Friday, May 23, 2025
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Book Review: Oxford Poetry ’08

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There are few better ways to begin a poem than with half a paragraph of untranslated Hegel. Andrew Zurcher’s (sorry: andrew zurcher‘s) ‘Lift’, which follows up this theoretical face-slap with a page or so of delicately spaced opacity, is a pretty perfect exemplar of OP08’s poetic style: neatly fragmented, formally intense – in sum, healthily avant-garde. Big-hitters Szirtes and Motion feel somewhat out of place amid all the ampersands & quick-cut linebreaks, and though the great J.H. Prynne fails to appear, a well-considered review of his latest collection makes up for it.

In fact, it’s the issue’s prose that proves the ultimate highlight. Taking on, amongst others, Ted Hughes, Shakespeare and Geoffrey Hill, the criticism is both insightful and highly polished, while the shorter fictional pieces tend towards an amusing and irreverent absurdity: one considers the London Underground as a parasite on the body of the city (‘The techniques of separating a metro from its host are innovative in their brutality …’); another presents a brilliant parody (or, at least, what I hope is a brilliant parody) of Martin Amis: ‘It was 2001, September 11th. You know, 9/11.’

If OP08 contains some decent work of the sort that is widely and wrongly castigated for pretension, it also contains some genuinely pretentious rubbish. On p. 56, the reader is treated to an ‘Email from Oxford’, presumably sent by one of the editors either to Katherine Duncan-Jones or to H.R. Woudhuysen, whose co-edited edition of Shakespeare’s poems is later reviewed. While their musings on authorship are vaguely interesting (‘Is the idea of poets collaborating unthinkable historically?’), they remain just that – musings in an email – and it is difficult to see their inclusion in an otherwise serious and professionally-produced journal as anything less than intellectual arrogance. The five-page preface with which the issue begins is similarly dull, written in an antiquated high-literary style that feels only partly parodic.

What the editors lack in prefatory restraint they nevertheless make up for with the boldness and harmony of their selection: Oxford Poetry ’08 is, finally, both cogent and exciting, and at the special credit-crunch price of £4 certainly worth an afternoon or two.

Four stars

Go West

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Immigration is nothing new to Europeans. Both in the  past and present Europe is remarkable for the way in which its peoples have a propensity to migrate.

And yet, over these past few years, questions concerning immigration seem to have acquired a new urgency in European cinema – highlighted most recently by the Dardenne brothers’ latest venture, The Silence of Lorna, and Ulrich Seidl’s grim migrant-epic, Import/Export, both unsurprising successes at Cannes earlier this year. (It is now as good as a tradition that the Dardennes should pick up some prize or other from the jury at Cannes.)

The Silence of Lorna is a film that cannot be summed up with any satisfaction; so, unsatisfactorily, it is the story of a young Albanian woman called Lorna whose recently acquired Belgian passport puts her in line to marry a wealthy Russian willing to pay for EU citizenship. She tries to save the life of her rent-a-husband drug addict, fails to do so, and descends into a madness that seems to offer the only moments of ethical clarity throughout the entire film. In an interview Luc Dardenne described the film as being about Lorna’s having to ‘accept or refuse the death of someone. Nothing can authorise her to do this. The spectator might think, ‘Given her situation, we can understand’. But in this case no.’ Certainly, the importance of Lorna’s choice is the hinge upon which the entire film rests, but this choice is eminently bound up in her social situation – the film is thus a covert attempt to, if not define, circumscribe Lorna’s social situation, the space in which her silence is articulated.

Import/Export is, if anything, an even grimmer and grimier affair, a film even more impossible to watch or understand. Talking about one of Seidl’s earlier movies, Werner Herzog claimed that he had never looked so directly into hell – Import/Export carries on in this tradition. Paul, an Austrian loner, is transporting old slot machines to the Ukraine with his increasingly grotesque stepfather, Michael. Olga, a Ukrainian nurse is making the reverse journey in search of money for her young family. Both find, at the end of their journeys, what can only be described as ‘hearts of darkness’ moments that leave the audience turning away, crying out, unsure how to react. The film seems to carry on until it is real, until the audience is left knowing that its events are really taking place. For Olga this moment occurs during a violent confrontation with a senior nurse, for Paul it is his step-father’s hiring an Ukrainian prostitute and capriciously demeaning her, a moment whose insufferableness is only heightened by the obvious fact that the prostitute is a real prostitute who does not know she is in a film, for whom the events projected onto the screen the events happening in the here-and-now of her life.

It doesn’t take much to see the similarities that unite these two films; the irresistible force of capital in people’s lives, the commoditisation of flesh, and institutionalised sadism are certainly all in the mix, but more importantly so is the overarching concern with how these forces impact upon the lives of individuals, and likewise what escape is possible when you’re an alien worker in an alien land. Because both films do end on what might provisionally be called escapes; Lorna escapes, at least for a time, from her would be executor, Paul leaves his step-father and takes to the road in search of a job, Olga seems to find the possibility of love, even in her own personal hell. But these escapes aren’t even conciliatory, they are structural survivals, offering nothing more than a conclusion. Each immigrant has made a choice, yes, but these choices are worthless, they are every one of them left at the mercy of the forces that have decided their fates at every crossroads they have encountered, all that can be salvaged is a faded kind of self-respect.

And this is what is at once so terrifying and rewarding about both these films, in them

all illusions have evaporated, what are left behind are images of the powerlessness of individuals moving across an emotionally deserted continent, of the difficulty of taking control of one’s life when immersed in the mass migratory patterns and economic forces of contemporary Europe.

And although not for the faint hearted by any means, these two films offer the more intrepid viewer what’s best about European cinema today – something divorced from the saccharine thoughlessness of Hollywood, USA.

10th Week The Fifth

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In the words of Europe, it’s the final countdown.

10 Mystery Jets – Two Doors Down Now it’s no longer summer, it’s easy to forget how this breezy paeon of young love, one of a host of delights, proved that reinventing yourselves as a slick teenpop doowop outfit, rather than a quirky indie group, can do wonders for your songwriting

Guillemots – Falling Out Of Reach For their equally ambitious second album, the perenially underrated Gills went R&B and it just about worked – a great record. But the best track by far was this; the best slice of chilled out soul you’ll hear in a long time – by the final coda, ou should be swooning

Black Kids – Hurricane Jane Having a genius like Bernard Butler produce your album is a very good thing, yet he nearly ruined this, the band’s best, leaving the original Wizard of Aaahs demo as one of the year’s slinkiest, most sincere tunes, with the best of basslines. Mind you, as usual, the Twelves remix reinvented the song brilliantly

Johnny Flynn & The Sussex Wit – Brown Trout Blues Taking a break from the beat, this rambling, contemplative, rootsy ballad knocked the spots off other anti-folk competitors to win charming young Johnny a place in everyone’s hearts and pants

Hercules and Love Affair – Blind OK, for linguistic purists, you really shouldn’t use such hideous intonation for ‘brighter’, but that’s kinda missing the point. That point being that to successfully bring back disco, you need a giant transsexual with the voice of a nightingale to front the grooviest song of the year

MIA – Paper Planes A relic of 2007 really, but also the best thing to come out of Sri Lanka via London since Ceylon tea, with less imperialist exploitation involved. Its success also owes a lot to The Smiths, No, really; it’s that trick of repeating each line twice over to get it in your head that helps make a truly great pop song

Florence and the Machine – Dog Days Are Over With its dogs and horses, it’s like Kate Bush. With its bellows, it’s like Joan Armatrading. With its ukulele, it’s like Patrick Wolf. See why it’s eqsy to love this euphoric anthem of new love and hope?

MGMT – Indie Rokkers I’m honestly not being perverse by choosing this over ‘Kids’ or ‘Time To Pretend’. It was either this or ‘Destrokk’. These B-sides are conventional, a bit too much like The Strokes, but also utterly absorbing and gutwrenching tunes with gloriously pretty melodies

British Sea Power – Open The Door A return to standard guitar songwriting for the top two, sorry. This isn’t cool, or danceable, or even a single – I can’t find an album version on youtube. But it is magicam magical magical and ace songwriting

The Last Shadow Puppets – Meeting Place  The strings that swoop and dive around this melody are bewitching enough, evoking Victorian carousels and that. The drumming is a masterclass in how to move a song along. The refrain ‘I’m sorry I met you darling’ is tearsome. But best of all is simply the tune; timeless and superior, and easily the best sing Alex Turner has ever (co-) written

And that’s a wrap…

Research at Oxford is "world-leading"

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Oxford University’s quality of research has once again been judged one of the best in the UK, coming second only to Cambridge.

The Higher Education Funding Council for England (HEFCE), which grades research undertaken at UK universities every 7 years, announced the verdict as part of its Research Assessment Exercise (RAE).

70% of Oxford’s research, submitted by 2246 staff, was deemed to be either world-leading or internationally excellent. This contrasts with Cambridge University’s 71% submitted by 2040 staff.

Oxford’s Vice-Chancellor, John Hood, said, “we are delighted with these results. Having submitted over 85% of our academics for assessment, this is a genuine reflection of the breadth and depth of Oxford’s research activity.”

Because of many variables assessed, there are several different league tables in the circulation. Tables based on the average research standard place Cambridge University first, but Oxford tops the charts that prioritise number of researchers assessed.

Of all UK universities, 54% of the work examined across the institutions was world leading or internationally excellent.

David Eastwood, HEFCE’s Chief Executive commented, “this represents an outstanding achievement, confirming that the UK is among the top rank of research powers in the world.”

RAE grading influences how £1.5bn of government funding is distributed to research institutions. The news is eagerly awaited by many universities concerned about their financial futures, amid predictions that the government will cut back on HE spending in the current economic conditions.

Wealthier institutions like Oxford have also lost money from their endowments in the economic downturn.

10th Week v.1.4

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20 Foals – Red Socks Pugie I really don’t like Foals, OK. Just this song. It’s some kind of fluke. Remember that

19 Vampire Weekend – Walcott As an Arsenal fan, this bizarre anthem to a misfit that references the Holy Roman Empire is even dearer

18 Cut Copy – Lights & Music Hard to choose one track from a great album of Aussie ’80s disco which is so much better than that sounds

17 Goldfrapp – Clowns The opener to gloriously fresh new record Seventh Tree, this wraps you up in strings and carries you far away to a much better and calmer place

16 Fleet Foxes – Blue Ridge Mountains They came, they saw, they conquered, but then this was always going to be their year; Neil Young had a comeback too. The mandolin and trebly piano on this track help to tingle the spine

15 TV On The Radio Shout Me Out This could in fact be any of the 11 tracks on Dear Science; every one is a classic. This is one of the most measured and uplifting

14 Wild Beasts – The Devil’s Crayon The tune and lyrics are entrancing, but this song’s genius really lies in its kaleidoscopic, joyous backing arrangement

13 Neon Neon Belfast Another album – Stainless Style – with a surfeit of knockout singles. But listen to the chorus of this in the back of a car through a lit up cityscape at night; you’ll fall in love

12 Metronomy – On Dancefloors Bizarrely, there’s no link for this woozy disco gem. Think Bloc Party’s ‘Like Eating Glass’ stripped down and spaced out. Or first check out Heartbreaker, which is nearly as good

11 Estelle – American Boy A great year for Esetelle, whose second album was loaded with crossover pop magic to unite R&B, pop and indie through the medium of great music

Tomorrow, the Top Ten. Oooo.

10th Week III

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30 Crystal Castles – Vanished The most radio-friendly single by the rather too cool electro duo

29 The Long Blondes – The Couples Again, no link – the band have sadly split after two records, and this peach of a pop song was the title track of the second. Like Blondie at their best

28 Yeasayer – 2080 Best use of a kid’s choir since Radiohead last year…also genius futureafroscifipop as sharp as a Gillette Mach 4. Just pips their other great tune, Sunrise

27 Stornoway – We Are The Battery Human Best use of a banjo since pretty well ever, on this giddy protest song against 9-5 jobs and waste paper

26 Dodos – Winter Recently reviewed; the most infectious strain from their superb if dyslexic album Visiter

25 Kings Of Leon Sex On Fire This was huge, but for once it deserved it; pop surely manufactured by German Bond villians in secret laboratories and slick shades. Great drumming too

24 CSS Left Behind It still sounds suspiciously like something else, and it’s still not as interesting as their first album. But it’s still bloody good to boot

23 Bloc Party – Mercury This promised so much. So much. Shame the album let it down.

22 Lightspeed Champion – Midnight Surprise Indie’s very own ‘Bohemian Rhapsody’ from the sweet as pie Dev Hynes. From the opening slide, it warms the marrow…

21 Santogold – Lights Out Inconsistent yes, but with this, ‘LES Artistes’ and ‘I’m A Lady’, Santi White gave us three brilliant brilliant tunes

20-11 to follow soon.

 

ITV drops Oxford Boat Race

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ITV has announced that it will not renew its contract to broadcast the Oxford and Cambridge Boat Race beyond 2010.

The network has decided to financially prioritise football over the historic Boat Race, despite 7.6 million viewers tuning in last year – the highest number of viewers since the event was first broadcast on the channel in 2005.

A spokesperson for the network said, “ITV has invested heavily in a fantastic football portfolio and therefore we will not be renewing our contract for the Boat Race, with the 2009 race the last on ITV1.”

“One of the most expensive events”

ITV’s decision may be part of cost-cutting exercise. The race requires various camera positions along the Thames and two helicopters overhead, making it one of the most expensive sporting events to cover.

The decision has come as a shock to many. The Chairman of the Boat Race Company, Giles Vardey, expressed regret at ITV’s refusal to renew their contract.

He said, “we are naturally disappointed that ITV has decided not to extend its coverage of the Boat Race beyond next March. Discussions are continuing with other broadcasters regarding coverage of the Boat Race.”

A spokesman for the Boat Race Company rejected claims the company would not be able to secure a contract as profitable as that negotiated with ITV four years ago.

“Back to the BBC”

He explained, “there is the assumption that there will be a drop in income. However, we do not know for certain until the negotiations have finished.”
He said the company would favour a return of the Boat Race to the BBC, which broadcast the event for over 50 years.

“There is a desire to see the Boat Race on terrestrial television and the BBC would be a preference, if possible.”

The BBC declined to comment on whether they would be bidding for the contract. Channel 4 and Five are also thought likely to bid for the rights.

Robin Ejsmond-Frey, a member of the Oxford rowing squad for the past four years, expressed sadness at ITV’s decision to drop the Boat Race.

“The race will go on”

He said, “I think it is a shame that ITV have decided to pull out, especially because I think they have done a great job in covering the race.”

But he added, “whatever happens, the race will go on; television or no television, sponsor or no sponsor, the Boat Race will continue – of this I am certain… as long as the spirit of amateur oarsmanship and sportsmanship is upheld, the essence of the race will remain the same.”

Other students have expressed their support for the annual Boat Race.

Tom Gilligan, a Worcester first-year, said, “I love the boat race and always have. I would prefer it on the BBC because there would be no adverts. I do think it is an important event as it shows university competition at the highest level.”

“A lost opportunity”

Some, however, have remained indifferent to its fate.

Chris Greenwood, a first-year rower, said, “I can’t see many people caring about it too much. I suppose it’ll be a lost opportunity to observe some fine technique, but I won’t lose any sleep over it.”

Another student commented, “I watched it for the first time last year. If I wasn’t at Oxford, I wouldn’t be interested in it. I only have four channels and so I wouldn’t be able to watch it if it was on Sky etc. But I would prefer other things to be on those channels much more than the Boat Race.”

10th Week, Pt 2

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Into OK, so I said I’d give you a useful party mix, but then at a stroke I’d run all DJs out of a job – anyone read Jack Marley-Payne’s brilliant critique in, ahem, Isis? – and also it didn’t seem conducive to picking the best track, only the most danceable. So instead you get a wonderfully subjective but incredibly high-quality UK top 40 of the year, giving you the best songs to come out this year. I must make it plain that I love ALL of these songs. It’s been a good year.

40 Laura Marling Tap At My Window She may be annoyingly young, but this is a lilting, seductive melody to dream to

39 Lykke LiI’m Good I’m Gone Hipster fave; strong Scandi pop

38 Howling Bells – Into The Chaos Widescreen taster for a highly anticipated second album

37 Gnarls BarkleyWho’s Gonna Save My Soul? You are, you visionary if uncharacteristically morose pop gods!

36 Antony & The Johnsons – Crackagen Songwriting hasn’t been this elegant and poignant in 60 years

35 The Mummers –  Nightbus A swoonsome ballad from their lush orchestral debut. But no hyperlink going…

34 Hot Chip One Pure Thought Their genius is to inject real sensitivity into their tunes, like the tremulous poppy that lies behind every shot of heroin…sorry…

33 Amadou & Mariam – Sabali They now have Damon Albarn producing them, which is maybe why this could be a huge alt. disco hit

32 Yeti Midnight Flight The ex-Libs bassist normally turns out cheery Beatles-lite, but this darkjazzmurdertune about a serial psycho is awesome

31 Natty Cold Town An excellent year for the reggae upstart, first caught supporting Mr Hudson in Oxford; intelligent lyrics and a banging chorus

There’s the first instalment. Tomorrow; 30-21. Anticipate the choices if you will, offer alternatives, otherwise get on limewire (or itunes if you’re legit) and make with the good music…

Under 21 Rugby team to receive diversity lessons

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Oxford University’s U21 Rugby squad is to be sent on a cultural diversity course following investigations by Proctors into alleged anti-Semitic behaviour by some team members.

The decision came as a result of an investigation launched by University Proctors into the “Bring a fit Jew” social organised by the squad in November.
Despite being asked by officials from Oxford University Student Union to change the theme of the social, it was alleged that some members of the squad wore stereotypical Jewish clothing to the event.
“Facepaint and loincloths”
The following week, photographs emerged of members of the team ‘blacked up’ and wearing loincloths for an African themed Safari Bop.
After completing their investigation into the rugby team’s social, the Proctors cleared the team of breaching University regulations.
A University spokesperson said:
“They have concluded that initial reports about what was planned and about what actually happened were exaggerated.”
However, all members of the Under 21s team will attend a seminar on cultural diversity given early next term by the University’s equality and diversity unit.
The three-hour workshop will take place on January 29th in St. Anne’s College run by head of the Equality and Diversity Unit of the University.

Steve Hill, director of OURFC, was asked by organisers of the seminar to submit a list of those who should attend.

He has decided that the members of the squad that represented OURFC for the rugby match at Twickenham for the Varsity match should be the players that should represent the squad at the workshop, regardless of whether or not they attended the social.
A member of OURFC has called the seminar “unnecessary.”
He said:
“I think the seminar will be a waste of everyone’s time. The team isn’t racist.
The original social was insensitive, but it has been misrepresented – as supported by the proctors’ investigation. So, these measures are unnecessary.”
A member of the Cambridge U21 rugby team expressed sympathy for the U21 squad.
He said:
“I can see how a group of guys can think that it is a bit of fun at the time without meaning to cause offence.
People often react without considering the humorous side and this social shouldn’t be shouldn’t be taken so seriously.”
He also doubted whether the course was an “effective way to educate a rugby team about diversity.”
Students across the university have also questioned the value of the seminar.
An LMH finalist commented, “I think a cultural diversity lesson will just make the team think that their behaviour is even more of a joke – it will probably just become a legendary event for them to boast about.”
“The team should learn about anti-Semitism in history”
Rabbi Eli Brackman, director of the Oxford Chabad Society, an Orthodox Jewish group, stated that the University should “take these matters more seriously.”
He declared that the team should visit a Holocaust museum or former concentration camp Auschwitz to learn about the effect of anti-Semitism throughout history.
“They would be able to learn about history, allowing them to become more sensitive and aware of the full implications and meaning of their behaviour.”
He has registered his concern regarding the “trend” of offensive behaviour towards the Jewish community.
“Ignorance and lack of sensitivity at the university”
“I am concerned about the trend following the hosting of David Irving at the Union, which also offended the sensibilities of the Jewish community and students.
“One might be able to dismiss each event individually but combined they seem to reflect an ignorance and lack of sensitivity directed at the Jewish students at the university.”
A spokesperson for the Union of Jewish Students has praised the action taken by University proctors and stated that they hoped that the training would provide a “positive outcome to an unsavoury episode.”
“The response from by Oxford University and Oxford University Student Union has been excellent and shows that the institution is serious about being a welcoming place for all students.”
“Such behaviour is not ‘banter’.”
Raphel Cohen, the President of Oxford University Jewish society, JSoc, refused to comment on the cultural diversity seminar but stressed that it was important to combat “casual racism” within the university.
He said, “I do think it is important that casual racism of all kinds, whichever group it is aimed at, is recognised as such and it is not acceptable to wave away such behaviour as ‘banter’.”

 

10th Week, Part One

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…though in my defence I lost three teeth in a bloody incident on Wednesday. Still, the other guy came off worse. That guy being the private health insurer. Japes…Then I got hit by this post-hospital flu that laid me out cold/hot for days.

All of which maudlin (or do we have to spell it magdalen here?) self-pity is my excuse for not reviewing sodding Christmas singles, but rather doing one of those self-indulgent list jobs that everyone puts out at this time of year.

Don’t worry – it’s not a ‘Best Albums of 2008′. This is a Singles’ Blog. I could go on about albums for ever and sound just like The Guardian. But I’d get cross about Yeasayer and Portico Quartet technically being released last year, I’d insist MGMT‘s ‘Time To Pretend EP’ is superior to Oracular Spectacular, and I’d generally go on forever. And TV On The Rado would still win at the end of it.

If you’re interested, the albums of this year that were really sodding disappointing came from Kings Of Leon (U2), Bloc Party (tried to go heavy, embarrassingly), Dirty Pretty Things (worst production in the world), Santogold (wildly inconsistent) and Damon Albarn’s Monkey (divorced from the action and visuals, it just didn’t hang together). The best 25 albums – feel free to buy any or all of these for appropriate relations now – were obviously:

25. Hot Chip – Made In The Dark
24. Bellowhead – Matachin
23. Yeti – The Legend Of Yeti Gonzales
22. Scarlett Johansson – Anywhere I Lay My Head
21. The Dears – Missiles
20. Lightspeed Champion – Falling Off The Lavender Bridge
19. The Mummers – Tale To Tell, Pt. 1
18. Metronomy – Nights Out
17. Guillemots – Red
16. Amadou & Mariam – Welcome To Mali
15. Black Kids – Partie Traumatic
14. The Last Shadow Puppets – The Age Of The Understatement
13. Wild Beasts – Limbo, Panto
12. Sigur Ros – Med Sud I Eyrum Vid Spilum Endalaust
11. Dodos – Visiter
10. Vampire Weekend – Vampire Weekend
9. Mystery Jets – Twenty One
8. Goldfrapp – Seventh Tree
7. Cut Copy – In Ghost Colours
6. Toumani Diabaté – The Mandé Variations
5. MGMT – Time To Pretend EP
4. British Sea Power – Do You Like Rock Music?
3. Johnny Flynn & the Sussex Wit – A Larum
2. Fleet Foxes – Fleet Foxes
1. TVOTR – Dear Science

Ahem. The discerning reader may notice that I’ve actually just done a ‘Best Albums of 2008’, only without any kind of justification. Brilliant, isn’t it? Rest assured that in my next post, soon to follow, I’ll go back to actual singles: the best tracks of 2008, in a helpful playlist order that you can mix, burn and DJ away with at dreadful parties well into the new year. See you then.