Wednesday, April 30, 2025
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Zone of Interest – Review

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In the first chapter of Martin Amis’ 2014 novel The Zone of Interest,  Golo Thomsen, a Nazi soldier, describes the passing of a lorry revealing its ‘cargo’ to the newly arrived French inmates of Auschwitz-Birkenau. To Thomsen, it’s ‘nothing more than a day’s natural wastage from KL1, on its way to KL2. But of course our Parisians let out a great whimpering howl’. His euphemisms are obvious, yet they are emblematic of the culture of ‘seeing without seeing’ that cast its shadow over the National Socialist period in Germany. Jonathan Glazer’s recent film adaptation of the novel captures this same atmosphere of avoidance, but does so through its visual language rather than through Amis’ sardonic prose. Their shared title, ‘The Zone of Interest’, was the commonly used term which euphemistically referred to the restricted zone surrounding the death camp. It is emblematic of the industrial levels of mass murder that the Nazis committed: reducing human suffering to numbers, and human life to ‘cargo’.

Glazer does not ease us into this horrific world. The first two minutes of the film show only a blank, black screen paired with Mika Levi’s deafening and sparse score. There is no narrative exposition: we are thrown headfirst into the daily life of the Höss family. Rudolf Höss, the patriarch and longest serving Auschwitz Kommandant, and his wife, Hedwig, live in a sizeable house and share a garden wall with the death camp. We watch them care for their children, entertain guests, and be attended to by servants. The servants are most likely prisoners whose one wrong move could result in them being sent back over the wall. They are mostly treated as an invisible nuisance by the Höss family, yet on one occasion, following the early departure of her mother, Hedwig threatens death upon the servant girl as easily as scolding her for burning toast.

Hedwig is perhaps the most interesting character of the film, brilliantly portrayed by actress Sandra Hüller. There is something infantile about her, and though she spouts Nazi rhetoric more than her husband, there is a sense that she does not really understand the words she says, or perhaps she has regressed in an effort to distance herself from them. When her mother visits, Hedwig takes her on a tour of the garden, and jokingly brags at one point that she has been nicknamed the ‘Queen of Auschwitz’. Her garden, like her nickname, is an effort to make light of the atrocities being committed, yet the foundations, the very soil, are inseparable from death. In one scene, a prisoner tills ash into the ground; death becomes the fertiliser for Hedwig’s lush, green Eden. Nonetheless, Hedwig’s sincere or feigned ignorance allow her to be fiercely proud of the life she and her husband have built.

Rudolf Höss’ feelings towards his ‘job’ are more ambivalent. He cares deeply for animals and his children. He takes his boots off before he goes upstairs. He is as childlike as his wife, teasing her from his separate, single bed about her French perfume. The only hint that he feels any guilt comes towards the end of the film. He is relocated to Oranienburg near Berlin, and after attending a party, calls Hedwig and recounts pondering how long it would take to gas the ballroom. It is the film’s most direct allusion to the atrocities he has committed, and, though earlier his doctor had found him to be physically healthy, he begins gagging in the stairwell. The film then abruptly cuts to the modern day as cleaners sweep the gas chambers and wipe down the ovens for imminently arriving tourists. The irony of cleaning these spaces to make them more ‘palatable’ for modern day tourists is as contradictory as Hedwig’s garden of death. The film is less about the ‘banality of evil’, but rather the sanitization of it.

The Zone of Interest ultimately ends as it begins, with the same black screen and deafening audio. There are other instances of these Nazi flag-coloured scenes throughout the film. As the sounds of gunshots fill the garden in one scene, Glazer redirects us to a close-up of a flower that dissolves into a bright red block of colour. In another scene, Glazer films the white sky above Auschwitz accompanied by the sounds of children crying. These more abstract scenes, along with the folkloric atmosphere of the scenes where a Polish girl plants apples for the inmates, were the most moving. Their simplicity forcing us to reflect – forcing us to reflect on the possibility of our own evil.

The Oxford Fashion Gala is Back!

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You heard it here first! After an incredible sold-out 2023 show, The Oxford Fashion Gala is back for 2024, so get the date in your diary (W3 TT24!), because after speaking to the OFG President, David Akanji, and Creative Director Zaira Christa, we’re convinced that it won’t be one to miss. 

In case you haven’t heard, The Oxford Fashion Gala is an annual fashion showcase, celebrating creativity and fashion design which is so often overlooked at Oxford, which, this year, is focused around the theme A Voyage in Ascent. This year’s Gala is in support of Oxford Mutual Aid, a not-for-profit company which is working towards reducing homelessness in Oxford. To give our readers an exclusive insight (!), Cherwell spoke to the team themselves to get all the hottest on their vision for the upcoming OFG, and we can assure you they didn’t disappoint!

It appears that we’re in good hands, with the multi-talented OFG President himself – David Akinja – a second-year medic at Oriel, who explored his motivations for applying for the role as rooted in his experience completing a Foundation Course at UAL, where he focused his Final Major Project around the evolution of the UK black fashion scene and its impact on current trends. David is intrigued by fashion, being at the “forefront of [his] creative endeavours” as an extension of sculpture and 3D art, and is excited to share this creativity through his Presidency! 

The brilliant Zaira Christa, second-year music student at Somerville and OFG Creative Director outlined her motivations as based around bringing her own experience in the fashion industry to Oxford, being her self-titled brand ‘Zaira Christa’, which launched in September 2022 and first took to the runway in London Fashion Week 2023.

The theme, ‘A Voyage in Ascent’, is adapted from Issey Miyake’s SS22 collection A Voyage in Descent. This collection is a representation of a journey into the abyss, whereby the looks play with fluid, dynamic and lightweight fabrics, combined with flowing curves, glossy textures and intense colours to represent a progression into the deep sea, from the silence and peace which come with entry into the water, to the discovery of new creatures and sensations as the voyage continues. The team explored their fascination with, and subsequent adaptation of this collection with their initial attraction to “celestial” ideas and the stark contrast of such with “depths … and darkness”. David told Cherwell that “upon more research, I came across Miyake’s SS22 collection, … which made me think that would be a nice spin to put on it … instead of descending downwards, let’s take that and spin it and bring everything upwards”. The OFG team is keen to “give designers a good breadth to take the theme and push it in any direction … so it becomes a more celebratory event where designers have their own creative vision and they are free to explore any avenue”. Contrast appears to be an element the team is excited to work with, as Zaira explored the development of her original “lunar eclipse” idea, where the “guests would dress in black so the designers would have the freedom to design in any colour”, which was built on by the team’s focus on “celestial bodies, and spiritual ascent as well as literal ascent”

The OFG team plans to make the celebration of who the designers and models are a priority this year, with a production of a catalogue of looks with bios of each designer, and spaces for them to discuss their ideas and thoughts, to contextualise the garments and bring them to life. Zaira emphasises their focus on a “space of creative expression… with a celebration of fashion and art for both designers and guests”

However, the Gala itself isn’t solely about the expression of artistry, as David delves deeper into their focus on sustainability, stating the team’s pledge to “align ourselves with brands that are ethical and … work well with the environment, … adamantly steer[ing] away from retail”, despite its potential economic benefits. The team “values integrity … as a society”, and is encouraging upcycling, emphasising to designers that “you don’t need to go out and buy yards and yards of fabric to create a look! … The resurrection of clothing is an avenue we’re really trying to push designers to go down”. 

Perhaps the most exciting element of The Oxford Fashion Gala, however, is that you can get involved! The call-out for both models and designers is open now on their Instagram, @theoxfordfashiongala! With no experience required, this is the perfect opportunity to channel your creativity, as either a designer or model, as David emphasises his desire to decrease gate-keeping of the industry, and increase inclusivity in the event, calling for “everyone to have fun, and enjoy themselves through fashion”.

Image Credit: Oxford Fashion Gala

Dynamic, Chaotic and Physical: Review of Frantic Assembly’s Metamorphosis

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Frantic Assembly takes on a new challenge, taking a decades old Kafka novel, The Metamorphosis, and putting it to the stage in their signature physical theatre style.

The set consisted of a singular room where nearly all the action takes place, with minimal furnishings: a bed, wardrobe, armchair, mirror and bedside table. The structure of the room itself was deliberately unnerving, painted a dirty grey wash of colour, and no angle of the ceilings and walls was straight as one would expect – making everything feel off kilter, much like the action of the play itself. 

A pivotal moment in the novel that I was waiting for, curious how they would choose to stage it, is the transformation of Gregor into a bug. We see Frantic Assembly’s physical style shine here with Felipe Pacheco as Gregor, using the set and props around him to show the stages of his uncomfortable transition. He starts by fighting against the bedsheets he is wrapped up in, then contorting himself around objects of furniture in the room, in an inhumane fashion, then finishing by dramatically using around five or six chairs bundled up on his arms and legs and splaying the legs of the chairs out emulating the legs of a bug itself. I was expecting them to take a traditional route of some dramatic costume change to indicate the transformation, but instead the focus is instead on the way the actor moves differently and the reaction by the other characters. Felipe climbs on the eves of the walls and hangs upside down by the light cord that hangs from the centre of the ceiling, all in a frantic, transformative fashion. The other character’s chaos in the scene also adds to the offputting nature of the transformation; we are made to feel as disturbed and confused as they do. 

Sometimes, however, the acting felt a bit too farcical and over the top for me. I can appreciate that Frantic Assembly have a certain style of acting they prescribe to, and this piece was no different. But the acting pales in comparison to their production of Othello at the Lyric I saw just a few months ago. Specifically, the acting of Mr and Mrs Samsa made moments that could have been impactful more comical instead. For instance, we get a monologue from Mrs Samsa in the latter half of the play when she goes into Gregor’s childhood, her experience with infertility, how this resulted in her infidelity, and more broad reflections on her marriage to Mr Samsa. The big moment, however, felt a bit tainted by the irritating accent she chose to put on, and the dramatic facial expressions that just didn’t seem to fit with the speech. 

However, the relationship between Gregor and Grete had emotional depth and both Felipe and Hannah Sinclair Robinson (Grete) worked well acting and, more importantly, reacting to each other. We see his care for her in his support of her musical aspirations, and we see her support for him after he is transformed, Grete being the only one that bug Gregor will allow to see and tend to him. There was also character growth from Grete from her childlike, reserved state at the start, to shows of defiance, then her climatic explosion, and then her ultimate submission to her role as daughter and more broadly a woman of society. However, it’s an unfortunate conclusion for their relationship, when Grete concedes to her parents’ wishes and assists in Gregor’s murder. 

Kafka’s themes of alienation and isolation that thread through the novella were explored in the theatrical characterisation of Gregor in the play, enhanced by the group’s physical theatre, including lifts, climbing the walls, and fight scenes. All of which warrant appreciation as it cannot be an easy task to do what those actors do with their bodies. I did feel empathy for Gregor in the play, though I think this could be pushed and explored further by the actors. Like all of Frantic Assembly’s works the play was unarguably dynamic and drew the attention of everyone in the audience, though this should not be in replacement of other essential theatrical elements – it was certainly lacking in other areas for me. Ultimately the play dynamic and eye-catching, and certainly a fun – and chaotic – two hours of my life.

The Holy Trinity of women’s leg wear this summer

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In a moment of divine inspiration, I googled this years predicted fashion trends before I hit the January sales, in the hope that this year my outfits might be both cheap and trendy. This year, according to fashion’s prophet, Vogue, short shorts are in.

Something of a staple of the 80’s and various periods in between, this is more a return than a debut. I suppose we should be grateful that they are an extension to the underwear-like bottoms sported by the likes of Kendall Jenner this past year. I happen to own tiny shorts, and wouldn’t feel a sinner wearing them in public. They’re cute, light, sure to provide some reprieve from the ever-rising global temperatures this summer, and totally work with tights if the weathers not quite there yet. They aren’t, however, without their trials.

A prayer must surely be said for the inner thighs. I am not referring to the omnipresent dialogue surrounding their separation, or lack thereof, recently renewed by the online ‘legging legs’ controversy. Shorts suit thighs of any size. I mean an actual problem, faced by anyone whose legs touch, in a heat wave. Chafing. 

Hot weather, sweat and literally any movement can rub your thighs raw. When tested by this issue last summer, the only salvation available to me was something of an uncomfortable waddle. Anecdotally, I believe applying deodorant or cream are options, though more likely is the classic ‘grin and bear it’ approach of this hell we call fashion.

Similar issues arise when confronted with the need to sit down. Bare skin on any surface is a challenge faced by all attempting to appear a la mode. Metal is always either burning or freezing. Fabrics may be itchy, wood may be splintered, and the ground is a roll of the dice. One could always strike a deal with the devil and sit on a sweater, but is it worth the sweaty price of wearing or carrying it the rest of the day?

The word of Vogue may be as good as gospel, but this fashion resurrection has me sceptical. I have much more faith in their proclamation that we will see a lot of see-through skirts this summer. 

An allegorical interpretation of this particular incarnation of clothing is advisable for any fashion disciples not walking a runway or red carpet. Whilst it does nothing to address the chafing problems shorts provide, it is at least a barrier between you and your seat, if nothing else.

The usual concern with skirts – flashing – does not apply. The skirt is already see-through, and in that regard something of a revelation. Splashing out on expensive underwear, but got no date? No problem! You can show it off to everyone you meet.

High rise trousers complete the trinity of options for leg wear this Spring/Summer season. Not exactly a newcomer to the fashion scene, they are already the soul of my wardrobe, the saving grace of the days I don’t want to think about what to wear. 

Practical, modest, and most importantly including pockets which are either big enough to fit your phone, or could be altered to do so. They have the added advantage of potential wear all year round, instead of being limited to the brief window of the British summertime when it is both hot enough, and dry enough, to allow for breezier attire.

Perhaps fashion’s doctrine is one of suffering. Perhaps chafing thighs are the penance we pay for being on trend (though I challenge those who endorse any uncomfortable outfit to practice what they preach). Though fashion is not a religion, and we need not worship looking good. But I’ll be damned if I don’t feel blessed on days I put a little more thought into what I wear.

New hotel opening on Broad Street

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The Store, a new, high-class modern hotel, is set to open in May on Broad Street beside Waterstones.  With construction reaching an end – after having blocked the corner of Broad Street opposite Balliol College for the past few years – details of the establishment have finally been released. 

The 54,000 square-foot building will hold 101 rooms and offer various luxury experiences. Amenities are set to include a rooftop cocktail bar with outdoor terrace offering city views, a full spa, and an “untraditionally British” restaurant, that will also be open to non-guests. Rooms at The Store will start at £285 a night.

Formerly the city’s oldest department store, Boswells of Oxford, had to close in 2020 after nearly 300 years of operation since its establishment in 1738. Its renovation into a modern hotel has been following the trend of the gentrification of city-centre businesses that failed during lockdown. Some Oxford locals were upset with the change – speaking to Cherwell one local stated: “It’s sad because Boswells was independent and family run – and a great shop”. 

Nevertheless, some have argued that The Store will be a welcome addition to Oxford. Most four and five-star hotels sit on the city outskirts, with expensive exceptions, such as The Randolph. The decoration of the hotel will also pay homage to its roots: art and pictures of the department will be a key theme in many rooms and sections of the hotel.

There are also questions concerning how the hotel will impact the “no traffic” zone on Broad Street and its designation as a walking street, which has been expanded in recent months and is hosting many seasonal markets throughout the year. Although this has not been overtly addressed by The Store, the proximity of the hotel to bus stations and taxi ranks at the end of St Giles Street could nevertheless be a cause for concern.

An Oxford student told Cherwell: “it will be nice to have a new hotel that’s very central and actually nice. My parents, as visitors, have been unhappy with central hotels in the past.” However, speaking with The Business Times, the general manager, Simon Drake, stated: “it’s not just parents of students. There’s a huge leisure business.” He presents the tourism aspect as a key target of the establishment, noting: “So much history and heritage will appeal to Americans, who so far account for the biggest proportion of bookings.” 

With the opening just a few months away, it will be during the coming Trinity term when we will see the impact the establishment has on students, locals, and tourists that make up the signature population of Oxford’s city centre. 

American Odyssey- The world building of Lana del Rey’s music

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The past decade of Lana del Rey’s music has ventured  from the deserts and neon-lights of Las Vegas to the streets of New York, Hollywood, and eventually rural California. This journey through the lens of old-world Americana is enticing, and for me a huge part of what makes her music so captivating. Moulding this narrative not only through where she chooses to place herself, but also how she chooses to express it has lead to Lana del Rey filling stadiums around the world, always keeping us coming back for more. Whether it’s a cry-your-heart out ballad, 60’s inspired lullaby or an effortlessly cool hip hop piece, her world building plays such a large part in her success. However, whilst places and time scales may change, Lana’s continual reliance upon the idea of melancholy and sadness within her work shines through. It’s the melancholy and continual longing for the places she’s left and the places she’s in which makes the listener dive into another album looking for the next instalment.

If we are to think of her albums as these instalments, they feel almost confessional. They track the life of a young twenty something party girl gone wrong into a ranch owning chicken feeding country woman. NFR, her fifth studio album, expresses this metamorphosis clearly when in How to Disappear she writes “Now it’s been years since I left new York/ I’ve got a kid and two cats in the yard/ The California sun and the movie stars/ I watch the skies getting light as I write/ as I think about those years”. Infusions of the confessional into lines like this is part of what keeps us wrapped up in the story. We want to see what area of Americana she’ll lean into next. If it’s not the starlet, the old-money darling or the free-spirited hippie what could it be? In light of this, it’s possible to draw comparisons between Lana and Taylor Swift. Both rely heavily on creating set time-periods in their work or in Taylor’s case, Eras. On the sides of both del Rey and Swift this is a clever marketing tactic because why pull in only one fan-base when you could have four or five? Listeners can identify with their chosen album, infusing into it their own memories, feelings, and journey. It’s common knowledge and pretty obvious that artists are never going to stay the same, take Lorde’s transition from grunge Tumblr teen to Solar goddess. However, the difference in Lana’s take on this  sets her apart from her contemporaries, she not only builds lanscapes, she immerses us in them.

The landscapes she builds for us may drastically shift, yet there’s a distinct sense of cohesiveness to all of her projects. Just take a look at any of her lyrics, there are constant repetitions of “tears” “racing cars” “guns” “roses”  or perhaps most infamously “cola”  tie her many lives together. This kind of lyrical branding, honing in on specific words and their connotations in order to paint these landscapes are central to her brand. Immediately, when we think of them, our mind draws back to this idea of the sad-girl, bad-boy universe she plays into that it almost becomes referential to what she’s actually saying. Whilst readings such as this have drawn controversy from both the media and the songstress herself,  in a 2019 Twitter battle amidst the NFR release, Lana got back at critics by quipping: “Never had a persona. Never needed one. Never will.” Her shape shifting and reliance on specific tropes make it really easy to see why this conclusion might be drawn. However, for me, it’s always been possible to see Lana not as a persona but a commentator for our times and our culture. She references, she provokes, and she engages us in her world building. After all, who else would be able to say “pass me my vape/ I’m feeling sick/ I need a puff” after writing something as poetic as Margaret? She’s up to date on every aspect of today’s cultural milieu but isn’t afraid to look back to the past when it might seem more poetic. It’s this tongue in cheek observing and crafting of her sound which is testament to her value as an artist rather than a persona.

Lana’s sound and brand seems to be a never ending public and private journey. From listening to her first album on my iPod mini aged 9 (the consequences of unfettered access to the internet) one thing I’ve learnt is that she’s never tiring.  Even though we’re now a decade on from that release, it’s still an album I continually return to. Why? Because it’s exciting. Amongst her other works, I get to go on a journey, to sepia toned flashes of diners and parties and beaches  whilst meeting bikers , celebrities and maybe the odd gangster along the way. With her headlining of Reading this summer and release of her country album Lasso this autumn, I’m only more excited to see the new territories she’s charting. 

Student Union Chair resigns over alleged undemocratic Board practices

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Chair of Student Council Isaac Chase-Rahman resigned at a meeting on 27 February in protest of “disregard for democratic principles” by “SU’s leadership and Trustee Board,” which struck down two motions of no confidence.

Chase-Rahman, who has been Chair for the past two terms, said in a speech to Council: “It became immediately apparent to me that the SU has been systemically mired in difficulty, challenge, and most importantly, a disregard for democratic principles. I hold these democratic principles in high regard, and lament the role I have been forced to play in casting fair and reasonable democracy aside.

“The events preceding this meeting have been wholly undemocratic. The decision of the SU’s leadership and Trustee Board to reject motions of no confidence in a sabbatical officer and a sabbatical-elect acts only to shut down student voices without valid cause. Giving obscure explanations of ‘ongoing investigations’ and ‘organisational risks’ is insufficient and unacceptable.

“As the Chair, it is my responsibility to be unbiased on motions. I maintain that with these motions of no confidence too. But the SU cannot function with such willful disregard for democracy, and it would be unreasonable to expect any Chair of any Council to function in any SU while it continues in this way. It is therefore with a heavy heart that I feel I have to make the difficult decision to resign as Chair of Council with immediate effect. I hope the Organisation takes pause to reflect on its current course and make necessary changes for the students it purports to represent.”

In an email to the Steering Committee, the SU Democracy and Community Manager wrote: “Unfortunately both VONC motions will have to be struck from the agenda for next week’s meeting. Trustee Board has informed us that both include content which is subject to ongoing investigations which will need to be resolved before the motions can be heard and we have highlighted some significant organisational risks with the Board.”

Additionally, they wrote that a “procedural motion” has been removed “as it relates to one of the struck motions.”

Previously, University College Junior Common Room passed a “motion of no confidence and condemnation” in the SU Welfare VP-Elect Alfie Davis. The motion states: “The Student Union, referring to a non-descript ‘investigation’ blocked the no confidence motion in the Student Council. When prompted for an elaboration, the SU refused to provide one.”

As such, Univ JCR resolves “to urge the SU to allow the no confidence motion to be heard at Council.” If this item is not met by Trinity Term’s first SU meeting, the JCR resolves to “conditionally suspend affiliation from the Student Union.”

Davis states: “It’s important to note that for a no-confidence to be raised, something impeachable has to have occurred, with factual evidence to support such. Whilst there’s been an attempt to distort private messages taken from me out of context, which were used to make entirely libellous and defamatory statements, the SU requires evidence for a motion to be brought.”

SU president Danial Hussain, after returning from four months of suspension, was not physically present. As there was no Chair nor Returning Officer, VP of Liberation and Equality Kennedy Aliu chaired the meeting.

Cherwell has contacted the SU, Bell, and Davis for comment.

Nuclear Bombs and Feminism: Monica Sjöö’s Exhibition at Modern Art Oxford

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Monica Sjöö: The Great Cosmic Mother.

Based on the Modern Art Oxford posters, Monica Sjöö’s activism appeared to be a driving force for social change. I, therefore, wanted to understand how her deep passion for female liberation could be communicated through her artwork and how the gallery would display such an important genre of work.

The first gallery room was like a white, empty shell, but it was Sjöö’s artwork that brought the space to life. The art installation was filled with repeated motifs and imagery of female spirituality and independence that juxtaposed the known adversities faced by women in a patriarchal society and empowered any person who entered the gallery on that day. 

Sjöö’s stylistic block print letters in Back Street Abortion – Women Seeking Freedom from Oppression (1968) epitomise the hardship faced by women as a consequence of, as noted by Sjöö, ‘Medicine controlled by men’. Sjöö argues that the right to contraception and legalised abortion were not a decision of the mother. Instead, her health and bodily autonomy was determined by the male-dominated system which shaped twentieth-century health care. The grief communicated by the figures in the painting acts as a record of the voices and protests of women in the past, like Sjöö, which greatly shaped the privileges of women today. In that moment I saw Sjöö not as an independent artist, but part of a collective group of women – a generation of women – fighting for liberation and justice.

Her work was further contextualised through the use of photography and film recordings. The simplistic layout of the first gallery room is contrasted immediately by the collage of posters plastered to the wall. Sjöö’s poster Women need not always keep their mouths shut and their wombs open (1968) was scattered across the installation and encapsulated the battles faced by Sjöö and other contemporary feminists. Her political consciousness, fighting for the right to abortion and sexual autonomy were translated directly through her artwork on display. Her work felt tactile even against the wall and reflected Sjöö’s own activism as it transcended beyond the canvas.

From a recording played at the gallery, Sjöö’s activism is evident through her participation in the Women for Life on Earth Peace March at Greenham Common Women’s Peace Camp. Footage from the Greenham Common protests, starting on 27 August 1981, reveals how Cold War tensions were a direct and ‘dangerous expression of masculinity’ as noted by Niamh Walker. Military irresponsibility was challenged by the position of mothers protesting against the use of nuclear weapons. The women did not just defend their own position, but that of their children and of families that had no say in the war that was unfolding. Sjöö communicates this through her Women for Life on Earth banner, which she is also depicted holding on a postcard at the gallery.

Monica Sjöö’s work portrays the generational and collective experiences of women from birth to motherhood. Her role and position as a woman were constantly evolving and it was these experiences that she translated to the work she created. Her title ‘The Great Cosmic Mother’ can, therefore, only begin to portray the transcendental experience of Sjöö’s art. 

Photography by Taya Neilson

The Oxford college named after a fascist

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CW: Paedophilia, antisemitism, racism

You’ve probably heard of Nuffield College – a small postgraduate college, specialising in the social sciences, situated between the Westgate and Worcester College. You probably haven’t heard of its eponymous founder, however, William Richard Morris (1887-1963), the first Viscount Nuffield – but you definitely should have.

Visiting Nuffield College’s website and the short biography of Morris contained within, the impression given is that of an unambiguously benevolent civic hero all Oxfordians should be grateful for. Morris, the article describes, was a genuinely self-made man, who worked his way up from nothing to becoming ‘the British Henry Ford,’ before giving away his millions to worthy causes across the city.

I am not sure that, in my time as a History student, I’ve ever encountered such a selective reading of the past. Morris was a great industrialist, yes, and a generous philanthropist; he once remarked: “I can only promise you this, that for the rest of my life I will do my best for mankind.” But rarely has a promise been broken so completely. Not only was Morris a pro-Hitler fascist and 20th century Britain’s leading financier of far-right politics, but a deeply oppressive and cruel employer, a pedophile, and, ultimately, perhaps the most wicked man still celebrated unreservedly by the university.

Any investigation of fascism in 20th century Britain is likely to highlight Morris’ central role. His involvement with far-right politics began in 1930, when he gave £50,000 – almost £3 millions in today’s money – to Oswald Mosley’s New Party, the precursor of the British Union of Fascists (BUF). The BUF would spend the next few years physically assaulting Jews on the streets of London, advocating a Britain exclusively for those of ‘British Birth and Parentage,’ and seeking collaboration with Mussolini’s Italy and Hitler’s Germany. Mosley made little secret of his admiration for and friendship with Morris, describing him as his ‘chief backer’.

Two years later, Morris gave another £35,000 – around £2 million in today’s money – to Mosley to establish Action, the BUF’s primary newspaper. Action’s antisemitism was open, virulent, and occasionally violent; decrying the “filthy, obscene Jewish Communists”, it advocated disenfranchising them and “holding them under restraint” so as to protect native Britons. Jews, in the pages of Action, are to blame for all of society’s ills; it is they who control the “financial democracy” of the world, oppressing hard-working Britons and stealing their money for their own kind, seeking to “destroy Christianity” while using their control of the media to divert eyes elsewhere. Action also took every opportunity to refute criticism of Nazi Germany, and particularly their treatment of Jews – describing it as “mild”, “justified”, and as far less harsh than the treatment of Catholics elsewhere in Europe.

But by 1932, British public opinion was increasingly turning against fascism – and so Morris increasingly made his support for the far-right more subtle. He stopped directly funding Mosley, but became one of the leading figures of the Anglo-German Fellowship: founded in 1935, the Fellowship was a high-society membership organisation dedicated to building bridges with Hitler’s Germany, which held dinners with leading figures of the Nazi regime including Heinrich Himmler, Joachim von Ribbentrop, and Rudolf Hess. Even during the war, he was involved with the National Front After Victory, a far-right organisation whose name was later shortened to the National Front. Once WW2 was over, and most of Britain disavowed fascism, his beliefs still remained the same: “it is a well-known fact that every government in my England is Jew controlled regardless of the Party in power”, he wrote in his diary.

Morris didn’t give all his wealth to the far-right, however; he did, admittedly, give lavishly to genuinely charitable courses – he gave millions to the university, for instance, helping fund not only Nuffield College but St Peter’s too. But these donations were made from wealth accrued by brutal means. Wages at his Oxford factories were abominably low – in some cases, people were paid as little as 19 pence for a week’s work (the average annual salary in Britain at this point was several hundred pounds). When his workers began to rise up against these conditions – something they were forced into doing, the factories being so hot work was virtually impossible – he clamped down. Morris was fiercely anti-union, and promised to fire anyone who joined one.

Morris’ crimes were not only political and economic, however – they were also deeply personal. In 2015, Ann Vaughan made a police report, as documented by the Daily Mail, documenting the horrific abuse Morris had subjected her 12-year-old self to. Morris showered her family with gifts and was, in exchange, allowed to do what he wished to their daughter; he repeatedly sexually abused her over the course of a decade, groping her genitals and forcing her to tell him she enjoyed it – he only refrained from penetration out of a fear that doing so would result in traces that could be identified by police. These are allegations, yes; but they are allegations it is difficult to question. “I’m sure I was not the only little girl that Nuffield abused,” Vaughan told the paper.

Oxford University has a dark past. It was financed on the back of the transatlantic slave trade; it has educated countless colonial administrators and tyrannical dictators; colleges have even had students burnt at the stake outside them. But the University has increasingly faced a historical reckoning – consider the enormous ‘Rhodes Must Fall’ protests over the past decade, or the plaque at All Souls commemorating the slaves who financed it.

That reckoning has yet to reach Nuffield College. There have been no protests, no outrage, over the fact that a fascist pedophile, who stood for everything our modern society should abhor, continues to be unambiguously celebrated by the university authorities. Fundamentally, no one seems to care that, if you are Jewish, or LGBT+, or almost anything other than a wealthy white British male, whenever you say the name Nuffield College, you are saying the name of a man who would’ve wanted you dead. That ought to change.

A crash course in British politics: The scandals of recent years (Week 5)

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After having clarified the basics – how elections in the UK work and looking ahead at who will be the next Prime Minister – this week’s article will look back at recent history. Specifically, this article will explain both parties’ recent scandals, which are paramount to understanding their standing today. First, since the Brexit vote the Conservatives replaced five leaders – Cameron, May, Johnson, Truss, and Sunak – in what was described as an implosion. Second, Labour’s Corbyn-antisemitism scandal.

The Conservative Party has governed Britain since 2010 – 14 tremulous years around the globe. The Arab Spring, democratic backsliding, the Trump presidency, and the Ukraine War are some of the major events that shaped where we are now. Another major contender, especially in this country but not exclusively, is Brexit. In 2016 Cameron called a referendum, believing he could win and “put the issue to sleep”. However, to his surprise, after some of his closest Conservative allies campaigned against him, he suffered a narrow defeat – and resigned. The Brexit vote and consequent resignation of Cameron sent the Conservative Party into a tailspin, which it is yet to entirely recover from.

May followed Cameron as PM and served for three years (2016-2019), attempting to find an acceptable Brexit deal. However, upon failing to pass her plan in Parliament three times, and in the process losing the support of her party, she resigned. Then came the controversy-riddled Johnson, whose tenure included illegally shutting down Parliament (2019) and corruption allegations (2022). But what eventually brought him down was “Partygate” – a series of illegal parties in 10 Downing Street during Covid-19 lockdowns. As a result, Johnson resigned (July 2022) and was replaced with Truss, who resigned 44 days later after causing an economic crisis through massive tax cuts and borrowing. Finally, Sunak became PM (October 2022), and although he has not achieved all his goals, he has at least held onto his seat so far.

Second, Labour’s antisemitism scandal (2016-2023). Under Corbyn’s leadership, Labour dealt with a list of scandals regarding antisemites in its ranks and improper handling of antisemitism complaints. Importantly, Corbyn himself was repeatedly accused of antisemitism, in addition to claims of antisemitism among his supporters. After Corbyn lost the 2019 general election, Starmer replaced him as leader in April 2020, and, later the same year, the Equality and Human Rights Commission (EHRC) completed an investigation into multiple antisemitism accusations against the Labour Party. The investigation concluded Labour acted illegally and charged it with three counts: harassment, political interference in complaints, and lack of training on antisemitism. While Starmer apologised and vowed to change the party’s ways, Corbyn rejected the findings and claimed they were politically motivated.

Corbyn’s reaction, seen by many as proof of his antisemitism and the need for substantial change within Labour, led to his suspension from the party (which made him an independent Member of Parliament). Furthermore, in February 2023, Starmer announced that Corbyn would not be allowed to run as a Labour candidate in the upcoming general elections. The same month, it was decided that Labour’s implementation of change in regard to antisemitism was sufficient to take it out of the EHRC’s special measures.

To understand the current election, we ought to understand the things that shape them more than anything – including recent controversies. These events caused great ripples that shook the parties’ electoral bases and perception of them. Be sure, many voters will have them in mind when casting their ballots.