Wednesday 15th October 2025
Blog Page 980

Fundraising for Matt Greenwood passes £40,000

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An ergathon will take place this Sunday at Teddy Hall to raise money for Matt Greenwood, 21, an Engineering student at St. Edmunds Hall who has been diagnosed with terminal bone cancer. Fundraising for prosthetic limbs has already reached over four-times the initial target.

After his diagnosis, Matt’s friends, family and fellow students have been raising money to fund his dream of travelling the world. Having reached their £10,000 target in 4 hours of its ‘Just Giving’ page going live and recently passed £40,000, they are now aiming to raise £75,000.

 
Greenwood has been given between six and nine months to live, after being diagnosed with terminal bone cancer in October 2016.

 
Between 11am and 6pm at St Edmund Hall, students will aim to row one million meters to fundraise for Matt. Anyone is welcome to row to help raise money, while cakes and refreshments will also be available. Funds raised will go to the funding of prosthetics to enable Matt to live out his dreams.

 
Before his diagnosis, Matt was an active rower and rugby player and keen traveller. He is determined not to let his condition stop him from pursuing his passion of travelling. He commented, “I am not just going to lie here and let cancer win; I am going to travel and party and love, and get the most I can out of the remainder of my life.”

 
The fundraising effort was started on 13 November with a sponsored 6km walk along the river in Oxford, which was led by the Principal of St Edmund Hall, Professor Keith Gull.

More information about fundraising efforts for Matt can be found on the Facebook event or his Just Giving page.

The end of the film reel

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The effacement of the history of film is played out on multiplex screens. At my local cinema, each film is prefaced with a ten second countdown showing film prints scrolling across the screen in an old-fashion manner before the filmic effect and grain literally melts away for a cold digital blue—a celebration of the erasure of our old ways for modern efficiency.

Knock off of IMAX’s vaunted introduction to films though it is, there is actually something far more insidious churning under the surface. Aside from this shift being nothing at all to cheer—the death of film is a subject debated to exhaustion—to even have the temerity to use film to hype audiences up for a primarily digital spectacle is dishonest and rather frustrating.

This speaks to a wider issue with 21st Century film, however: nostalgia, while useful to make audiences warm and fuzzy, is employed with breath-taking cynicism in order to sell cinema. We look back to a golden-age of spaghetti westerns and simple film-reel films not because they were better, but because they represent an ideal which we are striving to reproduce, only better, and with bigger special effects.

It is not a ground-breaking argument to propose that the continuing proliferation of remakes have a harmful impact on cinema which will last far beyond the immediate swell of box office profits. Rather, creativity is being hampered in favour of catering to long-gone tastes and calculated attempts to draw people who remember the originals into a darkened room to watch a VFX-laden rehash. Take for example The Magnificent Seven. It was a great movie and a product of its time, so did it really need a remake with the current age’s most famous stars? It seems to be a formula right now.

These remakes—about which far too much has already been written, so it suffices here to be brief on the subject—fail to elicit positive audience or critical reaction precisely because of their very nature. They might be new, but they feel old. Indeed, it is only a matter of time before the public revolt—with their feet—against the fodder they are forced to see.

Cinema is like no other medium in that it publicly devours its young with alarming alacrity. New releases can be easily judged on critical aggregation sites such as Rotten Tomatoes, while budget is quickly comparable with box office haul with just a click on a Wikipedia link. As such, the yearning for the new must constantly be sated with new content, but it must also be sated with risks. To hark back to the glory days of rickety film projectors may appear harmless, but it is certainly an analogy for the current state of Hollywood. Pining for the greatness it has now lost, it looks back to the glory days when cinema was relevant, yet it never seeks to understand exactly why.

If cinema can survive, then its future lies not in yearning for the success of its past, but in embracing its lessons. Hollywood was the greatest storyteller in the western world not because it was wealthy, or fl ashy, but because it was a fearless innovator. What happened? In its new status as An Established Art Form, cinema has become fat, proud and lazy. It’s time for more thought to go into Cinema. It must channel the bravery of its youth to further its survival. Here’s to a revolution of innovation.

Oxford students only second most employable in UK

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According to Times Higher Education’s Global University Employability Ranking 2016, Oxford University are the second best university in the UK “for delivering work-ready graduates”. The California Institute of Technology topped the Employability Ranking, despite losing out to Oxford in Times Higher Education’s September ranking of the world’s top universities.

THE’s report found that the most prestigious universities were also considered to be the best at producing employment-ready graduates, with California Institute of Technology ranking first, followed by MIT, Harvard, Cambridge, and Stanford. Oxford placed seventh worldwide, narrowly losing out to Yale University.

The data which went into the report was gathered from respondents in 20 countries and consisted of management-level recruiters and managing directors of international firms.

Nine other universities from the UK placed in the top 100, including Imperial College London (16), King’s College London (23), and the University of Manchester (24). The US had the most universities on the list, occupying 37 spots of of the top 100 and six of the top ten.

The Technical University of Munich and the University of Tokyo were the only two non-US or UK universities to rank in the top ten.

John Maier, a second year Balliol PPEist, said, “This is a bitter pill to swallow. My hopes and dreams of being a corporate sellout are slipping away. I might have to do an MPhil, then DPhil, then maybe another DPhil after all.”

Protests outside Oxford Union as Corey Lewandowski speaks

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Protesters gathered outside the Oxford Union as Donald Trump’s former campaign manager, Corey Lewandowski, arrived to speak tonight.

The protest, which was organised by Oxford Migrant Solidarity and OUSU LGBTQ Campain with the support of Oxford University Labour Club (OULC) and It Happens Here, amassed a crowd of more than 60 protesters.

They gathered outside the Union whilst members queued up outside to listen to the talk. Among their chants were “This is free speech, that is a platform”, “Oxford Union, shame on you” and “Black Lives Matter”.

Chants continued once the talk had started, with protesters shouting “Get up, walk out”. Their chants could be heard from inside the Union chamber.

Lewandowski left the Trump campaign in June 2016, after having worked there for over a year, amid allegations he was fired, although Mr. Trump’s son Donald Jr. described the split as “amicable”. He was replaced by chief strategist Paul Manafort. His resignations followed allegations that he had forcefully grabbed a journalist, Michelle Fields.

The OUSU LGBTQ campaign said in a statement, “The LGBTQ Campaign stands in solidarity with all LGBTQ people, people of colour, Muslims, migrants and refugees, disabled people, women and anyone who fears hardship or violence under a Trump presidency. We strongly condemn the normalisation of bigotry and the legitimisation of those complicit in fascism and white supremacy, including Corey Lewandowski. There can be no neutrality in the face of fascism; by hosting Lewandowski, the Oxford Union is complicit in this legitimisation.”

Similarly, a spokesperson for Oxford Migrant Solidarity commented, “Oxford Migrant Solidarity recognizes that there can be no free speech for people living under threat of deportation, harassment, or assault. There can be no free speech for a student in a classroom when other students chant “build the wall” at them. Oxford Migrant Solidarity stands in support of those individuals whose voices are not heard on national television, those who do not receive invitations to speak at the Oxford Union.”

It Happens Here, a sexual violence awareness group in Oxford said in a statement, “As an anti-sexual violence campaign, It Happens Here vehemently opposes the Union’s invitation to Corey Lewandowski, who defended Trump when he bragged about sexual assault. Sexual violence is not a joke; sexual violence is not something that we should accept and normalise in this way; sexual violence happens every day and we must visibly and resolutely stand against it, and anyone who trivialises its severity.”

Cherwell spoke to a number of students both queueing and protesting outside of the Union. Sean O’Neill, OULC’s Press Officer who was protesting outside the Union building, told Cherwell, “The most effective way to oppose this movement and all of its variants in the USA and here is to make sure that it’s not normalised. We stand in solidarity with all who this victory has affected and will go on to affect.”

Nathan Wragg, a PPEist at Pembroke who was queuing to hear Lewandowski speak, commented, “I think that Trump’s election is probably one of the most monumental political events of my life. Lewandowski is the first guy from Trump’s real inner circle to speak in Oxford following his election, which is pretty massive to be honest.”

“I think it’s great that there’s a protest here and protesting against platforming is a great idea, but I do not think this is a platform so to speak. The vast majority in the room will be massively against him. I am interested to see how he reacts to some quite hostile questions.”

Nathan Chael, a student in Oxford on exchange from Stanford University, said, “From a neutral perspective of political analysis I think the talk could allow interesting insight into the psychology of the Trump campaign and the current American electorate, and I’m obviously in support of free speech. But as someone still angry and hurting after the election, I’m also fully supportive of those choosing to protest Lewandowski’s talk.

“His campaign’s practices were utterly repugnant, and I think I’d feel disgusted to sit in the same room with him and listen to him talk about how Trump pulled it off this soon after it happened.”

This is by no means the first incident of a protest against platforming outside of the Union. In February 2015 around 400 demonstrators took part in a protest against the French Front National’s leader Marine Le Pen’s speech at the Union, condemning her political views as fascist, anti-immigrant, anti-semitic, and Islamophobic. The protestors opposing Lewandowski used many of the same chants.

The event highlights the controversy surrounding no-platforming at Oxford University. Robert Harris, former president of the Oxford Union, recently commented independently on the Union’s Facebook event, “The argument about whether Lewandowski should be hosted by the Oxford Union most likely comes down to the classic disagreement about the extent [and] limits to free speech. If this is true, then it seems implausible that either ‘side’ is going to be able to persuade the other regarding Lewandowski’s particular invitation – both viewpoints are based on broad, deep-held, ideological beliefs.”

The Oxford Union Society has been contacted for comment.

Wednesday Weltanschauung: Counter-Devolution

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Devolution, the decentralisation of responsibility away from the central state. Although it is seemingly fashionable to give the governments of ‘the nations’ power over all manner of policy areas, we should be much warier of the potentially devastating consequences of such actions.

When the Scottish Parliament and Welsh Assembly were established in 1999 by the Blair government, a terrible precedent was set. Year after year, there have been requests for more and more power from these devolved administrations. As each new area of competence (from healthcare to social welfare to transport to schools) has been awarded to the aforementioned institutions, the power of Westminster over domestic policy in Scotland and Wales has continually diminished. The Scottish government in particular has removed control of enormous areas of policy from Westminster. The situation is now so extreme, that the Scottish government now has within just 17 years of its initial inception exclusive responsibility for essentially all imaginable responsibilities of government aside from defence and foreign policy. Similarly, in addition to its existing enormous portfolio of devolved competences; Cardiff Bay appears to be poised to soon gain control over policing, prisons, and possibly even taxation within Wales.

Although politicians of all hues regularly champion the merits of devolution to the nations, an inherent problem with this approach can easily be identified. In a time in which nationalism is rising across the globe, should we be devolving more and more power to the administrations of coherently identifiable nations within our United Kingdom? To appropriate the wise words of the great Edmund Burke, “the greater the power, the more dangerous the abuse”. With the fundamentalist separatists of the Scottish National Party (SNP) manipulating the levers of power in Edinburgh, we find ourselves in a situation in which government is being used to try and tear our country apart. Through giving a ‘Scottish government’ power over Scotland, we are legitimising the idea of an independent Scottish state. If we continue to sacrifice Westminster competences on the altar of devolution, it will be mainstream Westminster politicians (and not the Scottish nationalists) who will ultimately be responsible for dismantling the United Kingdom.

Crucially, in the case of Scotland at least, the obsession with using devolved government to pursue an independent state is causing the neglect of ordinary governmental responsibilities. Everything that Nicola Sturgeon talks about can be readily related to the independence debate in some way. With regular requests from the SNP for endless referendums until they get the answer they want, how much longer can the current situation persist for before Scotland splits from the union? On the subject of independence referenda, I am of the firm belief that the pragmatic option to prevent such a catastrophe should be employed. Just as the Spanish government firmly denies the referendum demands of Catalonian separatists, Westminster should maintain its constitutional superiority and just say ‘no’ to the demands of the SNP. If we want to avoid legitimising an independent Scottish state, one of the first things we must do is dismantle the perception that Sturgeon is some sort of Scottish Prime Minister. If the gravitas of being Scottish First Minister was reduced to something similar to the prestige of a glorified county council leader, great progress in the fight to keep Britain united would have been made.

Having been so critical of policies of devolution so far, I feel obliged to point out that they can do a lot of good when applied in the correct circumstances. As a local councillor, I can attest that when appropriate competences are devolved to non-national (and consequently non-separatist) levels like towns and traditional counties, policy can be formulated that best reflects local needs. It is imperative that such forms of devolution should continue to be encouraged. Thus it should come as no surprise that I am pleased to see that the May ministry is putting great effort into the delivery of such an agenda. In the coming years, I would like the government to focus on the propagation of a unifying British identity that could turn back the tide of toxic nationalism. Indeed, as Burke also said, “good order is the foundation of all things”. If we are to preserve its integrity, we should be ordering our country using the model of a unitary state. Although devolution of power to local units is laudable, we cannot continue to enshrine devolved structures which legitimate separatism and separatists.

‘Post-truth’ named Oxford Dictionaries’ word of the year

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Oxford Dictionaries has announced “post-truth” is its 2016 international word of the year. Reflecting the widespread impact of the US election and the Brexit debate, both the US and UK dictionaries chose the term.

Defined as an adjective “relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief”, use of the term has increased by around 2,000% in 2016. “Post-truth” was chosen ahead of a shortlist including other political terms, such as “Brexiteer” and “alt-right”, and cultural alternatives, such as “coulroophobia” (the fear of clowns) and “hygge”.

According to Oxford Dictionaries, the term ” post-truth” was first used in an essay by playwright Steve Tesich in a 1992 edition of Nation magazine. Commenting on the Iran-Contra affair and the Persian Gulf war, Tesich noted that “we, as a free people, have freely decided that we want to live in some post-truth world”.

Casper Grathwohl, President of Oxford Dictionaries, commented, “Fuelled by the rise of social media as a news source and a growing distrust of facts offered up by the establishment, post-truth as a concept has been finding its linguistic footing for some time.
“We first saw the frequency really spike this year in June with buzz over the Brexit vote and again in July when Donald Trump secured the Republican presidential nomination.
“Given that usage of the term hasn’t shown any signs of slowing down, I wouldn’t be surprised if post-truth becomes one of the defining words of our time.”

“Post-truth” has been added to OxfordDictionaries.com, while editors will analyse its ongoing usage to see whether it will be included in future editions of the Oxford English Dictionary.

To see Oxford Dictionaries’ full reasoning and shortlist, click here.

 

No more scholars’ gowns at viva exams

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New regulations have been adopted which will impose commoner’s gowns for all candidates at viva exams, regardless of whether they own a scholar’s gown.

The Proctors approved of the demands made in the Oxford University Society of Biomedical Sciences’ petition this week, making commoner’s gowns compulsory.

Science students including medics, biochemists and biologists as well as some MsC and DPhil students must attend viva exams in the final year of their course. They consist of a presentation of a research project in front of a jury, followed by questions, and can last up to six hours in some cases.

In previous years, undergraduates who had both types of academic dress could choose which one to wear, leading to potential unconscious bias from the examiners.

Concerns were raised in a Medicine examiner’s report in 2005, advising the candidates not to wear subfusc to their oral exams. Previous attempts were also made at solving the problem by abolishing gowns at vivas, a solution which was made impossible after students voted to keep the academic dress at OUSU’s referendum.

A petition to limit the risk of prejudice was launched in April 2016 under the initiative of Emily Gowers, Vice-President of OUSBMS. Attracting over 300 signatories in the first two days, the petition was backed by LMH, St Hugh’s, Balliol, St John’s and Teddy Hall JCRs.

With a final count of 553 signatures, the petition’s description stated, “Considering the efforts that Oxford makes to ensure that written exams are unbiased (e.g. candidate numbers), it seems ridiculous that during a viva the examiner has a full view of your academic history – and you’re wearing it!”

In addition to giving candidates wearing a scholar’s gown the benefit of the doubt, the petition argued that examiners were more likely to ask them difficult questions, resulting in a two-way disadvantage.

Some signatories suggested that the same should be applied to language orals.

The announcement of the Proctor’s decision was welcomed by OUSBMS president Joy Hodkinson. She commented, “There remain a multitude of ways in which examiners may be unconsciously biased in Viva Examinations, for instance, with regard to race, gender or regional accents.

“Despite this, I believe this change represents significant progress, particularly in relation to the University responding to the voices of the student body. Hopefully, the success of OUSBMS’s campaign will encourage students to pursue analogous initiatives relating to issues of equality in the future.”

Josh Newman, a recently graduated scientist and petition signatory, told Cherwell, “It’s so great to see what is often considered an archaic institution adapting it’s ways to ensure that all exams are fair and equal to all, regardless of past exam performance.”

He added, “Having sat my viva last year, it was plain to see how your gown could affect things – wearing my scholar’s gown, I was worried about whether this would change how my examiners treated me.”

In his message of support to the campaign in April, Newman addressed its opposition. “Yes, the scholar system is in place to reward individuals who have performed well, and the ability to wear a scholar’s gown is a perk of that – however, it is fundamentally not the case that such a system should have the ability to influence the outcome of future exams.

“As a scholar myself, I do agree with having the choice to wear your scholars gown to exams – it’s a personal choice. But as soon as that personal choice has the capability of impacting either your or somebody else’s grade undeservedly, then there is a problem.”

The enduring value of Diamond Dogs

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When David Bowie died at the beginning of this year, there came an inevitable flood of retrospectives, reappraisals and re-releases. Perhaps because Bowie himself was no longer alive to tell the sycophants and the glory hunters to fuck off, there was a huge public outpouring of grief from any vaguely relevant musical personality.

Month after month of editorial after editorial as each increasingly inconsequential celebrity clambered over one another to supplicate themselves before the altar of Bowie’s memory—and get themselves back in the national press for a scant few moments. The crescendo of this masturbatory outpouring came during the BBC’s ‘Bowie’ Prom, when a resplendent Amanda Palmer (of all people) declared “David is in the house with us tonight”—spoiler alert, he definitely wasn’t (other than during Conor O’Brien from the Villager’s chilling rendition of ‘The Man Who Sold The World’).

So, with every member of the musical establishment embarrassingly falling over themselves to conduct séances with the late great David Bowie, you probably aren’t surprised to be reading a self-important student journo writing a similar piece (albeit some months late to catch the press hype). I have evidently spent the beginning of this piece writing about how cheap and easy Bowie retrospectives are to let you know this isn’t a Bowie retrospective like all the other Bowie retrospectives—it is a letter of love addressed to a slightly maligned album—Diamond Dogs.

I am writing this because I understand the people that don’t rate Diamond Dogs—the first time I heard it I thought it was overwrought and self important, embodying everything wrong with the hubristic later years of glam rock. None of the catchy riffs and sing along tunes of Ziggy, and none of the quaint acoustic, poetic sweetness of Hunky Dory. It was loud and big and brash and frankly slightly embarrassing from the man who claimed to be the ultimate purveyor of musical taste.

A lot of the obvious criticisms of its pseudo-orchestral grandeur come from the fact that it didn’t start life as an album at all, it started life as a rock opera adaptation of 1984 which Bowie wanted to put on in the West end in the summer of the appropriate year.

Let that just sink in for a moment. David Bowie tried to write a rock opera adaptation of Orwell’s 1984, and whilst he failed to get it made, he went on to make a concept album with a track called ‘Big Brother’ on it—you can see why I’m keen to forgive this album for some of its sins.

It is in the lyrics of this album that Bowie really comes into his own—the opening track ‘Future Legend’ is not so much a song, as a rabid soliloquy about life in a dystopian future where “Fleas the size of rats sucked on rats the size of cats, And ten thousand peoploids split into small tribes”. Beyond this prologue the album ticks all of the classic Bowie boxes—the crowd pleasing jump about ‘Rebel Rebel’; the aching peaks and troughs of ‘Sweet Thing’ and ‘Candidate’; the lighters in the air sing along epic of ‘Rock ‘n’ Roll with me’; lastly the utterly bizarre jackhammer mania of ‘Chant of the Ever Circling Skeletal Family’.

This is an album that needs to be listened to for sheer scope of artistic vision—if you haven’t heard it before, go away and give it a go—and for God’s sake don’t listen to it on shuffle.

Emotional electronica

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Part way through ‘Timeless’, the fourth song of the night, and fourth track from this year’s surprise release The Colour in Anything, I realise why this James Blake gig is so much more than a whiny young man sitting behind a bank of keys and synths.

I’d only ever listened to music from the London-born electronica musician and producer alone in my bedroom, or perhaps through headphones on a solitary bus journey. Every glorious chord change, falsetto splurge and lovelorn lyric had seemed my own. My heart rate had dropped, and then quickened, at very particular and frequent points throughout Blake’s moody dubstep backbeats and piano ballads.

When the synth glitches arrive in ‘Timeless’, breaking through a percussive, steady beat and a distinctly non-emotive (by Blake’s standard) vocal line, a huge sigh ripples through the Bristol crowd. Blake has the heavenly skill of knowing just when to propel forward in his chord sequence, when to add into the song a strange timbre, or a new, crushing melody, and when to break up one instrumental line that the song has relied on since it started spinning two or three, even four, minutes ago.

Live, everything that was hinted at or somewhat explored on record is even defter. The heartbreak evident in ‘Choose Me’—a stirring tale of need—is made into an even dizzier, more frenzied plea, brought out early in this set. Rising and falling synths make this track the ultimate heart string-tugger. It rises and falls continuously, until Blake hits us with “You don’t owe me anything /What could I want back from you?” It’s an impressive feat of power for a man who so often puts himself in the firing lane in his lyrics.

It is impressive that Blake is able to play this record live at all. The mechanics of the emotion he creates for his willing audience is likely down to the fact that, for once, Blake is not relying on computers. “It’s taken us a long time to get us to this stage, where we can play without laptops, spacebars or automation”, he said “There’s a reason people don’t play electronic music live—it’s hard.”

Each musician sits on his own individual platform, with Blake to the side, rather than the middle, allowing his band members to take as significant a role as he does and equalising all the layers from which his music is made up. The three make up a resilient unit of sound, propelled over the audience with sincerity.

What does come from Blake alone are his vocals, his signature soulful croon which could just as easily become a moody whine as a sublime falsetto. His rhythmic vocal trick is often incredibly simple: one vocal line repeated on loop (often with a loop pedal, freeing up his hands for effects and a constant layering of keys), as he does on ‘Modern Soul’. Over and over he sings “Because of a few songs”, each time his murmur swelling over disparate piano chords and a defiant siren-like synth.

But it is Blake’s gaping ear for harmony and his placement of uncomfortably beautiful intervals that allow his voice to retain the most sensational sound of desperation. His voice is no more vulnerable than in his cover of Joni Mitchell’s ‘A Case of You’, reworked into a sombre love song to end all love songs, and sung free of any effects or electronics, which proves his technical ability of both piano and voice.

It’s a voice Beyonce wanted and used on ‘Forward’, a surprise collaboration on arguably this year’s biggest record, Lemonade, which Blake plays of his own accord tonight. The same voice was wanted by Kanye West, who in 2014 named Blake as his “favourite artist”, as well as the name of 2016, Frank Ocean. Justin Vernon (of Bon Iver fame) is also a regular collaborator of Blake’s.

Yet, despite these huge-name associations, Blake still warms audiences on this remarkably personal level. “Imagine having him round the piano at Christmas. I’d be in tears,” I hear a man say behind me.

On my way out I see a group of four teenage boys embrace each other in a group hug. If there is ever music to make you feel more human, James Blake’s is it.

Review: The Sellout by Paul Beatty

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Talking to The Paris Review last year, Paul Beatty said he thinks plot is a “very subjective” element. Fortuitously, plotting doesn’t seem important to The Sellout, his latest novel and recently-announced winner of the Man Booker. The unnamed narrator, subject in childhood to an experimenting psychoanalyst father, meanders around his life as an inner-city farmer in present-day Dickens—a kind of fictional Compton—accompanied by Hominy, a washed-up actor who insists on being his slave and encountering Marpessa, his ex who now drives buses. In the place of “plot”, there is at least an “idea”, a selling point. The narrator wants to resegregate his city, and ultimately all of America. With Hominy’s help, he starts segregating Marpessa’s bus and works his way up to local education.

It is, surprisingly, quite a funny book. In the same interview, Beatty was asked if he was a satirist, to which he replied, “No, not at all. I’m surprised that everybody keeps calling this a comic novel.” His publishers apparently didn’t get the memo: the cover of my fresh Man-Booker-stamped copy has a Guardian quote calling the work a “lacerating American satire”, and the blurb adds that it is “biting satire” that shows off Beatty’s “comic genius”. (On Beatty’s superb sense of humour, the irony is surely not lost: this novel is all about how difficult it is to control identity.) But he forgets that comedy is very different to satire. Take slapstick or puns—they’re rarely satirical. And some of the finest satire is cynically depressing.

I found The Sellout actually combines comedy and satire, and does it very well. The narrative returns semi-regularly to certain scenes: childhood experiments, daily farm life, or local black intellectual meetings. But large parts are just based on Beatty riffi ng off a pithy idea or throwaway remark—a whole fifty pages play around with the phrase “Too many Mexicans”. Occasionally, the humour touches slapstick. It uses lots of puns and altogether makes the book’s discernible action comically surreal. The quick movement of action is aided by very tight prose.

Altogether, it feels like this book would make a great stand-up routine—and that’s where it might let some readers down. Experiencing The Sellout in one sitting, like one experiences stand-up, would be more interesting than pick-up-put-down reading. Unfortunately, at just shy of 300 pages reading it all in one go would be tricky. Therefore, the complaint that each time you return to the book it feels like more-of-the-same is not without merit. People not only have different tastes in humour, but also different saturation levels—even for humour they enjoy.

This isn’t the same criticism as some others have felt. Amazonites complaining in their reviews that there are too many references to American pop-culture, African-American history and culture in general, have put down The Sellout outraged by the idea that a book might ask its reader to think, or to learn, something that they didn’t know. Admittedly, Beatty namechecks, titledrops, and codeswitches like he’s blended the contents of a liberal arts syllabus. But the result seems much more genuinely rich than strutting. And if you’re not reading to have something new revealed to you, then why are you reading?

The more sombre parts of The Sellout shouldn’t be glossed over. In places—after, for instance, two of the book’s most important shootings—a tone that doesn’t even attempt to be funny, but takes on a searing anger at racial injustice, is switched on. And the uncomical satirical moments are laudably unsettling. Beatty is a talented writer in many ways, and his ability to make both the comic and tragic uncomfortable, just clauses apart, makes this book feel unique. It’s not flawless, but you can tell why the Man Booker judges went for this one: there’s something quite special about 300 pages of witty and compelling plotlessness.