Sunday 27th July 2025
Blog Page 929

One thing I’d change about Oxford…Self-loathing

Keir Mather
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One thing I’d change about Oxford…Self-loathing

Yes, Oxford University has many problems, but some of us are far too ready to denigrate and drag it down. “Oh but, it’s outdated, archaic, ridiculous, pretentious!” I could go on. These are the woefully bland, mind-numbingly turgid charges levelled at our university. We all do it, and the reasons we commit these little acts of treason against Oxford are manifold.

We perhaps feel guilty about attending an institution so steeped in privilege. Maybe we’re self-conscious about Oxford’s idiosyncratic traditions. Perhaps we are ourselves simply embarrassed about getting in, and being transplanted from normality into archaic majesty and beauty, coping by indulging in this ultimate form of self-effacement, a crime of which I myself am particularly guilty.

But when we do this, we not only fail to deal with the real problems the university faces, we also ignore countless reasons why we should be very proud to attend such an institution, with the great people Oxford has educated having done so much to improve our world.

So, although constructive criticism is welcomed, and is necessary, I think the present culture of sloppy, unhelpful vilification of the great university we attend must change. We need to realise that there’s precisely nothing wrong with being proud of Oxford. In Liverpool, Durham, UEA, Hull, there are students who brim with affection for their universities, and so they should. My point is so should we.

We can all poke fun at where we study, but it strikes me as particularly foolish to spend three years or more of your life bearing some self-righteous grudge against a university thousands of others would give anything to go to. Because to do so is to lose your own chance to make your mark on this place. Don’t hold yourself aloof, throw yourself in.

An educational institution is not defined by its traditions, its statues, or sartorial codes, but by its students, of which you are one, and you have a right to.

Cocktail of the week: Oxford blue

Sam Purnell
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Cocktail of the week: Oxford blue

Oxford is awash with sports teams—everybody knows it. Not only do we have some of the best rowers in the world here, but we also have dedicated hockey players, cricketers, rugby players, gymnasts, and many more. These people go and represent our university with pride and skill, whilst somehow still managing to do their degree. This cocktail is inspired by them, taking the traditional Oxford colour and putting it into a cocktail that is perfect accompaniment to celebrating—win, lose or draw. Although it requires a bit of extra set-up, it is a tasty drink that will send you happily on your way to Park End.

Ingredients:

For cocktail
50ml Sours Mix
1 shot Peach Schnapps
1 shot Malibu
1 shot Blue Curacao
Lemonade
Ice
Slice of Lemon

For Sours Mix
200g sugar
235ml water
120ml freshly squeezed lemon juice
60ml freshly squeezed lime juice

Method:
1. Make the Sours Mix, which is done by first making a simple syrup by bringing the sugar and water to a boil. Stir to dissolve sugar. Remove from heat and let cool.

2. While the syrup is cooling, strain freshly squeezed lemon and lime juice into a resealable bottle, discarding the pulp. Pour in the cooled simple syrup. Shake and use immediately or refrigerate.

3. While allowing the Sours Mix to cool, Pour the schnapps, Malibu, and Blue Curacao into a (cocktail) mixer and shake well.

4. Add the sours mix once it is cool.

5. Pour into a tall glass over ice, and top up with lemonade.

6. Garnish with a slice of lemon.

The ‘Oxford’ scent: a chemist in perfumery

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The ‘Oxford’ scent: a chemist in perfumery

Did your chemistry degree lead you to the world of perfumery?

When I left Oxford, I wanted to find a job that involved working with people. At the time I thought that working in a lab was not going to be ideal for me, so I applied and was accepted for a graduate trainee scheme to become the assistant manager of the perfumery department at Selfridges. I went on a perfumery evening class and discovered this wonderful new world. I got a job to train as a perfumer. But Oxford left a big impression on me, so much so that I have now dedicated a fragrance to it.

What was the training process to become a perfumer like?

It was very rigorous. I remember having to memorise around two thousand different smells. You have to be really tenacious, curious about the ingredients, and dedicated to learning how to differentiate between the smells. Having done a chemistry degree definitely helped. For example, when I was developing scents for washing powder—a rough medium that does not retain scents readily—it was useful to know what type of aldehyde something is as it tells me how reactive the compound will be.

What are your favourite projects to work on?

I love working on projects that have a big impact on lots of people. My most current project is for Mr Colman, of Colman’s mustard. He grows a most wonderful Black Mitcham peppermint that he distils into oil himself and he wanted a fragrance to celebrate this very English product. I’ve created a fragrance for him that has a very green, fresh, countryside kind-of smell. It is these kinds of projects that I love, where I create a bespoke product that epitomise something intrinsic to a brand, which is then passed on to lots of other people to enjoy.

How have you found starting your own company in such a competitive market?

On one side of my business, I have developed my own brand of perfumes, Ruth Mastenbrœk. I am in the niche fragrance area as I am not part of a big company so there are competitors coming at me from all over the place. It is a fight to stay in the market but now that I have my daughter working with me we can work together to try and make the most of the brand. For the other side of the business, my customers tend to be small-to-medium-sized companies with big ideas. As I am an independent perfumer, I am able to contact the customer directly to know that we are eye-to-eye—or shall I say nose-to-nose—with what they are looking for in the fragrance. One of my customers is Dr Organic, a brand sold in Holland & Barrett which focuses on natural products and is hoping to become a global brand. The potential that the fragrance I am working on for them could end up on the other side of the world definitely adds an extra edge.

What is a typical working day?

Normally I would be in the lab from 8.30am till about 12 o’clock, blending fragrances for my customers. My lab at home is the simplest you can imagine: I have a balance, a hot-plate stirrer, and all of my ingredients that I keep cool in my garage. I would write out a formula, enter it into my laptop, then go and collect the ingredients to try out the resulting combination with the medium that it will end up in. This is where it gets interesting, as the demands are different each time. Say you have a candle, you would do a cold throw to test if you are aware of it in the room without burning it, and then when you do burn it you want to get a very even pool of melted wax and no smoke. For a skin fragrance, it must not only smell nice in the air, but stay nice once it touches the skin too.

What does a ‘good nose’ mean to a perfumer?

Well, say you have ten or 15 ingredients on smelling blotters in front of you, you have to be able to differentiate between, for example, different types of lavender oil or musk ingredients which tend to smell very similar. When you have a combination of, say, five ingredients, you have to be able to pick out what type of ingredients they are and to know if anything has been added to it. You can tell that you have a good nose in ordinary life if you can differentiate and recognise what different scented shampoos smell like or if you can easily pick out a spice note whilst cooking.

Where do you find your inspiration for your fragrances?

I could relate my signature fragrance, Ruth Mastenbrœk, completely to experiences in my life. I knew that I wanted to make a particular type of fragrance called a chypre, which is an accord of bergamot, rose, patchouli, and oak moss. But it could not be the same as every other chypre and so I delved into my childhood. Amorosa, my second fragrance was inspired by Italy where we used to holiday, and where we now we have a home. I have been really fortunate to have had some wonderful experiences that can fuel my imagination to inspire these fragrances.

What are the challenges?

For me, it would have to be bringing my first brand of perfume to market, because it involved learning so much about other aspects of the whole industry that I had absolutely no idea about like packaging, distribution, sales, marketing… But I think that is one of the great things about being a chemist. If you are a chemist, you are curious. You want to know why something is the way it is, how it got to be like that, and which equations and formulae will explain it. I think that we bring that curiosity to other aspects of our lives and for me, that is one of the great things in perfumery too. It is fun to keep learning every single day.

A word from the stalls

Miriam Nemmaoui
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A word from the stalls

What were you expecting?

A magic bus stop, intelligent lyrics and sob-inducing moments. I was told everyone would be in tears.

Has it delivered?

It went above and beyond my expectations. I was moved, inspired, and I cried solidly for the final half hour.

Describe the production in 3 words

Relevant. Important. Honest.

Highlight of the production?

The song ‘You Matter Today’—in a world where minorities of all kinds are constantly being wronged, this song could not have been more powerful.

What would you change?

At times the fractured narrative was a little confusing and could do with some clarifica- tion, but I would change nothing else!

Fittest cast member?

Annabel Mutale Reed

Marks out of 10 ?

10/10

How can we solve the prison crisis?

Matthew Roller
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How can we solve the prison crisis?

The Ministry of Justice claims to “protect the public and reduce reoffending” and to “provide a more effective, transparent and responsive criminal justice system.” Currently, it is failing in its duty.

From 2009 to 2016, the number of prison officers employed in England and Wales fell significantly, from just under 20,000 to only 14,607 last year. As a direct result, the number of serious assaults in UK prisons has skyrocketed in the past two years, with 125 per cent increase from 2013 to 2016, and the number of self- harm incidents has doubled in the same time period.

These statistics make bleak reading for Liz Truss, the Secretary of State for Justice, whose term in office so far has undone lots of the admirable work done by her predecessor, Michael Gove. Whilst Gove splits opinion as a politician, it is hard to find anyone who would argue that he did a bad job as Justice Minister. The prominent Leave campaigner used humane, enlightened rhetoric throughout his term in office, and delivered a consistent policy.

Gove made it clear that he would prefer prison wardens to have a greater degree of autonomy, and that he believed excessive governmental regulation was harming prisoners unnecessarily. However, rather than recognising that the Ministry of Justice is one that requires a long-term strategy, especially within the prison system, Theresa May decided to sack Gove when naming her first cabinet.

From a political point of view, this move was understandable: Gove himself said: “If I’d been in [May’s] shoes, I would have sacked me too”. But this short-termism is unlikely to solve the issues of over- crowding and increased levels of violence that have been building up since the 1990s. The simple issue is that too many people are imprisoned unnecessarily in the UK. Gove spoke a great deal about “alternative sentences” during his time as Justice Minister, stressing the need to find appropriate punishments that helped rehabilitate criminals without increasing the strain on prisons.

Similar strategies have worked well in Northern Ireland and in Scotland, where the issue of prison control has been devolved to national assemblies. Whereas prison numbers have doubled in England and Wales since the mid-1990s, they have slightly dropped elsewhere in the UK.

And yet Liz Truss has ignored this strategy, preferring instead to throw money at the is- sue, in the form of a £1.3 billion investment programme. Truss plans for another 2,100 extra officers to be employed in England and Wales, we must ask whether staff will be willing to enter a profession involving stressful and potentially dangerous conditions with a starting salary of just £20,500.

Prison reform is a difficult and complicated process, but short-termism will get the Minis- try of Justice nowhere. Rather than throwing money at prisons and hoping they will sort themselves out, Liz Truss needs to follow in her predecessor’s footsteps by finding a way to stop the problem at its source. Only then will the UK’s prisons become the safe and secure places they ought to be.

Dostoyevsky and the crime of orthodoxy

Daniel Villar
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Dostoyevsky and the crime of orthodoxy

In 1919, shortly after the end of a war that destroyed the world he knew, the Jewish Viennese writer Stefan Zweig wrote a book on the greatest authors of the 19th century titled Three Masters. Focusing on, appropriately enough, three authors, it contained three extended essays on the lives and works of Charles Dickens, Honoré de Balzac, and Fyodor Dostoyevsky.

Of the three, Zweig said it was nearly impossible to write adequately about one of them, that one of the masters was a voyager to the Cosmos, of whom “the breadth and power of this one individual demand from us a new standard of measurement”. This master of masters was the writer of the Russian peasant, Fyodor Dostoyevsky.

Fyodor Mikhailovitch Dostoyevsky was born on the 11 November 1821, in the ancient religious capital of the Russian Empire, Moskva, otherwise known as Moscow, and died on the 9 February 1881 in the capital of the new, profoundly European Russia, St. Petersburg.

In a way, the geography of his life runs parallel to that of his thought. As a young man he was a nihilist and a revolutionary who was a member of the utopian, reformist Petrashevsky Circle. By the time he died, he was a Slavophile, a close confidant of the reactionary Tsar Alexander III, and a member of the monarchist intellectual circle surrounding Konstantin Pobedonostsev. And throughout that period, he let his own political beliefs cloud his own novelistic genius, creating works which are at once transcendent of all time, and tethered to the political and theological minutia of his own day.

Take Dostoyevsky’s most widely read novel, Crime and Punishment. In it, we see a man tortured by whether he is an ubermensch. Raskolnikov is driven to insanity by his own cleverness and by the fact that he had to murder Lizaveta in addition to Alyona Ivanovna, the pawnbroker.

The character is one who is attempting to leave his pessimistic and cynical view of the world, tortured by the fact that his own intelligence means that he cannot delude himself into thinking that there is any moral meaning to his actions. He is a physical man who cannot be physical yet at the same time cannot be a physical ubermensch due to his weak body and character. All of this makes for a fascinating study of the psychology of a madman. And yet Dostoyevsky chooses to bring down this work of genius at the last moment of his novel.

By this I do not mean when Raskolnikov turned himself to the police. At that moment he was still a nihilistic cynic, who turned himself in not due to any true sense of remorse, but due to his relationship with Sonya.

When he is sent off to the Siberian camp, he is still fundamentally the same man he was at the beginning of the novel; a tortured intellectual who is too clever by half. However, he then watches a few peasants by a river at a distance, and he becomes a fully devout Christian. And not just a Christian, but an Orthodox Christian of the sort who supports the three pillars of the reactionary ideology of the Tsar, transforming the novel into an endorsement of the ruling regime.

It is wholly out of character, a stapled end to a novel which leads to drastic change in character that does not come due to literary or aesthetic considerations, but due to the political and theological views of the author, ideology driving the book in its final chapter rather than being a subtext for the reader to discover.

This doesn’t just occur in Crime and Punishment—Dostoyevsky also clouds his genius with his politics in his other novels. Sometimes it works because it is integral to the purpose of the novel, such as how Ivan Karamazov is portrayed in The Brothers Karamazov, because the novel is just as much a philosophical tract, defending religious orthodoxy, as a novel, engaged in a classical narrative.

However, often Dostoyevsky does tack on portions to his work that make no sense save in the light of his own politics. And that is the great tragedy of Dostoyevsky. For though he wrote the greatest novels of the western canon in the last quarter millennia, such as The Possessed, The Idiot, Notes From Underground, and yes, The Brothers Karamazov, at all times it is clear he could have been even greater than he was. But sadly he let his genius be stunted by that most pernicious killer of artistic genius: dogmatic, religious orthodoxy.

Oxford college warns students about black “intruder” who was staying in a friend’s office

Marianna Spring
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Oxford college warns students about black “intruder” who was staying in a friend’s office

Harris Manchester College sent around an email warning about “unauthorized persons” in college, attaching a CCTV image of Oluwafemi Nylander, a prominent Rhodes Must Fall campaigner who studied PPE at Regent’s Park College.

Nylander told Cherwell he was “not an intruder in any way” and entered the college last Thursday evening to pick up a key from a friend’s office. The friend had given him a code to enter and permission to stay in his office.

“On trying to leave the college I realised that I couldn’t get out without a fob, so I decided to stay and work on my book in my friend’s office. In the morning I chatted to members of staff in the JCR about breakfast. They approached and told me it didn’t open until 8 at 7:50. They made no effort to ask who I was, though, and so there was no indication that there was any trouble. Afterwards I left.”

“I wish I could say I was annoyed or distraught, but I am not surprised. There are more Etonians at Oxford than blacks. It is a very problematic university.”

The email sent to Harris Manchester’s JCR and staff mailing lists by states: “This is a serious reminder that this wonderful and safe environment in which we live and work can be taken advantage of. We must all do our bit in maintain vigilance against unauthorized persons in College.

“Attached is an image taken from our CCTV of a person discovered in college this morning. Seen previously, it had been thought that the person was attached to All Souls College. This is not the case. If you see the person in the attached image, then please alert a member of staff. If no staff are available out of hours then you may call the university security services on 01865 289999.

“We are unaware of the intentions of the individual. Previous interactions with them have been amenable so the college does not currently feel that there Is any level of danger, to either persons or properly. As always do talk to a member of staff if you should have any concerns.”

A spokesperson for Harris Manchester college told Cherwell: “On the college site we have one building, which is occupied by members of All Souls College. On Friday morning I received a telephone call from the Manciple of All Souls who had been contacted by a Fellow of the college to say that there was an unknown person in that building at 11.30pm on Thursday night and that he had again been seen outside the building on Friday morning at 7am.

“They wanted access to the CCTV footage at HMC. From this footage they identified their intruder who was then seen following one of our staff in to the main college building at 7.30am. He was also on CCTV leaving the college at 9.05am. All Souls confirmed that he was not a member of their college and certainly not of Harris Manchester, nor was he the guest of anyone in either college. This being the case and there obviously having been a breach in security with an ‘intruder ‘ in the college buildings overnight, it was appropriate to send an e-mail and CCTV picture to our own members. In exceptional circumstances we will do that. The college is home for many students and Fellows and it is important to protect their safety.”

Students reacted with outrage on the Facebook group Race Matters to Nylander’s post featuring an image of him walking through the main foyer, which was sent out to students and staff. He captioned the post, which has over 700 likes, “That feeling when your picking something up from a friend at an Ox college and they end up sending CCTV of you to the whole mailing list”.

One Facebook user commented: “Just another day as a Black man in a white world. Sorry you had to go through this inexcusable humiliation Femi”.

Another added: “Wow, The number of people who just walk in and out of colleges all the time.”

Harris Manchester College is yet to contact Nylander following the incident.

The Oxford graduate has previously campaigned against colonial commemoration at Oxford.

In June he stood shirtless outside the High Street entrance to All Souls College in protest against the Codrington Library and commemoration of its founder, Christopher Codrington.

He wore a chain around his neck and ‘All Slaves College’ painted on his chest in red paint, which was intended to resemble blood.

At the time, he told Cherwell: “When we complained about the statue and the plaque to the college their response was that the statue was a fact of history which like the history of slavery itself cannot be changed. I thought I would remind them what the history of slavery was.”

Cherworld HT4: A presidential palaver

Charlie Atkins and Harry Gosling
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Cherworld HT4: A presidential palaver

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Review: ‘Two Way Mirror’

Alice Robinson
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Review: ‘Two Way Mirror’

Kotei Productions’ new performance of Arthur Miller’s Two Way Mirror at the BT Studio attempts to shed some light on that small question: what is love? A question particularly pertinent now we’re into February and the prospect of Valentine’s Day lurks around the corner. Sadly, it doesn’t feel like this production quite manages to make love any less elusive, despite some hard work from the cast of two.

Two Way Mirror is in fact two plays; ‘Elegy to a Lady’, and ‘Some Kind of Love’, both said to be inspired by Miller’s relationship with Marilyn Monroe. The former is the better of the pair, showing two strangers attempting to fumble their way through an awkward first meeting fraught with pain, bewilderment, and desperation. Louisa Iselin is a seemingly calm and composed proprietress of a designer boutique trying to help confused customer Saul Lowndes Britton to choose a present “for a dying woman”. Unburdening his soul to her, the two explore his love for this unnamed woman and what it consists of, touching tangentially on the love-life of the proprietress, who by coincidence bears a striking resemblance to the dying woman. This discussion is relatively interesting, although doesn’t seem to say anything particularly new or unusual about love.

Iselin does well at appearing reserved and considered, whist showing flashes of a seething discontent concealed beneath. Britton also handles a difficult part admirably: for someone who looks no older than an undergraduate (surprise, surprise), it’s hard to be convincing in the repeated assertion of how much you’ve aged, and how far away you are from thirty. I think he could have been helped out a bit more by the costume, which seemed rather too trim for a middle-aged man, but then perhaps that’s being pernickety. Britton had a very naturalistic style of delivery­–fumbling and stuttering over words, half-laughing, or gasping to show a kind of embarrassed emotion, all of which proved effective. He does need to be careful, however, not to employ these techniques too often: although gasping made sense in the context of each individual line, after a while the cumulative effect began to feel a little overdone.

However, Britton showed versatility in his second character, Tom O’Toole, who was far more confident in his speech. ‘Some Kind of Love’ was really a chance for Iselin to shine, in the role of Angela, a schizophrenic woman leading O’Toole (a detective) on with tempting scraps of information about a case. Iselin did a fine job of flipping between personalities – seemingly both volatile and vulnerable. I think directors Sarah Davies and Aimée Emma Kwan should cut the script, however. It went on for far too long, with what seemed like minimal character development, and a constantly repeated motif of the detective being about to leave, and not quite making it. A sharp edit would better preserve the concentrated force these plays demand.

The studio is set up with a traverse stage, the audience flanking either side – an excellent piece of directing, as the intimacy it provides suits the intensity of the scripts. Ilia Strigari has also been thoughtful in her set design, not overcrowding the stage to make sure everything is visible at all times, but also providing enough furniture to give a sense of atmosphere. The chaise lounge, fashion mannequin, hard-backed chairs and various scarfs and drapes turn surprisingly easily from a designer boutique into a New Jersey apartment. The sound design could use a little finessing so that the music and special effects come in more subtly. Overall, this is a difficult piece of theatre to pull off, but Kotei Productions have made an impressive go of overcoming its challenges. With some sensitive editing and slightly more subtlety, this will be an interesting evening out, particularly for those wishing to see some of Miller’s lesser known works.

The uncertainty of Trump’s LGBTQ+ stance

Louis McEvoy
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The uncertainty of Trump’s LGBTQ+ stance

The LGBTQ+ movement is in a curious and uncertain position under President Trump. Decades of religious proselytising saw these minorities cast as a prime antagonist by the Republican Party, their ostensible degeneracy validating the Grand Old Party’s rhetoric of family value and its systematic breakdown.

Homophobia and transphobia are rife within the GOP establishment, and if LGBTQ+ Americans were living under, say, a President Cruz, there would be no question that their rights would be rolled thoroughly back. Trump, hardly a conservative in any sense, is a more equivocal force.

Amongst his many idiosyncrasies, Donald Trump stood out against so-called ‘moderate’ Republicans for his relatively progressive views; indeed, although he has gone back and forth, one strange truth is that he came out in support of same-sex marriage before Hillary Clinton did. Even when it was Trump’s turn to triangulate in the primaries, he has proved reluctant to attack the gains of the LGBTQ+ movement.

Although he has flirted aloud with the idea of appointing judges to overturn the landmark 2015 Supreme Court ruling on same-sex marriage, he has more frequently asserted that the issue is settled. As President-elect in November, Trump suggested that he wouldn’t make any alteration to this ruling, while simultaneously declaring his intent to overturn Roe vs. Wade.

It’s an odd juxtaposition: the once socially liberal Trump sticking to his old position on gay rights, while earlier this month proving more than willing to throw women under a bus. Trump’s position, one supposes, is a mix of pragmatism and indifference.

Trumpism is focused on flag, not faith and family. Regardless of the religious right’s heretofore integral role in Republican politics, the sleazy, thrice-married billionaire’s pitch never entailed family values. LGBTQ+ people are simply non-existent within his narrative, which is both a comfort and a worry. On Tuesday, the White House stated that they would keep in place a 2014 executive order banning anti-LGBTQ+ workplace discrimination. Yet such an order only applied to companies working with the federal government. There is no sign Trump will attain further protections. What we can expect is a freeze on progress—and a safe space for Republicans to make conservative pushbacks.

Just this month Texan Senator Lois Kolkhorst unveiled a bill barring transgender people from using the bathroom that matches their gender when visiting government buildings. Meanwhile, Lt Gov Dan Patrick has challenged Houston’s policy of offering employees with spouses of the same sex benefits equal to traditionally married couples. Better known is the frightening prominence of Mike Pence, who has never recanted his public statements promulgating conversion therapy.

As recently as last year, Pence signed a Religious Freedom Restoration Act for Indiana which allows businesses to deny services to LGBTQ+ people. Although Trump, Bannon, and co are prioritising dehumanising and discriminating against Muslims and refugees, the fact that the Republican Party wields such ubiquitous power enables its senators and governors to pursue atavistic policymaking within the frozen limits of when Trump came to office.

But there is hope. Trump may be adhering to the new status quo on same-sex marriage because Republicans have dared not urge its reversal: public opinion on the status of gay people and their relationships has, much like in the UK, evolved with an incredible rapidity. The media’s normalisation of LGBTQ+ individuals will continue, and it’s certain that Republicans cannot erase most of the progress made.

Nevertheless, although the impact the Trump administration has on LGBTQ+ people may be transient, there is nothing unstoppable about the movement or inevitable about progress, and work still needs to be done. Trans people in particular face a horrifying amount of stigmatisation and abuse, and President Trump will not strive to alleviate this. Collective action must be the response.

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