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Sharing is Caring

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Looking back through old photos a few weeks ago, I found a screenshot of a message dated 16th September 2017 – a Saturday afternoon two and a half years ago. It read: ‘I’m being cooked dinner (!!!) by Al so I’ll be back by 10:30 if that’s ok (three red heart emojis)’. It ended more than a year ago, but I still remember that day in our relationship, like I remember so many others, for the food we shared – the croissant brought to me in bed on my 18th birthday, the nachos which we made with scientific precision on a summer night, the last bowl of chicken curry. Food, eaten and enjoyed together, kept us going through petty arguments and bone-crushing school days, and across the seasons. It was like a reassurance that everything was really ok, and that we had a closeness and an ability to make things up as we went along which would keep us ticking over together.

In my first foray into the world of relationships, there was something wrong – and the food was telling me to watch out. I felt slightly uncomfortable eating in front of him, or, more to the point, showing an appetite. We sat on the mezzanine of a South Kensington café, and while he dived into a bowl of pasta, I picked at a Caprese salad. The first meal I cooked for him (and indeed for anyone romantically) was a claggy mushroom risotto, trying to get him involved by grating cheese (not even Parmesan; I think it was a soapy-tasting hard goat’s cheese). The start of a relationship can certainly be awkward and anxiety-inducing, but there should be a chemistry which makes the promise of the next day in their company feel right. I felt that rightness when I sat, on a cold spring day five months later, in a Pizza Express in Richmond, opposite the boy who would cook for me on that Saturday in September.

We both came from cooking families, but I was the one who had cooked every day after school since I was fourteen – I took charge in the kitchen, as I probably sought to do in all aspects of our relationship. Yet the real magic came from the rhythm, the routine, the unspoken arrangement to meet under the stone arch of at the school boundary to buy sandwiches for lunch, frothy cappuccinos at break-time. Often, after Saturday school had ended at one, there was macaroni cheese from Tesco – heat for four minutes, let sit for one, heat again for three. I bought him ‘The Silver Spoon’ for his eighteenth birthday, lugging it in a tote bag with a bottle of Prosecco in a black chiller sleeve, a bunch of white roses from the garden, and a plastic box with two red velvet cupcakes, melting gently in the heat of the Jubilee line train.

Our culinary adventures together were not always perfect – I distinctly recall a December afternoon when I ended up alone, making mousse for his parents’ 25th wedding anniversary in the kitchen of their flat, whisking egg whites and melting chocolate, while he had a nap. Admittedly, he made the roast potatoes (the best in the world, he’d say, and they were good), but when dealing with the possibility of a scrambled dessert, you need moral support. But then there were embarrassingly picture-perfect evenings – there was Chinese food eaten in a Dorset town after a seven-hour walk through wheat fields and, at one point, grouse farms. We sat by the bend of a river in the August evening sunshine, our muddy trainers forgotten, gorging ourselves on prawn crackers – the first food we’d had to eat since cider and cereal bars at ten o’clock that morning. There was steak and M&S bearnaise sauce, chips and mayonnaise, and too much red wine on Valentine’s Day. There was ravioli (only Tesco’s will do), with rocket, Parma ham, balsamic vinegar and plenty of parmesan – we made it twice, once while house-sitting in Bath, and again after a long walk through Hyde Park.

The night before he left for France – for three months which stretched out like a waste land – and two weeks before the relationship ended, I woke up early and went to the shops. That afternoon I chopped onions, made stock and poured cream into a Le Creuset casserole dish. We had chicken and ginger curry, and more chocolate mousse, in little Japanese bowls. I’m so glad we didn’t go out to eat. I think I had about £2.50 in all the world, but even if I’d been rich as Croesus, there was something in my steamed-up blue kitchen on that January evening which seemed to say ‘we exist, we are happy, here in this moment, perhaps not for long, but that is immaterial’.

One night this term, when I felt very tired and all I had left to eat was instant coffee and Marmite, a friend made me fusilli, with tomato sauce, anchovy, olives and chilli flakes. Though my legs were uncomfortably concertina-ed beneath me, and the belt of my jeans felt like it was slicing my small intestine in two, I was sitting on that grubby beige carpet with friends. In that top-floor corridor the romantic meals I’d shared with that sloping, unkempt-haired, confusing boy came into an almost musical perspective. Here was the unifying, transformative power of shared food, shared affection. I hope everyone can have such an evening.

City Council opens emergency beds for rough sleepers

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Due to harsh weather conditions, Oxford City Council is tonight (Tuesday 11 February) opening emergency beds for people experiencing rough sleeping. 

The Council has a SWEP (Severe Weather Emergency Protocol) for such conditions, activated when the Met Office predicts sub-zero temperatures and/or possible snowfall. 

Councillor Linda Smith commented:  “We’re using our discretion to activate SWEP and open emergency beds because the Met Office is forecasting a sub-zero ‘feels like’ temperature and the potential for snow tonight. We will review the situation tomorrow but do not currently expect emergency beds to stay open tomorrow night.”

The Council’s policy means that emergency beds are available anytime sub-zero temperatures are forecasted by the Met Office. The accommodation is available to anybody rough sleeping, including: “people who have no local connection to Oxford, no right to claim benefits or housing in the UK or who have refused offers of accommodation and support.”

The Council works in conjunction with OxSPOT (Oxford Street Population Outreach Team), a ST. Mungo’s outreach service for rough sleepers in Oxford. They provide accomodation at O’Hanlon House, run by Homelessness Oxfordshire, Floyds Row, run by OxSPOT, and in East Oxford, run by Aspire. 

The council has recently opened new services for those who may be sleeping rough. The Somewhere Safe to Stay services offers beds for seven nights and a “right first time assessment” to try and find housing and support for those at risk of sleeping rough. They have also opened a shelter at Floyds Row running through the winter for verified rough sleepers. 

Oxford has one of the highest population of rough sleepers per capita, higher only in Brighton, Bedford, Luton, Westminster and Camden.

Shadows of Troy: Tragedies of the Trojan War reimagined

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Shadows of Troy is a bold new adaptation of two giants of ancient theatre – Sophocles’ Ajax, and Euripides’ Iphigenia at Aulis. It presents the two plays in tandem, creating a truly epic narrative of the most famous war in Western history. Writer and director Jamie Murphy previews some of his new script for Cherwell.

The following text is the first Choral Ode of Shadows of Troy:

The tents, the rope and the cloth of each man’s dress, spear tips pointed in the air. But none of it whistling or bristling in the wind.
All silence.
The air heavy and dead and the sails of each ship limp.

Waiting for wind, for war.
Sharpening swords, polishing shields and picking at scabs; throwing stones and playing dice. Waiting.
And the hum and the thrum of the blood in your head pounding and pounding in the silent air, finding a rhythm with the tide of the sea.
It rained the other day, but still no wind.
The beach isn’t far off, where the ships are moored,
The cliff our camp sits on hangs over the shore, which is golden and shining like the armour of generals, the water leaving behind shells and jellyfish, while the sandals of messengers press footprints into the sand.
And the blood in your head’s like the rhythm of swords, spears, hammers and shields.
But not quite. Not yet.
It’s lower, slower, more dull. Like metal gone bad.
Like your bread going stale, going mottled and green. A portion slightly smaller each day.
And the gnawing of your gut sings along with the blood pounding in your head and the sad little tide of the sea, but still no wind. 

One of the men broke the neck of a swan two nights ago. 
Sick of its whooping call, it’s cry like metal scraping.
We all knew though, that it was nothing to do with the swan; it was because of Helen, because of her father’s form when he conceived her.
Zeus put on the feathers of a swan to violate her mother, Leda.
If only she’d broken its neck too.
Plucked out every feather.
Then Helen of Sparta might never have been.
And we might never have come to Aulis, to this shore here.
But Leda did not do so, and not a feather was disturbed from Zeus’s wing. 

And so the girl was born, and became a woman.
And every nobleman in Greece scuttled to Sparta to ask her hand.
All were there, Diomedes, Philoctetes, Menelaus, Odysseus and Patroclus, all there.

Those five only a few of the crowd that gathered at her feet.
Each man swore that if he were not the one to win the girl,
There would be abhorrent slaughter.
And so her father Tyndareus made them swear an oath.
A promise that they thought they’d never have to keep,
To protect Helen’s union, whoever it was with,
And to take up arms if ever it was threatened.
Transfixed by this girl that was born from an egg, they all swore to do so, come what may. 

Menelaus was the choice.
He and Helen had grown up together,
And so she chose to tie herself to him, for life.
And tied the fate of Greece to the fortune of their marriage. 

For years Menelaus then ruled Sparta with Helen happy by his side.
But then creeping came a cowherd, Paris.
A cowherd, that underneath the sweet smell of soured milk was a prince of Troy.
He had been raised in the fields before it was discovered that his blood was of a higher stock 
And so he was raised up to sit upon a throne alongside King Priam, King of Troy, his father. 
He came as a guest into Menelaus’ house.
And then, he saw Helen.
And he declared that all is dross that is not Helen.
Whispered that she was fairer than the evening air, clad in the beauty of a thousand stars. And so he took her.
Kidnapped the Queen of Sparta.
And now she lies across the sea, with him. 

Bound round by golden city walls and men.
Stolen like cattle from the bed of a king. 

There was nothing to be said to Menelaus, stung with madness.
Not a shard of comfort to be offered.
Like a vulture that’s lost its mate,
Circling high above its nest and round and round rowing its wings.

Its call like howls and screams of pain. 
But all its labour is for naught,
Its bed of pain will not be filled and its companion will be gone forever.
And so he called each suitor then to Aulis, to sail for Troy,
And all those noblemen were forced to carry out an oath they thought they’d never have to keep. 

And they selected Agamemnon, Menelaus’ elder brother, King of Argos, as our leader.
Those men that act as kings at home chose him as king of all.
King of kings.
He was trusted by his kin to carry out whatever must be done to take back Helen from across the sea. 

To bring her home.
And an opportunity has reared its head.
Helen lies in the richest city ever seen.
And we won’t carry only her back home to Greece.
We’ll take everything that we can carry,
And burn the rest.
Honour, glory, gold and new lands lie on the other side of that sea. But the water stands in our way.
And still no breeze, no wind, no breath of air. 

Down by the shore the sea’s silver, and clammy.
And the smell of the salt reaches the camp many metres away.
Past the camp, where the cliff slopes down to the beach, lies the grove of Artemis, where the trees are laden with sacrifices.
The moon catches the leaves quite differently there.
They flutter and whisper in the evening air like something possessed.
Entrancing. Terrifying. Just leaves.
But lit by Artemis. 

We killed her sacred deer in the woods not long ago.
And since the wind has failed to blow,
And all the world seems out of breath.
And she demands a sacrifice in turn, 

A girl for a beast, to make the breeze come back again.
This God, this huntress.

The supposed patron and protector of young women now commands us cut in shreds the gullet of this girl.
Iphigenia.
Demands her blood be splattered on the earth and spilled across her altar.
The blood of our general’s daughter. Agamemnon’s eldest child.
And so it must be. 

Shadows of Troy is playing on the Main Stage of The Oxford Playhouse 12-15 February in six performances with matinees on Thursday and Saturday. Tickets are available from this link: https://www.oxfordplayhouse.com/whats-on/all-shows/shadows-of-troy/13506?m=9&y=2019

Review: Taylor Swift’s ‘Miss Americana’

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Taylor Swift’s last album, Reputation, was an unapologetically  aggressive response to the ‘drama’ that she had endured during nearly a decade in the public eye. Miss Americana offers another piece in the puzzle of Swift’s identity: this portrait delves beneath the polished technical prowess to depict the individual behind the music. The documentary provides a glimpse not of one of the many stage personas Swift has crafted for albums and tours, but of a young woman who has been struggling for agency for her entire adult life.

Miss Americana is fairly linear in format, recounting Swift’s life from her career beginnings right up to her recent VMA win, interspersed with clips of the recording process of her new album. Whilst not exactly groundbreaking, the structure provides ample time to understand the extent of her artistic journey, from teenage country singer to international pop superstar.

The documentary acknowledges media criticism of Swift as overly ‘perfect’ and manufactured, and attempts to counter it through the use of home videos. These intimate moments prove an effective way of humanising an icon: a clip in which she celebrates reaching number 60 on the Billboard charts with her first single is particularly touching. Such footage helps to hammer home the narrative of Swift as a relatable, homegrown success story: worthy of respect rather than criticism.

Although the documentary occasionally slips into a preachy tone, Swift avoids any self-pity about the drawbacks of celebrity life. Discussions of issues faced earlier in her career are treated with maturity and consideration; Kanye’s infamous interruption at the VMA awards, over a decade ago, explores the impact of an older and more established male industry figure on the start of a young woman’s career. A broader theme of men’s mistreatment of Swift runs throughout the documentary, from male executives controlling her media image to her sexual assault by a radio host at a photo op. The documentary also suggests that much of criticism which Swift has faced in her career has stemmed from the decisions which men have made for her; her recent decision to defy their commands and talk about “controversial issues” has been beneficial for her own mental health. Swift’s struggle to balance her conscience with commercial pressures adds to her relatability and her humanity.

The documentary also offers an insight into the loneliness of her position as one of the most successful female musicians of all time. The film emphasises the fragile nature of Swift’s fame and the constant attacks she faces, not only from men but from fellow women eager to ‘tear her down’. The drama which shaped Reputation– a spat between Swift and Kim Kardashian over Kanye West’s reference to Swift as a “bitch”- is presented as part of this narrative. The cruelty of the American media is also emphasised, justifying Swift’s efforts to keep her personal life away from the public eye up to this point.

A key moment comes during the 2017 midterm elections, when Swift decides she can no longer keep quiet about politics when a candidate who she describes as “Donald Trump in a wig” runs senator of her home state. The incident captures both Swift’s emotional vulnerability and her growth as a person, having found the strength to stand up to her handlers and do her own beliefs justice.

Personally one of the biggest things I feel Miss Americana shows is just how normal its star is. Swift doesn’t hold delusions of grandeur and comes across as a genuinely nice girl. This really is to her credit and it will hopefully make people stop and think about just why she provokes such a strong reaction when mentioned.

The final stop of the documentary is the making of her ‘You Need to Calm Down’ video. As a gay man I am always naturally suspicious when artists go from silence to attempting to frame themselves as long-time allies of the community. This is the one time in the documentary that Swift comes off as insincere, after telling us just how lonely fame is, it is difficult to tell if she really cares about LGBTQ+ rights or is simply looking for new friends. It is also a shame that only the Queer Eye presenter and Todrick Hall feature in the documentary – one can’t wonder if this is because it’s in vogue to have famous gay friends right now.

Miss Americana does more than enough, despite its small flaws, to paint a humanised picture of a girl, now woman, who seems to have struggled with fame ever since finding it. It should also help influence public perception of Swift and cement her status as an artist with a new voice and something to say with it. It is likely Fox News will still come after her anytime she so much as side-eyes men like Trump but at least it will now be for something she has said instead of something she hasn’t done. To Swift’s publicist: well done – you really hit a home run with this one.

Review: The Entertainer

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In Osborne’s The Entertainer we find a United Kingdom breaking apart along the lines of generations, cultural ideals, and historical moments. It’s an easy play to associate with our current national climate as much as with its origins in the Suez crisis. But more than anything it comes across as a play ‘of its time’. Looking back towards early twentieth-century Britain with both nostalgia and a need to progress forward is a hard thing to express when the world has moved on so dramatically that music-halls, vaudeville and the like are pretty much forgotten.

Stage Wrong Productions did a beautiful job of recreating the Rice family’s faded, run-down home and its disconnected, disillusioned inhabitants as an image of the distant past that allows its contemporary political relevance to come out naturally. The Entertainer has traditionally been overshadowed by the force of Olivier’s premiere as Archie Rice, but this production at the Keble O’Reilly managed to re-address the balance, forming an ensemble cast. Performances by Olivia Marshall (the disconnected, distressed granddaughter Jean), Celine Barclay (Archie’s wife, struggling against an upper-class world she can never fully be a part of), and Henry Calcutt really stood out. The set is beautiful, and does its job perfectly. Warmly lit, the faded rickety furniture (The Entertainer is surely the perfect play for the TAFF props store), sits on a beautiful red rug covering the stage, that to begin with invites us into cozy, homely warmth. But as Osborne’s (long!) play progresses it quickly grows to be claustrophobic, knackered and past its time. 

Fuelled by real beer onstage (the characters spend the play doing almost nothing but drinking) and cigarette smoke, Stage Wrong’s performance draws us into the dysfunctional, haunted world of the Rice family and insightfully pulls apart their fractures. The cast brilliantly create a group of characters that are only ever half-listening to each other, letting each character have their own exposition, letting on at their internal anxieties and traumas, moving between people not-saying and saying.

Arthur Campbell shines as Billy, the disillusioned retired music-hall star, arthritically shuffling around the room with a powerful sense of dwindling charisma. Shifting between bumbling, rambling old age and lucidity that sees into the rest of his family far more clearly than anyone else, Campbell beautifully captures his nostalgic, fading, but still-captivating character. He is matched by Charlie Wade’s performance as Billy’s son, Archie, a 50-something staving off bankruptcy by performing a second-rate copy of the music-hall tradition of his father. Wade had a difficult task when performing large chunks of Archie’s bad stand-up act, but he shines on the music-hall stage, catching a balance between presenting a dull, second-rate act and being so self-consciously bad that it was actually quite funny. 

Overall it was an intelligent, delicate production of Osborne’s deeply complex play, focusing more on a country traumatised by war than one trying to find its identity amid the rags of a dying, outdated empire. Osborne’s play often feels uncomfortable; his link between nostalgia for the dying music-hall tradition and the decline and fall of the British Empire is difficult not to bristle at. I sat down in the theatre with deep trepidation, somewhat unconvinced as to how I would feel watching a play that is, in more ways than one, very much ‘of its time’. But Stage Wrong productions seem to have found something new in Osborne’s play, showing us a country that isn’t collapsing as it loses its identity, but breaking down in an attempt to invent, create and newly-form its sense of nationhood. 

Interview with Baroness Caroline Cox

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Caroline discusses her humanitarian aid work, opposing the British government and dealing with criticisms

Standing in the crossbench of the House of Lords, Baroness Cox stood up to deliver her question to Her Majesty’s Government; of what priority would they give to Sudan and South Sudan in the humanitarian crisis? Speaking fervently to the chamber about her trip to Sudan, which she had arrived back from just days before, she then began handing a leaflet out about the massacre of 32 civilians in Kolom, in the disputed Abyei region, including images and survivor testimonies.

She later told me, looking slightly mischievous, that she had asked the Archbishop of Canterbury if she could speak first, and he complied. With the chamber studying the pieces of paper along with her devout reputation, a large eruption of ‘hear, hear’ was heard as members’ ears visibly pricked up. Breaking the rules, slightly mischievously, is something I learn the Baroness was familiar with, especially against the British government.

Baroness Cox was, and still is, opposed to the British government’s foreign policy regarding Syria, her perspective being that it ought to be the Syrian people’s decision rather than a British-implemented regime change. She recalled her conversation with the Foreign Office, before leaving for the Middle East; “they shouted me down the phone” she said, revealing “you cannot go to Syria…because it’s too dangerous, you know there’s a war going on, you don’t have diplomatic representation there.” In a way, I learnt, characteristic of Caroline, polite yet firm, she replied “thank you very much Minister, but earlier this year I was across [the] border in the mountains in Sudan where fighter-bombers” were scaling the country and “this is how I use my time in the House of Lords, Minister.” Evidently his previous tactic not working, the minister replied with “well you will ruin British foreign policy,” and Caroline recalled, again with a smile; “I said ‘I’ve got no idea what British foreign policy is!’”

Opposing the British government is something Caroline is accustomed to doing and when asking about the situation in Syria and the government’s intentions, the minister interrupted her from the despatch box, calling her “irresponsible.” Caroline recalled taking pictures of maimed children in a small province of Armenia, sectioned off by Stalin into Azerbaijan. Upon return when she revealed the images that she took herself, imploring the government to intervene as it was against international conventions, the response was “we have oil interests in Azerbaijan, good morning.”

At first, she defiantly retorted that she has used that remark in many of her arguments against the government, saying, “I wasn’t going to let that go unmarked” but later said the moment was “a double twist of the knife.” As someone chosen to work in the House of Lords, her vocation is to be a voice for those who aren’t heard. She said, “you’re there, you see the suffering…and then you get some rubbish from the despatch box saying I’m going against the government,” and when, “you’ve been with the people; you’ve seen the reality…and you come back and you get that kind of answer,” it really hurt.

I asked Caroline if the experiences she has had in the 82 years of her life has had a personal impact. “Yes, it does,” she replied thoughtfully, but without missing a beat immediately began to speak of the Armenian issues in Azerbaijan. Karabakh, somewhere she had been “about 80 times,” I could see was very close to her heart. In the old days, she said she was used to flying there under fire in “a fixed-wing aircraft, and we used to have to spiral down against the sun, hoping the heat signals in Azerbaijan would go for the sun, not the plane” she remembered. She smiled, obviously remembering fondly, exclaiming “and that was a bit exciting.” I was struck by how quickly she brushed off the dangers of her life, and the extreme warzones she had been in. She joked with me again, “I was also told that Azerbaijan had a huge price on my head,” but, “I don’t know how much it was, so I don’t know how valuable I really am.”

Her self-effacement was astonishing, and the way she uses humour in order to make those around her at ease. She reiterated to me from the beginning; “I am actually a nurse, and a social scientist by intention, Baroness by astonishment. Wasn’t into politics, don’t like politics and I was the first Baroness I’d ever met.” While pouring me tea, and asking what I thought of the conventions of the Lords, it was evident she would never be someone to sit quietly, recalling the question she asked herself on becoming a peer, which was “how do I use the privilege of being able to speak in the British parliament?” and that she has thereafter been guided by “that particular commitment.” Although I knew she did not like the use of the Baroness title, I did not realise how humble Caroline would be.

The purpose of establishing her own charity organisation, she explained to me, was “to work with the victims of oppression and persecution, who are off the radar to major aid organisations, so they are largely left unreached, un-helped and unheard.” It was clear that she only tolerated ceremony and wanted to help as many people as she could, as quickly as she could. The difference she noted between herself and other charity organisations was Caroline had no desire to abide by the rules, and “so we’ve spent some of our time crossing boarders illegally, quite shamelessly, to reach the unreached.”

Charitable organisations have come under increasing scrutiny over the last twenty years over issues of where the money is going, who gets paid, and how the money is used. Caroline was quick to tell me that at H.A.R.T their local partners, “they are the real heroes. They are incredibly brave, courageous, resourceful, resilient people and communities.” She explains the benefits of open conversation with the partners she works with, saying, “we always give them the dignity of choice; we don’t tell them what we are going to do…we say, ‘what is your priority?’”

That does not mean, she reveals to me, that she is always certain of what she is doing, recalling one time in Burma she crossed the border, illegally, with a “real crisis of confidence.” I thought she was going to talk about her fear of being in a country illegally with no diplomatic immunity, the possibility of injury or death. Yet, her self-questioning was; “are we going to raise expectations we can’t fulfil, we’re so tiny, are we going to disappoint people, is this a glorified glory trip? What do we have to offer?”

Her work, I soon learn is a bittersweet and poignant mixture of hope and pain. She humorously recalls thinking, at the top of Sleepy-Dog mountain in Burma, “Caroline Cox, you are a grandmother with six grandchildren [at the time] – isn’t it about time you grew up and stop going on these ridiculous missions?” She carries on that, sometimes, “you feel so inadequate,” both because of how colossal aid crises seem, and how little funds they have. However, she thought that what people really want in those situations is recognition, recalling a conversation she had with a citizen in Karabakh who remembered Caroline coming in the ‘90s saying, “at Christmas when you brought those toys, you changed everything,” and later reiterated that “it wouldn’t matter if you didn’t bring anything, the fact is you’re here.” Caroline spoke in length about how inadequate it can feel when it seems as if the individual’s impact is so small, yet, you “actually are quite transformational,” she concludes.

The depressing thing about her work, however, is not how large an impact she is making personally, but the political and commercial issues she encounters, which if they were discounted, many crises would not have arisen in the first place. I asked her about the Armenian genocide of 1915, and how more than one-hundred years on from the events, she is still having to fight for its recognition. Recognition is integral, she believes, because, “in a way you can’t have healing without recognition,” and it’s a way to achieve “closure.” She gives her “credit to Wales” in recognising it but wants to pressure the British government also. Perhaps used to the criticism, she retorts, “I’m not naïve, I can understand commercial interest, I can understand strategic interest, but I don’t think it’s the interest of any nation to ignore concern for human rights,” and she goes on, “I don’t think the British public would want oil at the price of cluster bombs on children, at least without saying something about it.” Her frustration and determination were clear from her quick, powerful speech in the Lords earlier, and she tells me she’s not about to give up the fight.

I come back again, to the personal impact that this has had on her health and mental health over the last six decades, and if she can ever feel a detachment from what she has seen. She quickly replies, “not really no, it hurts.” Diverting attention away from herself, as usual, she speaks about a younger colleague, who she calls a “tough cookie,” but was emotional and pained by the pictures they took and what they experienced. She said to her colleague “if you want to look at the photos with me, we can look at them together, and we can share the emotion,” because, “you never get rid of it,” she says simply, “you have it for life.” The traumatic experience and the inevitable pain creates a “frontier of fear,” she goes on, but ending positively as always, reveals “once you cross the frontier of fear, you meet people you’d never have met otherwise, new horizons open up, and some amazing experiences, and you come back receiving more than I could ever give.”

I go on to ask her about the criticism she has received, especially in regard to the comments made about her freeing slaves by buying them. This practise was controversial in the 1990s and gained press coverage on its practise, which she believes were put across in simplistic “financial terms.” The BBC, she told me, did a documentary on slavery in which they had asked her to answer questions, but she revealed, “I was really cross because I’d done a piece for the BBC on it,” but when it was published, “they pointed out the criticisms without my responses. So, people were left with those questions, and I’d answered them!” In fact, she has written a whole book on slavery, which emphasised how long it has been since Wilberforce’s strive for its abolishment, and how slavery is becoming more popular, not decreasing, and governments are unwilling to do anything about it. She urged that, before making judgement, people should educate themselves on the scale of the problem and what is being done.

I ask her if criticism like this is particularly hurtful to her. She revealed, “we get criticised for a lot of the things that we do, like Syria in particular, and yes it does hurt,” because “it detracts from the main issue of what you’re trying to do,” she carries on, “it detracts from the suffering of the people.” Reading extracts from the book, I could see the enormous problem that modern slavery is, something I had never considered properly before, and the different types of slavery there are. With more research too, it struck me how difficult imposing any legislation on slavery really was. She finished by saying, “I’m doing the best I can,” and that stuck with me.

I learned much about Caroline in the hour and a half I was with her, and for an 82-year-old woman I was impressed by the physical and emotional toil of her life, and how positive she was about the future, as well as joking about herself. As a woman born in 1937, I thought to myself, I probably would not be as brave, I don’t even know if I would be now. I thought of what she’d said to me about being a nurse; “I really wanted to encourage seeing the patient as a person, with their own culture, their family, their community and appreciate and relate to them as individuals, as people.” Speaking of being with patients on their “journey either to recovery or to death,” this characterised her life and so many individual journeys she has been on. What she has lived through and experienced is incredible, so smiling I asked her if she had any plans on retiring anytime soon. She looked at me sternly for a moment, then smiled from ear to ear, and said, “certainly not.”

LGBTQ+ History Month comes to Oxford

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February is LGBTQ+ History Month, and Oxford colleges, departments, and faculties are hosting various events to celebrate the LGBTQ+ community in Oxford and highlight studies and research in the field.

Most visibly, many locations around Oxford are flying the rainbow Pride flag for various durations in February. New, St. John’s, St. Catherine’s, Keble, Lincoln, Oriel, Somerville, and Harris Manchester Colleges have all confirmed that the flag will be flying on their main poles throughout February, and Christ Church’s flag will be up in Peckwater Quad. Balliol, Magdalen, and Teddy Hall will be flying the Pride flag throughout February for the first time this year. St. Hugh’s has recently lost its college Pride flag, but its JCR LGBTQ+ Rep confirms that the flag will be up once it is replaced. Pride flags have also been spotted at Trinity, Merton, and Mansfield. Besides colleges, the plant sciences building, St. Cross Building, and Holywell Manor have also put up Pride flags, and the Sheldonian Theatre is displaying rainbow see-through screens on its top pavilion.

Academic and educational activities on LGBTQ+ History will take place across Oxford this month. The annual LGBTQ+ History Month lecture convened by the History Faculty will be delivered by Louise Wallwein, MBE on “working-class queers”, on February 12th in the Sheldonian Theatre, and free tickets are now available on Eventbrite. The Oxford Centre on Life Writing will host a symposium on “Writing Queer Lives” in Wolfson College on February 11th. Library displays are now installed in the Upper Gladstone Link as well as Teddy Hall’s College Library. 

Harris Manchester Chapel, the only Oxford college chapel licensed to perform both same-sex and opposite-sex marriages according to its JCR President Scott Buchanan, has invited Reverend Andrew Foreshew-Cain to offer reflections at its Choral Evensong this month. This continues HMC’s traditional connection to the progressive Unitarian movement, as Foreshew-Cain helped launched the Campaign for Equal Marriage in the Church of England. 

Many colleges are commemorating LGBTQ+ History by screening films with LGBTQ+ themes. St. Catherine’s screened The Favourite on February 2nd in collaboration with its Dean Kitchin History Society. Lincoln will be showing Moonlight, and Magdalen and Somerville will screen Pride. Balliol, Keble and Teddy Hall have also confirmed that they will include films in their LGBTQ+ History Month celebrations. These form a part of various inter- and intra-college LGBTQ+ social activities: Balliol plans to host brunches and Lincoln has already hosted a Welfare Tea for LGBTQ+ students.

Various colleges will highlight and celebrate their own LGBTQ+ communities with formal events. Christ Church will celebrate the month with its annual black-tie Unity Dinner, which allows its LGBTQ+ community to “come together, have some lovely food and reflect on LGBTQ+ rights, solidary and unity.” Somerville, New, St John’s and Univ will have similar formals, and Magdalen will host its Oscar Wilde Dinner, named after its alumnus.

NHS chief criticises Gwyneth Paltrow’s GOOP lifestyle brand at Oxford event

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Gwyneth Paltrow’s lifestyle brand Goop has been criticised by Sir Simon Stevens, chief executive of the NHS, for perpetuating “myths and misinformation” that pose a risk to public health.

The comments were made last Thursday at an event entitled ‘An Oxford Conversation: The impact of fake news on our lives’, during which Stevens joined Damian Collins MP and BBC Radio 4 presenter Sarah Montague for a panel discussion on the phenomenon of fake news and how this problem might be best addressed by governments and technology companies alike.

During the event, Stevens hit out against those who spread misinformation, calling them “quacks, charlatans and cranks,” and warning of the dangers of false information regarding health that can be easily disseminated online and in the media. Specifically, he directed his criticisms at Goop, the lifestyle and wellness brand whose products he referred to as “too good to be true.”

Goop, the brand launched by Paltrow in 2008 with the aim to “start hard conversations, crack open taboos, and look for connection and resonance everywhere we can find it,” as stated on their website, has been subject to media scrutiny over the past few months, following the sale of controversial products such a candle named ‘This Smells Like My Vagina’ and the release of a Netflix series, ‘The Goop Lab’, in which the Goop team try out the company’s various treatments. The beginning of each episode contains the disclaimer: “the following series is designed to entertain and inform – not provide medical advice.”

In September 2018, the company was fined $145,000 in civil penalties for making “unsubstantiated” marketing claims surrounding a $66 jade egg meant to “increase sexual energy and pleasure” – an assertion that was refuted by gynaecologists around the world. The outcome of the lawsuit means the brand is no longer able to make claims about their products that are unsubstantiated by medical research, although the products are still allowed to be sold.

Stevens referred to this controversial product in his discussion of the dangers posed by the company, also mentioning the “vampire facials” and a “psychic vampire repellant” tested by the so-called ‘Goopers’ in the Netflix series. He noted that the company’s promotion of colonic irrigation, defined by the brand on their website as “essentially a way to hydrate and irrigate your colon,” was directly opposed to advice from the NHS that “there is no scientific evidence to suggest there are any health benefits associated with colonic irrigation.” He also criticised the brand’s $135 Coffee Enema kit, which is listed online along with the description: “if you wish to use a home system and you know what you are doing.”

A spokeswoman from Goop said: “Goop takes efficacy and product claims very seriously. With the editorial and commercial aspects of our business, we sometimes approach different topics from different points of view.

“On the editorial side, we are transparent when we cover emerging topics that may be unsupported by science or may be in early stages of review. When products are available for retail sale, we have a robust legal and compliance team that works closely with our science and research group to vet product claims.”

“We are proud of our procedures and internal protocols and we are constantly evolving to ensure our approach is best in class. We applaud the important work that NHS does, and often take our cues from the UK standard. For example, in the case of chemical sunscreens that the NHS cited in their speech, the US bans only 11 personal care ingredients while over 1,000 are banned in the UK. It’s for that reason we recommend non-toxic sunscreens.”

Along with Goop, Stevens also criticized the ‘anti-vax’ movement in his warnings against fake news, attributing the steep rise in cases of mumps to the ‘widespread disinformation’ being spread about vaccinations online.

New bus lanes may harm trade

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The council’s decision to install a series of bus lanes across Oxford has been criticised by a retail leader who believes it will take a toll on the city’s trade.

Five new camera-enforced bus gates, similar to the one operating in High Street, will be installed by city and county councils. The plan is part of a scheme called ‘Connecting Oxford’ which aims to reduce congestion in the city.

The council has said of ‘Connecting Oxford’: “The plans would make a real improvement to journey times for commuters and quality of life for residents, including improved air quality, by reducing the number of cars travelling into and around the city.”

The gates will lead to ordinary traffic being restricted during the day, driving Rox spokesman Graham Jones to make a statement about the harm that may be caused to the city’s trade.

Jones said: “The high street is suffering and the bus gate in Worcester Street would stop people travelling from north Oxford to West Oxford – it could put some shoppers off and should be reviewed.

“Some shoppers are already saying it’s easier to go and shop in Milton Keynes – Boswells has announced it is to close and council leaders need to take a careful look at this.”

The Wolvercote resident expressed specific grievances over plans for a new bus gate in Marston Ferry Road, maintaining that this made ‘no sense whatsoever’.

He added: “Marston Ferry Road is an important link road to the Churchill, the John Radcliffe and other hospital facilities and not all residents are able to get a bus.

“There are lots of schools in the area and lots of teachers don’t live in Oxford. “We all want to see less congestion in the city and a prosperous city.”

Jones’ argument against the Marston Ferry Road bus lane is that it will lead to more traffic on the A40. He also contends that putting a new bus gate on Worcester Street would cause more traffic on the A34.

Rox, an organisation which campaigns on behalf of Oxford businesses, commented on Connecting Oxford, saying: “Just how would these new gates be policed?

“It seems that a vast number of vehicles both commercial and private would have to be exempt.

“Apart from the needs of delivery and service vehicles already mentioned, what about the need to access the many schools and private residences either side of the gates?”

On Rox’s website they pledge to “campaign for a properly balanced transport policy within the city and a more welcoming approach to car-borne visitors.”

Oxford’s PickMeUp bus service at risk due to lack of funding

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The PickMeUp bus service is at risk of being axed if further funding cannot be sourced, warns the Oxford Bus Company.

The on-demand ride-sharing minibus service was launched in June 2018 and is advertised as the equivalent of “Uber for buses”. It currently boasts over 250,000 completed journeys, as well as having more than 30,000 users registered on its app.

However, despite an expansion into Horspath village last month, the company behind the pioneering service has revealed that its future remains uncertain as it enters the final phase of its three year pilot scheme.

A customer survey has been released to help gather ideas on how to make the service financially viable. Phil Southall, managing director of the Oxford Bus Company, said “To break the 250,000-passenger journey barrier is a great landmark achievement.

“Over the next few months we will be reviewing the future of the service, as it is still challenging to operate on a fully commercial basis.

“If we cannot find a sustainable way forward during this review which may include additional local or government funding, or local business support, then the service may have to end which would be a real tragedy for everyone who has come to rely on it and those who work on it.

“We need wider support of PickMeUp to help us maintain the service, which has been enjoyed by those who have used it.”

This statement comes after the company decided to withdraw its X90 coach service to London, which had been making a substantial annual loss.

PickMeUp is a pioneering appbased transport service which serves the eastern part of the city, the first of its kind in the county. According to their website, an ultra-low emission minibus will pick a customer up “within a short walkable distance” of where they are, with an average response time of 10-15 minutes. Their software ensures passengers wanting to make similar journeys are then matched up to share a ride to their destination.

Initially introduced to help ease congestion and combat pollution in the city centre, the service has since expanded to Summertown, Jericho and Horspath village, with the fleet growing from six to nine buses to cater to increasing demand.

The service is accessible from the PickMeUp app, operating between 6am and 11pm on weekdays, from 7am to midnight on Saturday and from 9am to 9pm on Sundays and Bank Holidays.