Wednesday, May 14, 2025
Blog Page 207

The centre cannot hold – What is the Republican Party?

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(If some terms seem alien, a much more detailed account of the midterms can be found here. The analysis reflects the state of play in February, but some explanations may be of use). 

When Lloyd Grove, staff writer for The Washington Post, trekked to suburban Arizona in 1994 to visit the 85 year old Barry Goldwater, he was told by the former senator and presidential nominee “I haven’t changed my outlook at all.” The Post’s article addressed some of Goldwater’s recent apostasies, particularly his support for gay rights – as a man for whom libertarianism was a commitment and not a fig leaf, discrimination against homosexuals struck him as wrong. 

Goldwater was a conservative, a conservative for whom individual rights and liberties were the starting point – in the article, he came out swinging (inaccurately) against Bill Clinton’s doomed healthcare plan. Yet by the 1990s, Goldwater had also become alienated from a Republican party which seemed less concerned with freedom than with prurient, ‘church-ordained’ forms of social control. Addressing the transparently dominant right of the GOP, he said, “You are extremists, and you’ve hurt the Republican party much more than Democrats.” 

Barry Goldwater was obliterated in the 1964 presidential election by LBJ, who with absolute justification had painted him as an extremist (Goldwater had suggested the use of nukes in Vietnam), and was also widely seen as the forerunner to Reagan, conservatism’s supposed apotheosis. The gruff Arizonan who had been enthusiastically supported by both Joan Didion and Hillary Clinton, the hawk who deserved to be beaten in 1964, had in his twilight years nonetheless become conscious of a dark strain in American conservatism. 

I wonder what he would say now. 

I do not have the time, ability, or even the knowledge to properly recount how the snake came to be in the garden, all I know is that it is there. There is a malevolent force in American life, and it serves nobody to be anything other than perfectly transparent about this reality. In 2022, the Republican Party is driven by deep and dangerous impulses; it poses a profound threat to democracy, to personal freedom, and to the very safety of society’s vulnerable. The most appropriate tone for writing about the so-called ‘Grand Old Party’ is one of indictment. 

We start with democracy. 

Roughly 70% of Republicans believe that the 2020 presidential election was stolen, and not for no reason. Of course, their reason has nothing to do with  truth –  the claim has always been nonsense – and everything to do with the fact that Republican politicians and media figures have fed them lies. From Trump downwards, this lost cause mythos has percolated to all levels of the party – indeed, it has been deliberately and maliciously spread. 

A bumper 538 investigation recently surveyed all 552 Republican nominees for the most important offices up this cycle (Senate, House, governor, secretary of state, attorney general) and found that 200 totally rejected the results of the 2020 election. A further 62 “raised questions” (innocently and in the spirit of curiosity I am sure) and 122 either dodged or rendered no comment. 

When 2024 rolls around, many of those who have actively endorsed Trump’s coup attempt will hold power. Extremist Republicans will control governorships, perhaps even in crucial swing states (whilst Doug Mastriano looks likely to lose in Pennsylvania, the same cannot be said of Kari Lake in Arizona), they will oversee elections as secretaries of state, and they will enforce state laws as attorneys general. 

Part of the reason why Trump failed to force a truly sundering moment two years ago was that his election denialism lacked adherents in the key posts of key states. Whatever happens in these midterms, that will be much less of a problem for him next time. 

And it looks as though there will be a next time. I think Trump will run, and if/when he does, he will almost certainly be the Republican nominee; frankly he will be quasi-coronated. According to polling averages, Trump leads a prospective Republican field by 25 points and shows no signs of drastically slipping. In the subsequent general election, it is almost impossible to imagine Trump getting below 45% of the vote and very easy to imagine him actually winning. 

This is a man who has proudly proclaimed his willingness to burn the whole damn system down out of spite and wounded pride. On January 6th 2021 he, in the words of noted liberal stalwart Liz Cheney, “summoned the mob, assembled the mob, and lit the flame”, a mob that sought to overthrow the transition of power and hang Mike Pence. We actually learned this year that Trump suggested his supporters had a point vis-à-vis the execution of his own vice president. 

The former president instigated an attack against the nation which at that point he still led, and his party let him get away with it. Every House Democrat voted to impeach Trump, as did 10 brave House Republicans (8 of whom will not be in Congress come January thanks to Trump’s programmatic policy of vengeance). Republican senators, Leader McConnell most of all, knew that if 17 of them voted to convict Trump on the articles passed by the House, then the Senate would be able to bar him from holding public office ever again, and they did not do it. Only seven Republicans voted to impeach, 10 short of what was required. 

Certainly their motivations were complex: surely some were cowards, some deluded, some cynics, some authoritarians, some displayed Philip Roth’s “shameless vanity of utter fools”, but all saw the knife at the throat of American democracy and left it there. 

Now, the Republican party draws its energy, its foremost reason for existence, from its efforts to install and uphold various forms of minority rule. Even excepting Trump for a moment, the GOP seeks to insulate its exercise of power from the will of the voters.

In the upcoming Supreme Court term a case called Moore v. Harper is set to be litigated. State legislators in North Carolina are asking the justices to endorse the “independent state legislature theory”, the idea that the Constitution gives sweeping powers to state governments to oversee federal (i.e. presidential) elections in their own states. 

Presidents are not chosen directly by voters, but rather by the electoral college, a body of 538 electors who represent the people of the 50 states. Larger states have more electors and smaller states have fewer – California for instance boasts 55 compared to Wyoming’s three. A presidential candidate achieves victory when they cross the 270 vote threshold. All states’ electoral votes are tied to the popular vote of that state meaning that the electoral college typically selects the candidate with more votes nationally – though of course this did not occur in 2016. 

However, the endpoint of the ISL theory is that legislatures could choose to dismiss their state’s presidential popular vote and send their own set of electors to the electoral college (as Trump and his allies suggested swing states do in 2020). In practical terms this would permit a Republican legislature in a state ‘won’ by Joe Biden to dismiss this result and cast the state’s votes for Trump. 

To most rational people, this looks like naked authoritarianism, and it is. But supporters of the ISL theory might argue that since state legislatures are elected, and since they chose senators until 1913, it is not fantastical to argue they might also be able to choose electors. Nonsense of course, but even more pernicious when one considers what state legislatures in swing states are actually like. 

During the very red 2010 midterms, Republicans flipped Wisconsin’s Assembly and  immediately gerrymandered it to a frankly ludicrous degree. In the 2018 elections, Democrats swept Wisconsin’s statewide offices; they reelected Senator Tammy Baldwin by 11 points and unseated the incumbent Republican governor, Scott Walker. They also won the popular vote for the Assembly by 8.2%. This convincing margin (the national popular vote in the 2008 presidential election, for instance, was Obama+7.2%) not only failed to produce a Democrat-controlled chamber, it barely dented the Republican supermajority. When all the votes had been counted, Republicans in the Assembly had lost one seat and retained control — 63 seats to 36. 

In what can only be described as a *fuck you* to voters, Republicans in the lame duck session then passed laws reducing the power of the incoming, popularly elected, Democratic governor, Tony Evers. So, to recap, Republicans in the Assembly built an election-proof wall that could only be surmounted by a D+20% wave (or pigs flying over it) and then used that power to weaken the importance of voting in determining the direction of state government. It is also worth noting that despite Joe Biden narrowly carrying Wisconsin in  2020, the ISL Theory would permit the aforementioned Assembly to instead select 10 pro-Trump electors. 

The Wisconsin case is a perfect example of how minoritarian structures can be used to reinforce one another. Another is the Supreme Court. 

There is an unpleasant symbiosis between the Court and the Republican party. I have explored the inflection point that was Barack Obama’s failed nomination of Merrick Garland elsewhere, most recently here, but it is worth recapping quickly. 

Essentially:

The death of Antonin Scalia in February 2016 meant a Court vacancy and another appointment for Obama. Scalia was the fifth conservative, and so the installation of a liberal justice would have flipped the body’s balance in favour of liberals. Prospective justices must be confirmed by the Senate which, since the 2014 elections, had been controlled by Republicans under Mitch McConnell. McConnell, unprecedentedly, refused to grant a hearing for Garland and held the seat open until 2017 when the new president, Donald Trump, could nominate a conservative. 

It is widely believed that the vacancy left by Scalia was a key motivating force for evangelicals and movement conservatives (the socially conservative grassroots dominant since the 1980s) soft in their support for Trump against Clinton. Their ‘homecoming’ likely helped him to eke out his electoral college win (whilst losing the popular vote). 

Over the course of his presidency, Trump nominated and saw confirmed three new justices. Or, to put it another way, a man who attained his office through a minoritarian pathway (the electoral college) used a body which systematically overweights Republicans (the Senate) to lock in conservative control of the Supreme Court for a generation. 

With its right ascendant, the Court has frequently implemented Republican policy on the party’s behalf; most recently  through the Dobbs decision which overturned the right to an abortion, held by women for half a century. Of course, none of this validates my “symbiosis” theory. In order to do that, one must illustrate that the Court has consistently ruled in ways which maximise the electoral power and advantage of Republicans. 

Well, it has. 

In the 2010 case, Citizens United v. FEC, the 5-4 Court wielded the First Amendment to invalidate extant restrictions on campaign spending by independent organisations (like corporations). The expectations at the time that this influx of “dark money” would aid Republicans proved prescient and were borne out in academic research. Similarly, 2013’s Shelby County v. Holder decision, which axed swathes of the Voting Rights Act, permitted Republicans at the state level to impose onerous restrictions on the franchise.  

The cumulative effect of all this self-dealing is thus: a conservative Supreme Court dismantles the guardrails of American democracy so as to advantage Republicans who would otherwise struggle to win national power. The Republicans then use this anti-democratic edge to shore up their control of the Supreme Court which in turn goes even further in its support for Republican political ends – for instance by…oh I don’t know….upholding segments of the independent state legislature theory?

And so on, and so forth, cracking and eroding.  

If democracy is a tree then American conservatives have spent years poisoning the soil. Now it might well be weak enough to cut down. 

And what is it all for? What does the Republican party actually want? Well, part of it is simply grievance, the GOP serving as a receptacle for American bitterness and resentment.  One of the sharpest ever bits done by the satirical news organisation, The Onion, was this report immediately following the defeat of Mitt Romney in 2012 titled After Obama Victory, Shrieking White-Hot Sphere of Pure Rage Early GOP Front-Runner For 2016

Another part of it is slavish devotion to Trump. That the Rs can’t seem to quit the big orange hunk seems self-evident at this point. 

Then there are Republican policies. Unfortunately, there is not one recent comprehensive statement of what the party would like to do in office; in 2020, the Convention neglected to develop a policy platform, in effect pointing at Trump and saying “whatever he wants.”

Thus we are forced to look at the following: (1) what Trump did in office, (2) what high profile national Republicans say they want to do after the midterms, and (3) what state-level Republicans have done since Biden was inaugurated. 

In the case of (1), we are forced to conclude: not much. The only flagship piece of partisan legislation to pass during Trump’s administration was a regressive tax cut which failed to drive economic growth but did balloon the deficit.

There is, however, a bit more meat on the bones of (2). Whilst Mitch McConnell has been coy about Republican plans for 2023 and beyond, the ghoulish head of the NRSC (National Republican Senatorial Committee), Rick Scott, has laid out plans to (among other things) sunset Social Security, Medicare, and Medicaid after five years. 

Even more concerningly, the most likely Speaker next Congress, Kevin McCarthy, has been transparent about his intent to use the looming debt ceiling negotiations in order to force spending concessions. What this means in practise is that House Republicans intend to put a gun to the head of the economy and threaten a default on the debt of the *United fricking States* unless Biden cuts entitlement programmes. The party’s newfound apocalyptic ideation might even make them pull the trigger. At any rate, it should be of some concern that Republicans, not yet back in office, are already toying with an economic crisis. 

Finally, we must turn to (3). GOP state legislatures have been rather busy; unfortunately their chosen policies seem to reflect the controlling judgement which so repelled Goldwater. Republicans have been rolling back LGBTQ+ rights, particularly those of the trans community. 

In 2021, Arkansas became the first state in the nation to ban gender-affirming care for minors (a law currently under temporary block by federal courts). It has been noted (most recently and prominently by Jon Stewart in an interview with Leslie Rutledge, the state’s AG) that Arkansas typically follows the American Medical Association’s advice, i.e. in treating paediatric cancers, but has overruled the avowed consensus of the medical community as it pertains to trans children. The obvious reality is that the hypocrisies labelled “protecting the children” are being used as a cudgel to punish vulnerable minors and their families, simply for existing. 

The state(s) arrogantly wading into private, particularly medical, affairs based on the prejudices of Republican authorities appears the defining feature of the party’s recent legislating. Republican lawmakers have been banning books which address topics of race and sexuality, they have been prohibiting in classrooms recognition of the very existence and validity of LGBTQ people, and they have been implementing comprehensive bans on abortion with predictably tragic consequences. 

This jaunt through the house of horrors that is Republican policy reveals the following: the party’s economics are still broadly plutocratic, altered from (say) 2005 predominantly by their practical wedding to the party’s new tear-it-all-down philosophy. Republican social policies are hammers applied to things which look nothing like nails, theocratically coded morality plays which marginalise, victimise, and harm. Looking at them, it is hard to dismiss the now-famous Adam Serwer judgement, “the cruelty is the point.”

The Second Coming, the Yeats poem from which the broader title of this column is taken, contains the line “Mere anarchy is loosed upon the world”. In the context of American politics, that passive voice is misplaced. In the context of American politics, Republicans have unleashed anarchy, 

It is poorly understood quite how dangerous and extreme the party is. Perhaps American democracy survives a second Trump run, even a second Trump term – to be honest with you, it probably does (despite the inevitable weakening and hollowing that would occur). But, for the first time in a very long time, it might not. This possibility that the world’s totemic democracy might be irrecoverably damaged must concern anyone who still believes that liberal democracy is the best method we have for organising society.  


What is the Republican party? An entity which does not merit a shred of political power.

Image: CC:2.0//Andy Felliciotti via Unsplash.

Broad Street: Pedestrianisation in the heart of Oxford

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Broad Street is undergoing a transformative “pedestrianisation”, which will soon enter an 18-month trial period. Aiming to provide more public space for Oxford’s community, a wider pedestrian area with seating and green space will be made available.

The County Council intends it to be “accessible, welcoming”, benefitting wellbeing by providing a place for socialising, leisure, and events.

The city also moves one step closer to a greener, car-free centre through the removal of parking spaces and travel restrictions for vehicles, mainly cars. However, buses and bicycles are excluded from this and disabled parking spaces will remain available. 

The temporary pedestrian area was inspired by Broad Meadow, and the Council now hopes to emulate the success of this previous scheme. Broad Meadow brought in more than 100,000 people over the course of July to October, with 90% of survey correspondents wishing to return. 

This was similarly endorsed by multiple Broad Street businesses – Café Crème, Italiamo, Blackwell’s Bookshop, Crepes O Mania, and The Buttery Hotel. Oxfam’s manager Dage Loranca thinks this initiative in the heart of Oxford will have a positive impact, telling Cherwell “[it will be] an opportunity to engage with the community”. It is also hoped that the pedestrianisation will bring about a spike in sales and help to sustain independent Broad Street businesses in these gloomy economic times. 

The future looks brighter for cyclists too, as the removal of constant traffic will make road conditions a lot safer.  Chair of the Oxford cycle safety group Cyclox, Alison Hill, told Cherwell that “things are improving a lot”, although in the past cyclists faced a “hostile environment”.

Cyclox members, who have previously campaigned for a car-free Broad Street, are generally “really, really happy” with the results. However, Hill opposes the word “pedestrianisation”. “We don’t quite like the term” she reveals, clarifying that the phrase creates confusion over the fact that cyclists will retain access to Broad Street. 

Although there seems to be a generally positive consensus about Broad Street’s future, the current construction of the pedestrianised area has led to some dissatisfaction, particularly amongst Trinity, Balliol and Exeter students, whose colleges are all connected to Broad Street. 

One described the current situation as “unpredictable, with bikes everywhere”, while another expressed genuine concern about being run over by “either a car or like seven bikes from three different angles”. Numerous fences and bollards have done anything but help the situation, restricting cycle space still further. However, support for the initiative among students generally remains, with one Trinity student telling Cherwell, “the building process is a pain but I do hope they make it fully pedestrian”. 

According to a Country Council spokesperson, contractors are aiming to complete the project in the week of October 24th, with plans for it to stay in place for 18 months. After this trial period, it will undergo a six-month-long consultation for review.

Councillor Liz Leffmann, leader of the Oxfordshire County Council, hopes that it will eventually become a permanent feature.

Job opening: Oxford student wanted

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HMG is seeking to hire a PM.

Qualified candidates should possess:

  • An Oxford degree
  • The ability to manage large groups of disagreeable fellow Oxonians
  • No sense of dignity

Experience, competence or membership of OUCA are not expected.

Pay is competitive. Initial contract is 6 months, with possibilities to extend up until January 2025.

Please send a cover letter and CV to [email protected] before October 31st to be considered.

I Hope You Fall In Love And I Hope It Breaks Your Heart

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We need to talk about Pasoori. It’s Coke Studio’s hit single by Ali Sethi and Shae Gill which has taken the world by storm. Ranked third on Spotify’s Global Viral 50 list, it was the first Pakistani song to feature on its global song chart. It was sampled in Disney’s Ms. Marvel, has been covered by a Dutch vocalist, a Californian violinist, and me, all the time, in the shower. You might have heard it on Tik Tok, or equally on radio stations from Delhi to London. And if you haven’t, you need to.

Pasoori is more than just a catchy hit which broke out of Pakistan; it’s a beautiful and progressive statement of social and cultural values. Dubbed ‘quietly subversive’ by the New Yorker, it’s subtly provocative all the while feeling profoundly familiar, invoking classical themes and drawing on a number of cultural sounds. Sethi describes it as a blend of raga and reggaeton (“ragaton”), but it blends Turkic, Arab, Persian and Indic influences into a collective inheritance: Turkish baglama alongside Afghani rubab alongside the mandolin. The fusion genre is absolutely stunning, fiercely demonstrating what Sethi calls ‘the free movement of ideas and melodies through song’.

Sethi says a lot through this song. Its lyrics were finalised just 12 hours before the music video was filmed, and it reads more like poetry than pop. To understand its message, you have to consider the context of its production. In 2019, as tensions in Kashmir escalated, Pakistani artists and actors were banned from working in India. Tours were cancelled, prominent Bollywood actors returned to Pakistan, and the mood turned sour for artists on both sides of the border. Despite political tensions, Pakistanis have historically consumed Bollywood movies just as Indians do Pakistani dramas – a huge blow had just been dealt to the cultural exchange between the two nations. That’s why it’s all the more interesting that Pasoori hit No. 1 on Indian charts, just as two Indian teens were arrested for listening to Pakistani music. The song’s success speaks to artists’ ability to dissolve borders, even as they remain as tense as ever.

It almost comes as no surprise, then, that Pasoori follows star-crossed lovers, with potent lyricism that is passionate, uplifting, and full of anguish. Written in Punjabi, a language spoken on both sides of the India-Pakistan border, the lyrics grieve for a love that never was, beseeching the listener to end the lovers’ separation; in the chorus, “My love, don’t let this distance reign”, and the bridge, “Don’t let these lovers be in pain”. This isn’t a clichéd song which asserts that love conquers all, whatever challenges it faces. It encompasses the pain of the separated lovers, decrying the injustice of it all, and dreams of a fairer world. Love itself is given no power, it simply exists, regardless of the world around it – Gill sings, “I forgot about my chains \ and people’s refrains”. It exists, regardless of morality – “If your love is poison \ I’ll drink it in a flurry”.

I should add, rather unhelpfully, that I don’t speak Punjabi, and many of the words used are difficult to translate. For example, the expression ‘my love’, mere dhol, used in Pasoori also means ‘my drum’, as though invoking the sound of a heartbeat. Pasoori itself doesn’t lend itself to an easy translation – it can mean ‘conflict’ or ‘impatience’ depending on the context. The ambiguity in the title captures perfectly the lovers’ situation. Are they simply waiting for one another? Or has some conflict kept them apart?

A song like this isn’t particularly bold or new; classical desi music is full of examples. Only, it feels ever more prescient in today’s world of fortified borders and isolationism. This song, this conflict, has struck a global nerve. And as with all great pieces of art, it faithfully reflects whatever interpretation we project onto it; the border in question might be India and Pakistan, but it could be the US and Pakistan – Sethi spent his life between these two places. Pasoori could equally be an anthem for the diaspora, people whose lives are truncated by borders and who are isolated from their family and culture.

Upon watching the music video, I was struck by another conflict: a conservative history, and a progressive future. The striking visuals and gorgeous soundscapes tell a powerful story of identity and authenticity. To me, the conflict is with one’s own identity. 

The video aesthetic captures the traditional crux of the song while feeling contemporary, reflected in the singers’ modern interpretations of traditional outfits. Sethi wears a striped kurta and matching cap, what one might wear to the mosque, but with bold colouration and futuristic sunglasses: as he describes it, ‘of the past and of the future’. There are gorgeous scenes of a girl with a nose to ear chain, bridal jewellery turned gothic, and boys performing a traditional jhumar dance, kurtas flaring in an effeminate twirl. Although it took me a long time to decipher, there is what I percieved as queerness tucked alongside the old-Bollywood duet. Stills of a young man in gem-studded makeup, piercing gazes from a woman in a room of flowers, a boy in bright yellow and blue clothing; their meaning is just beyond reach, their stories untold. 

Shae Gill brings a slightly smoky timbre to the duet, very different from the high pitch of classical Indian female vocalist. And Sethi is singing masculine pronouns in a love song: “He said he’d come, he never did \ my heart lurched and slid.” I wasn’t surprised to discover, then, that Sethi is a queer artist, and has touched upon gender identity and sexuality in his work before, such as with his song Rung (meaning ‘Colour’) which celebrates LGBTQ identity. Perhaps unsurprisingly, when I listen to the song, this is the conflict that resonates with me the most.

And yet, for such subversive undertones, the heart of the song is the Ghazal, which is a form of amatory poem associated with Sufi Islam. The music video begins and ends with Sheema Kermani performing a classical Indian dance called a Bharatnatyam. The beat follows traditional Indian raga, which is a framework for improvised classical music. Pasoori readily evokes traditional themes while dreaming of an inclusive, bohemian future.

It’s hard to describe the boldness of this metaphor, and the importance of it going viral. The closest analogy I can think of is how Hozier’s Take Me To Church uses soul to align romantic gay love with love for God. Sethi admits that the appetite for Sufi music in Pakistan allows him to approach subversive ideas through the metaphors of Sufi poetry. He calls these metaphors ‘beautiful, deliberate ambiguities’. Like singing a love story as a man, to a man, perhaps.

Homosexuality has been criminal in Pakistan since the British Raj. Since then, religious fundamentalists have kept it so. Yet, the Ghazal has never been entirely heterosexual. Although we may now call this queerness, pre-modern Ghazals left the gender of the subject ambiguous, as they were concerned with expressing man’s love for God – the subjects were simply aspects of this divine beauty. Sufism emphasises pluralism, tolerance, and an inward search for the divine. It’s a far cry from what many (in the West and outside of it) perceive Islam to be, today. As Sethi says, ‘It’s unfortunate that we [Pakistan] are associated with closemindedness sometimes, especially in the West. And I think that our music and our art and our culture are opportunities […] to showcase the alternative: which is that long before they thought of it, we were it’. 

Men’s openly romantic or erotic attachments with other men in 19th century India ultimately shocked British missionaries enough to enact anti-sodomy laws in 1861. These were repealed in India in 2018, but remain in place in Pakistan today. Pasoori boldly reclaims our pre-colonial identity, reconnecting with the history of Ghazal and delivering a powerful, and very queer, message.

As its music video passes 300m views, and it remains on Pakistan’s top charts, it speaks to the heart of our understanding of love and God. Our collective hope for these star-crossed lovers must be that they teach us to be kinder to one another, that this song is indeed able to transcend ‘boundaries, borders and binaries’.

(Now go listen to the song, with captions on)

Things Forough Farrokhzad taught me 

I remember clearly the moment I met her. It was between the lines of a novel by Azar Nafisi. There she was, translated into French, just a tiny quote from her poems. And there I was, struck by her words, struck by the piece of her soul that was revealed to me.

I will never forget her, I will never forget her words. This small piece of herself which had been put on paper made me long to know more about her. I wanted to read more from this mysterious Iranian poet I had never heard of before. My sad aching heart needed her poetry. 

Forough, Forough, her name was sung in each of my memories. 

I searched for her in every bookshop, in every library of my parisian suburb. 

She kept disappearing, slipping through my fingers. 

She was not the kind of poet, one displayed broadly in French libraries and bookshops. She was the kind of poet society had tried to silence, she was the kind of poet one discovers with excitement and fear. 

After a while, as I was beginning to lose hope, I discovered this Persian bookshop in the XVth arrondissement ; librairie Perse en Poche, le monde persan et l’Iran. After searching for her shadow on every bookshelf, I finally found her. At last. I bought an anthology with all her poems translated into French. 

Although the translation lost some of its magic, I relished every word. 

There was something comforting in her lines, something real. 

Maybe it was her pain, her hope, her desire to live intensely, to love entirely. 

She wrote about love, about cheating, about despair, about depression, about hope. 

She wrote about being a woman in a world where women were treated as flowers under a glass bell. 

Her poems were groundbreaking, her persona was too. 

She was born in Teheran in 1934 and died in a car accident at the age of thirty-two in 1967. She was married at the age of sixteen to a man older than her, but soon divorced him after her affair was exposed. She lost custody over her son and was publicly criticised and set apart because of her daring poems (especially after publishing the poem “Sin” relating her affair with another man). All her life, she struggled with depression and was forced into a mental institution after a suicide attempt. She slowly got better while travelling through Europe and had a relationship with the married filmmaker Ebrahim Golestan who advised her to start filmmaking. 

What is striking in Forough Farrokhzad’s poetry is her utter desire to live and to love fully. She reversed the usual codes of erotic peotry by making men the subject of her desire and fully embracing her sexuality. The reason why Forough Farrokhzad is called the Persian Sylvia Plath is because she openly writes about her sorrows, struggles and inner soul. That is why her works were banned after the Islamic revolution in Iran;  a woman who thinks, a woman who feels is dangerous. 

Even today, if my English teacher did not show in class the cover of Reading Lolita in Tehran by Azar Nafisi,  I would not have rushed to the library,desperately trying to find the book. I would probably never have heard about the amazing Forough Farrokhzad. Maybe it is part of Forough Farrokhzad’s charm. Although her works are not much published in the West, that should not stop us from discovering her poetry. 

Forough Farrokhzad screamed. 

She never tried to fit into society’s conventions. She never gave up her art for someone. 

In fact, maybe it is her art which saved her. Maybe from herself, maybe from society,maybe from being forgotten I’ll never know. 

Maybe it is the first thing that I learned from her: to never give up writing. To never judge your art through how others perceive it. To never be ashamed of writing about your emotions, about your sexuality or about struggling with your mental health. 

She taught me to never be afraid of living a bold life. 

She taught me to try. 

In 1954, when she was nineteen she went uninvited to one of the most prominent literary magazines “Roshanfekr” (The Intellectual) with three poems in her hands. One of them, Sin, brought her at the same time fame and social downfall. 

And lastly, on a more personal note,  I would add that she taught me how to love. To not try to fit into a box, to always trust your gut feeling, to be passionate and unapologetic. 

Some may judge her personal life and frown upon her actions, but I admire her, because she was utterly real, and in a way utterly imperfect. Through her poetry she did not try to conceal her mistakes or her imperfections, but on the contrary she sublimated them. This can be explained by how Symbolism inspired her. Reading Forough’s poetry, I was reminded of this line by Baudelaire “tu m’as donné ta boue et j’en ai fait de l’or” in his poem Projet d’un épilogue pour l’édition de 1861 des Fleurs du mal. And it fits her poetic world perfectly. She took the “dirt” that society threw at her and transformed it into golden poems which remain forever engraved in history. 

As a conclusion, I would write that Forough Farrokhzad taught me how to live an imperfect life through art. It is true that we cannot change the imperfect sides of our lives, but we can try to turn them into “gold” thanks to poetry.

Image Credit : Den Store Dankse via Creative Commons

‘Maurice’ : A review

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‘Stop being shocked and attend to your own happiness’. The closing lines of this production provided thought-provoking advice for how we should all live our lives. 

Set in 1911, ‘Maurice’ is a commentary on the gay experience over a century ago. At the heart of this story is the evolving relationship between Maurice Hall, played by Daniel McNamee and Clive Durham, played by Oliver Tanner, in a dorm room at Cambridge University. Despite this production being set over 100 years ago, sat in the Michael Pilch studio on an October evening in 2022, it couldn’t feel more relevant. The audience is taken on an emotional journey of self-exploration as themes of class, sexuality and belonging are navigated, a journey many of us can relate to in our own university experiences. Scenes of hypnotherapy and homosexuality being treated as a disease also provide a stark reminder that for many across the world, this story is their present. 

The chemistry between McNamee and Tanner shines through as you believe from the very start the care they have for one another. The pair lay out a beautiful vulnerability as they navigate trust, intimacy, playfulness and tension creating a true-to-life narrative of what it means to love someone. We watch the character of Maurice develop from a naive teenager, confused as he is exposed to new ideas to finally having the confidence to be himself. Subtle changes in the tone and body language of McNamee echo the variety and changing relationships his character has with the people around him. Most notable is the contrast between the playfulness displayed as he explores new ideas with Clive and how this contrasts to the monotone conversation with his mother (played by Sarah Hussan) as these same ideas conflict with family traditions. Tanner also takes us on a journey conveying throughout the anguish at conforming to society’s expectation of him as the male heir to an estate. 

Although a fairly large cast, each member brings a memorable and impactful performance in their given characters. Joy radiates from Nora Baker as she provides light comic relief as Ada Hall. Siddhant Dhingra gives a flamboyant performance as Risley, one of Clive Durham’s friends and encapsulates the disdain of wider society through his character Dr Barry. Also playing a split role is Sarah Hussain who gives a witty display as Mr Ducie in contrast to a more pared-back performance of Mrs Hall, where through a few words we catch a glimpse of a conflicting narrative of love, fear and disdain. Anne Woods (played by Rani Martin) is an interesting character who we are introduced to as the story takes an unexpected turn just as Clive and Maurice’s relationship appears to be blossoming. Unaware of their past relationship, Martin lives up to the challenge of making us believe Ann is ignorant of the unfolding story between the two.  

The relatability of this story is apparent from the muffled laughter following Clive’s line “I’ll bring my books” when planning a fun day out, to the cry of Maurice that Cambridge was “never meant for the suburban classes” echoing the imposter syndrome many of us feel in Oxford. 

Bright clinical lighting marks the transition to the therapist’s office where we meet Mrs Lasker-Jones, played by Juliette Imbert. The distress of Maurice is contrasted by the cold and to-the-point questions Mrs Lasker-Jones poses which act as narration for the following action. Imbert gives an excellent performance, slowly revealing the complexity of her character. Her advice to Maurice to move to France where homosexuality is no longer illegal leaves you confused about how you should feel towards her, as she practices convserion therapy but you begin to wonder whether this is a facade, enabling her to give advice to protect homosexual men in a society that would forbid it. 

The production ends almost how it starts as we witness a blossoming relationship between Maurice and Alec Scudder, Clive’s servant. On opening night the role of Scudder was played by director Andrew Raynes, who gave an excellent performance. Scudder is in the background of many scenes, silent at work as action carries on, reflecting the unequal dynamic between the classes. Raynes gives a passionate performance as Scudder, displaying care and intimacy as well as anger at the freedom Maurice risks taking away. At its conclusion, we witness a heated discussion between Maurice and Clive with clever staging getting ever distant from the places where intimacy was displayed showing the declining relationship between the pair. Maurice gives a rousing speech which is followed by a tight embrace with Scudder, a poignant ending that leaves you wanting more.     

The professionalism displayed by both cast and crew deserves applause. The play jumps around various times yet these flashbacks and forwards in time are done seamlessly with light, sound, set and action all converging perfectly to create an effortless transition from one scene to the next, with Mitra Strainsbury’s versatile set design works as a college room, therapist’s office, living room and bedroom whilst thrust staging immerses the audience. 

Happier Production’s of ‘Maurice’ is a thought-provoking, witty and emotional piece that leaves you thinking for many days after you’ve seen it. Complex themes are handled with sensitivity and as an audience member, you truly feel part of the story. It is the perfect choice for the start of term with the potential for all of us to find a piece of ourselves in ‘Maurice’

Prêt for Prêt

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It was recently announced that two new Prêt À Manger locations are coming to Oxford. And yes, this is important news.

For many students, Prêt is a special spot. From bashing out the last of an essay in the morning before sending it off and rewarding oneself with a hot chocolate, to winding down with friends after a particularly excruciating tute, the uneven floors and perilous ceilings of Tudor Prêt on Cornmarket Street afford some surprising comfort and cosiness to worn-out students. I have oft made plans with fellow Prêt-loving friends with a simple “let’s meet at Prêt”. No qualms (how could there be!), just a delighted friend on their happy way to meet me.

As well as Tudor Prêt, there is the smaller Prêt at the end of Cornmarket, and the tantalisingly luxurious but lamentably distant Westgate Prêt. One of these, if Tudor Prêt has disappointed for lack of your favourite bakery item, will be sure to provide. Although queues sometimes stretch out the door, it would take far more to deter students from what is possibly one of Oxford’s most beloved cafés or lunch spots.

The new Prêts, we are told, will be located in Summertown and at Oxford Station. Students living out in Summertown need worry no longer about having to make an inhumane trek to put a Prêt cappuccino to their lips, and those travelling into Oxford by train will receive the warmest of welcomes to the city with a Prêt mocha or chai latte.

One of the reasons Prêt is so popular among students is its famous Prêt Subscription. If you tend, as I do, to get a coffee every day, the subscription is undeniably good value, coming to less than a pound per coffee if you buy one every day for a month, which is perfect to avoid over-spending on hot drinks during term.

Aside from being a place to caffeinate, Prêt has become a camouflaged Cupid, an uncharted Tinder. One may not initially associate the innocuous café with romance, but the 17th-century wall panelling seems to contain within it the power of match-making (watch out, Cherpse!). The number of Oxloves that are addressed to beautiful, mysterious strangers spotted in Prêt is notably high – but perhaps not so remarkable given Prêt’s swoon-inducing double-chocolate cookies and Berries and Cherries smoothie, which make it of little wonder that there is an unnaturally high concentration of giddy individuals in the place.

I am far from alone in my Prêt-thusiasm. The Facebook Group OxPrêt has garnered nearly a thousand participants since its creation in May this year. The success of the page, which updates its subscribers on the current status of each Prêt (you are told Tudor Prêt doesn’t have ice, so don’t bother with that iced latté you were dreaming about), is testament to a certain Prêt culture within the Oxford student body at large.

OxPrêt founder Jenny Grehan-Bradley told Cherwell that while she initially founded the group as a “joke”, as she and her friends were frustrated about “wasting time going to Prêt and finding out there’s no ice”, she was surprised that “after 20 minutes we had 100 members” – rapid growth indeed. A celebratory post to mark reaching 100 participants was not the end, however, as the group has gone from strength to strength, regularly welcoming new members. Jenny stated that it was especially unexpected for her that the participants of the group have extended “beyond [her] social circles”.

Daily photos shared in the group of members claiming their Subscription drinks, munching on croissants or proudly sipping on those coveted smoothies make the page “a community in its own way”, as Jenny states. Jenny’s own go-to is an “iced caramel latté – but if there’s no ice, a flat white”.

The café, and, now, the Facebook group, have united coffee lovers and “no ice” lamenters from across the university. Like puffers, the RadCam’s poor wifi, and Oxfess, Prêt has become a bit of a university-wide inside joke, if an especially fond one. And so, with the news that a whole two new Prêts are to arrive to the city in the coming months, Oxonians can, fully caffeinated, rejoice.

Image credit: Basher Eye/ CC BY-SA 2.0 via Wikimedia commons.

AJ Tracey: Live and Direct from the Oxford Union

AJ Tracey, the West London rapper, songwriter and producer, spoke at the Oxford Union on Monday 17th October.

The talk gave insight into Tracey’s musical achievements and personal background, as he discussed his journey from Ladbroke Grove to the top of the UK charts. Walking into a packed chamber, the rapper was met with rapturous applause, although the Union stage represents a very different space to Tracey’s usual festival performances.

Taking questions from students, the rapper was asked whether it was a risk to pursue music from his background coming of a single-parent, low-income household. However, Tracey recalled that it was an easy decision to make. “Life is about risks,” he told the chamber. “A life without risks is not a life worth living. But evidently, music was the right decision for me.”

He also admitted that, contrary to widespread belief, his favourite song was “Little More Love.” 

During the talk, Tracey also recalled his experiences with discrimination and racial profiling. “I’ve faced discrimination every step of the way. I remember my Spanish teacher in school bringing me and my black friend to the front of the class and asking the class: what’s the difference between you and them? Hearing her say “these two are more likely to fail than you lot” was difficult to hear.”

In light of the discrimination he faced, however, Tracey has just established a fund to support Black and Ethnic Minority students at St Peters College, Oxford.

Asked about his motivation for establishing the fund, he returned to his own background, saying Oxford was somewhere where he would have loved to be educated. As an establishment which is “a privilege to attend,” the rapper aims to “help underrepresented students have an easier time.” 

Aiming to improve diversity at the university, Tracey claimed that small steps are needed to make big progress, starting with things as simple as a more diverse food menu in college halls. 

“From replacing laptops to sorting out travel,” Tracey’s fund will provide students with essential financial support. Outreach is also a key part of his plan, which aims to visit underprivileged areas to encourage young people to apply to Oxford. 

The rapper emphasised the importance of the fund, saying “if the system is weighted toward white students, it’s up to people like me to level the playing field. There is a lot more education we need to give out regarding white privilege.” 

Tracey says he is prepared to face criticism about the fund, commenting that “some people see it as unfair that white students are not getting the same funding.” He acknowledged that more education and outreach is needed to ensure that racism is challenged in society, and is prepared to face any criticism he may receive. 

These concerns come after the rapper Stormzy was denied the opportunity to set up a similar scholarship for black students at Cambridge. In light of this, Tracey commented; “It’s better not to dwell on things that have been denied. At least we’re doing it now.” 

He emphasised that he was content using his platform to promote social good, regardless of the consequences. “If you make a platform you can do what you want with it,” Tracey said, highlighting that, most of the time, the people who judge him are not practising what they preach. “No one can choose what I do with my platform.” 

“Warm discussion” disintegrated, but Univ finally agrees to turn on heating

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University College finally agreed to turn on its heating today, after refusing to do so for the first weeks of Michaelmas Term. This decision has been reached after a Town Hall meeting between students and staff on 18th October, which left several students feeling “distressed, upset and angry”. 

Last week, Univ students froze in “sub 10 temperatures”, while JCR representatives met college officers to discuss the cost-of-living crisis and impending energy shortage this winter. The Domestic Bursar, Angela Unsworth, sent a follow-up email to students on Monday 17th October, listing ways in which they could help to reduce college energy consumption. In the email, Unsworth admitted, “it is not going to be an easy winter”, but made no mention of plans to turn on the heating at Univ.

Approximately 400 Univ students were affected by the lack of heat, both in college and in off-site accommodation. Many contacted the Domestic Office in response to the email, prompting Unsworth to organise a “Town Hall” Q&A session for interested parties on Tuesday 18th.

Student attendance at the meeting turned out to be far higher than Univ staff initially expected, and the JCR President persuaded Unsworth to move its location to the college chapel, so more could attend. One Univ student told Cherwell: “it felt as if the Domestic Bursar didn’t want to make the meeting accessible, and she kept changing details randomly at very short notice.”

The University College chapel was filled with concerned students when the Town Hall started, for what Unsworth hoped could be a “warm and considered discussion”. However, the chilly matters at hand became heated as students started to question Univ’s “contradictory and confusing” policies.

Several attendees asked how the lack of heating could be justified, given the 11% increase in rent at Univ this academic year. Questions were raised over whether the additional rent was being used to cover a pay-rise for staff, including those on salaries of over £90,000 per year, with one student saying, “why is it a priority to increase the wages of the highest earners in college when students can’t heat their own houses?” Unsworth replied that this wasn’t relevant to energy, adding “I think we’re getting off the point, aren’t we?”

Another student pointed out that a lack of heat causes serious problems for those with chronic health conditions, reporting that their asthma had worsened due to the cold. “There’s been no recognition of the fact I wake up wheezing,” they told the Domestic staff, adding that it took a long time to even receive a reply when they previously raised this problem by email.

Unknown to many, Univ does undertake to provide electric heaters for those with long-term health problems, but one student told Cherwell, “this information wasn’t made widely available and many disabled students don’t know how to access this support.”

Meanwhile, another attendee of the Town Hall said there was no provision at all for those suffering short-term illness, such as flu. Unsworth stated that anyone who was unwell could contact her, but the attendee said: “I emailed you when I was ill and I still haven’t got a reply.”

The impact of cold temperatures on stress and academic performance was also raised. “I don’t think we need a medical diagnosis to suffer from the cold,” one student said. Another told Cherwell: “It’s striking how our negative experiences are being disregarded and refuted … Does Univ have no moral obligations to care for the welfare and wellbeing of its students?”

Towards the end of the meeting, Unsworth mentioned plans to turn on the heating for short amounts of time as of next Monday, 24th October. When pressed, she described plans to heat well-insulated rooms in short bursts throughout the day, but the overall message remained ambiguous. She concluded the Town Hall saying “you’ll have to wait and see,” causing further concern among students.

Coming under increasing pressure, University College revised its decision and decided to turn on heating today, confirming to Cherwell: “I want to assure you we have listened.”

However, one Univ student called the Domestic Office’s attitude “mean and degrading, though unsurprising considering the college’s history of disrespecting students (such as policing people’s rooms with surveillance during covid)”.

A further student, also in conversation with Cherwell, said: “College, especially the domestic bursar, Angela Unsworth, has failed us as students … They are gaslighting the student body insisting it is “warm”.”

In her email on Monday, Unsworth wrote: “With average overnight temperatures of 10-11 degrees, we are asking ourselves “would we put the heating on at home?” The answer is coming back, no; therefore we are holding off here too.”

However, a student who was particularly riled by this told Cherwell, “she’s a person who probably lives in accommodation where she can turn the heating on as she wishes, so she actually has no idea what we’re suffering.”

Some students at Univ considered protests against the lack of heating and the Domestic Office’s “utterly insensitive” communication. They are now relieved that the the college has taken notice of their complaints, although one told Cherwell, “it should have never reached this point”.

University College and Angela Unsworth have been contacted for comment. This article will be updated to reflect the ongoing situation and any responses.

When the Red Bull beat the Prancing Horse

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Amidst pouring rain in Suzuka, some number-crunching after the finish of the Japanese Grand Prix revealed that Red Bull’s Max Verstappen has clinched his second consecutive Driver’s Championship, with four more races to go. Whilst there will be no surprise in the paddock as to which driver is the champion, there was visible confusion and bemusement amongst those present in Japan as to the fact it happened in this race, a messy and incident affected event that featured just over half a race. Yet the Champion for 2022 is crowned, and deservedly so.

Inevitably, there is a desire to draw comparisons between this year and the 2021 season, where Verstappen controversially won his first crown. Both the champion and the season itself are in a good position to be compared year-on-year. Let us first discuss the champion.

Last year’s Max Verstappen was a ferociously quick driver fully aware that 2021 was his first chance to fight for a driver’s title. He pushed himself and his rival Lewis Hamilton to and beyond the limits of racing on numerous occasions, with his aggressive ‘elbows-out’ racing and an efficient Red Bull machine making him a real threat to the previous 6 years of Mercedes dominance and their esteemed and decorated champion. The tension between the teams and the drivers seemed to bubble, then boil and then explode as the season progressed, with results swinging from the one to another and the title being decided on the last lap of the last race in Abu Dhabi. The Max of 2021 had been at times rash, desperate, and reckless in his quest for glory, still the young aggressor fighting hard at the heart of one of the most intense seasons in years.

In 2022, carrying the number 1 on his car, the reigning world champion has retained, and many would argue even improved, his incredible speed and skill around the racetrack. But what has been more noticeable is his different attitude. With the pressure of winning the dream first championship off his shoulders, Max has been a more patient, calmer racer, more calculating about the risks he takes. And yet he has gone on to dominate the season like no one could believe, an unbeatable winning machine, capable of winning any race from seemingly anywhere on the grid, as evidenced by the recent races in Hungary, Spa and Monza. Each win has been undeniably impressive yet met with more subdued reactions. Each win has seemed inevitable. He is on track to break the record for most wins in a season (thirteen), already having won twelve this year. In terms of the battle for the driver’s championship, the Dutch Lion has cruised away from teammate Sergio Pérez and Ferrari’s Charles Leclerc, so markedly different from last year’s scrap with Hamilton, and now holds his second world title.

On the whole, 2022 has been of great importance to F1 due to it being the first season under a new sweeping set of aerodynamic regulations introduced to improve racing. Taking stock of the season’s eighteen races so far, it is fair to say that the regulations have done their job. The reduced ‘dirty air’ being thrown off the back of cars has made it easier to follow meaning battles can take place over extended periods of time round the racetrack. Who can forget the first race of the season, where three laps of incredible battling between Leclerc and Verstappen decided the race, or when the same happened in Saudi between the contenders, as well as lower down the field between the two Alpine drivers. Austria had a five car battle for eighth position, and Silverstone saw Leclerc, Hamilton and Pérez squabbling in a compact space. As such, it is clear that Ros Brawn’s dream has, to a certain extent, come true. There is the ability for closer racing, and as such the racing within races has been more consistently exciting throughout the field.

However, where this season has lacked in comparison to last year has been the blazing intensity. Maybe 2021 will never be matched, but still, it is a marked difference to what has ended up being Max and Red Bull’s calm procession towards the title. Admittedly, and painfully for a Ferrari fan like myself, the tightness of the championship battle has been reduced by an unnervingly consistent string of strategic and technical errors by the Scuderia, which have handed over the advantage of having the fastest car to a better run team, who, once they unlocked the secrets of their car, have never looked back. For so long, the season has already felt like a forgone conclusion. Also of note is that the playing field still has some way to go to being levelled out. This season has been a tale of two teams, and the all-conquering Mercedes of the last seven years are scratching their heads wondering how they fell away so sharply. The Silver Arrows are the only team hopeful fans could look to for another team to take victory, a wish so far without reward. There have been no McLaren Monza’s, or Ocon’s Hungaroring surprise. Instead the season has been a two-horse race, with a clear winner emerging with several furlongs remaining.

The Prancing Horse and the Red Bull have gone to battle. The horse has tripped and faltered, whilst the bull has grown wings and ambled to victory at 200mph with impressive dominance. 2022 has so far been an impressive and enjoyable year in Formula One, but it unfortunately bears more in common with the Hamilton era, rather than 2021’s slugfest.

Image Credit: Emperornie/ CC BY-SA 2.0 via Wikimedia commons.