Monday 21st July 2025
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Revolutionary artists: from creatives to criminals

Red October transfigured Russian literature, life and art, with the avant garde movement reaching its creative and popular climax between 1917 and 1932. This outflux of creativity was then superseded by the state sponsored aesthetic of Socialist Realism. Although the era undoubtedly generated some of the most powerful art of the 20th century, it equally precipitated one of the bloodiest chapters in the nation’s cultural history.

After the Bolsheviks assumed control artists, composers, and writers alike were caught up in a revolutionary current that swept the nation. Believing that art could have a purpose beyond itself, that it could in fact help restructure the entire country, a new generation of artists flourished and begun to deconstruct and reconfigure the very fundamentals of artistic endeavour in a bid to discover what form a new ‘people’s’ art should take. Mayakovsky shouted: “the streets shall be our brushes, and the squares our palettes”, proposing that art was for the people, made by those with new and electrifying ideas.

As visceral changes transpired across Russia, art was radically changed, seeing the emergence of Suprematist, Futurist, and Constructivist movements. These were led by a cluster of artists such as Kandinsky, Malevich, and Lissitsky, who would revolutionise art in the same way Russia itself was being revolutionised.

Celebrated artists gave birth to artistic spheres that claimed to express a utopian vision of a revolutionary future. For Kandinsky, art became a spiritual communion with music. For constructivists, it encompassed the dynamism of modern life with its “new and disorientating qualities of space and time”. For Malevich, it emblematised “the supremacy of pure feeling”. His Black Square, the first piece to be totally devoid of any relationship to real life, was truly unnerving, taking art to a new plane of abstract, geometric discourse that could speak universally to the people.

In the wake of the October revolution, agitprop came to wave a red banner on behalf of communism. In his Beat the Whites with the Red Wedge, we see Lissitsky at the forefront of propagandistic art, where stark colours and shapes assume symbolic significance. In a geometric battle, a red triangle pierces a white curve in a demonstration of Red supremacy over the White army. The colour red also points to a bloodstained campaign that cannot be ignored when we evaluate Russian works with contemporary eyes.

From 1932, things would deteriorate in the Russian world of art. The Soviet state now decreed that art must depict man’s struggle for socialist progress. The creative artist must serve the proletariat by being realistic, hopeful, and epic. Pioneering ideals of abstract purity from the avant-garde were now confined to ‘accurate’ portrayals of the worker in all his glory. Viktor Shklovsky lamented that, “Art must move organically, like the heart in the human breast; but they want to regulate it like a train”.

The revolution that promised the avant-garde an imminent new world not only shackled their creative imagination but actually incarcerated them in gulags, seeing them as an ‘appendage’ that had had its use. Their ‘crimes’ were artistic, their work obsolete.

In the 21st century we can look at each of these movements in relation to the period in which they were born. Johnathon Jones condemns retrospective celebrators of revolutionary works for their tendency to overlook the art’s proximity to an emerging regime, patterned by brutality and violence. For him, exhibitions like that at the Royal Academy are essentially guilty of nostalgia for a proletarian utopia that never existed.

Kandinsky himself famously argued that “every work of art is the child of its age. It follows that each period of culture produces an art of its own which can never be repeated”.

In his assertion we can see that revolutionary art can never be extricated from the period in which it was created. While the roots and uses of these pieces are a cause for concern, their own innovative force and haunting abstract nature cannot be denied, nor can their transformative and irreversible effect on the world of art.

“A Mythical Future”: Katya Rogatchevskaia on the Russian Revolution

People won’t tolerate stagnation, economic, political, or social,” Katya Rogatchevskaia emphasises to me over the phone, “the [tsarist] regime in Russia was unable to reform, it was stiff and stable – this we need to remember.”

She’s an enthusiast, an academic still ardent about her field. Rogatchevskaia is the Lead Curator at the Eastern European Collections of the British Library, and the driving force behind the critically acclaimed exhibition Russian Revolution: Hope, Tragedy, Myths (which was on from 28th April to 29th August 2017 at the British Library), which marked the centenary of one of the most momentous years in world history.

Behind the scenes, she says, “There was a lot of discussion about how we should describe it, and we decided on ‘marking’ the Russian Revolution—definitely not a celebration. I wanted to be objective about the facts and people’s experiences.” Rogatchevskaia didn’t want to be trapped by the ideologically-weighted conclusions often drawn around the events of 1917, and instead return to a level of historical rigor often missing from discussions about the Revolution.

Both exhibition and centenary arrive at just the right time – as Sheila Fitzpatrick wrote in the London Review of Books earlier this year, “In purely scholarly terms, the 1917 revolution has been on the back burner for some decades now, after the excitement of the Cold War-fuelled arguments of the 1970s.”

If we’ve moved beyond the heady rhetoric of Capitalism versus Communism, then it seems a ripe moment to re-evaluate the Revolution. For Rogatchevskaia, there are clear lessons to be drawn for the present: “the Russian Revolution and [subsequent] civil war shows that politicians should have a very clear message of the future. You can’t keep the status quo, as the White [Russians] wanted.

“The Bolsheviks showed the future and won. It was a mythical future, but it still won out.”

Dr. Rogatchevskaia, who studied Russian literature before joining the British Library, notes that “I wanted to show the emotional effects of the revolution and civil war,” with the Library’s holdings in photographs, posters, books, and maps, recreated the material qualities of the era.

She reflects that amongst all the exhibition’s items, two of her favourites were “the tribute book to Lenin, [where] every single ribbon from his funeral procession was documented. It was the first luxury Soviet book,” and “the Who’s Who in the Revolution,” published in England for British and American audiences confused by the rapidly changing governments after the fall of Tsar Nicholas II.

The exhibition’s strong visual design, with dark red curtains, chandeliers, and reproductions of photographs on metal plates suspended above display cases, was created by the design company Hara Clark.

Rogatchevskaia confesses with laughter that “I’m not a visual person! But when we first saw their idea, my team immediately loved it.” The subdued lighting created an intimate atmosphere, compelling visitors to take their time over the exhibits. “People are quiet in the exhibition, they read the labels. Some people spend two hours!”

Rogatchevskaia is motivated by a desire to enlighten a public unaware of the true scale and impact of the Revolution: “visitors were surprised by the amount of devastation caused [it]. Many people now see the threat of revolution to Britain and the British involvement in the civil war; it comes as a surprise. Many of my colleagues were surprised by the extent of the British involvement.” The Revolution was far from exclusively Russian: from Japan to the United States, the rest of the world became rapidly embroiled, trying to undermine the Bolsheviks.

However, this lack of historical awareness runs both ways. “Being Russian myself, I didn’t know much about World War One myself,” she says, “as the Russian Revolution overshadowed it as trauma and because of the Communist [Party] narrative.” She points to the current absence of discussion of Russia’s role on the eastern front during the First World War as another side of the story “talked very little about.”

Rogatchevskaia though, is especially interested in the links between Britain and the Revolution, pointing out that Marx and Lenin were readers at the British Library, which later became a centre of Russian émigrés who had escaped from the civil war during the 1920s. “[It] was a literary hub, people came to learn, they were intellectuals…Some of the Russian exile families were close to the families who operated the British Museum. They suggested what books to buy—they saw it as their own library and we’ve tried to keep that heritage.” By offering an objective point of view for audiences to make up their own minds, the exhibition was refreshingly free of political didacticism.

When I conclude our conversation by asking whether the Russian Revolution will continue to resonant with people, she replies, “The results of the Russian Revolution—the experiments in communism, the Cold War, all these problems with the totalitarian state, economic development in the region – everything influenced and caused by the revolution will stay pretty hot in the agenda for still some time.”

We still cannot escape its shadow, so Russian Revolution: Hope, Tragedy, Myths offered our best chance for a long time to understand it.

The ‘new’ jazz must be seen as well as heard

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London-based Ezra Collective’s second album Juan Pablo: The Philosopher was hotly anticipated by the group’s fans. With a sound that resists definition, the band’s influences range from jazz, hip hop, grime and afrobeat to reggae. Ezra Collective is made up of key members from London’s ‘new’ jazz scene, and features brothers TJ and Femi Koleoso on bass and drums respectively, Joe Armon-Jones on piano, Dylan Jones on trumpet and James Mollison on tenor sax.

Punchy afrobeat track ‘Juan Pablo’ wouldn’t be out of place in the depths of a basement club in London. The Philosopher showcases the Ezra Collective musicians by incorporating stop-chorus sections, enabling soloists to showcase their fresh improvising skills over breaks.

Preceded by a spacey, lilting trumpet interlude played by Dylan Jones, aptly named ‘Dylan’s Dilemma’, the introspective ‘People in Trouble’ is a world away from the usual upbeat vibes of Ezra Collective. To begin, echoing strings accompany the trumpet and the band enters gradually. Later, a driving bassline starts and creates an infectious groove alongside the drums and piano. Joe Armon-Jones bursts into a burning jazz piano solo, which is a highlight of the album.

To finish the EP, James Mollison launches into a sax interlude ‘James Speaks to the Galaxy’, which leads into ‘Space Is the Place’; an innovative, radical take on Sun Ra’s composition. With cosmic leanings and spiritual jazz influences, this track is a high contender for the star piece of the album.

Juan Pablo: The Philosopher places Ezra Collective as one of the most exciting bands on the current UK jazz scene, and points towards a sparkling future of genre-bending, new generation music. As with most jazz acts: best listened to live, this band should be seen, as well as heard.

Life Divided: College Bars

Pro College Bars

Bessie Yuill

Maybe your college bar is genuinely nice enough to pass for an actual pub, like Queen’s. Maybe your college drink has a legendary reputation, like the ‘Cross Keys’ of St Peter’s or the ‘Power Pint’ of Merton. Maybe it closely resembles a spaceship’s cafeteria, like my own beloved Keble. But college bars provide the ideal spot for an evening when you’re feeling lazy but still determined to exercise your right as a student to mid-week drinking.

Not everybody is equally committed to the demands and vagaries of the sesh, and that’s perfectly natural! It’s understandable that not all of us want to make a holy pilgrimage just to offer ourselves to the sesh gods at Park End. That’s where college bars come in – they’re here for us when we just can’t muster the energy for a proper night out.

If you’re a second or third year, you probably also want a place where you can drink while still dressed in the clothes you ate, slept, and cried in after yet another traumatising essay crisis. There’s no chance of running into anybody you’re chirpsing here, since you’ve already either got with or given up on any potentials from your own college. Therefore the college bar is the perfect half-way spot for being social: you don’t have to actually put any effort in, but you also don’t feel as ashamed as you would getting paralytic in your room by yourself (like you did last week).

The proximity of a college bar also provides a crucial health benefit. There is no way for you to be distracted by a kebab van on your way home if you’ve stayed in college: the siren’s call of late night cheesy chips will go unheeded. So in a way, getting so drunk at your college bar that you can’t make it out is the healthiest lifestyle choice you’ll ever make.

Against College Bars

Joanna Lonergan

College bars vary hugely between colleges – Balliol’s watering hole is famously good. The ‘Pango’ at Hertford has the potential to anaesthetise a medium-sized whale, while St John’s disappoints with the unimaginatively named ‘The St John’s College’. Someone obviously put a lot of thought into that. But even if you can overlook the standard 70s decor, make your way around the sticky bits of the floor, find a seat that doesn’t have a suspicious stain on it and be done by 11pm, you’ll still be in for what can only be described as a fairly average night.

Want to meet someone new? You won’t find them in your college bar. The college bar reinforces the divide between ‘town’ and ‘gown’. We’ll confine ourselves to this dimly lit room, and they’ll keep to their Oxford pubs – no eye contact has to be made, and certainly no mixing. It’s this exclusivity which is detracting from local business. There are over 23,000 students at Oxford – that’s a lot of potential business for the city’s locals, and much of this is being snatched by the college bars. Why would you hide yourself away in a dingy basement horribly close to the library, when you could break free and explore the many pubs and cocktail bars that Oxford has to offer?

Yes, the college bars are subsidised. Great. The ease of simply scanning your bod card means that even when you run out of cash you can keep drinking! But uh-oh, what’s this extra £60 on your ballot? You could have sworn you didn’t drink that much, but then again, you can’t really remember… All things considered, the college bar is an affront to Oxford’s wonderful pub scene: treat yourself and have a pint poured by someone who knows what they’re doing.

In The Aeroplane Over The Sea – “experimental and weird”

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Next year marks the twentieth anniversary of one of the most influential works of indie rock ever produced. Neutral Milk Hotel’s In The Aeroplane Over The Sea was first released in 1998 by Jeff Mangum, an independent musician from Athens, Georgia, with a passion for psychedelia and the circus, and since then Aeroplane has become something of a meme. Frequently cresting ‘top 10’ lists on /mu/, the music section of the infamous 4chan and a source of worryingly heated discussion for every musicophile with a top-knot, no matter your take on Aeroplane, you’ve got to admit it’s got something.

The first and most obvious thing to note about In The Aeroplane Over The Sea is that by any typical musical definitions, it’s really weird. Threnodic dirges rub shoulders with gruesome bagpipe lines, stomping out paeans which lead somehow into rasping ballads. The lyrical journey soaring and rising like the eponymous plane, all of it surprising and musically interesting but at the same time – and this, in my mind, is one of the really important things about this album – graphic in visceral and disturbing ways. According to the mythology that surrounds this album, Aeroplane is about Anne Frank. Songs titles like ‘Holland, 1945’, and lyrics like “and she was born in a bottle-rocket, 1929” support the idea, and while Aeroplane isn’t really about any one thing, the story of Anne Frank certainly serves as a consistent motif.

To condense Aeroplane down into one word is difficult, but one that comes to mind is ‘dreamlike’. The alternative hip-hop producer Boom Bip described Aeroplane as “the closest anyone has ever come to putting my dreams into music,” and this aspect of Aeroplane is acknowledged by Mangum in a 1997 Pitchfork interview, in which he said “a lot of the songs are influenced by my dreams.” To give an example, one of the most memorable lines in the album is “She will feed you tomatoes and radio wires /and retire to sheets safe and clean.” Something clashes in the line: tomatoes, soft and natural, and soft, clean bedsheets – indicative of childish innocence – are juxtaposed with radio wires, in all their metallic brutality. This conference of contradictory and disjointing images – which we sometimes see in dreams – represents in microcosm the way Magnum depicts the human experience.

Since Aeroplane’s release in 1998, Magnum has largely disappeared from the public eye, and rumours of a nervous breakdown persist. It’s difficult to come away from Aeroplane not at least slightly doubting the author’s sanity. In the long tradition of American artists who’ve disappeared – think Salinger or Pynchon – Magnum has been reluctant to speak much about this album, and he said in an email to a journalist in 2003 that he “just wants to be left alone.” It’s important that we respect this right, and allow him to have his peace. But 20 years on, Aeroplane hasn’t lost what originally drove the hype. It’s experimental, and weird, and most of all, difficult to exorcise from the mind or forget. Just as non-classicists should read the Iliad, or humanities students need to know about the laws of physics, non-fans of indie rock people should give Aeroplane a listen. It’s just under 40 minutes and free on YouTube. What more do you need to know.

Love Oxland: “She was tall, friendly and dolled up – though sadly this wasn’t for me.”

Juliet Flamank

Third Year, PPE

Balliol

From the moment that Jack arrived at the Turf, umbrella in hand (I was drenched from the rain), I knew that this was someone who had their shit together. When he revealed that he’d spent his summer in Panama volunteering at a legal access centre, I thought that was just unfair – some of us have to do banking internships, you know! Despite my initial feeling of inferiority, Jack did reveal one fault – despite living in Worcestershire (promising) he wasn’t in fact a farmer (disappointing). Luckily the evening was a good one – we bonded over sibling rivalries and sports, and managed to avoid the awkward silences which make a date feel more like a tute. In fact, I would go as far as to say that I had a better time on the date than I did trying to sum it up in this column.

What was your first impression?

The umbrella

Personality?

Really lovely

Any awkward moments?

Chat about the location of bathrooms in restuarants.

Jack Beadsworth

Third Year, Law

Corpus Christi 

Prior to arriving at Turf, I had low expectations about the evening ahead. I mean, who in their right mind goes on a blind date organised by Cherwell? Fortunately, I was pleasantly surprised when greeted by Juliet: tall, friendly, and dolled up – though sadly this wasn’t for me but for a 21st she was heading to afterwards. As opposed to the stereotypical blind date, there were no awkward silences and the conversation flowed right from the start – even getting the bartender and other customers involved in a lively conversation about girls using the universal male fear of periods to manipulate them to their advantage. The sparkling conversation then ranged from troublesome underage siblings losing our IDs to our shared desire to help the vulnerable (always a turn on): it was a lovely evening.

What was your first impression?

Too smart for a Love Oxland date

Personality?

Fearless and fun

Any awkward moments?

I thought for a moment she was a ruthless venture capitalist

‘Lieutenant of Inishmore’ review – ‘An excellent understanding of pace’

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Martin McDonagh is perhaps the closest thing Britain has to a living playwright-celebrity. Alongside Jez Butterworth and a precious few others, McDonagh’s name is one which, on its own, has the marketing power to sell out a 3-month run. His work is worshipped by west-end luvvies and Hollywood producers alike. On the morning before the opening night of this production of The Lieutenant of Inishmore for instance, it is announced that McDonagh’s new play will feature in the Bridge Theatre’s next season. The night before at the cinema, I also see a trailer for Three Billboards Outside Ebbing, Missouri, his latest film, which has been widely tipped for Oscar glory since it opened at Venice this summer. The man is everywhere and, as a result, it seems Tightrope Productions couldn’t have made a shrewder choice for their latest project.

However, the fact that McDonagh exists very much within the mainstream of British theatre does not make his material any easier to work with. In fact, the action of Lieutenant is stuffed-full of things that make it a uniquely tricky script to put on with student-actors and a student-sized budget. Blood, guts, guns, dead animals, Irish accents – all provide serious obstacles for even the most experienced director, problems that must be solved in order for the play to succeed.

Lieutenant starts in the same acerbic style all its author’s plays do. “Do you think it’s dead Donny?” asks Davey, a young ginger-haired Galway lad, staring at the corpse of a cat. As soon becomes clear, the dead pet he surveys is not just any animal. It is, in fact, the corpse of ‘Wee Thomas’, the much beloved cat of Padraic, a terrorist from the IRA splinter group, INLA. The humour of the situation is thus imbued with something else. It makes us chuckle yes, but it also promises imminent violence, something both we and the characters onstage begin to dread. This seemingly innocent first-line is the catalyst for 80 minutes of brutal retribution and anarchy. It immediately sets the tone of the dark humour that ensues.

Indeed, this first scene is a good exemplum for both the main virtues and flaws of Lawford’s production. The cast is very talented and McDonagh’s black comedy is thrilling, every single gag structured to perfection. This language is a particular pleasure when delivered by Hugh Tappin. He, more than anyone else, has a brilliant sense of timing and the sustained confidence and ease with which he drops each punchline is impressive. Two other standouts include Chris Page and Kate Weir, who breathe life into the sometimes sweet, sometimes terrifying couple at the heart of the action. Cameron Spain also deserves a mention for maintaining the best accent and for the dry wit with which he uses it.

However, sharing the stage with this great company of actors when the light first comes up is also a plush-toy cat. It is obviously excessive to argue that the show should incorporate living animals into its production however the multiple toy-cats used to represent different felines throughout the play is somewhat jarring. One wonders why the actors could not have mimed holding an animal as an alternative to this feature that clearly detracts from our ability to engage with the piece. Similarly, it would have been impossible for Lawford to recreate the level of violence that the play demands but the use of audibly fake gunshots and too little fake blood means that the brutality sometimes loses its power to horrify or indeed entertain.

This may seem like a pedantic criticism, but McDonagh’s humour is so dependent on a philosophy of excess, of visual absurdity, of pornographic violence, that, whilst not all their own fault, Tightrope’s inability to realise this sometimes lets down the hyperrealism his language builds. On occasion, it disappointed me given the potential of the script and the actors clear ability to deliver it well.

Besides this, Lawford has an excellent understanding of pace and the play rockets by without any loss of energy. The whole of the O’Reilly’s space is used in imaginative ways to create different settings. With an admirably large audience for opening night, the house was filled with laughs throughout. Anticipation being what it is, it’s likely that the power team behind Tightrope Productions will do exceptionally well with this show and, by and large, they deserve it. I look forward to where they decide to take us next.

Why the Sgt. Pepper’s show cannot be missed

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The Sgt. Pepper’s show beginning on the 14th and lasting until the 18th of this month at the Simpkins Lee Theatre should not be missed. The venue at Lady Margaret Hall will be host to a bold show which aims to capture the complexity of the seminal album, and of the Beatles’ manager Brian Epstein who died two months after the album was released in May 1967.

Intensely familiar to anyone that has ever turned on a record player or iPod, Pepper presents an explosion of innovation and variety within a cohesive whole, retaining the experimentalism of the band’s 7th studio album Revolver while not straying into the individualism that you can trace in the White album (although admittedly my favourite of the two). Under the headship of McCartney the album manages to sustain an intoxicating psychedelic feel, best seen in the infamous if brilliant ‘Lucy in the Sky with Diamonds’. All the while still blending in the driving rhythms of ‘Getting better’ and music hall influences in the most typically English of Pepper’s tracks ‘When I’m 64’ (lovingly described by Lennon as ‘Paul’s Granny sh*t’).

Yet Pepper’s was a pathbreaker in more than its influences. It was a milestone of the band’s power to shape their own music, working with music producer Geoff Emerick. The complexity of tracks like ‘For the benefit of Mr Kite’ and ‘Within you, without you’, hauntingly beautiful with its assembly of classical Indian instruments, shows just how far the Beatles had come as a creative force since the salad days of ‘Please please me’. But more fundamentally, it helped reverse the hierarchy of the studio. Gone were the days where men like George Martin, the Beatles’ producer for their debut album, could be king behind the decks and decide the sound for them. Leading on from the experimentation seen in some of Revolver’s tracks like ‘Tomorrow never knows’ which achieved its distinctive rotary sound by using a revolving table and a wardrobe, Pepper would prove to later innovators like Led Zeppelin what was possible in the studio.

This album was never intended to be played live. The whole point of Pepper was that it marked the change from the Beatles as a touring band to a studio based band. An intensely complex sound bursting with innovation, production experience and a multitude of influences would seem like an insurmountable challenge. But Sgt Pepper’s show hopes to accomplish the impossible through the incredibly talented and dedicated Oxford Beatles, and the ten piece orchestra that will be accompanying them. Chris Bayne, co-producer of the show and member of the Oxford Beatles has transcribed each musical strain in the album to prepare the players for an intense 18-month practice period.

When Cherwell talked to bass player Riaz Ahmand (let us hope he ages more gracefully than Paul) he told us that while we can expect a faithfulness from the vocal harmonies, original instruments and samples, the Oxford Beatles want to “add something a little different” in tracks like ‘Strawberry Fields’- so keep an eye out for them. Giddy, yet optimistic from a technical rehearsal, Riaz was struck by the eerie but triumphant feeling of bringing this cultural bulwark out from its place in the studio and into the limelight again. For both the players and the fans, this will be a challenge, but one worth listening to.

You don’t need to be a Beatles fan to come to this gig. You don’t even need to know who the Beatles are to come to this gig! You only need open your mind. Open your mind to the positivity in the album, open your mind to making a connection with this living piece of cultural heritage that you’ll grow to love. Played alongside a powerful theatrical piece that doesn’t shy away from the darker side of manager Brian Epstein’s life, this show hopes to be the musical event of Michaelmas and even the year.

Oxford Collage: A conversation with Theodore Zeldin

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In an age where most younger generations are sourcing information from the social media, and are using these same platforms to communicate, the shape of our conversations are changing considerably. One in four people socialise more online than in person, and this figure is expected to rise. Yet the effect of this is broader than simply the decline of vocal, face to face conversation. The social media allows us to increase the amount of ‘friends’ we are exposed to, yet we are usually selecting these individuals. And mostly, where we may select, we tend to opt to communicate with people who are like-minded, who share our interests and who are largely the same age, and who are from a similar economic background. The result is that whilst we believe that we are communicating with others on an unprecedented level, the fact is that we are communicating with a narrow strand of individuals – people like ourselves.

It is a situation that almost reminds me of a Peter Serafinowicz sketch called ‘The Clone House’. ‘The Clone House’ is a parody of the Big Brother show, in which all of the housemates are effectively clones, and are all named ‘Stevie’. The housemates are virtually indistinguishable from each other, both in terms of their appearance and behaviour, yet the ‘Stevies’ themselves seem convinced that they are not.

Indeed, the ‘Stevie model’ of communication is appealing. Those who share similar views to ourselves are probably going to give us self-validation when we converse with them. The more people we speak to that are like ourselves, the more our views are authenticated, the more we assume everyone holds a similar opinion.  However, the ‘Stevie model’, when placed in a real world context, has dangerous consequences. The most evident were political. ‘Unanticipated’ events in the last year, such as the vote to leave the EU and the election of Donald Trump as US President, to name a few, had shaken the liberal elite. Yet their surprise was arguably a symptom of an underlying ignorance towards what people unlike ourselves are really thinking. We are thus cocooned in conversation with different animations of ourselves.

Theodore Zeldin is a renowned academic with fellowships at the British Academy, the Royal Society of Literature, and the European Academy. Later in his life, he developed an interest in conversation. He has written a book on the history of conversation, and founded an associated organisation, The Oxford Muse, that seeks to bring individuals from different backgrounds together to initiate conversation between them. I speak to him about the lack of interaction between individuals with different views, and how we can improve conversation in our everyday lives.

***

I begin by asking what he thinks is the importance of conversation. He doesn’t really answer my question, implying I should know conversation is important, and instead proceeds to explain why the importance of conversation is being ignored. “I know all you undergraduates spend a lot of time fiddling with Facebook, which is something that really distorts conversation.” He explains that the rise of social media as a form of communication has led our conversations to become less interesting and valuable. They leave us increasingly bored, and ultimately isolated. “Some say isolation is more dangerous than tobacco. We are isolated because we are losing sight of real conversation.”

I ask what ‘real conversation’ is. “Conversation is not about saying who am I, but who are you?. Where we simply seek to uphold our own views in conversation, either by interacting only with the like minded or not listening to those expressing different views, we are not having a conversation we are “not learning anything. We get bored.”

I discuss how a lack of interaction with those who are unlike ourselves not only makes us isolated as individuals, but could also make our views isolated as a group of like minded people. Zeldin affirms that the trend towards specialisation in our education has strongly limited our ability to communicate beyond validating our own views. He describes UK universities as “training colleges”, admitting that those who teach us are very competent individuals in “their field”, yet they alone cannot make our lives enriching. We leave university with a very dense, yet narrow education. An Oxford alumnus himself, he complains how when you meet people at this institution in particular, which values selection and specialisation, “you look in a mirror.”

Zeldin adds that not only does this make ourselves, and our views more isolated, the substance of our conversations becomes unimaginative. If we are often discussing the same topics, we will often arrive at the same, stale conclusions. An interaction with a wide range of different subjects, as well as people, makes conversation worthwhile. He asks me when was the last time I engaged in a conversation about something I didn’t know much about. I recalled witnessing a conversation about darts, which I am not remotely interested in. He asks me what I did. I explained that I listened to the conversation for a few minutes, did not participate in it and politely excused myself. “You should have stayed – asked questions! It is equally worth participating in conversations about things we know little about more as those where we have a lot to say. These conversations are where you can learn something enriching, even if that might be about darts…”

I ask about his understanding of conversation as an historian. Were people always reluctant to engage with people unlike themselves? “In the past people had difficulty speaking. They were scared of being called ignorant.” Zeldin describes how the class system on trains was established not only because bourgeois travellers did not wish to sit amongst livestock, but also because both the working and middle classes were uneasy about speaking to each other for fear of making a bad impression. Similarly, he highlights that some customs asked that men did not look women in the eye when speaking to them, unless they were a woman of kin or their wife. Yet whilst we have broken many communication barriers, Zeldin believes that “we are now more ignorant than they, even when hierarchies are being dismantled and etiquette is less important in conversation than ever before.”

What is necessary, then, if we wish to shed our ignorance and engage in more enriching conversations? Zeldin speaks of a “fear of disagreement”. We are so frightened of interacting with individuals who may criticise us that we are becoming enslaved to our own ignorance. He suggests that we abandon this fear and be prepared to face criticism and even conflict in conversation. “Conversation is a means by which you expand your imagination. And the more you face friction, the more you enrich your imagination and the more you refine your ideas.”. He speaks to me about one of his memories when he was an undergraduate reading History at Oxford in the 1950s.

“There was a time when more or less every week, I would go to my tutorial and the tutor would ask me the same question. This was why ‘this or that’ had lost their power. Every week I would fumble about for a cursory answer, as most of us do in tutorials. Then when I finally plucked up the courage to challenge this tutor, I asked him why the loss of power was so important. Why are we always concentrating on power? Isn’t the failure to be an inspiration more of a loss than a lack of power?”

I ask him whether what he was trying to say with this anecdote was that the value of conversation is not a measurement of the extent to which we hold power in a conversation, or seek to undermine the power of the person with whom we are speaking. The value in a conversation is measured by our capacity to be inspired by the person we are speaking to.

“Yes, precisely that.”

As we close the interview, Zeldin asks me to come along to the Oxford Muse with some friends and learn how to have more worthwhile conversations.

I admire Zeldin for his efforts in uniting people through conversation with his organisation. Yet to me, it is almost sad that we must engage with an academic society to be taught how to have a proper conversation.

Instead, I think that this could be achievable in our everyday lives. Perhaps we can begin by moving away from the college bars, and going to a pub. Cutting down on the dull buzz of taking another Buzzfeed quiz about yourself and find out about someone else. Instead striking people other than our peers down with the same empty gusto of flicking down faces in a game of Guess Who, we could take a gamble. That way, we might be less bored when we return to our ‘clone houses’.

Not Forgetting William Hazlitt

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Born into an age of political and industrial revolution, William Hazlitt’s rise in the 19th century coincided with that of Romanticism. First a philosopher, Hazlitt was then a journalist, essayist, art critic, lecturer and political commentator.

Standing at the centre of the new culture which shaped his world, Hazlitt was personally acquainted with the likes of Keats, Lamb, Wordsworth, and Coleridge – whom he spent three weeks with in Somerset in 1798. It was as a critic that he was able to establish acclaim, and is still considered one of the greatest critics of his age – contributing drama, literary and political criticism to a new mass audience shaped by the invention of the steam press.

Indeed, Hazlitt was able to capture the essence of his changing times, with his ability to humanize and preference of real experience over abstraction a key feature of his essays. In On The Pleasure of Hating, Hazlitt posits the timeless idea that humans in fact love to hate, contextualising it as an important component of humanity. Perhaps one of the most notable quotes from this essay being: “Love turns, with a little indulgence, to indifference or disgust: hatred alone is immortal.”

Passionate and intense, he was able to articulate well the issues of his era in breadth.  A committed political liberal, he is reported to have wept when Napoleon abdicated. In his 1819 Political Essays, he wrote in hope of democracy and reform. It is perhaps of no surprise that he was mercilessly condemned by all Tory journals of his time.

His writing style is unpretentious, and many of his ideas seem to reflect resounding modern, and simply human concerns. Duncan Wu describes Hazlitt as the first modern man, and writes that Hazlitt: “Speaks to us of ourselves, of the culture and world we now inhabit.” In spite of his widespread acclaim as one of the greats of his era, many of Hazlitt’s works are now out of print.