Friday 13th June 2025
Blog Page 24

Inside the women’s boat: Courage on the Tideway

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“Both crews get ready please.”

Two boats sit on the Tideway, a flotilla of motorboats behind them, led by the umpire Matthew Pinsent giving orders over the speakers. Annie Anezakis grips her blade tightly as her face flashes up on the screen. This is her third year in the Boat Race—her first as president.

Daniel Orton’s hand shoots up. Oxford is not ready.

“Lilli, hold it.” The two seat squares her blade, and the tide swings the boat minimally to stroke side. “Easy. My hand’s coming down.”

“Oxford… Cambridge…” The umpire’s voice booms across the Thames. Sixteen rowers sit at front-stops, their blades slightly over-squared to stop the boats drifting with the stream. Concentration and ambition are written across their faces. This is it.

“Attention”—the red flag is up. The rowers are on the edge of their seats—”GO!”

The flag comes down. Two boats lurch forward as the rowers take their first strokes. The boat is heavy as seven women follow Heidi Long’s rhythm. One stroke. Two strokes. Three. The boat is moving at 43 strokes per minute—it’s fast, but is it fast enough? Adrenaline surges through their veins. Daniel’s voice sounds strong and clear through the boat’s speaker system.

“Complete, complete!”.

The boat starts to run more freely, fuelled by months of training and a boatload of nerves, but the Light Blue boat begins to pull ahead. Still, nothing is won, nothing is lost—every stroke counts.

There is a sense of urgency in Daniel’s voice, nerves channeled into command, tension reframed as pure motivation. Every call is delivered with precision, not a single word wasted, every one laser-focused. Raucous cheers from the riverbank barely register as thousands of spectators scream out their support for their university. Ambitious young rowers cycle along with the boat, dreaming of one day earning a place among the blues in the boat.

“Believe you can do it!”. The blades dig into the water, every muscle in Annie’s body straining. She’s following Kyra Delray and Heidi—Oxford’s stern pair. The sun shines as the shell glides away from Putney Bridge. The boat feels heavier than it should—heavier than it did during the morning pre-paddle, which had gone surprisingly well.

“It was probably one of the best sessions we’ve ever had”, Daniel will later reflect, “which is quite unusual, for a pre-paddle.”

50 seconds in, the rate has dropped to 39, the sprint is not yet over. Pinsent’s voice booms over the water once more.

“Oxford!”

He warns, as the two boats drift closer together. It’s not the rowers’ concern. They move up and down the slide with aching precision, muscles burning and minds going blank from the pain of the lactate searing through their veins. There’s no time for overthinking today; it’s all instinct, muscle memory, and colossal effort, Daniel notes.

“Oxford!” Pinsent bellows again. Bow-side clutch their blades tightly as the boats come ever closer.

“Stop rowing.” Cambridge has caught a crab.

“Both crews, stop rowing.”

One minute and 25 seconds in, a restart is ordered—an unusual occurrence, to say the least. The last time the Boat Race was stopped was in 2012, when Zoe de Toledo—ironically now sitting in the commentary box—coxed the Blues to a narrow loss. A swimmer’s head had bobbed up in the waves, right in front of the two boats. Fittingly, it was Matthew Pinsent who decided to stop the race then, too.

The boats line up again, Cambridge sits a third of a length ahead of Oxford. Pinsent lowers the red flag once more.

The race is back on.

Eighteen minutes and seven seconds later, it’s all over. The blue boat drifts towards Chiswick Bridge. Elated, exhausted cries echo from the light blue boat, lactic acid and emotion surging through every limb. Though Cambridge won by a margin of two and a half lengths, it was by no means a poor showing from Oxford. Having raced in WEHORR (the Women’s Head of the River Race in London), Cambridge had proven themselves the best university crew in the country. Oxford’s time today, just seven seconds behind, would have placed them right behind Cambridge in the ranking— and that, despite what felt like six months of torrential rain and an unrowable river (at least from a college boat club’s perspective)!

Early October 2024, Iffley Sports Centre, Oxford

The gym is buzzing with an air of anticipation as rowers cluster around the ergs in the Iffley Sports Centre. Annie stands among them, now in her third year with OUBC, this time as president. There are a lot of new faces, a lot of unfamiliar faces, a few girls she recognises—girls who have raced in blue boat, in Osiris, some even at the Olympics.

She stands with a few of the returning girls as they wait for the last few to wander in. “We talked about what mentality we wanted to take into this season,” she says. “What our leadership values were.” There’s a quiet determination to set the tone early—but for now, there’s also laughter, small talk, lightness.

Across the room, among the coxes, is Daniel. This is his first year trialling for Oxford. After many years of coxing at Latymer Upper School and having coxed at his college over the past year, there is still something intoxicating about standing in this room. He watches the rowers move around him, excited and chatty—this time is for getting to know everyone, to soak it all in and to meet the strangers who will soon become friends for life.

The erg screens flash, the machines hum, everyone is eyeing up the splits around them, “trying to suss out where you sit on the team”, Annie explains. But for the moment it’s easy. “No matter what pressures came up,” Daniel says, “having fun being there was the constant.”

The intensity will come, they all know it, the thought of selection hanging quietly in the background, but for the now it disappears, the infective energy making the first session pass by in a flash. The ergs are wiped down, layers put back on, and the ambitious girls leave with a smile on their face.

The first few weeks are about settling in—learning names, getting used to the rhythm of the new line-up of rowers. There’s no leaderboard yet, no divisions between the blue boat and Osiris. Just a group of girls, slowly building up a squad.

But underneath the easy smiles and casual ergs, there’s something stronger at play. Everyone knows the rivalry between Oxford and Cambridge all too well. Everyone feels the underlying pressure in their own way.

For Annie, Cambridge’s recent winning streak isn’t something to be afraid of. It’s fuel. “We spoke about how we had a chance to be the first Oxford women’s boat in a really long time to turn the tide,” she says. “We saw it critically as an opportunity, not a threat.” It never felt like a shadow hanging over them. If anything, it sharpens the sense of purpose: this squad isn’t carrying the past—it’s building something new.

Daniel feels the same. The streak, he says, doesn’t change the daily process. “You can only put your all in every day—you can’t do anything different or anything more because you lost the last year or the last five years.” Instead of weighing them down, the history around them adds momentum. “It feels like a really exciting time in the club,” he says. “The losing streak is motivation to fuel an exciting change.”

The past can’t be rewritten. But these are the people shaping the future—one session, one stroke, one decision at a time.

Late October 2024, Iffley Sports Centre, Oxford

The atmosphere is different today.

Gone is the easy energy of the first few weeks, replaced by a tight tension. It’s 2k day—the first major test of the season—and everyone can feel exactly how much it matters. Seven minutes of intense pain, one flashing screen, all resulting in one score next to your name.

For Annie, the feeling is familiar—but no less nerve-wracking. She’s not a huge fan of the erg. “Some really fast, quick, strong movers come in,” she says. “And I’m always like, oh god—there goes my seat.” No spot is ever guaranteed, not even after crew announcements, she admits.

The pressure today is personal, but it’s not selfish. That’s something Daniel noticed early on at Oxford: the subtle but powerful shift in mindset. “We want all of our boats to beat Cambridge,” he says. “And you really, really hope that the best chance of that involves you getting your seat —but ultimately, the main thing is that you want Oxford coming out on top.”

The erg room hums with the sound of split times ticking upwards, heart rates climbing, coxes and coaches screaming, every stroke more painful than the last. It’s just you and the erg, it’s easy to feel like it’s you against the world.

But it’s not, not here.

Over the past few seasons, Annie’s seen that change first-hand. “It’s not about which boat you’re in,” she says now. “It’s about your boat against Cambridge. About being greater than the sum of your parts.” Even in the sharpest competition, the pack mentality holds. Push each other. Drive each other. Make every crew stronger.

Today, the erg splits will go up on the wall. There will be quiet celebration, and there will be disappointment. There always is. But through it all, something bigger holds steady: 18 rowers, one goal.

When Annie pulls her final stroke and slumps forward, gasping for air, it’s not just about her time. It’s about being part of something that, inch by painful inch, is moving forward together.

January 2025, Cerlac, Spain

The sun beams down on the rowers, sitting on the long, open stretch of water. Even in the middle of Spain, the water feels the same—no flooded boathouses, no cold, grey mornings—and yet, with a blade in hand and miles of river to cover, the girls’ muscle memory and immense effort stays the same.

Clear skies and a smooth river, training camp is beautiful. It’s also serious.

The squads train together, side by side, but the Boat Race is inching closer, right on the heels of the boats gliding across the water. Annie looks around at the faces that are no longer strangers, now some of her best friends. “A great camp”, she says. “Definitely more productive than the Tideway.” In between sessions there are quiz nights and dinners filled by laughter and a deep connection between the rowers. And yet, on the water, the atmosphere is shifting. The boats are closely followed by the launch, every stroke producing watts, every watt a consideration for selection.

This is when it really starts to matter.

Injured athletes have returned, Kyra Delray, who will fill the seven seat in the Blue Boat, for one. Selection pressures permeate the once easy atmosphere, especially in the post-holiday period. It’s not easy to train throughout the holidays, even the Boat Race athletes can attest to that. “When I was at Princeton and even in school,” Annie says, “I hated training across holidays. Christmas Day, I just wanted to chill. I didn’t want to do anything.”

But the Boat Race was different. It sharpened everything. The season was short. The stakes were simple: one race, one opponent, one winner. “You’re a winner or you’re a loser,” Annie says. And there was no hiding from that. No excuses. Not anymore.

“You can’t slack off,” Annie explains. “You have to train every day because you’re going to come back and be put to the test.” Allan’s watching. The coaches are always watching. Christmas is barely behind them, but Annie’s already moved past it. “I remember saying to my mom,” she laughs, “‘My head’s not going to come up from under the water until post-Boat Race.’ I’m under the pump now.” There’s no more time to drift. No more holidays. No more rest days.

It’s around this time, too, that Daniel starts thinking differently about his own role. In previous years, coxing had just been part of showing up—row, race, learn as you go. But this season, he approaches it deliberately. “You can get so far just by putting effort into your own coxing development,” he says. Setting tiny goals for each session, listening back to recordings, asking: How do I want to sound? What can I sharpen, even just a little? “It doesn’t have to be big,” he says. “But if you give yourself clear focuses, you can build so much more than you realise.” Quietly, methodically, he’s stacking up improvements of his own—one session at a time.

The fun of the autumn is still there, somewhere, but it’s buried now under layers of expectation, ambition, and urgency.

There’s only one Boat Race. One shot. And the road to it is built stroke by stroke, here in the Spanish sun.

March 2025, Oxford

The day crew selections are announced doesn’t quite feel real. The energy in the room is almost indescribable—tension, relief, disappointment, the unreal feeling that, somehow, after months of training, the boats are finally real.

Annie has been through it before, but it doesn’t get easier. Outside the squad, there’s endless talk in the media—that Oxford wants it too much, that they don’t want it enough. Winning is everything. And yet it’s not the only thing that matters.

Inside the club, this atmosphere isn’t reflected. Daniel thinks back to those first few months—how easy it had been to focus in showing up and giving every session your all, the Boat Race looming in the distance. Even in the face of selection, the sense of being part of something larger than yourself was an attitude that always stuck.

Daniel had coxed all sorts of crews so far, the men, the women, the blue boats, and the reserves. “You end up coxing a lot of different boats and a lot of different experience levels,” he says. “And that’s actually really good for your coxing as well.” But when he announced to his college boat club that he had made it into the Blue Boat, we all cheered for him, and he beamed back.

By March, the friendships are undeniable. Crew dinners, brunches, endless inside jokes. The late-night trip to London to see Wicked becomes a running theme—even in Tideway Week, the squad can’t stop singing the songs. “It’s just all the little things,” Daniel says. “You have to love the little things. Otherwise it’s too much effort, too much time.”

Somehow, despite the pressure, despite the stakes, the squad feels stronger than ever. They were never just two boats, they were a team, and now they’re ready.

April 4th 2025, London

By the time Tideway Week arrives, everything feels closer. Everything is closer.

The squad moves into a house in Putney, packed together like the world’s fittest Big Brother cast. They eat every meal together, parents take turns cooking for the squad, and they spend evenings talking about the boat race, discussing strategy (though a timekeeper was instated when the rowing talk became too much)—and when they’re not planning for the Boat Race, they’re singing songs from Wicked at the top of their lungs. “It’s so fun,” Annie says. “You don’t get sick of anyone.”

On the water, the atmosphere is just as close. Every day, they train on the Tideway, weaving through the tricky bends of the course they’ll race on. Daniel soaks it in. “It’s the last big eight days of the season,” he says. “You’re living together, training together, getting really close—and you just enjoy it.”

There are stresses—of course there are—but the squad manages it well. “You can’t ignore the tension,” Daniel admits, “but we did a really good job of being there for each other when people got stressed.”

Still, as the week goes on, the outside world starts to creep in.

The BBC wiring goes up along the riverbanks. Crew announcements hit social media. There’s a press conference in the middle of the week where Heidi Long and James Doran field questions from reporters, their faces broadcast to strangers. Watching it, Daniel feels a jolt of reality: “The Boat Race is in five days. It’s exciting. It’s a little terrifying, too.”

For Annie, though, the pressure runs deeper. She’s not just the six seat, she’s the president. After years in the squad, “I just wanted to be able to have a lasting impact,” she says. Shaping the culture, pushing the team forward—it was what had motivated her to give her 150% every day through the season.

But now, with the race just days away, the weight of it catches up. “Boat Race week, it did become a little overwhelming,” she admits. It’s not just about her own performance anymore. It’s about everyone else. “Are we making the most of every day? Is everyone getting the most out of themselves?” The questions linger in the back of her mind as the race draws closer.

It mattered because rowing had always been more than a sport for Annie. She’d found it back in high school—almost by accident, through a PE class. “I was really bad at it at first,” she says, laughing. But somewhere along the way, she fell in love with it. “It helped me find my community,” she says. “Everyone that does rowing is weird in their own way. We’re a special sort of person.”

That was why this team, this Boat Race, meant so much. It wasn’t just about winning. It was about being part of something built by people who understood her, who pushed and carried each other through every hard moment. She had found her people here. Now it was about making sure they found the best version of themselves, too.

Maybe that’s why, inside the house, they find ways to ground themselves. For Annie, that means slipping back into the rhythms of normal life—or something close to it. “When you’re not at the river, you’re probably working,” she says. Exams are still looming, coursework still needs submitting. In a strange way, it helps. “It grounds you,” she reflects. “You remember that you’re just a student at the end of the day, trying to make a boat go fast.”

And so they keep rowing.

They keep studying.

They keep singing Wicked.

(They keep talking about rowing, over and over again.)

And they wait for the moment when they get to prove all of their hard work has paid off.

April 13th, 14:21, The Tideway

The moment has come. There is nothing new to say, no last-minute strategies can save the day. For Daniel, it’s all about instinct when you’re in the boat. “You think when you train. In the race, you know what to do.” Seven months, and years before that, of hard training, to build the reflexes and strength they were trusting in this moment.

It was all about trust. Trust the routine, trust the normal, race day is just another day—or at least that’s what it should feel like. “If you do something really different on race day, it’ll freak you out,” he says. “You just have to trust your normal process and that will allow you to have your best performance .”By the time they sit at the start line, the work is done.

For Annie, this moment, above all, is about taking it all in. Take in the noise of the crowds, the attention of the media (because really, when else do the media care about rowing this much?), and the familiar feeling of the waves shaking the boat. She had let the moment rush past her in earlier races. Not now. In the final moments before the flag drops, she focuses on just one thing: trust the crew.

Around them, the circus of the Boat Race builds: BBC cameras, umpire flags, thousands of spectators. Inside the Oxford boat, none of this matters. What makes these 8 women out is their willingness to push beyond their comfort zones, to keep pushing on and on. They will fight even when behind, even when it hurts. That’s why they are where they are.

Even when the race is stopped, even when chaos could break out—they’ve talked this through, they keep going. Annie feels it in the crew around her—a steadiness, a resilience that didn’t exist seven months ago. When she calls for the ‘Brooke’s start,’ it’s not desperate, it’s familiar.

And she keeps shouting, ‘Yeah, yeah’, every other stroke until she can’t yell anymore. This feels good, this feels better than the first start. And there is hope.

During the race, the pain is predictable. The belief is not.

Annie has rowed this course before, has rowed in boats where the margin defeats the home, in boats where one length down felt like a race lost with miles to go. Not this time. “I believed we could win until the last round,” she says. Every time Daniel calls another ten, every time Annie sees the girls in front of her digging deeper, hope tugs at her again. One more stroke. One more push. One more second of belief.

In the end, it’s not the margin that matters. It’s the fight.

And maybe that’s the real secret of the Boat Race. You don’t win or lose at the finish line.

You win in your relentless determination, when it would have been easier to give up. You win by building resilience in the face of agony.

And even more importantly, you win as a team, even if you lose.

April 13th, 14:55, The Tideway

After the race, everything blurs.

They sit quietly at the finish, the shouts of the crowd echoing across the Tideway, the BBC cameras already moving in. Exhaustion, disappointment, and grief slowly sinking in. Despite a brilliant performance, it just wan’t enough.

Annie stands beside Daniel, waiting for the post-race interview. Something sort of *wicked*, “The fact that you’re about to be shown live on TV after losing something you care so much about.”

At that point, all she has left is raw emotion. “I love this team,” she says. “I love everyone around me. This has been the best season ever—and this one result doesn’t define them.”

There is sadness, yes. There always will be.

But stronger than sadness is pride.

Being part of OUBC isn’t reserved for a 19 minute stretch along the Thames, it’s for life. “It’s so special,” Annie says. “You have this network of just really impressive, amazing people—all of us connected by the same gruelling experience.”

At the Boat Race dinner that night, surrounded by past winners and past losers, Annie feels the weight of that history. “Only people who’ve done it really understand,” she says. “It’s so hard. It’s so raw.”

And in that shared understanding, there’s comfort. A reminder that win or lose, they belong here. That this race—and this year—will never be just a line on a CV.

It will be something they carry with them forever.

April 21st, 16:00, Radcliffe Camera, Oxford

I’m almost late again, as always. As I rush towards the RadCam, I keep an eye out for the face I’ve been following in the Tideway documentary for weeks now. I still can’t quite believe I’m about to have coffee with Annie Anezakis.

As we walk to Blackwell’s, we fall into the usual small talk: How were your holidays? How are you finding being back in Oxford? What college are you at?

Merton, I say. 

“So you know Dan?” she asks, smiling.

I do know Daniel—we’d called a few days earlier. It was during that conversation that I asked him about his plans for the future, what he was thinking about after the Boat Race.

Training will continue into Trinity Term, though with a different energy. “It probably won’t be quite like the lead-up to the Boat Race,” he says. “It’ll be more about enjoying it—getting tons out of it, but less crazy intense.”

Summer will mean regattas—BUCS, Henley Women’s, Henley Royal—with squads mixed and reshuffled depending on eligibility and ambition. Some teammates are chasing GB trials. Others are just racing for the joy of it.

And beyond the summer?

Daniel hasn’t decided yet. “In all honesty, I haven’t given next year any thought,” he says. “I just need to sit down and think about it over the next few weeks.”

For now, there’s time. Time to enjoy the sport, the friendships, the river.

Time to breathe after a season that asked for everything—and gave so much more back.

Annie tells me I’m the first person she’s spoken to about the Boat Race outside of her family and housemates. I feel honoured—and still a little in disbelief that I get to spend the next hour picking her brain on every question I can think of. I ask about trialling, about every niche curiosity I’ve ever had about OUBC—and, of course, about her plans for the future.

BUCS is just two weeks away, and Annie isn’t slowing down. “We always wanted to put more time and effort into summer rowing,” she says, “to keep building the program and come into next season ahead of where we finished.”

Summer racing will be different—more flexible, more balanced around academics—but the fire is still there. Henley and European University Champs are on the horizon.

And after that?

Annie’s first priority is finishing her degree—passing her exams, and then she’s going back home. It will have been seven years since she left home. And yet, the idea of another Boat Race season is already tugging at her. “I’d be very surprised if I didn’t do another one,” she says. “I just love it, you know?”

Not as president next time. And with a little less responsibility. But the river still calls.

Rowing, after all, has never just been a sport for her. It’s a home. And it’s a home to which she will always return.

On being a fringe friend

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The other day when I was scrolling through Facebook I came across something that made me feel sad inside. A friend from back home had invited me to his birthday party. He was a good friend, a close friend, a friend of many years. He promised cake, free alcohol, a small lake to swim in (the party was in a field somewhere), and a DJ. That all sounded great. Only thing was, as it turned out, I wasn’t invited to the real party. ‘Just to let you all know,’ it said at the bottom of the invite, ‘a few of us are going for a meal and drinks earlier that day. For reasons of space, only limited numbers invited.’ This, from the man who used to spread cream over my back all those years ago when I had scabies! Maybe that wasn’t the special bonding moment I thought it was after all. 

Imagine my relief when I found that what happened to me isn’t actually that unusual at all. Apparently, many people who think of themselves as close friends with someone are really no more than ‘fringe friends’. As one study of undergrads shows, whereas most people think their friendships are reciprocal, only about half of them really are. At the same time, another study shows that while the majority of adults are happy with the overall number of friends they have, more than 40% feel those friendships aren’t as close as they’d like. Put these two things together, and things look bleak. We’d already like to have more close friendships, and yet even those apparently ‘close’ friendships might not be that close at all. Reflecting on this, I began to feel better. Gather any random sample of friends together for a party in a field and chances are that most of them don’t really like each other that much. It was reassuring to know that it wasn’t just me. 

I joke, of course, because in reality, the idea that a number of supposedly close friends don’t like me as much as I thought is thoroughly depressing. We all want to be liked, or at least all the humans I’ve met in my life so far do. Just the thought that a certain number of my close friends think of me as merely a fringe friend is enough to wreak havoc in all my relationships. After all, how am I supposed to know who are the good eggs and who are the bad ones, unless they reveal themselves to me through the medium of Facebook invites? Without solid evidence to the contrary, I might just have to assume that everyone hates me.

On the other hand, though, is the idea of fringe friendship really as bad as it seems? As Miriam Kirmayer, a clinical psychologist and friendship expert points out, while close friendships are essential for our mental and even our physical health, they can also bring with them added pressure and expectation. Put simply, close friendships demand time and energy, and they can often leave us feeling guilty or ashamed when we aren’t measuring up to some idealised vision of what the perfect friend would be. We wouldn’t even have enough time for that many close friendships, even if everybody did find time in their own busy schedules. All of which is to say, how many non-fringe friends can any one person manage at one time? 

The principle of the ‘Fringe Friend’ makes a lot of sense to me. The fact is, my first thought on reading the Facebook invite was less how happy I was to be invited to something back home, and more about how I could possibly find an excuse not to go without making myself seem a) boring or b) the person who goes to Oxford and then forgets all the people he used to know back home. Sometimes I feel like my life is a constant struggle of feeling guilty about just wanting to lie on my bed and eat large packets of fizzy Haribos. Now that I’ve found out I was no more than a fringe friend to this particular person, at least I can eat my sweets without feeling too bad about it.

In other words, there’s obviously a balance to strike. Nobody wants to be lonely, and the idea of getting invited to absolutely no pre-field party meals depresses me as much as the next person. But at the same time, imagine what the world would look like if every friendship was a close one. We’d all be so tired and stressed out, we wouldn’t have any time left just to eat Haribos alone in bed.

Your essential guide to the music of May Day

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May Day: It’s unique, convivial and quintessentially Oxford. Only once a year does the city come together like it, and when that happens, it’s not one to miss out on. So, what can you expect to see on the day? When will it all be happening? And, most importantly (in my unbiased opinion), what is the role that music has to play in the history behind the traditions?

​Officially, the day kicks off on 1st May at 6am with the annual performance of Magdalen College Choir. From Long Wall Street to the Plain Roundabout, crowds gather all along High Street and Magdalen Bridge in their thousands. Given the popularity of the spectacle though, many arrive earlier at Magdalen Tower to enjoy a closer view. So, make sure to get there in plenty of time if you want a good spot!

​One might wonder why the early start: May Day celebrates the arrival of summer, and so welcoming in the sunrise has always been a central part of the celebration. For many students at the University of Oxford and Oxford Brookes University however, the festivities begin even earlier. Nowadays, pulling an all-nighter seems a more appealing option than crawling out of bed in the early hours of the morning. Don’t be surprised to see some even in formal attire, as all-night balls don’t go unheard of.

​After all the build-up, the Hymnus Eucharisticus, sung by Magdalen College Choir, marks the beginning of May Day. Music’s role does not diminish from there – the choir follows up with a cycle of songs, including the Renaissance-derived ballet, Now is the Month of Maying, a sort of traditional madrigal. First sung in 1595, and featuring a good-old ‘fa la la la la’, it never fails to be an uplifting start to the ceremony. From ‘merry lads’ to ‘barley break’, the lyrics send us back to past times while reminding us of the exciting summer ahead.

​After their ten-minute show, the bells of the Great Tower ring for another twenty minutes. Meanwhile, some head to Radcliffe Square while others, mostly students, make for Magdalen Bridge, where jumping into the river has become tradition. This happens despite accidents in recent decades. For example, in 2005 at least ten people ignored warnings from police about low water levels. They were soon rushed to hospital after attempting the plunge. Nevertheless, if safe, it can be a highlight of the day for those who take part.

​If adrenaline rushes aren’t your thing, there’s still plenty to enjoy around the Radcliffe Camera. The entertainment that steals the show is Morris Dancing. Since the first documented time the city celebrated the festival 500 years ago, it has always been a fan-favourite. With folk music reverberating around the square, the Morris Men of Oxford swing their handkerchiefs and jingle their bells as they execute their time-old choreography. If to be believed, the Morris Men are said to bring magic power to wherever they dance. When Radcliffe Square is as busy and bustling as it is on May Day, it is hard to deny there’s something magical in the air.

​As the procession moves up to the city centre, the bagpipes, squeezeboxes and fiddles of the all-in-green Whirly Band can be heard outside Clarendon Building. They never fail to bring the spirit of summer to the city as their viridescent suits symbolise a new leaf. It’s their one gig of the year, and their folk songs dating back to the 13th century like Miri It Is are not one to pass up. 

​Besides this, general revelry and Highland dancing outside All Souls College are some of the events to enjoy. Be sure to keep a look out as well for the Jack-in-the-Green bush – someone dressed up in what looks like a Christmas tree – which also makes its way round the city centre. The phenomenon originates from a milkmaid tradition of carrying flower-decorated milk pails, supposed to show the beauty of spring. Perhaps slightly detached from its previous meaning, the Oxford Jack is now a central part of the procession. With 14,000 people behind him, Jack plays follow-the-leader up the High Street.

May Day is full of peculiarities and eccentricities, all of which put the day high on everyone’s agenda. Music is a key part of this, with the mix of Latin lyrics and folk melodies characterising the day’s unique origins. But it is the camaraderie and togetherness of May Day that make it so special for the city. So, be sure to get up early and not miss out on what is truly an unforgettable day of music and memories.

Going Dreamy: The Singular Will of David Lynch

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In a behind-the-scenes clip from David Lynch’s final project, Twin Peaks: The Return, a crew member tells him that they only have two days to shoot a scene. Lynch frowns, and searches his pocket for another cigarette.  

“Why?” he demands.  

Someone mumbles an explanation about someone else’s schedule, but the nasal tirade is already underway. “This is absolutely horrible.” In his fury, it’s difficult to say whether he stops to smoke or to speak. “We never get any extra shots; we never get any time to experiment.” He pounds the table. “We never get to, you know, go dreamy or anything.”  

This is not the only video of Lynch going berserk when someone interferes with his process. How maddening this must have been for the auteur, when the free and slow approach to filmmaking, the chance to “go dreamy”, had won him overnight success (literally, at first). His feature film debut, Eraserhead, premiered at the 1977 LA Filmex Festival as a midnight movie, a slot reserved for independent, avant-garde filmmakers with a budget as spare as their audiences. These were films that could afford to flop, and usually did. But with lighter pockets, directors were free to experiment – no big-bucks producer was around to stub their cigar on the final draft. 

Only in a sparsely filled theatre, in the early hours of the morning, could a ‘cult-director’ like David Lynch have been conceived. And his conception was unforgettable. The opening scene of Eraserhead, shot in shadowy black and white, depicts a spermatozoon uncoiling from the protagonist’s mouth; after a buboed man pulls a lever, it wriggles through space to make cinematic legend.   

As with all great art, there is no single explanation for Lynch’s popularity. The first episode of Twin Peaks, aired in 1990, is among the most watched TV pilots in history. Sitcoms like Cheers and The Cosby Show had dominated ABC in the 80s, and America’s Funniest Home Videos played immediately before Lynch’s network debut. Perhaps, fed up with canned laughter and neat narrative, the nation wanted to feel disturbed. If the storyline of who killed Laura Palmer was the hook of Twin Peaks, it was the velvet visuals, oddball characters and general weirdness of the show which kept its audiences transfixed. In a miracle of modern television, Lynch made the avant-garde conformist.  

But the show’s prime was brief. Early into the second season, producers became paranoid they would lose their audience if the mystery remained unsolved, and Laura Palmer’s killer was revealed earlier than Lynch had intended. Only then did ratings drop, and Twin Peaks was cancelled. The director’s work had suffered from executive meddling before. Deeply humiliated by the comprehensive failure of Dune in 1984, he had his name credited as ‘Judas Booth’ for its TV run. But it was Lynch, not the producers, who had betrayed and killed his art. After ceding the director’s cut, he trusted that the studio would realise his vision – if his vision existed at all. “I started selling out even in the script phase,” he confessed to Stuart Mabey in 2006. Lynch was sorely punished for his leniency, along with the production company, which lost at least $15 million at the box-office, over a quarter of its budget. 

Even with autonomy, Lynch would frequently make losses on his films. But if fortune would be fickle, he would be unbending. Lacking the funds to advertise Inland Empire, he ruled out negotiating with Hollywood moguls for aid. Instead, set up on a Los Angeles street corner, he sat between a cow and a huge poster of Laura Dern, promoting the film alone. “Without cheese, there wouldn’t be an Inland Empire”, read his placard. I’ve watched the film: with a runtime of 197 minutes, all handheld shots and trauma-montage, it dehydrated and depressed me. Yet there was no doubting that each scene belonged entirely to Lynch. Whether I enjoyed it felt irrelevant; this was a vision uncompromised, and to slate the film as obscure or impenetrable would be to assume that he owed us something. 

Major studios still try to predict our wants and needs, but Lynch seemed to know our darker desires. It’s unsurprising that his most popular films, Mulholland Drive and Blue Velvet among them, are like broadcasts from the subconscious. Deeply haunting and oddly beautiful, they lurk just below the intellect, but are no more exasperating than a nightmare. For Lynch, going dreamy was not just an aesthetic: it was a responsibility.

No-buy Trinity: A guide to buying less and creating more

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For Oxford students, the start of Trinity marks not just the start of the final term of the year, but also the start of a brand new wardrobe to match the rising temperatures. College puffers and chunky thermals are out – crop tops, linen shirts, and tastefully long jorts are in. With this seasonal rebranding, there’s a temptation to just buy more to keep the summer looks on-trend; fast-track shipping, Vinted and Depop, and the slew of local thrifting opportunities make acquiescing to the panic of looking too ‘last year’ easy to fall into. 

However, 2025 has also seen a growing ‘No Buy’ trend. Participants in the trend hold off on buying strictly unnecessary goods: anything like clothing, home decor, and even takeout. All jokes about recession indicators aside, reducing the rate at which we buy clothes is undoubtedly good – the fashion industry consumes unimaginable quantities of water, and accounts for up to 8% of global carbon emissions. In this context, the ‘No Buy’ trend indicates an encouraging shift towards a mindset less based in endless consumption, and more in making do with what we already have in creative ways. 

Of course, the hectic pace of terms can make it difficult to invest a bit more time into revising our consumption habits. For the most part, I consider this to be a moot point: most students aren’t just constantly working on their degrees, and by this time of the year, hopefully even the freshers have figured out something of a work-life balance. 

Another, more pressing obstacle people might come across is the question: Where do I get the resources? It’s tricky lugging a sewing machine to Oxford, to say much less of finding where to store it over vacations. Hand sewing is tedious, even for students without two deadlines per week.  

It’s here that repair cafes like Share Oxford’s come in handy. Running monthly, the ‘cafe’ brings together community members and volunteers to share expertise on how to fix broken things: anything from clothing to jewellery, bikes to electronics. With the first Repair Café opening in Amsterdam in 2009, the model has since proliferated to over 3,500 cafes globally, with more than 60,000 items repaired per month. Oxford’s own branch runs out of 1 Aristotle Lane, just 3 minutes away from St Anne’s College. Other community groups like Bullingdon Community Association also run repair cafes – this one in Headington – although their emphasis is more on mechanical and technological repairs than textile ones. 

If you’re looking for access to sewing machines and other textile repairs on a more regular basis, other community groups in Oxford abound. The Hackspace cooperative, also based in 1 Aristotle Lane, runs socials weekly on Wednesday evening, where you can use the sewing machine to your heart’s content. For those looking to extend their creative skills beyond clothing, Hackspace also offers tools for woodworking, metalworking, and 3D printing – you might even be able to set a no-buy on jewellery and make your own here. 

If you need even more regular repairs – perhaps your shirts keep snagging on branches while punting, or perhaps drunken walks home keep producing tears in your trousers – the Christ Church art room hosts its own sewing machine. While you’ll need to be certified to use the machine, a process which mainly involves proving you can thread a machine and wind a bobbin, the almost 24/7 access is a life-saver for those committed to making their own clothes and doing their own repairs. 

For those more uninitiated in the habit of repairing and making their own things, all of this information might look slightly overwhelming. What about getting the materials for repairs in the first place? My answer: Thrift shops. Finding pieces of secondhand or scrap fabric, realising their potential, and turning them into something entirely new can produce a unique thrill of its own. However, it’s quite likely that you’ll be able to find some pieces in your own wardrobe that aren’t just getting worn – tearing them apart, cutting them up into pieces, and using them to repair other clothing is an equally viable strategy.

The same principle goes for getting started with learning how to repair. While online guides can include a tantalising array of measuring tools, embroidery wheels, and felting kits, you don’t truly need to buy new things. All you really need to get started is a needle, and some thread.

Joanna Miller’s ‘The Eights’: Unapologetically, indulgently Oxford

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Do not worry: despite the title, this is not a rowing novel.

Instead, the term ‘The Eights’ in Miller’s novel refers to the four women who populate corridor eight in St. Hugh’s College – in 1920, making them four of the first women to ever matriculate at the University of Oxford. The novel follows their first year, a year that, for Oxford students reading, will modulate between the overwhelmingly familiar and the shockingly unique. The students – bright, troubled Marianne; rebellious Otto; beautiful, grieving Dora; and fervently political Beatrice – bond over excessive reading lists, attend union debates, and panic over formal attire, all evergreen Oxford experiences. At the same time, owing to their historical context, they deal with ridiculous chaperone rules, confront tutors who refuse to teach them, and obey strict curfews that cause unceremonious theatre-night exits.

It is Miller’s interweaving of the quintessentially Oxonian with this drastic historical moment that lends the novel such charm and interest. And it is, indeed, intensely Oxford, to an extent that surpasses Evelyn Waugh’s Brideshead Revisited or Emerald Fennell’s Saltburn. Joanna Miller, herself an Oxford alumna, of Exeter College, has no shame in steeping the novel in Oxford’s unique atmosphere. It does not have Parts I, II, and III, instead sectioning the novel out into Michaelmas, Hilary, and Trinity; chapters follow weeks, from 0th to 8th.  Throughout, timeless Oxford sentiments are shared by the reader in the know – the excitement that a scholar’s gown comes “with sleeves”, for example, or the yawning question, “Is this it?” upon straining to hear May Day choristers.  

Yet this is a historical novel, and the four main characters also must tackle the fervent misogyny that faced the first female matriculands, the shadow of World War I, and bouts of the Spanish Flu. The novel’s shining moments come in its attention to the historical conditions that inspire it: as an addended author’s note makes clear, Miller’s research for the novel was far-reaching and rigorous. Rules and notes “taken from real documents in the St Hugh’s archives” populate the text alongside sometimes factual, sometimes fictional articles from the Daily Mail, The Oxford Chronicle, and The Imp. The environment of the novel, furnished by this fascinating historical material, is thus expertly wrought.  

If there is to be criticism of Miller’s work, it should fall on its plotlessness – the main draw of the novel is the climate it creates, lacking in real action or purpose. It is quiet, meandering: Personally, I found this pleasant, a reading experience that feels like a stroll round Christchurch Meadows. Undoubtedly, for others, this will be frustrating. Where there is plot, though, it is often underbaked and unbelievable. Perhaps the main drive of the novel is what the blurb calls Marianne’s “secret she must hide from everyone”, but Miller seemed to forget to hide it from the reader – clues are so clumsily dropped that it is clear what secret she is keeping by 5th week of Michaelmas. The novel’s ending, and resolutions, tend too close towards fable and fairy-tale: It would’ve been a bolder and better choice, to properly deal with what would have been painful, unhappy consequences of the discovery of an alive-but-thought-dead husband, the reveal of a child-caring widower, and unrequited lesbian desire. Instead, while the choice to only cover one year cleverly leaves the novel open for a sequel (or two, because readers will want to see the Eights deal with Finals and graduation), all the conflict of the text is too cleanly resolved. Any development in this narrative from Miller will have to depart radically from what she has left herself with.

These shortcomings, though, should not take away from what is definitely a successful creation and an exciting, important debut novel. What we can learn from this semi-imagined Oxford of 100 years ago is clear. When Marianne reflects that “misogyny is like the mice under the floorboards […] scuttling about unseen, but never far away”, it risks sounding inauthentic, a 21st century voice, but it is nevertheless pertinent. While, fortunately, Oxford has come a long way in its treatment of women, the novel makes plain, in some of the University’s antiquated rules and antique fellows, that much is still to be done. Being made “on occasion […] to feel like unwelcome house guests” will be a feeling that is undoubtedly, unfortunately familiar for far too many students today. Miller is still able to combine an important message with an atmosphere that, for the freshers excited for their first trinity, for finalists not ready to leave, or for nostalgic alumni, will be gloriously, unapologetically, indulgently Oxford. 

The Eights was published in March 2025, and is now available at bookstores.

Missing the plot of ‘Wuthering Heights’: Is the book always better?

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From the director who brought you Saltburn comes a story of violent passion, bleak moorlands, and the mutually destructive relationship between a teenage girl and a ‘dark-skinned’ brooding antihero. Emerald Fennell’s new Wuthering Heights adaptation has placed Margot Robbie and Jacob Elordi into the shoes of Emily Brontë’s Cathy and Heathcliff, a casting choice that has infamously perplexed readers and critics upon its announcement last September.

Elordi and Robbie, for all their talent, deviate considerably from the characters they will be portraying. Like many other period dramas falling victim to ‘iPhone face’ casting and 21st-century embellishments, the pair feel oddly misplaced in Brontë’s Yorkshire. Most notably, Heathcliff is described by Emily Brontë as ‘dark-skinned’, and while his ethnicity is never explicitly stated, he is likely of Romani or East Indian descent. Heathcliff’s outsider status is central to the novel’s romantic and social tension, and his being an outsider is augmented by issues of both class and race. 

However, fidelity to the source material doesn’t have to mean scene-by-scene replication. Films are constrained by runtime and driven by visuals, and many literary scenes are like untranslatable words in a foreign language when trying to adapt to the screen. Pages of a character’s inner monologue would be frankly unmarketable if accurately translated to screen with no artistic flair, and many filmmakers find themselves at the mercy of studio demands for runtime, meaning they simply cannot afford to include everything. Peter Jackson’s Lord of the Rings trilogy, for example, spans well over nine hours in its entirety and still omits significant parts of Tolkien’s original. Yet, Jackson’s choices in the ‘to cut or not to cut’ debate work because they preserve the central plot of the story he wanted for his movie, while maintaining respect for the source material. Some content can be cut, and not a great deal of the overall picture changes, but this is not the case for what viewers are seeing with the new Heathcliffe and Cathy.

But how far can filmmakers go before reinterpretation turns into distortion? Most viewers understand that film and literature are different media, and it would be patronising to assume otherwise. The frustration doesn’t come from minor adjustments or those necessary evils that arise from the adaptation process, but instead from drastic changes to the story’s core. Those ‘essential organs’ that should survive the journey of translation – characteristics of age, race, and background – are not irrelevant details that can afford to be upended to cast marketable public figures. 

When done well, adaptations can be refreshing approaches to a known tale. Greta Gerwig’s Little Women pleased audiences upon its release in 2019. Along with altering the timeline’s linearity, Gerwig notably left the ending ambiguous: Jo still marries Professor Bhaer, but it remains unclear whether this is Jo’s fate or the ending she penned to sell her novel. In the book, Jo marries Professor Bhaer as a reluctant Alcott writes the ending that her own publishers desired for her heroine. Gerwig’s film is not a letter-for-letter adaptation of the original, but her changes enhance the experience of watching the March sisters grow, rather than detract from it. 

At the other end of the spectrum are adaptations that lose their footing entirely. Director Mary Harron has expressed disappointment over the reception of American Psycho in pop culture. Though both the book and the film are intended as satires of the ‘finance bro’ archetype, Christian Bale’s Patrick Bateman has been bizarrely embraced as a role model by some viewers. Those putting this satirical figure on a pedestal misread or missed the plot altogether, accidentally idolising a figure that was created to be mocked. 

It’s easy enough to argue ‘you can’t please everyone’, and directing a film is an entirely different ball game from writing a book. However, the uproar over Robbie and Elordi’s casting teaches us that, at the very least, audiences ask that adaptations remain faithful to the parts of a story that really matter to its overall message. 

After all, no one listens to Kate Bush expecting a Brontë lecture. But they do expect Heathcliff, and not Elvis.

A review of Day 2 of the Oxford University Short Film Festival

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The Oxford University Short Film Festival took place at the end of last term in Keble O’Reilly Theatre. Each day featured a variety of well-crafted student films, and day two was no exception. Six student films were broadcasted, each reviewed below.

Skelter

The first film of the night, directed by Max Morgan, depicts a girl moving on from her summer job at a fairground and all the emotional disconnection and reorientation that entails. It’s set on her last day of work as she says goodbye to a close friend. The film mines a similar economical, hesitantly emotional vein as the films of Colm Bairéad and Charlotte Wells. Its storytelling is assuredly minimal, preferring to hesitate on shots of the environment and pitch its conversations in a place of naturalistic awkwardness.

This approach allows the film to ascend towards a moment of thematic unity as the protagonist descends the eponymous helter skelter for the last time. This scene, greatly enhanced by Aris Sabetai’s overwhelming score combined with the laconic and alienating images of the disassembly of the fairground, leads to a moment of poetic insight as we watch the pair of friends recoiling from and parodying their previous emotional closeness. Their performances affect this admirably, with a real attention to detail in the small expressions that complement the film’s minimalism.

On a more critical note, though the writing is for the most part subtle, it can feel a bit obvious. Stripping it back even further and leaning into the Hemingway-esque economy, even extending some of the environmental storytelling and slowing the pacing (as in the films of Béla Tarr) would accentuate what is a really interesting style.

Drift

The second film, directed by Emily Florence Batty, explores the nostalgic friendship between Lily and Rachel, separated after Lily leaves for university. The film is cut through with cold blue snapshots of their final moments together before they left off with an argument. The weight of their disconnect sits heavily on the film, and the non-linear storytelling allows these two emotional moments to pervade each other.

The film draws on the naturalistic dialogue and subject matter of Normal People, attempting to capture a newly digitized and fractured experience of youth. The cinematography and pacing are excellent, moving the relationship towards its eventual reconciliation. The film’s only limitations are in its writing; some of the scenarios feel clichéd, and the dialogue can be overly expository. However, this does not mar what is a skilful and focused relationship study.

Bright Young Things

The third film, directed by Katie Burge, centres on the relationship between Pia and Soph as they struggle to negotiate youth and morality. The film opens with a dreamlike sequence as Pia sparkles in a black void, fluttering around a star. We wake up on Pia’s 20th birthday as the two friends plan the party they will have that evening. Pia speaks in Waughian lyrics and half-finished ideas, relishing the confusion of her interlocutor. Soph is excited and happy, a lamb for Pia to lead, a dream for her to invent. When Pia kisses the boy that Soph likes at the party, the two fall out. Pia’s self-conscious charisma is imitated by Soph, who then undermines it and exposes its artificiality.

Soph emerges as the emotional core of the film amidst a world of sparkling appearances and inauthenticity. Meaning or morality is banished by a set of glimmering ideals, and youth is something illusory and performative. The film’s dialogue, while contrived at points, is spaced out to allow ambiguity to emerge. Defying any easy resolution, the film’s pessimism is itself unsure and seems to seek for some fragile humanity in its characters. It is a very effective short film, compelling in its dialogue and ambiguous in its conclusions.

It’s My Party

In the fourth film, directed by Rosie Robinson, Louisa’s two awful flatmates throw her a 22nd masked birthday party without inviting anyone that she knows. Through small hints dropped throughout the film we learn about the underlying emotional and familial struggles facing the character and their experience of chronic pain as the party descends into a distorted nightmare. It walks a thin line between comedy and horror, pushing into moments of Eyes Wide Shut-esque terror; we are drawn into the turmoil of the protagonist as the party becomes a wider symbol of an unknowable and overwhelming anxiety.

However, Lili Herbert’s fantastic performance always brings us back to humour with an incredulous facial expression. The main love interest’s conversational tone also follows this rhythm, toeing the line between awkwardness and emotional assurance. This sets a brilliant atmosphere, one that depicts the simultaneous comedy and total alienation of the scenario. The final scene is heartwarming, with great chemistry between the actors and a satisfying emotional resolution. My only critique would be that this ending loses the absurdist edge of the film’s opening.

Cloud Nine

The fifth film, directed by Theo Shorrocks, is a Richard Curtis inspired portrait of contrasting experiences of love. A real interview of an older couple is juxtaposed against the trials and tribulations of a pair of young would-be lovers. The use of the interview footage really elevates the film as their genuine and naturally complex dynamic sits on top of and shifts perceptions of the secondary storyline.

This contrast makes the young lovers seem one-dimensional, but in the same way that Richard Curtis’ characters are deliberately one-dimensional. As such, the film takes apart the Curtis formula, sitting in a place of tension that is at times genuinely heartwarming and at others self-aware of its own limitations. This stops it from synthesising in an emotional conclusion or reaching any final judgement on the theme of love (outside of its precarity), but this is also the film’s greatest strength, leading us into a nostalgic place of uncertainty where narratives of love and real love combine and are muddied. The film’s technical aspects are all excellent, with great pacing, editing, and cinematography.

Strangers

In the final film, directed by Mischa Gurevich, a chance encounter and an unexpected proposition explodes into a haze of dreamlike cinematography as the protagonists dance through an empty building at sunset. The voiceover ruminates on the impossibility of love and the contrast between the immediacy of their connection and the need for hesitation.

It is under half of the length of the other shorts, but it makes the most of its short runtime by disregarding character and relying on the ambiguity of its images. The film is more of an emotional rush than a cognitive experience, plunging between extremes emphasized by the granular sounds of glass and pulsing soundscapes.

Final Thoughts

The festival organisers did a great job setting up and chairing the evening, which ended with a panel with some of the directors. The films were interesting when taken as a set. They had quite a lot in common. Almost all were shot in 4:3. Almost all used a retro, nostalgic colour grade. Almost all, with notable exceptions, attempted a form of social realism. In most cases this was achieved through the use of minimal dialogue. As you would expect given the age range, most explored themes of fleeting youth, university life, or failing love. They were curated based on the theme of ‘interpersonal relationships’, which makes sense; most were interested more in exploring the relations between individuals rather than any wider social concerns. However, in this interpersonal isolation they were unified by their sense of nostalgia and hesitancy, which seems to reflect on a particular historical moment.

Hundreds protest Supreme Court trans ruling in Oxford

Several hundred protestors took to the streets of Oxford today in response to the Supreme Court’s recent ruling on the legal definition of a woman under the Equality Act 2010.

The march – which began at Bonn Square around 11.30am and ended at Oxford Crown Court just over an hour later – was organised by the group ‘Oxford for Trans Rights’. They told Cherwell that the protest aimed to “raise awareness of the harm caused by the Supreme Court’s ruling and the way transphobic individuals and organisations are using it to push their hateful propaganda”.

Following a number of speeches at the start of the route, the demonstration moved down New Inn Hall Street, before turning onto Cornmarket Street and continuing down St Aldate’s. Chants included “Supreme Court, blood on your hands” and “No borders, no nation, trans liberation”.

The protest comes after the Supreme Court ruled that under the Equality Act 2010, the terms ‘woman’ and sex’ refer to a “biological woman and biological sex”. Supporters of the judgement claim it will protect single-sex spaces, whilst critics have said it will undermine protections for trans people.

A diverse mix of people, some affiliated with Oxford University and others local residents, made up the crowd. One resident, who wished to remain anonymous, told Cherwell that he was attending the protest for his trans son, aged 14. He said his son wasn’t attending as he didn’t “think it was quite safe [for him]”.

Meanwhile, two academics in the modern languages faculty told Cherwell that they were “joining in solidarity with trans communities” by taking part in the protest. They carried a banner from the University and College Union (UCU) with the words: “Knowledge is power. Defend education.”

There was a minimal police presence, with only a very small disturbance occurring midway through the march when a bypasser on Cornmarket shouted at the protestors: “Misogynists go home. Defend women.” A large team of stewards and ‘legal observers’ from the organisers were present.

Some local political parties were also represented, including the Greens and the Liberal Democrats. Christopher Smowton, leader of the Oxford Liberal Democrats and Councillor for Headington, told Cherwell the local party had organised an “informal solidarity march” which the national party was happy to allow. No representatives from Labour or the Conservatives were visible at the protest.

By 1pm, the demonstration had largely dispersed after a few megaphone speeches which also addressed topics including racism and solidarity with Palestine.

A Trinity trail of Oxford’s best reads and retreats

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Trinity Term has come upon us faster than the lovely magnolia has blossomed, which means the weather has warmed up, the sun is out, and we’re finally moving into the summer (okay, scientifically spring) season! For those looking to read for fun, and not just their degree, below is a perfect Trinity trail of ideal reading spots in Oxford, with book recommendations to accompany every single one. 

First Spot – Vaults and Garden’s summer terrace

Every year, there’s a vicious fight to get these coveted terrace spots, and for good reason! The University Church provides shade, there’s a cool breeze, you can order delicious scones, and you get a view of the Rad Cam. Speaking of scones and afternoon gluttony…

Must-read: The Importance of Being Earnest by Oscar Wilde 

If you still haven’t read Oscar Wilde’s greatest comedy, this is your perfect opportunity. This short masterpiece is filled with Wilde’s classic wit, and endless aphorisms. It’s a blend of false and mistaken identities, hastened marriages, frivolous engagements, served with lots of social commentary and drama. There’s also plenty of afternoon tea scenes. You won’t be able to tear yourself away, just like Algernon can’t stop with the muffins, so why not spend the whole afternoon over the play, all while having your own mini snack?

Second Spot – In Christ Church Meadows, under the shade of a tree

If you walk past the river bank where the boat house is, you will get to a bend where people rarely go, except if they’re walking the full circle. This means you’ll be largely undisturbed, and the grass makes for a soft sitting space. You can truly forget about the essay crisis and return back to your childhood memories of warm days of seemingly endless time.

Must-read: Mina’s Matchbox by Yoko Ogawa

To make that feeling even stronger, here’s a Japanese fiction recommendation that’s filled with whimsy, childlike carelessness, and the sense of almost limitless potential. After Tomoko is sent to live with her uncle in a coastal town, she finds herself in a fascinatingly mysterious mansion. Her cousin even rides a Pygmy hippo to school. Oh, and she’s a pyromaniac. Oh, and their house is, again, insanely cool… or maybe just insane. Need I say more?

Third Spot – Port Meadow amongst the horses

Snow White may have sung to animals, but you need not be a choir scholar to have your  Disney experience. You can simply read in Port Meadow, and the horses will at some point likely become curious. You might need to sit still though, so you need a book that will truly immerse you, and spark a state of careful, slow reflection.

Must read: Swann’s Way by Marcel Proust

Hear me out on this one: I know In Search of Lost Time is one of the longest books in the world, but reading a volume a year has become my obsession. Let me make it yours too. Proust writes beautifully – every page is filled with sentiment, emotion, and humanity. His writing is best described as incredibly floral, with the slow nostalgic tone and descriptions reminding me of waiting for the first flower to bloom just to examine every petal. This is a book for thinking and feeling deeply. 

Last but not least – By the Oxford canal

The Oxford canal town path is very long, so you are guaranteed to find a lovely seat. You’ll have the occasional barge glide by, the water will provide the necessary coolness, and although the place feels isolated, you can very easily head back to the city centre at any moment. This is also a darker reading spot, so the perfect place for when you’re looking to enjoy a more sombre novel. Or gaze melancholically at the water, despairing over unrequited love…

Must read: White Nights by Fyodor Dostoevsky 

The main character loves to go on walks by the riverbank (how apt for your situation!) and is a hopeless romantic who falls in love with a young woman yearning in turn for the chance to see her own lover once more. So hopefully not the exact same as your situation, then. He sees her as the sweetest, most perfect young girl, and he does everything he can to help her, and she in turn begins to love him as her closest friend. Could this turn into something more? Does it matter if it doesn’t? 

These are among a few perfect places to enjoy your book! Oxford is truly a literary city, where so many words and stories have begun, there can be no greater gift than reading here. Wandering the cobbled streets, enjoying the view of sun-kissed quads and the tantalising promise of the Bodleian libraries’ endlessly appealing shelves is so inspiring in getting you to pick up a novel, and finally hit that reading goal. Maybe Trinity will be the term to find your favourite read and retreat.