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The patience of ordinary things

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By the time this column reaches print, 7th week will be over, and the term will, officially, be coming to a close. 

Rooms will be packed up, fridges cleared out, goodbyes exchanged – and I, along with a large proportion of Oxford’s student population, will go home. 

And what better time to consider the term retrospectively, than at the approach of its ending? 

And, for me at least, it is a hell of a retrospective. This term, after the obligatory settling-in of Michaelmas, I had one resolution on my mind; to get involved with the most outlandish student societies I could find. 

This, of course, is a promise more easily made than realised. I have been patiently waiting for admission into the Oxford University Change Ringers’ Facebook group since early January – in hindsight, my multiple references to The Hunchback of Notre Dame probably did little to earn me a place amongst their ranks. My attempts to attend the Cheese Society’s tasting nights have always ended with me, forlorn and cheese-less, blankly staring at  the ‘sold out’ Fixr notification that seemed to appear almost before the tickets themselves went up. I may work hard – but Oxford’s cheese-tasters work harder. 

On the (humiliatingly rare) occasions in which I am actually allowed into these events, experiences within them are varied, to say the least. I have a bad habit of seeing posters without reading them, and making up my mind to attend without really understanding the nature of the events they advertise – which is to say, I have sat, sober, in one too many crafting sessions that, (in my defence) I had no way of knowing were hosted by the Psychedelics Society. 

Save for the fact that it was written on the poster, of course. 

My natural gift for spouting confident nonsense, combined with a natural inability to admit the (extensive) limits of my knowledge, have guided me through (and possibly ruined) countless society debates. 

My reputation as an ill-advised-extracurricular-enjoyer precedes this column, and will most likely outlive it. Given the amount of life-drawings, society drinks, and painting evenings that I have dragged my long-suffering friends to, it is not an unearned title. And while not always invoked in a complementary manner, it is not a title I resent. 

My experiences in these societies may well be varied; but it is the variation that makes the experience so worthwhile. My humbling encounters in Psychedelic Society crafting sessions and awkward debates have left me with so much more than just some poorly made scratch-off art and burning animosity towards students I will likely never see again. At least, I hope so. 

One of the big ‘sells’ of university, so to speak, is its value as a place to find yourself and figure out who you are – and part of that is figuring out who you are not. 

And that, with my endeavours into shoddy (and mildly insulting) nude portrait-artistry and terrible open-mic poetry, is exactly what I am aiming to find out.

A guide for the impromptu undergraduate tour guide

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How do you even begin to show a relative or friend around Oxford? In Michaelmas, a friend studying in London came to visit. She stayed over for a whopping three days which, to me, was a disproportionately long time to spend in a city that was a fraction of the size of London. Oxford is no big, bustling metropolis; it has no famous tourist attractions (besides the university itself), no world-class restaurants, no breathtaking natural scenery. My days are filled with lectures, tutorials, libraries, and an occasional escape to the pub or club. What was she going to fill her days with? 

Well, first, the obvious – the Radcliffe Camera (affectionately referred to as the “Rad Cam” by Oxford students), Bridge of Sighs, Bodleian Library, Ashmolean Museum, etc. My friend is a huge Harry Potter fan, so that was easy – I was already at Christ Church, so I showed her around the dining hall and cloisters, got my friend from New College to show her around the courtyard (which had a feature in the film Harry Potter and the Goblet of Fire), and brought her to the Divinity School. Lunch in the Covered Market, dinner at a Christ Church formal, then an impromptu post-midnight Hassan’s for the complete Oxford student experience. 

But all these places could be discovered from a quick Google search of “things to do in Oxford”; my friend didn’t need me to point them out to her. Besides, I felt too much like a tour guide, not someone showing their friend around the place that will define their life for the next three years. I wanted to show her the places where I forged my best memories – where I live, study, eat, socialise and cry. This was the first time I’ve seen her since we left high school, and I wanted to show her around my new life. 

If she had come on a weekday, I would have brought her to one of my lectures. We couldn’t study together in the Rad Cam (my library of choice), so instead I brought her to Caffè Nero to try their godly hot chocolate. We got a quick bite from Najar’s, visited the cows in Christ Church Meadows, and queued for an hour in the cold for Ramen Kulture (and it was absolutely worth the wait!). We ate bingsu (Korean shaved ice) at Endorphins Dessert Cafe. We watched the sunset from the rooftop of Westgate. And all along the way, I pointed out snippets of my life to her – this is where I ate my first meal in Oxford, this is where I was drunk out of my mind after my first night out, this is where I cried when I felt so homesick. This is where I saw the most beautiful sunrise of my life. This is where I walked whenever I was stressed or anxious. This is where I built my new life, in a foreign country 6000 miles from home. We got G&Ds, then chatted the night away in my room, reminiscing about the old and catching each other up on the new as we settled into the next chapter of our lives. 

So, to answer the question: how do you begin to show a relative or friend around Oxford? What makes for a good impromptu tour? Of course, show them the grand, romantic architecture, the buildings steeped in mystique and history that tourists marvel at when they visit Oxford. But also show them what Oxford means to you. Show them where you like to go on a night out. Where you go for lectures. Where you churn out your 2000-word essay dangerously close to the deadline. Where you get your groceries.

I’ve been thinking about how friendships change and evolve as we move on to university – as you grow older, friendships become less about experiencing life together, and more about telling each other about your respective lives. This rings true for family as well. Before university, we spent virtually every day together with our family or friends – they are integrated into our lives, as we are into theirs. Now, with each of our paths diverging, I barely see my friends from school anymore. By hosting them when they come to visit, I am, in a way, integrating them back into my life, even if it’s just for three days. That, I suppose, is what makes an impromptu undergraduate tour worthwhile – the surreality of seeing old friends and family in such a new environment, and the familiar warmth they bring to remind you that they’re still here. It’s like no time has passed at all.  

Oxfess #999: Help! My Best Friend is Addicted to Oxfess 

Photo by fauxels: https://www.pexels.com/photo/people-holding-their-phones-3184435/

Oxfess: the social media platform that broadcasts the woes and troubles of the University’s most prolific over sharers. Yet it also peaks the interest of thousands of other overworked students keen to tune into the latest gossip cycle. It’s where reality TV meets dark academia, a cultural crossover that I never anticipated when writing my UCAS application. And it’s everywhere, having infiltrated the doom-scrolling that marks our generation. The guy sat opposite you on his phone in the radcam? He’s on Oxfess. The girl queuing for an ATS sandwich? On Oxfess. Your tutor on his laptop as you inevitably arrive late to the tutorial. Oxfess (indulge me). It’s a time-killing activity whose immediate relevance to our everyday experiences, its capacity to be relatable in this small city, makes it addictive. Although Instagram reels are just as good too. 

So what has this esteemed establishment brought us? Highlights include the Univ Sh***er, Balliol scurvy, and ChCh puffer boy from the darkest corners of the Glink. Freshers will have to forgive me for such outdated references; this second year has been desperately trying to fight his addiction. The deleting and all-too-soon re-downloading of Facebook is a perpetual loop. To escape, only to overhear someone mention the latest especially salacious Oxfess e.g. Oxwhy did I sleep with both my college parents? Well now I’m intrigued. Ultimately, I pin this university’s cravings for such depravity on its workload. The constant reading lists, problem sheets and lectures leave us wanting more than the academic confessions SOLO can provide us with. 

Yet it can also become too much. The constant stream of a collective Oxford consciousness leaves me wanting to blast white noise, run a bath (one can dream), or just bury myself under the crushing weight of the Bodleian Library. Extreme? Perhaps. But there is a repetitive streak to these online submissions that can make even the most ardent Oxfess ‘top fan’ begin to yawn. Take the classic ‘x freshers as…’ format.. Although I know a particularly good one assigning every Hilda’s first year to a Mamma Mia character, with accompanying pie charts too! Its authorship remains a mystery (apparently it was a collaborative endeavour…). Clearly last year’s admins had good taste. But recent failings have led me to question whether current Oxfess editors do in fact have a sense of humour.  Not sure how I would know that, I never submit anything. That would be embarrassing. 

What is perhaps more embarrassing, while this could be particular to me, is experiencing the bizarre happenings of everyday Oxford life only for my best friend to exclaim ‘wait a second, I have to Oxfess this now’. There are two types of Oxfess addiction; I introduce you first to the ‘mass producer’. A way of spilling your deepest desires (confessing your love for your Oxford crush as you pass them on Longwall), critiquing your ex (toxic yet not undeserved), or expressing frustration at your faculty’s inability to replenish the loo roll. By all accounts, we should rebrand the platform to Oxmoan. But when you start recognising your best friend’s Oxfesses then you should be worried. Should I be proud of my intimate knowledge of your writing style or should I stage an intervention? Either way, your Oxfess about the microwaved gnocchi really made me giggle. Or the time you started the Emma Watson goes to Hilda’s rumour. A startling ability to turn idle hearsay into university-wide chatter has made this infamous platform into an institution. 

The other type of addict is of course the ‘invisible consumer’.The silent majority. 7 people and your college spouse may have liked this Oxfess on Facebook, but hundreds have seen it. I know an especially well-read Engineer who never misses a new release, yet rarely interacts beyond this. But what of those who do? The site has become a road to BNOC-hood, or equally a surefire way of deciding who should be avoided. While I appreciate your japes and banter, tagging someone in an Oxfess so specific it could never be your friend is something I consider a serious faux pas. They’re the people in the subject GC who really need to take it to the DM. I did once get a photo with HN in the Oriel MCR. In the moment I was near star-struck. Who’d have thought mindlessly tagging SH could bring you such celebritydom? 

I do feel for the honest Oxfessers. Those asking for advice, searching for a welcoming society to join, or struggling with the overwhelming experience the University can provide. They have been rather drowned out by the Oxmoaners and gossipers that plague the student body. Myself (hesitantly) included. Scandal and shocking speculation is entertaining; it serves as a momentary distraction from our busy schedules. 

But could I live without it? Would we all be better off without it? It certainly feeds a sense of shared Oxford identity – from Pembroke to Catz to Hertford we’ve all heard the same rumour – yet are there other ways of fostering such a commonality? Something beyond the doom-scrolling and incessant commenting.

From the High Table: formal dinners at Oxford

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I vividly remember spending my first ever evening in Oxford at the Freshers’ Formal Dinner. Surrounded by strangers and the portraits of those who came before me, I was in for quite the ride. I had heard a lot about formals when I still romanticised attending Oxford – seeing people post videos in their subfusc, sipping college branded wine, and enjoying three-course meals. Yet, after my first formal in question I soon realised that it wasn’t as dreamy and Harry Potter-esque as I’d once imagined. 

To be fair, the reason for this was partly my college. While it is customary to wear your gown to formals, this is not a requirement at St. Hugh’s College. Although I have no particular interest in wearing my gown any more than I have to, I can’t help but feel it would add to the traditional ambiance of enjoying formalling in Oxford. In radical contradiction, when I attended a formal at Magdalen, many students dressed casually, yet the gown remained a staple. At Hugh’s, students often dress extravagantly, perhaps to compensate for the rather unconventional setting of our ex-war infirmary dining hall. I’ve found myself dressing over-the-top for every formal, resulting in an unhealthy amassment of charming ankle-length dresses… Despite the Hughsie way of formalling differing from my initial expectations, I always enjoy going.

During my year abroad, I found myself losing the desensitisation to the somewhat absurdity of formalling traditions and culture. Just this week, I visited Hugh’s in time for their weekly Tuesday formal and felt embarrassingly amused by the Latin grace at the beginning. Rising for the high table as they filtered through like royalty seemed startlingly comical to my friends and me, leading to exchanged snickers across the table muffled by the bread we’d stuffed our faces with.  

Setting aside the Latin prayers, formal dinners at Hugh’s are quite enjoyable and usually delicious. While some meals I’ve had at other colleges (I won’t point fingers, but Keble is a worthy mention) have been pretty tragic, the formal menus at Hugh’s tend to live up to the hype. The starters are consistently impressive, especially when they whip out the soup, and the menus vary week by week. At less than £15, it’s incredible how you can enjoy a fancy full three-course meal, making it a viable option for students seeking a sophisticated dinner without breaking the bank. One could even say there is a certain value in learning the art of formal dining, allowing valuable training in the navigation of knives and forks. Surrounded by peers, there is hope that this learning and training is made less intimidating. 

Now that I’m away from Oxford for the year, in an air of odd nostalgia, I do miss formals. Dressing up with friends, cracking open a bottle of wine, and fighting over the butter are weird but unique experiences that I don’t think would exist in many places outside of Oxford. While I’m well-versed on the antiquated traditions at Oxford, it’s always amusing when I invite friends from back home to join me and they look at me with confusion. Formals are an integral part of the Oxford experience, and while they may appear peculiar from the outside, I’m grateful for the opportunity to partake in something so distinctively Oxford.

A ‘Nectarine’-ly sweet end to the term!

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At last, week 8 is on the horizon, dusk is beginning to fall after labs finish, and maybe (if the rain ever stops) spring is on its way. 

To celebrate the close of another instalment of academic chaos, I did what I (arguably) do best – cooked for my friends. On today’s menu: pan-fried salmon on top of spaghetti in a pea and basil sauce, all accompanied with nectarine and mozzarella on top of a bed of rocket.

As my quartet of dinner companions dug into a real culinary treat, we discussed the end of term. The end of term and the beginning of vac is always a tricky one to navigate: should we be sad to be parting ways with our friends or relieved that we survived another eight weeks in the rollercoaster of Oxfordshire’s most hectic and emotional ring-road? 

The truth is, your feelings about this term and its conclusion should be exactly that. Yours. All too often, especially in the highly digitised Zillenial ecosystem, we put too much pressure on feeling what society tells us to feel. For instance, social media portrays University as The best time of your life! Is this echo-chamber of toxic positivity a reality for the majority of students? Probably not.

To be frank, this Hilary, whilst sweet at certain corners, has left me feeling (if we’re running with the nectarine metaphor) a little emotionally bruised and in some aspects, a bit rotten. Am I ashamed that my term has been ‘wasted’ by unpleasant emotional episodes? Of course not. I mean I’m a bit annoyed that the past eight weeks have been marred by internalised emotional turmoil, but that’s part of being twenty and growing up. I am in no way advocating wallowing, rather, I am urging you to accept that your feelings about what is such a tricky term are valid, and more normal than you probably think.

To finish the term is an achievement in itself. Congratulate yourself for merely existing, even if maybe some essays never materialised or some friendships went awry. Reflecting on the past two months, we need to look for the brightness and colour, even if fairly brief, which occurred in our lives. Not to sound like my mother, but we need to practise gratitude. As we pack up our uni lives into a series of boxes once again, it may be productive to reflect on our feelings at the close of term, whilst also seeking out people and experiences which made a very damp eight weeks a little lighter. 

So, as we all crawl to eighth week together, I raise my pint to all of you who have found Hilary not the easiest of times and salute those of you who managed to have the time of your lives in the bitterness of winter. As I run away from OX4 I leave you with the gentle reminder that things only get better from here. Light is coming. Days are extending. Maybe (if the rain ever stops) Spring is on its way. 

Diffidence

non est, ut putas, virtus, pater,
timere vitam, sed malis ingentibus
obstare nec se vertere ac retro dare.

—Seneca, Phoenissae


With all things fading, fadeless here alone,
though blunted by neglect, dislodged, displaced,
though yellowed, blemished, dulled, and waterlogged,
they left their lure:
Those endless woodland depths
that guard the bogs, those dried roots jutting out,
and deeper mires overgrown with grass,
moss-matted stumps with lichen tufts that line
alone the unkept face of wandering paths,
oak-leaves that rustle, murmuring as if
with rumours overheard in dreams or some
obscure prophetic truth that, whispered, falls
beneath to weeds with anthills, nests, and pits;
all, soaked with droplets from the rusted stream,
have kept that mystic mode of memory—
The same forgotten cadences of woods
that creak with winds—those woodsall nourished by
the earth—the earth that took my father’s flesh
and feasted as it festered, flaked, and fled—
that earth on which I stand—the air that moves
through me—through me the spirit will descend
to where we could not come again with words.

The Roaring Twenties

Image Credits: James Cagney via Flickr / CC BY-SA 2.0

The Roaring Twenties (1939), freshly remastered this year in 4K, is the last and greatest gangster film of the 1930s.  

It has a lot of competition for that title: the 1930s were to gangsters what the 2010s were to superheroes. In 1932 alone, Hollywood (mostly Warner Bros.) produced twenty-eight gangster films. The best remembered ones are the “original trilogy” – Little Caesar, The Public Enemy, and Scarface – unconnected films which together are credited with establishing the cinematic gangster genre. All three trace roughly the same Al Capone-inspired formula about the rise and fall of an organised crime lord. Their stars – Edward G. Robinson and James Cagney in particular – came to embody the Hollywood gangster. After a backlash accusing Warner Bros. of glorifying crime, the stars were swapped round for a few films to the side of the law: Robinson as an undercover policeman in Bullets or Ballots, and Cagney as an FBI agent in G Men, a surprisingly punchy thriller filled with car chases, fistfights and machine-gun attacks. Some frothy attempts were also made at watering the gangster genre down into farce, such as The Little Giant, The Whole Town’s Talking and A Slight Case of Murder; while more serious efforts included The Petrified Forest, Dead End and Angels with Dirty Faces. 

The Roaring Twenties, however, was different: it follows the original trilogy’s rise-and-fall-of-a-crime-lord structure, but does so much more. For one thing, director Raoul Walsh makes the film a genuine epic, opening in the European trenches and ending in Depression-era New York. The script, far above the usual pulpy stuff, is controlled but memorable. (A snippet of dialogue between two arrested bootleggers runs: “I know a lawyer” / “It’d be better if you knew a judge”).  

Most significantly, whereas most prior gangster films had depicted gangsters who happened to be human beings,The Roaring Twenties is about human beings who happen to be gangsters. It is therefore the only gangster film of its era to bear comparison with the later masterworks of Francis Ford Coppola and Martin Scorsese. (Incidentally it is one of Scorsese’s favourite films). We follow the hero, Eddie Bartlett (James Cagney) through his demobilisation, his struggles with unemployment, and an abortive romance, long before he gets involved in organised crime.  

Even when Eddie eventually begins his rise in the underworld – with its tangible atmosphere of grimy bricks, machine-guns, beer barrels, dancers and nightclubs – we care more about him than about his career. There are some dynamic action sequences – notably the assassination attempt on Eddie and the late-night raid on a storehouse – but these scenes are secondary to the human drama.

For instance, the murder of Eddie’s oafish sidekick by rivals is a moment of genuine personal sorrow. Eddie’s fraught relationship with his psychopathic business partner and rival George (Humphrey Bogart, in his thuggish pre-Casablanca days) goes beyond cliched gang rivalry and is given nuance by the fact that they fought together in the trenches. Cagney and Bogart had previously been paired to good effect in Angels with Dirty Faces, and they retain excellent chemistry and tension. 

It is worth comparing Eddie’s personal life to that of previous screen gangsters. His romance with Jean (Priscilla Lane) is sincere, and he tries to win her over by elevating her to stardom. He is the last to find out when she leaves him for his lawyer, but does not – as earlier gangsters would have done – go off on a killing spree. Instead, after a moment of aggression, he swallows his bitterness and quietly walks away. It is far easier to sympathise with such a character than with Cagney’s “Public Enemy” of eight years earlier, who liked nothing more than to shove grapefruits in his girlfriend’s face and go around murdering in cold blood. It is a credit to Cagney (whom Orson Welles called “maybe the greatest actor who ever appeared in front of a camera”) that he could play either character equally convincingly.  

Eddie’s downfall is classically tragic: he is a victim of both the forces of history and his own emotions. The Wall Street Crash reduces him from a glamourous mob supremo to a drunkard taxi driver. In the end, however, it is his love for Jean that kills him. In order to protect her family, he dies in a shoot-out with his old rival George (Walsh is too good a director for this scene to become melodramatic). The final line – “He used to be a big shot” – is spoken over Eddie’s gunned-down corpse, and that concluding sense of wistfulness for a man’s decline and fall has only been topped in the gangster genre by the ending of The Godfather: Part II. 

  • The Roaring Twenties is released on 4K and Blu-ray on 11 March 2024.

The Oxford experience: myth or reality?

All Souls Codrington Library viewed from inside the quad, people lying on the grass
Image Credit: Simon Q/CC BY 2.0 via Wikimedia Commons

Having almost spent four years as an Oxford student, I have become well acquainted with the many myths that shroud this university in mystery, and I’d like to say I can now confidently balance these with the reality of the experience. When I arrived as a fresher in October 2020, the romanticised idea of studying in old libraries and walking amongst the dreaming spires quickly dissipated into endless Zoom calls and face masks. Since then, I have been able to enjoy what some might call the classic ‘Oxford experience’ with the return of balls, formals, and nights out. I even ended up missing the city and did not skip on a chance to tell anyone who would listen about all its weird and wonderful traditions as an exchange student in France and Spain. 

So it seems that the history of the city and all of the University’s traditions, both academic and social, are what define the experience. This is true at least from an outsider’s perspective. TikTok is awash with videos of students dressed to the nines and champagne toasting on a random Wednesday evening. Recent films such as The Riot Club and Saltburn have also aided in painting a picture of Oxford as a university filled with care-free upper-class students dividing their free time between dinners, the pub, and formal events.  

But this is far from the reality. In fact, provocative films like Saltburn and The Riot Club probably serve to damage Oxford’s image more than anything else. They fuel the idea, especially in the mind of prospective students, that Oxford is an institution for Boris Johnson wannabes (or psychopaths with a strange passion for graves) who have little experience or contact with the real world and the real people who live in it. The university is much more than dressing up in tuxedos and candlelight dinners. 

However, one very real and important issue that both films do highlight is the lack of social and ethnic diversity within the University. As Cherwell has reported, the 2023 application cycle was the first in which BAME students constituted the majority of applicants but 74% of students think that the university is not inclusive. It is certainly disparaging that although progress is being made at the entry level, current students do not feel that a wide-spread change has been made. In this way, it cannot be denied that Oxford is not representative of society beyond the University’s walls. Often, the official statements and policies which pledge commitment to diversity and inclusion feel like empty words when lecture halls, seminars and social spaces are filled with people who come from elite backgrounds and prestigious schools. 

This is relevant when we consider the cost of living the full ‘Oxford experience’.  Is it realistic to expect the average 18–to-21-year-old with a student loan that only just covers their rent to be able to attend multiple balls and formal events costing up to £150 a year? This is not even considering the cost of hiring white/black tie and only applies to the bigger events that are part of the social calendar. The reality is that Oxford can often be a social bubble which seems to float outside of the real world, a real world where millions of people in the UK alone are struggling to make ends meet. Leaving Oxford during term time or for the vacations for many students can feel like operating between two completely opposing worlds, and this can be an isolating experience when it feels like others spend their vacations skiing or in their grand family homes. For current and potential students, it is important to accept that Oxford is a unique institution that is steeped in history and tradition. However, we should not allow this history to be exclusive or reserved for a certain group. Everyone should feel like they can participate fully without having to sacrifice a part of themselves or their life outside of Oxford. 

It is also worth addressing a certain romanticization and mythification of the study culture here. TikTok is awash with day in the life videos which show students waking up in the early hours of the morning to spend the whole day and often night in a library working. These videos tend to use a love for the dark academia aesthetic to rationalise the ‘hustle’ and ‘grind’ culture at the university.  Although the libraries are beautiful and provide access to a limitless amount of academic resources, it is important not to romanticise the time commitment that weekly essays and deadlines demand. As with most social media content, these study videos are just one part of a single person’s life and cannot speak to a whole experience. They do not highlight the need for balance and extracurricular activities that help to prevent burnout and fatigue over an intense eight week term of back-to-back deadlines. It cannot be denied that the academic pressure at Oxford is unique in this sense, but we must also acknowledge that it is much more than this. When I look back at the last three years of my degree, I cannot deny that I spent a lot of time working, but my fondest memories are those spent taking part in the wider Oxford experience – the societies, the talks, and social events. Once more, it is key to wellbeing and welfare to acknowledge that seeing Oxford as a solely academic experience can contribute to the creation of a bubble. Academics is at the centre of the experience and is what contributes to the University’s reputation, but for the students it can be and is a lot more than this.

In summary, it cannot be denied that Oxford is more than just a university. The name and brand are globally recognised, and cultural production and history conjure up a plethora of images and associations for different people. In recent times, these associations have not always been the most positive, often showing Oxford as out of touch with the real world. While this may be true to some extent, it is important for us, as students at the university, to remember that the Oxford bubble floats within a real world and we should look to find ways in which the bubble can exist within reality, whether that is through diversity and inclusion programmes for current and prospective students or addressing concerns and worries by speaking to those who have the power to make real change. A myth may be a widely held collective belief, but it is our responsibility as those who have a real idea of the Oxford experience to convey the honest realities of it as far as possible. 

Student Welfare and Support Service report shows increase in reported sexual assaults

Image Credit: James Morrell

The Student Welfare and Support Service (SWSS) published its annual reports for 2022-2023 on 19 February, 2024. The report includes assessments of Counselling, Disability Advisory, Sexual Harassment and Violence Support, and Peer Support services. The SWSS provides welfare services to Oxford students and works with the colleges’ welfare teams as well as student volunteers. Their services include counselling as well as the  provision of support, advice, and training.

The 2022-2023 Counselling Service report details that 3228 students, or 12.4% of the Oxford student body, received SWSS counselling (a decrease of 1.4% from the previous year). A third of the students seeking counselling met a professional within five working days and eight out of ten students secured a meeting within 15 working days. The largest issue students dealt with was anxiety (31.1% of reports), followed by depression (17.5%) and identity (10.8%) respectively. Among the students that received counselling, 45 students reported struggling with self-harm.

According to the Sexual Harassment and Violence report, the service received referrals from 170 students and provided support to 130 (a slight decrease from the previous year). All inquiring students got an appointment within two working days, and met a specialist caseworker within 9.5 working days, on average. Serious sexual crimes (a term encompassing rape, sexual violence, sexual assault, sexual harassment, and stalking) accounted for over 70% of the Service’s casework: 15% of the reports involved raped, 17% sexual violence, and 40% sexual assault.

Furthermore, nearly half of the reported perpetrators involved in the cases are unconnected to the University, and 17% of them happened before the student enrolled at Oxford. However, 38% were related to the University, and some cases even involved staff members (4%). In most cases – nearly 60% – victims chose not to report their experience to the police (a decrease of 10% compared to the prior year). However, 23% of service users considered making a formal complaint, and 6% involved the police. Finally, 85% of users were females, 54% were undergraduate students, and 65% were white – all of which are disproportionately high numbers compared to the general student population.

The University told Cherwell: “While Oxford’s figures are in line with the wider sector, we are not complacent. Oxford takes sexual violence or harassment extremely seriously and expects all members of the University to behave appropriately at all times.

“Our annual campaign, ‘Oxford Against Sexual Violence’, reflects the University’s strong condemnation of sexual violence or harassment of any kind, and signposts students to the dedicated services and support available to them, including the University’s Sexual Harassment and Violence Support Service which provides free, confidential support and advice.”

Finally, according to the Disability Advisory Service report, approximately a third of the student body have a registered disability (7350 people). In the past year, there has been an increase of 1.2% in students who registered a disability, and the two most common types of disabilities students struggle with are mental health conditions and learning difficulties. More than half of the students with registered disabilities are female undergraduates.

To fall in love in just ‘One Day’: Review

Credit: Netflix

I can clearly remember watching Normal People in 2020. The world outside my bedroom window had been turned inside out by the coronavirus, and within just a week my school days had been brought to an abrupt end. Days became strange: I missed the friends and family I could no longer see in person, and I worried about the future. Normal People seemed to perfectly respond to my longings and doubts. Not only stylishly paired back, beautifully sound-tracked and thoughtfully acted, the series spoke about love in its most vulnerable form. Sad but beautiful, it promised that human connections would be strong enough to withstand the battles of real life. 

Fast forward four years and I am in Spain, scrolling through Netflix for something to watch. The first thing I come across is the recent adaptation of David Nicholls’ bestselling novel One Day. A massive fan of Nicholls’ books, which capture the blunders and pains of adolescence with irresistible warmth, One Day is the only book of his I have not read. The 2011 adaptation felt underdeveloped, with Anne Hathaway’s attempts at a Northern accent a constant distraction from the chemistry of the central relationship. After watching the trailer for the new series, however, I was quickly convinced to give it a go, and within the space of just one afternoon – let alone one day – I had fallen swiftly and surely in love. 

The first episode opens with the musings of Philip Larkin: ‘Where can we live but days?’. Thus begins the series of fourteen half-hour episodes that tell the story of Dexter Mayhew and Emma Morley – one a moneyed socialite, the other a nerdy Northerner – who meet at their graduation ball in Edinburgh in 1988. We revisit the two friends on the same day for twenty years: July 15th, St Swithin’s. If it rains today, so they say, a wet summer will follow. And so with Dexter and Emma, the events of just one day will have the power to forecast the rest of their lives.

Much like Normal People, the cinematography is beautiful: we are taken through the sun kissed streets of Rome; up and down the hills of Edinburgh; into Parisian bistros and onto Grecian beaches. There are oranges and pinks following Dex and Em wherever they go; in their happiest of highs, or their loneliest of lows. The acting is deeply thoughtful, with the fresh-faced leads Leo Woodall and Ambika Mod rendering the two characters utterly heartbreaking, even when behaving their worst. Be warned: the world of One Day is not all sunshine and romance. Be prepared to shout at the screen in frustration; to hate Dexter for one small moment, only to cry with him the next. 

Perhaps the series’ greatest triumph is the soundtrack, which guides viewers from the House of Love days of the late 80s, into the 90s of groups like The Charlatans, Blur, and Suede, and ends in the early 2000s with Badly Drawn Boy. While hints to the year of each episode are made visually and in the dialogue – Emma bets that she will never own a mobile phone, and Dexter’s blaring blue blazer, quiffed hair and single earring absolutely scream the 80s – it is the music that sustains the story’s chronology. The carefully composed soundtrack makes Dexter and Emma’s relationship universal with songs revealing our ongoing preoccupation with affairs of the heart, whether it’s 1968 and Irma Thomas is singing ‘Anyone Who Knows What Love Is (Will Understand)’, or 1996 with Longpigs confessing ‘the love that I’ve clung to / more often than I’ve let it show’. 

One Day, like Normal People, has touched me in a way that very few other programmes have. Perhaps it is the moment in which we come across these shows that gives them their extraordinary power and meaning. On my year abroad, far from the familiarity of home and the comfort of friends, One Day does not feel like a romance so much as a fierce affirmation of the power of love and friendship to endure change, traverse distance and survive setbacks. To watch this show as a student on the cusp of graduation equally lends it a certain magic: it helps to know that the chains formed of our todays will tether us to our tomorrows. Emma reads a line from Charles Dickens’ Great Expectations, proclaiming that ‘it is the same with any life. Imagine one selected day struck out of it, and think how different its course would have been’.


One Day defies the boundaries of the romantic. It is a story as much about struggling to hold onto love as about being lucky enough to find it; about the times we lose as much as the times that we win; and most importantly of all, it is a reminder that there is little in this world that compares to the feeling of loving and being loved by our friends.