Thursday, May 15, 2025
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In conversation with the directors of ‘Anna Karenina’

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Maria Shepard’s musical adaptation of Tolstoy’s Anna Karenina began as a distant dream. She began writing the songs two years ago, after reading the classic Russian novel for her Oxford interview. Over dinner at a ball, a vision began to form as her friend James Tibbles persuaded her it would be possible to bring the show to life on an Oxford stage.

Maria admits that it’s been “a long process,” but it’s clear that it’s been an exciting one, too. Now taking on the role of musical director, Maria is joined by co-directors James and Suzy Cripps. As we discuss the production, the evidence of the trio’s excitement is visible on their faces.

The team have gone to great lengths to create this original musical. As well as writing the music, Maria retranslated the original book, which James and Suzy used to develop the script. After casting in November, the script was reworked further as they took inspiration from their cast.

The team takes quite a bit of license with the story. Comic elementssuch as the friendship between characters Lydia and Betsyare extended to avoid an overly melodramatic and sentimental retelling of the story. There is also a focus on character psychology, especially in Anna’s case, where her fear of being watched taps into the very modern preoccupation with surveillance. “The claustrophobia comes through in the ensemble numbers,” the directors explain. In the course of over 20 musical numbers, the ensemble characters serve almost as a Greek chorus which frames Anna’s story.

Whilst this complex love story is incredibly marketable, it was undeniably difficult to adapt. I ask the team what we should expect from this nuanced retelling, and their answer is simple: “Russian decadence”. The O’Reilly will be transformed into a large palace, with the set design is structured around grandeur, and a live orchestra accompanying the actors from the balcony. We’re also in for some moving performancesthe directors are thrilled with the way their cast have responded to their project, with Amelia Gabriel and Henry Jacobs reinterpreting the roles of Anna and Karenin respectively, aiming to make them more relatable to a modern audience.

The directors tell me that this is the most exciting production they have ever worked on: “We spend so much time after rehearsal talking about how much we love the project,” Suzy says. Although it’s the first time James and Suzy have worked together, they call it an “organic partnership,” and want to take it further in future.

Some sympathy for Anna, but mostly a feeling of catharsis, is what they want the audience to leave with. “We want people coming out not quite sure how to feel,” James explains. Ultimately, it will be a very intense story balanced by music and comic relief. I’d say this remarkably original take on a classic story is one you don’t want to miss.

Exhausted tropes and the odd jump scare: ‘Split’ review

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Split follows Shyamalan’s clever little horror The Visit (2014), a film that delivered a chilling Shyamalan twist and plenty of dark comedy to sink your teeth into. However, does Split live up to its hype and will Shyamalan ever recapture the magic of his Sixth Sense glory days? Split begins with the sudden, somewhat frightening abduction of three teenage girls by a man we come to know as Dennis. We find out that Dennis likes to watch young women dance. Dennis is beyond creepy.

But Dennis is not alone. In fact, Dennis shares the body of Kevin Wendell Crumb (is that the best name Shyamalan could come up with?) alongside twenty-three different personalities, all screaming to get out. However, there’s actually a 24th personality that has never reared its ugly head: the Beast. This personality is superhuman and, as promised by nine-year-old Hedwig in the trailer, “has done bad things and will do bad things to you”. Most of the action comes from the heroine of the film, Casey, played by Ana Major Turner who stunned in The Witch, in her fight to escape the labyrinth apartment she’s locked in.

The most exciting, truly mesmerising aspect of Split is James McAvoy. His performance in this film is a career-defining moment. What he does in Split is rarely seen in cinema. Tom Hardy and Jake Gyllenhaal are a select few who have played two parts in one feature, but five characters is almost unheard of. McAvoy slides from an effeminate, Boston fashion designer to a frightening old lady through a simple, imperceptible eye movement, akin to Antony Hopkins in The Silence of the Lambs. Split is an acting masterclass to any budding thespian. Ana Major Joy equally shines, striking the balance between a quiet melancholy and violent fearlessness. The scenes between Hedwig and Casey are the most emotionally wrought, enthralling and even comedic of the film, breathing life back into Split when the momentum lags.

But ultimately, this is simply not enough to make Split a convincingly good horror film. Shyamalan relies on exhausted tropes and the odd jump scare to try to create horror, but often falls flat.

The problematic convention of one girl being more worthy of life than her sidekick scream queens—who are given contrived dialogue, and deserve to die because they like their iPhones —has no place in modern horror. The beyond troubling representation of DID (dissociative identity disorder) further begs the question of Split’s ethics, or lack thereof. And besides all of this, the truth is that Split is just not that scary.

Speaking more generally, the film never quite picks up the momentum promised by the trailers. Tension is often drained with mundane and irrelevant scenes of exposition from Kevin’s therapist, treating the audience like students in a lecture theatre—can we ever escape?

This contributes to a stagnating pace that runs out of steam by the third act. Oh, and of course there’s the Shyamalan twist. Unfortunately, it is so conceited that it is created for an exclusive select few. Indeed, the twist is smart and re-frames everything, but could mislead audiences all the way back to The Sixth Sense (1999), further muddling an already messy film. Spoiler alert: watch Unbreakable (2002) first.

This film proves Shyamalan has a long way to go to re-realise his full potential as a screenwriter and director, however I’d still recommend giving it a watch purely for the thrill of watching McAvoy at the very top of his game.

Films to cure fifth week and Valentine’s blues

Thanks to the arbitrary malice of the Oxford admin office and the Gregorian calendar, Valentine’s day this year falls in the middle of Fifth Week, and you know what that means—a double whammy of fifth week and singleton blues. So, to cheer you up, Cherwell has compiled the official film guide to curing your blues via the box:

Single? This film will make you glad you are. Gone Girl, David Fletcher’s adaptation of Gillian Flynn’s 2012 thriller, would surely win any prize going for the worst film to watch on a first date. Centred on the disappearance of Amy (Rosamund Pike), all signs seem to point at shifty husband Nick (Ben Affleck) as the source of her disappearance, but as the police investigation gets underway it becomes clear that something is amiss. If you want to watch the picking apart of a dysfunctional marriage to hammer home that all relationships are secretly fuelled by hatred anyway, Gone Girl will bring some validation to your sorrow.

For a more realistic portrayal of the perils of modern dating, you can’t go wrong with 500 Days of Summer. Zooey Deschanel plays the titular Summer, a prototypical manic pixie dream girl constructed by Tom (Joseph Gordon-Levitt), and the film plays out the gradual failure of their relationship over the course of a year and a half. It may not be cheerful but at least it’s realistic, and it is certainly pleasing to see a film that deconstructs its own tropes—the recognition of Tom’s naïve perception of women is made manifest in the cathartic ending, in which Tom meets a girl named Autumn, proving that Summer was, to him, a phase and not a person in her own right. So, if you’re experiencing something of a winter of discontent, 500 Days of Summer could be just the one for you.

Too scared of commitment to commit to an entire film? Try an episode of Lovesick to cure your heartache. Originally billed as Scrotal Recall, Lovesick follows Dylan, a 20-something recently diagnosed with chlamydia who is tasked with telling all his ex-partners about his diagnosis. Every episode is centred on a different ex-girlfriend as the show continually jumps back and forth in time. Perfect for dipping in and out of. Cheeky.

Sometimes we all need to have a good old fashioned cry, and especially since it’s Fifth Week, perfect crying material comes to us in the hands of Disney’s Up. Unless you’re really into cartoons about old people exploring the rainforest, watching the entire film won’t be necessary. Just opt for the first ten minutes and the sequence in which Carl and Ellie’s marriage is summarised, to remind you that love is fleeting and ephemeral at the best of times— and if a pixelated old man can’t be lucky in love, what does it matter if that girl from Bridge the other night didn’t text you back?

Need a total and utter distraction from anything vaguely work/romance related? Let childhood classic Finding Nemo distract you with its rather ominous tale of a fish being kidnapped. It may not be high culture, but it does have some valuable life lessons for us all, so when in doubt, remember—“just keep swimming.”

Life Divided: sub fusc

For (Nicola Dwornik):

Clothed in the three-piece ensemble, I am an art project.

The trailing cape—made from black tissue paper—would cause Neil Buchanan (the Art Attack divinity) to burst with pride. Forget the absorption rates of Thirst Pocket Household Towels, sub fusc is fucking useless at sucking up your tears formed by inadequateness and non-existent knowledge. At least, then, it’s representative. The streamer-like strips that stem from your shoulders provide a pre-lash celebration for the failure that you’re about to execute.

Let’s forget about the clothing itself. In reality, it’s all about the procession: the swagger from college to Exam Schools. It’s like the arrival at Hogwarts, without the boats and Hagrid’s esteemed direction, and with the added opportunity of being run over by a bike. You may be shitting yourself about impending doom, but at least you can be papped by tourists wearing a becoming all-black outfit—that really brings out your under eyes—and be shitting yourself all at the same time.

The crowning glory of sub fusc trio has to be the mortarboard, regarded colloquially as the hat-which-must-not-be-worn. But, despite this, it’s highly multifunctional. Aside from its use as a small square umbrella to guard oneself against pathetic fallacy, its underside also functions as a badly designed clutch bag. It can even keep your pencils warm—how glam!

So perhaps sub fusc isn’t the most comfortable thing ever created. But, boy, does it allow you to perfect the ‘ceremonial strip’ as you enter the exam hall. Imagine if we were allowed to wear our own clothes to exams? How would we even begin to feel like the naked husks of men and women, that most of us will inevitably resemble by the end of our papers, without this procedure.

Sub fusc is gloomy. Exams are sombre. Let’s celebrate interconnection.

 

Against (Anoushka Kavanagh):

You’ll only truly understand the ridiculousness of sub fusc once you’ve had the experience of wearing it to eat chips with pasta, sit twelve hours of exams, and be lathered in shaving foam and glitter, all in the same wholly inappropriate funereal attire.

It may seem cool that we get to dress like Harry Potter every day, but to the average Oxford student, it’s really rather not. The only way in which sub fusc could possibly be opportune is if the gown were able to assume Potter-esque qualities of invisibility, as you sit sweating in your Prelims, furiously trying to unleash your arm from its starched white cage as you watch the minutes tick by.

I’ve never liked sub fusc, and not just because it exists as an ever-present reminder of Prelims trauma, but because I had hoped that I’d finally left the restraints of uniform behind in year eleven. Alas, upon arriving in Oxford, I found that my style choices were yet again to be dictated to me again, this time by centuries-dead men. Any individuality or style was to be replaced by monochrome garbs. Their outfit choices posed a dreary reminder that for the next three years, my life would be just as sombre.

It’s a shame, because minimalist monochrome has the potential to be quite fashionable. However, this season’s Chanel line sadly doesn’t quite seem to work with the ill-fitting blouse and—too long to be cool, too short to be stylish—skirt. Furthermore, those annoying flaps of spare material, dangling awkwardly from your shoulders into your soup at dinner, will stop you from ever resembling Karl Lagerfeld.

A splash of colour brightens up your outfit at trashings, a reminder you’re temporarily free from the monotonous sobriety of library life. But, I think the subsequent trip to the dry cleaners in attempt to remove the congealed shaving foam really sums up sub fusc.

“What exactly is that?” They ask. Yes, what indeed.

Kawaii Couture

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One of the most prominent features I will remember from meandering through the busy streets and alleyways in Tokyo is the vibrancy of the fashion in the city. It’s impossible to miss the (somewhat stereotypical) features of Japanese style, as depicted in trending anime and manga prints over the world. There are many recognizable ‘looks’, such as the controversial Kogal or ‘schoolgirl’ style, the ‘Lolita’ (a cross between Victorian and French late-Baroque Rococo fashion), as well as countless products featuring rounded handwriting, Hello Kitty or Pikachu icons. These are all elements under an umbrella of an aesthetic coined as kawaii.

Kawaii may be translated as the element of ‘cuteness’ or ‘adorability’ in Japanese culture. The origins of this style, seen as pom-pom hairpieces or even full wigs and costumes for the committed fashionista today, dates back as far as the early 11th century. A classic piece of Japanese literature, The Tale of Genji, by Lady Murasaki, used kawaii to refer to the “sentiment of pity and empathy”, as well as people who inspired this feeling. According to John A. Lent in his ‘Themes and Issues in Asian Cartooning’, the use and context of kawaii evolved over centuries from being tied to the vulnerable aspects of human bodies and emotions to be more firmly related to the attraction of children and females who were pitiable, sensitive and compliant.

For most Japanese women, being called kawaii is a compliment. Commercially, kawaii was, and still is, a hit – merchandise labelled as kawaii can extend from stationary and styles of handwriting to toys and fashion. Alongside kawaii outfits exhibited on young girls and women walking around bustling city streets alike, is the style of burikko, the appearance and in particular, behaviour, of a helpless and cute young girl. Burikko was coined in the 1980s by Seiko Matsuda, an idol in Japanese popular culture, and emphasises the childlike behaviours associated with cuteness displayed by many Japanese girls who dress in kawaii fashion. Whilst this appearance may be controversial in its sexual implications of being attracted to submissive, innocent girls, it is nevertheless apparent in many Japanese girls’ everyday attitudes and fashion choices. Categories of ‘cute’ fashion such as Lolita and Sweet Lolita feature ribbons, bows and lace, pastel colours and ruffled petticoats in imitation of innocence and beauty. Childhood characters such as Bo Peep, fairies and baby dolls serve as inspiration and affect the mannerisms of those who subscribe to these fashions.

Tokyo street style is embedded with cute culture, displaying a bold array of fashion characters, and serves as inspiration even to high fashion brands. Designer Shigeki Morino’s A/W 2015 Collection, whose target customer is the sensitive ladies’ man, takes from 1970s Tokyo street style in colourful striped suits and delicate tailoring derived from the essence of masculinity in female clothing. But the majority of kawaii fashion remains on a more affordable level, as numerous street fashion labels have adopted Lolita-inspired lines, with many Tumblr and Pinterest accounts dedicated to these styles.

However controversial the cute, submissive kawaii female is in popular fashion and culture, it has nevertheless served as inspiration to generations of Japanese young adults. Kawaii continues to be one of the most defining features of Japanese culture in general, and a fascinating phenomenon in fashion in particular.

Spotlight: Boxed In

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Boxed In might have now released two albums, but they’re still an underground and undiscovered force. Oli Bayston is the mastermind behind the band, and you can tell that he was at one point the assistant to Hot Chip’s producer.

Indeed, in many ways this feels like the natural progression of the Death From Above sound which burst through in the Noughties—the nifty piano riff of their best known song ‘Mystery’ has more than an echo of LCD Soundsystem’s ‘All My Friends’.

That’s not to ‘box in’ the band: they are never in danger of sounding derivative. While Bayston, like James Murphy, is adept at taking a sound and slowly letting it run its course, his downbeat (yet occasionally uplifting) melodies feel much better suited to 2017, or Trumpton as it is now known, than previous dance-rock efforts.

In the latest release Melt, Bayston’s often soaring yet melancholic melodies come to the fore across an impressive selection of songs. The title track, as well as the album closer ‘Open Ended’, are flawless pieces of song writing. It’s not a perfect album by any means, but it demonstrates that Bayston is clearly a fearless and innovative musician with an ear for a good melody and a great beat. One to watch.

Preview: Suddenly Last Summer

“A wild ride”. That is what the cast told me their production of Tennessee Williams’ Suddenly Last Summer would be and they were right. The production spills a mixture of madness, violence, and sex all over the stage, powerfully blurring each to allow the audience to discover strange truths. Barefoot actors, dynamic choreography, characters chasing each other and live music palpitating in the background create a sense physical rawness and dynamism, but always balanced by a delicacy emotion behind it. I got the impression that the wildness was not just the actors letting their hair down in the preview; it pulses through the entire fabric of the play and of this production in particular. The cast and the director radiate this vibrancy, even off-stage.

Suddenly Last Summer is a family story, but not a familiar one: domestic problems are rooted in memories of enigmatic events that took place in a wild and foreign natural landscape. Adventurer and poet Sebastian has died on a trip abroad and now his elderly mother, Miss Violet Venable, who adored him, is left to manage his reputation and his money. But there are complications­–what happened on the trip (last summer) is uncertain and the only witness available is Catharine, Sebastian’s cousin, who accompanied him, but she has apparently gone mad. A doctor with an odd name and even more unusual methods is called by Miss Venable to help her understand the situation and bring Catharine under medical control. Considering that the play was written as a shorter one-act, Williams’ original script has been maintained well, but the performance is extended with mute flashbacks, creating a puzzle to reconstruct. The audience is left to constantly wonder, ‘what happened?’ and ‘what went wrong?’

The acting was impressive across the board, but I was particularly struck by two performances. Miss Venable was interpreted by a cross-dressed male actor (Derek Mitchell), adding an interesting queerness to the play, but he also dominated the stage and other characters convincingly and realistically. I was blown away by Catharine (Mary Higgins), who performed her supposed madness through an eclectic and ever-changing set of moods: romantic, cheeky, aggressive, hysterical or calm. It was a highly memorable performance. The use of dual roles in some flashbacks were more meaningful in some scenes than in others, but always they reinforced the links between past and present.

The director (Sammy Glover) clearly knows her Tennessee Williams, as one can see in the hauntingly beautiful set full of shadows, a cleverly placed curtain and hanging debris, as mysterious a haze as Sebastian’s past. She followed Williams’ detailed stage directions with the colour and impressionism of the costumes. Nevertheless, the originality of her approach, imbuing the play with movement and dynamism, made the piece even more special. She asked the actors for “breakneck energy” when required and I felt that watching the play. There is a balance of tender stillness in the retelling of memories, in which Williams’ lyrical language takes centre-stage, and of physical violence, in which the actors’ movements amazed me, especially in the flashback choreographies. The only problem, as I see it, is that the fierce dynamism is overdone in one or two scenes (because an old, sick Miss Venable can plausibly only be energetic up to a certain point), and that was unnecessary because the concept is effective overall. Still, I would rather see too much than too little and the play builds up to the climax perfectly.

You will be shaken, as this play exposes the flesh in the coldness of others’ gaze, but never numbed, because emotion constantly breaks through. Go, because it isn’t just another play and it’s not for the faint-hearted.

 

Girl meets girl: re-writing cultural scripts

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In Carol, the Todd Haynes film that tells the story of two women who fall in love in 1950s New York, silence dominates. The love of Carol and Therese is primarily expressed not in gushing speeches or poetic declarations, but in looks, photographs, and visual motifs. Their blossoming relationship is shared perfume, a presence in the passenger seat on a long drive, and a twin bed left empty.

As two women in an bigoted world, they haven’t been provided with an vocabulary for their feelings—the glib words on the inside of Valentine’s day cards and the love-songs trilling from the record player aren’t for them, and thus they are left to forge their own way with no easy model to follow. Unlike the toy train set that Therese sells to Carol, there is no track laid out for them, as they cannot easily click into place and start the automatic, pre-planned journey of heterosexuality.

Mainstream culture provides the blueprint for a straight relationship. Smash open the film industry, for example, and you will find ‘boy meets girl’ written through it like words in a stick of rock. It is steeped and saturated in men loving women, sagging under the weight of men who care and the women who fall into their open arms.

True, each new trailer might scream that this time it is different— the hero is unconventionally attractive, the heroine is ‘goofy’, there are characters who are above a size 10—but essentially it is the same cookie-cutter, different icing. If cinema is to be trusted, it seems that the standard mating-ritual involves the man behaving like a spoilt child, who the woman must be angry with for a short while before winning him round with her sweet personality and an artfully deployed sundress.

Perhaps this is why—brace yourself—I hated La-La Land. Originality does not consist of the heroine ending up on the arm of a different identikit white man to the one you first suspected she’d go for. In The Waves, Virginia Woolf captures this structure of heterosexuality, which supports so many books, films and songs: “Among the lustrous green, pink, pearl-grey women stand upright the bodies of men. They are black and white; they are grooved beneath their clothes with deep rills”.

Heterosexuality is a language of difference, comprising of the strong, steady male and the decorative, delicate female. One of the joys of being queer is that your love and desire, or lack thereof, resists and rebels against this narrative.

By not fitting into the conventional equation of ‘cis man+ cis woman= stuff of dreams’, you are re-writing gender. However, as exciting as this is, every writer needs inspiration, and much joy can be had from using culture to help write your own queer storyline. You might have to search a little harder, but you may one day end up with an identity more truly your own than that of a straight person: you have had to draw your own picture, rather than simply colouring in the lines.

For me, this involves seeking out art about women loving women. I discovered the Birmingham-based lovers, Katharine Bradley and Edith Cooper, who wrote together under the pseudonym of Michael Field, during my first term at Oxford. During a time when their monarch, Queen Victoria, supposedly did not believe that it was even possible for women to be sexually attracted to each other, they penned their own interpretations of Sappho and wrote poems about the female orgasm, living together in a fairly public queer relationship.

They wore scandalously clingy dresses in peach, gold, and green, dedicated a collection of poetry to their dog, Mr Chow, celebrated good reviews of their work by dancing around the Bacchic altar they made in their back garden, and just generally had a fantastic time. With #relationshipgoals like this, who needs the heterosexual mythology peddled by Hollywood?

More recently, Ali Smith has provided me with women loving women in breathless, star-bright prose. How To Be Both and Girl Meets Boy are especially magical when it comes to queer love: set in Renaissance Italy and early 2000s Scotland respectively, their heroines fall in love with painting, Ovid, the Highlands and, most importantly, with women, all in one ecstatic breath. Smith writes sex better than any other writer I have encountered, perhaps because she is unafraid to blend the physical mechanics with metaphor, fairytale and unapologetic femininity.

Other finds include graphic novel A Hundred Nights of Hero, by Isabel Greenberg, where two female lovers in an fictional Early Earth protect themselves with stories, à la Scheherazade, and the fleeting New York scenes in Cynthia Bond’s Ruby, where Bond’s own bisexuality effortlessly blends into her phenomenal debut novel. We all cobble together our identities from the culture we consume, and when we are queer, we are excluded from what Eve Kosofsky Sedgwick calls the ‘lockstep’ of heterosexuality. Instead, we operate in the hazy, amorphous space outside of the typical cultural milieu—and there is no better place than this to start writing your own story.

Tute sheets and Teletubbies: the life of a student parent in Oxford

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I wake to a soup grey sky and I think great, I’ve beaten them, sleep, the alarm and my daughter’s morning cry. I’ll do some work.

Then, of course, she stirs and I think, “crap”, and then, “crap”, you’re not meant to think “crap”, and she rolls over and despair curdles my stomach because today is the day that I’m meant to grab an edge, an hour, get ahead of the constant behind.

“Mama” she announces “Peppa Pig“.

Resigned, we waddle into the bathroom. I jam contact lenses into my eyes because my glasses fell behind the cot a week ago and extracting them requires an elusive amount of energy and initiative. Beth peers over the tub, examines her bath toys, takes an itinerary of the room.

“Tap. Tap. Bubble”.

Peppa Pig jumps up from a minimized tab. This is the last time, though. After I get this essay done, I’ll organize our time and at five am we’ll do like … painting or something. I’ll get a box of feely things. We’ll cook.

Books jumble the space between us. Overheard by God, Allegorical Poets & the Epic, Well-Weighed Syllables. I’d been so full of hope, cycling the mile to the Faculty, gasping up to the desk and having the smiley man scan the volumes. I’d borrowed them with so much confidence but now they’d go the route of the others, patching holes in my essay or cannon fodder for a questing tutor. I pick one.

“Medieval Biblical hermeneutics were neither uniform nor simplistic … biblical scholars find that exegetes were on the whole …”

“I’m Peppa Pig!”, the pink cartoon announces, “This is my brother George …”

“… Sensible and discriminating, and that there were many understood qualifications…”

“This is Daddy Pig”

“… as to legitimate…”

“And this is Mummy Pig!”

“Mammy Peeg” says Beth. I kiss her, and then remember we’re meant to do interactive watching, to point out things on the screen. The Peppa Pig landscape has freakish slopes and single houses perched on top. “Oh look, flowers”, I mutter. “Hua Hua” nods Beth, and I turn back to my book. But actually, Peppa Pig is quite engaging. Miss Rabbit is getting an award from the Queen.

There’s something fearful about Oxford. I like my college and chunk of accommodation, but the city itself is an alien thing. Memories of my matriculation are vague: sickness, the Sheldonian and thinking I’d faint in my flappy gown. Gargantuan heads topped gates and stone-eyed statues dizzied me. My friend snapped a candid shot of us all and in the centre is my face, stretched in an early pregnancy yawn.

It didn’t get easier. Around third week, I reached my sickliest stage. The amusing thing about an unexpected pregnancy at Oxford is that the term still marches to its eight week beat, and you don’t stop worrying about work. Yes, you’ve been shattered to the core and your life radically altered, but you don’t want to miss that nine am deadline or they might think you’re not serious . J and I were keeping the baby, and my tutor, in her marvellously assured manner, convinced me that, with a tweak here and there (like telling my mum), I could do it. Now, my life was a pattern of work, venturing out for quick food to avoid the kitchen and an excess of sleep which mangled most of the day. I wrote my essays at night, scrambling what information I could from the Internet.

My daughter certainly outperformed me in those first months. While I lay in bed gulping ginger ale and starting and discarding phone calls to my parents, Beth was passing stage after stage of embryonic development, sprouting arm buds and a C shaped spine, graduating from to pea to kidney bean to kumquat. We told family and after a mixture of calm from J’s mum and flurry from mine, things settled into a shaky structure. I would do my first year pregnant and take Prelims in September, after the June birth. My tutors were kind and accommodating. Everything would work.

Except for me. I couldn’t work. Academically, I kept it together. That was the one frayed band that hadn’t snapped. My aggressive perfectionism was hardly softened by the stereotype of failure surrounding young mothers. But the adrenaline that had filled me from the moment those two pink lines appeared, began to fade. I stopped taking antidepressants due to the pregnancy, and a cocktail of anxiety and exhaustion turned my mood dark. I stuck to my room, leaving only for classes or to curdle eggs on the stove. I took long trips home in J’s rickety car, sobbing when I had to return on a Sunday night.

I wish I could say, “And then I came back”, because that’s what I thought would happen. That once the baby was born and the strange hormones stopped, I would go back to normal. It’s an understandable mistake. Until your every motion is tied to the needs of another, how can you but assume that your life is your own? The prams which blur into the background, the cries in the café which are nothing to do with you, the child who shrieks down the supermarket aisle comprise an adjacent realm so removed that when it meets you, you are shocked. So yes, after suspending for a year, I came back. But not before my body was stretched apart in labour, not before I knew a baby’s cry could cut sharper than a knife, not before I saw my daughter’s cupped hands and closed eyes and knew at last that she was real and not a dream.

We were lucky. By the skin of our teeth, Beth got a nursery place. My search for “Oxford undergraduates with kids” yielded little official content. I found a pro-life website, psychological research and a page for graduate students. Eventually, I discovered a clause allowing Undergraduate parents to live in Graduate Accommodation. In my time as a student parent, I have experienced both great support and great erasure. My tutors are supportive and flexible, but official channels are blind to parenthood as an extenuating circumstance. There is little in place to accommodate child related issues, and, although I have been fortunate to receive help, it’s always been more experimental than inherent. When requesting an extension for my Prelims coursework, I was asked to submit evidence from a ‘childcare provider’ to prove I was unable to obtain childcare over a weekend. But what happens when – as in mine and most cases – you, the mum, are the ‘weekend childcare provider’? What happens when your extenuating circumstance is not a flu which can be proven with a doctor’s note, but an ongoing fact of your life? Yes, undergraduates with children are unusual at Oxford. But we do exist, and our absence from all but the vaguest official acknowledgement gives us no certain place to stand.

The fifth of October was everyone’s first day. J’s at his hospital job, mine at college, and Beth’s in childcare. She had had short visits to the nursery before, hour stays where she gurgled in a half moon cushion while toddlers gaped. But now, I was leaving her for the day. I’d be more than a few feet away. I wept. I checked my phone continually. I imagined her every move and the sweet scent of her head.

Yet when I arrived, college distracted me. I was back to where I started, red shirted student guides, Freshers, and coffee blooming from an urn. Laughing with my friends from my (first) first year, I was suddenly cleaner and newer than the woman who had spent the last four months with a baby attached to her breast, unable to shower for more than five seconds. I could shape my experiences and laugh at the hours of labour which had caused me such fear. I relaxed. I knew what to do. If I read books they stayed read, if emails dinged, I soothed them to sleep with a few keypad clicks. But it didn’t last long. Nursery called, and I was hit with the recollection of my other world.

This double life unhinged my fantasy of being both perfect student and perfect mother. For starters, it wasn’t really “double” at all. The one interspersed continually with the other. In my first terms back I tried endlessly to compensate. I tried to write essays through the night, tending intermittently to the baby’s cries. I rushed us out of the door in the morning, trying to chase an extra few minutes, hating myself before the day begun. But my exhaustion was too intense. Before Beth’s birth, I had had the stamina to pull all-nighters, but now I was simply worn out with the weight of managing motherhood and a degree. And over time, I allowed myself to feel it. By the grace of God, I learnt to acknowledge the challenges of my situation and let go of guilt. I request extensions with confidence and receive them, I spend the time with my partner and daughter that we all so need and deserve. Previously, I thought I’d shatter if I let anything ‘slide’ beyond my self-imposed perfectionism. Now, I’m growing roots and not glass houses, I know that even if I break, I will not unearth. I had seen it as something to overcome, my position as a student parent, but now I see it as something to rejoice in.

My daughter is her own person. She is my baby, my joy, my responsibility. I hope never to impose my image on her, but it is she who taught me this and I will always be grateful.

A love letter to The Gardener’s Arms

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Should you dare venture north, past the border lands of Somerville and St Anne’s, taking a concealed left down a treacherous side street, you’ll be rewarded with the finest veggie pub in Oxford. Arguably, it’s one of the finest gastro-pubs in the city full stop.

Immediately, I was struck by The Gardener’s Arms’ thrilling choice of decoration. All along the walls is a who’s-who of music history, with vinyl sleeves from the last 50 years of music history grounding the hungry punter in a unique atmosphere. The effortless cool of an enviable music collection is warmly offset by a handy selection of Doctor Who books and assorted board games.

Blessed with a fine and, in a surprising turn of events for a small pub, well-stocked selection of ales, there’s always something new to line the stomach before tackling the reasonably priced food menu. There are calzones (something rare in an all-veggie menu given that calzone seems to be a traditionally meaty dish) as well as the airiest of all pastry parcels.

Also on offer are a range of other dishes, including burgers, Indian platters, and chilli and veggie hot dogs. The chips are also particularly worthy of a mention: perfectly crispy on the outside, soft on the inside and chunkily cut. Or there’s salad, if you hate nice things.

What sets the food at The Gardener’s Arms apart from its competitors is texture: too often vegetarian food is an unimaginative mush. Here, however, firm dough mingles with brilliantly seasoned sauce to create delicious calzone, and lemon rice offsets the dryness of the main pastry parcel to create a balanced dish. Wash all that down with a nice guest ale and you’ve got yourself a brilliant evening.

It is rare to find a pub catering solely for herbivores: vegetarian menus are often small, or simply veggified riffs on meat dishes.

As such, The Gardener’s Arms has become my refuge—and that’s not saying anything of their ability to cater for vegan diets too. It’s worth the long walk.

The Gardeners’ Arms, 39 Plantation Rd, OX26