Monday 28th July 2025
Blog Page 925

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

Cecil Day-Lewis: Auden’s overlooked classmate

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In the years since Cecil Day-Lewis’ death in 1972, the poet’s work has not received much critical attention. Instead, his name is often forgotten due to the more prolific works of W.H. Auden, with Day-Lewis’ work seen as a mere fragment of what was produced by poets during the ‘Auden generation’.

Contemporaries at Oxford, Day-Lewis and Auden went on to become joint editors of Oxford Poetry in 1927, but Auden was the dominant figure of the pair, despite the fact that Day-Lewis himself went on to become Poet Laureate from 1968 until his death in 1972. Perhaps most notably, he even had a stint writing for Cherwell.

In spite of this, Day-Lewis was not confident in his own academic ability. During his time at Wadham College, he found his focus on academic work wavering, saying later, with “A fourth in Greats—and it is a mystery to me why the examiners did not fail me altogether.”

Yet, Day-Lewis may have over-exaggerated these difficulties to mark a contrast with his eventual return to Oxford in 1951, when he was elected as Professor of Poetry. Nonetheless, it was not until he met Auden in his last year at Oxford that he could fulfil the romantic identity he had created for himself as a poet.

Alongside figures such as Louis MacNeice and Stephen Spender, Day-Lewis was intrigued by the more intelligent and energetic Auden—who led the ‘Auden Group’, known for their left-wing political views.

Day-Lewis was a member of the Communist Party from 1935 to 1938, and some of his poetry was marked by didacticism and a preoccupation with social themes. Even some of his most romantic poems are inextricable from his political views.

One of these poems is ‘Come, live with me and be my love’, which follows the speaker telling his beloved that he lacks material wealth, and even the barest essentials, evoking periods of economic depression in the twentieth century.

One cannot help but notice how this poem aligns with Day-Lewis’ personal life. After all, it may speak to his first wife Mary King—who at first found it difficult to love him.

Oxford’s influence over Day-Lewis seems clear: it was not the academic experience he benefited from. Rather, it was the friends he met that secured him a series of posts as a schoolmaster. He continued publishing collections of poems, novels and essays before, during and after the Second World War.

While students across the country may not be familiar with Day-Lewis, his link with Oxford is everlasting. As recently as 2012, papers from his archive were donated to the Bodleian Libraries by his actor son Daniel, and daughter Tamasin. Perhaps Day-Lewis needed Oxford, not for its academic excellence, but to be inspired by his poetic peers.

Harrison’s heroics bested by Balliol

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Hobbes states that natural law is “a precept, or general rule, found out by reason, by which a man is forbidden to do that which is destructive of his life”. Jack Harrison proved Hobbes wrong in 90 minutes of PCFC glory, willingly doing the forbidden in putting his life and, at one point, the life of a Balliol forward, at risk for the sake of keeping us lot in the game. Harrison’s extraordinary game earned him the Fuzzy Ducks player of the week award, which was followed a not so extraordinary performance in Park End VIP. Whilst Hobbes mustered 19 natural laws, today we could only muster twelve Pembrokians to the sports ground on this dark Tuesday afternoon— though not bad for post-bop. At 2.15pm, there was only half a dozen Pembrokians in the pavilion, and no kit. The odds looked stacked against us as Balliol strode in donning a kit suspiciously resembling the Croatia kits of recent years. It seemed that the afternoon might well be, to regurgitate Mr Hobbes’ famous line, “nasty, brutish, and short”. Alas, the arrival of Mohamed Eghleilib, the aforementioned Mr McShane, and the heroic Harrison provided some cause for optimism. The lineup looked surprisingly strong for a mere twelve players, and some hunting round the Pavilion established that we could throw together a kit, and summon the spirits of our PCFC forefathers who wore this random blue kit before us. A back four of myself, Ned Foulkes, Matthew Doyle, and Ed Gough complimented by the holding-midfield mettle of Ed ‘Makélélé’ Wilson looked sure enough to withstand a significant amount of Balliol pressure. Flanked by Ukaire and Eghleilib, with Gisby and McShane in support of Riccardo Casini, and Shakil donning the linesman flag with majesty, Pembroke had reason to believe they might grind out a result. A well-taken penalty meant Pembroke were a goal behind at the break, but the well-worked efforts on goal of Gisby, Eghleilib and Cassini again kept the dream of a result alive. With twenty minutes left on the clock, a striker found himself bearing down on goal, Harrison was left with no option but to handle the ball outside of his area. Balliol put an end to the game, as Balliol’s answer to Riyad Mahrez (who’d tellingly opted for a PSG shirt instead of a Croatian one) slammed a glorious left-footed free-kick into Harrison’s top right corner.

Putting policy under the microscope

In his own words, Sir Mark Walport’s job is “to advise government on all of the sciences—on physical sciences, on engineering, on technology, and on social science as well. It’s what the Germans would call Wissenshaft.” Cherwell went to Westminster to speak with him about science advice in Parliament.

Science students can sometimes find themselves thinking that the only way to stay in science after university is with research or academia. What would you say to this?

I’m quite often asked if it’s a problem being a Chief Scientific Advisor when there are so few scientists in parliament and in government. The point I always make in return is that you can’t blame the people that are in parliament because they stood for election, you can only blame the people that aren’t [in parliament]. Scientists, engineers, technologists tend not to stand for elected positions.

I think it reflects a rather broader educational issue. Let’s say you’re going to university to read history, no one tells you that you are going to be a historian, whereas if you go to Oxford to read chemistry then everyone says, ‘Ah, you’re going to be a chemist, you’re going to be a scientist’. While we insist on thinking of the sciences as a vocational training then we are going to have a continuing problem.

Do you personally find it more challenging to communicate some topics than others as a result of your background training in the medical sciences?

It’s inevitable you feel at home in the areas of science that you’ve worked in more than in other areas, but in a funny kind of way in my job. My job is not to know the whole of science, engineering and technology—you couldn’t possibly—it’s to act as a transmission mechanism. My job is to find the best advice wherever it is, be it in academia, be it in industry, be it amongst government scientists and then to communicate it effectively. So, actually, not being an expert myself in areas of climate, for example, or physics is a benefit in some ways because it means that I have to learn to understand it in a way that I can communicate it effectively. I tend to see where the jargon is much more easily.

Do you find that once you’re in a position [of responsibility] it’s easier to encompass multiple roles than having many dispirit people to do separate roles?

It’s an important tool for providing scientific input to government. The other way to look at it is to see it as one of three broad areas where I provide advice. One is around national resilience and emergencies. I provide advice on flooding for example, or on Ebola and Zika more recently, and I chair a committee which is called SAGE (Scientific Advice Group in Emergencies), part of our national emergency response. If there’s an emergency where science is involved then we pull together a group of experts; the geometry of the people varies according to the emergency. That feeds directly into COBRA. I work on the National Risk Register and we rehearse things as well so we are prepared for emergencies, although you can never predict the next emergency. Nevertheless we think ahead wherever we can.

The second area is in evidence broadly for government policy. For example thinking about research and innovation so we can meet our initial reduction targets for carbon dioxide and other greenhouse gases.

The third area is broadly science and the economy. And an area which is related to that is how the UK can make the best use of technology given that we are going through an extraordinary industrial revolution at the moment driven by data, computing, and information technology. That’s important to government for three reasons really. It’s important because modern technology collects large amounts of data and that can be used, if used wisely, to make better policy. Secondly technology enables delivery of services in ways that weren’t possible before, and thirdly technology is important for the economy because that’s where the new businesses are being developed.

When you were speaking in Oxford in February 2016 you said that science was an international collaboration. Do you think this is going to change post Brexit?

No. Scientists have always found ways to collaborate internationally. It’s always claimed, though it’s not actually quite true, that the Royal Society appointed a foreign secretary before the British government did. In fact what the Royal Society appointed was a secretary for scientific correspondence—more of a secretary with a small ‘s’ rather than with a big ‘S’, as it were—in the 18th century. But the serious point is that the Royal Society corresponded internationally long before others did. Science is international, it is global, … [it] does transcend politics of a traditional variety. Scientists have always collaborated and I’m confident scientists will continue to do so.

With all the talk of ‘post-truth’, do you find that populism often ‘trumps’ scientific evidence?

[It was] Daniel Moynihan who said you can have your own opinions but you can’t have your own truths. When it comes to physical and biological sciences there are right answers to a lot of the questions we are talking about. You can have any opinion you like about climate change, but at the end of the day there is actually a right answer.

Does it affect the topics you are asked to advise on? Or which are prioritised?

I often make the point that policy makers look through three lenses: the lens of what do I know about ‘x’—that’s the evidence lens, where I come into play—, the lens of policy deliverability, because you can have a great idea for a policy but if it can’t be delivered then it’s no policy at all, and the third is the lens of their human values, their personal values, their political values, their social values, the values of their electorate. The [scientific] evidence is a variable part of the policy. If the question is, can I fly jet engines through a cloud of volcanic ash then it is quite likely that the science and engineering evidence will trump other considerations, but in other cases it may well be that emotional, value issues trump the science, [like] in policy over drugs.

The best part of your job?

Finding things out and being able to communicate them in a way that influences policy in a beneficial way. Doing a job and having a worthwhile impact.

University isn’t for everyone: stop pretending it is

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There’s nothing quite like the joy of receiving a university offer. It’s a feeling of validation which few other experiences in life can provide; the knowledge that after a calculated appraisal of your strengths and weaknesses, someone in an office somewhere has clicked the relevant button, or maybe put a little tick by your name if they’re particularly old school, and said yes, we want you.

But what if, after all that, you get there and it’s not quite what you thought it would be? Maybe the man in the dreary little office put a tick next to the wrong name after all. As quickly as the pride sets in when you first see that “something has changed on your UCAS track,” it bleeds away again, replaced instead with the niggling sense that you’re only just keeping your head above water.

It’s a feeling familiar to many of us, I’m sure. But for those who actually choose to leave university, it’s usually due to more than just the unpleasant shock of realising that uni isn’t quite like school.

The expectation placed on university as a logical next step from school has increased exponentially in recent decades. Rather than being something bright-eyed youngsters dream of, for many people a degree has become about as optional as school itself. The increasing numbers of school leavers going to uni is of course far from a bad thing, especially given the growing success of students from disadvantaged backgrounds. What the rising number of applicants does do however, is make it increasingly harder for individuals who don’t think higher education is for them, to fight a system which is continually pushing them towards it.

Fintan followed the conventional path, going straight from school to uni in September of 2014. He admits that he always had doubts, but the academic environment of his school made it almost impossible to break away from the rigid yellow brick road which led all the way to the Russell Group. This pressure is likely familiar to anyone who attended a school with a strong emphasis on academics.

Personally, I didn’t apply to uni until a year after I left school, being unsure of what I wanted to do, and wanting to take some time to nd myself on a beach in Thailand before resigning myself to three more years hard slog. But even this raised a few eyebrows from my teachers, despite my assurances that I fully intended to apply the following year. My head of sixth form made me ll out my entire UCAS form anyway, “just in case,” standing over me as I selected entirely arbitrary degree choices. It was clear that she would be signi cantly happier if I simply clicked ‘accept’ and sent o my application to these randomly chosen institutions, rather than taking some time to consider what was actually right for me.

Fintan was under even greater scrutiny during his application. He tells me how, “I attended a public school which gave me a scholarship, and I was expected to show the effectiveness of the scholarship in applying to a challenging subject at a Russell Group university.” In treating his degree choice as a barometer of his worthiness of a scholarship, his school placed an almost unbearable amount of pressure on him. Fintan ultimately left his history course at Glasgow University after less than a term, realising that, under the pressure to get into a suitably prestigious course, he had taken little time to really consider the ins and outs of university life, and the reality of devoting four years to a course largely composed of independent inquiry, as opposed to the heavily guided school experience.

The reality is that few people have a strong grasp of their sense of self at the age of 17. I certainly didn’t, and it’s become abundantly clear to me that simply picking your “best” subject in school and sticking it on your UCAS form is not always for the best. I’ve been lucky, I love my course and frankly I can’t imagine studying anything else, but the same can’t be said for everyone.

Eva, a former E&M student at Oxford, admits that she had her doubts about her subject choice throughout the application process, but was comforted by the fact the Economics is considered a “better” degree.

She says that a major part of the problem was the attitude of her school, where “there was more emphasis on the perceived employment value of your degree, rather than the fact that you’d actually have to study it from 9-5 for three years.”

This is perhaps not an unreasonable outlook taken by teachers and parents, wanting to give the younger generation the best possible start in a market increasingly saturated by graduates. However, the employability of any degree counts for nothing if that degree is never finished.

The commonly held belief that more traditionally academic degrees carry more weight is a tricky one. On the one hand, we all want to believe that we should follow our dreams and do whatever feels right for us, perhaps singing a Disney song along the way. But when degrees are increasingly becoming the norm, how are we supposed to make ourselves stand out from the crowd?

According to UCAS, young people are now 27 per cent more likely to enter higher education than they were ten years ago, an increase which shows no signs of slowing down. I can’t help but wondering, whether sucking it up and applying for a more “prestigious” degree, might actually do you better in the long run.

For some students, like Eva, taking time to reflect and determine upon the right path can make all the difference. Eva considers it “far more inspiring to speak to someone who is genuinely interested in what they do.” Having successfully changed courses, it is clear that for Eva, it was not university it- self that was the problem, but the pressure to apply before being truly prepared. It’s a fine line to tread—keeping the balance between happiness and employability. It’s an equilibrium that Jess struggled to attain in the years following her departure from school. Encouraged by teachers, she applied to St Andrews to study Art History, repressing her desire to go to do a more practical art and design course.

Despite achieving an A* in her art A-Level, Jess was worried that she wouldn’t be able to keep up if she went to art school, and “had very little positive encouragement from teachers to change my mind on this.” This seems shocking that the very people supposedly employed to “mould young minds” would discourage a talented pupil in such a way, but the reality is that many schools are more concerned with statistics than the individual. What is particularly notable about Jess’s story however, is that she says she was worried about missing out on the “university experience.”

This myth of the university experience is drummed into us from a young age, with popular culture perpetuating the idea that uni will be a non-stop dance party with all the greatest people you’ll ever meet. I think we can all agree that the reality is somewhat different. Jess
realised this by her second semester at university, when she was left feeling “unfulfilled by my course and […] like I was there to party and conform to expectations.”

Fearing that she had missed the opportunity to do what she really wanted, Jess left St Andrews and is now studying Art in Edinburgh.

Such a decision is admirable, but also leaves me wondering how many students there are, trapped in institutions up and down the country, who are desperate to make just such a leap of faith? University should be a privi- lege, not a punishment, but the increasingly unbearable pressure placed on young people to get a “good” degree, means that the reverse is often becoming true.

For our parent’s generation, a degree from a respected university offered an almost guaranteed fairy tale path to a bright future. Graduate unemployment figures prove that this is no longer the case. So why do “grown-ups” continue heaping pressure on our generation to follow the same join-the-dots route to happiness that they did?

While university works for many, it just doesn’t for others, and the presumption that higher education is the only indicator of intellectual success only serves to make those with legitimate reasons for not going to university feel like failures.

All in all, I think perhaps an easing up of pressure in school environments could do a lot of good, not only for students themselves, but for a society which is clearly vying for its own sense of intellectual validation.