Tuesday 3rd June 2025
Blog Page 897

Study launched to reduce Oxford city centre emissions

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A new study looking into banning all petrol and diesel vehicles from the centre of Oxford has been launched today.

The £30,000 study, which aims to investigate options for introducing a Zero Emission Zone in Oxford from 2020, has been jointly commissioned by Oxford City Council and Oxfordshire County Council.

According to Oxford City Council, the study seeks to engage with bus, delivery and taxi companies—and will propose a range of options for how the Zero Emissions Zone can be introduced. It is envisaged that a zone will start small and expand as technology develops in order to facilitate zero emission travel.

While Oxford has been a low emission zone since 2014, the city was included in a World Health Organisation report as one of ten cities with unacceptable levels of pollution. As well as this, European Union targets for air pollution are currently being breached at 32 per cent of 75 locations monitored across Oxford.

It is hoped that a Zero Emission Zone would reduce emissions from transport by restricting access for polluting vehicles and encouraging uptake of zero emission vehicles.

However, this is not the first scheme designed to lower pollution levels in the city, which have a significant impact on health by contributing to a range of illnesses, as well as having an economic effect. The impacts of air pollution in the UK estimated to cost between £9 billion and £19 billion annually.

In January, the introduction of driverless vehicles to the Oxford transport system was proposed by Jeremy Long, the chairman of Oxfordshire Local Enterprise Partnership (OxLEP).

In an interview with the Oxford Times, Long said that connections with the university research departments and local car industry could provide a platform for Oxford to become leader in the field of autonomous vehicles.

Despite the idea of driverless ‘pods’ being omitted from the study, John Tanner, Oxford City Council Executive Board Member for A Clean and Green Oxford, says he is “thrilled” the study is taking place. This is despite Tanner previous branding the idea as “ridiculous”, and claiming in 2015 that the City Council would not support “a blanket ban” because “ordinary” cars were not responsible for pollution.

Tanner added: “Air pollution has a significant impact on the health of residents and visitors to Oxford.

“Our vision is to create a city centre that people can live and work in without worrying about how vehicle emissions will impact on their health.”

“The Zero Emission Zone will achieve this, which is why I am thrilled that this study is now taking place.”

In addition, the Road Haulage Association also called the proposals “unworkable”.

A spokesman for the County Council said the ban would initially only apply on a small number of roads, and the timescales would change if technology was not advanced enough.

Councillor David Nimmo-Smith, Oxfordshire County Council Cabinet member for Environment, said: “There has been an improvement in air quality in the city in recent years and there is clearly a need to carry this trend on.

“The improvements clearly illustrate that measures to improve air quality, such as the introduction of the Low Emission Zone, have worked. However, there is more we all need to do to improve.”

The study is expected to be completed later this spring, and its aim, as set out in the 2015 Oxford Transport Strategy, is to introduce the Zero Emission Zone in phases between 2020 and 2035.

“Love and humanity scattered amid the horror”

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In the programme notes for Macbeth, director Georgia Nicholson writes that her intention for this production was to access the “wealth of extraordinary ruggedness, grit and emotion” in Shakespeare’s text. Staged in the large Jacqueline du Pre building, in St Hilda’s College, with minimalist setting and eerie lighting by Alex Jacobs, there is no escape or distraction from Macbeth’s slow corruption and fall. Placing the play firmly in eleventh century Scotland—the true time and place of the real Scottish king Macbeth and his contemporaries—is a sensible choice by Nicholson. The horror felt by medieval men encountering the witches and ghosts make them seem far more palpable and threatening than if the play were set in modern times, where the supernatural is just the stuff of horror movies and superstitions are mocked. The medieval setting also makes the brutality of the men, the ties of loyalty and the “omnipresence of death” that Nicholson wished to evoke seem far more immediate and of vital concern.

The characters had all been daubed in blue face paint, representing Celtic tribal tattoos. The lines of blue across Macbeth and Lady Macbeth’s eyes gave them a menacing look that was almost otherworldly. I was stunned by Christopher Page’s performance in the title role. Nuanced and charismatic, we watched him shift from a man struggling with his ambition and his conscience, to one completely overpowered by his deeds, broken by his wife’s death and on the verge of losing his mind, baiting Macduff like a hunted animal and railing against the ‘walking shadow’ of life. Hannah Chukwu’s Lady Macbeth was an unusually sympathetic portrayal, but this was effective in explaining her control over her husband’s actions, and ability to lead him to murder when he faltered. The contrast between her loving embraces with him, and the icy moments of control and anger at his weakness was chilling. Occasionally, perhaps, I would have liked to see more menace from her, particularly at the shocking “unsex me here” speech, but her frailty when driven mad by the guilt of her actions was particularly poignant. Cai Jauncey played Macduff in an effective cross-gender casting—she matched Macbeth’s brutality and the moment when she heard of the death of her daughter and wife was extremely moving. Benedict Turvill’s Banquo was equally strong, as was his haunting stare as Banquo’s ghost.

Wisely, Nicholson did not attempt to show the apparitions that speak to Macbeth near the end of the play, a bloody child, a severed head and a royal child holding a tree. With a student budget this would be near-impossible to recreate. The witches, however, faces shrouded in black cloth, were genuinely frightening, as was their ghostly chanting. Perhaps the play could have benefited from some judicious cuts, especially in the second half, but that might have risked ruining the dramatic tension leading up to the final battle. The production managed to superbly evoke the brutality and fear of Shakespeare’s play, in a bleak setting, with just enough moments of love and humanity scattered amid the horror.

Home is where the art is: Rod Jordan

There are two sides to Roderick Jordan’s work: first, his hand-drawn cartoons for the BBC and the Rugby Football Union, his large paintings of Trafalgar square and a couple of early collaborations. Those are, in fact, Rod Jordan’s.

Then there’s the stuff I know, all by a man who was only ever called Roddy: the majestic ‘Buzz Lightyear takes off’, many Corsican landscapes and years of princess birthday cards and comics. There’s also the recurring ‘B.’ — my grandma, Roderick’s wife: B. in the garden, B. at the beach in Wales or Cornwall, B. sitting in the sun with the girls.

Eyeing the artist’s sketches on our walls has made me too short-sighted to see his figure in full. Having always been exposed to the works of my grandfather and his less-known harmonica-playing, I have a fragmented, story-like image of what his bio would look like.

The fact that it isn’t on Wikipedia and that portraits of my rower-cousin are easier to find on Google than my grandfather’s, comforts me in my possessive approach to his paintings. Although I can’t easily complete this bitty bio, at least there is no one to contradict it.

He went to the Royal Academy so he could learn the rules and painted a fresco on the walls of a tunnel through the London Zoo with a bunch of friends. He got bored of naming parts in the army until a superior offered him to design the decorations of their dancehall, and this was his main duty until the end of his service—so I’ve been told.

Somewhere towards the middle of his sixty-year career, he made humorous and grotesque animations for the BBC and published a cartoon coaching series with the RFU. Commissions, paintings of muddy horseraces, and a special kite-flying day in Belgium which gave birth to ‘Buzz Lightyear’, all came before my time.

What I see and what I know of Roddy’s work is contained within a few portraits of bright young women, and the contrast between some series depicting intense, fast movement in richer tones and the ones which show wide-open skies covered by immobile clouds.

A trip to nearby Cliveden will be chopped down into a dozen small-sized canvases just as well as every one of his travels to the South of France, and none of these landscapes is left without a wondering pair of characters.

This is a difficult exercise, because when the art is in the same place as the home, the scribbles on its fringes become distracting and the harmonica along with the hours of jubilation in front of Looney Toons cover up the screeching of the knife-sharpened pencil.

The absence of the concentrating effect of exhibitions, which place an arbitrary bullseye right in the middle of the artist’s works and spin around this one point, is an invitation to colour in those angular frogs and bouncing, Oocha-ma-chooching badgers instead.

Cocktail of the week: rainbow sangria

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Sangria is great. We would always take family holidays to Spain when I was growing up, so I have many fond memories of the drink. It’s now a firm family favourite, with sangria featuring at many celebrations. It has all the things you want in a cocktail—it’s fruity, sweet, refreshing, boozy, and this version puts an extremely colourful twist on it. As we’re coming to the end of Hilary and it’s starting to warm up, it’s the perfect time to make this drink, and convince yourself that summer is coming soon.

Ingredients:
1 750ml bottle dry white wine (refrigerated)
3 tbsp granulated sugar or honey
1 tbsp lime juice
8 cups diced rainbow fruit
140ml lemonade
80ml brandy (optional)
Ice to chill

Fruit suggestions:
Red: strawberries, raspberries, pomegranates
Orange: mandarin oranges, orange wedges
Yellow: fresh (not canned) pineapple
Green: honeydew melon, green grapes
Blue: blueberries
Purple: red grapes, blackberries

Method:
1. Combine wine, sugar/honey, and lime juice in a pitcher and then stir until combined.

2. Chop your fruit into bite-sized pieces.

3. Add fruit to your serving glasses or a separate pitcher in the order of the colours of a rainbow. Then pour the wine over the fruit until the fruit is covered. Refrigerate the drinks for 15 minutes to let the flavours meld.

4. Top with lemonade and a splash of brandy if desired.

5. When pouring into individual glasses, you may want to add ice to chill the drinks for a bit longer.

¡Salud!

‘Deeper than the Abyss’: Resisting the Holocaust

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The horrors of Treblinka are well known: that the camp was put out of use by the very Jews it was designed to murder is less often mentioned.

In the most vile conditions of starvation, disease, and grief, Jewish captives at Treblinka designed a defiant plan of escape over the spring and summer of 1943. On August 2 of that year, the captives snuck into Treblinka’s arsenal storehouse, retrieved handguns and gasoline, discretely doused much of the camp and then, at the anointed time, opened fire on Nazi guards while Treblinka was lit ablaze. Between 150 and 200 Jews escaped. One Jewish resistance fighter later wrote that, “A fortress of horrible Nazism was erased from the face of the earth.”

The story of Jewish resistance at Treblinka is rarely mentioned in Holocaust histories, and Why? Explaining the Holocaust, by Northwestern University’s Peter Hayes, is no exception. What is exceptional is Hayes’ determination to prove that Jewish resistance were futile. In a book otherwise rich with historical detail, Hayes’ adamance on this point illustrates how deeply rooted the myth of Jewish passivity remains seven decades after the Holocaust.

“No camp rebellion ever really succeeded,” Hayes argues. He explains how European Jews were divided by nationality, religion, class, and political beliefs: how the desperate self-interest of collaborators facilitated the enormous bureaucratic task of Nazi annihilation, and how Jews were deceived into believing they were not really destined for death. As Hayes describes the squalor and disease of the Warsaw ghetto, where Jews persisted on less than 200 calories per day, his thesis that Jews did not resist the Holocaust seems understandable. The only problem is that it’s not historically correct.

The Treblinka Revolt was not an isolated incident. The uprising was instigated by Jews deported from Warsaw, who smuggled knives, grenades, and uplifting stories of resistance into Treblinka. At Sobibor, Jewish captives armed with hatchets, knives, and guns overcame Nazi guards to free several hundred prisoners. The camp, which had killed nearly 600,000 Jews, was closed. At Auschwitz, Jewish captives used stolen explosives to destroy one of the camp’s four moratoriums. These and dozens more cases of resistance are recounted in They Fought Back, Yuri Suhl’s groundbreaking 1967 book.

By these efforts Hayes remains unimpressed. “The breakout at Treblinka enabled only fifty to seventy inmates to survive the war,” he writes, while “the camp uprising at Sobibor led to the deaths of only eleven or twelve SS men and the survival of only forty-seven inmates.” Hayes concludes that these uprisings “had very limited consequences.” Later he insists of Jews that: “Regardless of what they chose, they ultimately came to the same end.”

This is the old and battered narrative of the first generation of Holocaust scholars. In 1961, Raul Hilberg argued that “the reaction pattern of the Jews is characterized by almost complete lack of resistance.” In 1963, Hannah Arendt wrote that Jewish resistance had been “pitifully small…incredibly weak and essentially harmless.” Hilberg’s archival sources came exclusively from the Third Reich— Arendt’s historical research relied on Hilberg’s.

It is one thing not to know about Jewish resistance, and quite another to discount it. Hayes’ untenable argument is purely statistical: Jewish resistance did not kill a significant enough number of Nazis or save a significant enough number of Jews. This is a jarring view of human dignity. That in conditions of material deprivation and cultural depravity Jews nonetheless organized resistance is far more consequential than the specific number of friends saved or enemies slayed. It feels deeply insufficient to obsess over the fruitless quantification of Jewish resistance. This is an economist’s version of history: it is no coincidence Hayes trained as one. To claim Jewish resistance insignificant is to argue that it does not matter if Sisyphus pushes his boulder to the hill’s top, or, indeed, whether he ever tried. That Jews resisted in circumstances designed to so totally destroy the human will is surely one of the most vital lessons of the Holocaust.

The tendency to see victims of mass atrocity crimes as helpless objects instead of defiant subjects is one of the deepest ironies of contemporary efforts at genocide prevention. As Frederic Megret has argued of the Responsibility to Protect, the doctrine that defines how states can intervene to stop ongoing mass atrocity crimes, “Among all the measures recommended to assist victims of atrocities, not one suggests… that ‘victims’ might have a role in averting atrocities.” As Professor Kalypso Nicolaidis and I recently argued, contemporary efforts at mass atrocity prevention could learn a great deal from the remarkable history of citizen resistance to such crimes.

While Hayes’ treatment of Jewish resistance is frustrating, there is much to admire in his book. Hayes’ descriptions of Jewish life in the ghettos and camps is itself reason to read his book. Hayes is at his most human when describing Jewish disbelief of mass slaughter. He quotes a Polish Jew who hears of a nearby massacre: “Is it possible to believe such a thing? To shoot women, innocent children in full daylight? It is probably not true…” The man concludes that, “Those Jews were killed because they were Soviet citizens, but we are citizens of the government; such a thing cannot happen here.”

It is this careful attention to psychological detail that is missing from Hayes’ treatment of Jewish resistance. Writing on behalf of a Jew who collaborated with Nazi crimes and later stood trial in the Soviet Union, Israeli Prime Minister David Ben Gurion asked that nobody judge those who had lived through the camps, for their tragedy “is deeper than the abyss.” It is the depth and darkness of the Holocaust’s abyss that makes Jewish resistance miraculous; not the number of Nazis killed or Jews saved. This resistance, under conditions designed to so completely destroy the human spirit, is a monumental testament to human creativity and will, and deserves a more central place in Holocaust studies and remembrance, and, indeed, in contemporary thinking on genocide prevention.

A word from the stalls

What were you expecting from this production?

Honestly, I don’t know. I saw Narkissos and it was very good, and then I got drunk at a college event and my friend asked if I wanted to see a very funny play. So I said yes, and then she said it was about Communists and I thought that kind of negated the fact she’d just told me it was funny. But I came anyway.

Highlight of the production?

The masterful work of actually carrying one of the cast members around for half the play whilst she was in a curtain. I liked the attention to detail, especially as they were quite small men and it added an air of real tension (were they going to drop her? Exciting!)

Describe the production in 3 words.

Communism is funny.

What would you change?

The only thing I would change is that I want to see it again, so please make it happen.

Fittest cast member?

I would like to nominate the co-director, his hair is a thing of magnificent beauty. However if that’s against the rules I will specifically say the guy who played Sergei’s accent (John Livesey). As in, the accent was fit. Maybe that’s also against the rules?

Marks out of 10

9.475, or whatever the marshmallow joke was. Communist humour! Fairness for all.

Recipe: Mediterranean baked sweet potatoes

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This dish is the ultimate homemade comfort food, as who doesn’t love a good sweet potato? They’re incredibly versatile and so easy to make and personalise to your own tastes—whether you want it spicy, cheesy or just with a load of beans over the top. They’re also very healthy, but don’t hesitate to ruin this by topping them to your heart’s desire—just don’t add marshmallows: sorry to all the Americans out there, but that’s just wrong. This is one of my favourite dishes to make at home when I can’t be bothered to spend hours slaving away in the kitchen—you just pop the sweet potato in the oven and it’s pretty much done.

Ingredients:

1 medium sweet potato per person
1 425 g can chickpeas, rinsed and drained
1/2 tbsp olive oil
1/2 tsp each cumin, coriander, cinnamon, paprika
Pinch of sea salt (optional)
Lemon juice (optional)

Garlic herb sauce:

60 g hummus
1 tbsp lemon juice
3/4 – 1 tsp dried dill (or substitute 2-3 tsp fresh)
3 cloves garlic, minced (1 1/2 Tbsp or 9 g)
Water or unsweetened almond milk to thin
Sea salt to taste

Topping suggestions:

45 g cherry tomatoes, diced 15 g chopped parsley, minced Chilli garlic sauce

Additional side ideas might include hummus, pita chips, baba ganoush, or Persian eggplant dip.

Method:

1. Preheat oven to 220 degrees and line a large baking sheet with foil.

2. Rinse and scrub potatoes and cut in halflength wise. This will speed cooking time.

3. Toss rinsed and drained chickpeas with olive oil and spices and place on a foil-lined baking sheet.

4. Rub the sweet potatoes with a bit of olive oil and place face down on the same baking sheet.

5. While the sweet potatoes and chickpeas are roasting, prepare your sauce by adding all ingredients to a mixing bowl and whisking to combine, only adding enough water or almond milk to thin so it’s pourable.

6. Taste and adjust seasonings as needed. Add more garlic for more zing, salt for savouriness, lemon juice for freshness, and dill for a more intense herb flavour.

7. Also prepare the parsley-tomato topping by tossing tomato and parsley with lemon juice and setting aside to marinate.

8. Once sweet potatoes are tender all the way through when pierced with a knife. The chickpeas should also be golden brown. This takes roughly around 25 minutes.

9. Remove these from oven.

10. To serve, flip potatoes flesh-side up and smash the insides a little bit to soften up.

12. Then top with chickpeas, sauce and parsley-tomato garnish.

13. Serve immediately.

Review: The Eagle and Child

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Oxford is home to so many obvious pieces of history that after a while you grow impervious to it all—you know you’ve reached this stage when you no longer admire the beauty of the Rad Cam, but focus on locating the easiest route through the tour groups. But luckily, many of Oxford’s historic pubs fly under the radar, quietly carrying on their day-to-day business and (just) staying off the main tourist tracks.

The Eagle and Child is one such institution, the celebrated literary home of J.R.R. Tolkien, C.S. Lewis and their society, the Inklings. Not much appears to have changed since then—the wood panels, stained windows and accumulation of memorabilia testify to over four hundred years of history. The pub wears its reputation on its sleeve, with C.S. Lewis quotes painted on the beams and portraits of its famous patrons, but avoids verging on kitsch.

Unknowingly, my co-editor and I were following in the footsteps of the Inklings by grabbing lunch on a Tuesday lunchtime, although in a much less erudite manner. No literary readings, but grumbling about tutors instead. Both in need of comfort food, I had a simple but warming macaroni cheese with garlic ciabatta, while my co-editor sampled the goat’s cheese, hummus and red pepper sandwich with gorgeously cooked sweet potato fries. It was refreshing to see that the management hadn’t cynically used the pub’s history to raise prices—most of the mains are under a tenner and the sandwiches range from around six pounds.

But it is the drinks menu that is the crowning glory, with something to suit everyone (and probably the reason why it is such a popular first date location). There are dedicated sections to real ales (which they helpfully match to specials on the board), gins, ciders and whiskeys. Restricting ourselves—it was a weekday after all—we tried the rhubarb gin, which was intriguingly strange but probably quite an acquired taste.

Even though it was obviously not the busiest time of day, there was still a quiet buzz about the place which was perfect for procrastination chat. As Frodo Baggins says, “Short cuts make delays but inns make longer ones.” But if it’s the Eagle and Child, is that such a bad thing?

The Eagle and Child, 49 St Giles, Oxford OX1 3LU

Representing sex in young adult fiction

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Everyone remembers being finally allowed to move on to the young adult section of the library. You drink in the pages, fantasising about being like the sixteen-year-old heroes whose reckless lives are so different to yours. You tilt the book slightly closer to your chest as you read the inevitable kissing, or even sex, scene, trying to keep it from the view of intruding parents. Although relationships and sex are almost omnipresent on television and in films, the personal experience of reading makes these moments even more influential. Young adult novels have a duty to present these experiences in a certain way, to make them realistic, focusing on consent and trust.

The Noughts and Crosses series by Malorie Blackman sent waves through my generation of young teens. It challenged race issues in society in such a way that thousands of young adults now cannot look at ‘skin-coloured’ plasters without realising the privileges that are ongoing in our culture. The novel goes much further than being another easy-to-read, trashy teen book. It moulds and influences our perceptions of society. And this applies to everything that is published as young adult.

Double Cross, the fourth novel in this series, has a sex scene. The way Blackman uses it, however, dispels expectations set up by other young adult novels (think brooding, power-struggling vampires). The two protagonists have sex but the description is realistic and focuses on consent, without losing its romance—“It was awkward and fumbling but it did not matter.”

Blackman presents the first relations between these teenagers in a way that is believable and yet in no way vulgar. Pain and pleasure are depicted and yet this does not feel inappropriate for its target readership. Teenagers are active and engaged readers and presenting them with fallacy is not only dangerous but also unappealing. Clearly Blackman acknowledges her role as educator and influencer and it is this awareness that crafts a useful book. This is no Kamasutra sex guide, but rather a representation of what mutual respect and compassion can look like in a teenage relationship.

In 2015, John Green’s Looking for Alaska was the most disputed book in American school libraries and has since been banned from many. This is due to its ‘sexually explicit’ content. However, as Green himself has admitted, the scene in question is written in a dry, cold manner with a single adjective, “nervous”. Far from trying to incite sexual promiscuity in young teenagers, Green’s novel is a rebuttal of the way that sex and relationships in young adult fiction are often idealised or romanticised to the point of being destructive. Attempting to hide such matters from teenagers is ignorant and harmful—it is called young adult fiction for a reason. In a world irrevocably influenced by social media, by films, and by gossip, and in which sex education is undoubtedly lacking, young adult fiction plays an important role and so has a critical responsibility.

It is easy to turn our noses up at the awkward silences of Twilight or John Green’s novels that can seem like bound print outs of Tumblr quotes, but, like it or not, these books shape our lives and our expectations and at a particularly influential age. Writers should be aware of the way in which their work could influence a young person, and schools and parents have a responsibility to ensure that their children’s expectations are realistic, healthy, and safe.

Imagination and immediacy in travel writing

Glancing along a bookshelf at home, names of countries and cities jump out from the spines of various travel guides. Rome, London, and Japan neatly wrapped and bound in a small volume. But rather than prioritising information, or constraining a sense of a place, a good travel guide, in the view of Rough Guides’ Senior Editor Neil McQuillian, “is distilled by author and editor from reams of research, both online, and most importantly, on the ground.”

The very title of Rough Guides’ compendium for first-time travellers, Rough Guide to First-Time Around The World, admits both the hugeness of the world and the exciting possibility of its navigation. By distilling information and experience, in “seeking to get to grips with a place,” good travel writing perhaps combines a tangible expression of that place’s atmosphere whilst allowing every experience to be personal, spontaneous, and new.

As McQuillian explains, during his research for articles, “I focus on in-the-moment observations and, crucially, interactions with people. You can write some of what will prove to be your article’s best bits right there and then.” Although Google news alerts and Twitter searches are an important kickstarter, the “cardinal travel writing sin is attempting to define a place without engaging the people who live there.”

More impersonal or objective tips are an important part of travel guides, but what really prepares a reader for the place then is this sense of personal experience and its interpretation. McQuillian suggests that “it’s all about imagination to the extent that you’re telling a tale. Hold your ‘real’ experiences lightly in your mind and let imagination do its work, pulling those experiences into a form that others will respond to.” The philosophy of travel publishers like Rough Guides is this: to write adventure, but never fiction, constantly aware that a well-written adventure can let readers’ minds wander anyway.

Indeed, travel writing is a form that has a long and rich history, perhaps peaking in what McQuillian describes as a “travel writing golden age” the 1970s and 1980s, with writers like Paul Theroux and Bruce Chatwin. But more traditional printed forms have suffered a decline since then. The primacy of “on the ground” research remains vital, but just as online research acts as another well of knowledge for printed guides, the internet represents in itself a major medium for travel writing. It is diverse—www.roughguides.com alone contains about ten articles on solo travel, including particularly insightful approaches such as ‘Go it alone: a guide to solo travel for introverts.’ The prolific rise of travel blogs and Instagram accounts also reflect how travel writing has become more democratic and accessible.

Might we see the role of the internet enabling a new kind of golden age? It some ways it would seem not—McQuillian notes how readers are tiring of unreliable reports and biased reviews that may help to explain a recent rise in the sale of printed guides after a diffi cult decade. Interestingly, he points out that print travel sections tend to be longer than online articles, often based on the assumption that online audiences have a shorter concentration span (take the example, ‘17 places to take your pug in Peru’). And while the internet does still off er a wealth of concise, useful articles and snapshots of themes and places, a reviving trend of longform journalism also encompasses quality travel writing, again returning to the narratives of travel, of storytelling and immediate detail.

McQuillian suggests that the decline of more traditional travel writing like that characterised by Theroux and Chatwin can be attributed to a sense of the world getting smaller, travel getting easier. As he reminds us however, “that hasn’t stopped small-mindedness—it hardly needs saying that now there is an urgent need for cultural understanding.” Where cultural relations become defined by statistics and stereotypes, informed and nuanced travel writing can play a unique role in fostering that understanding.

Classic travel ideas still take a hold on people’s imagination—The Rough Guide to Europe on a Budget is available from the 1 March (£17.99) in its fifth edition, for example. At the same time, both in print and online, countless niche approaches to travel are catered for. But as a genre that depends on a sense of freedom and particularity for its raw materials, there is no need to favour one way of seeing—McQuillian suggests that during writing, “your subconscious will see to the thematic choreography.” Travel writing may have evolved, but celebrating cultural engagement in a multitude of ways remains as important a message as ever.