Sunday 29th June 2025
Blog Page 25

The Longest Goodbye

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The Longest Goodbye 

Oxford. A place where I travelled outward and inward—toward a version of myself I didn’t know was possible. The part I usually kept quiet finally had space to be. The part beneath everything else. The root. The quiet center. The truest me. 

That part was finally met with understanding—and maybe that’s what let me breathe differently. I became a self that no longer needed to make sense to the world I came from, the one that never rejected me back. Oxford became a home I hadn’t known I was missing—a place that understood me without asking. 

This story is also about someone I met in the stillness of that bloom—a final-year PhD student I crossed paths with while I was there for a summer course, both of us at the University. He became part of what changed everything. 

The day we met, I planned to leave for London with some peers that evening. I made time for him. We settled on four. When he asked where to go, I said I didn’t know—he was the local. He offered a walk through his college, St. Cross. Small, quiet. He hadn’t been back in a year. 

Four o’clock. I’ll come to Worcester, he said. That was where I stayed then. 

I left my room early, then paused to check the weather. Rain, starting at four. 

I asked if he’d brought an umbrella. No, he thought the weather was good. I told him it changed fast. I didn’t want to get soaked. He said we’d just get a little wet. 

Still, I turned back for the clear plastic umbrella the college left me. 

When I got to the gate, the rain had started. 

He was already there. 

I’m here, he texted. Against the wall, trying to stay dry. 

I opened the door halfway. The stone path was dark; the grass wet. But he wasn’t in view. Still in the doorway, I texted again: Where are you? 

Just walk out, and you’ll know.

The rain swept in—fast and sudden. The wind pushed it in sheets across the ground, meeting us with every step. It pressed us shoulder to shoulder, but not close enough to stay dry. My white shirt, soaked through, translucent. His sleeves stuck to his arms. 

The hard rain left behind a soft trace of closeness. Even now, the rain brings back memories of that first one—the one that left us happily soaked and softened something unspoken. 

We didn’t see each other again—just texts. A few days later, he asked if we could’ve been something, had I been starting school in Oxford that September instead. 

He said he felt something—strong and sudden—the first time he saw me. 

I didn’t know what to say. 

He said being with me felt natural. 

And I saw it too—in his smile, his laugh, the way he looked up from the table soccer at St. Cross, and at the golden retriever pendant tucked oddly among antiquities at the Ashmolean. A quiet happiness. Light, and understood. 

Yet I was guarded—not for lack of feeling, but because I didn’t believe things like that could be real. He never mentioned it again. 

But he never took it back. 

Some stories aren’t found in photographs, endings, or clarity. They live in the ache of what never formed—in the space before it could, in the timing that almost aligned, but didn’t. That’s why he lingered—not in my life, but in the memory of being fully understood by a place, and of being quietly witnessed within it. 

His presence felt like that too—quiet, steady, safe. A kind of comfort I had never named before. Subtle. Unexplainable. 

But I felt it—when he crossed the street in front of Christ Church, tired from lab work, walking toward me for what would be our second and last time seeing each other. 

We grabbed drinks and walked along the Oxford Canal to Port Meadow. 

It was my last day. Despite other commitments, we met again. 

Drinks before the last call. A final walk through Oxford. 

Talking until it was late. 

Then, he walked me back to Worcester—to where we first said hi, and now, bye. 

After that night, everything was different. 

Morning still came, no matter how I stretched the time.

I had to leave while the city was still asleep. 

Even when the chapter closed, I left pages blank—waiting for silence to return as sound. 

I never said goodbye to Oxford. I couldn’t. It was a moment in time. A breath held between what was and what almost was. I kept it lit like a flame cupped in my hands—stinging every inch of my skin to keep it shielded from rain, from distance, from forgetting. 

And him—he became part of the way it felt to be in Oxford. Part of the way Oxford made me feel. Some things stay not because they last, but because they never finish becoming—in unanswered questions and lingering silences. 

What’s deeply loved stays layered in memory. How could it have ended, when I revisit it every day? When even distance and time couldn’t undo what it gave me? 

Now, when I look at stars, I think of that night—quiet streets, the hush before goodbye, the pause outside the astronomy building under the clearest sky. 

When it rains, I remember the kind that pressed soft and marked deep. 

When I taste a Long Island, it brings me back to the bar above the Covered Market—sitting across from him, the city hushed beneath us, the buzz around us fading into the rooftops that held our stillness. 

And then there’s Oxford itself. 

Not just a place—but a name that holds everything: 

The way I was. 

The way we were. 

The way we could have been. 

Sometimes, care outlives connection. 

Sometimes, love never calls itself by name. 

But it was there. 

Some part of it always will be. 

And maybe I still hold onto the possibilities—quiet in their stubbornness, loud in every intentional act of keeping Oxford close. 

Maybe Oxford hears it—the longing carried across the distance.

I applied to Oxford. And Oxford invited me to stay. 

The what-ifs still live somewhere in me. 

What if the streets remember? 

What if the gates of Worcester open again, at the right time? 

What if we return—not to what was, but to something that still wants to become? 

But even if I return alone, Oxford will still be there. 

And I will walk those paths as someone who once loved there. 

And in these unspoken moments—maybe the stars started to align. He once said he would’ve left Oxford by the time I could make it there. But change outwits even carefully drawn plans. And maybe I’m arriving sooner than his planned impossibilities ever allowed. 

And maybe—just maybe—possibilities grow quietly, unknowingly. Like the blooming magnolia outside his windows—the one he showed me in a photo this spring, a quiet gesture after time and silence, like the way it bloomed again. Rooted before they are seen. Soft before they are certain. Becoming something only time and season can draw into fullness—reaching upward, as though guided by memory. Waiting just beyond the glass, beside his desk. A presence not too close, not too far. Asking nothing. Staying—until he looks up, not seeking, but still finding what’s been there all along.

A homely solution to stress

Essay crisis, bad tutorial, no sleep. Everyone’s had a time when you’d really rather be anywhere than Oxford. The rigorous academic attention and miniature city size mean that Oxford can feel like a bubble which you would really prefer to just burst.

How can you deal with this? Let’s assume that going home is off the table – unmissable class the next day, extortionate train fares, or an overwhelming fatigue. What to do then? Seek solace in friends, walk bleary-eyed round University Parks, or get hammered at the club? All reasonable options. I propose a more modest solution: join your street’s WhatsApp chat. If this isn’t a possibility, get as close to this as you can.

I’ll explain. In the madness of the first lockdown, my residential street in Bristol decided it needed a way of keeping in touch and figuring out how to adapt to being shut indoors. Hence a WhatsApp chat was born. Aside from being one of the few concrete hangovers from the pandemic, it doesn’t seem very intrinsically interesting. And it isn’t. In fact, its brilliance lies in its unending surfeit of useless, prosaic, and oftentimes downright bizarre content.

Now I’m not really one to feel homesick: I’ve been back home once during my nearly two years of study, and that was to see a play. Oxford for me is a city of intensity, vibrance, and joy – I love being here. Even so, when the pressure gets too much, it’s easy to long for some tethering amidst the chaos. This is where the chat comes in. 

Opening it on any given day offers everything from thought-provoking questions about recommendations for a good plasterer, to tough issues such as a dad running out of baking paper for making his sourdough bread. Friendly neighbours desperately try to flog their unwanted gunk onto unsuspecting victims. “Bag of cat litter available outside Number 80!”; “Help yourself to these Christmas books!” (posted in summer); “IKEA boxes – bit of a repaint and they’ll be lovely” (said of some furniture that looks like it barely survived WW2).

Then there are moments of real danger: “Has anyone had their milk bottle box opened and a massive slug of milk drunk out of their bottle?” After a lengthy back-and-forth between some of the local sages, it’s eventually decided that, contrary to the views of many, this abhorrent act of theft can in fact be attributed to the foxes. Someone else has their car stolen from in front of their drive – receiving many, many commiserations from neighbours who no doubt felt relieved they were not the unlucky victim.

One unexpected question is what you do if you find a dead fox in the back of your garden. Well for some the answer is clear: compost it of course! “We compost foxes too! … Other foxes beware!” Followed by, six minutes later: “I should make it clear that we have not harmed any foxes. We don’t kill to compost!” Given the scourge of these milk-stealing animals, though, it’s hard to be sure…

Looking at the chat is restorative in a number of ways. The surreal humour or absence of self-awareness on display never fails to bring out a smile. But it is the confrontation with a steady stream of technical and mind-numbingly boring questions that is the real antidote to academic worries. For those of us lucky enough not to have to think about such things for a couple more years, seeing people debating the relative merits of an LG or Bosch dishwasher really drives home the joys of a college-owned (and cleaned) kitchen. Whilst you stress over finishing a problem sheet on time, there are others in the world fretting equally about which delivery van company they ought to hire. Considering how much time some people can think about whether to get rid of a few yoga mats makes taking a slightly longer break from study seem eminently justifiable.

This isn’t in any sense to affirm the righteous dignity of the scholar over others. Quite the opposite: you come to realise that you are just one person amongst billions getting along with those tasks set in front of you. It’s an essay now; soon enough it will be fixing the bathroom light.

Ancient Echoes, Modern Forms: Cheung Yee and contemporaries exhibition at the Ashmolean Review

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Upon entering the Ashmolean Museum’s Reforming Abstraction exhibition, visitors are immediately struck by the diversity and energy of the works on display. 2D artworks line both the left and right walls, their vivid colours and dynamic shapes standing out against the gallery’s plain backdrop. The exhibition presents a wide range of media – from sculptures and woodcraft to experimental prints – highlighting the bold innovations of Asian artists during the late 1900s, with a particular focus on the Hong Kong sculptor, Cheung Yee. 

Cheung Yee was a visionary who helped redefine the boundaries of Hong Kong art. At a time when Western modernism was beginning to influence the local scene, Yee carved a unique path, merging traditional East Asian iconography and folklore with contemporary forms like abstract expressionism. Rather than copying Western styles, he reinterpreted them through the lens of his own cultural heritage. As a significant figure in this creative shift, Yee also co-founded the influential Circle Art Group and was an inspiration to many young artists seeking a break from innovation. 

One of the most compelling pieces in the exhibition is Cheung’s Spirit (1977)( as shown in the picture above), a striking example of his innovative ‘cast paper’ technique – a method that combines printmaking and sculpture. The process begins by carving reliefs into wooden blocks to form lead moulds, which are then filled with paper pulp and reinforced with glass fibre to give strength and texture. Once dry, the piece is painted in a monotone colour; in the case of Spirit, a bold, saturated, red. This colour was carefully chosen – red holds deep significance in East Asian culture, symbolising good fortune, joy, and celebration, often used in festivals such as Lunar New Year and weddings. 

At first glance, Spirit may appear abstract and ambiguous. But upon closer inspection, the piece reveals its depth – its concave shapes, curved lines and textured surface evoke the shell of a tortoise, a recurring motif in Cheung’s work. This is not just decorative – during the Shang Dynasty (c.1600 BC-1046 BC), tortoise shells were used with animal bones for divination practices and inscriptions. The spindle-shaped holes of this piece are a reflection of the Shang Dynasty practice of engraving and heating oracle bones to create fissels, which were seen as messages from the divine. In this way, Spirit stands as a perfect encapsulation of Cheung Yee’s artistic mission: to blend contemporary techniques with traditional symbolism in a way that is both timeless and new. 

Also featured in the exhibition is Chinese artist Liu Kuo-sung, another pioneering figure in East Asian art. One example is his vibrant work The Sun. In this piece, the sun sits at the top centre of the composition, surrounded by a deep crimson red sky that gradually softens into orange as it moves downward. In the foreground, green hues suggest landmasses and oceans, anchoring the piece with a sense of earthly presence. This part of the painting was created using Liu’s innovative technique of stripping away paper fibres and ink blotching, giving it a textured, organic feel.

Rather than depicting a landscape from the traditional bird’s-eye perspective common in Chinese painting, The Sun invites the viewer to gaze upwards from Earth into the vast cosmos. This shift in viewpoint-looking from the ground toward the infinite sky-marks a powerful departure from traditional perspective. By showing both the Earth and the surrounding universe, the piece resonates with the Chinese philosophy of the unity of ‘sky-heaven and humanity’, which suggests a deep connection between humanity and the cosmos.

Overall, the exhibition showcases the revolutionary work of Cheung Yee and his contemporaries, all of whom played key roles in redefining East Asian art through their avant-garde approaches. Cheung Yee, in particular, masterfully blends Western modernist techniques with traditional East Asian spirituality and folklore. His work challenges the conventions of ink-on-paper painting while remaining deeply rooted in the cultural heritage of Hong Kong.

Twelve points to politics: Eurovision is more than it seems

It’s a little over a week until the Grand Final of the Eurovision Song Contest, held this year in Basel, Switzerland. I don’t know about you, but I can almost smell the latex and hairspray. For many, Eurovision is an annual ritual of humiliation whereby families gather round the television on a Saturday night to scorn the nations of Europe for their questionable performances and voting patterns. For others, Eurovision is a progressive celebration of different cultures which promotes inclusivity, fosters diversity, and allows countries as small as San Marino to share the stage with musical powerhouses like the United Kingdom.

Beyond acting as a song contest, Eurovision has also become a symbol of queer culture, the Wadstock of the European world. In 2014, Austrian drag queen Conchita Wurst won the contest, and ten years later, Switzerland’s Nemo became Eurovision’s first non-binary winner. Aside from the artists, merely enjoying Eurovision has become shorthand for being gay. Telling people that I enjoy the contest feels like coming out all over again. By the same token, seeing my boyfriend squirm when I force him to watch Moldova’s entry in 2011 feels like an advert for conversion therapy.

All these interpretations are fundamentally reductive. Eurovision is far from an event that’s onenight-only. In fact, ‘Eurovision season’ begins several months prior to the show in September, as national broadcasters choose who they wish to represent them on an international stage. For some nations, Eurovision is the largest platform they get to show themselves off. Countries like Georgia, Armenia, and Azerbaijan value Eurovision as an opportunity to showcase their unique and diverse cultures to an audience who otherwise wouldn’t be able to spell ‘Azerbaijan’ if you put a gun to their head. As such, Eurovision is not just a song contest which forces a captive audience to consume three hours of kitsch Euro-slop, but rather a platform for artists and delegations to show off their country in front of as many as 200 million viewers.

A European platform

Here in the UK, we like to mock Eurovision artists from their questionable fashion right up to their even more questionable vocals. Across Europe, however, Eurovision is a treasured institution. Last year, 96% of television viewers in Iceland tuned in to watch the Money, money, money contest. Other high viewing shares were reported in Sweden (87%), Norway (86%), Croatia (73%), and Lithuania (70%). By contrast, the viewing share last year for the UK was just 47%. It goes without mentioning that the reach of Eurovision exceeds household viewing – pubs, bars, and JCRs all take part in the fun too. Last year, I fondly remember ordering a pint of Orchard Pig at St Hilda’s as a Slovenian woman sang a song called ‘Veronika’ in the background: a night to remember (if only I could).

Despite such watch parties, though, Eurovision is not as salient on this side of the Channel. One reason for this apathetic attitude towards the contest is the legacy of our commentating tradition. Prior to Graham Norton, the main commentator for the BBC’s coverage of Eurovision was Terry Wogan, whose dry and sardonic humour meant that the contest wasn’t held in great regard during the late 90s and early 2000s. Furthermore, successive victories in the early 2000s by Eastern Bloc countries led to a sentiment that Western countries were being deliberately sidelined by voters. Notoriously, Wogan claimed that the UK’s dreaded nul points in 2003 was due to “post-Iraq backlash”. Regardless of whether it’s Iraq in 2003 or Brexit in 2016, it seems that UK viewers and commentators will go to no end in blaming external factors for dreadful finishes in the contest.

Valued at £7.6 billion in 2023, the UK music industry does not need Eurovision to prove its worth. As embarrassing as Jemini’s performance of ‘Cry Baby’ was in 2003, it didn’t have major repercussions on the UK’s international image. Even Jemini eventually profited from the ordeal, performing at a John Lewis in 2023 when Liverpool hosted the event (très chic). While larger countries usually dominate World Cups and Olympics, even the likes of Malta and Luxembourg get in the limelight at Eurovision. Every broadcaster is subject to the same rules: one act; three minutes; five partially-clothed dancers.

Juries and anti-intellectualism

What do the Brexit referendum, Donald Trump’s first election victory, and Eurovision 2023 all have in common? Apart from acting as evidence that people should never be allowed to vote on anything ever, all three events have epitomised a narrative that socalled ‘experts’ are wrong. In the Brexit referendum, economists warned about the financial ramifications of leaving the EU; in both the 2016 and 2024 US elections, it was a desire to ‘drain the swamp’ which propelled Trump to victory; and in Eurovision, there has been backlash towards the juries as ‘music experts’ which epitomises this anti-intellectualist trend.

In 2023, backlash was especially pronounced following Sweden’s victory at the contest. Despite Finland topping the public vote in eighteen different countries, accruing 376 televotes, it was Sweden’s Loreen which triumphed overall owing to a large jury score. Though discrepancies between jury and televote scores aren’t new, they have only been clearly visible to non-Eurovision geeks since 2016, when results ceased being combined into one overall ranking. For televote winner Finland to have an 133-point-lead with the public, and yet still miss out on the trophy, was a very public display of jury/televote misalignment.

The 50/50 jury/televote system began in 2009 following successive victories by Eastern Bloc countries in the early 2000s. As Yugoslavia and the Soviet Union splintered into several countries, Eastern Europe began to achieve a monopoly in the televoting system of the early 2000s. Estonia, Latvia, Ukraine, Serbia, and Russia are all Eastern European countries which won for the first time in this era. Though neighbourly voting is not unique to Eastern Europe, with Scandinavian countries also exchanging high points, the arrival of many Eastern European nations in the 2000s made their regional alliances particularly influential in shaping the leaderboard. Notably, in 2007, not a single Western European country finished on the left-hand side of the scoreboard, nevermind placing in the top 10.

This ‘bloc voting’ concerned executives at the EBU who sought to improve the quality of music at the contest and to curtail the Eastern European dominance. The result was the introduction of ‘juries’. Each jury would consist of a panel of five ‘music experts’ whose ranking of the performances would constitute 50% of a country’s overall voting result. T hough this was controversial right from the outset, there was a general acceptance that the introduction of juries would, and did, improve the overall quality of entries in the contest.

Recently, the debate has become more heated. The last time that the juries and televote agreed on the winner of a contest was in 2017, when Salvador Sobral topped both scorecards for Portugal. The last time a televote winner won the overall contest was in 2022, with Ukraine’s Kalush Orchestra propelling them to victory in a Eurovision season defined by the Russian invasion of Ukraine. In 2023 and 2024, however, it has been the jury winner who has triumphed over the televote favourites. As such, resentment towards the juries is understandable. The jury/televote debate is, however, more complex than this. What qualifies as a ‘music expert’ to the EBU is ambiguous and has therefore been the source of confusion. For instance, a member of the Swedish jury in 2013 was a 40-yearold backing singer called Monika. Monika may know how to hold a note; but should this ability give her the same voting power as hundreds of thousands of Swedish televoters? Thus far, the jury is out.

Regardless of where a particular audience member stands on this debate, though, its very nature acts as a microcosm for anti-intellectualism and indeed populist discourse which questions the notion that expertise and experience should qualify individuals to hold positions of power. It’s a trope that has been particularly common in recent election cycles. For Eurofans, though, it’s been in our conversations for a while. Often, the discourses that the contest generates are replicated on a grander and more potent scale.

Money, money, money

Though the EBU does not make any money from organising Eurovision, the contest is nevertheless a substantial revenue stream. Ticket-sales, sponsorships, and adverts all offset the costs of running the contest and, as such, the EBU tries to incentivise certain countries to keep participating in order to reduce the losses they would otherwise face. Sites like The Conversation have suggested that Israel’s continued participation in the contest, despite the war with Hamas, is driven not only by a desire to retain their participation fee but also by the influence of Eurovision’s main sponsor, Moroccanoil, an Israeli cosmetics company that could pull its support if Israel withdrew. Their continued involvement with Eurovision following the Israel-Hamas war has increased tensions in recent contests, which has rubbed off on how the contest is perceived. One Oxford student told me the contest is “dystopian”. Another told me the EBU has “incomprehensible ways of policing which political statements are allowed, and who can share them”. For the fans, the continued participation of Israel is a question of morality. For the EBU, though, it may be one of finances.

In the past, some host cities have profited from the increased revenue streams brought by Eurovision. In 2023, for instance, Liverpool generated an extra £20 million after hosting the contest in 2023. However, organising Eurovision can also be a financial burden. Copenhagen lost big in 2014 after its organisers baffling decided to construct a new arena in a disused shipyard, only for it to literally never be used again.

Beyond budgets, hosting Eurovision can also be considered controversial as countries use the opportunity to polish their image in much the same way that they do so on stage. Azerbaijan was accused held a contest known for its queer following whilst maintaining a crackdown on queer communities, and also evicted local families to build its 2011 venue. More recently, the 2024 edition held in Malmö was remarkably tense owing to the large Muslim population of the city protesting Israel’s participation, with death threats allegedly levelled towards Israel’s representative, Eden Golan. Eurovision can thus act not just as a microcosm, but indeed as a melting pot of anxiety and conflict. Far from its origins as a festival designed to promote peaceful coexistence following WWII, critics argue that modern-day Eurovision is more divisive and violent than ever.

Twelve points to politics!

Eurovision is embroiled in geopolitics and queer politics alike. Though Eurofans like me do enjoy the contest for its own sake – and believe me, nothing makes me happier than when someone gets my reference when I say that an outfit is ‘giving Barbara Dex’ – an awareness of the contest can often offer more insight into the complexities of geopolitics, self-determination, and performativity than several feature-length op-eds in the New York Times or Atlantic. Eurovision is a microcosm as well as a melting pot; an escape from conflict as well as an arena for it to play out on stage. Political whilst professing to be anything but, Eurovision is an event that’s full of contradictions. That’s what makes it so fun to watch. Next time someone loudly boasts that Eurovision ‘is just political’, whether this be a family member or fellow college bar goer, nod your head in agreement. However, although such statements are intended to lessen the value of the contest, it really just makes Eurovision all the more fascinating to follow.

VE Day celebrations to take place across Oxfordshire

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Street parties are being planned across Oxfordshire as part of a national programme of events to mark the 80th anniversary of Victory in Europe (VE) Day on Thursday 8th May.

Celebrating 80 years of peace, Oxford City Council have encouraged residents to host street parties by waiving the road closure charge typically in place for hosting such small community events. Various historical displays and tributes have been planned, including a nationwide ‘Great British Food Festival’ on Bank Holiday Monday (5th May).

On VE Day itself, the Council have announced that the Union flag will be flown over both the Town Hall and Carfax Tower. At the latter, a bell-ringing ceremony will take place at 6.30pm, with a beacon being lit at Blenheim Palace later that evening.

Elsewhere in the city centre, on Saturday 10th May there will be a performance from the Bicester Military Wives Choir at lunchtime, on St Michael’s Street and at the Covered Market.

At the Soldiers of Oxfordshire Museum, in Woodstock, an exhibition dedicated to telling the story of the final stages of the Second World War has opened, on display until November. It particularly focuses on the experiences of soldiers local to the area, such as women working for MI5 at Blenheim Palace, who recount their memories of “people dancing in line from St Giles to Carfax”.

Lord Mayor of Oxford, Councillor Mike Rowley said the anniversary was an “important opportunity” to remember the sacrifices of those involved in the war effort, and “to honour the bravery and sacrifice of the wartime generation”.

He continued: “VE Day is a defining moment in our history, and this may be one of the last opportunities we have to thank the surviving veterans, so we should celebrate them in style.

“Gathering with our neighbours and local communities to share food, drink and stories will always be a very special thing to do. By waiving the road closure charge for small street parties, we want to make it as easy as possible for people to take part.”

Ssh… here’s the debrief on gossip

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Some words in the English language, though they might have a neutral meaning in the dictionary, are instant red flags: empath, nice, devil’s advocate. “Gossip”, though, has always been firmly amongst the ranks of the irredeemable – it’s a word associated with idle talking, often about other people’s business, often without their knowledge. At its worst, it isolates people, driving friendship groups apart and creating a hopelessly toxic environment for the ones left behind. So does this condemn our partiality for spilling the tea? 

Yapping is a historical instinct, it turns out. It hails back to before the 12th century, where the word “gossip” or “godsibb” later developed from its original meaning of “godparent” to describe anyone who was a close acquaintance, a confidant. As time went on, the word began to pick up an increasingly gendered undertone. In Chaucer, the Wife of Bath frequently mentions a “godsibb” of hers, a close female friend with whom she shared her grievances about everyday life. The usage sounds relatively innocuous, but already, it was beginning to pick up a disparaging connotation. In many ways, it’s hardly surprising how what started out as a relatively innocuous term has become associated with being the neighbourhood/college busybody: after all, there is, apparently, nothing more threatening than women gathering together to have a chat. 

Yet gossip is a term which encompasses so much more than just bad-mouthing other people. It doesn’t always have to carry a sense of contempt. Of course, circulating rumours and delving into other people’s lives without their consent or even their presence tends to break social bonds rather than establish them, but I’d argue that gossiping – or debriefing, which I think suits my meaning much more – has an innate unifying power which, when used properly, can bring people together.

It all boils down to the exchange of information, which is increasingly what our society is built upon – a kind of social currency. When we express our opinions healthily in the company of people we trust, we understand each other better. Chatting, yapping, having a blether: however you’d like to put it, it can be a force for good. Now more than ever, it’s particularly important in friendships amongst those identifying as women. It can help us identify individuals who might pose a threat, and how their damaging behaviours often affect us. That’s right – yapping might even save lives. 

On a less serious note, there’s something so freeing about a full debrief session with a friend you haven’t seen in a while. Phones on silent, beverage in hand, you wile away the hours chatting about anything and everything going on in your lives, and often walk away feeling much lighter. Unlike regular small talk, there are no topics that are off-limits, opening up space to broach challenging issues and deepen your connection with that person. Debriefing is ritualistic, healing, and a much larger part of our society than we give it credit for.

University Welfare Services release annual reports

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The 2023/24 reports from Student Welfare and Support Services (SWSS) were published last week. SWSS are split into four services: University Counselling, Disability Advisory, Sexual Harassment and Violence Support, and Peer Support Services. Support from each service is available to any student in the collegiate university, and SWSS maintains a close working relationship with college welfare teams.

The counselling service reported success in their new appointment prioritisation system: 37% of students referred to the service were seen in less than five working days, up from 30%. Of the 8% of referrals which contained “substantially time-sensitive presentation or personal circumstances”, 81% were assessed in less than five days. 

Women continue to outnumber men in seeking counselling, making up 62% of students accessing central university services. Undergraduates were the most likely to use all services. They were also the only degree classification to use college counselling services more than central services. While post-pandemic “survey fatigue” was blamed for the low completion rate of feedback forms, 92% of respondents rated their experience as “very good”.

Referrals to the Disability Advisory Service (DAS) increased slightly this year. 23.3% of students had interacted with DAS, compared to 22% in the previous year. By the end of the 2023/4 academic year, more than 3,400 Student Support Plans were in place. Students mainly sought help from DAS for examination adjustments, especially for dyslexia and dyspraxia. Citing concerns about NHS waiting times for autism and ADHD assessments, DAS began to accept a wider range of disability evidence. They include a referral to NHS autism or ADHD assessment by a GP, and a support plan from another university, school, or college.  

The Sexual Harassment and Violence Support Service saw a 5% increase in referrals, but saw a decrease in referrals to the Independent Sexual Violence Advisor, who provides support for those against whom sexual misconduct has been alleged. Half of those referred did not wish to make a formal report to their college, the university, or the police. The Service saw an increase in cases where the incident was ongoing, and 40% of those that it handled had occurred within the last six months. However, 49% of incidents disclosed took place outside of a University context. Seven more colleges adopted the online ‘Consent for Students’ training, with fifteen providing it in total.

The Peer Support Service continued to train students in supporting each other. 123 students completed peer support training, taking the total number of active Peer Supporters to 354. This is a decrease from last year, where 142 new Peer Supporters were trained. The Service trained 32 new Junior Deans, for a total of 137. This number dropped for the second year running, down from 47 in 21-22 and 40 in 22-23.

According to the Student Union’s latest welfare report, 76% of students have felt anxious during their time at Oxford University. 44% had felt depressed. 38% reported their mental health worsening since coming to the University, with almost three-quarters stating that their course had adversely affected their mental health. 40% of students had never used welfare support, and only 35% were satisfied with it.

An Oxford University spokesperson told Cherwell: “Oxford is committed to ensuring that all of our students have access to an outstanding educational experience and that we fulfil our legal obligations by providing reasonable individual adjustments and study support for disabled students.  We are pleased to offer an environment in which disabled students want to study and can disclose a disability, and the University remains firmly committed to reducing and removing barriers to learning and embedding inclusive teaching and learning practices that benefit all students.”

Jane Harris and Katherine Noren, Co-Directors of Student Welfare and Support Services, said: “We are proud to present this year’s annual reports, with deep gratitude for the daily collaboration between students and our teams. Their collective efforts enhance our understanding of the challenges and opportunities for student wellbeing at Oxford, and shape the services we provide. 

“We remain committed to delivering high-quality services and strengthening partnerships across the University, recognising that effective student welfare is a shared undertaking that draws on the diversity and wisdom of Oxford’s comprehensive welfare ecosystem.”

Flash in the Pan Pan: Street-food style Asian tapas

If you can drag yourself over Magdalen Bridge and past the roundabout (that for most students marks the limit of the Oxford bubble), Cowley and its surrounding area offers many worthwhile alternatives to the chain restaurants that dominate the centre of town. On quiet St Clements Street, a warm glow welcomes guests from behind an unobtrusive facade – Pan Pan restaurant promises a casual and comfortable dining experience.  

As a chronically indecisive person, especially when it comes to food (as my friends can well attest – sorry!), the idea of ‘small-plates’ dining has always appealed to me. Can’t pick one thing? Try a bit of everything! Pan Pan’s menu comprises a variety of small Pan-Asian dishes, as well as larger plates, covering diverse cuisines with Japanese, Thai, and Korean street-food styles.  

Tapas-style dining has soared in popularity over the last decade or so, with businesses rushing to hop on the trend. This has, unfortunately, enabled exploitation: eschewing the spirit of the small-plates experience, many restaurants hike up their prices and reduce portion sizes, which is a nasty financial sting in place of a digestif. The small dishes at Pan Pan were a little on the expensive side, but the quality made each dish ultimately worthwhile. 

Pan Pan has cultivated a cosy and intimate dining ambience, while avoiding a claustrophobic intensity. The modern decor – illuminated with warm tones, and punctuated with booth-style seating, as well as tables – fosters a casual atmosphere, appropriate to the menu’s homage to street-food culture. 

Between the four of us, we ordered six small plates, and one large dish. There is a solid range of vegetarian options, with notable transparency regarding the use of fish sauce (not always a given). The service was friendly and very efficient, with less than ten minutes of waiting time. To drink, we ordered Thai milk tea; while it was somewhat overpriced, it was thankfully not too sweet, as is often the case, so it ended up being a surprisingly appropriate companion to the food.

The Japanese seaweed salad was perfect; the addition of carrot and sesame really elevated the dish to make it flavoursome, light, and refreshing. The crispy calamari and the crispy prawn gyoza dumplings (somewhat off-puttingly titled ‘Crispy Dump’) had a really great texture that lived up to its name, and the sauces that came with them accompanied each dish skillfully. Although we were skeptical at first of the Roti Canai, which seemed incongruous in the company of predominantly Korean, Thai, and Japanese style dishes, the accompanying curried sauce was more Thai inspired in place of the usual daal, so that it married well with the other dishes. The Sichimi Tofu was a highlight, coated in crispy flavour with a delicately soft interior, which would have marketed the protein often unjustly typecast as flavourless to the most ardent carnivore. The bao bun was big enough to split into four, but I could have eaten my body weight in that pillowy dough. It was perfectly offset with chilli mayo, and a crunchy vegetable croquette. Hungry as we were, we also ordered the Spicy Tofu Bibimbap to share. The generous portion size at a reasonable price was a welcome change from the small plates, and the dish was packed with an enticing and well-balanced variety of ingredients. 

Eclecticism in restaurants is often a point of weakness, however. As much as I enjoyed my meal at Pan Pan, the broad-brush approach, attempting to encompass such differing cuisines in one menu, felt almost hurried. Each individual dish seemed authentic and well-rounded – they resisted the fallacy of fusion food, that detrimental attempt to be quirky. Yet there was not much chance to fully appreciate one particular flavour profile when all of them were subsumed within a whirlwind tour of ‘Asian’ food. The attempt to comprehend the entirety of a vast continent within a two page menu was admirable, but inevitably, fell short. The menu maintained cohesiveness, but only just.

The atmosphere of the restaurant was what stood out to me the most; its casual style seemed designed to encourage sociable dining. As a venue, it’s not exactly suited to a date, but it was the perfect excuse for a much-needed start of term catch up between friends. 

What we ordered: Japanese Seaweed Salad (£5.90), Crispy Calamari (£8.50), Crispy Dumplings (£6.20), Roti Canai (£4.90), Sichimi Tofu (£6.90), Bao (£5.50), Spicy Tofu Bibimbap (£11.90), Thai milk tea (£4.90).

New Mods: An infantilising step away from the fundamentals

Oxford has long played an important role in the world of classical academia. Feeney, Lyne, Griffin, Macleod, Murray, Hall, Osborne… the list of notable classicists who have studied here, if not even taught tutorials themselves, is immense. Surely it is only common sense that the University should continue this tradition, a duty both to itself and to the discipline of classics more broadly?

You would have thought so. But the changes to the Mods syllabus (the equivalent of Prelims, exams which classicists sit in Hilary term of their second year) make alarming reading for anyone invested in the subject. The most striking change is the removal of the Iliad and the Aeneid, two works it is vital to study because of their fundamental influence on all of the rest of ancient culture. They have been replaced by an anthology of texts, including such niche works as Terence’s Adelphoe and Lucian’s True Histories, interesting in their own right but surely not fitting to be studied by classicists at the very start of their degrees.

Whilst the Iliad and the Aeneid can now be sat as Finals papers instead, this still means that a classicist can go through their entire degree without reading the most influential texts in the classical world. To try and understand ancient literature without the Iliad and Aeneid is like trying to understand trigonometry without algebra first.

The language of these texts is also relatively easy for a first-year student to read, certainly far easier than that of Thucydides and Tacitus, two of the authors who will replace them. The Faculty generally seems to be very apathetic to the study of classical languages, so much so that they have not yet released any details of the form of the new language papers, the website only saying that ‘grammar work’ will play some role in the course.

Reports suggest that they intend to make prose composition (translating from English into Latin or Greek) optional, offering candidates an alternative comprehension paper on a text they have prepared beforehand, little more than a memory test. But writing in other languages is an invaluable skill, giving students an awareness of structure, style and idiom which cannot be gained simply from translating into English. Any languages student could tell you that for free, yet the Classics Faculty seems unable to appreciate it.

But, for anyone who has any knowledge of the faculty, this decision is entirely, depressingly unsurprising. The centralised language classes are known to vary heavily in their quality, with the worst being little more than a recap of grammar learnt at A-Level or even GCSE. Handouts often contain mistakes and the grammar tests focus on arcane, practically irrelevant forms. Yet the Faculty also disapproves of the language classes that individual colleges run for their students, set up precisely because of their failure; they have even rejected offers from senior college language tutors to help run faculty classes. This all seems to point to a faculty that believes classics can be taught without in-depth study of original languages, a notion which has gained currency recently but is undoubtedly absurd: it’s like the Old Testament without Hebrew, Dante without Italian — English students must even learn Old English before studying Beowulf. The simple fact is that so many fundamental aspects of literary criticism, from style to tone to word choice, cannot be properly appreciated in translation.

At this point an important caveat should be made: whilst no longer “the hardest set of exams in the world”, (as Cherwell once called it), the demands are still brutal, with candidates sitting more papers at Mods than at Finals. It is no secret that the Mods term is perhaps the most gruelling in the whole four years. Moreover, students with no prior experience of Latin or Greek at Oxford seem to be at a disadvantage: in the past three years they have made up a third of the intake, but only a fifth of the First Class results at Mods. But surely the fact that someone’s experience of languages before Oxford makes more of a difference to their result than the five terms of teaching they have received here is just another damning indictment of the faculty?

Indeed, this attitude is simply infantilising towards classics students, many of whom became interested in the subject precisely because of the linguistic side. It is especially patronising to those who have not studied Latin or Greek before: the enthusiasm and commitment to study a subject you have little prior experience of should not be underestimated. You are forced to ask: who do these reforms actually benefit? Clearly not the students, nor many of the professors, with some even using their lectures to show their sadness/disgust/indignation at the changes to the course. Even worse, one tutor noted that placing less emphasis on language will have a knock-on effect on schools and their teaching, just as the government has decided to pull the plug on funding for Latin lessons: any idea that these reforms will promote equality is simply naive and misguided.

The changes to Mods are detrimental to the study of both language and literature, demeaning to tutors and tutees alike, and will perhaps even be harmful to the teaching of classics throughout the country. This is a faculty that is unable to live up to the standards of its own staff and students.

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