Monday 6th October 2025
Blog Page 916

Recipe: Mediterranean baked sweet potatoes

0

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

0

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

0

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.

How to make the best Oxford pub crawl route

A recent (and also imaginary) poll conducted on a sample size of at least five students revealed some interesting results. When asked to identify the keys to success at Oxford, nearly all the correspondents—apart from the two who collapsed from the stress of even hearing the word ‘succeed’—ranked ‘good grades’ at a paltry sixth position. The answer ‘battlehardened liver’ maintained its monopoly on the first position. This is, of course, unsurprising: apart from rowing, rugby, and rowers complaining about rugby, Oxford’s favourite pastime is drinking. The 139 pubs dotted across the town are a testament to this fact.

So if you’re the type of student who only emerges from the shadows of the Bodleian past sun down, wanting to procrastinate and complain about your impending doom—sorry, deadlines—over a pint or two, look no further.  Here I guide you through how to calculate the most efficient pub crawl route through Oxford, with the help of graph theory.

First, we need to define the nodes or vertices of our graph: the pubs. Using TripAdvisor and cross referencing those results with authorities—*cough* crewdaters *cough*—we find that the best pubs for a pub crawl in Oxford are: The Old Bookbinders Ale House; The White Rabbit; The White Horse; Head of the River; and the Turf Tavern. Collating the distances between all pairs of pubs on the graph, we get Table 1.

In the course of this article, we will refer to the connection between any two nodes—pubs—as an edge. The distance between any two pubs will be called the weight of the edge. Therefore, the weight of the edge between the White Horse and the Turf Tavern is 0.1 miles. Furthermore, a ‘path’ between any two nodes refers not to the physical path between the pubs, but the sequence of intermediate pubs from the pub at the source to the pub at the final destination.

We will also be applying the condition that we will visit each edge and each pub only once, without returning to the source. While this may seem frivolous, it prevents our problem from morphing into the infamous Travelling Salesman Problem, to which there is no efficient solution.

The most obvious, brute-force approach of finding the shortest path through each of these pubs requires checking and comparing all possible routes from start to finish. However, with the use of some assumptions and sophisticated algorithms, we can whittle down these possibilities to just five, in other words a shortest path starting at each node.

To perform this magical reduction in possibilities it would be easiest to first look at a method of tracing a path through a graph known as a ‘breadth first search’. Essentially this involves hitting the nodes adjacent to the starting pub, then the nodes adjacent to these nodes and so on. Dijkstra’s Shortest Path Algorithm does exactly the same, but with an additional distance counter that notes the shortest path to each node in the graph from the source.

While this may reduce the possibilities to just five, Dijkstra’s Algorithm is also a ‘greedy’ algorithm, meaning that it will always choose the next step with greatest immediate benefit and, much like a PPE-ist in an argument, will never backtrack when wrong. Therefore, rather than making progress to the endpoint, it will meander on trying to find the next edge with the shortest weight. Thus, we need to consider an alternate algorithm known as the Floyd-Warshall Algorithm that checks whether a node lies on the shortest path between the source and target and gives the length of this shortest path. We will run this with the small modification that all of the pubs need to be present on this path. We get the results presented in Table 2.

Hence, we see that the shortest pub crawl between the five chosen pubs is of length 1.7 miles. But is it really the most efficient? Through the use of a ‘brute force approach’, we can check that the aforementioned path is, in fact, the most efficient path through all the pubs. Given that the average length of a pub crawl through these pubs is 2.68 miles with a maximum distance of 3.4 miles, we get that the chosen path is 37 per cent shorter than most paths. The downside? How many of us would have the strength or willpower to walk 0.7 miles after having visited four pubs?

Returning British countryside to its roots

The noble sight of the red kite soaring above Oxford’s spires and fields is now commonplace, but these graceful birds of prey have had a troubled past in Great Britain. Despite a golden age in the fifteenth century as valued scavengers keeping city streets clean, they were driven to complete extinction in the nineteenth century in Scotland and Wales following persecution and labelling as vermin. Only the collected and continued effort of environmentalists has reinstated this great bird to British skies. This is one of the success stories in a greater quest to return Britain to its more natural state.

The organisation Rewilding Britain is a group dedicated to just this. Imagine a countryside bursting with life, filled with trees, birdsong, and a plethora of awe-inspiring animals: wolves, bison, elk, and wild boar to name but a few.

It is no secret that our country’s biodiversity is not what it used to be. We’ve lost more of our large mammals than any other European country, bar Ireland. Our expanding towns and cities and wasting of resources have pushed our native species out of their natural environments. Many of these are ‘keystone’ species, occupying the centre of our complex intertwined ecosystems. Like vital pillars supporting the weight of a building, removing these fundamental species destabilises the habitat, threatening its collapse.

One such keystone species at the forefront of Rewilding Britain’s attention is the beaver, not seen in Britain for nearly 500 years until their recent successful reintroduction into Scotland and the trail pair introduced to Devon. This is one of Rewilding Britain’s success stories, but beavers are still a long way from being a common site in our countryside. Much more work is needed.

Beavers fundamentally change the landscape through their construction of river dams, slowing water flow by creating staggered, calm pools. These pools provide ideal habitats for many precious species such as otters, water voles, and birds, by forming a safe haven for their young. What’s more, beavers carry with them great economic benefits. The dams that they build act like massive sponges, holding rain water and releasing it slowly after heavy rain, significantly reducing the risk of flooding. They also create many small reservoirs, preserving water supplies in the dry months and thereby reducing the risk of harmful droughts.

Wolves—another keystone species—used to rule the forest as the top predators historically reigning across the British wildlands. But this wasn’t to last, their reign cut short when they were hunted to extinction in the eighteenth century. Although many purport that their introduction would pose a significant risk to humans, wolves actually tend to stay far away from human activity. The proposed sites of reintroduction in Scotland, despite being very remote, are never far from farmers and their livestock, some of which would inevitably be taken. The issue that must be discussed is whether the health of the ecosystem is worth risking the livelihood of the farmers.

The presence of wolves provides massive benefits to the ecosystem, most obviously through preventing the over-grazing of delicate saplings by keeping herds of wild deer on the move. This allows time for trees to grow where previously only open grassland existed, providing a home for plants, ground living mammals, and a multitude of birds. The presence of trees even reduces flood risk by releasing water after rains much slower than open grassland.

These are just a few of the species which Rewilding Britain are working to return to our pleasant shores. Further plans have been proposed for the return and spread of the lynx, wild boar, bison, and elk, along with numerous birds and fish. For these plans to work they need careful planning and testing, like that occurring with a pair of beavers in Devon, to minimise unanticipated effects, but the possibility of seeing these wonderful creatures throughout the British countryside makes it worth the risk.

Oxford University gives squatters five days to vacate temporary homeless shelter

0

A group of around 20 homeless people and volunteers who have been occupying an old power station owned by Oxford University have been given five days to leave the building, after a possession order was served at court this morning.

The group—Osney Open House—had moved to the power station after being ordered to leave an old VW garage owned by Wadham College, so that it could start pre-demolition work in order to build student accommodation. They have been living in the new site for around 10 days.

The court granted Oxford University an Interim Possession Order (IPO), which ordered the squatters to leave the former power station by Sunday 12 March.

In court, a representative for Osney Open House called for the IPO to be deferred to Monday 14 March.

“Deferring the IPO would prevent the unnecessary and involuntary criminalisation of 21 people, many of whom are beginning to find their feet again following periods of extreme instability.

“These 21 individuals have evidently already experienced circumstances of great difficulty and complexity. We hope that you agree it would be hugely detrimental to the interests of these individuals and indeed the local Oxford community for them to be made homeless tomorrow,” they said.

The squatters say that the part of the building being occupied has been “unoccupied for seven years.” Oxford University have previously stated that the old power station is used by staff for storage purposes, and have raised concern over the safety of the building.

Miranda Shaw, a local resident and Osney Open House volunteer, said: “It’s ridiculous that people are still on the streets in one of the richest cities in the world with so many empty buildings. The University owns so much of the city centre. It would be incredible if the University could show leadership in the face of corrosive cuts at both a national and city level. We are facing a social emergency and this is now the second time that Oxford University has closed its doors. We hope that this will change in the future.”

A University of Oxford spokesperson said: “We requested the court to extend the time for serving the order so that the occupiers are given a few days to pack up their belongings without compromising our right to reclaim the property. The court agreed that this was “appropriate and proportionate” and extended the order until Sunday (12 March). We have been given to understand that the occupiers will be vacating over the weekend.

“Homelessness is a serious issue in Oxford, and we will continue to work with local stakeholders on this matter. Osney Open House have made a serious point by drawing attention to this issue, and we hope to continue working with them. In particular, we would like to see how we can work with and support local homeless charities in the future.”

Lord Hennessy on British politics and the rise of populism

Cherwell Broadcasting Editor Theo Davies-Lewis speaks to Lord Peter John Hennessy, Baron Hennessy of Nympsfield, FBA. A notable English historian and academic specialising in the history of government, since 1992 he has been Attlee Professor of Contemporary British History at Queen Mary University of London. Lord Hennessy was invited by St Antony’s College to speak on the issue of ‘Traditional Parties and the Populist Challenge’ in March 2017.

Oxford ranked world no. 1 in four subjects

0

Oxford University has today been ranked as the number one in the world for the study of four subject areas in a new league table.

The QS World University Rankings by Subject found Oxford is the world’s leading institution for teaching, research, and employability in Anatomy and Physiology, Archaeology, English Language and Literature, and Geography.

Oxford was ranked ahead of Cambridge, which had no top spots this year, having lost its leading position in Archaeology, Mathematics, and History.

The analysis rated Oxford second in the world for History, Law, Medicine, Philosophy, Politics & International Studies, Social Policy & Administration, and Theology, Divinity & Religious Studies.

The survey, compiled by “higher education analysts” Quacquarelli Symonds (QS), ranked Oxford alongside Harvard and Massachusetts Institute of Technology (MIT) as one of only three universities in the world to record a number one position in more than one subject. Harvard had 15 and MIT had 12.

Ben Sowter, Head of Research at QS, said: “Though the University of Oxford, like the rest of the UK’s leading universities, is receiving challenges from more places than ever before – Chinese and Russian universities advance apace this year – this year’s rankings indicate that it has risen to the challenge, continuing to provide world-class teaching, research, and career preparation in a comprehensive range of subjects”.

According to QS, their analysis was based on over 185 million citations, 43 million papers, 194,000 responses to their Employer survey, and 305,000 responses to their Academic survey.

Last year, Oxford was named the best university in the world by the Times Higher Education world rankings.

A University of Oxford spokesperson told Cherwell: “The latest QS rankings show Oxford in the very forefront of the world’s universities, both for the quality of its teaching and the excellence of its research, across the full range of academic subjects.

“This latest league table is consistent with last year’s Times Higher Education rankings, which rated Oxford as the number one university in the world.”

“Even while expecting an hour of postmodernist drama, I couldn’t have been more unprepared”

0

I entered the Keble O’ Reilly theatre on a rainy Friday night, looking forward to an evening of ‘experimental’ student theatre, perhaps along the lines of recent Oscar Wilde short story adaptation The Nightingale and the Rose, or OUCD’s avant garde dance piece Illuminated.

Even while expecting a cheerful hour or so of postmodernist drama, perhaps followed by a pint and a discussion about how ‘experimental’ it was, I could not have been more unprepared for the gripping and bold production that was awaiting me. Perhaps I should have googled the plot of Marat/Sade before arriving, or perhaps I should have known from the fact that the production team was Barricade Arts, whose most recent projects included A Clockwork Orange and Fear, that cheerfulness was definitively off the agenda. Certainly, the trigger warnings for murder, suicide, severe mental health issues and depression alerted me to the fallacy of my jovial expectations.

Marat/Sade depicts a group of inmates at the historical Charenton Asylum acting out a play about the assassination of Jean-Paul Marat, directed by the Marquis de Sade. Although set in 1808, the majority of the narrative comprises the play within a play, harking back to the height of the French Revolution in July, 1793. Although the premise seems grounded in history, really the focus of the production is the inmates who are acting out the drama, and their strained relationship with the figures of authority who govern their incarceration—Coulmier, the bourgeois director of the hospital, and the Marquis de Sade, both of whom occasionally interrupt the play within a play to bring us abruptly back to the world of 1808 and the sad, distorted reality inhabited by the inmates of the asylum.

The script certainly offers a lot to work with, and director Marcus Knight-Adams skilfully crafts together the Brechtian aspects of the play with an experimental staging that enhances the alienation effect—the inmates of the asylum interact with audience members as they try to find their seats before the play begins, and over the course of the final scene an entire lettuce is torn apart and thrown at the spectators; I can attest to having been a personal victim of this creative decision.

To say that Marat/Sade is intriguing is to do it an injustice – every aspect of the production is exceptional. Many of the technical aspects especially stand out, particularly the eerie set design (the focal point of which is a raised bath tub in the middle of the stage), the use of an extremely skilled live orchestra (who provide a dulcet accompaniment to the sombre action), and the thoughtful costume design (with characters like Coulmier donning an authentic 18th century style while the inmates are dressed solely in white pyjamas). The cast are also phenomenal; as well as the immensity of the physical theatre they perform, they are also all very talented singers, and the momentum of the performance proffers an intensity that makes the 80-minute production seem far longer.

Overall, Marat/Sade is a stimulating, thoughtful and provocative piece of theatre that is well worth the trek to the Keble O’Reilly. The cast and crew are both excellent, and the immersive nature of the piece means audience members are engaged throughout in an intense yet fulfilling performance that stays with you long after you leave the auditorium. My only sympathies lie with the stage manager, Chris Goring—good luck picking up all that lettuce.