Thursday 25th September 2025
Blog Page 262

St Catz college dog gives birth to puppies

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St Catherine’s college dog, who is aptly named Catherine, has just given birth to four puppies.

Catherine, a cocker spaniel, “really hit it off” with Tommy, a dog of the same breed. Together, they have had three female pups and one male. 

Tommy
Catherine

At the moment, the names of the puppies are undecided, but Kersti Börjars, the Master of St Catherine’s college and owner of Catherine the dog, will seek suggestions from students.   

However, since the puppies will need to be registered with Kennel Club, they will also need Kennel Club names. Kersti says that these names “have to be quite fancy”: Catherine’s Kennel Club name is Eldrid Beautiful Fire, and her mother is Swanmarch Who’s that Lady. 

Kersti will be keeping one of the girls, and two of the other puppies have already found homes (one will be staying within the Catz family). 

Catherine and puppies

Kersti said of the puppy rearing process: “I have never been involved in a dog giving birth before, we have just had kittens, but a cat really looks after it all themselves. In preparation for the birth, I read a book that had been recommended to me. It is called The Book of the Bitch, so not something you leave out on the coffee table. It did a good job of preparing me, but there was quite a lot about ‘what to do if things go wrong’, which made me a little nervous. In the end, it all went well, seeing the first puppy come out safely was really quite exciting.

“The owner of Catherine’s mother was very helpful via Whatsapp throughout the process, and I had two colleagues with me who happened to be there when it started, and it was nice not to be alone with Catherine as she did need a little help. Still, I am amazed by how much is pre-programmed into a dog; she knew how to get them out of the little bubble they are born in, how to cut the umbilical cord, etc.”

Catherine herself is reported to have bounced back from the birth and has been sighted galloping around the college grounds in high spirits. Kersti said: “She is now feeding [the puppies] and cleaning them exactly as she should. She will leave them for short periods, but then she will dash back.”

Although Kersti doesn’t think that she wants Catherine to have another round of puppies, the female pup that they are keeping could have some herself in the future. 

Currently, Catherine is on maternity leave from her wellbeing dog duties. However, the students of St Catz will be thrilled to hear that there will be visiting hours to see the puppies when they are a little older. 

One of the puppies

Image Credit: catherinethecollegedog via Instagram

Oxford University introduces Foundation Year for disadvantaged students

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In a press release last Wednesday, May 4th, the university announced the creation of the Astrophoria Foundation Year. This one-year course of study will serve as an introduction to Oxford study and life for state-school students with high academic potential who have had their education severely disrupted. 

Funded by a significant anonymous gift from a long-time donor to the university, this program will be entirely free to participants, giving scholarships for study and accommodation fees as well as supplementary bursaries. 

To be considered for admission, students will need to obtain As and Bs across their A-levels, with precise offers depending on their desired course, and demonstrate socio-economic, school, and personal need. As well, they will need to submit a UCAS application and an additional Foundation-Year specific questionnaire. 

Fifty students will be accepted to this program, spread across ten colleges. St Hugh’s, Keble, Jesus, Lady Margaret Hall, Exeter, Mansfield, Somerville, St Anne’s, Trinity, and Wadham will welcome students on one of four tracks: Humanities (Classics, History, English, and Theology); Chemistry, Engineering and Materials Science; Philosophy, Politics, and Economics (PPE) or Law. The teaching program will also include tailored academic and welfare support. 

Participating colleges also have specific learning development and welfare programs in place to assist the new students. After completing the year and meeting a certain standard of academic achievement the students will receive a Certificate in Higher Education (CertHE). They can then choose to continue on with an undergraduate degree at Oxford or apply to another university.

The Astrophoria program comes after the success of Lady Margaret Hall’s pilot Foundation Year program, which has been running since 2016. Founded to help increase access to Oxford for students from diverse and underrepresented backgrounds, LMH’s Foundation Year has allowed bright individuals to succeed in university studies despite significant disadvantages in their secondary school education. According to LMH, the first two cohorts have maintained a good standard of academics throughout their degree, with two graduating with First Class honours, ten with 2:1s, and one with a 2:2. 

It is no coincidence that many former women’s colleges are taking part in the Astrophoria program, with staff from both St Hughs and Sommerville hoping to build upon their colleges’ legacy of inclusion by participating in this program.

Similarly, the university is hoping to continue “broadening the socio-economic backgrounds of [their] undergraduate students”, according to Vice-Chancellor of Oxford University, Professor Louise Richardson. There has been success in recent years, both in terms of increasing the percentage of BAME students and students from disadvantaged, underrepresented backgrounds admitted, still the university and participating colleges acknowledge that access for promising students remains an area of improvement. 

St Hugh’s College touts the Astrophoria Foundation year as “effective opportunities to improve access”. The name of the program, a combination of “Astro”, reminiscent of the program’s “rising stars” and of the major donor’s last name, reflects this hope.

The first cohort will be welcomed to Oxford at the beginning of Michaelmas 2023.

Image Credit: Nils Lindner

A green scream machine at Queen’s – Review: Little Shop of Horrors

CW: abuse.

TW: blood.

In the 600-odd years since The Queen’s College was founded, its gardens have been missing a certain something. It wasn’t entirely clear what that something was – but on Wednesday night, the mystery was finally solved. Queen’s needed a sassy, singing carnivorous plant. In drag. 

In case you’re confused, the annual Queen’s College garden musical, Little Shop of Horrors, opened on Wednesday of third week. Little Shop is a cult classic, no doubt owing to its magical combination of campy horror and a be-bop soundtrack. For the Eglesfield Musical Society – who have not put on a garden musical since 2019  – Little Shop was the perfect choice. As director Ollie Khurshid puts it, “Where else would you perform Little Shop except amongst the plants?”

The story begins in urban Skid Row. Seymour Krelborn (Cormac Diamond), a nebbish orphan, works in Mushnik’s Skid Row Florist alongside the lovely but underconfident Audrey (Eva Bailey). Mushnik (Declan Ryder) announces that the failing florist shop must close its doors, but help arrives in the form of a “strange and interesting plant,” which Seymour has obtained through some shady business dealings. Seymour dubs the plant Audrey II. 

Soon, everyone wants to come see Audrey II, and business at Mushnik’s Florist is booming. But there’s a problem – well, a few problems. Seymour is struggling to deal with his sudden success as an “experimental botanist.” Audrey is showing up to work with black eyes, courtesy of her dentist boyfriend Orin Scrivello (Alfred Dry). Worst of all, Seymour is getting a little anaemic – because, you see, Audrey II is the sort of plant that drinks blood. 

How does Seymour know? Audrey II (Jelani Munroe) told him so. 

Putting a giant plant onstage is no easy feat. Chalk this production’s success up to the fantastic puppet design by Khurshid, performance by puppeteer Harry Brook – and, of course, Jelani Munroe, who plays Audrey II upon her mid-show transformation from plant to botanical drag queen. Depicting Audrey II in drag was an inspired choice. Munroe is perfectly pouty, a temptress par excellence, with a steamroller of a singing voice. 

Diamond, as Seymour, delivers a nuanced performance, pinned between his love for Audrey and fear of Audrey II. He’s a remarkable vocalist; it’s hard to play Seymour as a good singer while coming across as sufficiently nerdy, which is what Diamond achieves here. Eva Bailey shines as Audrey, her head low and her hopes high, and a soaring voice to boot. She and Diamond are the perfect tag team, working together to carry the emotional load of the play. Dry as Orin Scrivello is sensational, the Marquis de Sade with a dental drill; while Mushnik, played by Ryder, has amazing comedic timing, weird dad energy, and a better New York accent than most New Yorkers. 

The show is narrated by a trio of street urchins, in three-part harmony. Crystal (Gabriella Ewulomi) is strong and sweet-voiced. Chiffon (Arya Nagwani) is a miracle ball of energy. And Ronette’s (Maya Sankaran) facial expressions are perhaps the funniest thing in the whole musical, if you can catch them.

The production team deserves commendation for Little Shop’s red-and-green colour palette. Khurshid’s set design is a wonder, from the green drapes to the pyrotechnics, and Phebe McManamon is a graphic designer to watch, judging by the show’s gorgeous programme. The lighting design by Penelope Hilder Jarvis is evocative, especially the use of red and green to correspond with characters’ emotional shifts. And Audrey II’s dress, courtesy of Ollie Khurshid, a fluffy confection of green tulle with a gaping red underskirt, is about as suggestive as you’d imagine. Wrap this all up with a blisteringly talented live band, directed by Isaac Adni, and you have theatrical success. 

This Little Shop makes its audience laugh about death. That’s not so hard when the murderer is a sassy, sarcastic, soul-singing plant in drag. When Robert de Eglesfield founded Queen’s College, this may not have been what he had in mind, but I like to think he’d appreciate it.

Little Shop of Horrors continues its run in the Queen’s College Gardens until 14th May. Tickets are available here

“Hide the babies” – Review: Girls and Dolls

CW: abuse. 

There’s been a recent uptick in global awareness of the history of Northern Ireland. We can trace it back, roughly, to 2018. That’s when Lisa McGee’s hit TV series Derry Girls, which chronicles the tribulations of growing up in Derry during the Troubles, arrived on screens worldwide; and just like that, Northern Ireland became the object of cultural fascination.

McGee, the show’s creator, is a dab hand at arts activism, each of her projects bringing new awareness to the political and social struggles of her home country. Her play Girls and Dolls is no exception. A² Productions opened Girls and Dolls in week 3 at the Burton Taylor Studio; the beautifully wrought play, directed by Kaveri Parekh and Bella Simpson, represents a triumph for new voices in Oxford drama. 

In fact, neither of the show’s two actors have ever trodden the boards at this university – but you wouldn’t know it from their performances. The show revolves around the friendship of two girls, Emma and Clare, in 1980s Northern Ireland. We see their interactions with the townsfolk, from feisty pensioners Mags and Josie to the foul-mouthed shopkeeper Dessie. There are lots of characters, lots of plotlines, and they’re all depicted by this two-woman acting team. 

Take Sylvie Leggatt, who plays Clare, but also puts in time as a gruff adolescent boy, a lonely old man with a bevy of greyhounds, and an aggressively Catholic aunt. McGee is not the only playwright that uses a small number of actors for a large number of characters, but she asks a ton of her actors: this is one of the most demanding two-handers I’ve seen. Yet the women in this production take up the mantle with enthusiasm, a pair of bodies weaving the tale of an entire community. 

Emma Haran, as Emma, practically spits sparks, throwing herself around the stage with full dedication to the small dramas of girlhood. She pops her hip, tosses her hair, and shoves others off the swings. Haran is skilled in manipulating her physicality to colour her performance, especially when she is changing character rapidly from, say, an arthritic old woman to a springy young girl. 

Leggatt as Clare, in contrast, is all loose limbs and big eyes, gesturing to the weight of Clare’s years of abuse by her father. It’s a touching performance that gains an edge when Leggatt gathers momentum in the play’s second half, and Clare becomes a danger to those around her. Let’s just say that the neighbour has a baby, and Clare does not like babies. It would have been all too easy for Leggatt to fall into the trope of evil-kid-in-horror-film, with bouncing pigtails and sinister grin, but Leggatt brings nuance to Clare’s disintegration, showing us a girl who is trying, and failing, to do the right thing. 

Under the show’s sheen of nostalgia – treehouse-building, 80s tunes – Girls and Dolls is a startling look at how a community can crush its children. One scene features armed men overwhelming Emma and Clare’s town. Someone’s dog is shot, and Emma stares at the corpse. Local and national tensions combine into a potent elixir; potent enough to transform one of the girls, by the end of the show, into a self-confessed ‘monster’.

The creation of a monster is a disturbing thing to watch, especially when that monster is small, red-headed, and scared. But if Girls and Dolls disturbs as much as it delights, that’s a testament to the skill of its creative team. It’s good to see fresh talent on the Oxford stage, telling a story that’s in tune with the zeitgeist. We can only hope that A² Productions continues the streak. 

For now, it’s enough to enjoy Girls and Dolls’ tart message: love your friends for all their psychological baggage. But hide the babies.

Girls and Dolls continues its run in the BT Studio until 14th May. Tickets are available here.

Disappointing and passionless: The Met Gala 2022 review

Another year has passed, and another year I am unfortunately disappointed by the Met Gala’s red carpet. Ever since the stunning response to the 2018 theme of Heavenly Bodies: Fashion and the Catholic Imagination, the collective looks have not delivered. However, this year, Gilded Glamour and White Tie, was particularly disappointing, especially as there was so much design promise from the theme. From crinoline and corsets to gigot sleeves and the bustle, there was so much to play with, and that’s only mentioning women’s fashion of the period. The theme, or lack of it in some cases, does raise questions about its appropriateness, the rose-tinted presentation of the period and the necessity to respond to themes.

From the outset, the theme was in the hot seat regarding its celebration of prosperity and luxury in a time of economic and political instability and uncertainty. I think this is a valid argument to have, of course, but I feel like the Met Gala and out-of-touch are pretty much synonymous. I don’t expect Anna Wintour or many of the celebrities to have much consideration for the real world when they host an event that has tickets costing over $30 000. Still, I was slightly disturbed by the celebration of the ‘Gilded Age’ following the American Civil War and its prosperity when it was only golden for a few. As much as there was economic prosperity, the healing of a nation divided by civil war was paid for by Lincoln’s Republican party giving up on African American rights. The first Ku Klux Klan was active during the Gilded Age, the Great Sioux War was also in the 1870s, and the Wounded Knee Massacre in 1890. I don’t think everything has to be political, and people do not owe a political statement every time they enter any spotlight, but I think I would have appreciated a more complex presentation of a time which showed that not all that glitters is gold. Riz Ahmed did give the closest to this, by celebrating the immigrant workers who were the foundation of the Gilded Age. Maybe, I know, I expect too much of the designers and guests, but their lack of acknowledgement certainly leaves me with a slight nagging in the back of my mind.

In regards to the actual evening, there’s a debate of whether the guests should be on theme, and I do think they should be. They are supposed to be celebrating a Met exhibition and the themed fashion is part of the whole theatrics of the event. As mentioned, the Gilded Age was filled with iconic and recognisable fashion moments, so when designers frequently used none of those references, it feels like they deliberately ignored the brief. Even Anna Wintour didn’t bother to follow the theme. For me, just slapping a corset in a dress isn’t really very Gilded Age. From the theme, I was imagining obscene bustles or dramatic sleeves; I even had in mind a skeleton dress highlighting the crinoline. Sure, I am a historian and historical references are my favourite, but still – how were Gigi Hadid, Kim K, or the strikingly pink Sebastian Stan anywhere near the Gilded Age? I don’t want the designers and guests to make historical replicas, but you can take elements of design history, mix it with inspiration, and create something that celebrates both old and new. This finally leads me to the most disappointing part of it all – most of the outfits were just not that good. There were some exceptions, and some were pretty, but, on the whole, the designs were honestly uninspired and rather dull. The designers are supposed to be artists, full of passion for their craft, dare I say even passion for the history of fashion, and this really didn’t come across. More than half of the outfits could have been worn for any other red carpet or film premier that year. The Met Gala is supposed to be bold and exciting, but this year it just wasn’t.

Despite my moaning, it wasn’t all bad; there were some diamonds amongst the coal. Of course, Blake Lively stole the show in a stunning Versace dress that was inspired by the oxidation of the Statue of Liberty, which was dedicated in 1886. While it was a showstopper, I am confused by the fact that her bodice and main dress featured a design inspired by the 1930s, the Empire State building and the Art Deco movement. But, I’m choosing to ignore this. Nicola Coughlan fully embraced the full drama of the period in a Richar Quinn gown, and Billie Eilish’s Gucci dress is exactly what I thought this evening would have been all about. I will defend Bad Bunny until I die because he absolutely delivered; his garments were inspired by the androgynous styles appearing in women’s clothing at the time, so to put it back into a man’s outfit created a unique but highly distinctive Gilded Age interpretation. In a theme which gives all men a very boring get-out option of simply following the ‘white tie’ aspect of the brief, this was refreshing.

I should say, as much as I am disappointed, there are still too many people to mention by name that made a good attempt. It’s just unfortunate that these few have been tainted by their fellow guests who put very little thought in. There was so much potential, and for some reason the vast majority of people just didn’t deliver. Hopefully, after the negative press this year’s round of outfits have received, next year will be better (yes, I’m an optimist). Oh well, I will wait for another year to see Blake Lively again in a gorgeously themed gown, and I hope others will follow suit.

Oxford Fashion Gala Review

I am unfortunately unable to commence a review of the Oxford Fashion Gala without confirming that yes, I was the model who fell down the stairs on the runway. But it was worth it for the shoes.

I jumped at the chance to get involved with the fashion show: I’m graduating in a few months, and it was a great opportunity to mix with some of the most fashionable denizens of Oxford. The attendees did not disappoint clothes-wise – the call to ‘dress like Anna Wintour is watching’ was absolutely met. While some met the theme with glamourous black-tie looks, equally interesting were those who mixed high-fashion creatively with street style.

The outfit I chose to go with comprised an upcycled corset top and denim flares. I had been meaning to rework a pink velour sweater and rehabilitate the skinny jeans I had kept from my teens for a long time, and I resolved that this would be their time to shine. During the Easter vacation I got sewing, and while the corset top was a far more successful (read less frustrating) project, I ended up being happy with both pieces.

I chose to model my own pieces, as when I sew I just measure the proportions to my own body, and I had a lot of fun walking the Freud runway. Despite falling down the stairs, I like to believe I pulled it off (please don’t tell me otherwise). I channelled angry high fashion model face and loped along in my friend’s towering gothy platforms. You would never have known from the high level of professionalism that most of the models had no prior experience walking a catwalk. It was an absolute joy to see all of the hand-crafted looks on display – from patchwork crochet dresses to eighties-inspired blazers. When the designers came onstage at the end of the catwalk they received a well-deserved round of raucous applause.

Overall, the Gala was a delight – let’s hope that The Second Tuesday in Trinity 2023 lives up to the inaugural event!

Image Credit: Madi Hopper

Leader: Right now, I’m ashamed to be an American citizen

CW: abortion, death

The United States of America is a deeply broken country. This was driven home to me, as it was for many others, by the recent leaking of the potential Supreme Court decision to overturn Roe v. Wade, the landmark legal case protecting the right to abortion in the United States. 

I could of course fill all the pages of this newspaper with the many sound arguments for legal and safe abortion access: studies have shown that the rate of abortion is similar whether or not they are legal, so criminalisation only prevents safe abortions; a small group of religious fundamentalists should not have the right to impose their beliefs on others, especially in a country which enshrines separation of church and state in its constitution; criminalising abortion is patently about control of bodies with uteruses rather than about protecting life, since otherwise “pro-lifers” (really pro-birthers) would also be interested in promoting policies such as free and high-quality healthcare, given that the US has a remarkably high mortality rate of birthing parents for a high-income country. But to rehearse all these arguments at length would be a waste of time, since at the end of the day it comes down to this: we either believe in bodily autonomy or we don’t. 

Ultimately, no one is entitled to use your body for their own survival against your will. This is an accepted principle in ethics and in law. Regardless of whether  we think that a fetus is a human being, regardless of whether we think that life begins at conception, regardless of whether the fetus would one day grow up to cure cancer: if we can accept that no one can force you to donate an organ to save someone who will otherwise die (which legally, they cannot), and we can accept that no one is allowed to take your organs from you even after death without your explicit prior permission (which again, legally they cannot), we must also accept that no one can force you to use your body to support the development of a fetus without your consent. Otherwise, we admit that people with uteruses are to us less deserving of bodily autonomy than the dead. 

Infuriatingly and devastatingly, this seems to be precisely what the Supreme Court thinks.

I’m sure it barely needs pointing out that there is also a strong intersectional dimension to the fight over reproductive rights. As many have voiced, it is not rich, white, cisgender women who will be prevented from undergoing abortions – many of them will be able to travel elsewhere and pay to have the procedure carried out by a discreet professional. Banning abortion serves primarily to trap the structurally disadvantaged into a poverty cycle, fuelling the already enormous socioeconomic divide in the United States which, it should now be abundantly clear, is a product of political design. The recriminalisation of abortion, which under Roe v. Wade hinges on the right to privacy, is also likely to affect other hard-won legal protections, particularly for the LGBTQ+ community. Furthermore, it has been interesting (and disappointing) in recent months to see how it takes the threat to the legality of abortion – something which affects people of all classes and backgrounds, much as certain parties might like to pretend otherwise – to bring many white middle-class feminists out of the woodwork in fighting against criminalisation of the most vulnerable. The struggle against abortion criminalisation is inextricably connected to the wider struggle for radical reform of the criminal justice system; the prison-industrial complex and its stark inequalities and injustices in the United States is a vast and wide-reaching problem, and yet many people seem only to start to care when they feel personally threatened. Let this dark moment in American history sear into our minds once and for all, wherever we are, the necessity of standing up for each other and for what is right – for what kind of people and what kind of country we want to be – from the very beginning. 

The famous assertion in the United States Declaration of Independence of the unalienable right to life, liberty, and the pursuit of happiness, now rings so hollow it feels like a cruel joke.

Because whose life? Whose liberty? Whose happiness?

Image credit: Lorie Shaull / CC BY 2.0 via flickr

Dresse me my harpe

The speaker in Anna Cowan’s poem herself undertakes a myth-making activity in playing her harp. “It is time”, she declares, as she unshackles the spirit of her surroundings, coaxing all still things into motion. She introduces her poem: “This is a poem of the mysteries of the harp. My instrument transports me to an ancient memory of its Celtic heritage which surrounds the music and the imagination when I play. These are some tales which present themselves to me through the harp, bordering reality and the old magic, like my beloved Shropshire bridges England and Wales. I usually accompany this poem with my harp, so consider turning on some Welsh trad harp to read to! Let us begin with a Shropshire proverb.

I am of Shropshire, my shins be sharpe. 

Lay wood to the fyre and dresse me my harpe 

It is time. 

When I play, I pull the faeries from the woodwork 

I enchant the spirits from the ceiling beams, 

old oak, auld oak,

struts darkened in the farmhouse 

since cows crowded the kitchen wall. 

Old fireplace, do you remember the rival warmth? 

Red brick hearts ticking in the heat 

and the gentle must, rising

from broad threadbare backs. 

Wet tongue swipes idly over the snubbed nose. 

A commotion in the barn – 

sudden shifting, sudden strewn hay, 

A revelation of glassy eyes, 

lids flicked wide in surprise. 

It was only a sudden pigeon. 

The herd tension subsides – 

a maverick’s swaying tail, 

nonchalant, switch switch 

All this past  

I conjure on the strings. 

When I play, the fey tremble behind the oak leaves, 

hawthorn, ash, deadly yew, 

caught drunk on my twined notes. 

Petal-strewn, tiny limbs,  

they weevil in the grass. 

Cold pinching fingers husk the barley, 

shock the great cows’ udders  

into pinhead streams of milk, 

slice the peapods with feline nails,

tearing the leathery skins apart. 

Peas rupture into the breeze. 

And far away little girl, 

in the sunken dell, 

banked by briars, 

canopied with yew, 

when the moonstone mushrooms bubble up in a ring 

you’ll run 

if you know what’s good for you. 

These fey wiles  

I conjure on my biney strings. 

And the screaming druid in the sacrificial grove 

(of elated yews, 

I’ve seen it myself) 

The welsh strings thrum to his hoarse shout 

for blood, and life, 

of fear, and release. 

On the spine hard spider silk, 

the sacrificial lamb gut,

strained  

from headpiece to soundboard, 

strung from branch to branch. 

I play for O’Carolan, 

Sweetening the Solstice night. 

My tripping fingers 

sooth the old beams, 

the fireplace, 

the wall, lonely for its cows, 

all superstitious still. 

I resurrect the jigs,  

reels, ballads of the fireside.

Even the comatose fey 

Hide with me on that night. 

Burrow into my music, 

as warm and heavy as bread. 

Auld dangers are abroad that night; 

The giant unseated from Caer Gwrygon, 

the drowned, singing witch of the Mere, 

the great, marsh-soaked bear, 

And Old Shuck, slinking down ditches. 

All this I conjure, 

All this I know. 

My harp sings of wonders 

lost, found and unknown. 

A retrospective on Pesach 2022: Leah

This Passover, I actually celebrated Passover. Sort of.

That is to say, while I was in Germany with my boyfriend’s (also Jewish) family, I participated in not one but two seders – an exemplary start to Passover for someone who usually marks the holiday by just eating some matzah and calling it a day (or eight). There were seder plates, there was reading of the Haggadah (albeit a speedy version – we were hungry), there was singing in Hebrew, there was Manischewitz, and yes, there was The Prince of Egypt, a classic Passover film. Not a crumb of chametz passed my lips.

Except, as soon as I was left to my own devices at the airport on the third day of Passover, I succumbed to the temptation presented by my last opportunity, at least for some months, to eat a German pretzel. Oh well – nothing more Jewish than guilt, anyway.

Speaking of guilt; I should confess at long last, dear reader, that after a year of writing this column, I still feel kind of guilty about it. Why? Because deep down, some part of me really doesn’t believe I’m Jewish enough to broadcast it to the world (or at least the limited world of Cherwell’s readership – no offence to my wonderful colleagues), much less to embarrass myself by trying to educate others about Jewishness, when I can’t last three days of Passover without eating a pretzel. Jewish holidays in particular, as I have mentioned in a previous article, always rouse in me a particular discomfort, since, in the company of more ‘proper’ Jews who actually know the right traditions and can pronounce the Hebrew, I feel decidedly like I’m failing some kind of test. 

Of course, I know on an intellectual level that just because I can’t read (much less speak) Hebrew, I don’t pray or pronounce blessings, and I don’t make a particular effort to keep kosher doesn’t change the fact that I’m Jewish. I was born Jewish and I’ll die Jewish; as far as I’m concerned, there’s no opt-out box on that one. I also believe that such a complex identity shouldn’t be reduced only to following a prescriptive set of ancient rules, which may not suit me anyway – I don’t believe in God (please contain your shock!), so regardless of my lack of Hebrew, saying prayers of any kind has never felt comfortable to me in any case.

As it happened, shortly before we left for Frankfurt for the first seder, I got into a conversation with an old friend of my boyfriend’s dad about Judaism, and specifically about whether it was too focused on rules. He argued that it was, and on thinking about it, I was inclined to agree, and realised that actually this pinpointed the very source of much of my discomfort – though in my view, Jewishness doesn’t have to be this way. I think that the obsession with observance derives from the sort of siege mentality which has, understandably, developed in many Jews as a result of millenia of oppression – the twin threats of antisemitism on the one hand and assimilation on the other can make us feel like we’re constantly teetering on the edge of oblivion, and so must cling ferociously to our traditions in order to ground ourselves. There is of course nothing wrong with tradition per se, but it seems to me personally that too much obsession with the particulars of the rules and their loopholes seems to distract from the overall purpose of the activity; for example, if the core message of Shabbat is rest, surely I would rest better by worrying less about whether I’m resting ‘correctly’? 

The aspects of the Passover celebrations I most enjoyed were discussing our own views on theology and ethics while going for a long walk, participating in a joyful and loud family dinner, and curling up with mugs of tea to watch The Prince of Egypt. Incidentally, the film classic is much more my speed than the Haggadah, which got me thinking: does it matter how we tell the story, so long as we do? I think if I were to plan my own Pesach celebration, I would decide it didn’t; why stumble over words I don’t understand in praise of a God I don’t believe in, when I could interpret the story in my own words, on terms that make it meaningful for me? Perhaps the question of how we can connect to traditions authentically, without doing things we don’t believe in for the sake of it or giving up on truly living our Jewishness, is a universal diasporic and/or secular conundrum. But as far as I’m concerned, family, friends, food, storytelling, and yes, also critical thinking, are the real Jewish values I want to hold on to.

Passover terms

Seder: the ritual dinner which takes place on the first night (or two nights) of Passover.

Haggadah: the text recited at Seder, which includes the story of the Jewish exodus from Egypt.

Manischewitz: sweet kosher wine.

Chametz: foods containing leavening agents, which cannot be eaten during Passover.

Image credit: Robert Couse-Baker / CC BY 2.0 via flickr

‘Doomer politics’: The death spiral of Russian civil society

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CW: war, state violence

Boris Johnson was wrong when he said Vladimir Putin was in a “total panic” about revolution at home. Olaf Scholz was also wrong in saying that the war was about ‘individuals,’ that the war was ‘Putin’s war’, and his alone. These are fantasies, encouraged by the complacency of democracy and a stubborn misunderstanding of the Russian state. Their words imply that the war in Ukraine has been launched against the true wishes of the Russian people who were, hitherto, cowed by state repression into backing the war. This robs them of the only agency that remains to them in Putin’s wartime Russia – the choice of what to think. In Russia, we are now seeing the population deciding to align with state propaganda. The mass of the population is standing with Putin and becoming more firm in their anti-Western viewpoints. The success of Putinism in this regard relies on Russians’ lost faith in democracy and capitalism dating from three decades ago. Putin’s kleptocracy becomes the best of two bad options. Failure to recognise this when the war ends condemns the West to commit the same mistakes it made thirty years ago when the USSR fell, which have led us to where we are today. 

The threshold of responsibility

All available polling in Russia suggests at least passive support for the “special military operation”. Nowhere is it called a war, and any such reference incurs the wrath of the state. Russian police in February even arrested one woman from Nizhnii Novgorod for standing with a blank placard. The effect of this repression – and the influence of state propaganda – further submerges the Russian people into catatonic political passivity. State-run polls find strong support from ordinary Russians, as high as 80%. Of course these organisations are set up to produce results in support of government policy. Historically, they have done this by asking loaded questions, altering the figures (for example by including “neutral” respondents in “positive” or “negative” categories depending on if this supports the official line). But polls conducted last month by the Levada Centre (the last among Russia’s independent pollsters) also found similar results. 60% blamed the US and NATO for any escalation. Another poll by Savanta ComRes, a British firm, found that half the Russian population thought it right to intervene militarily in the ex-Soviet states or against Ukraine to pre-empt the threat from NATO.

Some commentators have turned on Russians as categorically complicit in the war. “Russian communities around the world are as dangerous as ISIS”, writes Ukraine’s former Deputy Minister of Culture. “Good Russians do not exist”. The 15,000 arrests for anti-war demonstrating gives the lie to this claim. Furthermore, limited access to social media in Russia means it has become easier to consolidate the line that there is no general “invasion” of Ukraine, but a war in defence of Russians in the East against a proclaimed Nazi enemy. It is harder to decry an entire people as complicit in a criminal war of aggression if they do not believe they are fighting one.

But Russians, as post-Soviet citizens, know as well as any people the lies that are told during wartime. Government perfidy was fundamental to the Soviet-Afghan War, where news coverage remained euphemistically doctrinaire eight years into the war. After 1987, glasnost exposed the disparity between government narratives and the war’s reality, contributing to the demise of the Communist Party’s credibility in the popular eye, and thus the efficacy of using force to defend it. Despite tepid support for the wars in Chechnya, the government was able to maintain sufficient support by describing it as a necessary sacrifice against terrorism, rather than a brutal resolution to a civil conflict. Casualties were also covered up by the government. Moscow has cravenly lied to the Russian people in every war it has waged. The Russian people – not just Petersburg and Muscovite intelligentsia, but the mothers of killed rural conscripts – know this. At some point, every person makes the choice to swallow the newest war propaganda whole. At its most tragic, this has led Russians to ignore their cognitive dissonance and reject the accounts of their Russian-speaking relatives suffering in Ukraine. Marina Ovsyannikova (the Channel One editor who demonstrated with an anti-war sign during live broadcast) has described the Russian populace as “zombified.” But this is not just a passive process – Russian people have played a role in their own political self-neutralisation.

The outcome of this state of affairs is both farce and genocide. As has been successfully argued elsewhere, silent assent allows the continued butchering of civilians in Ukraine. This is doomer politics. 

Doomer politics

The “doomer” subculture was born as an American climate-apocalypse-prepper thread on 4chan in 2018. It was then later adopted on some Russian social media, where it took on an even more nihilistic character. Fatalism melded with post-Soviet dereliction aesthetics and punk, as predominantly young men frequented online threads to cope with lives they felt were stymied by failure or lack of opportunity. Doomers lament lack of choice in their own lives, and a reality which is otherwise unbearable.

Most Russians are not familiar with “doomer culture”. Nevertheless, it serves as an epitome for their current state. Key to reluctant support for Putin, apathy in opposition as a population, and decision to believe state propaganda is a persistent narrative that there is no better option. “The post-modern authoritarian”, writes Professor Mark Galeotti, “knows that love can be fickle and fear destructive, such that apathy is better than both.” 

Surely, once the benighted Russian public is freed from the propaganda, they will come round to our way of viewing things? In short, no. The current system brings repression and economic stagnation, but the alternative – Western capitalism – is remembered by the average Russian as one of corruption, poverty and humiliation. 1990s ‘shock therapy’ brought an inefficient but more stable Soviet system crashing down. Between 1990 and 2003, the Russian suicide rate doubled. By 1999, the life expectancy of Russian men had fallen to 58. ‘Gangster capitalism’ saw businessmen and journalists killed in their homes in front of their families, and high-ranking mobsters afforded lavish public funerals in full view of ordinary people eking out meagre livelihoods. Russians witnessed the true glory of liberal democracy in the murky 1996 general election, the result of which – Yeltsin’s re-election against a resurgent Communist Party – many contest to this day. Even by the early 2000s, this era was labelled the ‘Dark Past’

The absence of hope for change breeds apathy and inaction. Tellingly, 56% of Russians surveyed in February declared they were not really following events in Ukraine. The tragic vacuum of hope for credible alternatives breed in submission to the official narrative. Putin’s 21st February “Century of Betrayal” speech epitomises this kind of thinking. 

Belarussian author and dissident Svetlana Alexievich’s oral history of the post-Soviet era, Secondhand Time, provides a heart-rending and insightful look at the lived experience of doomer politics. The account of one woman, Marina Tikhonova Isaichik, the neighbour of Aleksandr Porfirievich Sharpilo, a 63-year-old retiree who succumbed to suicide, epitomises the sentiment so well it is worth repeating in full.

“On the radio, they’d said that after the war was over, we would all be happy, and Khrushchev, I remember, promised… he said that communism would soon be upon us. Gorbachev swore it, too, and he spoke so beautifully… Now Yeltsin’s making the same promises… I waited and waited for the good life to come. When I was little, I waited for it… and then when I got a little older… Now I’m old. To make a long story short, everyone lied and things only ever got worse. Wait and see, wait and suffer… Our Sashka… He waited and waited and then he couldn’t take it any longer… People have started believing in God again because there is no other hope… [We] defeated Hitler!… But what am I today? Who are we now?… I watch TV, I never miss the news… we’re the electorate now. Our job is to go and vote for the right candidate and then call it a day. I was sick one time and didn’t make it to the polling station, so they drove over here themselves. With a red box. That’s the one day they actually remember us… Sashka made the decision to stop living… Returned his ticket back to God himself.”

When asked in 2021, half of the Russian population surveyed declared they were against democracy. So, few will risk death or imprisonment trying to replace the current system for something they could not guarantee would be any better.

The death spiral

Doomer politics has ensured that the kids of the perestroika years and the 1990s are permanently lost to the West. Can the Russian youth arrest this process? This demographic is the country’s most-democratically minded and Western-facing. One survey by the Sociological Institute of the Russian Academy of Sciences in 2017 found that the share of those under 25 who support human rights is almost twice as high as the share of supporters of the priority of state interests. Among those 61 and older, that ratio was the reverse. However, those surveyed were predominantly educated urbanites who are now fleeing Russia in droves. Denis Volkov, Navalny’s campaign manager, is not so optimistic. Volkov concedes that his boss’s campaign had to compete with the fact that most Russians under 25 remain loyal to the regime (including the many young soldiers dying in Ukraine). In “deep Russia”, the small towns and villages far away from Moscow or St Petersburg, the usage of television – and thus reach of state propaganda – is demonstrably higher than in the larger cities. Those with democratic or anti-Putin inclinations are now mainly imprisoned, emigrating, or living in self-imposed silence. 

It may already be too late. For those who stay, the suffering of war will leave ample chance for doomer politics to capture the youth as well. The apathy that empowers Putin and resentment that governs Russian attitudes toward the West and fuel the war in Ukraine take root in a generation which looked like it might be the first to buck the trend. The new generation morphs into its predecessors. 

The Russian public is closing ranks with the government and hunkering down for the sacrifices the country requires of them. Already, in view of food shortages, people are fatalistically discussing a return to Soviet conditions. Comprehensive trade embargos designed to truly explode the Russian economy will first impact the poor and disadvantaged who constitute Putin’s most reliable constituencies, pushing the two closer together. Putin’s extensive purges, mass arrests, and crackdown on independent media are foreboding signs of an impending spiral of violence in Russia if the war continues as badly as it currently is. Russian civil society is figuratively and literally entering into a death spiral. 

Potentially, there is a breaking point where the populace rejects the government line in view of rising casualties and an imploding economy. It happened in the First World War. Like in 2022, 1914 saw mass support for war and expressions of Russian nationalism. Huge casualties and military failure intensified public opposition, and the Tsar was ousted in the February Revolution of 1917. But the First World War is not the only parallel. More recent Russian history reveals a different pattern. The true narratives about the Soviet War in Afghanistan proliferated when they were eventually allowed to by the government. Equally, as historians acknowledge, the fall of the Soviet empire and demise of the Communist Party was not forced by internal opposition, but by the decisions of Mikhail Gorbachev and his aides to abandon the Brezhnev Doctrine (military repression of internal dissent) and their move toward open expression. There is no indication the Putin regime will do anything similar. Moreover, the dissent of 1917 and 1989 reached its apogee when desirable political alternatives presented themselves. Doomer politics may preclude this happening now.

The end

The end of doomer politics will require the ideal scenario of regime change, and then that the West actually demonstrate to Russians that there is a workable alternative to the way their country is run. Democracy here is not the first answer: the first answer is eliminating institutionalised corruption, the only issue which truly unites ordinary Russians in political opposition. Only by eliminating corruption can any government in turn show that liberal democracy can accommodate political pluralism, and crucially, that it will reflect their input, as many believe it failed to do in 1996 and thereafter. Russians will have to be persuaded that their nation does not benefit from the anti-intellectual, unconditional nationalism they currently espouse; and that economic change will not force ordinary citizens to choose again between the zombifying repression of the forever powerful or the cut-throat chaos of the newly wealthy. It is hard to see how Russian civil society will achieve this itself, considering its post-Soviet experience. It is even more difficult to imagine acceptance of foreign involvement in bringing this about, since in present-day Russia any unrest is readily denounced as a foreign plot.

The Biden Administration shows foresight in committing to an Anti-Corruption Strategy in the years ahead. Yet eliminating corruption is a task incomplete even in our own country, and an extremely difficult one in the Russian klepto-state, which perpetuates an age-old culture of corruption that would require decades of work – at minimum – to eradicate. It is hard to imagine the Ukrainians will have the forgiveness for any such scheme. Meanwhile, the EU is already straining politically under the internal pressure of Orban’s pro-Putin illiberalism and the threat of a far-right government in France. Washington is preparing to square up against a rising China and possibly even a resurgent Trump in 2024. These would probably be higher priorities. Even if Russia lost the war completely, Putin fell from power and was replaced by a more benign leadership, and the Ukrainians acquiesced to a conciliatory post-war settlement, there is no guarantee Western leaders would possess the attention, patience or consistency to see such a project to its conclusion.

I, and the Russians whom I know, hope that there will be some turn in the Russian population against the war and the genocidal aggression they are led to support by the state. Sadly, they do not represent the general sentiment back home. Putin’s war-mongering is as much the fuel behind the death spiral as the hopeless acquiescence of a nation of Marina Isaichiks. To Johnson and Scholz, I say that it is better to see things as they are rather than how we would want them to be.

Meanwhile, Russian civil society continues on its death spiral.

Image credit: Artwork by Ben Beechener