Wednesday, April 30, 2025
Blog Page 181

West-Eastern Storyman: Lord Patten on China and Diplomacy

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Lord Patten’s address on “China and the Future Global Order” began in the wrong place at the wrong time, as he delivered two opening anecdotes not about the dominant Asian power and its geopolitical significance, but rather about the Europe of bygone centuries.

The first was from the Congress of Vienna. During those days in 1814-15, as the aristocratic diplomatic corps of the old monarchies descended on the Habsburg capital, their lavish lifestyle aroused the scorn of certain ambassadors. “The Congress does not march to its goal,” wrote one; “it dances”. And yet—as Patten emphasises—the diplomacy of that celebrated conference delivered peace for a Europe stepped-in so far in conflict. The manner and ritual of diplomacy may have changed, but the fact remains: well-brokered treaties can usher in decades of prosperity.

The second anecdote was from the life of Jewish author Stefan Zweig. This son of Vienna, who toured that city’s high society circuits a century after the restorationist diplomats, was later forced to flee his home under the threat of Nazi persecution. Having settled in Brazil, he wrote “The World of Yesterday”, a literary ode to the dying life of the Habsburg Empire which Lord Patten numbers among his favourite books. Zweig and his wife committed suicide after completing the book, with no hope for a return to the eulogised status quo ante. Patten suggests that Zweig would have been heartened by post-war developments, but this story is essentially tragic—the cruelties unleashed when the seething cauldron of international relations is allowed to boil over.

Two anecdotes: one with a message of hope, the other of losing it. To say that these represent two possible outlooks on China’s relationship with the Western Bloc would be impossibly reductive. But nor were they just arbitrary, indulgent ramblings of the kind popularised by another Balliol politician. Both historical vignettes speak to the complexity of international relations and its continuity between past and present, between West and East. And as the last colonial governor of Hong Kong, Lord Patten’s life serves to bridge these eras and civilizations.

This governorship he presents as a kind of Indian summer on the Pearl River Estuary, his paternalistic leadership serving to sweeten the memory of imperial rule. In fact, Patten is not just looking back through the rose-tinted glasses of an inherited colonial ethic: his time in office was indeed one of democratisation, liberalisation and a distributive economic policy of such a vigorous nature that, as he recalls, the CCP accused him of being a socialist. But the arbitrariness of his accession does have a whiff of old regime Europe to it: “I became governor of Hong Kong because I lost my seat in Bath.” he muses; “Sweet are the uses of adversity”.

Such experiences naturally shape the political outlook of their subject. To some extent, it seems, Lord Patten senses a loss akin to Zweig’s grief for a departed belle époque. His lifetime has seen, he reminds us, unprecedented peace in Europe. Born on the day the Wehrmacht surrendered in Crimea, the post-war order, forged in his infancy, created a world in which Westerners lived under extended conditions of prosperity and, after 1991, security too. The CCP’s—and particularly Xi Jinping’s—pivot to a less open policy, both economically and socially, threatens this peace. For Patten, the possibility of an invasion of Taiwan is a case in point: a westernised democracy facing an ever-less cooperative revanchist neighbour. If this cauldron boils over, the rules-based international order may be the first victim.

The volta facie of CCP policy, from Deng’s apparent willingness to integrate fully into the global economy, to Xi’s record of non-adherence to international treaties (including trade treaties) is of course far from inexplicable. To explain it, Lord Patten furnishes us with another fascinating anecdote, this time from his own life. He recalls a visit of Wang Qishan, the current Vice President of the PRC, to Oxford, where he expressed particular interest in the Bodleian’s Tocqueville collections. Wang admires L’Ancien Régime et la Révolution above all else, presumably because he has never been made to write a collection on it. The text, Patten suggests, gives him two crucial insights applicable to China: firstly, people don’t get easier to govern as they grow wealthier; and secondly, authoritarian regimes are more vulnerable when they try to reform. In a remarkable show of east-west engagement then, it seems the CCP’s anti-revolutionary policy is taking notes from the errors of the Bourbons. Of course, this hammers home an earlier theme: the principles of governance are perennial and international. The earlier invocation of nineteenth and twentieth century European diplomacy is to be understood in this context.

Lord Patten lived the imperial life decades after most of Britain’s colonies broke free from their imposed tutelage. As such, he talks like a man from the deep past, weaving personal and historical anecdotes together with such effortlessness that one struggles to distinguish the two without reference to his birth date. His opinions carry the authority of all his cumulative experience. He warns us that Hong Kong is the canary down the coal mine: China mistreats her now only how it intends to mistreat other polities it gains dominance over. So the west must, he concludes, constrain if it cannot contain. Limit the extent of China’s wrongdoing, while accepting its inevitable role on the world stage. Such realpolitik may not reinvigorate the lost pax americana which his generation has so much enjoyed, but it perhaps takes its lead from the great nineteenth century statesmen whose determination for peace refused to let the perfect be the enemy of the good.

Image credit: Pruneau / CC BY-SA 3.0 via Wikimedia Commons

Whoops I did it again – Big Mamma’s latest opening, Jacuzzi, brings its famed glitz, glamour and gorgeous food to Kensington High Street

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Fun, daring, delightful.  Those three words have come to characterize the food and buildings of Big Mamma’s Italian restaurants across London and the around the world.  Jacuzzi Ristorante, their new site on Kensington High Street, is no different.  It manages to capture that magic and spectacle synonymous with its sister restaurants while being brilliantly unique with new and exciting dishes served alongside famed favourites in an indoor garden setting.

The group always prides itself on service and a relaxed environment and Jacuzzi is no different.  I was greeted at the door by a smiling Luisa and when we were seated the manager Ricardo was quickly over to talk through the menu.

The menu itself is incredibly diverse and draws on dishes from across Italy and its islands.  Well-known favourites from Ave Mario and Circolo Poplare such as the Spaghetti al Tartufo and Tiramisu return but they are accompanied by a superb selection of new inventions and twists on classics.

The drinks list is similarly eclectic.  Not only are there cocktails galore but the wine list is extensive and caters to all tastes and price points.  By the glass, there is a great selection of grapes and varieties from across Italy but buffs won’t be disappointed either.  Superb vintages of Sagrantino di Montefalco (2011) and Tignanello Antinori Supertuscans (2011-2019) are standouts.

I started things off with Lo Sgroppino, a truly unique drink with homemade sorbet, limoncello, and champagne.  The texture was thick and creamy and combined with the lemon and champagne for a perfect indulgence.  The OJ Spritz was a straightforward classic done well too.

For antipasti, we were suggested Crochette di Vitello Tonnato, Crudo di Gambero Rosso, and Burrata al Pistachio alongside a warm freshly baked focaccia.  The crochette are croquettes filled with pulled veal and a coating of tuna salsa.  The combo of flavours was intriguing and the caper on top finishes off the dish perfectly.  The burrata is light and fresh in contrast with some heavy options and the ceviche stood out.  These Gambero Rosso from Sicily are chopped and combined with a mix of lime, celery and red onion on a burrata base.  The punch of the fish is freshened by the citrus and the burrata for a complete bite.  Oysters came along as a surprise treat and my word was I happy to see them.  I’m usually firmly in the camp that believes that oysters are at their best plain, simple, and without dressing.  These though completely changed my mind about that.  They are served in a balsamic reduction that brings a sweetness to the salty shellfish.  I would still ordinarily revert to the more traditional serve but the dish is a must-order as a one-off.

Our pasta of choice was the Raviolone Bricolore.  A new dish, it consists of elongated ravioli parcels filled with either lemon or spinach ricotta.  The pasta itself is good and holds its firm consistency well but the dish is punctuated by a provolone cheese sauce, toasted hazelnuts, and toasted sage leaves.  In a peculiar way, those and the sauce and the most flavoursome element.

Raviolone Bricolore

Big Mamma has made its name on the perfect simplicity and freshness of dishes such as its Carpaccio so I was worried that the edition of truffle might spoil something superb.  Plenty of restaurants are trending towards the ruining of plates with needless editions of truffle oil or inauthentic flavourings.  The Carpaccio al Tartufo suffers no such fate.  The meat is topped with parmesan, truffle cream, horseradish and truffle shavings as well as a good helping of rocket.  Living up to the show of the dining experience it is split and rolled tableside in delightful parcels.  It certainly adds to the event but I did find myself unravelling to add seasoning and mediate the quantity of cheese in each bite.

Desert wise it is difficult to know where to start.  Ricardo was keen for us to try chocolate fondue and it is the new showstopping addition to the menu here.  The chocolate is still sweet despite masquerading as dark on the menu but is irresistible when placed on the candle stand in the centre of the table.  The accompanying churros were what confused me most – long, chunky, and neither authentically Italian nor Spanish for that matter.  They were by no means bad but seemed a strange straying from the patriotic nature of the rest of the menu.  

I had no such objections to the Pistacchio Profiterole Napoletana.  The serving of ice cream in the pastry ‘sandwich’ is beyond generous but doesn’t overpower.  The warm hazelnut chocolate sauce poured over the top is genuinely to die for.  Priced at only £12 it is easily large enough to share between two or even three people and kept me coming back for bites time and time again.

The Limonemissu was the final delivery to the table and an example of a better-executed twist on the classic.  The génoise was thick but the mascarpone, marmalade, and limoncello balanced everything off and resulted in a much lighter way to finish the meal than the other desserts on the menu.

Limonemissu

The food at Jacuzzi is stunning but make no mistake, the experience of dining in a remarkable environment with such attentive and knowledgeable service is what makes the whole thing so special.  For me, the perfect kind of restaurant is one where you are happy to sit all afternoon or night and Jacuzzi achieves that and then some.  Hidden from the outside are four floors – each with its own theme and style that still manages to blend together.  The bottom sees the return of Big Mamma’s party toilets (disco-themed here), and the ground floor is adorned by trees and plants before ascending to the second takes you onto the terrace of an Italian villa.  Those same stairs continue onto a more conventional third level that still maintains the relaxed garden aesthetic.

The service rounds the whole thing off.  Attentive but not annoyingly so, Ricardo tells me that they have had none of the recruitment issues plaguing hospitality across the capital and the country as a whole.  Despite it being just their first week they have nearly a full complement and everyone we encountered was friendly and able to talk through each dish’s origin and construction in detail.  It’s these things that make all the difference.

Jacuzzi Ristorante is both alike the other Big Mamma restaurants and at the same time entirely unique.  It is this that makes the group so superb.  The constants of good service, stunning setting, and above all brilliant food continue but new, unique additions and environments make each one different.  At times it might all feel like a bit of a show but the quality of food ensures that the important things remain front and centre.

Luxury in Crisis

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In the run up to Christmas this year with sales galore and Black Friday on the horizon, The Times magazine Times published an article that has stayed in my head for the past month. Published on Thursday the 15th of December and titled ‘Yes, I live with my parents – but I still buy designer handbags’, it presents the perspectives of two under-30s who choose not to move into their own housing and instead spend ‘rent money’ on luxury goods. Among the high fashion named brands are Prada and Vivienne Westwood, with some items costing thousands of pounds. The £200 Ganni cardigan seems thrifty in comparison with the £1,200 Moncler coat and £2,300 Celine bag. Gowns, cashmere, jewellery – living at home has never sounded so expensive.

Despite how it initially looks, I can’t condemn either of the writers. What on the surface appears to be fiscal irresponsibility and the prioritisation of luxury over practicality, soon develops a far more tragic undercurrent; these young adults spend their hard-earned money on designer clothing and accessories because regardless of whether they purchase luxuries or live frugally, they are nevertheless unable to afford to move out of their childhood home. No amount of scrimping and saving will be able to grant them a path towards independence in the way that it did for their parents’ generation – so why not indulge? After all, the writers – whose names have been changed in the article – defend their choice to “shop sustainably, buying from brands that are pricier but guarantee that their pieces are ethically made”, and purchase “long-term sustainable, timeless pieces” instead of cheaply-made and rapidly discarded fast fashion items. Without rent or household bills to pay, it’s an attractive, even admirable option. 

The article describes expensive clothing as a “perk” of living at home, justifying that “in this climate you can’t let the perks pass you by.” But is that all it is? The writers both brought up environmental responsibility so I feel obligated to widen the conversation a little and wonder whether it is a financial privilege to have so much disposable income, despite the sad situation that has allowed it, or a sad sign of the times that symbols of success can only be purchased because actual housing security is so far out of reach. There is a much larger conversation to be had about the ethics of designer clothing and accessories in comparison to more affordable yet less durable options, but that is not the reason that this article has stayed with me into the new Hilary term. Instead, I am fascinated by how at odds the Times article appears to be with the views of the (Facebook-using) Oxford student body.

I present Exhibit A, Oxfess #19006 (published on Tuesday 13th of December 2022): “To those girls who wear £300/£400 fashion items around Oxford, read the room. The constant flow of Y2K Coach bags, D&G clothes, Burberry scarves, Vivienne necklaces etc shows a lack of understanding that most of us have to work for our money especially in this economy. Oh, and don’t justify with the ‘it’s a special piece’ or the ‘I earned it from my summer job/internship’ – you could only afford it because the rest of your life is fully funded for you by mummy/daddy. Please, please, wake up to most peoples’ reality as we struggle this Christmas.” Although the comments section (at the time of writing) remains overwhelming hostile towards this view – with responses such as “So long as these individuals do not mention their expensive items, I see no bad behaviour”, “DRIP IS NOW ILLEGAL”, and simply “What a stupid, stupid take.” – it seems that the Oxfess-following student body generally seems to agree with the original poster that it is irresponsible and insulting to flaunt designer goods in this current economic climate. Of the 72 reactions on the Facebook post, 48 are likes, 21 are laughing emojis, and the rest are shocked (3), crying (1), or angry (1). The consensus seems clear: in this economy, overt displays of wealth are inexcusable.

Of course, the circumstances are far from identical between the writers of the Times article and those referred to in the Oxfess post. At Oxford, there is only a very slim possibility of avoiding battels. Living at home is rarely an option considering that colleges commonly insist on first-year students using campus accommodation and very few students have family in Oxford. Everyone pays tuition fees and battels. To be able to purchase high-cost luxury goods on top of that implies a high level of financial privilege. It simply isn’t fair and I’m not surprised that so many people are angered by the overt display of expendable cash during a period of such economic inequality.

However, I wonder whether this will remain the attitude as we enter the same situation as the writers of the Time article. When confronted with an impenetrable housing market, will the same students who condemned buyers of luxury goods manage to retain their principles? It’s a difficult thing to abstain from glamour when there is little else to be happy about. Maybe the inconsiderate flaunting of luxury goods will slowly start to make sense. Or maybe it was never anyone’s responsibility to hide their wealth for the sake of others’ comfort in the first place. Honestly, I’m still making my mind up about it all. What I know for certain is that, even facing graduation this year with an English degree and a recession on the horizon, I don’t think I’m ready to give up on any hope of someday finding my own housing and instead resort to splashing out on designer items. But I still find it hard to judge those who do. Although I know it’s a slightly ridiculous comparison, I can’t stop myself from reading the words “If we are forgoing our independence, we may as well look good while doing it” and picturing the Titanic’s orchestra playing on even as it sank. The future looks bleak – but that’s no reason not to make the present a little less unbearable.

Baba, Bridge, and Academic Beat Downs

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Huda Daghem tracks the highs and lows of Oxford, and celebrates the joy we find in friendship…

It’s the end of term. The last essay has been submitted. Your final 9am tutorial has just ended on zoom because your tutor has Covid and apparently that’s still a valid excuse. You still have lectures to go to, but who cares when you’ve had your final teaching session. The only thing on your mind from 10am onwards is going out, finding the perfect stranger, unknown with no mutual friends and just enough charisma in the dark light of the club to get off with before you pack up the clothes, books, and annoyingly breakable potted plants from your Oxford room to head back to the middle of butt fuck Tory England. 

And yet. None of these dreams materialise. There is no perfect stranger. It’s just you and your friends trying your hardest to make the Cotton-Eye Joe remix and the ultimate-ick Central Cee track a decent vibe for your final night out. You think maybe Bridge should be under new management when the highlight of your night is the smoking area. And so even after resorting to Bridge, even though you should’ve known better because Bridge is … Bridge, you don’t get a break. You spend your last morning in Oxford wandering around Westgate, with £5 left in your bank account, smashing a Christmas ornament worth three times your net worth. What both the toddler and the dog present in the establishment restrained themselves from doing, you managed to achieve. 

At this point, you truly thought this was your definitive *shit* end to term; but you underestimated the power of patronising words spilling from the mouth of a  fifty year old white academic who has no experience of the world outside this bubble. Try as you might to forget their existence, report readings (collections to some of you) come every term. For some reason, as of yet undiscovered-despite persistent investigation -, tutors get a kick out of recreating high school parent evenings, in a much more soul crushing manner. Back then at least you were top of the class. Oh to be a big fish in a small pond … 

‘Get your act together’. Fair. You have no rebuttal. How could you when they begin to list off every one of your recent, and not so recent, academic failures, from failed collections to late submissions? 

‘Are you taking this seriously?’ No. Of course I’m not. I didn’t cry myself to sleep after finding out my collection mark on my way home from my only night out of term, I just had some dust in my eye. Why would I take the last  two and a half years of my life, that constitute the last of my parents’ savings and the start of a lifetime of debt, seriously? 

 Therein lies the paradox of Oxford. They know you too well, and yet not well enough. There is no more qualified group of people on the planet to judge your academic ability and find you lacking. And yet they have no comprehension of the being you are beyond these boundaries. They have no understanding of mental health. They have no understanding of the fact that you may have family events to celebrate, or relationships that require time, effort, and grieving periods. 

So when the chips are down, and the institution that you begged, pleaded and prayed day and night to accept you is the source of your despair, how do you keep your head above the water? 

Answer: Grab onto your friends; they make the best floaties. 

This even works for Bridge – here it came in the bathroom. Overcrowded, an assault to the nose and a little terrifying (that’s why women go to the bathroom in groups guys), you find yourself in the middle stall thinking of what songs will make an appearance on what is sure to be a horrifying dj set for the night. But lo and behold, you look down only to find that the condom you shoved in your pocket on your way out the door is suddenly redundant. We’ve fallen to the communists. The crimson tide is moving in. And any other out of date euphemism you can think of. Never before have you experienced a bigger pussy pause to your plans. But women are amazing. Truly and without sarcasm. The tampon machine may be broken but in less than 5 minutes your friends have cornered every person in that bathroom to ask for aid, for any resources they  can offer. The group chat has been popping off – your pleas for help have been heard from the RnB to the cheese floor – and in comes your friend, straight from the mosh pit, with a cotton pad suddenly stuffed under the stall of your cubicle. So you may be a sexy stranger down, and you spend the night in mild (read major) discomfort, but what the hell – you got an adrenaline rush, a trauma bonding experience, and a story you can exploit for a piece in the student newspaper. 

You can take one trip  to Cowley. A £2.50 bus ride, free entry and £4 cocktails for those of you that are inclined; Baba is the cheapest form of therapy out there. Now one might think this seems like some form of denial, maybe if one were prone to hyperbole it would even seem the start of the descent into alcoholism. But fear not. It is definitely not the latter.

In fact it’s not the former either. Maybe for the night you seek to exorcise the memory of the cold stone room wherein you were told graduation was a pipe dream. Maybe you’re even attempting another go for the one night stand. But you know what you have to face in the morning. The truth that the vac will be a drudging repetition of trips to the council library, or downstairs to the dining room, which you’ve commandeered and covered in books on banking and feminism in equal measure (trust, the irony is not lost on me). You’re not trying to forget that. You’re trying to live this one night with the people that make these other events worth it. Making sure the memory of this night and these people are just as strong as those of you crying in the library at 2:38am. Remembering that your friend was with you in Westgate at the great Ornament Incident of 2022 and eventually (imminently) this memory will make you both laugh rather than cry. 

You’re not suddenly going to be cured overnight. This isn’t headline news – mental health isn’t something that can be solved with a single doctor’s visit and a one time prescription from cornmarket boots.  You can’t overwrite the bad parts.The parts that are especially anxiety inducing and breakdown worthy. What you can do is accept them for what they are – shit. Shit but temporary. Some time soon you will be standing under the shadow of the Rad Cam begging your family to stop taking photos of you in your graduation gown – it’s embarrassing you still know people that go here. Outside of this bubble nobody cares about Marx’s Utopophobia or the rhetoric of lust in Troilus and Cressida. Once you leave, neither will you. What you will care about is the people and the experience, the bad and the good, and even the really horribly, terribly bad. Because even in those moments there is something good. And there are some people that will be your special friends even when you’re earning six figures in the city and have forgotten all about feminism and Marx. 

The Story Behind Noah Wild’s ‘I Will Delete This Story’

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CW: This interview includes brief mentions of eating disorders and childhood trauma. 

Ursula White: Where does the title of the play I Will Delete This Story come from? 

Joe: It comes from a drama exam. It was a BTEC so you do it on a computer, and they give you a ridiculous, stupid, amount of time so I was bored. So we were typing up notes for the exam, and I started writing. I titled it I WILL DELETE THIS STORY to make sure I would delete it before printing out my notes, because it would have been a travesty to walk into the exam with a story instead of my notes. In the end I quite liked it, so I didn’t delete it, but snuck it into a folder and kept it. Essentially then when Noah was going over my writing to make my book he gravitated towards the title. What’s pertinent about it here is that this is a story about stories, about writing. It brings the idea of the outsider-artist: it is art that was made just for art’s sake, and at the time I wouldn’t have cared at all if it had been destroyed and deleted. 

Noah: We should probably explain that I edited Joe’s teenage writing into a book that we printed and sold to twenty-seven friends. I kept the original piece of writing at the back in a miscellaneous section because, to be honest, it wasn’t that good, but I liked the sentiment and I thought it worked for the title of the book. Originally this play wasn’t going to be called I Will Delete this Story, I came up with other titles but I stayed stuck with it when I couldn’t find one I preferred. The play is about the central character trying to work out the story of their own life, trying to form their life into a narrative, and constantly saying “aspects of my life don’t apply, it’s not a true part of my identity or who I am.” It is a play that has the figure of a writer central to it: people are always writing in it, and editing things, and ripping things up and destroying pieces of writing. 

UW: What was the writing process like? Was it collaborative throughout?

Noah: No. I decided to write it, I then did a first draft and said “Joe, I’ve done this, what do you think?” The first draft was a musical and it was awful. But I just kept editing it and every now and then I sent Joe a draft of the script. We then read through it on a train journey to London which did influence some changes, but he hasn’t actually read the latest version of the script. It was in a way collaborative though, every now and then I would ask how some things were or get him to write other things, and I feel that my writing was collaborating with Joe’s writing, even if I’m not collaborating with Joe himself. 

Joe: Also, we’re both close friends from high school and, at the end of the day, this play is about that. So, even though we haven’t been together writing every word, it has both our work in it, clashing, and it’s about a time when we were shaping each other’s lives. There is a collaborative sense to it because of how we have made our own story of high school together. 

Noah: The play is structured as eight scenes which are newly-written, in between which are bits of consciousness and its twin, and bits of Joe’s other writing. It uses writing that both me and Joe have written over the last four years of our lives. The main character is me, but it is also a bit of Joe. 

UW: So you both attended school together, and the play is about students in this stage of their lives. What is your favourite funny memory of each other from then? 

Noah: I suppose we did a podcast together—that was quite funny, it was really bad. It was called The Stand and Deliver Podcast

Joe: I think that’s quite key though because before that we did not collaborate, even in drama.

Noah: I would shout at Joe in drama lessons. He couldn’t hold a scrapbook at one point and I got really cross with him.  

Joe: Because you made it a ‘thing’—I was physically shaking in the actual performance while trying to hold the book!

Noah: As the classes went on, he deliberately did things to annoy me– 

Joe: Yeah I did! I deliberately made up lines.

UW: How has it been directing your own writing?

Noah: Really weird, I think because in the script are things that I wrote four years ago in very specific situations. The play uses writing that I wrote as therapy to work through my own feeling of life, the universe and everything. It’s been very weird to have these voiced in different contexts – at some points it’s been quite traumatic. It has also been really interesting, you learn lots about your own writing.

Joe: I probably hate most of my stuff that’s now in it, but the good thing is all the writing appears in another play. It’s sort of meta-writing. 

UW: What has your favourite part of the process been so far?

Noah: I love working with a cast, they all bring something really different to the rehearsal room. Seeing it all come together and always worrying over whether it will come together, and working with a group of people is really fun and cool when you have spent years of your life working on something.

[Pause]

Noah: Saying the line “My penis is rotating like a snake in petrol” in Somerville chapel stands out as a favourite moment. I love how the cast responds to Joe’s writing with a sense of bewilderment and I have to justify it. 

Joe: that’s from one of my notebooks, it was just on my mind in the morning when I woke up.

UW: How do you feel about your younger self’s writing being put on stage, and stuff you wrote previously being brought into the public sphere?

Joe: Thinking back to the days when this was going to be a musical, although I didn’t question it at the time, I am actually quite glad that the writing is appearing within other writing because actually I think art is really meaningful in its context. Also Noah has included things that have never seen the light of day, including notebooks. (…) When I turned my light on I would write the first thing that would come into my head. Most of the stuff in there was of no interest to me, it was more of a productivity method, so the fact that it is in [the play] is interesting. 

Noah: It’s really interesting to have a play about sixth formers writing that uses writing that we wrote as teenagers. It’s really raw and says something about masculine emotion and the struggle to respond to that. 

UW: What are you most excited or apprehensive about?

Joe: I trust Noah, so I am excited for all of it, but I am apprehensive for other people’s reactions. I keep telling people that Noah mixed himself and other things into it and that it’s not just me.

Noah: I always tell people that it’s not me, it’s Joe, that’s partly why I wrote a play that merged both of us together. It’s a sort of distancing effect, when people challenge me on stuff that happens in the play I can say, “That didn’t happen to me, that’s just Joe.”

UW: What else can the audience expect from the show? Why should they come and see it? 

Noah: Every single person I have spoken to defines it in a different way, everybody says it’s about something different and they always put a bit of themselves into the play. Come to see a lot of teenage angst, and a lot of confusion. Come for a play that I think will challenge you in a way, give you a perspective on the experience of trauma, eating disorders particularly, that isn’t really written about. It’ll also be enjoyable to relive your sixth form experience…

I Will Delete This Story is showing at the Burton Taylor studio from 31st January 2023 – 4th February 2023.

Sound And Vision: Better Call Saul’s Perfect Montage

Despite its frequent snubs at awards shows such as the Emmys and Golden Globes, few critics would argue that Better Call Saul isn’t one of television’s crowning achievements of the past decade. Of all the things that the show does exceedingly well, the artfully crafted montages throughout each of the sixth seasons stand head and shoulders above other shows, both in their emotional resonance and technical craftsmanship. There is, however, one montage that viewers keep returning to in Season 4, Episode 7 of the show, featuring the song Something Stupid.

Better Call Saul is, at its heart, a love story, and this montage illustrates the lives of the two characters in this relationship—the titular Saul Goodman (here known by his legal name, Jimmy McGill) and Kim Wexler—showing how they differ and how they remain the same. At this point in the show, the story must progress through several months, showing Kim working as a lawyer and a temporarily disbarred Jimmy undertaking various odd jobs. All the while, a version of Something Stupid, recorded specially for the show by Israeli band Lola Marsh, plays.

By taking a closer look at the different vocals of the song, both individually and how they interact, we can paint a better picture of why this particular montage is so effective. Firstly, there are two voices, singing in two-part harmony, a male voice and a female voice—Jimmy and Kim. As well as this, the voices are rhythmically identical, always moving together, even if they are moving in different directions or spaces. The two-part harmony of the vocals stays apart, never quite connecting in unison. For example, let’s look at the first line of the song. The voices start a major 6th apart, with the female voice singing a G♯ that she holds for 2 bars and the male voice singing a B. As the male voice ascends, the intervals shrink to a perfect 5th, then an augmented 4th, then a major 3rd. Just as the voices seem as if they’ll finally connect in unison, they are yanked further apart to a minor 6th, before settling in a perfect 5th. We can see this reflected in the montage itself with the display of both Jimmy and Kim’s names. Both names are revealed here but in such wildly different contexts; Kim’s is revealed on the door of her office, whilst Jimmy’s is shown on the document checking in during his legal suspension.

This is not to say the show-runners looked specifically at the exact intervals in the music—that would be a pretty big stretch to make. But intentionally or not, this is the effect of the interaction of these two vocal lines, and the show-runners most certainly felt the impact of this interaction with their song choice. Something else that reflects the characters is the vocal melodies individually, with the female voice remaining more stable and consistent than the male one. Although it is the female voice that often sits on the harshest tensions, such as on the line “quiet little place and have a”, where the female highlights the dominant 7th of the E7 chord, the melodic contour of the male vocal line is far more unstable. The montage emphasises these qualities in the characters; look at how radically different the company they keep is; Kim, the professional businesswoman with suit-and-tie office workers helping her, and Jimmy, for everything that he is, spending his days with Huell, a professional pickpocket. Later on in the song, the vocal parts swap, with the female vocal part jumping up an octave. Firstly, this shows that the song uses relatively little melodic material, instead using smaller fragments in different ways to create something bigger. But this also lends a new energy to the fairly lengthy song, lifting up the whole vocal melody.

Not only the songwriting itself, but also the production of the song contributes to the montage. The vocal lines are hard-panned in the left and right ears, something that differs from the more famous versions of the song, like Nancy and Frank Sinatra’s. You’ll only be able to hear this if you have headphones or stereo speakers, but the female voice is in the left ear and the male voice is in the right ear. Mirroring this, Kim is on the left, and Jimmy is on the right hand side of the screen.

There is a lot to say about this song and this montage, but focusing on the vocal lines is the clearest way in which we can understand how the song serves this montage. The perfect song choice is instrumental in creating the perfect montage, and the use of Something Stupid is a testament to the care and attention that the creators put into the show, and why it’s such a brilliant piece of television.

Homeward: The Source, HT23 Week 1

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Long Lost Home by Thisuri Perera

"We stayed at home to write, to consolidate our outstretched selves." – Sylvia Plath

The idea of returning home has always ignited a bittersweet feeling in my heart, because it requires re-adjusting yourself back to your original form, to take off the armour you had carefully built against the Unknown and return to sweet familiarity. Relocating in the external world always inflicts upon us an internal displacement; in the same way Time denies us permanency, Space deprives us of stability.

So, as the days go by, you begin to notice your voice changing and the rhythm of your steps becoming less mechanical. You allow yourself to wallow in what once used to be the terrifying future and even begin to recognise a certain feeling of ease, all the more meaningful when it only lasts for a mere second.

We, human, never truly stop expanding; we thrive on change since stagnation is certainly not our natural condition. The way we change throughout our lives, however, is never a radical metamorphosis. We become palimpsests of all the different translations of ourselves, yet nothing is ever erased or forcefully forgotten. Nothing really goes away.

It is the concept of home that offers safety and rest for ever-fluctuating minds, but it also provides us of a place to finally recalibrate, to give a foundation to all we have acquired from the outside world.

When one never experiences this feeling of being back home, when no place on earth ever reminds you of your earliest Self, finding a moment of relief from these seemingly endless days becomes much more arduous.

I, myself, often find that my own existence is merely my own thoughts. A stream of consciousness like the tap water that violently hits my toothbrush on a cold morning. There is a whole entire world outside my bathroom, yet the frail, ignorant toothbrush is only aware of the water passing through its head with no remorse. Once I turn the tap off, it is aware of nothing. Such a comparison might appear simplistic, but to live in this world without ever feeling at home is not much different than seeing tap water aggressively approaching your face, drowning you for seconds that feel like years, leaving you with no time to pause and breathe until it is all ultimately over.

Yet of course, to define home as a location is too reductive.

We build homes everywhere we go: in every person that achieves the nearly impossible task to truly know you, in every bed you sleep in, in every letter you write to an old friend and in all the little things you do routinely every day. The way you make your cup of coffee, the new song you cannot seem to stop listening to on your way to town, your favourite restaurant and the pen you lent to the stranger sat next to you in class and never got back. The way you say your own name when asked for it and the way your mother used to sing you to sleep.

Perhaps, if we cannot find home through Space, we can find it across the passage of our Time on earth. All the things that prove you have existed, and you have lived. Perhaps, when in need of peace and safety, you can return to the memory of your childhood home and imagine what your voice might have sounded like back then. You can hold onto the knowledge that you have loved, and you have been loved, you have dreamt a thousand dreams and your eyes have seen the sky change every single day of your life.

Perhaps home is how much you change but still hold onto to the same old fears. All the wrong decisions you have made and the ways in which you dealt with the consequences. It might be found on a quiet evening with a friend, in that strange feeling you get seeing the first snow of the year. How passionately you long to return home as though it was long lost, yet it was always here. You never spend as much time with someone else as you do with yourself.

Home is wherever you are, leaving a trace of your presence.

This world is just a mosaic of everyone’s existence.

Simple Pleasures by Charlie Bowden

A half-sung prayer lingers in the house’s thatched roof, 
ransoming out the sound of rattling copper spoons 
to the chronicler’s faithful tune. 
His books are shining bony beacons 
of what we once had, the fists of the past 
bursting from the ground, eager to wrest control 
of good and bad. 
 
Who knows? 
We might have even floated  
if we let them take away our bricks and sand 
but instead we held tight to life’s simple sadness; 
the prayer rots in the attic, all hopeless hot air, 
but at least it insulates from the alternative. 
It’s better to flush through the affirmative 
than force the fists back down low. 
The house is sad but silent, exquisite in its setting, 
slowly being eaten by the quiet madness of the snow. 

Waterlogged by Ruth Port

Temporal Aviation,
Down I fall:

I notice that the incessant rain has made the river burst its banks.
The cows tread nervously around
Giant puddles; moon craters as they try to find
Something to eat. 

Lying in my bed to escape the torrent, my childhood books stand sentry.
I wish I could lose myself in the pages once more,
Sink down into the hopeful embrace
Of a world steeped in magic.

‘Home’ seems sodden, drenched in memories I can’t shake.
A ghost of a little girl running up the stairs, dragging muddy handprints as she careens
Round the corner. Melting into my mum’s hugs, losing myself 
In a person I am no longer. 

The blue fingers of Winter air
Wrapping around me like the false twinkle of Christmas lights. 
A breath in, shocking cold, the gargled sensation of floodwater. 
Spitting out teddy bears until I float once more,

Sailing into the clouds above,
Watching more time pass.

Seven Times Around the Sun by Flynn Hallman

I remember us running towards its falling frame
too slow for earth
who held the sun in changing skies elsewhere.

That night, when only stars remained,
I watched you trace the air to guess their names
and then you told me that their light could run
seven times around our sun
in any of the countless seconds 
of all the days
we beckoned it to stay.

You said, when one of them began to die,
it travelled on in space and time
beyond our distances of days and nights
to disappear from eyes
who could not know the countless suns they’d lost 
in a second’s light elsewhere. 

That night I reckoned so much change 
could not be true of stars,
their light seemed always to remain,

but now we lose the sun to different skies
though I still look for you.

If you’re interested in writing or illustrating for The Source, email the editors at [email protected]!

Dead Man’s Suitcase: A Review

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At once funny and profound, Dead Man’s Suitcase is a treat for the senses.

Written by Felix Westcott with orchestrations by Declan Molloy and produced by Triple Cheque Productions, it follows John, an obituary writer. Unhappy with his life, he settles on faking his death as a means to start over and pursue his dream of becoming a famous novelist. However, he eventually realises that a true crime fantasy novel written for children does not exist for good reason. By dealing with death, workplace politics, ambition, selfishness, the breakdown of marriage, and more in a humorous and emotional way, this original comedy musical leaves its audiences with much to think about. 

The intimacy of the Burton Taylor Studio certainly draws us in as the diegetic world blends with the real. The setting is simple – which not only adds to the connection between the audience and the actors and actresses, but also implies that much is dependent on the acting itself. George Vyvyan (John), Tom Freeman (Paul/Psychiatrist), Eva Bailey (Mary/Boss) and Eliana Kwok (Greta/Colleague) have certainly nailed this performance. Despite playing multiple characters, they were able to embody each of their characters in a distinctive manner, creating coherence without confusion.

The musical opens with a song.  “Please tell me what is the role that is written out for me?” is one of many memorable and striking lines. As a student still trying to find her way in the world, this hits close to home. Vyvyan’s performance as John is incredibly convincing – we feel his frustration and cannot help but feel sympathetic towards him initially. We are introduced to John’s unhappiness at his workplace: a frame (which also represents a computer screen) dangles from the ceiling and literally frames his face. We are made aware that he is forced to fit in; he has to live within the box. 

Dead Man’s Suitcase most certainly lives up to its name of being a comedy musical. It is filled with many light moments which elicit much laughter from the audience. The interaction between John and the psychiatrist as well as John’s interaction with Paul are just some examples of the many comedic moments. Freeman does an excellent job executing his characters Paul and the psychiatrist, drawing laughter from the audience in many instances. Neither could I resist chuckling whilst watching Kwok’s performance as John’s colleague.

Packed with emotion, the songs are immensely powerful, and one cannot help but lament that the songs are not on music streaming sites. The song before John and Mary’s date struck me the hardest, as its setup makes for an obvious contrast. It is a clear reminder that the act of faking his own death is selfish and has implications for those around him. Bailey’s talent is evident: she successfully communicates an emotional intensity that is at once heartbreaking and inspiring. Her hope, success, and refusal to let John back into her life like a traveller whose absence is temporary is empowering. I find the title extremely interesting – the finality of “dead” is placed alongside “suitcase”.

Dead Man’s Suitcase closes with a haunting reminder for audiences to witness and learn from John’s mistakes; to realise and appreciate what we have in the present and not let ambition blind us. After all, there is “no reset button”.

Othello: A New Era of Shakespeare

As the audience enters the National’s Lyttleton Theatre for Clint Dyer’s new production of Othello, the stage is obscured by a flashing projection in black and white. The constantly changing images are posters from previous versions of the play, with their years of production shown in stark block letters. Although this arresting image might seem to signpost an interest in the time and place of Othello and its various reimaginings, from the moment the play starts it becomes clear that this production has chosen to take a step away from this preoccupation with setting and allow the play to speak for itself – a move carried off with great success and which other productions would do well to emulate in the years to come.

Following on from a 20th century obsessed with staging Shakespeare in their own time, or else in a clearly demarcated period to which the company felt the play particularly apt, the current trend in Shakespearean reimagining seems to be a removal of all timeliness and even sense of place. The Globe’s new production of Henry V at the Sam Wanamaker has taken this approach so far you would be forgiven for thinking you were watching a workshop performance as the ten actors enter the stage dressed in casual contemporary clothing, taking their seats on plastic chairs on either side of a green-washed stage. The Globe’s production perhaps goes a little too far in its attempt at anonymity, using the actors for so many roles that it becomes hard to establish any sense of connection to the characters. However, their answer to this, having an actor announce each scene and some actors even the name of the character they are playing, is inspired. It feels like an admission from Shakespearean practitioners at the highest level that the plays are fundamentally a bit hard to follow sometimes, and a helping hand along the way, far from interrupting the experience of the production, actually allows the audience to enjoy that experience rather than missing out on a crucial scene because they can’t remember the significance of a minor character who hasn’t appeared since Act I Scene III. 

Dyer’s Othello stops short of providing fourth wall-smashing asides to keep the audience up to speed, instead relying on the paciness of the production to ensure that no one’s attention is lost for a minute. The show begins with Giles Terrera’s Othello spotlit centre stage, performing a solo fight sequence, at the end of which he raises his arms to the sounds of a cheering crowd. This is the only hint we get as to the social context of the play: an ex-slave to judge by the scar marks on his back, Othello has gained freedom through success in the fighting arena and risen through the ranks of the army to hold a position of status in a white-dominated society. In the crucial ‘temptation scene’, Othello’s fighting background is evoked again through the use of a punching bag steadied by Paul Hilton’s laconic Iago whilst Othello furiously pounds away, reminding us that his rise through physical prowess must create a constant anxiety about losing his position if he ever allows his strength to slip. Indeed, Lucie Pankhurst’s excellent movement direction throughout ensures this frantic energy is never lost, with light and sound transitions almost exclusively cued by actor’s movements making for exceptionally seamless and fast-paced scene changes.

The use of the ensemble cast, or ‘System’ as they are credited in the programme, is also used as a powerful backdrop for the actions of the central characters. They transform Iago’s usually cartoonish villainous soliloquies into public events, making him seem more like a compere introducing his future acts to a delighted audience. At other times they fade into the background and are used to mirror Iago or Othello’s thought process, shifting position in unison on a crucial word. Their synchronicity throughout the play provides a physical evocation of the ‘hive mind’ effect, as the crowd, through their physical movements and a few well-chosen moments of speaking in unison, unanimously supports whatever Iago is saying or doing. When this group begins to move out of sync in the final scene, therefore, with individual actors twitching and mirroring at different times, it takes the audience a while to believe what they are seeing, and the effect is an extremely unsettling representation of an unsound mind.

Apart from the triumphs of the production as a whole, with Paul Hilton’s sardonic and playful Iago setting the tone, standout performances were given by Tanya Franks as Emilia and Rory Fleck Byrne as a naive and bumptious Cassio. One of the greatest problems to overcome in a performance of Othello is making the anti-hero pleasant enough that we believe Othello can reasonably love and trust him to the extent he obviously does. Hilton’s charm and charisma made this leap, as it was all too easy as an audience member to feel we are being included in the joke being played on the gullible, earnest Othello, whilst really we too are falling under Iago’s spell. Even the moment of highest drama and tragedy, where Iago arrives at the scene of Cassio’s death (carefully orchestrated by him) and pretends to be enraged at the very prospect, was punctuated with audience laughter at the performance I saw due to Hilton’s ridiculously dramatic performance of the pretence. Despite this almost comic characterisation throughout, or indeed because of it, his final scene and slaying of Emilia is shockingly horrific, as we are sharply reminded of the truly repellant nature of this character.

Unfortunately I found Rosy McEwan’s performance as Desdemona a little lacking, with her relationship to Othello proving the point that intimacy does not equal chemistry: despite the frankly alarming amount of on-stage kissing, I didn’t find the relationship particularly convincing and therefore didn’t much care when it broke down. Much more interesting and heart-breaking was the portrayal of the relationship between Iago and Emilia, allowing Iago’s nastier side to be exposed as he switched between romantic persuasion and violent coercion, in stark contrast to his sycophantically charming interactions with other characters. 

Overall, this production brings a refreshingly stripped-back approach to the play, focusing on characterisation and using striking visual effects to draw the focus onto the interactions between individuals and the ‘System’ of collective thought. Dyer proves that Shakespeare doesn’t need an apt historical moment to resonate with its audience, but should be allowed to function, like the work of any other playwright, on its own merits.

Othello is showing at the National’s Lyttelton Theatre 23rd November – 21st January

William Salter, CC BY-SA 4.0, via Wikimedia Commons

Two lecturers sue Oxford University over the ‘Uberisation’ of teaching contracts

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Two creative writing lecturers are suing University of Oxford for misclassifying them as gig economy workers, arguing that the terms of their employment mean they were employees entitled to certain workers’ rights.

Alice Jolly and Rebecca Adams were employed on fixed-term personal services contracts for 15 years, working to supervise students on the Mst Creative Writing course, yet their contracts were not renewed in 2022. They maintain that due to the level of control exercised over them by the University and their treatment while working, they should have had employee status.

Talking about her motives, Adams says that “We are bringing this action on behalf of hundreds of Oxford University tutors who, like us, are employed on legally questionable casual contracts. Oxford is one of the worst offenders when it comes to the uberisation of higher education teaching, with nearly 70 per cent of its staff on precarious contracts.”

The case draws on from the 2021 Supreme Court ruling on the gig economy, ruling that Uber drivers were employed by Uber, not self-employed, and were therefore, as employees, entitled to paid holidays and a pension.

According to their legal representative, Ryan Bradshaw, the University in a letter to the Society of Authors (SoA) said in April 20202 that they would offer more appropriate contracts, yet two months later their longstanding contracts were not renewed. Jolly and Adams had both been directly involved as members of the SoA, campaigning to be contracted as ‘workers’ and not ‘personal service providers’. They argue that this involvement factored into their unfair dismissal.

According to Jolly, “Creative writing courses are entirely dependent on the quality of the writers who teach on them and universities use writers’ CVs to market these courses.” However, frequently these writers are employed for years on precarious, fixed-term contracts. She claims that these “sometimes pay as little as £25 an hour. Often the hourly rates do not include preparation, so the real level of pay may be half of the stated amount.”

Their lawyer, Bradshaw, told The Guardian that “These are people who would ordinarily be perceived as white-collar, privileged workers – they’re highly educated, really respected authors and writers, and they’re being forced to accept terms and conditions that undermine their legal rights.”

Vice President of Oxford University and College Union (UCU), David Chivall, believes that the long-term impact of these insecure employment contracts are that “people’s lives become so unstable they are unable to do their jobs to as high a standard as they would have been able to do if they were employed fairly: in the end both teaching and research suffer.”

Over the course of February and March, the UCU have announced 18 days of strikes against these insecure contracts, pay, working conditions and pensions.

The claim was filed on 16 November 2022, with the university expected to respond in January and the resolution expected to be reached in the summer.