Tuesday 2nd June 2026
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From sub fusc penguins to college puffer herds: The ‘uniforms’ of Oxford

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At my matriculation, I remember laughing with my friends about how it seemed that the entirety of Oxford had been “overrun by penguins”. Everywhere you looked, you would see sub fusc, that bizarre getup that the University demands be worn for its official ceremonies and exams. During my first Michaelmas, as the weather got colder, it was impossible to walk about town and not see herds of students in college puffers, and I soon learned to recognise the various college crests embossed on them. Later, on nights out, you could always recognise a group of Oxford students by their (by then, slightly out-of-kilter) black tie. With all these sightings of homogeneous clothing, it seemed to me as though people spent more time in ‘uniform’ at Oxford than they would have done in sixth form or high school beforehand. But does Oxford really have ‘uniforms’? How might we define them? And what purpose might they serve? 

Does Oxford have ‘uniforms’?

When the term first entered English about 1748, according to the Oxford English Dictionary, a uniform was “a distinctive dress of uniform cut, materials, and colour worn by all the members of a particular naval, military, or other force to which it is recognized as properly belonging and peculiar”. Aside from the definition’s militaristic associations, what interests me is the adjective “peculiar”, here meaning “exclusive” or “unique”. While we might think of uniform as simply meaning sartorial homogeneity, lots of uniforms also stand out for their unique oddness and lack of any general practicality: school blazers, to use a well-known example from the UK, are really rather constricting, useful only when you have copious items to store within their many pockets. They are often brightly and strangely coloured too. Nobody would wear them in any other context outside of school. 

There is a second definition of “uniform” in the OED, in use since 1930: “The customary dress or mode of appearance characteristic of persons of a certain age, class, or lifestyle.” This marks a semantic widening: a term that entered English with quite specific reference to the flamboyant military uniforms characteristic of the 18th century, had by the 20th century broadened its meaning to any recognisable mode of dress. 

Where, then, does Oxford fit into this? What might count as uniforms in Oxford? First to mind come sub fusc and academic gowns, black tie (and indeed white tie for those rather fancy balls), and college merchandise. 

Sub fusc, as the oldest of the bunch, seems to fit most closely with the 1748 definition. It certainly is ‘peculiar’, as the joke about the “penguins” illustrates. Both black tie and college merchandise, on the other hand, seem closer to our 1930 definition. They could certainly be said to be ‘characteristic’ of Oxford students. The one factor that legitimates all of these forms of dress, however, which makes their ‘peculiarity’ acceptable, is the context of the University. Sub fusc, black tie, and college merchandise all link to that institutional power and prestige. These can be called ‘uniforms’ in the sense that they are homogenised forms of dress, unique and peculiar to Oxford. 

College puffers

In order to find out how college merchandise is purchased and received by students, Cherwell reached out to JCRs to find out the popularity of merchandise, whether students thought it could be considered a ‘uniform’, and in what ways it was different from the other ‘uniforms’ that we have discussed thus far. 

The Oriel College JCR President told Cherwell: “Oriel JCR donates all the proceeds from stash orders to a charity chosen by students.” This, in comparison to sub fusc or black tie, shows that there is a much more altruistic motive to purchase merchandise. Buying college stash is an act of goodwill as much as it might be a consequence of wanting to be seen belonging to the University. 

At other colleges, proceeds from stash sales may go back into the JCR. The Keble College JCR President told Cherwell that Keble’s stash sales represent about 5% of their annual budget. In Michaelmas and Hilary this year, Keble sold 148 quarter-zip fleeces and 89 puffers, to a cohort of just 124 new undergraduates this year. The quarter-zips were the most popular item – interesting to note, as it shows the idea that college puffers are the most popular choice to be something of a myth. Even accounting for older students, it seems likely that well over half of the freshers bought a puffer, and likely even more bought a quarter-zip. 

It is clear that college stash, as a purchase made by choice, and with proceeds going to JCRs or to charities, is acquired in a very different context to sub fusc or black tie, and so has a very different meaning to students. It is an optional purchase, and not a cheap one at that: in Corpus Christi’s stash drop, a college puffer will set you back £42.99. Nevertheless, the popularity of the college puffer and of college merchandise more generally persists. Why is this? Do students feel obligated to buy one because of their popularity? Or do they simply want to express pride for their college and for Oxford?

Mansfield’s JCR president told Cherwell that the stash is “really helpful for college culture – we’re a small college, and not as well-known, so it’s nice to have branded coats and jumpers you can wear around.” The JCR president also noted: “I’m not sure I would call them uniforms, especially since some people are more self-conscious about wearing them in a group.” Even among students, then, sometimes the puffers and college merchandise aren’t seen as uniforms inspiring pride or evoking distinction; in fact, there is fear of exactly that.

So, college merchandise is not regularly perceived as a ‘uniform’ by those who enjoy wearing it. However, if we consider the puffer sceptics, the fact that some are conscious to avoid being seen in an “Oxford uniform” shows that, in fact, that’s the way they are already perceiving the puffers. This aversion is not trivial: it shows that some people do see college puffers as uniform-like, or that there is a risk of them becoming like uniforms.  

It is also worth considering the significance of the branded puffer outside of Oxford. Many people choose to wear them at home – and many don’t. On the one hand, some people see them simply as practical coats, and others want, maybe if only a little, to show off the fact that they’ve made it to Oxford. On the other hand, for some, the meaning of the college puffer loses its significance a little outside of Oxford; without the context of many others wearing similar attire and the proximity to the University, the puffer once again becomes ‘peculiar’, and feels odd to wear. All of this is to say, while the puffer might for some be a fun way of expressing college pride and camaraderie, for others, there is the slight fear of them being peculiar, and of them feeling too much like uniforms to be worn outside of the context they came from. 

Sub fusc and black tie

The University website describes sub fusc as “solemn and modest, in line with our ceremonies”.

The English student in me jumped at the chance to look into some of the language being used to describe it here. By being linked to ceremony, sub fusc is, by extension, linked to the power and prestige that it represents. Oxford students wear sub fusc as a reminder of the gravity of these shared rituals and the history of the institution. It is not a “characteristic mode of dress” in the sense of the expanded, 1930 definition of uniform, but rather a form of dress associated with specific events: collections, exams, matriculation. Its “peculiarity” and association with ceremony perhaps make it more of a traditional uniform than the college stash. While college puffers have a much more immediate purpose of fostering college community, sub fusc goes straight back to the heart of the University’s traditions and their roots in prestige and solemnity.

Additionally, as part of sub fusc, gowns group students into different categories. Those who have achieved a first in their Prelims or Mods, or those who have attained other scholarships, can wear scholar’s gowns, while the rest of the student population wear commoner’s gowns. While some may feel that it’s an exciting challenge to aim high in order to ‘win’ a fancier gown, it can also certainly be seen as problematic that students’ academic standing can be ‘read’ by anyone simply from what they are wearing. Is this something that we really need to distinguish in dress? 

Related to sub fusc is, of course, black tie. This is a necessity for formal events, and it’s hard to walk around Oxford at night without bumping into a group in formal attire of some kind. While for most people coming to Oxford, having to regularly wear black tie is a novelty, it quickly becomes normalised. Sometimes, it’s easy to forget that, at most other universities, black ties and formal dinners are a rarity– if they happen at all. It’s only stepping out of the ‘Oxford bubble’ that reveals, once more, as with the puffers, the essential idiosyncrasy and peculiarity of wearing black tie on a regular basis. But the fact that this rather expensive kind of dress is effectively mandated in order to attend formal events leads us to a major problem with these ‘uniforms’ of Oxford.

Who is included?

Thinking about the ‘uniforms’ that Oxford has also means thinking about who they include – and who they don’t. First, the ‘uniforms’ mentioned here: college merch, sub fusc, black tie, all lie behind a paywall. While college merch is, strictly speaking, optional, the others aren’t, and so new students find themselves immediately having to fork over money in order to participate in the university community. Good luck going to a formal dinner, for example, without a suit and tie, or a fancy dress. Some students, unaware that these extra purchases are in order, find themselves frantically rushing about trying to buy a hat and gown before matriculation, and having to forgo formals for the simple fact of not having the right clothing. 

And college merchandise isn’t cheap, either. While you don’t need a college puffer or a jumper, the fact that they help to foster a sense of camaraderie within colleges could mean that those who can’t really spare the cash to buy one might feel, to a certain extent, that they are less a part of that community for not having one. 

Fortunately, there have been efforts made to improve accessibility. Oxford Class Act Society, a society “for working class, state comp, low income, first generation, care experienced, estranged, young carer & foundation year students at Oxford”, runs the Free Sub Fusc Scheme, where new students can apply to receive old sub fusc donated by leaving students for free. Not only does this save students from disadvantaged backgrounds from having to give money that they may not have to spare in order to buy academic dress, but it also means that gowns and mortar boards that are bought stay in use for longer, reducing wastage.  

The sub-fusc penguins waddle on

As freshers and exam-goers waddle penguin-like through town in their black gowns, the peculiar sight impresses upon onlookers and participants alike that certain forms of dress can connote and foster seriousness, solemnity, or academic vigour. The “peculiarity” of uniforms, the fact that they are so out of the ordinary, is perhaps part of their strange allure,  and the potential reason that drew some of us to Oxford in the first place. Sub fusc and black tie are peculiar, and have a direct relationship with the University’s systems and traditions. 

While those seem to be “uniforms” in a more traditional sense, college stash, although prevalent enough to be considered a uniform by some, isn’t nearly as institutionally attached, nor traditionally entrenched. Perhaps the key distinction is between the forms of dress the university imposes upon us, and those we choose to participate in. One is “peculiar”, placing us in close proximity to the history and tradition that Oxford has held. The other fosters a feeling of voluntary community. Both might well be “uniforms”, but they serve different purposes and effects.

But uniforms, in whatever their form, place us into groups. They mark us out from others. Sometimes this can be a positive thing. For example, college merchandise serves to foster a sense of community. But the fact that uniforms put us into groups means, inevitably, that some are excluded from those groups. Those with lower income are disadvantaged by having to ‘buy in’ to the uniforms that Oxford demands they wear. For some, black tie, sub fusc, and college merchandise may be a normality, or will easily become one. For others, they are ‘peculiar’, lie behind an uncomfortable paywall, and may come to represent a feeling of alienation, rather than a feeling of pride and inclusion. 

‘Genocide – I want you to use that word’: Nick Maynard on working in Gaza’s healthcare system

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Professor Nick Maynard is the kind of surgeon that everyone hopes to see before an operation. Talking with me on video call, he shows a warming enthusiasm and friendliness that would reassure any patient, or student interviewer. This gentle humility makes the horror of the stories he has to tell, those from working in hospitals in Gaza, all the more jarring, and impossible to forget. 

Professor Maynard studied Medicine at Exeter College, Oxford, and works now as a consultant gastrointestinal surgeon at Oxford University Hospitals alongside private practice. As a leading specialist in his field, Dr Maynard can expect to get attention from his peers in medical practice and research. It’s his work in Gaza that has given him global reach.

Palestine and Oxford have featured together in Maynard’s life for decades. He first visited the West Bank in 2006, knowing, of his own admission, very little about the history of Palestine, only “what I’d learned in school”. Visiting the streets of Old Jerusalem, Maynard described being “inspired by the people I met, by the beauty of the land”. 

Originally visiting Palestine yearly to teach medical students, he first went to Gaza in 2010, and “never looked back”, taking teams of doctors from Oxford. His trips focused on developing his specialism in oesophageal and stomach surgery, and he began to get involved with Medical Action for Palestinians (MAP), a UK charity of which Maynard is now the chairman.

Even before the Hamas attacks on Israel on 7th October 2023 and the resulting Israeli military action, Maynard says those living in Gaza were “effectively in prison”, with bombings a “way of life” for Gazans. “Even prior to October 7th, Gaza has been a very challenging place to visit, to live in, to provide healthcare. Its economy has been almost completely destroyed for years. I’ve never, ever been to Gaza in all those years without witnessing, every single trip, aerial attacks from the Israeli military.”

Nonetheless, Maynard says that “nothing could have prepared us for the horrors we saw” when returning to the territory on Boxing Day 2023. His gaze strays from the camera slightly as he described his approach to Gaza from Egypt: “We’d stayed a few miles short of Rafah the night before, and it was a beautiful, sunny day, not a cloud in the sky. And as we approached Gaza, you could see this low-lying cloud over the whole of southern Gaza, smoke from the incessant bombing. And you could smell it from about a mile or two away. You could smell Gaza.” 

Graphic videos on social media and messages from Palestinian friends on the ground could do nothing to prepare him for “the sheer devastation of the bombing, the thousands upon thousands upon thousands of displaced refugees…for the volume of injuries”. The hospitals were “completely packed”, not just with the injured, but also with their families and others displaced from across Gaza, with their homes completely destroyed in Israeli bombardments.

Professor Maynard has been to Gaza on three occasions since 7th October 2023. He has been very successful at getting media attention to raise awareness of the plight of the Palestinians – appearing on the BBC, Channel 4, CNN, and contributing to respected newspapers from across the political spectrum, from the Guardian to the Daily Telegraph. Discussing one of the most divisive issues of our time, it’s the precision of a surgeon’s instruction that makes his advocacy particularly effective. His careful analysis of evidence reaches conclusions that cannot be dismissed easily by the Israeli government as misinformation or pro-Hamas propaganda. His diagnosis is clear: Israel’s actions in Gaza constitute a genocide – “and I want you to use that word in this article”, he insists.  

Still, his channelled anger is palpable when I ask him about the accusations of war crimes levelled at the Israeli Defense Forces (IDF) by organisations such as Amnesty International, Médecins Sans Frontières, and a United Nations Commission on Inquiry. He provides copious testimony, as he is accustomed to doing in interviews across mainstream media outlets: “Friends of mine have been abducted, detained, tortured to death,” he says, emphasising every word. Others who survived torture met him after their release, and gave “very detailed audio and video testimonies of how they’ve been tortured, all of which I’ve submitted to the international courts”. 

I ask Maynard explicitly about accusations made by him and countless others, that Israel is deliberately targeting hospitals and medical workers in Gaza. He explains how, when working at Al-Aqsa Hospital in July 2024, his team would communicate every day with the Israeli authorities through COGAT, the liaison service of the IDF, to confirm that it was safe to work in the hospital.  Maynard says they were told: “You will be protected. There will be no military activity.” 

“They lied to us, because clearly they did attack the hospitals. They attacked the house we were in. I’ve witnessed with my own eyes the hospitals being targeted. I’ve witnessed friends being killed. I’ve seen the clearest evidence of the deliberate targeting of hospitals and healthcare workers. These are all war crimes.” 

Maynard has been asked the same thing by journalists on dozens of occasions now. His frustration is most clearly directed at the “utterly ludicrous” defences given by spokespeople for, and supporters of, the Israeli government, who he says are “given substantial airtime by the BBC and other awful media outlets”. The Israeli Government, Maynard claims, has never given any “verifiable or remotely credible evidence” to support their defences to charges of war crimes, or to justify attacks on medical infrastructure. “If it wasn’t so depressing,” Maynard continues, “it’d be laughable”.

Israeli authorities have repeatedly justified attacks on medical infrastructure by claiming such buildings have been used by Hamas as command centres, or to store weaponry. “Hamas may be in the tunnels. I’ve no idea, I’ve never been in them. I don’t know what’s going on in the peripheral outbuildings, 100 metres away from the main clinical buildings, they may be based there”, he acknowledges. However, Maynard is unequivocal that there was “not one shred of evidence” that Hamas were operating in clinical areas of the hospital grounds. “They’re not bombing the outbuildings, they’re bombing the clinical areas, and that is where there are patients, that is where there are healthcare workers, that is where there are medical students. These are the people who are being killed by their bombs.”

Maynard says that the medical students whose workplaces are being targeted are “utterly remarkable”. Working in Al-Nasser hospital in southern Gaza, he was surrounded by students “in the middle of a war zone, desperate to learn and succeeding in learning”. With the medical schools destroyed by bombing, lectures and exams have been held in makeshift tents amid a backdrop of bombing. Maynard recounts invigilating one clinical exam for fourth-year medical students, all living in tents with no running water or electricity: “I think there must be about 20 or 30 students, they all turned up… all of them in freshly pressed, beautifully clean white coats. I was just gobsmacked.”

It’s a far cry from the modern medical training facilities of the Oxford Clinical School, which Maynard is keen to pay tribute to for facilitating the rescue of two Gazan medical students to continue their education. These two students, however, are from a total of only four Gazan medical students who made it to the UK following 7th October 2023, a number which Maynard describes as “shameful”. 

Maynard came back from Gaza most recently in July 2025, after a trip where he sustained injuries to his head whilst working in Al-Nasser Hospital. After giving interviews from the hospital in Gaza, including to the BBC with a bandage still wrapped around his head, he has since devoted his free time back in the UK to activism and advocacy. At the same time, he has returned to his full-time job as a consultant surgeon at Oxford University Hospitals. Returning to normality and the “day job” in Oxford, he says it was impossible to know what to expect after “the profound impact … [of] dealing with atrocities”. 

“I had children, patients of mine die under my hands because we couldn’t stop the bleeding from the gunshot wounds”, Maynard recounts. He tells the story of eleven-year-old Habiba, who was left with a severe oesophageal injury, after a bomb explosion. “I spent the whole night operating on her, reconstructing her oesophagus, but we couldn’t feed her. We had no nutrition to come in, and she died predominantly of malnutrition a few weeks later, despite the fact the surgery had itself been very successful”. Moments like those, he says, “you never forget…they’re imprinted on your memory”. 

The return home came with profound relief and “enormous guilt”, as Maynard’s Palestinian friends and fellow surgeons remained trapped in Gaza. However, for Maynard, it’s after “saying goodbye to friends who you know you may not see again…to patients who may not survive, you feel the most profound anger” towards the West’s politicians and mainstream media outlets. Guilt and anger have left him with an “unbelievable, powerful urge…to tell everyone what I’ve seen, because they’re not hearing it from the media…the clear genocide…the war crimes, the ethnic cleansing”. 

And so Maynard continues to give interviews like this one. It’s a “double-edged sword”, he tells me, because “when you recount all these stories, it brings back all the horrible memories. But the overall benefit is this compulsion to share”.  

When you leave Gaza, he says, “you feel inadequate again. You want to be back out there”.  Despite the “emotional turmoil” he feels after visiting the territory, he is clear that the experience has been “life-changing and life-enhancing”. Spending time in Gaza has been “a wonderful privilege, and the last two years have in many ways changed my life”. As he speaks, I look towards the colourful woven map of Palestine hanging on the door behind him.

He says he’s “desperate” to return, but the chance to volunteer in Gaza again looks highly unlikely with his raised public profile of pro-Palestinian advocacy: “People like me, who have spoken out a lot, are not being allowed in” by the IDF, who continue to control all access to Gaza by medical staff, as well as aid workers, aid delivery drivers and journalists. A law introduced in January now forces all aid organisations to register with the Israeli government and submit the personal details of all their staff to the Israeli authorities, leaving 37 non-compliant aid organisations facing bans from accessing the territory, including Médecins Sans Frontières (MSF).

With it looking unlikely that Professor Maynard will be able to work on the ground in Gaza any time soon, his activism in the UK takes on a heightened importance. He laments how global pro-Palestinian activism has “diminished” in recent months. “The marching has reduced, the vigils have stopped…the media isn’t reporting anything about Gaza.” He blames the reduced coverage on public understanding of the official ceasefire in Gaza, dismissed as “propaganda” by Maynard. “There’s not a ceasefire. There’s been a reduction in the violence, but there are still Gazans being killed by the Israelis every single day. The need for advocacy and activism is as great as ever”. 

Making small talk before and after the interview, Maynard appears immensely calm, composed, affable. It makes his anger towards the UK Government and the University of Oxford all the more profound: “Oxford University is doing nothing like enough… the University authorities, by and large, have been silent, and that’s unacceptable.” 

For Maynard, the “woeful silence” of our political institutions amounts to complicity, whilst the UK Government has been outright dishonest. “Don’t believe the government when they say there’s an arms embargo. There’s not.” He accuses the RAF of “providing military intelligence” for Israel through reconnaissance flights over Gaza, condemns continued UK trade with Israel, and highlights recent cooperation between the UK Government and Palantir, the US data analytics company, which was given a £330 million contract with the NHS in 2023, whom Maynard accuses of having “strong links to the Israeli military”. 

Maynard’s testimony can appear extreme, even desperate, to a sceptical observer. The scale of the horror, the strength of the anger around Gaza, makes every attempt to describe what is happening there immensely polarising. Yet hearing him speak, Maynard’s anger does not come across as that of a partisan, but rather the quiet fury of an expert in their field, giving evidence on one of the greatest atrocities of our time, and feeling ignored by those he sees as complicit. 

So, what students at Oxford University could do to make a difference? For Maynard, the answer is obvious. Students should do “what students have been the best at doing for decades: standing up for those who need support, standing up for the underprivileged, standing up for the victims of genocide.”

‘Would you mind if I asked you a troubling question?’:  ‘Ulster American’ in review

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Anyone who describes reviewing a student play as a burden simply hasn’t watched a good play for some time. A free seat to watch young actors, directors, cast, and crew put all their effort into a production with minimal funding and frills is always an incredible experience. Ulster American is one such production. In the limited space of the Burton Taylor studio, set amazingly by Naomi Flexman and well lit according to the conditions of the play by Gabrielle Panova, the creative and personal struggle between the trio within the director’s apartment is brought to life. 

Whilst David Ireland is a fantastic playwright, with his work drawing such names as Woody Harrelson, Andy Serkis, and Matthew Broderick, the play itself is not fantastically well known, and so directors Kate Burke and Robyn Hayward were confronted with a challenge when producing this black comedy. How to communicate to the audience that the entire play shouldn’t be watched in stony silence, but that its seriousness should also be grasped? The directors, producer Frankie Maino, and welfare officer Madeleine Evans faced an almost impossible challenge, particularly given the sensitive material the play touches on. 

But it is a challenge they have pulled off adeptly, helped by a fantastic cast. With Aaron Gelkoff playing Jay Conway, an American actor almost stereotypically self-centred and shallow, Rohan Joshi as Leigh Carver, the anxious-to-please and superficially sensitive director, the play’s opening thirty minutes were well secured. Gelkoff gave an unforgettable performance that never fell into cliché, even as he played the sort of publicly quasi-intellectual American actor most people can imagine – think Brad Pitt. Joshi gave what I believe to be the finest performance of the night, acting as the cantilever of the play, a director increasingly desperately attempting to keep his production aloft. Conway lauded over Carver with skin-deep soul-searching and quizzical observations that Carver, in his desire to avoid any obstructions to his play, accepts, only raising a swiftly muted challenge when Conway describes a particular debauched and morally bankrupt thought.

A decent way into the play, the arrival of Caeli Colgan as Ruth Davenport, the playwright, upsets the unchallenged dynamic that had prevailed thus far. Davenport, as the eponymous’ play’s auteur, engages with the themes the audience might expect as a product of Ireland. She is brilliant, challenging Conway where Carver had been willing to let issues slide – after her brief awe at his celebrity wanes, of course. Arriving following a car crash with her mother, Davenport’s family looms large over the play, as her own identity as a Protestant Unionist rubs both the quintessential Guardian-reading upper middle class liberal Carver, and the self-righteous Conway, the wrong way. Carver fundamentally fails to grasp the basis for unionist identity, whilst Conway’s idiocy and lack of interest in the play itself – communicated with repetitive, deliberate contradictions by Gelkoff – leads this supposedly proud Irish American to express horror at the fact that, rather than being written by an Irish Catholic, ‘the play was written by a Unionist Protestant Brit.

The energy of the play doesn’t abate once the trio assemble, and the comic elements are used fantastically – it, unlike some black comedies, never fails to elicit laughs from the audience, even as the play thundered towards its dramatic conclusion. But there was something left on the table as the audience stood and applauded and began to file out.  For a play that pertained to be about Irishness and the intricacies of Northern Ireland, juxtaposed with those of America, little examination of either appeared for long. That is partly David Ireland’s sin, but I think that the directors could have been bolder in how they approached his work. Having two women in the play, for example, rather than one woman against two men, would have greatly changed the power dynamics regarding discussions of Britishness, Irishness, and its relation to the blunt brutality of the American actor’s wishes; again, this is a sin of Ireland’s, not the cast or crew. The actors are fantastic, and are reliable fixtures of the OUDS circuit that improve with every performance.

Ulster American’s great performances and direction have, however, left its contentious script unchallenged. The ending of the play captures this well. However, whilst it is in line with a black comedy to have Conway and Carver claim credit for Davenport’s success, whilst lumping her with a gendered accusation of mental health issues, this fails to deliver on the promise raised earlier in the play. Davenport – again, played fantastically by Caeli Cogan – is clearly Ireland’s favourite, but she, like Conway, is a character that never reaches the depths of her own morality.

Joshi’s Carver steals the limelight in large part because he reaches beyond the bounds of Ireland’s limits and lends depth and intricacy to the character. He appreciates the experimental element of student theatre, his character attempting to ensure the play’s survival, his own success and conception of himself as a liberal and friend to Davenport. The high drama at the end of the play, featuring an addition not part of the original script, is effective, but the addition is unnecessary. It undermines the nuances to Conway’s character and hamfists what had been a subtle but palpable inequality of power running throughout the play, and serves as a fine allegory for the production itself.


It is superbly acted, fantastically staged and lit, and the production of the play is star-quality. But a failure of directorial ambition, not in producing a poorly directed play but in failing to challenge, or meaningfully amend, Ulster American, precludes it from being a truly great play.

Oxford’s exams need an update

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In a matter of days, I will face 15 hours of handwritten exams. I will wear a gown that has never truly fitted, because it was made to fit a man, and then I will trek the 20 minutes to Exam Schools, to wait in a queue for up to 45 minutes just to be let into the exam hall. I would say it’s medieval, but I’m a historian and I can’t quite bring myself to. It is, however, distinctly Victorian. 

Right before my Prelims, a very kind professor told me that they are essentially a hangover from the British Empire. They were designed to test how students fare under pressure – essential for those who would one day run the Empire as colonels and generals. This didn’t particularly alleviate my stress – but it does suggest how little Oxford has changed. 

Handwritten exams are fundamentally outdated. I truly see very little reason for a handwritten exam (at least within any essay subject), other than perhaps as some form of suffering. Students are often forced to decide between legible handwriting or writing a full essay – an essay which they are unable to change once it’s written. I have omitted entire paragraphs in the name of time-keeping fairly regularly, only to finish my paper half an hour early (and it’s still barely readable). 

How much difference would typing an exam make? The University has shown it can be done – one of my Prelims was typed and in-person, and it was glorious. It was my highest grade. I still finished quite early, but instead of fruitlessly staring down at a paper that would only get messier with corrections, I was able to rework paragraphs and even change their placement. At least for essay-based exams, I can think of very few reasons why an in-person exam wouldn’t be better typed – for both students and the examiners who need all the skills of Bletchley Park to decipher our handwriting.

I do understand the hesitancy surrounding take-home papers. As much as I believe in the benefits of open-book exams, my own faculty reverted one of their take-home papers to an in-person exam for this year’s final exams, likely due to the risks associated with students misusing AI. It is unfortunate, but until there are both better guidelines for AI use and better AI detection, in-person exams will be necessary. I also know of many people who did not sleep for the entire span of their take-home paper – an unfortunate result of assigning overachievers coursework. However, typed in-person exams are so easy to regulate when it comes to AI use. Blocking websites is easy enough, as is using software that tracks if a student leaves the exam portal. 

Exam conventions and regulations are also borderline ridiculous. In my first year, I thought that being unable to leave in the first and last half hour, not to mention only being allowed to leave the exam hall once, was a myth created to scare freshers. Upon checking the exam regulations, I was slightly horrified to learn that it’s true. I truly see no purpose to these rules other than testing students’ physical capacities – a very Victorian idea indeed. The University seems so aware of stress and anxiety, but seems baffled at the idea of a nervous wee. 

Even more ridiculous is the University’s harsh stance on illness. During second year, my friend was so ill that he physically could not walk to Exam Schools and had to take a taxi, yet he was expected to take exams. He would have received a 0 if he didn’t show up. Of course, it is hard to define a limit when it comes to illness, but the strict limitations for allowances are completely absurd. Students faced with unexpected illness have to gamble on whether their excusal will be approved – whether the University will deem it “insurmountable” enough. Saying this, I actually really admire some of the accommodations the University is able to make when given prior notice. However, people are often ill unexpectedly – yet another aspect of the human condition that the University does not fully accommodate for in many cases. 

Perhaps my most personal gripe when it comes to the pomp and circumstance of exams is the gowns. My friend told me I looked like Henry VIII when I tried on my scholar’s gown – and she was right. There was more gown than person. The University website advises that the scholar’s gown should reach the student’s knees – mine was practically floor-length. Largely, this is the result of having to wear a gown designed for young British officers when you’re a 5”2 woman. The first reference to sub fusc is from 1636, a time at which I, as a Jewish woman, would not even have been allowed into England. 

Oxford is, to an extent, lovable for its slightly odd, slightly Stuart traditions – perhaps why over ¾ of students voted to keep sub fusc in 2015. I would miss carnations and the feeling of everyone knowing you’re exam-bound whilst in sub fusc. However, I would not miss the hand cramps from hours of writing or the fear of being smothered to death by my gown. Oxford’s exams don’t need an upheaval; but they do need to be brought into the 21st century.

Oxford University developing vaccine for latest Ebola outbreak

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The University’s Oxford Vaccine Group (OVG) is leading the development and trialling of a vaccine in response to the recent Ebola outbreak in the Democratic Republic of Congo (DR Congo). 

The team, led by the Head of Vaccine Immunology and the OVG and Pandemic Sciences Institute, Professor Teresa Lambe OBE, is working alongside the University’s Clinical BioManufacturing Facility and the Serum Institute Pvt. Ltd, to research, create, and trial the viral-vector vaccine. Estimates suggest a workable vaccine could be available within two to three months. 

Depending on its performance at animal trials, a World Health Organisation (WHO) spokesperson said it could be “a promising candidate research vaccine” for the Bundibugyo Ebola strain responsible for the outbreak. 

Lambe told Cherwell: “OVG has more than 30 years of experience in the development and testing of vaccines, which allows us, alongside our partners, to pivot and apply our expertise in times of outbreak…The ability to move rapidly in situations like this has been built on many years of vaccine research and close collaboration with our global partners.” 

The May 2026 Bundibugyo Ebola outbreak, originating in the DR Congo, has been rated a “very high” public health risk by the WHO. Though the risk is low internationally, the WHO declared it a Public Health Emergency of International Concern (PHEIC), a status that encourages cross-continent co-operation. At the time of publication, there have been an estimated 220 deaths and 900 cases, with 11 countries understood to be at risk. 

The specific strain of Ebola, Bundibugyo, is rare and has not been seen for over a decade, with the last two outbreaks occurring in 2007 (in Uganda) and 2012 (in the DR Congo). Naturally occurring in animals and fruit bats, the disease spreads among humans through infected bodily fluids, with research suggesting a mortality rate of between 30 – 50%. 

Initial symptoms are similar to the flu, with illness often beginning with a fever and a headache. Symptoms rapidly progress to vomiting, diarrhoea, and, later, internal bleeding and organ failure. At present, there are no approved vaccines for this particular Ebola species. 

Treatment for the virus has been hindered by violent conflict in the DR Congo between the Congolese military and the M23 rebel group, which has displaced a quarter of a million people.

Having previously worked on the Oxford/AstraZeneca COVID-19 vaccine, as well as vaccines for Sudan Ebolavirus and Marburg Virus, the OVG has utilised the same vector platform (ChAdOx1) used in the COVID-19 vaccine, and adapted it to the Bundibugyo Ebola strain. By altering the genetic code, the vector platform can be tailored to different filoviruses.

The vaccine base relies on a common cold virus, typically found amongst chimpanzees. By altering the viral makeup to ensure it is safe for human beings, the virus can travel around the body, delivering information to cells to target and kill the Bundibugypo virus. However, before trials are completed, the scientists involved cannot guarantee that the vaccine will be effective. 

Once the vaccine has been effectively trialled and approved, it will be sent to the Serum Institute of India to be mass-produced. Lambe said in a statement: “Once we get starting [sic] material to them, they can go fast and they can go big”.

Lambe told Cherwell: “Right now, the focus is on generating the data needed to support development, scaling manufacturing with the Serum Institute of India (SII) Pvt. Ltd, and preparing for clinical trials should they become necessary… My hope is that this outbreak can be brought under control quickly and that vaccines are ultimately not needed.”

Subs, dubs, and AI flubs: Lost in film translation

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When I travel, I like to think I am not like the other British tourists. I try my best to blend in with the locals – attempting (and sometimes failing) to remain nonchalant on complicated metro systems, eating local cuisine, and avoiding ‘loud’ clothing. On a recent solo trip to Stockholm, however, my expectations were challenged by what I believed to be a given: English. I had been to Italy, where English captions accompany pretty much everything, and France, where the same is true, though it is offered with more reluctance. In my ignorance, I had not bothered to learn any Swedish beyond a measly ‘engelska?’, which became problematic as I quickly discovered that my bleached-blonde hair made me look like a Scandi girl to the locals.

I should experience some local culture, immerse myself in the arts scene, I thought as I settled into my hotel. Checking the programme of the capital’s Kulturhuset Stadsteatern, or ‘city theatre’, the single showing with English subtitles was the Austrian film How to Be Normal and the Oddness of the Other World, directed by Florian Pochlatko. Sure, it wasn’t Swedish at all, but how else would I understand the story, if it wasn’t for English subtitles? As I hurriedly approached the Kulturhuset, one Ryanair flight and a frenzy through the Stockholm metro behind me, I was suddenly informed that there would be no subtitles at all.

How hard could it be to watch an entire film in German when I could not even introduce myself in the language? Quite hard, it turns out. Sure, body language and visual effects went a long way, and I felt the beautiful serendipity of discovering a Swedish review on Letterboxd from a local at the same screening, but I missed almost every joke, and felt myself growing increasingly bored as the film progressed. The biggest surprise for me in Stockholm was just how English-less it was, from road signs to price tags to food labels – I had to open Google Translate in the middle of 7/11 to work out if I could eat my halloumi wrap cold.

I do not expect sympathy at all, as my own ignorance led to this situation. But the experience did make me reflect on the relationship between native English speakers and subtitling in film. My not-so-Swedish encounter was certainly extreme, with no subtitles, or even a warning, beforehand – but I was not so turned off by the experience so as to never do it again. It made me wonder, are sole English speakers reliant on subtitles? Do they add or detract from the viewing experience?

Subtitles themselves are in many ways crucial, so that we may broaden our tastes and learn about other cultures. After accepting the Golden Globe for Best Foreign Language Film in 2020, Parasite director Bong Joon Ho famously stated that “once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films”. I do believe that progress is already well underway in the globalisation of film, as what was once potentially a pursuit of only the avant-garde film student is now available to the masses. This is particularly thanks to the rise of Letterboxd, where international arthouse cinema is compiled into digestible lists.

The art of translating subtitles is also, perhaps surprisingly, one of the few language-based jobs not being ravaged by advancements in AI. Despite the now infamous case of Duolingo replacing much of its staff with AI, translator vacancies continue to grow, owing to the simple fact that AI is not currently capable of the quality control and idiomatic knowledge possessed by a human. Have you ever tried to translate complicated Swedish halloumi wrap instructions with Google Translate? In regard to film, it is vital that translated subtitles do actually convey the meaning of the scene, which is why the role of humans is still absolutely necessary.

Yet, anxieties concerning AI continue to plague the translation industry, and may result in changes to subtitling in the future. Hollywood actresses Demi Moore and Reese Witherspoon have both come out in favour of AI, with the latter even stating that “it’s so, so important that women are involved in AI because it will be the future of filmmaking”. AI tools continue to improve, and it is difficult to predict the accuracy of both Witherspoon’s statement and the concerns felt by translators, but the reality is that AI usage is already commonplace in filmmaking, from editing to script-writing and more. AI dubbing is also prevalent, with new software able to move actors’ mouths to fit speech in other languages. Controversy arose last year when generative AI was found to have been used to translate speech from English to Hungarian in The Brutalist – I, for one, am pleased that the Academy has since cracked down on AI-generated content in film, but I do worry about the future opportunities for translators in film, as well as for actors who do actually speak foreign languages.

While it is easier than ever to watch films entirely in English, are we missing something by neglecting their original languages? I think that it is important to note that my choice of film in Stockholm was heavily influenced by which ones had English subtitles listed as available. I do not think that cinemas in other countries should bow down to the English language at all, but English speakers may be surprised to realise just how much they can understand without subtitles, and how thought-provoking the result may be. Maybe if I had the guts for it at the time, I would have complemented my Swedish journey with a piece of local culture, and learned something beyond ‘engelska’.

Far from wanting to sound pretentious, I want you to understand that subtitles – both their existence and a lack of them – do not have to be a barrier to a good cinematic experience. It could be fun, even enriching, to actively try to watch film in a different way, such as by watching a colour film in black and white, or without sound. It almost feels like a reinvention of the creativity that comes with watching a silent film in the present day, where a chosen musical accompaniment can completely change our perspective. Watching Murnau’s silent Nosferatu on Wikipedia (yes, you can do that) was a very different experience from, say, the live organ accompaniment to the Oxford Festival of the Arts’ screening of The Cabinet of Dr Caligari at Magdalen Chapel.

There may be limits to this approach, however. Maybe the screenplay of How to Be Normal and the Oddness of the Other World did a lot of heavy lifting, with psychedelic visuals conveying the psychological focus of the film – although the Ed Sheeran poster on main character Pia’s wall completely threw me off, and made me worry more about the state of British cultural exports than her deteriorating mental condition. Ginger singers aside, my point still stands that even without subtitles, foreign-language films can be thoroughly enjoyed.

Oriel’s quest for headship at Summer VIIIs 2026

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Sitting in Oriel Boat Club’s Captain’s room, across from Captains Freiderikos and Merle, I am immersed in a blue and white legacy. The walls, as Freiderikos tells me, are ornamented with the pictures of every Men’s Captain since 1880 – “I’m in contact with 15 of them”, he adds, recounting one night he returned to college after a tough training session, all set for bed, only to find 30 septuagenarians pointing to their pictures between sips of wine and reminiscence.

What stands out most after speaking to Oriel Boat Club’s Captains is the sheer devotion of its alumni network: as Oriel approaches the 700th anniversary of the College’s foundation, generations of Oriel College alumni have banded together to row across the English Channel. Part of Oriel’s fundraising campaign ‘700 Years of People and Place’, the cross-channel row, taking place across April and May, aims to raise £1 million to establish the Boat Club Endowment Appeal.

“The endowment fund is a massive thing for the club”, Merle tells me, in awe of the enthusiasm for the channel row, in which six to seven decades of Oriel rowers are represented. “It makes me really proud to be part of this club”, she adds, explaining that the £1 million endowment would be combined with the College’s endowment fund to generate money for equipment, coaching, and to provide a sustainable source of yearly income that would keep Oriel rowing free for everyone. 

Freiderikos gestures to some new gear beside me, quipping that the club has done “a bit of equipment maintenance since last year”, a reference to the unfortunate mishap faced by Oriel’s M1 at last year’s Summer VIIIs when Oriel’s Tom Mackintosh, Oxford University Boat Club rower and Olympic Champion, resorted to a climb up from the ‘seven’ seat up, all the way past the cox, to examine the broken fin on their boat.

Oriel’s legacy manifests in the Club’s Crewbook, honouring the names of every athlete who has ever lifted an oar for the Boat Club. An alumni association, ‘The Tortoise Club’, also contributes massively to this culture, keeping many Orielenses in contact with the club as it trains up young new cohorts.

Fuzzy sentimentality for one’s university years is almost a given. Yet, there’s something about the bonds made through sport, through the river’s highest tides and lowest ebbs, that holds the community together just that much tighter. “I think the really special thing about bumps is that it is a cultural thing”, Merle considers, “you really pass it on from generation to generation and year to year. The fact that we are able to start in the position we are in now is really because of all the years of rowing by previous generations. That all comes together during eights”.

With the Club’s great investment, of course, comes great pressure. I wonder how exactly Freiderikos and Merle handle the weight of expectation, both placed upon themselves, and from preceding generations. 

“There is definitely the expectation to do well”, Merle agrees. “If anything, though, it’s motivating.” Freiderikos chimes in: “If people care, that fosters a good culture. At school, you just row for yourself, your family, the coaches. Here it’s much, much bigger than that.” Indeed, all one needs to do is turn up to the banks of the River Isis on the Saturday of Trinity’s Fifth Week to understand that, for Oxford, Summer VIIIs might as well be an Olympic event. 

On the Men’s Side, hopes are high. “I’m feeling really positive”, says Freiderikos, noting the two Blues standard rowers moving into Oriel’s M1 Boat, accompanied by another rower of international standard. A win at Torpheads this year, the substitute event for Torpids, has left the boat feeling well placed to strive for headship. This, Freiderikos tells me, is what they have been training for. 

The opportunity to bump up to headship in the 700th year is particularly special, Freiderikos adds, “almost like a fairytale waiting to be written. I don’t think it’s something we’ve been working for just this year; we’ve been working for this over the last two years, even as freshers rowing in our first Torpids. We really wanted to catch Wolfson [last year], and we weren’t able to, so now it’s hopefully retribution time”.

With Torpids 2026 cancelled, an anti-climax replaced a staple event in the Hilary Term calendar. Torpids keeps novices engaged with the club, motivates crews throughout the damp, dreary mornings of winter months, and helps clubs to hone their selection strategy ahead of Summer VIIIs. “Usually we have the opportunity to switch people around between Torpids and Summer VIIIs, explains Merle, but we don’t have the opportunity to do that this year.” 

Starting off the year slightly disappointed, with fewer rowers than usual who had trained before, Freiderikos was able to rapidly turn this around: “I was nervous at the start of the year, but coming into Torpheads everything clicked”. This he attributes to the Club’s success in the training up of novices: “It’s really important to raise the novices to a high standard – you can’t have any weak members in the boat – they all have to be strong.” 

Rowing, in that sense, is arguably “the ultimate team sport”. Merle reinforces the technicality of training up novices: “This is also a skill: being able to train people up relatively quickly. I think that’s really impressive.” Investing in rowers at every level is the strategy that underpins the breadth of Oriel’s Boat Club. As Freiderikos points out, “Instead of just having a pool of ten people who’ve rowed at school before, you could have a pool of 400 prospective rowers.”

Currently, of the four eights on the Women’s side, over three eights learned to row at Oriel, while two full eights learned to row this year. Freiderikos lends some of the credit to the club’s Vice captains, who have been particularly good at novice retention. Oriel boasts five crews on the Men’s side and four on the Women’s, bringing up their numbers to nine crews in total. Women’s Captain Merle is amongst the Oriel ‘home-grown’ herself, having tried out rowing as an undergrad, only to take up the sport seriously in Michaelmas of 2024.

Tapping into the competitive spirits of the captains, I attempt to find out who they see as their top rivals in this year’s competition: “Obviously Wolfson”, Freiderikos responds without hesitation. “They’re the head of the river, so someone has to remove them if they want to get ahead”. After Wolfson, he notes the verbose confidence of Pembroke’s M1 (all in good spirit) and the strength of University College’s M1 in this year’s races. 

On the Women’s side, Merle finds the competition a little less clear cut: “It’s hard to tell who the strongest competitors are – you never really know. Even between Torpids and VIIIs, there’s a whole Easter Vacation. It’s also Trinity term, the most rowing-dense term, so clubs will have the most water time because the weather gets better and the light lasts longer. Even between Torpids and Eights, a lot can change. It’s really hard to predict what’s going to happen,” she stresses; no club can be entirely ruled out. “I’m just really excited to show what we have worked for.”

When I ask if Wolfson will retain headship, both captains agree that they have “full faith” in their M1. “It’s going to be hard to bump them, but I think we’ll do it”, replies Freiderikos. I ask Freiderikos who their biggest rivals are: “Anyone who is near the top of the pile” is his answer. 

Taking on the role of Captain in the college’s 700th year is a unique opportunity, but Captainship also comes with its fair share of trials. “It has been really special to be captain in the 700th year”, says Merle, especially while the endowment fund is being established and the channel row has been organised, and having such big squads on both sides of the Club. The pair have, nevertheless, had their fair share of tough decisions. Freiderikos identifies a key skill that has helped him navigate this: “Always be quite transparent with people.”

“We’ve had two or three seat races”, he explains, “one was between two people for the ‘last slot’ in the M1 boat, and they were aware that they were up against each other”. Whilst tensions can build in situations like this, transparency ensures that the rowers respect the Captains’ decisions, whilst a competitive spirit is maintained. 

I finish up by asking what the celebrations will look like if Oriel claims head of the river. “It’s going to be big”, remarks Merle, “the 140 seats in Oriel’s hall are entirely booked out for Summer VIIIs dinner.” Her family are even flying in to support from the banks of the River Isis. This is no event to sit out on – “Our cox is even missing the Champion’s League final to cox us,” Freiderkios exclaims. In the evening, Oriel will host the ‘Bumps dinner’, where the first Men and Women’s Boats will sit on the high table, whilst all other Boat Club members will have to sing for their supper – an Oriel tradition. In the case of a win, this will be followed up by the famous boat burning, the organisation of which, they assure me, is safely in the Porter’s hands rather than their own.

The Summer VIIIs of Oriel’s 700th year is the biggest competition Freiderikos and Merle believe they may participate in throughout their rowing careers. “If we win”, says Merle, “it will not only be a celebration of this year’s achievements, but also of the boat club as a whole”. 

Measuring out life with coffee spoons: Inside the Oxford death café

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“Jaffa cake?” These are the first words I hear upon stepping into Oxford’s Death Café. We’re in the Old Fire Station on George Street, a venue for all kinds of offbeat activities: indie theatre, standup, and its kitchen, which operates as a social enterprise run by women refugees. At 5pm on a Monday, it is deserted. Already running late, I get lost on the street, knock on the wrong door, and finally blunder into a lobby where there is absolutely no noise or company. Tiptoeing timidly to the desk (and banishing mental descriptions like dead silent and silent as a tomb), I stage-whisper into an intercom: “I’m here for the Death Café.”

Was that right? Should I look sadder, perhaps? A receptionist tells me to go right; I nod and shuffle past with a solemnity that instantly strikes me as pompous. It is already unspeakably awkward.

Theoretically, I know what to expect. Death Cafés emerged as a movement in Switzerland and France in the 2010s and spread across the world. Billed as casual discussion forums, they encourage participants to engage in frank dialogue about the end of life: what is death? Why do we fear it? How does dying shape the way that we live? It is a specialist salon, a café philosophique turned morbid. Bernard Crettaz, the sociologist who inspired the cafés, wants to end what he terms the “tyrannical secrecy” around death. We should be able to discuss it without stigma, he says – the subtitle of his book is Sortir la mort du silence (‘Bringing death out of silence.’)

So far, silence is prevailing. In the Old Fire Station’s canteen, a dozen strangers sit around a table; none of them are talking (sepulchrally silent, silent as the grave). I am conspicuously the youngest. Anne*, whom I later learned is the group facilitator, heads the table. She is 84 and strikingly sprightly. Cheerfully, she slides me a cardboard carton: “Jaffa cake?”

We all take some. There’s an air of manic jollity about the whole thing; it reminds me of people who dress up as Disney princesses to visit children’s hospitals. For about five minutes, I gaze into every unoccupied corner of the room, counting tiles and committing wall art to memory. No one says a word – small-talk has been utterly disabled.

When we finally start, Anne asks us to introduce ourselves. Then she smiles and says calmly: “We’re all going to die. Not pass away, not go to a better place: we’ll die.”

It’s a bit shocking. Around me, though, other participants are nodding: a few chime in with agreement, saying that they only learnt the stock phrases as a way of sounding decent around others. “I couldn’t say ‘my dad’s dead,’ it sounds crude” – these euphemisms are not coping mechanisms but social rites, like wearing black. Someone adds that their kids are confused by decorous phrases. If her grandmother has “passed away”, does that mean she’s coming back? If she’s “gone somewhere”, where is she? We are all here to try and regain the abilities we had intuitively as children – speaking forthrightly, living in the present.

Anne’s ban on euphemisms sets the tone: we discuss the ways in which dying is sternly practical. A printout on how to arrange a Power of Attorney circulates around the group. If death is grand and mysterious (“that undiscovered country from whose bourn no traveller returns”), dying is relentlessly banal. We discuss bedsores, waning appetites, the larcenous cost of burial – someone laments that they had to take weeks off work to care for their critically ill father, despite only anticipating days.

“I don’t want people to find my body”, somebody pipes up.

“Because it’ll upset them?’

“No – I’m scared I’ll smell bad.”

Slowly, imperceptibly, the ice breaks. We talk about things we want to do before we die (for me: write a book). We exchange concepts of the afterlife. Death Cafés brand themselves as nonpartisan, “with no agenda, objectives or themes”. I do notice, however, a preponderance of Buddhists and spiritualists in the circle; a theory that we all belong to one ‘indistinct mass of energy’ is advanced and receives approving nods. It is not that these belief systems are more morbid. In fact, the opposite may be true. If death is the resetting of a cycle, a passage to one more mortal lifetime, then why fear it? Why hold it apart from – or even contrast it with – life? It is an illuminating thought, and impresses even me, the staunch nontheist. 

Interestingly, two people in the group are ‘death doulas’. Members of this burgeoning profession, including Hamnet director Chloé Zhao, pitch themselves as midwives for the end of life. While not medical professionals, they provide emotional and practical assistance to the dying. The two at the table describe their training, which includes lying in a wooden box and imagining their own funeral.

Is it useful to picture death? Is it helpful to talk about it, or just self-indulgent? Over the course of the meeting, the dread that I felt at the beginning was slowly replaced by shock, then relief. The Death Café is mundane. I had worried about lacking the special vocabulary, the necessary concepts. But what I saw was that death is pieced together from the most commonplace pieces of everyday life. Grief, tedium, guilt, vanity, humour, superstition. None of it requires a new language – just the courage to use the old one. Death is silent (as a crypt, as a vault, as a mausoleum). We don’t have to be silent about it.

* Not her real name.

Death Cafés were founded by Jon Underwood based on the work of Bernard Crettaz. Information can be found at      deathcafe.com.

An archaeological future: Distorted legacies

The enormity of human history often feels incomprehensible. This vastness creeps up on us in the most imperceptible ways, whether it’s reading names inscribed on the remnants of the Berlin Wall, or staring face-to-face at a thousand-year-old portrait of a young woman. What never fails to strike me as remarkable, however, is the familiarity of the human experience – how grappling with the magnitude of time, and the weight of our history, has always stuck with us. 

The Colossi of Memnon have stood in the ancient city of Thebes, now modern-day Luxor, since 1350 BC – that is, for over 3,000 years. Immovable edifices in an eternal landscape, these statues have endured the rise and fall of many a civilisation, the cracking open of the earth, and the annual soothing balm of the Nile. But what makes this monument even more extraordinary is its history layered upon history: tourists from across the ancient world who had inscribed their names on the feet of the statues, immortalised their own existence, and intertwined it with all that came before. There is an urge to shout through the vastness of time: “I was here, I existed.”

The ache to remember and be remembered is one of the most important things that makes humankind human, and this hasn’t changed across the sweeping expanse of time. As we visit, photograph, read, and discuss such monuments, we too become part of their history, and we preserve the ache that is undeniably universal – one that transcends time, language, religion, identity, or culture, and is recognisable in every context.   

If you take a stroll around Oxford, you’ll find this desire isn’t so distant, even now. The parapet of the University Church tower, accessed by a winding spiral staircase, with footsteps moulded into the stone by centuries of use, is home to a plethora of memories. The names of students, lovers, and visitors are each engraved into its very fabric, attesting to their own existence, with the church as their witness, and us as their audience. The antique shops nestled along the High Street speak to this longing to remember. Brimming with brief snapshots of lives lived, each nook and cranny is inundated with photograph albums in gilded metal cases, carefully crafted jewellery, and curated collections of miscellanea. Even as I thumbed through my library book this morning, reading around the furious scribbles in the margin, I found it hard to ignore the fact history is quite literally in our hands: it is ours to preserve and ours to create. 

Studying archaeology in Oxford, a city where researchers, tourists, readers, and students alike converge and continue to breathe life into its history, it feels necessary to also contemplate our future. What sort of evidence will outlive us and become artefacts of our time? How might future civilisations try to create a cohesive image of our age? Would such a thing even be possible? Rational answers might point towards the assortment of memorabilia found in those same antique shops, or documents and keepsakes scattered across attics and basements, maybe even tucked away in purpose-built storage. Yet, though entirely reasonable suggestions, this increasingly digital age makes the physical survival of memory seem more of an afterthought. 

Only this year it was revealed that the AI company Anthropic scanned and digitised millions of books in order to train its AI models, destroying the original physical prints afterwards. This not only sets a deeply worrying precedent, but amplifies how it is now more poignant than ever to continue to be vigilantly commemorative, and to take control of the narrative of our history. Such physical, tangible history shouldn’t ever become a luxury, and the scarcity of evidence only seems reasonable in an ancient context, where accident of survival tends to prevail. It feels imperative, then, to print photographs, write dated diary entries, buy newspapers, make scrapbooks, send postcards: physically record those mundanities of daily life which are so often easily forgotten, yet so frequently serve as reminders of the comfortable, familiar humanity we share with our ancestors across time. 

That said, when reflecting on our digital age and its impact on our material history, it seems naive not to also consider the consequences of our existence on the very planet which we inhabit. Given the state of the current climate crisis, concerns for the survival of our physical remnants seem almost trivial – the defiant longevity of plastics will outlive their creators. The writing spelling out our existence is not only on the wall, but in the water, inside our bodies, stacked high in landfill sites, and buried in the soil: an indelible legacy of plastics and pollution. In droves, the oceans and seas will quite literally regurgitate our past from their waves, spitting it out at the shoreline. Considering a plastic Mars Bar wrapper from 1986 was found on a Cornwall beach in 2019, we might envisage the fortuitous nature of future excavations looking to understand us. Evidence, it seems, will inadvertently be in abundance for the age of humanity that resists obscurity. But what planet will remain hospitable to such legacies? 

Of course, this isn’t to say blame should be assuaged from the larger corporations responsible for generating such immense scales of pollution on our planet, nor to shift moral culpability, but rather to empower the individual. We shouldn’t underestimate the power of our own individual impact in changing this. There is action in hope – an emotion so intrinsically human – and where there is hope, there is humanity. If we’re able to preserve and reanimate so much of our past, then we must also have the capacity to create with more intention and to consume with more conscientiousness, so that we may have a planet where our legacies thrive. 

Barker & Co. Booksellers: Oxford’s newest independent bookshop

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A new secondhand bookstore opened in Oxford city centre last week. Located in the Golden Cross shopping centre, just off Cornmarket Street, the bookstore stocks hundreds of secondhand books, ranging from accessibly priced paperbacks to rare and expensive antiquarian first-editions. It was previously home to dessert cafe Fluffy Fluffy, and before that, it was an optician’s.

Its four co-directors, Helen Flatley, Mehdi Bensenane, Scott Moynihan, and Sumner Braund, who have backgrounds in medieval history and philosophy, opened the store in order to provide a boost to secondhand bookselling in Oxford. Helen, a medievalist and history lecturer at the University of Oxford as well as co-director of the store, said: “Some of us did our PhDs here and have been thinking for quite a while that Oxford needs more secondhand bookshops, so that was the inspiration for it.”

“Effectively, we’ve built the kind of bookshop we ourselves would like to go to”, Helen told Cherwell. The store stocks a wide range of genres, including ancient philosophy, medieval and modern history, and fiction. Its site dates from 1496 and is thought to have links to Shakespeare. According to the store’s Instagram page, the bard is rumoured to have stayed in the building in the seventeenth century, when it was a coaching inn. He is also rumoured to have put on a production of Hamlet in the Golden Cross courtyard. The courtyard itself is one of the oldest parts of medieval Oxford, dating back to the thirteenth century, Helen explained.

The owners said they have been delighted with the response they’ve had since opening the store in May, especially from students. “We’ve been especially heartened by the amount of students that have been in”, Helen told Cherwell. The store aims to cater to students’ needs both in terms of stock and prices. Helen said: “It’s one of the things that we thought would be important, to have a range of prices, so we have many books that are accessibly priced, as well as some more rare and expensive things.”

Some of the store’s most noteworthy antiquarian books include a first-edition copy of George Orwell’s 1984, priced at £1000, and a 1863 copy of George Eliot’s Romola, priced at £200. The store also stocks some early illustrated editions of Shakespeare. The owners hope to expand the antiquarian side of the business, Helen told Cherwell.

As well as catering to students’ needs, the owners hope the store will provide tourists with a special insight into Oxford. Mehdi Bensenane, a philosopher originally from Paris, said: “When people come to Oxford, they do not go to Disney World or Paris or London, they come here for a reason. They are interested in the history of the place, in the humanities, and in the sciences.

“But Oxford can be rather opaque when you think about it from a tourist’s point of view. Buildings are defined not so much by what they do but who was their benefactor – Ashmolean, Bodleian. Colleges can be hard to access, too, as you have to pay to look around. So we wanted to create that Oxford feel, but with an open door. We’re hoping to create a network and a feeling of community for independent bookshops, whilst addressing the expectations of local communities and tourists.”

A number of Oxford’s independent shops have been threatened with closure recently. Riverman Records, a second-hand record shop and music store on Walton Street with a cult following, is facing an uncertain future as its landlord has submitted a planning application to turn the premises into living accommodation. Oxford’s longest-running independent cinema, The Ultimate Picture Palace in Cowley, is also facing the prospect of closing after its landlord, Oriel College, refused to extend its lease in order to allow vital investments and renovations.

Blackwell’s on Broad Street used to run a thriving secondhand and antiquarian books section, but has scaled down its operation in recent years. In addition, the future of the Oxfam bookshop on St. Giles’s Street has recently been thrown into doubt after Regent’s Park College, which owns the premises, submitted a planning application to turn the premises into an MCR. The application was rejected by Oxford City Council, and Regent’s Park has said that it is considering its options.