about bloated with port. But Oxford’s reputation was never built on its morals, and isn’t going to suffer because someone got photographed dressed up as a pig in drag or throwing up off a tower. If people want to laugh, let them have their fun, and us ours.

Speaking up for science

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Little more than ten years ago, “media” meant the future. People who studied it would be les grands savants of the 21st century. The industry conjured up images of fast technology, fast cars and fast money. Then the mid-decade recession hit and the world of media was brought crashing back down to reality.

In Spain, where, despite a high rate of university graduates, youth unemployment stands at nearly 40%, newspapers are awash with pictures of glum Spaniards, their Latin passion replaced by economic despair, perplexed as to why they can’t find a job. When one reads the adjoining captions however, the reason becomes immediately apparent. They are almost always arts graduates. After all, who ever heard of an unemployed doctor or biochemist?

In the West, many dismissed the importance of enrolling in science courses. Instead, we would take pretty pictures and write fashion blogs. The aspirations of immigrant mothers for their children to be doctors, long the butt of jokes, are founded on perfectly legitimate grounds. Degrees in the sciences lead to employment, the development of new ideas, improvements in living standards, and put food on the table.

That’s not to say degrees in the arts are any less challenging or worthwhile, but there are only so many art historians a society can realistically support. Many philosophers of the 20th century – Marx, Freud and Russel to name but a few – were scientifically educated. It was arguably their expertise in science that allowed them to develop new social theories and political viewpoints. Germany, one of the few Western powers to have seen its manufacturing sector expand since 2005, is renowned for its large number of science graduates. German culture still punches above its weight in the arts, having created some of the most prominent writers, artists and philosophers of the modern age.

With the introduction of the £1 million Queen Elizabeth prize for engineering, the government has recognised the need for more science graduates, and is clearly keen to avoid the errors of past governments who siphoned thousands of state school children into “soft subjects” in a bid to artificially inflate grades. The introduction of engineering scholarships available to children from disadvantaged backgrounds should also aid social mobility, given the top science courses are so often dominated by students from the independent sector.

In today’s world, where China and India’s highly competitive education systems churn out millions of highly qualified, but often artistically numb graduates, our ability to compete undoubtedly lies in being both scientists and artists, however hard that may be.

5 Minute Tute: Darfur

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What happened in Darfur?

What happened in Darfur was symptomatic of all the wider problems in Sudan. Sudan has suffered many regional revolutions over the past few decades as a result of bad central governance from Khartoum. Darfur was just one of those rebellions. Darfur, in the West, was a relatively wealthy part of Sudan but saw its wealth extracted by Khartoum through taxation and yet received nothing in exchange. Over the same period the region suffered a series of escalating terrible droughts which reduced the amount of land available for pasture. This put the Fur and other black African tribes in direct conflict with the nomadic Arab tribes favoured by Khartoum. Traditional reconciliation mechanisms broke down in the 1980s and 1990s when the Arab tribes were armed by the government in Khartoum and so felt less need to bargain.  After years of pent up anger, conflict broke out in 2003.

Was Colin Powell right to call it a genocide?

I don’t think so. In fact, the UN issued a report in 2004 which decided it wasn’t genocide either. I would call it a counter-insurgency exercise which got terribly out of control. Women and children were systematically killed much like in a genocide, but the government’s aim was to supress the rebels rather than eliminate entire ethnic groups. It was a brutal and nasty Maoist strategy of trying to drain the water to kill the fish.

How did the conflict end?

It didn’t! The conflict is on-going. There have been endless rounds of peace conferences, but people continue to get killed. The rate of displacement and killing is certainly less than in 2005, but the basic causes of the conflict have not been addressed and neither has either side been able to prevail militarily. It is a low level military stalemate.

Why did it receive so much attention from western celebrities?

There are three main reasons for this. Firstly, after it was labelled a genocide by Colin Powell, many important constituencies rallied around the Darfur cause. The Jewish element was also important, as prominent Jews reacted very strongly to this. Secondly, the crisis happened at a time when humanitarian interventionism was enjoying a renaissance. Tony Blair gave a famous speech in Chicago in 1999 and claimed the West has a moral duty to intervene when awful regimes commit mass atrocities. Particularly in America, there was a strong sense the USA had screwed up over Rwanda and Yugoslavia and that the West should not be caught napping again. The timing was important too as it was almost exactly the tenth anniversary of the Rwandan genocide. Thirdly, for a lot of the celebrities, it seemed like a cut and dry issue: a nasty Muslim regime killing innocent civilians in Africa. For them, it was obvious what should be done.  I would say they were seriously wrong in seeing it in such black and white terms.

In 2010, the International Criminal Court issued an arrest warrant for President Omar al-Bashir of Sudan for genocide committed in Darfur. Why has he still not been brought to trial?

Firstly, we must remember that the ICC has no enforcement mechanism at all and is solely depended on the actions of its member countries. Sudan is not a subscribing member of the ICC.  So for President Bashir avoiding capture is really not that hard, he just stays at home and only visits countries that are not subscribing members of the ICC.

The bigger answer here is that a lot of African and Middle Eastern governments view the ICC as an agency of Western repression and Western white superiority against Africans and Arabs. The West is considered hypocritical to set up a court to enforce justice on their terms when they are the same nasty colonial people who plundered their lands only one or two generations ago.