Thursday 17th July 2025
Blog Page 342

Review: “Orestes”//Oxford Greek Play @ the Oxford Playhouse

On Wednesday the 28th of April, a live performance of the Greek tragedy Orestes took place at the Oxford Playhouse. This virtual, interactive and experimental production included creative new translations and discussions from leading academics rendering it unique. The online streaming of the little-known ancient Greek tragedy with a modern spin was exceptional. The play explores the ripples of trauma that follows crises of crime and punishment, and the difference between retributive and restorative justice. The setting of the play took place in the rooms of the respective actors, all of whom students at Oxford. The choice to perform in their rooms was significant. Performing in one’s room means performing in a very personal place and suggests very personal space; seclusion, protection. The rooms of the actors were bare but for a few pieces of furniture- instead focus could be directed towards the unveiling of the dynamic and the unfolding ideas of Euripides.  

What makes this ancient myth significant to the present day and worthy of watching is this transition from the archaic to the modern.

It should be noted that the Orestes of Euripides marked the change which had taken place in the thought and intellectual life of Athens since the Oresteia of Aeschylus was performed. The blood-stained story of the house of Atreus and the tale of Orestes echoes the history of the modern Greek state. The tragic myth spans a period from the fall of Troy to the foundation of Areopagus. Oxford Playhouse’s Orestes certainly employs most features of the legend of Euripides’s Orestes yet places emphasis on the studies of contemporary life, subject to the social and political conditions of the twenty-first century.

In Oxford Playhouse’s version we see Orestes killing Clytemnestra, his mother in a brutal act of revenge and forming a same-sex relationship with Pylades. A sexual relationship between two men would violate social norms. We see his particular experiences as a queer male, questioning notions of personal and collective identities. Concentrating on this dramatic twist, this sensitive portrait of a condition and a relationship has the tug of emotional truth. As society collapses, can Orestes and Electra trust the whispers of Helen, Menelaus and the gods?. Even though heroes were not perfect they had within them inherent faults, they still had a certain grandeur about them, however they are now brought low with a vengeance.

The Oxford Playhouse’s Orestes belongs to the tradition of postmodern theatre which plays a significant role in diagnosing the contemporary condition of man through classical texts. What makes this ancient myth significant to the present day and worthy of watching is this transition from the archaic to the modern. This relation between tradition and contemporaneity of postmodern aesthetics is critical in understanding why watching a play of the 6th century BC is still relevant in the 21st century. By deconstructing Euripides’ classical text we invest in the future of an ancient tradition, addressing important contemporary matters instead of reproducing finished clichés. The edge-of-the-seat effect was what made the performance worth watching, with its blend of revelation and withholding. The intense and nuanced performances, the queasy mix of fear and fury palpable with a small glimmer of hope, made Oxford’s Orestes a very capturing play.

Image Credit: Egisto Sani via Flickr/ License: CC BY-NC-SA 2.0

Bookshops are Back: The Joys of In-Person Book Buying

It’s that time again folks! Retail has been released from its hiatus and, more importantly, bookshops are back open. Since the easing of the latest lockdown, book sales have risen massively. The hustle and bustle of shoppers has returned to Waterstones and Blackwells, and many independent bookstores are now breathing a sigh of relief. Personally, I’m overjoyed that I am once again allowed to contribute to these businesses, mostly because it means I am encouraged not to buy from the mega-company that is Amazon. I feel much more environmentally friendly buying ‘Oxford World Classics’ from Oxford; it just makes more sense!

However, my love for bookshops extends past just my hatred of Amazon. In my opinion, they are extremely important spaces. There’s something magical about running your fingers across a shelf, gazing over each stack and meandering through a cavern full of works of literature. When it comes to picking a book to read, it’s such a huge help if you can hold the physical thing in your hand. I often feel like I need to read the blurb, piece through the pages and appreciate the cover before I decide which edition of a text to buy, or, as an English student, whether to study that book at all. I often find little moments of magic when I am searching for books on my reading list, slowly gazing down the names only to find that the book I need has an even more interesting book next to it. It feels like having so many books in one place encourages you to make more spontaneous discoveries and develop your knowledge more naturally.

I also find it very helpful to be able to sit in one place and read bits of a book without buying it. When I was younger, my mum couldn’t really keep up financially with my intense reading habit. To remedy this, I used to sit in Waterstones on a selection of beanbags and frantically read the newest Jacqueline Wilson novel in under an hour. 8-year-old me thought that that was the very definition of fun. Since then, I have discovered the joys of café bookshops and have spent many hours perusing newly released fiction over a steamy cup of tea. 

I can vividly remember spending my sixth form years tottering down from my college after 3:30 into the city centre. I would spend every afternoon sprawled across a table in Leeds Waterstones Café annotating poems, picking up new books to read and filling out loyalty card after loyalty card in buying white mochas and fruit toast with marmalade. It was my haven, my special place where time stood still. I’m not ashamed to say that I made very good friends with pretty much all of the baristas. However, despite what you may think, I did also have my own ‘bookshop’ crowd; a group of my indie vintage-camera-critique-coffee-buy-ukulele friends. Bookshop cafés were a place where us weirdos could go to meet other weirdos, a place where we all could fit in. 

One particular memory that resonates with me is a barista peering over my shoulder as I painstakingly highlighted my A-Level poetry anthology with unnecessary precision. As he cleared away cups and plates, he complimented my annotations and told me how he believed annotations and scribbles make books more beautiful. I had never thought of it that way, but once I had, it changed my entire view of the reading process. Books are objects to be experienced, so why shouldn’t we change them? Different readings became just as important to me as the physical text itself. Bookshops became epicentres of knowledge that I could leave my own stamp on. (Disclaimer: I always bought the books before I scribbled in them, please do the same!)

Despite this, there is one place I love even more than the bookshop: Public Libraries. Need I say more? While bookshops are quiet places in which you can spend many hours, libraries are the only city centre places you can sit in without the expectation of spending money. I view this as essential to communities and to children. Everyone can benefit from a free inside space, especially one which is created for the experiencing of literature and the learning of knowledge. It’s a travesty that austerity has meant the government has closed down over half of public libraries, an action that will likely impact the education of the next generation and the opportunities available for current OAPs. 

I have fond memories of completing the UK public libraries ‘summer reading challenge’ as a child, a challenge which likely led me here to Oxford to study English as an undergraduate. Whenever I walk past my local library now, I feel a pang of sadness. What was once a calming, friendly place is now a ‘community centre’ where the local council conducts meetings with people on probation, unemployed people and people with housing issues. While this community centre is obviously essential, council cuts have led it to move from the town hall into the library, taking up over half the space and pretty much eradicating the children’s area.  

Now bookshops are back, I demand free public libraries for all. Everyone should be able to experience books, regardless of cost.

(Bonus: Picture of me aged 18 at Waterstones café)

Image Credit: Elena Trowsdale and Pixabay.

Judging books by their covers?

0

Think of your favourite book cover. It might be one that is sentimental to you – perhaps it was the first novel you read whilst growing up, perhaps it reminds you of your childhood, perhaps it belongs to a famous author or a timeless classic. Now think, what is it about that cover that draws you to the story? It could be the bold, brazen image of a dinosaur skeleton slapped onto the cover of Jurassic Park, the playing cards whirling around Alice’s head in the Penguin Classics edition of Alice in Wonderland, or the teary-eyed stare of Francis Cugat’s epochal illustration for The Great Gatsby (which he was paid a mere $100 to design back in 1925).

I can confirm I have read none of these in full – I know, I have a lot of classic novels to catch up on – but from their covers I feel as if I have in many ways experienced them already. After all, many stories can already be summarised by the imagery which later comes to define them. What is the essence of Franz Kafka’s Metamorphosis if not the feelings captured by its original jacket – horror, mystery and intrigue. A man covers his eyes in fear, whilst behind him is an open door to a room in which darkness conceals an ambiguous creature within. This open door invites us into the world of the novella without explicitly showing us what is inside. As with much of literature, it is upon this first glance at the cover that the story begins. But what is it that makes a book cover so memorable? Is it the colour scheme, the graphics, the font? Furthermore, why have some of them stood the test of time whereas others have been reimagined or redesigned, or simply faded into obscurity?

Despite the popular saying, I am sorry to say that I often judge books by their covers. When browsing the shelves of a bookshop, what I am most drawn to is art. I hunt for the brightest colour, the most striking typography, a good-looking image with which to decorate my bedside table. On Instagram, a quick search for the hashtag #bookstagram confirms that I am not the only one. From the 57.8M posts under this category, all but a few of them are concerned with achieving a certain aesthetic, displaying books against a backdrop of flowers, fairy-lights, library shelves, coffee cups, houseplants. It is clear that literature is not only meant to be thought-provoking and interesting, it is meant to be visually exciting too. Book covers can use their beauty to their advantage, or even as a form of rebellion.

As the recent surge in popularity of e-readers has threatened to replace hard-copy books, designers have fought back, with even flashier fonts, fluorescent colours, even interactive designs. In brief, anything short of bland. Take Chip Kidd’s design for IQ84, Haruki Murakami’s multi-layered novel in which a Japanese woman one day enters a parallel universe. This features a semi-translucent jacket which provides a contrasting overlay to the image on the book’s cover, allowing two parallel worlds, and two parallel designs, to exist side-by-side.

The cover of a novel is not only a space onto which to project the core idea of what is inside, but it is also a space to explore and interact with art. In the 1960s, Penguin Publishing’s art director, Germano Facetti, began pairing science fiction novels with the works of various modern artists, allowing book covers to become the canvases for Dadaism, Cubism and Op art. The result of this are the haunting, often overly surreal images we encounter of the covers of novels such as J.G Ballard’s The Four-Dimensional Nightmare and George Orwell’s 1984. Another trend which emerged during the later half of the twentieth century was publishers using the works of old masters to illustrate their book covers; unlike the works of modern artists, these paintings belonged to the public domain and were therefore practically free to use. Now, even the most humble paperback has been transformed, and any member of the public could buy their own copy of an artwork which would otherwise only be available to view in avant-garde galleries or art museums.

The dawn of the twenty-first century brought with it a new artistic style and a new approach to designing book covers. Classics from the sixties and seventies were re-marketed to the public after having been given shiny new minimalist makeovers by their respective publishing houses. An example is Anthony Burgess’s A Clockwork Orange, whose iconic, brightly coloured cover featuring the ‘cog-eyed droog’ had become hard-wired into pop culture since its release in 1972. In 2005 it was given a total revamp by photographer Véronique Rolland to feature only a glass of milk against a white background. The latest edition, revealed in 2021, takes it one step further on the path to minimalism as well as abstraction – it features the words ‘a clockwork’ followed underneath by a radically simple orange circle. The cover is therefore almost useless in terms of artistic value – it says nothing more than simply ‘this is a Clockwork Orange’.

 This journey towards minimalism strikes me as, in many senses, unnerving. With many publishers choosing stock images or text over an artistic commission, could the era of art-gallery worthy book covers be coming to an end? Will Kindles, iPads and other e-readers eventually usurp hard copy books, no longer necessitating an enticing cover that jumps out at browsers in a bookstore?  Or could it be that the book cover is a dying species, destined to become more and more minimalist until everything is as austere and weird as that cover of A Clockwork Orange?

 Whilst e-reading is useful it certainly holds nothing against the beauty and tangibility of a paperback or a hardback book, especially when many e-readers are not built with colour displays. After all, when you think back to your favourite book cover, it’s most likely not even the cover that you like the most at all. Because let’s face it, nobody really remembers the cover of Frankenstein, or The Kite Runner, or the Twilight series (OK I lied, I do remember that one). There have been too many iterations and redesigns to count, and many books were first published without elaborate cover art. What we normally remember about our favourite book cover is the story it represents, and the attachment we have to that story. Of course, we can try to aestheticise books, to pair them with art or make them the star of a social media post. But the truth remains that our parents, teachers and the motivational quotes on Facebook were right. It’s what’s on the inside that counts.

Image Credit: Flickr (Licence: CC-BY-2.0).

Review: Lana Del Rey’s Chemtrails Over The Country Club

0

Lana Del Rey’s seventh album, Chemtrails Over The Country Club, suggests a new sense of assuredness in the singer and builds on some of her favourite themes – nostalgia, exhaustion with fame, delicate femininity and, of course, America.

Chemtrails leans even more deeply into the 70s feel of her previous album, Norman F*cking Rockwell! but is distinctly more folk in feel and production than any of her previous work. The tracks are filled with trailing high notes and soft synth beats, both of which often seem to simply dissolve into the song. The bridge of track eight, ‘Yosemite’, evokes an even more bygone era, mentioning a 40s film and ‘television static’ – which is mirrored by Del Rey’s voice suddenly sounding echoey and slightly crackly, as though being recorded on old equipment.

Almost as if mocking the controversy she faced after her infamous ‘Question for the culture’ Instagram post where she complained of being ‘slated’ for being her ‘authentic, delicate’ self, Lana Del Rey opens her latest album testing the limits of her feathery soprano in ‘White Dress’, reminiscing about a time before fame when she was just ‘a waitress wearing a tight dress’. This nostalgia is linked to her dissatisfaction with fame, especially in the sixth track, ‘Dark But Just A Game’, which has a particular focus on the latter: Del Rey sings ‘I was a pretty little thing and God, I loved to sing/But nothing came from either one but pain’. Track ten, ‘Dance Til We Die’, offers a sort of solidarity between women in music who have experienced the same fame rollercoaster as Del Rey herself. The track contains some not-so-original lines, such as describing herself as ‘burdened by the weight of fame’, but opens with references to some of her female inspirations, including two folk singers who were particularly influential to this album. The final track on Chemtrails is actually a cover of Joni Mitchell’s song ‘For Free’ – a sort of lament on a career-orientation consuming perhaps purer artistic motives in creating music. Lana Del Rey has evidently not ceased her soul-searching and may still be contemplating her retirement from the music industry.

“she walks this peculiar line of being both stronger and more self-assured but within that, being more unapologetically delicate and sentimental.”

But Chemtrails presents a Lana Del Rey more sure of herself as an artist and a public persona than in previous albums. She revisits an image used in previous albums, but describes herself now as not being a wavering ‘candle in the wind’; throughout the album, she walks this peculiar line of being both stronger and more self-assured but within that, being more unapologetically delicate and sentimental. In a duet co-written and performed with Nikki Lane, lyrics reference Tammy Wynette who is best known for her hit song ‘Stand By Your Man’. This song lauds the same kind of dated woman-as-refuge-of-man supporting character role that Lana Del Rey has been accused of celebrating, and which she seems to have evoked some of the spirit of in ‘Let Me Love You Like A Woman’ where Del Rey sings ‘Let me love you like a woman/let me hold you like a baby’.

A love of her country is usually present in her albums, and Chemtrails is no exception. The geography of her music once again reflects her own moves (after early songs like ‘Brooklyn Baby’ coming from her New York days and Norman F*cking Rockwell! focusing heavily on California after she moved to Los Angeles). Lana Del Rey has been spending time in the Midwest, and this also helped to prompt her shift towards country and folk sounds in this album. She sings with her typical, almost saccharine relish for Americana of ‘suburbia, the ‘Louisiana two-step’, ‘getting high in the parking lot’ and, of course, the ‘white picket chemtrails over the country club’.

Fans of Lana Del Rey will have nothing to complain about (except perhaps it being a few songs shorter than her other recent albums), and those who have yet to come around to her music might find this slightly different sound more to their tastes. I personally have always been a far more casual than committed Lana Del Rey fan, but if any album could, Chemtrails Over The Country Club might be the one to change that.

Image credit: Beatriz Alvani via Flickr & Creative Commons/License: CC BY 2.0

Review: Ben Howard’s Collections From The Whiteout

0

Ben Howard’s fourth album, Collections From The Whiteout, marks, not quite a new direction, but a new adventure for the folk singer. Many of the songs were co-written by its producer, Aaron Dessner, who has recently garnered more acclaim through collaborations with Taylor Swift on her albums folklore (winner of the Grammy Album of the Year Award) and evermore. I confess to enjoying 2011’s indie-folk album Every Kingdom more, but while I was previously unfamiliar with ‘folktronica’, Howard has introduced electronic elements to his folk music more successfully than I would have thought possible before hearing Collections From The Whiteout. Howard’s trademark poetic lyrics are combined by turns with pure acoustics, discordant electronic experiments and meandering arpeggios, and, surprisingly, it works.

“Howard has somehow transformed the usually significant divide between the ominous and the amusing into a fine line.”

Collections takes a great deal of inspiration from real-life events and people, frequently recounting dark tales, but also incorporates a sort of irreverent whimsy which Howard would surely be pleased to hear comes across distinctly as he has previously expressed his fear of taking himself and his music too seriously. This is particularly evident in ‘Finders Keepers’, a song inspired by a friend of his father’s anecdote about finding a body floating in a suitcase. Howard transforms this into a darkly humorous exploration of the adages ‘be careful what you wish for’ and ‘curiosity killed the cat’. With the melancholy but also irreverent lyric ‘Why am I stood here up to my knees?/Isn’t there a birthday, a place I should be?’ and the rest of Collections, Howard has somehow transformed the usually significant divide between the ominous and the amusing into a fine line. Howard’s sombre words: ‘I picture you suffocating/In last tulip polytunnel’ from the tenth track, ‘Unfurling’, are another example of this striking technique.

On paper, Dessner and Howard might seem almost too well matched, but nevertheless they have jointly produced a record that is distinctly experimental from both collaborators in much of its sound. Unfortunately, this isn’t wholly successful – I find the scratchy, grating loop in ‘Sage That She Was Burning’ too distracting and unrelated to the song. It is altogether superfluous as becomes clear when the song temporarily abandons it halfway through in favour of a melodic guitar with a dreamy quality that better reflects the lyrics. Interestingly, the two elements do marry up much more harmoniously in the final segment of the song, but this does not fully absolve the jarring opening. However, the pairing’s successes far outweigh their foibles in the album. My personal favourite is the penultimate track on Collections, ‘The Strange Last Flight of Richard Russell’. For those unfamiliar with the tale of Richard Russell, he is ill-famed for shocking his friends, family, and much of the world in 2018 when he stole a commercial plane and managed to fly it surprisingly proficiently for a time before deliberately crashing the aircraft and ending his life. Howard’s song appears to be from the perspective of Russell’s widow, and combines soft percussion and electronic echoes to create a calm but almost otherworldly sound, as if it came from a different plane (if you will forgive the unfortunate pun). The words are beautifully mournful and offer a resigned, if tongue-in-cheek, philosophy in the form of my favourite lyric from the album: ‘Some threads/Don’t fit the loom’.

While the sonic experiments are not, in my opinion, always pleasing, the album as a whole is a triumph. Howard’s lyric is as powerful as ever and he demonstrates adroitness in retelling stories taken from news and infusing them with both the personal and the universal, giving listeners both an insight into the artist himself and a chance to learn more about themselves through their own interpretations of the music. His song inspired by the exposing of fake socialite Anna Sorokin, ‘Sorry Kid’, offers both a warning and almost an exoneration with the lines ‘To be a magpie in the safe/Sure must be a tempting place’. Collections From The Whiteout is an exploratory but not overly dramatic departure from his earlier work, and its closing track ‘Buzzard’ in particular will be familiar to fans of his other albums – its atypical brevity notwithstanding.

Image credit: Abigail Hoekstra via Wikimedia Commons: CC BY-SA 3.0

Oxford University state school admission intake reaches record high of 68.6%

0

The University of Oxford has released its annual admissions report, collating data from 2016 to 2020, with the proportion of state school students reaching a record high of 68.6% at the University. In her foreword to the report, Vice-Chancellor Louise Richardson highlights that the data suggests that the student body is becoming more diverse, with the proportion of BME students increasing by 7.78% in the last five years, and the number of students from the most deprived areas increasing by 7.7%.


The data broadly suggests an increase in the number of state school students being admitted to the University, with an increase from 58.0% to 68.6% in the proportion of state school students admitted between 2016 and 2020. These figures vary across college and course, with colleges such as Christ Church admitting only 54% state school students between 2018 and 2020, and other colleges such as New College and Lincoln College having similarly low state school representation. Approximately 93% of the UK population is state school educated.

Figures also vary across subjects. Classics is the only subject which has admitted more private school students than state school students from 2018 to 2020, with only 35.6% of students admitted coming from state schools, and Mathematics has admitted the most state school students, with 78.4% of the course made up of those from state school backgrounds. 

The report also offers figures for BME representation on courses and colleges across the University, with a breakdown into different ethnic groups including UK students with Black African or Caribbean heritage, Asian students, and mixed heritage students. Representation across all groups included in this section of the report has increased between 2018 to 2020, although the proportion of BME students at the University remains lower than the national average of 26.9%.

Professor Louise Richardson, Vice Chancellor at the University of Oxford, said: “While the pandemic has, in many ways, changed the way we operate, it has not weakened our commitment to diversifying the make-up of our student body. The progress evidenced in this, our fourth annual Admissions Report, is a testament to the dedication of our Admissions Teams, the support of school teachers and, of course, the many talents of able and ambitious young people.”

“Notwithstanding all the adjustments and adaptations required by the pandemic we remain committed to ensuring that every talented, academically driven pupil in the country, wherever they come from, sees Oxford as a place for them.”

Dr Samina Khan, Director of Undergraduate Admissions and Outreach at Oxford University, said: “The pandemic will continue to hit the least advantaged students for a while, hence we remain resolute in stamping out inequality in access to Oxford. Working together with schools across the country, we are increasing our focus on reaching regional ‘cold-spots’ where the most talented young people are still under-represented at Oxford – driving down the risk that we are missing out on some of the UK’s brightest students.”

Image Credit: Jill Cushen

Review: Catullus: Shibari Carmina by Isobel Williams

The poetry of the late Roman Republic does not immediately move the mind to think of shibari – a Japanese rope bondage art – and yet Isobel Williams manages to blend the two in a singular fashion with her vibrant new translation of Catullus.

The first thing you notice about reading Catullus’s poetry is that he tends to surprise you. His poems range from the curiously endearing ‘da mi basia mille’ to the notoriety of poem 16, which was sufficiently scandalous as to be frequently censored in translation until the late twentieth century. He’s a poet of immense range and versatility, a man in love, a man scorned, and a man constantly at sea in the uncertainties of Roman public life. It’s hard not to like him, and it’s even harder to translate him properly.

Williams’ translation alone is fascinating, ranging from desperate sadness with the Catullus who ‘can’t go on but does/Can’t be borne, but must be’, to the outright pettiness of Poem 42. The solemnity with which she has rendered Catullus 101 is particularly touching. Often Williams strays daringly far away from the original Latin and yet almost always strikes the perfect balance. Her art is simple, bold and evocative, and serves to draw out the frank sexuality of many of Catullus’ poems.  

On the one hand, shibari allows for an excellent demonstration of some of Catullus’ main talking points – he’s a man, and a talented one at that, but he’s hopelessly in love with a high-status married woman (who might just like her brother better anyway…) and trying to prove himself in a world that doesn’t always take him seriously (note poem 16 again to see what he thought of that). It’s a world of shifting power balances, perpetual give and take, which is perhaps why Williams selected shibari as a ‘context’ for exploring the same power dynamic shifts and subversion of traditional social norms. However, while Catullus might be a highly skilled poet with points of reference that people can empathise with across the world, he’s still a Roman. It feels a bit odd that an art form sometimes accused of misappropriation and exoticisation is being utilised to furnish Catullus’ words, especially in this context and when personal connections vary.

Her translations offer an excellent introduction to the Latin poets of the real world, although some of her more modern influences may need further examination.

Think Pink

I could sit here and leave you in awe with cancer statistics and scare you half out of your mind with story upon story that would break your heart. Instead, I want to share with you stories about the incredible people I have met while working with Oxford Pink Week, who have taught me that the conversations that we shy away from are the ones most worth having. 

Oxford Pink Week aims to raise awareness for breast cancer, and this year we are raising money for five incredible causes: Breast Cancer Now, Coppafeel, Walk the Walk, Sakoon Through Cancer and The Leanne Pero Foundation. This project came about in 2007 as a result of Guardian journalist Dina Rabinovitch’s mission to raise money for cancer research without the need to run a marathon. Her philosophy asks fundraisers to think outside the box when raising money for a cause — and now, more than ever before, adaptation and change have been necessary. Ordinarily, each year we arrange a Pink Ball sometime in February, which is where most of our proceeds come from. However, this year we made the tricky decision to move Pink Week to the middle of May and embrace it as a few weeks of awareness rather than one single night.

Cancer is associated with great sadness, which can put a lot of people off from speaking about it. Nevertheless, organisations such as Coppafeel and Walk the Walk find light in something that is so often shrouded in darkness. With their quirky memes and colourful marketing strategy, Coppafeel are not saying that cancer is something to joke about. Instead, they know that this is the best way to get information out there to save people’s lives — which definitely is something to smile about. Recently, I had the opportunity to interview founder of Walk the Walk Nina Barough for the Pink Week podcast. Built on Nina’s dream to walk the London Marathon in a pink bra for breast cancer, Walk the Walk’s ‘moonwalks’ are now hosted across the world each year and have raised a whopping £131 million in total. We spoke about her organisation’s advocacy for a holistic approach to cancer, epitomised in their encouragement of individuals to get out walking and to live a healthy lifestyle. Her organisation has been involved in a recent social media campaign #onecancervoice, which is the collaboration of 46 cancer charities demanding the government to put cancer patients at the centre of pandemic recovery plans. According to an analysis by the Epic Health Research Network, screenings for breast cancer have dropped by 94% from January to April this year. In an article in The Lancet they stated that the “substantial increases in the number of avoidable cancer deaths in England are to be expected as a result of diagnostic delays due to the COVID-19 pandemic in the UK.”

This is why I am writing today: to tell people that now more than ever it is essential that you check yourselves and tell your friends and family members too — and I’m not just talking to women here. Breast cancer is something that affects people of all genders and backgrounds. In another episode of the Pink Week podcast, I spoke with Giles Cooper, one of the 370-400 men in the UK each year to be diagnosed with breast cancer. Whilst this figure is significantly lower than in women, the percentage of those diagnosed who pass away is 20%, whereas in women it is 2.6%. When trying to raise awareness, Giles felt a strong backlash, and knows first-hand how challenging it is to face breast cancer as a man without the support of other men. Thankfully, progress is being made and he described to me the sensation of walking into a room for a men with breast cancer support group and no longer feeling alone.

The two trustees of Sakoon Through Cancer, Iyna Butt and Samina Hussain, further attest to the importance of community in cancer networks, having created their organisation to aid other South Asian women like themselves who are affected by the taboo of cancer. Samina met Iyna in a waiting room and was struck by the sight of a young mother going through cancer all alone, so she wrote down her number, telling her to call if she ever needed advice or a chat. As a person who understood her struggle, Samima’s support network helped Iyna through her journey.

The imagery associated with breast cancer often suggests that it affects only white cis women, but many of the charities being supported by Oxford Pink Week aim to dismantle this deadly misconception. Leanne Pero’s Foundation aims to empower BME people going through breast cancer in their ‘Black Women Rising’ campaign, which provides support groups and spreads information through their podcast and magazine. Leanne Pero, who set up this organisation, realised that the NHS lacked cancer support packages for BME cancer patients and felt that her community was being excluded from the UK’s mainstream media outlets and cancer charity campaigns. Misdiagnosis and a lack of mental health support have left many in the BME community to feel excluded and unhelpful myths and taboos surrounding cancer for some individuals in the BME community may have prevented them from speaking out about their ordeals. This has led to many members of the BME community lacking awareness about breast cancer, resulting in late-stage diagnoses and higher mortality rates than in their white counterparts. Connecting with one another and sharing experiences is an essential part of Leanne Pero’s objective. 

Our key mission at Oxford Pink Week is to get people talking about breast cancer. It is often that when something makes us feel uncomfortable, like cancer, we want to look away. Our stiff upper lip kicks in and we find it best not to talk about it. When I tell people that we are raising awareness for Breast Cancer they are often confused. They tell me that pretty much everyone is already aware of what breast cancer is, it is the most common cancer to affect women, after all. However, this is not the point. People still need to check themselves each month and we need to start normalising conversations about cancer. I know it can be very upsetting, but we need to talk about it more and more. This way, those voices that often go unheard can finally be heard. Talking about it can save lives. So, what are we waiting for?

Join us on the fortnight of 3rd and 4th Week of Trinity (10th – 24th of May) for a multitude of different events and activities ranging from a 10K walk, a debate night with Femsoc and a picnic in the park, to a boys versus girls lacrosse match, karaoke night at the Oxford Union and Pink Night Finale on the 23rd of May at Freud with live music and cocktails. We are also selling a variety of merchandise: t-shirts, earrings and facemasks. You can go to our website (https://oxpinkweek.wixsite.com/) to shop and to find out more about our Pink Week podcast mini-series. Follow us on Instagram or Facebook where our term card will be released.

Image used with permission from Oxford Pink Week

When breath becomes scarce: why Oxford must engage with India’s COVID crisis now

Fear is not nearly so disarming as helplessness. And this pandemic has introduced new ways to understand fear. Last March, there was a fear of the unknown, of stepping into restrictions on daily life that had not been encountered in living memory in Britain. Oxford was left echoing out into its own silence with the sound of footsteps untrodden, a deserted river uncut by the wakes of punts, and an Exam Schools, grim-faced and empty, towering over a traffic-less High Street and the ghosts of carnations, shaving foam, and mortarboards.

Our previous fears have somewhat dissolved into new ones; the anxious fear that we have forgotten how to speak to each other; the silent fear that life as ‘normal’ is perhaps gone forever and at best we will get back a distant relation of it; maybe even the more hopeful fear as we watch the snaking queues walk through the vaccination clinic, praying that the net of safety this casts will fall around all those that we care about in time. We faced these fears; faced them with shaky, disbelieving laughs and parting calls of ‘stay safe’ last year, and we face them this year with hundreds of thousands of volunteers donning PPE, picking up syringes of vaccine and welcome leaflets.

It seems, however, this pandemic has unturned corners down the road yet. 14 months into my COVID journal, a new crisis has the world in its tightest grip yet. Since the start of April, a fast-spreading new variant has meant that India has posted a new global world record for the number of coronavirus cases every single day. This gruesome triumph has in the last two weeks come to a peak even by its own standards, topping out at around 400,000 officially recorded cases a day.

India’s purported silver COVID bullet of a remarkably low death rate is flagging in the face of a daily death count in the thousands…if we take the official records. If we take the reports from exhausted health workers, the journalists wading into the hellfire, and the crematorium workers who break up the battles the living have so their dead can pass peacefully, the death toll is likely several times higher each day. Perhaps the equivalent of the University of Oxford’s population is dying in India every week. We will not know until the dust has settled, and perhaps not even then. For the thousands of migrant and daily-life workers who die due to a lack of oxygen, if they are not seen by the journalist at the door of the crematorium, there may be no one left to mark their death.

The time is both past and not yet come to explicate whether these are the effects of years of chronic under-investment in healthcare, the re-election of a nationalist party or simply the contingent complacency borne of early victories. In 2019, the idea of a singular event being able to rock the entire world, to enter into even those crevices of humanity that have resisted politics and wider society the longest and the hardest, was unthinkable. The first four months of the new year was an immersive masterclass in exactly how that could happen. You could look people in the eyes and see there was only one conversation, one word on their lips. And yet, watching doomsday itself unfold in India as a South Asian person in Britain has felt more different than this still; a more personal global crisis. All of a sudden you are plugged into the diaspora, not only by fear but by desperate helplessness.

It is difficult to prescribe a rank to the set of reasons for which the University and its students should take action against the crisis in India. But perhaps the most obvious reason is this one. India’s Prime Minister has talked of the ‘living bridge’ that exists between the UK and India – a description a string of Conservative Prime Ministers have hastened to match in clunky urgency. The political expediency in such descriptions is clear, and the dancing around colonial history that accompanies these speeches is awkward at best.

However, in May 2021 it is unavoidably evident that any cultural ties that may have begun with an empire are sustained today by an individual, personal link, magnified a million times. Entire generations of South Asians have settled in Britain, and their children have diffused through every level of society. To be greeted with a picture of Rishi Sunak’s beaming face plastered over every option on the Wetherspoons app last summer is perhaps the most cringe-inducing proof in this microwaved pudding.

A crisis in India will, now and henceforth always, wash up a wave of pain on Britain’s shores. The pandemic has thrown a new urgency in the duties of care a University owes to its students and staff, and at this moment, most of its members are about two degrees of separation away from a relative or friend in immediate danger. Scouts, porters, tutors, students of Indian heritage wait on tenterhooks and Indian students face a Trinity term of exams and significant deadlines whilst waking up every day to a country and a home on fire. This crisis is also Oxford’s crisis, and Oxford has the resources to help.

Moreover, the Serum Institute of India is an enormous player in the battlefield to end this pandemic and wrest our lives back. It has been producing vaccines since January for international use and the Global South as well as for domestic use. Five million of Britain’s planned doses originate from the SII at a time where North American countries and Western European countries have been imposing restrictions and outright bans on vaccine and component exports. 30 million doses have been provided by the SII to Covax, the WHO-based international program to distribute to vaccines to low and middle-income countries. This in addition to the bilateral transfers of tens of millions of doses to neighbouring countries at little or no cost. The SII is integral to accelerating the global rollout of vaccines that will end this nightmare, and whilst its resources are otherwise diverted, the variants (like the one that brought the NHS to its knees in January) are a real and ever-present danger – we’ve now learned that complacency towards the things that matter will come back to bite.

There are clear, present, pressing needs emanating from India now: oxygen, hospital resources, medical consultations. And there are clear, present, pressing ways that the country and the University of Oxford can provide them. The resources required exist, as does the human capital necessary, in this country and that one, to re-innovate and direct them to where they are needed. Now what is needed is the financial resources to facilitate this. The Oxford India Society, HUMSoc, and the Oxford South Asian Society in collaboration with their Cambridge equivalents have in the last week set up a fundraiser with a chain of expert evaluation behind it directing financial resources to exactly where need and impact is greatest. The fundraiser has blown well past its initial targets, but more is needed. The University of Oxford, its colleges, and its common rooms and supremely well-placed to contribute the kind of finances that will make tangible difference. Students within that can exert the pressure to make this happen.

Whatever else we describe of our university experience in later life, we already know this story is one that will be told. In decades to come, we will be asked about the months and years following March 2020 – where we were, how we coped and, more than anything, what we did. How we helped. In the coming weeks, standing up and being counted in this newest crisis will come at very little effort to us, but is capable of making the enormous differences we need to make this a story to tell rather than the life we are living.

Submit a motion to your common room to transfer funds to the Oxford India Society to directly support the crisis.

Call on your head of college to support the fundraiser from college funds, and address the welfare needs of Indian students.

You can donate to the fundraiser here.

Image Credit: Gwydion M. Williams. Licence: CC BY 2.0.

Government funds Oxford-researched Early Language Programme in 6,500 primary schools

0

The Nuffield Early Language Intervention (NELI) secured £8 million in government funding last week to roll out their programme to over a third of UK primary schools free of charge this upcoming academic year. 

The 20-week-long intervention course gives four-to-five-year-olds with the weakest language skills two 15-minute individual sessions and three 30-minute small group sessions a week. The focus is on developing their narrative and listening skills. 

The course is the first of its kind to go through randomised trials, which involved 1,156 pupils in 193 schools. An independent evaluation process found that participating students made three additional months language skills progress than the non-NELI control group. Furthermore, NELI was awarded the highest out of five EEF padlock levels, showing that gains made will be maintained in the months and years to come. 

The cost of NELI is £43 per child, which covers learning materials and training sessions for the teaching assistants who administer the course. NELI is expected to close the learning gap for disadvantaged children, who can struggle to grasp material further on in the curriculum if they don’t have a solid foundation in language. In trial schools, 34% of children who qualified for NELI were also eligible for free school meals. 

According to the National Literacy Trust, 16.4% of UK adults (7.1 million people) are functionally illiterate, which has been strongly linked to reduced economic, physical and personal wellbeing. Problems start early, with one in five 11-year-olds unable to read well.

This £8 million in government support is granted as part of the £350 million allocated to tutoring through the £1 billion Covid-19 “catch-up” package for schools announced in June 2020. 

In a survey carried out in the Autumn Term of 2020, 96% of schools reported being ‘very concerned’ or ‘quite concerned’ about the development of their pupils’ language and communication skills due to the pandemic. Now more than ever, early language interventions will be crucial for children’s lifelong success. 

The programme was developed by a team led by Professor Snowling, Dr Bowyer-Crane and Professor Hulme, who are associated with the Nuffield Foundation, an Oxford based fund for social well-being issues. 

Professor Snowling has been approached for comment.

Image: Ben Wicks via unsplash.com