Thursday 9th October 2025
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Steven Woolfe MEP spotted in Bridge

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Former Ukip party leadership contender and MEP Steven Woolfe was spotted in Oxford’s Bridge nightclub on Thursday night.

After arguing for the proposition ‘This House Believes Liberalism has Become Elitist’ at the Oxford Union, Woolfe and journalist Dan Hodges were recommended that they carry on the night at Bridge.

Arthur Wotton, a first-year student at New College, said: “He was there in black tie after the union debate and I saw him on the dance floor – it seemed like he was lost and was looking for whoever he came with.”

He added that Woolfe “actually seemed fairly pleasant”.

One student who attended Bridge that night told Cherwell he wasn’t aware how long Woolfe stayed but “[the] last time I saw him was at 1 when he was getting a drink from the bar with Dan Hodges.

“He seemed to be laughing though so presumably had a fun time.”

Woolfe became a Ukip MEP in 2014, following a career as a barrister and stints as the party’s migration and economics spokesman.

In 2016 he announced his bid to replace Nigel Farage as Ukip leader, but was however disqualified from running as he had allowed his party membership to lapse for over a year.

In October, he made headlines after being hospitalised after a row with fellow Ukip MEP Mike Hookem. Woolfe claimed that Hookem punched him, an accusation that Hookem denies. Following the incident Woolfe quit Ukip, characterising it as “ungovernable”. 

Dan Hodges is a Blairite blogger and journalist who writes a weekly column for the Mail on Sunday.

Bridge was hosting the launch party for Pembroke’s ‘Studio 54’ themed ball. Woolfe and Hodge’s respective positions on the mid 70s American disco scene are currently unclear.

Steven Woolfe has been contacted for comment.

Review: Lubaina Himid’s ‘Invisible Strategies’

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Lubaina Himid claims “she is not a painter”. Instead she gives herself the title of ‘political strategist’. And whilst she does frequently use paint, it is hard to disagree with her. Her exhibit, Invisible Strategies exists across the boundaries of medium, combining painting and sculpture, simplicity and complexity. It also exists in two spaces politically, at once being accusatory and healing. There are multiple journeys here: the journey home, the journey of slavery, and in many respects, due to the constant awareness of the past, the journey of time. One of the recurring themes is the sense of appropriation or theft of art and culture: in one room, ‘In Mr Salts Collection’, depicts four crudely painted pots clearly of African origin, each with a number beside them. The painted pots, suggested to be works of art in themselves, have been consumed by a ‘white man’s’ ownership, removing any history or context, emphasised by them being given ambiguous numbers. In another room Himid seems to fight back, with a vast display of European ceramics that she has painted on with images of black men and women, and particularly uncomfortable slave-trade related imagery.

The sculptural ‘Bone in the China: Success to the Africa Trade’ sees a European classical-column transmuted into a bleached white bone. Around it are phrases mourning the lack of narrative given to black heritage in art institutions. The column perhaps meant to represent these museums, which Himid once called “charnel houses full of stolen goods, where the treasures of Black heritage and creativity are hoarded”. Surrounding ‘Bone in the China’ are large works, depicting an equally large variety of black characters in often bizarre scenes: Himid’s training as a theatrical set designer showing through the use of medium and size. The diptych ‘Le Roduer’ takes its name from a slave ship, on which occurred mass murder—yet the images are of reflective spaces, therapist coaches and open windows. ‘Freedom and Change’ appropriates Picasso’s 1922 ‘Two Women Running on the Beach’, with black women subverting the white tradition. These women are booed by white men in the bottom corner of the installation.

Perhaps the largest series in the exhibit is ‘Negative Positives’, a collection of 20 or so Guardian newspaper pages that feature stories depicting people of colour. On each page these articles are left untouched, still very much readable. The rest of the page, which has not been dedicate to such articles, is painted over in blocks of colour and pattern. Himid claims it is an attempt “to reclaim the portrait of the person [and] restore the balance”—presumably the person featured in the articles. The intended effect, being political, is obvious but I question how far it achieves its aims. The eye is immediately drawn to the colourful edited sections, instead of the articles and ‘portraits’ Himid is attempting to elevate. Even when illegible, the ‘white’ stories and advertisements still dominate the pages that are presented to us. The theory behind the practice is flawed also: a questionable endeavour to show, in an exhibit highlighting the erasure of people, depictions of them being presented in the mass media. The news stories and celebrities shown are all ones most will immediately recognise. All she seems to be doing is highlighting an already existing representation.

There is success however, with covers of the Guardian’s ‘Weekend’ magazine being opened out so the back page (in this case always an advertisement) is next to a full page portrait of women of colour who have featured on the covers. The juxtaposition of the two makes the commercialised adverts appear comically tasteless in view of the beauty of the women featured on the opposite leaf. I can’t help but feel sorry for the innocent advertisers and journalists whose work, having been displayed in these ways or painted over, has been made unfairly (and perhaps accidentally) into symbols of white colonialist oppression.

In a room by itself is the diptych ‘ZanzibarSea: Wave Goodbye Say Hello’. It comes as a result of Himid returning to her Zanzibar birthplace, after growing up in the UK. It is aesthetically vastly different to the rest of the exhibit. It does not seem to have a clear agenda either, being intensely personal. It is peaceful. Paint bleeds naturally underneath geometrical patterns, which themselves are drawn by hand, without ruler. There is a ubiquitous lack of form and edge, even though it is occasionally suggested. This creates the sense of ocean, of freedom. The isolation of this painting in its own room seems to be a purposeful creation of a healing space, as well as using the space to amplify the distance and separation that exists between Himid and her birthplace. There is much to see in this exhibit, a complex collection of varied subtly, emotion and medium, which in itself is a testament to the creativity and complexity of the black voices Himid seeks to un-erase.

Invisible Strategies continues until 30 April at Modern Art Oxford.

Protests against Trump continue in Oxford

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A third protest against Donald Trump took place in Oxford today, in conjunction with protests held outside the US Embassy in London.

Demonstrators gathered around Carfax Tower this afternoon where speeches from notable local figures were punctuated by chants of “When racists attack, stand up, fight back” and “Theresa May, hear us shout, Muslims in, racists out”.

With around 50 people in attendance, the protests was smaller than Monday’s, which saw approximately 2,500 Oxford residents march from Cornmarket Street to Magdalen Bridge. There were also fewer students. The main banners displayed were those of the local Labour and Green parties.

Oxford University languages tutor Dr. Edmund Griffiths spoke at the protest against “British appeasement of Trump.”

Speaking to Cherwell, he said: “Any hope that Trump’s far-right policies were merely campaign rhetoric has now evaporated. His immigration ban—directed to a great extent against refugees fleeing countries the US has itself invaded and bombed—is an outrage; and his administration’s threats of war against Iran, China, and other countries are a danger to all of us.

“By rushing to Washington to hold Trump’s hand, the Prime Minister has shown that she is badly out of step with democratic opinion in Britain and around the world.”

There were speeches from a number of Oxford councillors, one of whom prophesised: “[Trump] will not complete his tenure as President. He is going to destroy the peace of the world.”

One student protester, who wished be known only as ‘Colden’, told Cherwell: “the message I’m trying to get across is that America and Israel have a ‘cordiale entente’. As a gesture against racism and white nationalism, a good statement, Israel should open up their borders and show solidarity with the persecuted.”

Sheikh Ramzy, Oxford Brookes’ Muslim chaplain said: “we should ban [Trump] here. This country is a democracy. President Trump should resign.”

The protest today follows a week of action in Oxford against President Trump, whose executive order restricting the movement of refugees and citizens of seven Muslim majority countries provoked a wave of protests across the UK on Monday.

MPs outraged as Labour takes no further action against alleged OULC anti-Semitism

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A group of Labour MPs have criticised the party’s decision to take no further action against Oxford University Labour Club students accused of anti-Semitism.

At a meeting of the Parliamentary Labour Party on Monday, John Mann, Ruth Smeeth, and Ian Austin all raised concerns about the party’s National Executive Committee (NEC) ruling to suspend any further action towards the pair of OULC members implicated in anti-Semitism by Labour peer Baroness Janet Royall’s investigation last year.

Baroness Royall’s eleven month inquiry, summarised in a report last May, was triggered by the resignation of OULC co-chair Alex Chalmers in February 2016 after the club voted to endorse the controversial Israel Apartheid Week (IAW). He claimed some members of the club “have some kind of problem with Jews.”

Speaking about the NEC’s decision not to take further action, Chalmers told Cherwell: “This latest move by the party leadership is disappointing but unsurprising considering its track record on the subject.”

In response to the NEC’s decision not to take further action, Baroness Royall said: “I am deeply disappointed by the outcome and fear it will further harm relations between the Jewish community and our party by confirming a widely held view that we do not take anti-Semitism seriously.”

John Mann, one of the Labour MPs who railed against the NEC’s decision and chair of the All-party parliamentary group against anti-Semitism, told Cherwell: “Having spoken at Oxford Labour club and to Jewish students, I well understand what has been happening at Oxford. I am extremely disappointed that no action has been taken and that communication with Jewish students throughout the process has been so dismal. Simply put this is not good enough. If our party is to be taken seriously as an antiracist institution, we must act. I will continue to call out inaction and reassure Jewish students and others that apathy to anti-Semitism will not be tolerated by me or many other Labour MPs.”

Oxford’s Jewish Society stated: “The Labour NEC Disputes panel decision to clear two individuals of from OULC of anti-Semitism is utterly shameful and demonstrates yet again that the Labour Party is unwilling to confront the anti-Semitism in its ranks. This decision is bitterly disappointing and will only continue the trend of Labour spaces becoming increasingly frightening and alienating for Jewish students. It is hard to believe that following Baroness Royall finding that the incidents in the OULC took place, that the NEC decided to drop the case.”

An anonymous source told Cherwell: “The total dropping of this investigation seems like the final straw, undermining the very serious allegations made by both myself and my peers.

“Whilst the party and indeed Oxford Labour club may not be, as has been concluded in the past, institutionally anti-Semitic, it certainly has endemic problems that need to be tackled and the only way I truly believe these problems can be solved is if there is full awareness of the facts on the ground and an honest relationship between the party and its Jewish members. What I experienced in OULC was extremely humiliating, demoralising and profoundly unpleasant and I am utterly appalled that justice will never be served.”

 Ian Austin and the OULC were contacted for comment. Ruth Smeeth declined to comment.

Magdalen JCR backs Fairtrade

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Magdalen College JCR passed a motion on Tuesday applying for Fairtrade accreditation of the college and endorsing the University-wide campaign that aims for every college in the university to be Fairtrade certified.

The motion, proposed by Magdalen’s outgoing Environment and Ethics trustee Matthew Steggles, supports Just Love, a Christian social justice organisation, who are working in collaboration with OUSU Environment and Ethics representatives in colleges. Together the groups are encouraging people to source more ethical goods in their day to day lives.

The proposal states that the JCR “have obligation as global citizens to respect those who provide our food and clothing”, adding, “Fairtrade certification provides a clear, sustainable and effective framework through which to fulfil this obligation.”

Having passed with 42 votes in favour, and only 1 against, the successful motion mandates Magdalen’s Environment and Ethics representative to liaise with the college’s home bursar and senior staff in order to make the college Fairtrade.

The motion also outlines proposals to create an annual Fairtrade subcommittee of the JCR.

This step follows in the wake of 97 other universities, including Oxford Brookes and Cambridge, all of which have become Fairtrade certified, along with Lady Margaret Hall, Linacre and Christ Church colleges.

Mr. Steggles, who tabled Magdalen’s motion, told Cherwell: “Ideally I’d like to see Oxford as a university be more proactive in supporting worthy causes than I feel they are at the moment. Fairtrade measurably improves the lives of people in some of the most impoverished areas and to be able to take a step towards that through Oxford is definitely worthwhile.”

However, there has been some controversy surrounding the campaign. One student speaking to Cherwell, questioned: “Why Fairtrade? I support the Rainforest Alliance. All I care about is having a world for us to live in.”

Other students felt they would prefer to align themselves with a charity more efficient than Fairtrade.

This comes after last year’s contentious news that Cadbury was abandoning its Fairtrade certification in favour of its parent company’s in-house fair trade scheme, Cocoa Life.

Speaking in Oxford Town Hall last month however, Chief Executive of the Fairtrade Foundation, Michael Gidney, offered support for Cadbury’s Cocoa Life Scheme, and concentrated on the wider vision he held for Fairtrade’s future, especially the role played by Fairtrade colleges, schools and communities.

OUSU, in its 2016/2017 policy, committed to supporting Fairtrade, said: “The Vice President for Charities and Communities will campaign for increased Fairtrade consumption within the university departments and colleges.”

OUSU also hopes to convince the University to assign a Fairtrade officer to oversee Fairtrade at Oxford.

The Fairtrade Foundation claims that it helps over 1.65 million farmers and workers across 74 countries. This includes giving the cooperatives a premium to invest back into the community through such means as education and improved technology.

Review: STOP

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In a production which spoke loudest in its low key moments, I was struck by something quite rare in student drama—a lack of pretension. The thought of watching a  piece of new student writing—a musical, no less—that presents a chronologically disordered narrative exploring mental illness left me rather frightened that I would have to sit through an overly inventive piece, or one that mimicked an overwrought Hollywood incarnation of depression.

There is nothing more irksome than a depiction of suicidal thinking in the tone of Effy from Skins, all romantic melodrama and no reality. This piece, in complete opposition, was crafted by Annabel Mutale Reed and Leo Munby to have an admirable everyday humanity and frankness to it, as its four mentally ill characters find themselves stuck in the most mundane location: a London bus stop.

The characterisation in the first half is the musical’s fiercest aspect, with delightfully idiosyncratic and detailed performances by Kathy Peacock, Annabel Mutale Reed, Jack Trzcinski, and Eoghan McNelis. They managed to catch hold of some of the embarrassment, awkwardness, and the outright sorrow of mental illness which is not grand, but mundane, snivelling and raw. Reed gives a particularly excellent performance, with her brisk, ‘I’ve got my shit together’ verbal patterns perfectly toned.

The set and score maintain simplicity which allows storytelling to take centre stage. The Burton Taylor studio is used well: the conventionality of the seating imposing some sense of order, pleasantly resisting the amateur urge to go a bit madly experimental. The bus stop, only lightly touched by the hand of musical theatre, remains unobtrusive and familiar to any Londoner.

The map of bus routes in the background provides a subtle nod to the motif of connections, both human and neurological, without being too heavy handed. Even the inflammatory name ‘TRUMP’, scratched into the plastic post, fades easily into the distance, just another anxiety in a story thick with them.

Ultimately, it’s refreshing to see a production so immune to gimmicks. It’s almost as if it realises that it is conceptually strong enough in manifesting mental illness as a physical space, as something tangible and immobilising, when so often we hear it’s all in people’s heads, that it doesn’t have to work too hard. Tonal shifts are left to lighting, conveying both warmth and distress. The music, too, doesn’t try to be too avant-garde. Although occasionally abruptly silenced by a percussion instrument, for the most part it complements rather than overshadows the exposition of the plot.

If I had one critique of the piece, it would be that the latter half could occasionally feel weighed down by the emphasis on its message, which lessened the authentic emotional punch. However, conceptually, it’s very good. It offers up a spool of various threads that get tugged at throughout the piece in a fascinating and satisfying way.

Food diary: in search of pasteis de nata

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Portugal became the hot travel destination this past year. Naturally, with that, its popularity has translated into a new food trend in England. Nando’s hasn’t become Instagram worthy yet, but some of London’s top foodies (i.e: @clerkenwellboyec1) are contributing to the recent hype around Portugal’s iconic custard tarts, also known as ‘pasteis de nata’ (singular: pastel).

It is no surprise that people are turning to these bite-size and golden pastries as an alternative source of joy, especially this time of year when our lack of vitamin D makes us crave anything which looks remotely like the sun. Pasteis de nata fulfil criteria number one when it comes to delicious food: they’re simple. Composed of creamy and smooth custard, perfectly balanced by crispy puff pastry and caramelised on the top, they’re a daily treat in Portugal, and usually accompanied by an espresso.

Their simplicity doesn’t make them any less precious—the recipe to make them is as secret as the Coca Cola recipe, says Jose Cardoso, owner of Tuga Pastries. He told us that pasteis are sold in almost every coffee shop or bakery in Portugal, and that a competition awards the best pastel de nata every year. In that spirit, we’ve explored Oxford’s food scene to save you the flight to Portugal and to present you with a ranking of the pasteis de nata which can be found and enjoyed right here in your city!

#4 Taylor’s, 1 Woodstock road

They were the most expensive we found and yet they lacked crispiness in addition to being overfilled and under-caramelised. £1.70 will buy you imbalanced and heavy pastel. Our advice: stick to their sandwiches.

#3 Green’s café, 50 St Giles

A little bit cheaper (£1.50), Green’s pasteis hit all the right spots of a good pastel. Open everyday, and rather central, this café is the easiest access you’ll have to a fine pastel de nata.

#2 Akiport café, 192 Abingdon road

No, you did not read the address wrong. Akiport is definitely far out on the Oxford distance scale. This yellow-ish little Brazilian and Portuguese café definitely hasn’t caught up to the Instagram coffee shop vibe but it’s where you’ll find delicious and authentic pasteis, and for only £1.20. So, which of you will be the most dedicated of foodies and walk or cycle all the way down there?

#1 Tuga pastries, Gloucester Green Market (Saturday), one day a week.

That’s your window if you want to taste what we consider to be the best pasteis de nata in Oxford. Last summer, Jose saw an opportunity in the still unknown traditional pastry of his home country and has been selling them since. What makes them so special, apart from the reasonable price of £1.30? A hint of cinnamon, which adds another depth of flavour to this sweet treat, and makes us come back for more every week.

@thecroissantpostcards

Readers’ Photo Competition

Calling all photographers, ‘grammers and anyone who has ever seen a pretty face!

Cherwell Visuals launches its second competition. The theme this time is portrait photography, and we’re accepting submissions of all types and levels, whether touched up or the original thing, a high-quality selfie or a group photo, whether your subject is formal or just buddies stumbling out a bop. Play around, discover some exciting light settings, choose between focusing on mise en scene or effects, find an old favourite: think about conventional portrait photography, about modern developments and everything that has to do with the creation of a person’s image, and send it all over with a two-line explanation to [email protected] !

The Visuals team will select the 5 best photos to publish in Cherwell‘s week 6 issue.

Submissions until fifth week, Wednesday 15 February.

A product of pointless nostalgia

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Declaring that musical reunions are merely commercial ploys for bands to top up as soon as they run a little low on their fortunes seems like an overly jaded stance to take. But in this capitalist world, where Take That’s Progress reunion tour earned the boy band over 180 million dollars, I cannot help but wonder if it’s an accurate one.

Shining a light on the staple Spice Girls reunion, however, invites the further question of whether bands reuniting after a prolonged hiatus is actually more down to the obsessively retromaniac nature of our society.

Usually what accompanies a huge reunion is a new release. Blur’s 2015 The Magic Whip is a recent example, which, in the moments when it does sound like a Blur album—and these are far and few between—at best seems somewhat forced. If reunions are predominantly driven by acute feelings of nostalgia, instances like these compel many to wonder what the point actually is.

Sure, there is the undeniable fact that through these get-togethers youths get to experience bands they thought they’d never get to see live in a way that far surpasses listening to any record, however good the sound system.

Thinking back to the euphoria felt by many of my friends upon seeing the Stone Roses during their massive comeback tour last summer quickly undermines any negatives. Yet what about all the veteran fans, and their feelings of a youth that is permanently lost directly tethered to Ian Brown and co. smashing it at these live shows—is there not a cruelty or sadness to these prolonged moments of nostalgia?

Then again, God help us all when One Direction suddenly decide that they all miss each other and would like nothing more than to spend the better part of a year learning dance routines and perfecting their lip-syncing skills together. Such a constant rehashing of the past is just not necessary and, I for one, believe that music needs to move forward—as far forward as is possible from the likes of One Direction at least.

With such high expectations almost always falling short, it seems that all that continually pushing for reunions amounts to is an ultimately disappointing search for bands who will never again reach the heights of their greatest hits.

Profile: Frank Gardner

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“When a young Saudi came up and said ‘Salaam alaikum—Peace be upon you’ and pulled out a pistol and shot me, that was a pretty bad moment.” The understatement in this is striking: Frank Gardner’s body was ravaged by six bullets from Al-Qaeda terrorists in June 2004, leaving him on the brink of death and partly paralysed in the legs. For a man who had been enthralled by the Middle East from a young age, and devoted his life to learning its language, exploring its lands and reporting its news, this left Gardner with a profound sense of betrayal.

“We’d come in peace. We were journalists and we were there to do a peaceful job,” he reflects as we sit together in Broadcasting House. His distinctive voice, crisp and elegant, is marked by a total absence of self-pity. “It took me a while to sort out in my head the difference between the people who had done this, and the rest of Saudi society and the Middle East.”

Yet his love for the region remained undimmed. A deluge of passionately sympathetic letters from Muslims all over the world played a large role in his emotional healing process, and he is at pains to “steer people away from the stereotypical view that the whole Middle East is up in flames, which it isn’t”.

The touchpaper of Gardner’s fascination with the Middle East was first lit at the age of 16 when he met Sir Wilfred Thesiger, a friend of his mother. Gardner was spellbound by the black and white photographs the explorer had taken of “camel trains receding into the dunes, of these haggard faces, of camel saddles and gourds and daggers.” His voice fills with boyish excitement as he describes this “window into another world”, which inspired him to read Arabic and Islamic Studies at Exeter University. Accustomed to travelling—the son of two diplomats, he lived in The Hague as a child—his degree took him on a “completely formative year” abroad to Egypt, where he stayed with a family in Cairo. He found it thrilling to be “living in a completely functioning medieval Islamic city”, where he could sketch the architecture, climb crumbling minarets and learn the language properly—“it’s just so singsong, so lively, so fun.”

He paints a vivid vignette of a laundryman in a cobbled backstreet “taking a swig from a bottle of water and spraying it out through his teeth in a fine mist to moisten the pair of trousers he was ironing”. Indeed, anecdotal treasures are strewn across the sands of our whole conversation, from his “horrendous” take-off from the deck of the USS Nimitz in a “diabolical device” called a COD—“you feel like you’re in a coffin and you know that you’re about to be catapulted off the deck”—to his alarming discovery after pretending to be a doctor to get accommodation in a Sudanese hospital. “In the morning I woke up and there were these buzzards and vultures wheeling above me—it was actually the morgue and there were people in white sheets there.”

After graduating, Gardner worked as an investment banker in the Middle East for nine years. This was a fascinating time, which, by his own admission, involved doing little actual banking. “It was all about opening doors, having late night meetings with sheikhs and merchants and getting to know them, and then I would bring in the real bankers from Hong Kong and London.” So what prompted his leap from this lucrative career to the uncertain world of broadcast journalism? “I was over-promoted to director back in London,” he recalls modestly. “I was bored stiff, and if you’re bored you’re not going to be good at it.”

Gardner took on an unpaid attachment to BBC World, where his extensive knowledge of the Middle East proved invaluable. His intrepid spirit was now given free rein: he purchased a video camera, which “allowed me to go off to places like Iran, Oman, the UAE, and shoot my own features, entirely self-taught, which I would then sell.” He became the BBC’s Middle East Correspondent based in Cairo, and was in the region for 9/11. He recounts with a mischievous laugh how he took advantage of his official placement on Blair’s plane tour in order to gain access as a journalist to Saudi Arabia. “Having got in, I then said ‘Bye, see you!’ and I disappeared off the radar for two weeks.”

His subsequent undercover reporting from Buraydah—“the spiritual heartland of Al-Qaeda”—attests to his fiercely daring nature; indeed, he demonstrates not a flicker of fear when describing his “fascinating” time in 2003 at the Shkin Firebase. “It was right hard up on the Pakistan border and was getting rocketed every night by the Taliban.”

It is not hard to see why Gardner commands such respect. His job is to analyse global security issues, often terror-related—so does he think that terrorism is the greatest threat faced by the West? “No I don’t. I really don’t,” he stresses. “First of all, I disagreed with what David Cameron said about a year ago, that ISIS represents an existential threat to us. No, it doesn’t. They haven’t got ICBMs. A country that has ICBMs does, in theory, represent an existential threat.”

But what of the Trump presidency and its implications for Muslims and the Middle East? We are speaking before the inauguration, and his response is measured. “We have got to distinguish President-Elect Trump from President Trump and judge him on his actions. People say things in campaigns for effect that they won’t necessarily put into practice.” Yet it is undeniable that Trump will play into the hands of terrorists.

“I have no doubt that extremists like ISIS will prey on every single comment they can wherever they see the opportunity to portray President Trump as being in some way representative of the West, of America. They will use that as a recruiting card. They definitely wanted him as President, he’s a much easier hate figure for them than someone like Obama.”

Gardner wears his prodigious intellect lightly, cautioning me against “hyperbole” when I refer to the monumental success of his debut novel, the spy thriller Crisis. Set largely in Columbia, a country that fascinates him—“Columbia is to Latin America as I see Egypt to the Middle East; it’s my gateway, my passageway in”—it follows the adventures of an MI6 agent seeking to foil a terror plot. Having written two bestselling memoirs, Gardner “wanted to have a bit of fun with this” and is now in the final stages of penning a sequel.

Gardner is captivating company, and from skiing to photography, and birdwatching to exploring remote corners of the world, there seems to be no end to his talents. He has refused to let his injuries hold him back and has always grabbed life by the scruff of the neck. With that characteristic stoicism, he reflects on his attackers. “I’m not into bitterness and vengeance. Do I forgive them? Absolutely not.”