Friday 30th January 2026
Blog Page 19

The Unseen Study Aid: How Air Quality in Student Rooms Impacts Academic Performance

As students, we meticulously optimise our environment for success. We seek out the perfect library spot, invest in noise-cancelling headphones, and curate playlists designed for focus. Yet, there is a critical, invisible factor in our study spaces and bedrooms that receives scant attention but has a demonstrable impact on cognitive function: the quality of the air we breathe. In the often-aged and poorly ventilated housing stock of Oxford, understanding and improving indoor air quality could be the missing piece in the academic performance puzzle.

The challenge is particularly acute in student accommodation. Older Victorian and Edwardian houses, converted into HMOs, often rely solely on draughty windows for ventilation, while modern purpose-built blocks can be so airtight that they trap pollutants inside. The result in both cases is often suboptimal: either a freezing room from an open window or a stuffy, stagnant atmosphere that impairs concentration.

The Cognitive Cost of Stale Air

The primary culprit in a stuffy study room is carbon dioxide (CO2). While not toxic at these levels, elevated CO2 is a direct indicator of poor ventilation. As we exhale, CO2 levels rise, and a growing body of research links this to a significant decline in cognitive ability.

A seminal study from the Harvard T.H. Chan School of Public Health found that when CO2 levels reached concentrations common in conventional buildings (around 945 ppm), participants’ cognitive function scores were 15% lower than when in environments with enhanced ventilation. When CO2 levels were raised further to 1,400 ppm—a level easily attainable in a small, occupied bedroom with the door and window closed—cognitive scores dropped by 50%. The functions most affected were crisis response, strategy, and information usage—precisely the skills needed for writing essays, solving complex problems, and revising for exams.

Beyond CO2, poor ventilation allows for the build-up of other pollutants. Dust mites thrive in humid conditions, and their droppings are a common allergen that can disrupt sleep and cause daytime fatigue. Mould, which grows readily in damp, poorly ventilated corners (often behind furniture pushed against cold external walls), releases spores that can trigger respiratory issues and headaches.

Identifying the Problem in Your Room

Before you can fix the air, you need to diagnose the issue. The signs are often subtle but telling.

  • The Stuffiness Test: Does your room feel heavy, stale, or stuffy shortly after you close the window? This is the most immediate sensory clue.
  • Persistent Condensation: Do you wake up to water on the inside of your windows? This is a clear sign of excess humidity and inadequate ventilation.
  • Difficulty Concentrating: Do you find your mind wandering, feeling drowsy, or getting headaches after an hour or two of studying in your room? This could be a CO2-induced “brain fog.”
  • lingering Odours: Do smells from last night’s cooking or this morning’s toast still linger hours later? This indicates stagnant air.

Practical Solutions for the Student Tenant

As tenants, our ability to install permanent systems is limited, but there are several effective and landlord-friendly strategies to take control of your air.

  1. Master the Art of Strategic Ventilation

Simply cracking a window is inefficient. The most effective method is “cross-ventilation.” Open windows on different sides of your room, or open your bedroom door and a window in another room to create a through-draught. A short, intense 10-15 minute burst of this, several times a day, is far more effective at flushing out stale air than leaving a single window slightly ajar all day. This is also more energy-efficient, as it minimises heat loss.

  1. Utilise and Maintain Existing Systems

Many rooms, even in older buildings, have background ventilation. Check for trickle vents at the top of your window frames—these small, adjustable slats are designed to provide a constant, low level of ventilation. Ensure they are open and not blocked by curtains or blinds.

If your room has extractor fans in the bathroom or kitchen, use them. Turn them on during and for at least 20 minutes after showering or cooking. Check that the exterior air vents are not blocked by leaves or debris, as this renders them useless. If a vent cover is damaged or missing, reporting it to your landlord is a reasonable request, as it protects the property from damp.

  1. Invest in a CO2 Monitor

For a data-driven approach, a simple, affordable CO2 monitor (available online for £50-£100) can be a revelation. It provides real-time feedback, showing you exactly when the air in your room is becoming stale and it’s time to open a window. This takes the guesswork out of ventilation.

  1. Supplementary Measures Houseplants: While their effect on CO2 is minimal, some plants can help remove specific airborne toxins. More importantly, their presence can improve perceived air quality and wellbeing.
    Mindful Living: Avoid drying wet towels or clothes on radiators indoors, as this pumps litres of moisture into the air. Be cautious with aerosol sprays and strong chemical cleaners.

A University-Wide Responsibility

While individual action is powerful, the ultimate solution requires institutional commitment. Colleges and private accommodation providers should be encouraged to prioritise ventilation in refurbishments, considering systems like Mechanical Ventilation with Heat Recovery (MVHR) for new builds, which provide fresh, filtered air without heat loss. Ensuring that all student rooms have adequate, controllable ventilation should be seen as fundamental to supporting academic welfare, as vital as providing adequate heating or internet access.

In the intense academic environment of Oxford, every advantage counts. By bringing the issue of air quality out of the shadows, we can empower students to create environments that don’t just house them, but actively help them think, focus, and succeed.

A Perfume Journey Through the Seasons

Perfume is more than just a beauty accessory. It’s emotion bottled, memory distilled, and confidence in a single spritz. Finding your signature scent is like falling in love, it’s instant, magical, and deeply personal.

But with so many perfumes on the market, how do you discover the one? Ready to meet your fragrance soulmate?

Our ultimate guide will help you explore seasonal scents and share simple, effective tips on choosing, wearing, and caring for a perfume that feels truly you.

The Four Seasons of Perfume

Spring: Fresh Beginnings and Floral Whispers

Spring scents are all about awakening. Think blooming peonies, dewy roses, green tea, and a touch of citrus. These notes mirror the season’s lightness and renewal, making them perfect for everyday wear.

If you’re drawn to gentle femininity, look for eau de toilettes (EDT) that blend soft florals with clean notes like lily of the valley or pear. They’re ideal for daytime because they linger subtly, like sunshine through sheer curtains.

Not into florals? Opt for crisp, green fragrances with notes of cucumber, basil, or mint — they capture the same freshness of spring without the sweetness.

Try this: Mist your spring perfume on your scarf or hairbrush. It’ll diffuse delicately throughout the day, leaving a fresh trail behind you.

Summer: The Art of Staying Cool

Summer calls for breezy, sun-kissed fragrances. Think sea salt, coconut, lemon zest, or white musk. Opt for lighter formulations, such as colognes or body mists,that won’t overwhelm in the heat.

Want to make it last longer? Apply unscented body lotion first. Hydrated skin locks in scent better. And don’t store your perfume in a sunny bathroom! Heat and light can break down delicate fragrance molecules, dulling that sparkling summer scent.

Our tip: If you’re attending a summer evening event, layer your daytime scent with a deeper base. A drop of vanilla or amber can transform it into a sultry night fragrance.

Autumn: Cosy, Confident, and Captivating

As the air turns crisp, your perfume can grow warmer. This is where the right sweet and warm fragrance truly shines. Look for notes like caramel, honey, tonka bean, amber, or patchouli. They evoke comfort just like wrapping yourself in your favourite sweater.

Autumn perfumes tend to have more depth, so opt for eau de parfum (EDP) instead of EDT. The higher concentration of essential oils gives your scent more staying power for those chilly evenings and candlelit dinners.

Pair it with: a bold lipstick and your favourite leather jacket. Together, they make an unforgettable statement.

Winter: Elegance with Edge

Winter fragrances are all about luxury and intensity. Think smoky woods, vanilla orchid, oud, and spiced cinnamon. This is your moment for statement scents that last long after you’ve left the room.

Perfume layering works beautifully here. Combine a warm base (like amber or praline) with a touch of floral or woody top notes. The result? A custom scent that’s uniquely yours.

Night perfumes in winter can be richer and more mysterious. These are perfect for festive dinners or quiet nights in. Remember, a little goes a long way when it comes to concentrated EDPs or parfum extracts.

How to Find Your Signature Scent

  1. Test on skin, not paper. Your body chemistry transforms a fragrance, so always let it settle for 20 minutes before making a decision.
  2. Start with what you love. If you adore baking, explore gourmand scents. If nature calms you, try green or woody notes.
  3. Sample slowly. Don’t rush. Your nose needs breaks between tests. Sip coffee or smell your sleeve to reset your senses.
  4. Notice emotions. The right perfume should make you feel something. Whether it’s a spark of confidence, a wave of nostalgia, or a moment of peace, you’ll know it’s the right one the instant it touches your skin.

When you find that fragrance that makes you close your eyes and smile, that’s it. That’s your scent story.

Wearing and Storing Your Perfume Like a Pro

  • Pulse points are key: Spritz behind your ears, wrists, and the inside of your elbows. All the places where skin is warm and helps diffuse scent.
  • Don’t rub! It crushes the fragrance molecules and alters the scent. Let it dry naturally.
  • Store smartly: Keep bottles in a cool, dark place. Never in direct sunlight or fluctuating temperatures.

Your perfume is alive, so treat it like a treasure.

Next time you reach for a new bottle, think of it as choosing the soundtrack to your life. Invisible notes that follow you everywhere. One spritz, and the world remembers you.

Royal Mail consults Oxford professor on Christmas stamps

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Professor Andrew Davison, Regius Professor of Divinity at the University of Oxford, advised Royal Mail on the theological and artistic interpretation of its 2025 Christmas stamps, which feature scenes of the Nativity. Professor Ben Quash, Professor of Christianity and the Arts at King’s College London, also contributed, having written the accompanying text for the issue. 

Designed by illustrator Paula Doherty, the stamps – which commemorate the artistry of surface and texture – depict an angel for the 2nd class, Mary and Joseph for the 2nd class large letter, Mary and the Baby Jesus for the 1st class, shepherds for the 1st class large letter, and the three wise men for the £3.40 stamp. Drawing on inlaid marble, enamelling, marquetry, and collage, the stamp set combines an artisanal aesthetic with a contemporary retelling of the Nativity story. 

Discussing his involvement with the 2025 stamps, Davison told Cherwell: “For six or seven years, Royal Mail have asked me to comment on their designs for Christmas stamps and the text that goes in the presentation pack. I’ve never been involved with the design … I’ve been more like quality control, helping make sure that the Christmas stories or theological traditions around Christmas are handled well, and having an eye to whether something might reasonably but unintentionally cause offence.”

Davison added that he is “thoroughly impressed by how carefully and considerately this part of the company goes about its work”. He added that Royal Mail “have also always been responsive” to his suggestions.  

Davison has previously collaborated with Royal Mail, writing the booklet notes for the 2021 Christmas stamps and contributing an article on the depictions of animals in the Nativity. 

The Christmas 2025 stamp set is available for purchase from 4th November.

Alternative Oxford: The changing stereotypes surrounding body modifications

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Cienna Jennings visits Oxford’s renowned tattoo and piercings studio, Tigerlily, to speak with the owner, Mick Durham about tattoos, piercings and the changing attitudes surrounding body modifications.

Surrounded by black-tie and Subfusc, body modifications are not the first thing that comes to mind when you think of Oxford University. However, as someone who attends Oxford Uni and has 14 piercings, five of which are on my face and very visible, I have not had many negative experiences because of them. As to be expected, the standard piercings, such as earlobes and nose, are quite popular among the student population,but I have also met many other individuals with visible piercings.

The reasons for getting body modifications vary from cultural or aesthetic, to a form of self-expression. Speaking from my own experience, my decision to get most of my piercings was simply because I thought they “looked cool” and would help emphasise my individuality and represent my own personal style.

The history of body modifications is long and varied. From the culture of ear stretching in pre-Roman Britain to nose rings that originated in the middle east, body modifications have a culturally rich history. Body modifications were relatively acceptable before Christianity spread in Britain. However, they later became associated with paganism and were therefore deemed unacceptable. Later, during the Elizabethan period, piecing’s, specifically lobes, became a symbol of wealth among the upper-class, with Queen Elizabeth II often wearing them herself.

In the 1970’s the Punk subculture made body modifications loud again. From spiked hair to visible tattoos and piercings, these acted as symbols of protest against the political system and social norms. Now, these same visible body modifications are almost everywhere, from mainstream television to your local barista, they have become more of a symbol of fashion and self-expression than one of rebellion.

Wanting to find out more about the culture of body modifications in Oxford, I took a trip down to Oxford’s most well-known tattoo and piercing studio, Tigerlily. Here I interviewed the owner, Mick Durham, about his experiences’. He told Cherwell how he has been working in Oxford since 1991 after he and his wife moved here. Mick stated how he travelled around selling things he got on holiday to different student unions, one being Oxford Brookes. Oxford University, however, did not have a market for it in the student union.

When asked what inspired him to enter this line of work, he responded: “I always say that I did not choose tattoo and piercings, it chose me and it has been very kind to me.” Mick explained that he originally began by selling clothes and gifts from Guatemala. As customers started asking for jewellery, he began selling that too, eventually expanding to body jewellery. When people asked if he could fit the jewellery himself, he decided to learn how and later even taught his son – Brendan – to pierce.

I asked Mick whether he felt as if the culture of body modifications had changed over time in Oxford.  He believes it has become more popular, and credits much of this increase to David Beckham, stating how “As soon as we had a gorgeous, respected man who had tattoos, it became more acceptable to get them. David Beckham is a working-class hero who made tattoos and piercings more respectable.”

When asked whether there was a favourite tattoo or piercing, Mick responded with: “there is no most popular tattoo or piercing as people want a variety of things. For piercings it is probably nostrils or lobes, but for tattoos there is no favourite one, as for a tattoo to be good it has to have some kind of meaning.”

It was clear from this interaction and my own research that there has been an upsurge in body modifications, especially in young people as they are becoming increasingly visible. However, there is still a stigma surrounding body modifications. Visible tattoos and piercings are sometimes banned in professional workplaces, which may consciously or subconsciously stereotype those who have them, believing it may affect their ability to perform a job or get clients. But hopefully one day, as we continue to move towards being a progressive society, the judgement of people based on their appearances and how they choose to express themselves, body modifications and all, will no longer be an issue.

The power of the playlist

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When term gets busy, I don’t know how I would survive without my collection of 76 Spotify playlists. They cover all bases. Of course, there are the classic ones: one for the gym, one for essay writing, one for winding down after a busy day of lectures. Then there are the playlists I make when I begin trying to write a new novel, which is often – playlists and Pinterest boards are a procrastinator’s best friends. I have songs that remind me of my parents, songs that make me cry. Endless set lists from tours I never got the chance to attend – and the ones that I did. A carefully curated playlist of Joni Mitchell’s masterpieces.

I am a writer, and songs are poetry. I grew up at folk festivals, with songs that told stories, and though I am more into indie-pop now, I still look for solid writing from an artist. Taylor Swift’s lockdown albums ‘folklore’ and ‘evermore’ are prime examples, woven with metaphors, as are Phoebe Bridgers’ haunting song ‘I Know The End’ and Lizzy McAlpine’s ‘Pushing It Down and Praying.’ Not even these, though, could top ‘River’ by Joni Mitchell, a piece of music so beautiful that I keep playing it, even when my friends tell me off for listening to a so-called Christmas song in August. Mitchell’s voice is raw, and a sad song with a piano accompaniment never fails to make me sob.

To me, music is more than a thoughtless hobby; it is my lifeline. As someone with severe anxiety, music keeps me going more than anything else can. Panic attacks are followed by ‘Camden’ by Gracie Abrams on repeat. I play songs through my headphones as often as I can, trying to drown out the thought spirals that consume my mind.

When I discovered Abrams’ music, I was not prepared for what it would do for me. Not often do singer-songwriters cover mental health, but she does. And she does it well. Songs about depression, about homesickness, about anxiety and OCD, about losing people that mean everything to you. Nothing has ever summed up the bittersweet feeling of moving to university better than the song ‘Right now,’ in which she proclaims: “People 24/7 / It’s the best and a curse / All they do is remind me / That I’m still introverted.”

This is a song that I will look back on when I am old and grey and I’m sure it will make me smile, thinking of the girl to whom it meant everything. ‘Right now’ has been part of my summer playlist for the last three years. It was my father’s idea, which quickly became a ritual: to, each summer, write down the ten songs I love the most in that moment. I now spend each July sifting through my playlists in search of these ten precious songs, which will become a time capsule of the person I once was.

As an Earth scientist, I am forever donning hiking boots and a hard hat, traipsing around outdoors to look at rock outcrops and draw up maps. I was raised in the countryside, but even at home, I go on walks with my headphones firmly clamped over my ears. Blocking out the world. It is only on those field trip days, when I am forced to leave the music behind, that I truly feel the world around me: that I listen to the ocean and birdsong and human chatter. That I can appreciate silence. And on these days, perhaps my anxiety feels duller.

But when I step back on the coach to drive back to Oxford, the headphones are on again. It’s almost like a drug. Music is a powerful thing, and no matter how hard I tried, I could never ditch my playlists – I rely on them too much.

Climate activists stage Cornmarket protest against North Sea oilfield

Extinction Rebellion (XR) Oxford held a protest on Cornmarket Street today against the development of the Rosebank oilfield, a region rich in oil deposits in the North Sea. The protesters were joined by the Oxford Climate Choir, another local activist group. 

The protesters held banners saying: “Labour MUST STOP ROSEBANK.” The Oxford Climate Choir, a branch of the national Climate Choir Movement, also sang in a musical protest. 

The development of the Rosebank oilfield, located around 80 miles north west of the Shetland Islands, is spearheaded by Equinor, a Norwegian energy giant. Rosebank is one of the largest undeveloped discoveries of oil and gas in UK waters, containing roughly 300 million barrels of oil. 

Equinor projects that extracting oil from Rosebank would generate 249 million tonnes of CO2 over 25 years. This is over 50 times more than Equinor’s initial estimation of 4.5 million. 

The initial approval of the Rosebank development was overturned in January, after a court ruling that a more detailed assessment of the environmental impact would be required. The public consultation will run until 20th November, after which the Energy Secretary will decide whether the government supports the project. 

Speaking to Cherwell, one of the activists said: “We’re here as part of Extinction Rebellion and other climate groups in Oxford protesting against developing the new Rosebank oilfield in the North Sea. It would emit as much CO2 as the 28 poorest countries in the world do in a year. It was initially declined by the UK government about a year ago or so but now the oil giant Equinor…re-applied to get the permit to develop it again and it would basically put all climate goals for the UK out the window.”

The activist added that the development of Rosebank “wouldn’t help make energy and heating in the UK more affordable”. According to the activist, XR is campaigning against the Rosebank development by “asking people to write postcards to their local MPs”.

Rosebank has been at the centre of climate activism in Oxford in recent months. In October, the Oxford Climate Choir also held a protest at Radcliffe Square, urging Oxford East MP Anneliese Dodds to oppose the Rosebank project. 

Ceilings, wives, and love letters to the city: The Pre Raphaelites in Oxford

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It was in 1857, not long after the construction of the Oxford Union, that its architect, Benjamin Woodward, was visited by his close friend Dante Gabriel Rossetti. It was this very visit that sparked the creation of the second Pre Raphaelite Brotherhood. Upon deciding to take on the painting of the Oxford Union, Rossetti immediately began to reach out to his contacts in the Pre Raphaelite movement, men such as William Morris and Edward Burne-Jones. Soon, a team of seven artists was assembled: Morris, Rossetti, Burne-Jones, Valentine Prinsep, John Hungerford Pollen, Arthur Hughes, and Rodham Spencer Stanthorpe. Over the Long Vacation of 1857, they began to embellish the gothic debating hall in murals inspired by the Arthurian legends of Malory’s recently published Morte d’Arthur, a book that Burne-Jones had discovered in a bookshop whilst an undergraduate at Oxford. Already, the city had begun to cast its spell, and they were eager to stay.

Working for free board, lodgings, and unlimited supplies of soda water, their work was perhaps not of the greatest quality. Having failed to adequately prepare the walls before painting, the result is that today the art is much faded, only clearly visible in the more subdued lighting of a winter’s evening. Indeed, the group that Rossetti brought together were not hugely experienced, the whole process was somewhat disorganised, and had been abandoned by the end of the summer vacation. William Riviere and his son had to finish the last three panels. Nevertheless, as Prinsep later remembered: “What fun we had in that Union! What jokes! What roars of laughter!” It is clear to see that the project brought the young artists together, in many different ways, from forming a second Pre Raphaelite brotherhood and modelling for each other, to even meeting their wives.

Jane Burden was the daughter of a stableman in Oxford, but was spotted by the artists during their project at the Union, and was asked to model for them. The murals being based on Arthurian legends, Burden was often used as a model for Queen Guinevere. Today, the best remaining example of Jane’s modelling in the Oxford Union is Rossetti’s Lancelot and the Queen Guinevere panel. Jane Burden went on to marry William Morris in 1859, although, in true Pre Raphaelite fashion, she simultaneously conducted an affair with Rossetti. Burden became both Rossetti’s and Morris’ most desired model, and she continued to pose for them in many other paintings such as The Day Dream and Reverie (both by Rossetti). 

Today, there is much Pre Raphaelite work around the city, from the Ashmolean to the Museum of Oxford and that isn’t by accident. It was here in Oxford that the Pre Raphaelites found support and encouragement. One couple in particular, The Combes, gave great support to the movement. Thomas Combe was a wealthy superintendent of the University, and he, and his wife Martha, were a great aid to young Pre Raphaelite artists such as William Holman Hunt, Charles Collins, and John Everett Millais. The couple commissioned and bought paintings from the young artists, and even allowed them to stay in their Oxford home whilst they worked on commissions. The great friendship between the Combes and the Pre Raphaelites, can be seen in paintings such as Collins’ Convent Thoughts, which was painted in the Combes’ garden, and is now on display in the Ashmolean. There is a beauty in seeing paintings that started in the city, remain here, centuries later.

However, it is not only painters of the movement who have a close connection to the city: they were influenced by others, who had fallen under the charm of Oxford too. The celebrated contemporary art critic John Ruskin is just one such example. After studying at Christ Church College from 1836 to 1842, Ruskin lived on High Street, publishing famous books such as his Modern Painters. Ruskin’s philosophy focused on “truth to nature”. He appreciated highly detailed, intricate paintings, which accurately reflected the natural landscape. The Pre Raphaelites took this philosophy very much to heart.

Ruskin returned the appreciation, speaking out in favour of the movement in 1851 by writing a series of letters to The Times defending the movement from fierce critics, such as Charles Dickens. This created permanent ties between him and the brotherhood. A portrait of Ruskin composed by Millais, and still hanging in the Ashmolean today, reflects this bond of mutual appreciation between artist and art critic. In Millais’ painting Ruskin stands proudly amidst a wild Scottish landscape, leaning confidently against the rocks as an almost photorealistic river rushes by in the background. 

However, Ruskin’s influence on contemporary artists was much more than merely the direction to paint accurately and closely to the object they observe. In 1871 Ruskin founded the Ruskin School of Drawing; today the name also includes Fine Art. It is in this school that the teachings of anatomy, history, and theory of art and visual culture are shaping the next generation of fine artists.

From murals to museums, the Pre Raphaelites have left their marks all over this city. Sometimes discreet and obscure, yet ever present, the Pre Raphaelites decorated, taught, and enlivened Oxford in so many ways and in the remainder of their work we have a lot to be grateful for.

Government plans to construct ‘forest cities’ between Oxford and Cambridge

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Government officials have confirmed plans to construct “forest cities” within a new national forest stretching between Oxford and Cambridge.

The announcement is part of the government’s broader ambition to create an “Oxford-Cambridge Growth Corridor” that connects the university towns and facilitates innovation. It also aims to address environmental concerns about the impact of development on green spaces.

Alongside new towns, homes, and railway connections, the government will fund tree planting to create a new forest within a ten-minute walk of homes in the corridor, though its exact boundaries remain undefined.

During a speech in January, the UK’s Chancellor Rachel Reeves outlined the goal of transforming the region between Oxford and Cambridge into “Europe’s Silicon Valley” by investing in rail connections, building new homes, and attracting research and development activity. Proposed infrastructure in the region could add around £78 billion to the British economy, by some estimates.

The government’s forest announcement seeks to balance such concerns with its economic strategy. Environmental groups have criticised similar proposals since the late 2010s, expressing reservations about their climate effects on the climate and potential regional inequality. 

Emma Reynolds MP, Secretary of State for the Environment, said: “Our ambitious tree planting programme will help unlock growth, restore nature and create green jobs for the future.”

Plans for two other national forests are underway, including the Western Forest between the Cotswolds and the Mendips, which the government announced in March. A competition next year will decide the location of a third forest in northern England.

The forestry plans coincide with Keir Starmer’s presentation at COP30 in Brazil this week, where he is expected to call for a greener economy. The Department for Environment, Food and Rural Affairs (DEFRA) has also estimated that planting millions of trees could help create and support around 14,000 jobs.

Environmental groups remain somewhat sceptical of the scheme. Abi Bunker, Director of Nature Recovery at the Woodland Trust, said: “As global climate negotiations at COP30 begin in Brazil, and the world is focused on how we can protect the world’s most valuable remaining forests, this feels like a lost opportunity to demonstrate domestic leadership in the protection and restoration of the UK’s own precious temperate rainforests.” 

The forest cities plan is one of several ongoing government initiatives to promote science and technology in Oxfordshire. Other projects include the development of a 221-acre site next to the Harwell Science and Innovation Campus, as well as the conversion of an abandoned Debenhams building in central Oxford into a laboratory.

The lying life of authors: John le Carré and authorial double-lives

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“I’m not a spy who writes novels, I am a writer who briefly worked in the secret world.” This was said by the famous author John le Carré, who is finally getting recognised here in the University of Oxford, with the Bodleian Libraries  hosting the first ever major exhibition of his works. Titled Tradecraft, the exhibition explores the legacy of ‘David Cornwell’, Mr. John’s real name, along with evidence from his archives, seeing the daylight for the first time in a while. 

If you didn’t know, John le Carré is known for writing spy novels. His novels, though fiction, were influenced by his life before becoming a book writer. David Cornwell was initially an officer in Sectors 5 and 6 of Military Intelligence, more commonly known as MI5 and MI6. To protect his identity, he began using the pseudonym John Le Carré, until the year 1964, when The Spy Who Came in from the Cold became an international sensation and journalists set about investigating the truth. The British Press won the race and revealed the identity behind the author. This forced David Cornwell to resign, and John Le Carré  took over as a full-time novelist. But the question arises, is Cornwell’s case unique in literary history?

There have been numerous occasions of authors having unconventional careers alongside their writing. A notable example is Agatha Christie, who was a pharmacist’s assistant during World War I. This helped her concoct much more realistic murder methods than some of the more clichéd devices deployed in other novels, which definitely gave her the edge she is so famous for today.

Harper Lee, the author of To Kill a Mockingbird, was a ticketing and reservation agent, which exposed her to all the various types of people there are in the world. She learnt how people behaved when they were nervous, feeling boastful, trying to hide a fear. Her characters felt real because they were inspired from the everyday people she met. The small gestures were recognised, captured, and exposed. Thus, To Kill a Mockingbird became a huge success and is still remembered today.

Lawyers would most probably recognise the name of John Grisham, a law thriller writer known for writing books like The Firm. Your guess is correct: he was a lawyer himself before becoming a full-time writer. He practiced criminal law and spent countless hours in the courthouse. He first started writing when he witnessed the testimony of a young girl, the victim of a violent crime, and began asking himself: “What if the victim’s father took justice into his own hands?” This became the starting point for his book A Time to Kill.

There are countless other authors who have had a different background before, or maintained a career alongside, their writing. Personal experience plays a role whenever a person writes anything, whether it be as huge as a book, or as small as this article. It just makes reading more natural. But having first hand experience is one of the many factors which differentiate a normal author from a great one. It is not always about who has the better grasp on grammar, or who has a better imagination, but often just simply how familiar you are with the experiences you’re drawing on. To end, again, with John le Carré: “I was a secret agent and a novelist. It was the perfect combination. You were inventing your cover story and living it out at the same time.”

‘Undeniably and uniformly exceptional’: Uncle Vanya reviewed

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It is a privilege to attend the most anticipated production of the term, and even more so when that it is a triumph. As a piece of student theatre rivalling professional quality, Fennec Fox Production’s Uncle Vanya is doubtless one of the strongest performances to grace the O’Reilly this term. 

This production of Anton Chekhov’s classic is brought to life through a contemporary translation by Robert Icke. Set in the Russian countryside, everything stems from the visit of an old professor Alexander (Giles MacDonald) and his younger wife Elena (Laura Boyd) to the country estate left to him by his first wife. John (Ezana Betru), brother of the professor’s first wife, and the local doctor Michael (Rufus Shutter), both become enamoured by Elena while Sonya (Lucía Mayorga), the professor’s daughter, develops unrequited feelings for the doctor. 

The general overview: it is quickly established that almost all characters want something they should not. Their feelings, connections, and worldviews are tugged and tangled like strings throughout the play, and by the end are tense to the point of irreparable rupture. 

Like any play with such a large line-up of core cast members, it is constantly a riddle to work out what connects the characters. In this play, it is the past which is both perpetually present and unspoken: the death of Faith, Alexander’s first wife, looms over the house, as Faith lingers onstage throughout the entire performance. Never speaking a word, she (Elektra Voulgari Cleare) simply watches the action of the play unfold, truly haunting the narrative. As the relationships between characters boil over, the play manages to maintain its sense of melancholy without being  drowned in tension. 

But the first wife is not the only constant onstage presence: the set design, featuring a grand forest, ensures that the importance of the natural world becomes an undeniable feature. The destruction of these forests, which occupies Michael’s troubled thoughts, is mirrored by the gradual collapse of the relationships within the house. Every scene is framed by nature, as a bouquet of bare branches hangs from the ceiling, giving way to a pile of leaves at one point in the production. It builds a sense of desolation in combination with the soft lighting – in various moments it was tempting to imagine the actors on the verge of stepping outside into a cold afternoon. 

The instances of grief and loss are not regarded as themes wholly separate from this natural setting. The grave-like mound of soil, impossible to ignore in its central onstage position, at first seems like it ought to represent a garden or perhaps Faith’s death, but in fact serves as a reminder of the gradual death of our planet. The pile is rarely acknowledged in the production: in fact, the first time an actor interacted with it felt like such a fourth-wall break that the audience laughed. We all seemed to acknowledge the dedication of a production in including an element that would entail such a laborious clean-up act. 

Arranged in thrust layout, with a small collection of audience members on either side of the stage, Fennec Fox put the grand space offered by the O’Reilly theatre to good use. The ambitious venue matched the ambitious play. Rather than fall into the trap of grand furnishings for a Chekhov production, the choice was to create a singular open space, even utilising the overhead rigs. This was hugely successful: it felt like a theatrical production because it was centred around the interaction between actors, rather than the space which they occupy. The interchangeability between the natural space, the audience, and the home really evoked humanity’s relation to the forest. 

The actors were magnetic – the acting was undeniably and uniformly exceptional, and there was a tangible chemistry and connection between all castmates. Betru’s sudden explosion and forceful direction in the second half was gripping, while MacDonald’s exit left me unexpectedly teary – he encapsulated the heartache and longing of a generational detachment in such a controlled and careful performance. Shutter’s performance as the young doctor shone throughout. Whether he was charismatic or ignorant, smirking or snogging, his performance was appealing across the character’s emotional spectrum. As he and Mayorga sat at the audience’s feet, the complex dynamics between the two were palpable despite their stillness. 

Ultimately, however, it was Mayorga and Boyd as Sonya and Elena who stole the show. They both gave electric performances, and the tension between the two characters was heartbreaking. Mayorga’s youthful and innocent energy balanced Boyd’s maturity and strength with admirable cohesion. It is no easy feat to convey the depth of the relationship between two women from different generations, especially when such stiff comparison will inevitably be drawn, but they handled it with delicacy and honesty. In such an extended production littered with emotional soliloquies, one would expect a disconnect in the moments of grandeur, but there was no sense of competition between the two actors. It is impressive for a cast to be consistently talented at staying still and crying in such an effortless way, but the ease of silence rang true throughout the entire performance. 

Uncle Vanya was clearly rehearsed to perfection, but nothing ever felt laborious. The production felt driven only by pure compassion for the characters. For nearly three hours, I felt like I was watching a group of people try to connect with each other, rather than merely observing actors on a stage.