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2019 Booklist: The Best is Yet to Come

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Do You Dream of Terra-Two? by Temi Oh – 7 March

Flying under the radar as Temi Oh’s debut, this alternate history, in which ten astronauts depart a “dying Earth” for a 23- year journey to a second habitable planet, could be March’s sci-fi sleeper hit. Self-described as “The Long Way to a Small, Angry Planet meets The 100m”, its premise teases a uniquely thought-provoking tale; not only because we may someday find ourselves in the position of sending astronauts to find our planet a new home, but also because the simultaneous isolation and vastness of space inevitably opens up an array of fascinating possibilities.

It remains to be seen how first-time author Oh will mix the profundity of exploring human nature with the thriller component of a space mission gone wrong, a delicate balance that has been managed to varying degrees of success by numerous novels and films such as Interstellar and Sunshine. As with all debut novels, it’s a coin flip between brilliant and boring: told effectively, this story will leave us dreaming of Terra-Two. Told poorly, it’ll drift off, lost in the vacuum.

The Dragon Republic by R.F. Kuang – 6 August

“How does somebody go from being an irrelevant, backwater, peasant nobody to being a megalomaniac dictator capable of killing millions of people?” Such goes the question R.F. Kuang had in mind when she set out to write The Poppy War trilogy. Inspired by Mao Zedong, protagonist Rin rises from orphan shopgirl to powerful shaman, graduating from the elite Sinegard Academy in the first book. But it’s far from Hog warts and harmony – the other pitch for The Poppy War is Song Dynasty China faces Imperial Japan, complete with all the bloodshed and atrocities implied by the latter. One infamous chapter is based directly on the Rape of Nanking, and the novel is dedicated to Iris Chang, whose 1997 book received acclaim for introducing the Nanking Massacre to the West. Kuang cites the “ongoing erasure of sexual violence against women who aren’t white across military history” as a key incentive for her writing. The “forgotten Holocaust of the Second World War” must be forgotten no longer, she suggests. Neither must we forget the horrifying ramifications of war echoing beyond ceasefire, which is where The Dragon Republic will take readers. War makes monsters of us all – and if Rin’s destiny is tyranny, she won’t be without our sympathies.

Kuang cites the “ongoing erasure of sexual violence against women who aren’t white across military history” as a key incentive for her writing. The “forgotten Holocaust of the Second World War” must be forgotten no longer, she suggests. Neither must we forget the horrifying ramifications of war echoing beyond ceasefire, which is where The Dragon Republic will take readers. War makes monsters of us all – and if Rin’s destiny is tyranny, she won’t be without our sympathies.

The Testaments by Margaret Atwood – 10 September

Up there on the list of sequels I’d never have thought were happening is the followup to The Handmaid’s Tale, updating the 2019 BOOKLIST THE BEST IS YET TO COME oppressive theocracy of Gilead to reflect the world we currently live in. Feminist novels of our times, from Louise O’Neill’s Only Ever Yours to Christina Dalcher’s Vox, to Atwood protégée Naomi Alderman’s The Power, inevitably cite the 1985 classic as a key source of inspiration. Yet none of them have ever measured up to the original Handmaid’s Tale when it comes to sheer iconic status: The blood-red Handmaid’s dress remains a universally recognised costume.

The Testaments takes place 15 years after the ending of The Handmaid’s Tale. In contrast to the original, which created a claustrophobic, unreliable narrative solely from the perspective of Offred, it will be narrated by three women whose identities are anyone’s guess. If that’s not enough Gilead for you, there’s always season 3 of the Hulu show airing in the spring.

Starsight by Brandon Sanderson ­– October

Rather than the tried and tested “boy and his dragon”, Brandon Sanderson has written a delightful “girl and her starfighter” story in Skyward, the precursor to Starsight. Combining the flight school mechanics of Ender’s Game with a touching coming of age, Sky ward set the stage for an epic sci-fi quartet where even the skies aren’t a limit. This book was just so much fun. It’s witty; it’s thrilling; it’s buoyed by an indefatigable heroine who undergoes much-needed character development. It’s rare that I feel so satisfied with a novel. What would I like from the sequel, Starsight? More of the same, please.

Crescent City by Sarah J. Maas ­– Unknown

Anyone who has so much as casually strolled through a Waterstones in the past five years is likely to have at least seen the name Sarah J. Maas. Love, hate or grudgingly admire her, Maas’ impact on the YA and fantasy genres has been undeniable. For better or for worse, readers have already drawn the parallels between her forthcoming adult novel and Karen Marie Moning’s Fever series, a series of urban fantasies whose influence shines through in Maas’ recent novels. I may not be Maas’s biggest fan, but I’m looking forward to see if she can replicate her previous successes in a new market. Her Throne of Glass and A Court of Thorns and Roses series are considered by many to be the gold standard in YA. With gorgeous prose and provocative character development, some of her earlier novels justify her top spot. On the other hand, her books have been met with various criticisms regarding their representation of women, people of colour and LGBT+ people, and taking more pages from Moning’s playbook isn’t likely to make the controversy go away. Add in the sloppier, cash cow-milking work that she’s produced lately, and Maas remains steadfastly hit or miss for me. All bets are off on which one Crescent City will be.

Bridgit: the simple power of looking

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It was by sheer chance that I happened upon Charlotte Prodger’s work Bridgit (2016) at the Bergen Kunsthall during a trip to Norway in 2017. I had not heard of Prodger’s work before, but once I’d seen it, I found it beguiling. Her work had a quiet contemplativeness about it that appealed to me. It was gentle and mesmeric, a soft provoking hum that made a statement through its underratedness. It was for this exhibition in Bergen that she was nominated for the Turner Prize; where I again had the chance to see Bridgit – a 32-minute single screen film.

Like the bookies, I expected Forensic Architecture, an artist/activist collective, to be the winners of this year’s prize. However, I was excited to hear that it was in fact Prodger, my personal favourite, that had won. The prize’s jury discussed how they were impressed with the way she described “lived experience as mediated through technologies and histories” and explored “the formation of a sense of self through disparate references”. In Bridgit, Prodger subtly tackles the changing notion of queer identity in the digital age. The title itself refers to the ancient goddess Bridgit whose own name has altered as her story has been told and retold over time.

The idea of queerness as a lived experience rather than a ‘category’ is something Prodger feels is under threat. With the rise of social media, queerness is “in danger of being colonized, of being sanitized, made digestible, hip, hilarious”, but Bridgit subverts this. In a shortlist of artists who are all making big political statements through “tackling the most pressing political and humanitarian issues of today”, Prodger’s work stood out as most effective at conveying its message. It was sensitive and unfussy in its exploration into the mutability of identity without coming of as self-righteousness (something I felt some of the other works were at guilty of).

Bridgit takes on a film-collage format that brings together excerpts of clips and narratives from Prodger’s life, forming what critic Adriene Searle described as an “interior landscape of thoughts, ideas and erotics.” The age-old artistic practice of observation is what seems to be at the heart of Prodger’s work. The voice-over in Bridgit, for me, was one of the highlights of the piece. A script consisting of diary-like excerpts of her personal thoughts, quotes from various authors, and notes of things people have said to her. Prodger forms a landscape of associations through the weaving of words and images. She reflects our sense of self today that is defined in almost equal parts by body, technology, and language making it hard to navigate and easy to misidentify. Without bitterness and almost a sense of triviality Prodger recounts some of her experiences as a lesbian woman, such as being mistaken as a man. The lack of affront in her relating of these encounters reveals a sense of tiredness of how normal these incidents have become. She is talking about uncomfortable experiences, but she is not shouting and consequently we are more likely to hear what is being said.

What I most enjoyed was the visual aspect of Bridgit and its respect for the simple powers of looking. The film is shot entirely on her mobile phone and the casualness of her shots is clear – her feet at the end of a sofa or (what I presume is) her cat sniffing a lightbulb – is what makes it a success. These are all images we can relate to and ultimately, though her experiences as a queer woman are individual, she is person just like ourselves.

This mobile footage format also lends the film to a more intimate reading, as well as reviving the tradition of low-budget artists films. Recently artist’s films have become more and more cinematic, but this visual spectacle has led to a growth of more inaccessible and impersonal video art. It is Bridgit’s shaky, close-up quality that makes the work – it’s relatable and reachable. As this year’s prize contains four video artists I think Prodger’s work is the one that best explores the materiality of film and film-making. The use of Prodger’s iPhone footage has been slightly over-played in reviews of her work, but nonetheless it cannot be be ignored. Prodger investigates the idea of the mobile phone as becoming like prosthesis, an extension of the self and a natural part of our lives. Thus, Bridgit asks us: how do we define ourselves in age of permanent filming and self-editing? Frieze writer Erika Balsom articulated this perfectly: “Prodger articulates an approach to personal filmmaking that is as intelligent as it is moving, using an iPhone camera to tackle problems of autobiography and authenticity in ways that today’s legions of personal essayists and selfie obsessives would do well to learn from”.

An alternative to ‘Fast Film’

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The monotonous drone of modern-day cinema truly is fantastic. Like ‘Fast Fashion’, ‘Fast Film’ is at its greatest peak of evolution. Directors such as Michael Bay are at the very forefront of this historic movement in cinema. He has contributed ten films in the past ten years, all with the same wonderfully pumped out, conglomerate, congealed and slapped together structure, complete with haphazard character development and a squeezed-out narrative to hone in on the tropes of lonely hero and misplaced man on earth. Honestly, it’s almost as bad as producing over twenty films in three different phases for a franchise built on the back of Robert Downey Jr. – we’re looking at you, Marvel. Why do it? To make a ‘quick buck’ (or over $6,869,545,308[1] for just five films)? Ask yourselves, are they even well-done? Can’t people realise that they are handing over at least £8 per film to just watch the same thing but with a different face?

To be fair to us consumers, we really are given little else to work with. The nearest repertory cinemas are in London, and to visit the British Film Institute every other weekend is a costly travel expense. Sure, we have our Curzon. But it does little more than put on one ‘classic’ every couple of months in an attempt to cling on to its dusty place under the Google search: Repertory Cinema, Oxford. To be fair, they did put on what was one of the greatest films shown last year. A 1976 film, The Other Side of the Wind, directed by Orson Welles. Modern cinema must be looking up if the greatest film of last year is an epic produced in 1976.

However, I do understand. I’m aware that I sound like I’m just moaning on about the severity of regurgitation in modern cinema whilst regurgitating about it myself. Of course, modern cinema is not too bad – it’s the mainstream stuff that is. We can’t exactly storm Hollywood (and I wouldn’t suggest that we do) or boycott all modern-day films. We just need to tweak what we watch and how. It is the ‘mainstream’ modern film that is sucking the true good films of our generation away. It is our lack of knowledge of these films, the lack of independent cinemas, and the sheer lack of trust and funding from production companies that is to blame for this regurgitation, not the likes of Apichatpong Weerasethakul and Andrew Bujalski. Perhaps the best that we can do is try to go back to those old veins of ‘true’ cinema, rediscover each individual labour of love by any director we can, dust it off, and return to it. Then we can see how cinema used to be able to move us, indulge us, and teach us, moreso than the current drawl is able to do.

This is what I intend to do. ‘Fast Film’ can no longer be an option. And why should it be? Why, when we have hundreds of films behind us that were not made to reap vast amounts of money, and instead exhibit the pains of laborious effort needed to produce something crafted with love. These films were made with originality and come from the human spirit.  The directors created something that can never be replicated after it – that is one of a kind, rather than one of several other kinds.

This 1st week, I intend to introduce Nicholas Ray’s best work: In a Lonely Place, starring Humphry Bogart and Gloria Grahame. The title, I hope, is not akin to our 1st week back.

See you soon,

A diligent survivor of Michael Bay, Marvel, and the cheesy Rom-Coms that come with them.

Black Mirror: Art as Social Satire

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Our desire to laugh at that which terrifies and worries us has never been clearer than while viewing the artwork on display in Black Mirror: Art as Social Satire exhibition at the Saatchi Gallery. Here, 26 different artists give voice to our anxieties: over the attraction of technology, the selfishness of society, and the greed of capitalism. This social satire provides us with the ability to laugh at that which we fear, but it is a laugh filled with unease. As Pym states “satire is both reality and its escape’; in reflecting both, Black Mirror creates within the viewer both relief and an unsettling notion that that which they are laughing at is a little too close to the truth.

On entering the first room of the exhibition, the viewer is confronted by Jade Townsend’s ‘Cash Cow’, a pair of male legs holding a red painting with faded statements about sex and death written across it. The blunt title makes clear Townsend’s message on the value society places on sex. To balance out this more sinister piece, half of the room is dedicated to Bedwyr Williams’ ‘Walk a Mile in my Shoes’. Williams takes this common idiom literally by comically presenting pairs of his own (size 13) shoes with labels explaining their relevance to his life. In doing so, he reminds us of the individuality so often ignored in favour of sweeping generalisations.

Within Black Mirror, James Howard and Simon Bedwell present us with two completely different yet equally powerful uses of satirical posters. Howard’s posters seem to advertise surgeries and processes that have become normalised while subverting their normality to highlight the issues with our commercial, quick-fix society. Bedwell’s posters, on the other hand, publicise non-existent events (much like in the popular tv-series Black Mirror itself) creating fictions based off what our world might slip into being, thus underlining the problematic parts of our current society.

Whilst much of the artwork in this exhibition is thought-provoking and enlightening, the highlight of the exhibition is, without a doubt, Richard Billingham’s photographic series ‘Ray’s A Laugh’. An insight into his childhood, surrounded by alcoholism and poverty, it is easy to view the series as simply an indictment of his own life and the wealth gap that divides our society. However, the title itself combined with some of the gentler photographs of his parents remind us that there are still moments of light, even when times seem dark.

Wandering through Black Mirror, it is easy to feel a little lost. There are no explanatory cards by each piece of artwork, no singular thematic idea; in fact, there is little guidance given at all. However, this pushes the viewer to pause by each piece a little longer and delve in a little deeper for themselves. By inviting the viewer to question what they are seeing, the exhibition reflects the process of creating social satire itself.

Whales: cultural traditions vs conservative concerns

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On 26 December 2018, Japan confirmed its decision to resume commercial whaling, limiting the ‘commercial’ process to Japan’s territorial waters. This comes after its withdrawal from the International Whaling Commission, an international body which aims to “provide for the proper conservation of whale stocks and thus make possible the orderly development of the whaling industry”.The result has been international condemnation.

Japan joined the Commission in 1951, but the possibility of its withdrawal has loomed on the horizon for a while. In 1982, they opposed an international moratorium to allow whale stocks to recover, and were subsequently exempted from a proposal for a moratorium on all commercial whaling. Their disregard of the Southern Ocean Whale Sanctuary’s boundaries – which ban all types of commercial whaling in 50 million square kilometres of Ocean surrounding Antarctica – followed this, as they continued to hunt under the pretence of allegedly conducting ‘scientific’ research.

Unsurprisingly, the move has prompted extensive backlash; Michael Gove tweeted that he was ‘extremely disappointed’ with the Japanese government’s decision, and Sam Annesley, Executive Director at Greenpeace Japan, criticised the government’s decision to announce its withdrawal at the end of the year, ‘away from the spotlight of international media’, but that ‘the world sees this for what it is’.

Why, then, have Japan decided to go ahead with such an internationally unpopular decision? Culture, it would seem. Chief cabinet secretary Yoshihide Suga has said that the decision would allow fishermen to ‘pass our country’s rich whaling culture onto the next generation’. Shinrato Sato, the owner of a Japanese izakaya restaurant, similarly mused on Japan’s cultural connection with whaling when speaking to CNN, claiming that eating whale meat is an important part of the country’s ‘precious culinary culture’, which goes back some 4,000 years.

This raises the question as to where the line between being sympathetic to certain cultural traditions and protecting our environment ought to be drawn. In this case, it seems pretty clear that conservation concerns should reign supreme: despite doubts that Japan’s decision will make a substantial difference to whale populations, that the cultural tradition seems to be on its way out anyway arguably makes the move, and any loss of life it will bring about, unnecessary. An opinion poll in the liberal Asahi Shimbunnewspaper found that 48% of respondents had not eaten whale meat ‘in a long time’, compared to 37% who said they didn’t eat it at all. Given that many whale species remain threatened, it is a risk that is, quite frankly, not worth taking.

This does not mean that conservationists should never make concessions to those communities that depend on certain animals, plants or landscapes to sustain a long-standing cultural tradition. But in the war between culture and conservation, the former should only win out when scientists can guarantee that the practise can take place sustainably.

It is the way in which we attempt to implement this concept that is of the greatest importance if we are to move towards better international co-operation. Supporters of whale meat consumption often accuse western critics of ‘cultural imperialism’. We are certainly right to condemn Japan’s decision to restart commercial whale hunting on environmental grounds – but we can only avoid such accusations if we reflect on our owncultural choices concerning food.

Whilst the animals we most commonly eat in the West are not endangered species, we must not pretend that our decision to farm them does not do a great deal of environmental damage that endangers other species as a side effect. Texas University’s Professor Raj Patel notes that industrial agriculture is ‘absolutely responsible for driving deforestation’, making it ‘responsible for species loss’. Likewise, a study conducted by WWF in 2017 found that the UK food supply alone is directly linked to the extinction of an estimated 33 species ‘at home and abroad’.

Japan does contribute to such damage, of course – but according to the Organisation for Economic Co-operation and Development’s research conducted in 2017, Japan eats 78.7 lbs of meat per capita, compared to America’s 198.51 lbs, and the European Union’s 142.90 lbs. Can we really admonish Japan’s decision without being hypocritical, then?

Ultimately, however, co-operation, not culpability-contests and finger-wagging, lies at the heart of successful conservation. Japan’s move should incite protests, but it should equally incite a moment of reflection for conservationists as well as everyday citizens in the West, who ought to utilise well-publicised decisions like this one to encourage wider discussions to take place about our own cultural traditions surrounding food and the environmental impacts these are having as well. Every nation must be proactive in finding a sustainable balance between culture and conservation if we expect other countries to truly, and enduringly, co-operate with one another. This will surely be the key to both cultural and ecological preservation in the long run.

Oxfess – the good, the bad and the ugly

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In the bewitching hours of the night, you feel a sudden rush of emotions: be it romantic attraction, academic stress, some witty inspiration, or overwhelming melancholia — you submit an Oxfess in the sanctuary of anonymity.

In the dreary hours of the day, you find the work at hand impossible to crack; you then start scrolling through Oxfess posts, perhaps finding a couple of jokes hilarious or relating to some heartfelt complaints. You feel human again, lament at the procrastination, and return to work.

In the lonely hours of dusk, you brood in boredom in front of your screen. Suddenly, a Facebook notification pops up — you’ve been tagged in an Oxfess. You are warmed, feeling somewhat significant in the world. In turn, you tag another friend, conveying at once humour, amity and attachment.

Oxfess is no trivial part of the Oxford experience. It is a dimension parallel to the courteous propriety, the quiet shyness, and the plastic smiles of ordinary exchanges. Perhaps the most vibrant Oxford platform on the internet, with its release of passions, challenge of boundaries and blend of creativity, Oxfess is an enchanting space where the real intertwines with the surreal.

I cannot help but wonder, what does it all mean? Why are we so hooked to Oxfess, what are the consequences, and what are the caveats? Here, I offer my speculations for these questions, with some laboriously mined semi-data and partially amateur psychology.

Although Oxfess posts are amazingly diverse, there are some common threads we can pull from the mix. To ground my informal investigation, let’s start with the semi-data: I flipped through
five days of Oxfess posts in mid-December and eyeballed them into loosely defined categories.

Whilst most posts simply could not be categorised, the runner-up category was ‘sex or love life related’ (with 62 posts in five days). Unsurprisingly, Oxfess is abundant with political opinions (60), and serious or not, political posts are the most likely to get an unusually high volume of reacts and comments. Political posts can be roughly split into three groups: private schools, Brexit and free speech (the popularity in descending order).

Real personal difficulties and mental health issues amounted to around 36 posts, most of which got few or no reacts at all. Then there were college-specific posts, which tend to provoke a lot of tagging, especially those in the format of ‘Oxford colleges as…’. Posts involving name initials pop up every once in a while (17), although they do not command much popularity. The enduring catch phrases include ’sex is good but’ (12) and ’not a substitution for personality’ (12), not so enduring catch phrases include ‘BTEC’, ‘yeet’, and the obviously seasonal ‘all I want for Christmas is’. Finally, only one post about rowing, since, it was vacation time after all.

So what does it all mean? Do Oxfess posts reveal something about Oxford culture?

The caveat first: Oxfess is not representative in any way of the entire student body, and there are many people who do not follow it. There is no guarantee that everyone who writes to Oxfess is related to Oxford at all, and even more unlikely that every post is a true story.

Yet still, even if there is no such thing as ‘the Oxford culture’ in the strict sense, we know vaguely what we are talking about when we talk about ‘an Oxford culture’. It is intimately linked to the traditions of the institution and the broader history of British society, and remains clearly distinct from other university cultures.

Clearly, the bulk of Oxfess is just for fun – more like procrastination popcorn than food for thought. Sex seems to be constantly at the forefront of the collective consciousness of Oxford students, whether they claim to like or dislike it. When the Oxfess admin was asked last year what the page can tell us about the University’s student culture, the reply was, “What it says about Oxford culture as a whole is that everyone is really fucked up and everyone really
wants to f*** everything that moves”.

On the other hand, the revelation of psychological problems (especially pertaining to loneliness) on Oxfess ironically confirms how hidden such difficulties remain to be: people don’t tend to respond to such posts because, if they don’t relate to the post, they don’t know how to comfort the anon; if they do relate, they tend to only relate in secrecy in fear that a react or comment may expose their own inner turbulence to their Facebook friends.

Oxfess appears to be quite different from other university confession pages. Political opinions in Oxford are diverse and plenty, but the ‘private schools’ and ‘London’ fixation arguably reflects a class divide in Oxford and Britain which is hardly ever as pronounced or explicit elsewhere in the world. For example, the political posts on US universities UC Berkeley’s and UBC’s confession pages, whether jocular or serious, tend to be much more race-based than class-based; hardly any posts relate to discrimination based on one’s high school or place of origin within the country.

Why do we like, need or want Oxfess so much? High schools and universities are the main breeding ground of confession pages – but why? Does it have something to do with the operations of the young-adult mind?

In the New Yorker article ‘The Psychology of Online Comments’, the author cites a Pew poll in saying, “As the age of a user decreases, his reluctance to link a real name with an online remark increases; forty per cent of people in the eighteen-to-twenty-nine-year-old demographic have posted anonymously”. In addition, psychological studies have found that “conformity increased to adolescence and decreased after adolescence”. It appears that both anonymity and popularity have more appeal to and influence upon adolescents and young adults; and perhaps, we are attracted to anonymity precisely because we are scared of losing popularity.

The tender darkness of anonymity bestows a strange, illusory power upon people. Life is boring; anonymity allows adventure. It frees us from the cell of socially expedient and socially acceptable remarks; it permits the congestion of inner feelings to be safely and conveniently discharged.

Exposure is vulnerability; power is knowing without being known. For readers, it is a great relief to know that someone else shares the same troubles as themselves, without having to first reveal their own troubles to the world. For authors, who quietly await to track the ripples of a post in the lake of users, they may observe the audience as they themselves retreat behind the curtain.

Even better, one hides only as much as one would like to hide. It is entirely up to the confessant how invisible they want to be, and the delicate discretion is a thrilling art in its own right. This is likely why we don’t have college confession pages — at the college level, everything becomes too identifiable. By contrast, the uni-wide nature of Oxfess means that a ‘crush’ post hinting at ‘xy@z’ is directed at an audience of thousands rather than just a few hundred.

A further element of Oxfess’s attraction is that tagging and being tagged under posts are signals of friendship. For fostering new friendships and maintaining old ones, in such a hectic environment where it can be hard to catch up with a friend in person, tagging on Facebook is a quick and easy way to show someone that we are thinking of them.

Oxfess is an opportunity for, rather curiously, anonymous popularity. For the confessant, an Oxfess generally has two motivations: one is to vent, the other is to elicit some reaction from others. The platform fulfils the first need by virtue of its anonymity, and the second need by virtue of its popularity. For the audience, the platform’s anonymity and popularity provides consolation and thrill. That’s why both writing and reading ‘relatable’ posts are so satisfying: it reassures us that we are not alone, that whatever we feel, there are people out there who feel the same way. Relatable and witty posts create win-win solutions, benefitting both the authors and the readers by giving them exactly what they seek.

When anonymity and popularity combine, Oxfess is the best intermediary. It is the artificial distance that excuses people from confronting one another fact to face. In a sense, it is a laboratory for social skills, a space for trial and error in our attempts to be likeable and interesting, where we test for reactions without the risk of leaving enduring impressions.

Yet, in the end, how much of all this — react baiting, tagging, relating — is what we truly want to do as opposed to what we feel like we ought to do? Perhaps, both in form (the huge audience, the
recurrent catch phrases) and content (the debate between going out and not going out, the jokes about sex and so on), Oxfess represents the tension between rejecting and succumbing to social pressure that is particular volatile, even torturous, at this time of our lives.

Finally, it’s time to explore the ugly side of Oxfess. Firstly, Oxfess feeds into procrastination. The eclectic nature of Oxfess posts certainly functions in a slot-machine like way, making us addicted whilst earning Facebook tons of money through traffic and advertisements.

Secondly, popular anonymity has its problems. We meet John Suler’s ‘online disinhibition effect’: “the moment you shed your identity the usual constraints on your behaviour go”. As Common Ground put in the description of its event ‘Oxfess: tracking colonial attitudes’ last term, “Anonymity is a well-known breeding ground for bigotry: it should be no surprise then to hear such voices coming through the Facebook page Oxfess”.

The event was prompted by the concern that Oxfess reveals “a lot of ignorant views on race and class” and “a basic lack of understanding” regarding colonialism and class structures. It was later aborted because the organisers believed it would be more fruitful to talk about de-platforming in general, especially in the wake of the Bannon’s talk at the Union.

The Oxfess admins certainly prioritise protecting their readers through their strict policy that “if someone wants a post deleted, and they have any interest in the matter of the post, we will delete it” – thanks to which, cyberbullying does not seem to be a problem with Oxfess. Yet Oxfess does indeed still contain traces of “ignorant views” and malicious content. However, perhaps exposing such views so that we have a realistic perception of how and what Oxford students think is not such a bad thing, so that comments from the community can potentially give the anonymous author more information and facilitate constructive discussion.

Thirdly, are we playing hide-and-seek with confessions because we are a lonelier generation, as so many researchers have claimed? The act of confession was at its roots religious, but modernity has seen religion wane. When the religious confessional has ever less authority, when confessional letters to trusted friends are out of fashion, and when hiding behind the blue shimmer of Facebook is often the easiest way out, does Oxfess take its place?

On the bright side, Oxfess certainly brings benefits. Aside from the aforementioned inevitable appeal of anonymous popularity, Oxfess provides stress release, more freedom and revelation via anonymity, and simply fun and creativity. The marvellous vitality with which Oxfess evolves with the tidings of student life and the world at large reflects its relevance amongst the Oxford student community.

In the end, it is certainly harmless to read a couple of Oxfesses to relax, enjoyable to interact with friends on the platform, and beneficial to engage in (occasional, perhaps) streaks of serious debate if one would like to. Yet that’s not to deny that Oxfess has a dark side too.

In good spirits, I will end with: sex is good but, Oxfess is not a substitute for personality.

Nuffield College ‘unconcerned’ about academic’s ‘racist pseudoscience’, claim students

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Cherwell understands that as many as seven Nuffield students complained to College administrators about Noah Carl’s conduct in the wake of last year’s revelation that he was involved in a secret eugenics conference at UCL.

A number of students raised concerns that Carl is involved with multiple groups which produce and disseminate discredited race science. No formal action was taken, and Carl was allowed to stay until the end of his tenure.

Papers presented at the London Conference on Intelligence include those arguing that racial differences in penis length predict different levels of parental care, lamenting “racial admixture”, and arguing that “low IQ Southern non-Western immigration […] threatens the sustainability of European democracy, welfare and civilisation.”

Carl is the second most prolific contributor to OpenPsych, a non-peer reviewed online journal linked to the Conference that focuses on issues of race, criminality and intelligence, and has links to the far-right. Carl’s articles for OpenPsych include two on the connection between terrorism and Muslim population size using data from an Islamophobic conspiracy website.

A spokesperson for the Warden of Nuffield College told Cherwell: “Dr Carl left the College’s employment in September 2018 to take up another post. The College is not able to comment further on confidential matters relating to the employment of a former member of staff.”

Cherwell also understands that a number of students complained to the JCR and the Department of Sociology, and that at least two met personally with the Warden to discuss the contents of the London Student article.

One of these students told Cherwell: “We spoke with the warden, he said that they consulted the university, about appropriate actions, and concluded that there wasn’t any ‘formal’ action to take”.

“It seemed all they had resolved to do after meeting with Noah in the interim was to have the eugenics conference remove any mention of Nuffield.”

Another told the Warden that Carl’s presence in the college might violate the Nuffield code of conduct by constituting an imposition of an “intimidating, hostile, degrading, humiliating or offensive environment for another person.”

Speaking to Cherwell, they described their meeting with the Warden as “very unsatisfac- tory”, saying he appealed to freedom of speech. “He was also very non-committal about the extent to which he had looked at the material of the eugenics conference, which seemed purposely evasive to me.”

Noah Carl, who was a postdoctoral researcher at Nuffield until leaving for Cambridge last year, has been accused by over 500 fellow academics of promoting “ethically suspect and methodologically awed” research into the connection between race and criminality.

The principal investigator of Noah Carl’s team at the sociology department, Professor Anthony Heath, was alerted to Carl’s activities in early February, with a complainant writing that “Carl is using his role as a researcher on your project to pursue work that is both morally unconscionable and entirely pseudo-scientic.”

Professor Heath responded that while he would not want to give any legitimacy to the views expressed at the London Conference on Intelligence, Carl was selected for the role by a regular open recruitment process, and his work for the project was closely monitored. Professor Heath said it was not within his role or power to “proscribe what researchers do in their personal capacity.”

Professor Heath told Cherwell that he was “utterly opposed to racist doctrines and would not want to give legitimacy to any conference or publication airing racist or pseudo-scientific research.”

However, students have criticised what they saw as the “legitimation and normalisation of Carl’s racist work through prestigious funding prizes from elite institutions.”

The student told Cherwell of an atmosphere of “tension and bitterness” within the College. Speaking anonymously, they said: “Nuffield has proved to be an alienating and deeply divided social science research community, in part because of the legacy of Noah Carl and continued support for him and his racist work amongst a vocal minority of the student body (though not, to my knowledge, amongst Nuffield academics)”.

“I know many students who just try to avoid college life as much as possible because of this culture of acceptance, or at the very least tolerance, of far-right politics,” the 1st-year graduate student told Cherwell.

During his time at Oxford Carl presented papers at the London Conference on Intelligence, a conference on racial eugenics with close links to Richard Lynn’s pro-eugenics Pioneer Fund. The Pioneer Fund bankrolls the white nation- alist American Renaissance and eugenicist journal Mankind Quarterly, which Carl has also written for.

Nuffield’s JCR president did not respond to Cherwell’s request for comment.

Is your college investing in your grades?

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The amount that colleges spend on their libraries is key to their academic performance, a Cherwell investigation has found.

Cherwell’s analysis shows the statistical correlation between access to reading material and Norrington Table performance. New data on 15 undergraduate college libraries, obtained by Cherwell through Freedom of Information requests, sheds light on the role of college wealth in the undergraduate student experience. The libraries of colleges that ranked higher on the league table tended to be larger and have more books.

The data also shows that library size is largely determined by the size of a college’s assets, which varies from £329 million for New College to just £24.8 million for Harris Manchester. This range was reflected in college library budgets for new material, which ranged from an annual average of £20,000 for Merton to just £4,700 for Mansfield.

Three out of the top five highest budgeted libraries (Merton, New College and Magdalen), ranked in the top 10 of all wealthiest Oxford colleges, while three of the five lowest budgeted libraries (St.Hugh’s, Harris Manchester and Mansfield) belonged to colleges in the bottom 10 in terms of endowment size.

This is despite the less wealthy Oxford colleges spending a far higher proportion of their assets on their library budget for new material, with New College’s library taking in just 0.4% of its endowment annually compared 3.3% for Harris Manchester.

Four of the top five colleges in library budgets (Merton, Magdalen, New and Balliol) rank among the top five in Norrington table score averages from 2006-2017. Likewise, four of the five colleges with smallest library budgets (Exeter, St. Hugh’s, Mansfield and Harris Manchester), ranked in the bottom ten of Norrington table scores.

These revelations come amidst other rising questions about the relationship between college wealth and student experiences. A Cherwell investigation last term demonstrated how wealthier colleges are able to expand their endowments much more rapidly and the impacts upon academic and admissions standards.

In 2002, an Oxford SU report demon- strated that students “are far from guar- anteed a common educational experience, with detriment not only to their academic performance but also to their general welfare and financial condition.”

Vice-President of Access and Academic Affairs Lucas Bertholdi-Saad told Cherwell: “We believe in an Oxford education where colleges are at the heart of the education and support each student receives, but where the college or hall to which a student belongs makes no difference to the quality of their education, including the quality of education resources.

“We also ask students to offer their feedback all year round and play an active part in shaping their learning experience.”

College libraries are a crucial resource to students, especially those studying humanities. While all course materials are available in the University-wide Bodleian libraries, these books are often occupied by other students on the same course. Central Bodleian libraries also tend to have more restrictive opening hours than college libraries.

Most college libraries have liberal policies on purchasing new material on request from students, but this process can be cumbersome. Students with access to more well-resourced libraries can therefore gain an advantage in the speed and breadth of their essays.

A spokesperson for the History Society told Cherwell: “The correlation found by Cherwell’s investigation is upsetting, but not surprising. The flexible opening times and accessibility of college libraries mean that to many students of text-heavy subjects like history a well stocked college library is crucial to producing high quality work.

“While for extended projects like theses the Bodleian Library is very useful, college libraries are often more convenient to use for weekly tutorial essays due to the former’s restrictive opening hours and rules about some materials remaining on site.

“As such, the quality of a college library is particularly important when, during the process of writing an essay late at night or shortly before a deadline, one discovers an urgent need for further, specific materials. While ideally a student should plan their time with this in mind, realistically, students with access to a well stocked college library fare better in these types of common situations.”

The fifteen colleges included in Cherwell’s investigation were Balliol, Brasenose, Corpus Christi, Exeter, Harris Manchester, Magdalen, Mansfield, Merton, New, St Anne’s, St. Catherine’s, St. Hilda’s, St. Hugh’s, University and Worcester. Other colleges had to be excluded due to issues with standardization of the data.

Women-only scholarship opened to all genders

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A fellowship previously exclusive to women was made to be availible to all genders after it was deemed illegally discrimanatory last term.

The Oxford Council, the university’s senior administrative committee asserted that the award was “discriminatory on the grounds of gender”. A spokesperson for the university cited “complying with legislation” as the primary motivation.

The Joanna Randall-MacIver junior research fellowship, established in the 1930s for women in the humanities, is worth £46,800 over two years. The amendment received approval on November 19 2018.

The move has provoked a backlash from former recipients. Elizabeth Cullingford, now Professor at the University of Texas at Austin, condemned the change: “There have been ‘men only’ stipulations on most Oxford emoluments for roughly the last thousand years,” she said. “Women, who only became full members of the university in 1920, still have a bit of catching up to do.”

But Professor Cullingford conceded that, although regrettable, she would accept the change if “the law requires it.”

Another previous recipient, who wished to remain anonymous, also opposed the change: “It’s sad to see the struggle against discrimination being invoked to justify such a move. Men have never been underrepresented among Oxford’s academic staff. Women still are.”

Louise Richardson, Oxford’s Vice Chancellor, announced the amendment on November 13 2018. Usually, revisions to university legislation require the backing of 20 academics. But

reforms billed as “administrative changes” can be fast-tracked by the Oxford Council. Proposals can then be opposed by the Oxford Congregation, made up of all Oxford academics, if two letters are sent to Gill Aitken, the university’s Registrar, which in this case were not received.

Oxford responded: “Under the 2010 Equality Act, employers are not normally permitted to advertise or recruit to posts open to one gender only. As a consequence, Oxford Uni- versity has changed the terms of a number of historically-created posts so they are no longer gender-specific. The Joanna Randall-MacIver Fellowship is the most recent example.”

“The University is very much aware of the lack of women in academic roles and is work- ing to end the imbalance as a priority. Several initiatives to promote equality, including pro- fessional development programmes for female academics, are now well-established and beginning to show an impact.”

Employment law regarding academic fellowships is ambiguous. Fellows are technically students, undertaking doctoral research, but receive a stipend and housing allowance of £23,400 per annum. The Equality Act 2010 deems it unlawful to discriminate against gender in posts of employment.

Partner at Winckworth Sherwood law firm, Bettina Bender, concluded that the fellowship did constitute a position of employment: “it would appear that the research fellow may at the very least qualify for worker status even if they do not in fact qualify as an employee,” she said. “The Equality Act 2010 and the prohibition on positive discrimination of female applicants would therefore apply.”

A study this year by the Equality Challenge Unit revealed that women make up 56.5% of undergraduate students but account for just 45.3% of UK academic staff. Many academics support positive action schemes to rebalance gender inequality.

Dr Xiaofan Amy Li, a former recipient, said: “I do not think that a women-only scheme is discriminatory towards men, precisely because existing gender bias in society already puts women at a disadvantage.”

She also added: “nevertheless, ethnicity bias is a much bigger problem than gender bias in academia and the percentage of BAME academic staff is very low. If the Randall-MacIver fellowship can be opened up to male BAME candidates, that will be a very welcome move.”

Women began studying at Oxford in 1870, but were not granted degrees until 1920.

The fellowship is funded by the estate of British-born archaeologist David Randall-MacIver. It’s named after his wife Joanna Randall- MacIver, who died in 1932, and was established for “women graduates only.” Notable recipients include archaeologist Georgina Herrman OBE and the Tate’s current Head of Art Historical Research Jennifer Mundy.

Escaping to Space

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David Bowie asked if there was Life on Mars? not because of an interest in aliens or the unknown, but because of a dissatisfaction with life on earth. The entire song depicts a girl who has seen the worst of life ‘ten times or more’, who considers this planet a ‘sunken dream’ in contrast to what awakened existence could be, who sees a film that is a montage of injustice and through this all holds the single overbearing thought ‘is there life on Mars?’ A desire for a world out in the heavens, another place we might visit in the stars, is not necessarily indicative of a whimsical wish for adventure, but conversely a taunt of a utopia that could physically exist.

It is entirely within the realm of possibility that there is another world out there where all that socially isolates us on Earth could be valued in a different society. If there exist not billions but trillions upon quadrillions of life forms, isn’t it far more likely we might find someone perfect to love us than if we are merely trapped on Earth? It was Star Trek that gave birth to fanfiction as a genre, a series that presents in part the fantasy of space as a series of brief romances between Captain Kirk and endless fascinating and unique alien women. The universe is a world of possibility, and that can be possibility for the grandest cause of furthering understanding of science and the human condition, to possibility for filling the deep insecurities of our own hearts.

Unpopular opinion though it may be, Doctor Who series 5, with the introduction of Matt Smith as the Eleventh Doctor has always resonated the most with out of the whole show. In the opening episode the Doctor first meets companion Amy as a lonely child and promises to take her on a trip through space if she would just wait five minutes for him to come back. He accidentally takes twelve years to return, but Amy has had a suitcase packed for outer space and has been waiting the entire time, ready to abandon her life in a heartbeat for the promises of another life travelling the stars. Science fiction is filled with souls who would leave earth behind at a moment’s notice, and I know I would.

This isn’t a phenomenon that has only existed since the birth of popular sci-fi ushered in by Star Trek – Lord Byron expressed in Childe Harold’s Pilgrimage that the stars were one of the few sources of hope left for someone who felt nothing but a death of feeling in every country he visited. He asks the stars, the ‘poetry of heaven’, to forgive him for when ‘our destinies o’erleap their mortal state and claim a kindred’ with them. The misanthropic narrator of the poem isn’t completely devoid of a feeling of purpose – it is only unfortunate that this purpose lies beyond someone confined to Earth could ever reach. W. H. Auden gives Byron what he couldn’t achieve in life in Letter to Lord Byron by placing Byron in a cosmic ‘abode’ in the stars where he perpetually watches over other poets and intercedes when poetry needs saving, and defines Byron’s constant influencing of new artists as proof he is up in the heavens, reading others’ poems like fan-mail. Auden doesn’t allow poets to die – upon the death of W. B. Yeats, Auden wrote in his Ode to Yeats ‘he became his admirers.’ Instead, they are somewhere out there in the galaxy, watching out for the other poets below on Earth.

Now that the Tesla car has been launched into the Earth’s orbit, pieces of media have been chosen seemingly by Elon Musk himself to represent humanity to the rest of this universe. Elon Musk was not the best choice as Earth’s ambassador, but for better or worse there is now a car perpetually playing Bowie’s other extraterrestrial song Space Oddity. As a representation for humanity we could certainly do a lot worse. Taken without Ashes to Ashes this is a song about an astronaut slowly coming to terms with his own death in space, but it is upbeat through the helplessness. Major Tom is guided by his spaceship which ‘knows which way to go’, while ‘planet earth is blue and there’s nothing I can do’, and so there is a sense of total loss of direction and agency – but there are simultaneously images of Major Tom saying his final goodbyes to his wife (‘Tell my wife I love her very much, she knows’), the people revering him, and him being in a position where he will surely go down in history as one of an unhappy few to die in space.

It is a gradual song about drifting peacefully away to a sublime death that will never be forgotten. It is the calm fading away of someone who departed this planet in search of the beautiful, and thus is an anthem of the driven nature of humanity, and hardly the worst ambassador to the galaxy. Since the advent of astrology space has been believed to hold some of the secrets to the universal issues humans puzzle over, and for every laser battle, there are vast times of contemplation and reflection in Science Fiction. From thousands of years of cryogenic freezing, to the chilling 10-minute ‘Star Gate’ sequence of Kubrick’s 2001 as Dave struggles and fails to comprehend the universe with his human brain, space is more empty and incomprehensible than it is anything else.

The concept that when we look to space we are trying to escape the flaws of this earth doesn’t merely exist within media, but of course has found a place in ‘political theory’. A group of Trotskyist conspiracy theorists in the 60’s attempted to fuse communism and ufology, and came up with Posadism (named after their leader Juan Posadas). Opening branches in dozens of countries, the Fourth International Posadist ideology essentially boiled down to the belief that an alien race with the technology to travel through space to visit Earth would inevitably have come from a more socially advanced world where communism was embraced and class struggle ended. Thus, to install communism across the world, one should not seek to change world politics or even incite revolution, but seek the means to discover aliens willing to invade us, colonise us, and make us communists. For those wishing to see posadism mocked or rebel against the Terrestrials, I would recommend the Facebook page Intergalactic Workers’ League.

Conventionally, when we think of space in the media, we might think of disaster movies about alien invasion, and most people would likely not welcome a first contact happening in their lifetime. This is hardly recent – the first work of science fiction could be said to be Lucian’s A True Story written in Greek in the second century A. D., where the armies of the Sun seek to cloud out the Moon. But behind that there is a sense of the wondrous impossible as Lucian’s characters eat the cheese of the moon, drink from its milky lakes and ride its resident emus. The greatest reason we have to fear a First Contact war is because of humanity’s track record with civilisations encountering one another for the first time. The violence we ascribe imagined space cultures with is our own, whereas the wonder we seek in space comes from a lack of stimulation from our own world. However, I would suggest that the latter is a crueller thought – it is easy to sleep at night being grateful that violent aliens haven’t come to our planet, less so to think there are trillions of dazzling sights and individuals out there in this universe we will forever miss out on seeing.