Sunday 20th July 2025
Blog Page 943

The migration of the amateur poultry farmer’s daughter

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David, the duck, had died.

My little sister’s text glowed white against the late night library desk: “Mum’s really upset.” A dog had got him, apparently. At least it would have been quick, I sensibly counselled; he wouldn’t have known much about it, being a duck. I played at being grown up with the kind of unfeeling conceit that could only have been mustered by a law student with important exams next week.

“No, she’s like, really sad”

A pang of shame knocked me low into my seat, as I reeled from the acute awareness of the distance between us. Had growing up meant necessarily growing away, I wondered?

I had swapped the messy, tropical suburbs of Brisbane for the dreaming spires of Oxford, barely conscious of the space I had left behind. When, ecstatic, I received the offer for which I had worked so hard, my parents never once suggested pursuing higher education nearer to home. If the thought of allowing their eighteen-year-old to spend three years on the other side of the world bothered them in the slightest, they never let on; they were nothing but proud of me. In Australia, it is almost unheard of to move even interstate for undergraduate study. When well-meaning family friends heard I was off to Oxford, their reaction was not one of congratulations, but of pity. “Oh-ho” they would muse, “How does your mum feel about that?”

My mother quickly dismissed them; she too had moved away from her parents. Once for university, up to Sheffield in the North of England from the South and decades later to Queensland, emigrating for my father’s career with my sister and me in tow, aged two and nearly six. To this day if I ever feel irritation rise at the wails of sleep-deprived children on long haul flights, I push for a feeble attempt at atonement. This was you once, and your mum bore all twenty-eight hours of it. At my grandfather’s funeral, she thanked him for his unfailing, unquestioning support spanning the continents. In our family, enduring great separation is itself an act of love.

Tesco, Sainsbury’s, Boots. I recognised the supermarket chains and damp smells of England from the times my parents had flown us back for childhood Christmases. Much of what I remembered of those holidays came from what was glimpsed looking out the window along motorways and roadside convenience stops: the impressively wider variety of potato chip flavours called ‘crisps’, the greenness of the trees and fields, and the way it started to get dark in the middle of the afternoon. But these trips were always brief, and always temporary. Aunts and uncles would object to my sister’s broad vowels, but accept that the battle was fruitless; we were Australians now. Only she had the accent to prove it.

Yet back in Blighty I was, clutching a list of criminal law pre-reading and a sketchbook my school friends had filled with photographs. Textbook facts about the country came easily—it has a House of Lords instead of an elected senate, Queen Anne had been pregnant at least seventeen times but survived all of her children, the Guardian is the left-wing newspaper—but everyday familiarity did not.

In those first few weeks I felt like a fraudulent tourist, ordering coffee with an English accent but with tell-tale Australian phrasing and intonation, rising upwards tentatively at the end of every sentence: “can I grab a flat white, please?” instead of “may I have?”. I was obsessed by the prim voice of the self- service check outs and the very existence of The Archers, the inexplicably popular public radio serial (yes, radio!) involving cows and rural gossip. It routinely astonished me how much time in a day was devoted to pulling on heavy coats, and laboriously taking them off again. Feeling so foreign, it was strange to be berated by Australian schoolmates about how ‘pommie’ (English) I sounded.

I still hesitate when people ask me where I am from. Home can seem wherever I am not currently. With two passports, I perpetually migrate. My dual nationality emerged as ‘an interesting fact about yourself’ during the obligatory getting-to- know-you games of Freshers’ Week, and “But you don’t sound Australian!” became the refrain of my course mates. Convinced I was an admissions mistake, I was consumed by a confusing cocktail of imposter syndrome and homesickness, despite living in the country in which I was born, surrounded by extended family. I retreated into my books. If I couldn’t be English or Australian, then I would be a lawyer instead.

The news of the chickens came first, then the bantams, then the ducks. Less than a month after I’d moved to the UK, photographs of the coopwooden, with ‘Chook House’ picked out in friendly letters, handpainted red, began arriving regularly. I wanted to name the first two after Roman jurists, but the rest of the family were having none of it.

“No-one shouts ‘Ulpian! Ulpian! Come and get your birdfeed!’ within earshot of the neighbours and still lives with themselves.”

Mum probably had a point. They were, after all, female chickens who were expected to earn their keep at some point by producing eggs. My sister christened them Dawn and Beyoncé.

We fill our time with hobbies—cross-stitch, crossfit, gardening, contract law—when searching for something more absorbing than our own pain. Over that long first year, ‘how the girls were doing’ became a proxy for all those things my parents’ residual Britishness prevented them saying explicitly. “I was out watering the plants with the girls this morning”. “The girls laid us two lovely brown eggs yesterday!”. My sister and I had been ‘the girls’ in Christmas letters and emails before we grew up and moved away: ’With love from Debbie, Mark and the Girls’. Now we were women, and the girls were poultry.

Margaret and David came next: two lily white ducks, named for Australian film critics. Watching At the Movies with Margaret and David on a Sunday evening with my Dad was something of a ritual growing up. It functioned as a barometer for how well we had assimilated, measured by how accurately we guessed the number of stars they had awarded films. My friends appreciated the duck photos carefully curated across my social media accounts. Of course they wouldn’t get the joke in their names.

“So they replaced you with chickens?” “And bantams, yes.”

I boasted about the menagerie I had left behind to the excruciatingly cool student actor I fancied in a hopelessly misguided effort to seem more interesting: ‘bantam banter’, if you will. Bantam eggs are only small and don’t come nearly as frequently, I informed her. They’re really just there for cuddles and looking lovely, waddling around the garden and showing off their fluffy bottoms. She pretended to be suitably impressed.

I became hyper-aware of the control I possessed over how much of my life I shared on either side of the planet. Showering English friends with Australia facts as though I was zealously selling a holiday package, I guiltily stemmed the flow of details the other way. When I video-called my mother for the first time after cutting off all but a few inches of my long but hardly inspiring mop of hair, she flinched away from the screen at her end. By then I had stopped running my fingers over my bare ears and catching glimpses of the shape of my skull in shop windows. I’d forgotten it was news to her.

“Really suits you, darl. You don’t even look like a lesbian!”

My mother carefully avoided my glance sideways, as one of those well-meaning family friends cooed over my haircut upon my return to Australia for Christmas. She would chastise me later for making poor Caroline feel guilty, as I had hissed back that this was the desired effect.

As it happened, I was indeed one of those short-haired lesbians my mother’s friends looked upon with a mixture of pity and discomfort. My foray on tiptoes into a queer sexual identity was accepted without comment in College. But when my parents Skyped me the morning after the inevitable romantic disappointment of my second year, they were told that it was a ‘Howard’, not a ‘Hannah’, who had caused all the snot.

I would not awkwardly come out to my parents, over the phone in a noisy café, until I had almost finished my degree. I have never been sure whether telephone would have been my coming out medium of choice had I remained in Australia. A phone call manages to be less sincere than a letter or email, while more cowardly than speaking face-to-face. The words ‘fine’ and ‘lovely’ until any meaning they might have conveyed dissolved into phoneline static. Years would pass before my sexuality was mentioned again, even in jest.

The night terrors which woke up my housemates, me screaming the names of legal cases while sound asleep in the weeks leading up to my final exams, were difficult to relay. The debilitating weight of beliefs about my inadequacy was a burden, I convinced myself, which was best carried alone. The law offers little comfort to those who have difficulty categorising themselves.

Roman law is a map, my tutor had said. Once you know the landscape, you are never really lost in any jurisdiction or context. You could be studying tort law in Barbados, property rights in outer space, sixteenth century shipping law; you’ll always have some idea of how a sprawling web of rights and obligations can hold its shape. Roman law provided plenty of guidance about how to sue one’s neighbour in the event he stole your chicken, and speculation as to whether bees were by nature wild if they had the habit of returning. Nothing about where on the map I ought to be classified.

Flying the nest for everyone inevitably involves coping with a new kind of distance. Some families speak in code, with a tacit appreciation of the fact that there are darker and more difficult aspects of life than the debacle over the neighbour’s fence or Philomena getting broody. A shared fiction is no less intimate for omissions, but an acknowledgement of emotions too intense to share when apart. Egg counts served as tokens of my parents’ love, unrelated to my academic successes or failures.

Ironically enough, there was a pair of wild ducks who would visit my College year on year in the summer, around the time my English friends would scatter back across the country for the holidays. It was difficult not to avoid the conclusion that they had been sent deliberately—a physical reminder of the home I was missing.

It wasn’t until the first Christmas after my graduation I met Una and Fergus, the ducklings my mother meticulously hatched under an incubator light. A bird’s nest, whilst beautiful, is always a temporary structure. I was back in Brisbane to bask in the sweaty summer, having decided that returning permanently would be yet another seismic shift too soon. Despite the painful, dull confusion that had been the months leading up to my final exams, I could dimly recall being sent videos of a pair of fluffy chickens peep-peeping to each other in a familiar kitchen sink.

“They come running out to greet me, you know. They think I’m their mum”.

Two months at home, Brisbane home, came and went. My mother always bakes when my sister or I fly anywhere, right from the moment we take off until we land. Delightfully sloppy orange and almond cake, magazine-perfect raspberry soufflés in little copper pans. It is the most delicious, endearing coping mechanism I have ever witnessed, love whipped up in mixing bowls and baked to feed others. To use up the eggs, she insists.

Alternative funding methods will be salvation for the arts

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Cuts to the arts and cultural services hit the people who need it hardest- nowhere is this more-so the case than in Northern Ireland. As we come into the second half of a decade defined by austerity, the future of the arts and the quality of cultural life in Britain and Northern Ireland seem more in peril than ever. Perhaps in the UK we’ve become accustomed to having our cultural services treading water; but the question now is whether we’re prepared to watch them sink and, if not, whether we are prepared to take action?

Stretched local council budgets are set to have harsh implications on the arts. One council member, Ian Stephens, has said that the prospect of a £2.6bn social care funding gap by 2020 will mean that councils will have to “divert more money from other local services, including cultural services, to try and plug growing social care funding gaps.” This is a sobering reality for advocates of the arts—when services like social care are struggling to stay afloat, spending millions on a new classical music opera hall in London is a tough pitch.

Yet herein lies a part of the problem; the amount of funding allocated to the arts in London is still disproportionate compared to the rest of the UK, leading to a Commons Culture, Media and Sport select committee warning that a “better regional balance” is what’s needed, considering that London has more opportunity to generate revenue through the Arts. This imbalance has meant that libraries are closing their doors early, art galleries are fighting to stay open, and, according to one survey last year, one in five regional museums has either closed or is facing imminent closure.

The social impact here goes beyond a mere lack of entertainment; there are major implications for social mobility. In Oxford University alone it isn’t a coincidence that every other person you know happens to be from London. If there isn’t a local concert hall for an orchestra to play in or a museum or gallery to host a new exhibition, then where’s the inspiration for state school students to pursue an arts degree in Oxford?

In Northern Ireland the imbalance in culture funding has been fuelled more so by sectarianism than regional bias. DUP Communities Minister Paul Given has cut £50,000 from an Irish language school bursary aimed at disadvantaged families. PBP MLA Gerry Carrol defended this scheme as it “helps underprivileged children, from all communities and backgrounds” and called on the DUP to “stop playing sectarian games.”

However, this new anger is the reopening of an old wound. Throughout the power- sharing executive’s history, culture and arts funding have been the victim of a political tug-of-war. Not only has this prohibited the celebration of our diverse culture, but it has also deepened the divide in our cultural identity by forcing one to compete against the other for survival. This has created a cultural battleground in Northern Ireland where one culture must have predominance over the other—neither ends up the victor.

The reaction of local communities in Northern Ireland to these cuts is comparable to that of regional communities in England who suffered similar austerity, for example the 25 per cent cuts to the Walsall New Art Gallery which have sentenced it to closure. In both cases, a wave of outrage proved to be transient and amounted to nothing

If, when cultural services are threatened in this way we lose out, why is no one suggesting innovative fundraising as the solution? Would it be so hard to get creative for the sake of culture?

In small doses across the UK this is already happening: the Bury Art museum coordinated a tour of British art in China and made £100,000 in the process whereas ‘pay what you think it’s worth’ schemes have proved effective elsewhere. Surely we can get behind crucial services which benefit our local communities through fundraising.

In turn, the arts sector needs to be more innovative when it comes to generating revenue. Presently the only alternative option is to be the audience who watch culture and the arts walk the plank singing and dancing. Maybe we’d better get out of our seats and do something.

Oxford future research hangs in balance after May’s Brexit speech

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Oxford’s future as a world-leading academic institution may be on the line following Theresa May’s announcement of a “red white and blue Brexit”, which will see an end to freedom of movement across the UK border.

On Tuesday the Prime Minister spoke of new border restrictions which will affect total migration from the European Union, a figure which includes students.

However, signalling that the government remains firm in its commitment to sustaining the UK’s reputation for academic excellence, she stated: “We will continue to attract the brightest and the best to work or study in Britain—indeed openness to international talent must remain one of this country’s most distinctive assets—but that process must be managed properly so that our immigration system serves the national interest.”

“A global Britain must also be a country that looks to the future. That means being one of the best places in the world for science and innovation. One of our great strengths as a nation is the breadth and depth of our academic and scientific communities, backed up by some of the world’s best universities. And we have a proud history of leading and supporting cutting-edge research and innovation.”

Britain’s membership of the European Union grants it access to nearly €80 billion in research project funding as part of the EU Framework Programme for Research and Innovation: Horizon 2020.

An exit from the European Union would mean that, without alternative arrangements agreed, British universities would lose access to this funding.

It is possible that Britain will adopt a similar model to Switzerland, which has associated country membership of Horizon 2020 on the condition it continues to accept free movement of peoples.

Speaking to the Education Select Committee about the likely impact of a hard Brexit last week, Professor Alastair Buchan, Oxford’s incoming head of Brexit strategy, said: “We’re giving up 500 to 950 years of exchange—I think we need to be very cautious [about what type of Brexit is pursued].”

He compared the issues facing Oxford and other leading British universities to Premier League Football clubs.

He commented: “Our problem is the Manchester United problem… Every student and every staff member that comes to Oxford is a benefit for this country, because we recruit quality, people that play in the top league.

“We need to be leading, and we have been leading as universities in the past 10, 20 years. Thirty or 40 years ago we weren’t, when we joined the EU. To lose that would be absolutely shooting ourselves in the foot—we must not do that.”

At the same committee, held at Pembroke College (Oxford), Catharine Barnard, a Professor of EU Law at Cambridge, warned that if Britain did not act fast to secure its academic future, it could have dire consequences, with “Germany … working very hard to see if they can attract British academics or academics from British universities to Germany, offering positions that have no teaching connected, research-based posts. Germany is snapping at our heels”.

William Rees-Mogg, President-Elect at the Oxford University Conservative Association (OUCA), told Cherwell: “[I] am glad to hear that the government will seek to maintain a fruitful relationship with Europe in the Education Sector.”

The Vice-Chancellor was unavailable for comment.

Author of the week: Paul Beatty

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Our author of the week is Paul Beatty, winner of the 2016 Man Booker Prize for his fourth novel, The Sellout, and the first American to claim the award.

Born in Los Angeles in 1962, Beatty holds degrees in psychology and creative writing, and started off his career as a poet, publishing his debut collection Big Bank Take Little Bank in 1991. He published his first novel, The White Boy Shuffle, in 1996, a postmodern look at coming-of-age, identity, and race.

The Sellout is driven by energy and lyricism, a sharp satire on themes including the legacy of slavery, segregation and the American justice system. Set in a fictional Los Angeles suburb and narrated by a character known as Me, Beatty’s novel has drawn a variety of different critical responses, but one word seems to resound: hilarity, exemplified by simple but brilliant devices like a court case named ‘Me vs United States of America.’

Reviewing the novel for Cherwell last autumn, Benjamin Davies praised Beatty’s “ability to make both the comic and tragic uncomfortable, just clauses apart, making this book feel unique.”

Though certainly not unknown in American literary circles, Paul Beatty has been credited with widening and challenging expectations, reflecting a desire to write honestly and originally and firmly reinforcing the importance of satire in the sight of publishers and critics.

Fashion and fitness: our unhealthy obsession with a healthy lifestyle

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Last week, Rosie Huntington-Whitely launched her new active-wear line for M&S. Designed for cardio work-outs and inspired by ballet and yoga, the range follows on from her collection geared towards lower intensity routines released last year. It’s affordable and sleekly produced in flattering minimalist tones of charcoal, aubergine and rose: it may be just the inspiration you’re looking for to fulfil those over-optimistic New Year’s resolutions.

The collection is a natural move for the model, who is an outspoken advocate of fitness. She has recently spoken to ELLE about her passion for well-being, saying she regards the gym as a form of meditation—and she has the body to prove it. Yet as I scroll through her shoot for the collection, looking enviously at her toned abs and perfectly sculpted arms as she manages to gaze at us seductively through her post-workout glow, I cannot help but feel a little frustrated.

Somehow, she manages to look like a Greek-goddess, when most of us bear more resemblance to an overripe tomato after a hard-core cardio session, which has me wondering: is all this fitness frenzy really a plus for body confidence?

Don’t get me wrong, exercise is an essential component of stress-relief, longer life expectancy, not to mention that six-pack we all dream of being able to sport on the beach. But we’ve been bombarded by images and fitness fads over the past couple of years that have very little to actually do with mental as well as physical well-being. Kayla Itsines took Instagram by storm a few years back, inspiring thousands of women worldwide with her Bikini-Body-Guide. A gruelling set of daily reps and a corresponding eating plan, the guide is exactly what it says. Its ultimate goal is not to make you healthier, but to help you achieve the fashionable “fit” physique.

The effort required to maintain this physique is life-consuming, as proved by millions of fitness accounts documenting every gym session and kale-filled meal plan. Rather than teaching girls to respect their bodies, these feeds dictate to them what they should look like and how they should live. We’re exercising to look good, to prove online that we’re doing better than others—but not to feel good.

It’s not just social media that’s responsible for this unhealthy promotion of health. The fashion industry has jumped on the fitness bandwagon too. The women’s active-wear market is currently valued at $20bn and hundreds of fashion-conscious fitness labels have been born recently, such as Alala, The Upside, and Beyond Yoga. Supermodels swear by their workout routines to get them runway ready. Victoria’s Secret rigorously promotes their gym range, and the image of the ‘strong, empowered fittie’—yet the models who pose prettily in boxing gloves and on yoga mats do not have the bodies that any other woman would if her career didn’t depend on working out and eating a highly controlled diet. Fitness is a fashion at the moment, but right now it’s doing little to improve body positivity.

I’m not saying don’t exercise—go and have a kick-about, or join a yoga class. What I am saying, is that I think perhaps we need a gentle reminder that the women in fitness adverts are models advertising their own fashionable bodies.

Don’t feel disheartened when you throw on Rosie’s running leggings and don’t look like the next VS Angel herself. But most importantly, don’t punish yourself for it. You’re doing wonders for yourself whether you end up looking like Rosie Huntington-Whitely or not. So next time you go for a run, bear that in mind. Do it to feel good about yourself, not just to look good.

Not so supertrees after all

In the final episode of David Attenborough’s Planet Earth II, after a depressing presentation of the disasters which befall living organisms on account of our cities, the focus shifted to a bright hope of a green future for urban environments. We were presented with the world’s first ‘vertical forests’ in Milan, two residential towers housing trees on their balconies. Next we saw the green infrastructure of the city of Singapore, with ‘supertrees’—artificial solar-powered structures—packed with plants, providing niches for thousands of animals and allowing life to return to the city.

The reversal these changes represented initially filled me with a warm glow of hope, and began to dissolve my despair over our species’ destructive effect.  However, I have come to believe that these great plans for a green urban future are no substitute for traditional methods of saving and sustaining the natural world.

The first issue with growing trees on skycrapers is the large amount of concrete that must be produced to support the weight of a tree. Producing this concrete is likely to release more carbon dioxide into the atmosphere than the tree will ever absorb. This doesn’t sound very green. Equally damning is the fact that the biology of a tree is far from conducive to living on a skyscraper. Where will roots grow on top of a building? Also, the exposure to the elements several hundred feet in the air is orders of magnitude greater than it is on the ground. The oxygen concentration is lower, the wind speeds are greater, and the sun is dazzling. The only organisms able to live at such heights are birds of prey. While it is true that the trees are being selected for their hardiness and receive botanical care, I predict they will neither grow very much, nor survive long. This is not the way to increase green spaces in cities.

The ‘supertrees’ of Singapore do not suffer as many of the flaws as the vertical forests of Milan, although they too struggle to counterbalance the carbon dioxide released into the atmosphere in producing their giant concrete trunks. With their great swathes of solar panels, they are more likely to have a net positive effect in terms of atmospheric levels of greenhouse gases. They also collect rainwater and act as air venting ducts for nearby conservatories. Yet, costing millions to construct and taking up valuable space within the city, they are not a realistic solution to the problems of modern cities. Admittedly they are a great tourist attraction and spectacle, increasing awareness of environmental problems, but the solutions to these problems lie elsewhere.

These two projects have the right intention but the wrong execution. The large-scale return of life to our cities by creating alternative environments and niches is an unrealistic goal.  Instead we should reduce the environmental impact of cities. Reducing waste or exploiting it for other uses, reducing the air, noise, and light pollution of our cities, and preventing further expansion are better and more achievable goals, helping to protect the wildlife which still exists outside our cities. Rather than attempting to improve what has already been destroyed, we should strive to preserve what nature we have left.

Recipe: an alternative pizza experience

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Everyone loves pizza. It’s the best comfort food there is, and with so many options for takeaway pizza in Oxford, from Domino’s to Pizza Hut to the myriad of places on Deliveroo, it’s often inevitable that you end up eating at least one unhealthy and expensive pizza a week. So to try and save both your waistlines and wallets, we’ve got this simple and tasty recipe that still allows you to get all that pizza goodness in your life. Although we have suggested some healthier ingredients here, beyond the basic foundation of cheese and tomato, the pizza is highly customisable so feel free to load it with all your favourite toppings.

Ingredients:

1 store-bought refrigerator pizza crust
4 large tomatoes, thinly sliced
A handful cherry tomatoes, halved
1 large courgette, thinly sliced using a peeler
1 large red bell pepper, sliced
25g mozzarella, torn into pieces
1 garlic clove, finely chopped
1 tbsp olive oil
2 tbsp chopped parsley, to serve (Optional)

SERVES 2

Method:

1. Preheat the oven to 240C/ fan 220C/gas 9 or the highest setting.

2. Unroll your store-bought pizza crust and place on a baking tray. Prick the pizza base with a fork before topping.

3. Spread the sliced tomato on the base to within about 2cm of the edges.

4. Arrange the cherry tomatoes, bell pepper, and courgettes over the top, and then scatter with the mozzarella

5. Scatter the garlic over the top of this.

6. Drizzle evenly with the oil to allow the pizza to crisp up more in the oven.

7. Bake the pizza on the middle shelf for 10-15 minutes or until crisp and golden around the edges. Check that the base is crisp and then take out the oven and place on a heatproof tray.

8. Scatter with the parsley to taste and serve.

If you’re feeling adventurous and want to try your hand at making the pizza dough, here is a little guide for you…

Ingredients:

100g each strong white and strong wholewheat flour
1 tsp or 7g sachet easy-blend dried yeast
125ml warm water

Method:

1. Mix the flours and yeast with a pinch of salt by hand or with a whisk.

2. Pour in the water and mix to a soft dough, then work for around 5 minutes to allow the dough to firm up.

3. Remove the dough and roll out on a lightly floured surface to a round about 30cm across. Lift onto an oiled baking sheet.

4. Add the toppings at this stage.

5. Leave to rise for 20 minutes and then bake the pizza.

Home is where the art is—Doug Eaton and The Forest of Dean

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Coming from the Forest of Dean, I am well used to looking at trees. Doug Eaton, also from the Forest, seems to be used to looking at trees, too. However, he reinvents them in a way so vibrant and fresh, that the landscapes he paints, through the colours he uses, seem alien.

Yet if you were to inspect the landscapes he takes his inspiration from, in the bursts of light between trunks, in the glisten of damp leaves, or the shadows in the bracken, these colours can be found. There is a believability in his paintings—remarkable when, with the palettes he uses, he veers on loosing such a cohesive and natural image, avoiding making something rather ‘tacky’ and ‘pop-arty’.

Doug’s style chases after what he terms as a “painterly style”, not afraid for the material to show the subject. It seems to be not just about simple depiction, but rather a deep evocation of place.

The landscapes he chooses are often places that have been previously industrialised, remains of a mining past. It is perhaps nice to think areas that were once sooty and black have now, through nature and human creativity, become colourful new environs.

As an artist, by depicting the locale of a relatively isolated community that doesn’t have much access to big galleries or a professional art scene, he does a remarkable thing in inspiring many to look at the landscape they live within in different lights, and from different perspectives.

Food diary: why we all should cook more

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Every year, New Year’s food resolutions start promisingly yet many tend to dwindle rapidly. After the maelstrom year that was 2016, one can understand the desire to move into a completely new time, marked by an even firmer resolution. With a firmer resolution, however, comes a steeper slide back into old food habits. Perhaps 2017 is the year to try a new kind of resolution: forget trying to control what you eat, try cooking instead.

Among many of the greats lost in 2016 was that giant of all food critics, A. A. Gill, whose thorny humour and characteristically piercing critique granted him a place at the top of the food chain. A recovered alcoholic, Gill found cooking a sort of therapy—“four and 20 black thoughts baked in a pie”. As with much of his writing, this assessment seems to hit the nail on the head, especially when it comes to New Year’s resolutions for 2017 which seek to move away from the black mess that was the year before.

From working one’s way through a hefty cookbook, to conquering Buzzfeed Food, there’s plenty to do. Whether you aspire to be a dab hand at patisserie, or just an expert at microwave mug cakes, having a personal cooking goal for the year can be as serious or as casual as you want it to be.

All resolutions require some motivation in order to be kept up: this year, in memory of a true jewel in the crown of British television, I say we put those familiar Bake Off induced hunger pangs to good use. Cooking programmes dominate the TV scene at all times of year, and are one of the best ways to learn how to cook.

Whilst being a year of lows for the world, 2016 was happily punctuated by many highs in the world of British cookery television. The winners of both Masterchef and the Great British Bake Off, Jane Devonshire and Candice Brown, were incredibly entertaining to watch—if the latter was divisive, she was arguably just as endearing as the former. This year-long presence of achievements in and ideas about food on TV is constant motivation to cook, whereas the January ‘clean-eating’ craze usually quickly falters.

New Year’s resolutions seek to leave behind bad habits and memories. But a sudden change can be challenging, not to mention a change in something so fundamental as food. The best way to leave behind a bad time is to have a good one, and there’s a reason that food is at the centre of social life. Paying more attention to, and taking more enjoyment from something as everyday and communal as cooking might be much more fun than an often solitary diet resolution. Ultimately, making a resolution about cooking will end up changing how we eat.

Brandon Flowers: “Nobody ever had a dream round here'”

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Not many people know the best moment in their life. I know mine. 2013, Wembley Stadium, when The Killers played their first stadium concert.

As the sun set on 80,000 people on that sultry Saturday night, a show began long on emotion, short on patience, as Brandon Flowers, the band’s lead singer and frontman pulled out every stop for a gig that defined his career. After a mesmeric three hour performance he got in a taxi, drove to the Islington Garage Club and did it all again. That takes commitment.

Brandon Flowers is a curiously reclusive figure in a pop age that valorises the extrovert. He broke-through in 2003, first in the UK and later the US, with ‘Mr Brightside’. Since then he’s released four studio albums with The Killers, and two solo works. Worldwide he’s sold about 22 million albums, is described by Elton John as one of the most inspirational musicians of this century, and has performed before the British Royal family.

Oh, and The Killers’ charity Christmas singles have raised over $1 million dollars for the HIV charity RED. Actions speak louder than words and Flowers may shake before he appears on national television, but he’s a man as driven as he is creative.

Commercially Flowers is big. Culturally he is well known. Musically he is respected. But he has never received the status he deserves as a wordsmith in the Lennon-Jagger tradition. His songs are powerful, political and pertinent, transcending his Las Vegan heritage. They present a clarity of thought and certainty of value increasingly unusual in our post-truth world.

Hot Fuss was his electrifying debut, ‘Mr Brightside’ now a dance-floor classic of every club. Like everywhere. The indie soft rock, auto-tuned vocals, and missionary lyrics about ‘destiny’ were immediately popular. “I must have performed that song a thousand times and I still don’t get bored of it,” Flowers told Zane Lowe in 2013. Nor does any club DJ I’ve ever heard.

Sam’s Town, Hot Fuss’ 2006 sequel, was the album where Flowers truly found his voice. He wasn’t bashful about it either. The Nevadan claimed it was “one of the best albums in the past twenty years”, that it would be “the album that keeps rock & roll afloat.”

The critics disagreed, with Rolling Stone delivering a miserly two-star rating. It was a radical and, many argued, unnecessary departure from The Killers globally successful debut. But if you listen to Sam’s Town, and I mean really listen, you understand what Flowers is on about. It’s an American masquerade about hope, success and failure. “Nobody ever had a dream round here” is the framing-opening lyric from the title track, a nostalgic throw-back to Flower’s tragic youth surrounded by gambling addicts in a rundown suburb of Las Vegas.

Sam’s Town takes its name from the casino across the road from where Flowers grew up. The tracks together form a biographical narrative of self-reflection. ‘This River is Wild’ is a cry of the tribulations of faith, ‘Uncle Jonny’ about watching your best friend break down, ‘When You Were Young’ a classic Springsteenrock song about dating the wrong girl.The manifesto song for the album ‘Read my Mind,’ is Flowers’ essay on the American Dream. “I never really gave up on/ Breakin’ out of this two-star town/I got the green light/I got a little fight/ I’m gonna turn this thing around”—aspiration courses through the bridging-guitar crescendo. I could go on, but that’s beside the point.

Individually the songs are great to listen to, but the album succeeds because it coheres so perfectly. This is the antonym to beige pop, the kind of thing that should keep Ed Sheeran awake at night. Flowers writes soul music in the original meaning of the term. Biblical in its reach, epic in its subject matter, the lyrics resonate the harsh non-conformist value system of Flowers’ Nevadan upbringing. “Decades disappear like sinking ships/ God gives us hope,” Flowers shouts in ‘A Dustland Fairytale’, the raw emotion of self-denial trilling through the cadences of that bitter-sweet symphony. God and religion are present in much of Flowers writing, highly unusual in an age in which secularism is writ-large across pop culture.

More than a musical mastermind Flowers is an indie rock fashion icon, an old-school practitioner of Las Vegas haute-pop-couture. In an era of fashion neurosis on stage, where Harry Styles is feted for donning a blank t-shirt and Chris Martin’s rent-a-sticker guitar becomes a cultural symbol, Flowers remains stubbornly gaudy. America’s synthrock cowboy, he’s worn everything from a Dior feathered epaulette jacket to lavish quantities of eye mascara. Flowers remains a vigilant 80s New Romantic revivalist, an unashamedly ostentatious showman.

“I’ve gone through life white-knuckled…” Flowers opens ‘Flesh and Bone’ the breakout track of The Killers fourth album Battle Born. This is music with a diaristic quality, a haunting resonance and melodic variance so out of step with contemporary synth-pop. It’s music which echoes Flowers’ life story; about succeeding in the face of adversity and fighting for what you believe in.

Together his oeuvre forms a go-to lyric book replete with every mode of human emotion and experience. The man is a genius and it’s time he is recognised as such.