832
EDITORIAL Friday, 6th November 2020
2
www.palatinate.org.uk/category/indigo/
FILM & TV 3 Emily in not-quite-Paris FEATURES 4&5 Student study spaces STAGE 6 The final curtain call VISUAL ARTS 7 24,000 carrots - insightful or tasteless? FASHION 8&9 Behind the screens at DUCFS
MUSIC
10 James Acaster’s “Perfect Sound Whatever” BOOKS 11 Bill Bryson and writerly retirement TRAVEL 12 & 13 November destination of the month: Japan INTERVIEW 14 The Corridor Marathon FOOD AND DRINK 15 Foodbank donations and Beyond Food CREATIVE WRITING 16 Reflecting on Isolation www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigo_palatinate Have a question, comment, or an idea for a story you’d like to write? Email indigo@palatinate.org.uk Logo: Chloe Wong Cathedral Artwork: Anna Gibbs Front Cover: Grace Brimacombe-Rand
Having just finished our Halloween celebrations, it is always a shock to walk into Tesco and see Christmas decorations out en force. We both had a surprisingly enjoyable Halloween, making the most of the current situation and proving that with good company and a little bit of imagination, its always possible to have a good time. Though the spooky season is now officially over, the scary reality of our current situation is brought back to mind as the new lockdown starts today. There’s no avoiding the fact that lockdown will be a difficult time for anyone, but it will be affecting some people worse than others. It’s important to remember that this situation can make people feel isolated and alone. As we go into the next month, we will be reaching out to our friends and family and we encourage you to do the same. Sometimes the people who seem to be coping the best aren’t expressing what they’re really going through, so make sure you’re virtually looking after and checking in on your friends, no matter how strong they’re being.
INDIGO EDITORS Hugo Millard Millicent Machell FEATURES EDITORS Aadira Parakkat Elle Woods-Marshall Immy Higgins
CREATIVE WRITING EDITORS Jemima Gurney Meadbh Ni Mhorain STAGE EDITORS Harrison Newsham Isabel C. Davis VISUAL ARTS EDITOR Emma Tucker BOOKS EDITORS Millie Vickerstaff Sol Noya FASHION EDITORS Abbie Cooper Davies Emily Potts
As the nights are getting longer, sometimes you need a pick-me-up after a long (or short) day. For us that pick-me-up can be a classic margarita made with 2 parts tequila, 1 part orange liqueur (Cointreau), 1 part freshly-squeezed lime, served with plenty of ice and maybe a sprinkle of salt on top. Or for a non-alcoholic alternative we recommend a decaffeinated shot of coffee over ice and topping up with a milk alternative of your choice and adding sugar to taste. Drink through a straw to make it fancy!
FOOD & DRINK EDITORS Constance Lam Meghna Amin
In this edition, Fashion talk to the president of DUCFS, Travel takes us to Japan and Food & Drink show you how to help local food banks. We hope you appreciate this edition as a welcome distraction from our current circumstances and that you enjoy the work of our contributors.
INTERVIEW EDITORS Aimee Dickenson Claudia Jacob
Hugo Millard and Millicent Machell
TRAVEL EDITORS Emma Johnson Gracie Linthwaite FILM & TV EDITOR Madeleine Rosie Strom MUSIC EDITORS Martha Lily Dean Katherine Pittalis
FILM AND TV 3
Friday, 6th November 2020
Emily in not-quite-Paris A year-abroad student gives her thoughts on the divisive new Netflix show Christina Coellen film@palatinate.org.uk
A
fter nearly three months of living and studying in the French capital, I have begun to feel at home here, and just at this time, the new series Emily in Paris is released on Netflix. Before I had even seen it, French papers and entertainment websites were busy publishing their thoughts on it, and many did not hold back when expressing their disdain over the portrayal of their city and country. Intrigued, I finally started watching it out of curiosity one evening with my flat mate – who is very Parisian – and it was an interesting experience to say the least. There is, without doubt, an abundance of clichés in this series that will need to be dissected, and I shall try my best to adhere to my limited number of words and some crucial examples in the new Netflix hit. A final warning: spoilers might be ahead. First up is what annoyed me the most when watching the series: the continuous Americanization and the imposition of an Americanized point of view, which is championed as more modern and/ or successful. Emily, without speaking a word of French and knowing little about the country she is sent to, attempts from day one to change structure, culture and everything else at her new workplace.
“going abroad is about being confronted with something new, not imposing your own habits”
Of course, everything turns out well in the end, and while her efforts are laudable, from my perspective as a modern languages student and non-UK national I can´t help but think that going abroad is sometimes also precisely about being confronted with something new, instead of imposing your own values and habits. However, we of course have to recognize Emily´s behaviour as a crucial aspect of advancing the plot, for, without her insistence on change, some of the certainly hilarious scenes would have never taken place. Another aspect of the show that was remarked as completely inaccurate by Parisians is, as ridiculous as it sounds, the sparkling clean image of their city. When Emily is filmed strolling along the Seine, on nightly adventures in Montmartre or traversing the city at her arrival in a taxi, we see a Paris that doesn’t exist. Paris, it has to be acknowledged, is not a clean city. Like in every metropole, there are bins in the street, graffiti on walls and buildings, and cigarette leftovers on the pavements (this is one of the clichés that might be a little bit true: French people do smoke a lot, at least as far as I can tell from personal comparison with other countries). The city is not always as pleasant for the eye and as photogenic as it is around the main attractions, especially in the 18th and 19th arrondissements in the north, although it can also be incredibly beautiful in other places (I have still not
stopped being in awe of it). Yet again, the series lacks realism in this domain, even if we made the starry-eyed point of view of a new arrival like Emily responsible for this choice of portrayal. Cliché number three: the men. From the handsome love interest and chef Gabriel to Emily´s male clients to even her housing agent, they all act extremely flirtatiously with the young American as if they had a duty to do so on grounds of their nationality. Yet just as not all Russians are alcoholics, or all Germans are punctual and efficient, not all French (men) are constantly trying to hit on you. Just as with any nationality, it depends on the individual, and when it comes to romance, you will find a spectrum just as broad as anywhere else in Paris, even if it is sometimes referred to as the “City of Love”. So, would I recommend Emily in Paris? If you are looking for a light and easy to follow show for an evening Netflix session after an exhausting day, of course. While the inaccuracies concerning the setting are annoying, they don´t need to keep you from watching it. It is without doubt that Emily in Paris will still provide entertainment, whether that is being amused precisely because of the caricature, or the lighthearted story full of comedic potential. Illustration by Anna Kuptsova
FEATURES 4
Friday, 6th November 2020
Student Study Spaces Features takes a look at how students are organising their workspace as they work from home The Features Section interview@palatinate.org.uk
“a new workspace will hopefully help me get this very unusual year off to a good start”
Immy Higgins
T
he essential object on my university desk is a diffuser. Whether I use the peppermint essential oil or the de-stress blend, the heavenly smells always make studying a more enjoyable experience. If anyone on a Zoom seminar with me hears a whirring hum or sees puffs of vapour, it’s the diffuser!
“think about how you work best and how your study space can accommodate that” Milly Munro
hard to be motivated when you’re not leaving your house to work, so think about how you work best and how your study space can accommodate that. For me, I like breaking work into small chunks, so my to-do list is a pretty permanent feature on my desk. Most of the time it’s filled with small things, like calling home or sending that email I’ve been forgetting to send for the last week, but seeing them on my desk listed out always makes them feel easier to tackle.
my radio. My personal favourites are the artwork I got for my birthday and the fairy lights (from Ikea, obviously). Some people find it so much harder to work
Another tip is to make you study space as personal as you can. On my desk I have a picture of my dog, a couple of adorable small animal toys and
This year has seen our bedrooms become our lecture halls and seminar rooms. It can be easy to feel trapped or suffocated when the most exciting outing you have is going to Tesco. Making your study space homely and motivating is now more important than ever.
at home, and sadly a nice study space probably won’t magically transform you into the organised student you’ve always wanted to be, but it definitely helps. When you’ve got some aesthetic fairy lights draped stylishly over your desk, what can go wrong?
Knowing how you work is really important. It’s really
I’m a self-confessed stationery addict; I’m that girl with all the aesthetically pleasing pens that you see on the
Livia Dove-Woods
FEATURES Friday, 6th November 2020
and my wireless keyboard and set up my coffee table as the perfect work zone.
Instagrams of people who you probably believe to be more productive than you. Except, I’m also the definition of “all the gear and no idea”. This is why this year I’ve decided to actually implement productive study habits, and key to this has been creating the perfect workspace. Prior to this redesign, my desk was covered in the disregarded relics of my university bedroom. Deciding to stay at home for my second year, I knew I needed to make this space into somewhat of a haven in my hectic household. My main way of doing this was eradicating my desk of clutter, turning it into a clean and simple workspace with plenty of room for all the essential study supplies like my laptop, books and notes. Now, I no longer feel crammed into a tiny space, instead there’s enough room for me to spread out and be comfortable which is definitely key when you’re faced with spending a whole day at that desk.
“having all of the things I could possibly need ... means that I no longer have an excuse to wander off” Another key to my organisation was hanging an IKEA pegboard above my desk. I had always admired how organised these looked in the in-store sets and decided to replicate one at home. I also hung a mini rail underneath with some pots for all of my beloved stationery. Having all of the things I could possibly need like pens, post-it notes, paper clips at hand means that I no longer have an excuse to wander off in search of what I need – which is definitely ideal for Zoom lessons! For me, a new workspace will hopefully help me get this very unusual year off to a good start.
5
Emerson Shams One thing has always been true: I hate desks. During my two years at university, I have thrice used the desk in my room. Normally at uni, the key feature of my daily study is that I actually have to physically move. Even if I am at Billy B, a cafe or a friend’s house or just outside, I work better. Unfortunately, not an option during these times of covid. When my dad reminded me it was time to set up for the new academic year, I began my search about the house for a comfortable spot to spend my day and night, without feeling like I was at home all day. My solution; I was going to convert my old attic hangout room into my new office. There was one issue (or so I thought). There were only a couple sofas, a pouf, and a coffee table up there. With a bit of adjusting, success finally hit when I decided to sit on the poof next to the coffee table. And thus began the set up. I bought some extension cables, re-stocked on my jasmine pearl tea, grabbed my watercolours
“I light my candles and enjoy the ambience their scents bring.” Within arms reach I can make tea, paint, write notes and type up articles and essays. From the ground, the light from the windows hits just right, allowing a warm glow to encompass the table. When night hits, I light my candles and enjoy the ambience their scents bring. But really what makes the spot so perfect is how much better my posture has become since sitting on the floor. I don’t know if I’ll ever be able to comfortably work in a chair now. Images by contributors
STAGE 6
Friday, 6th November 2020
The final curtain call? Harrison Newsham speaks to Mark Walsh about his lockdown experience and why the government has neglected the arts during the pandemic Harrison Newsham Stage Editor stage@palatinate.org.uk
I
spoke to Mark over Zoom last Friday, when he could catch a few minutes away from working his current job in St Albans, wintering taps on a ‘pop-up campsite’ he has set up to make up for business lost due to the coronavirus pandemic. Lockdown “has been tough but life is what you make of it” he says and “no job is too low”. In normal times, Mark is an events manager, running his own business. His company, Xennial Group, coordinates events at venues such as the NEC in Birmingham. Alongside this, Mark DJs for weddings and local events in the North West and each Christmas enjoys performing as a panto dame. Each of these areas of his life has suffered because of the pandemic.
“creatives have spent years perfecting their craft” Mark feels passionately about theatre and expressed anger at the government’s attitude towards the industry. The claim that the arts is not a ‘viable’ industry and that those without work should retrain is “utter trash” he says, since creatives have spent years perfecting their craft, and to be met with little empathy from the government is really insulting. Viewing the country as “a business to run” means sectors deemed less integral are pushed to the wayside. But the United Kingdom isn’t a business, it is a collective of unique and individual livelihoods, all of which deserve the same respect as the next. He believes that the reason theatre is often not considered ‘real work’ and thereby less integral is that jobs are often seasonal and harder to come by. Furthermore, freelance work is deemed less tan-
gible than jobs with more reliable contracts, appearing “wishy-washy”. These prejudices couldn’t be further from the truth considering how much we have relied on the arts and theatre for entertainment during lockdown. An avid supporter of the #wemakeevents campaign, Mark criticises the government’s “black and white” approach to the arts. He demands the government allocate sector specific support, as different areas of work require varying degrees of help. As every area of the arts has suffered in different ways, blanket lump sums don’t cut it. Freelance workers have been most heavily hit in this respect, he highlights, as the grants given to large venues, such as the Royal Albert Hall, don’t reach workers unaffiliated with the theatre. There hasn’t been “enough direct support for individuals”. Many non-public facing workers in the arts industry are freelancers and are critical to the theatre industry. Thousands of these workers have had their lives paused in recent months yet the government has failed to distribute support to them efficiently in a way that keeps them afloat. Without their skills, theatre would not go ahead; if their financial futures are uncertain, so too could be the future of theatre.
“this situation wasn’t inevitable” This situation wasn’t inevitable. European countries such as Germany have been “incredible at supporting the arts”. It is our government who has failed. Mark also fears COVID-19 could signal the final curtain call for small regional theatres. Theatres such as The Palace in Manchester and the Liverpool Empire should get by since they make high profits all year round. Their calendar is booked with West End-standard shows throughout the year that audiences flock to see. However, the Christmas pantomime is “the cash-cow” for smaller theatres; many of these theatres make around 50% of their annual turnover in December alone. With a second lockdown threatening the panto season, many provincial theatres risk closure. Nevertheless, Mark remains optimistic. Theatre is “a resilient industry”, which he believes will bounce back once this crisis is finally over, because “people will want us”. He cites the Roaring Twenties to exemplify this. After the devastating Spanish flu of the early 1920s, the arts exploded in response, renewing people’s joy in the wake of tragedy. The arts industry is our escape from conspiracy and suffering, and as long as creatives remain creative, theatre will always find a way. Image Credits: Ian Lawson Photography
VISUAL ARTS Friday, 6th November 2020
24,000 carrots - insightful or tasteless?
7
Faye Saulsbury reflects on the recent Goldsmiths carrot spectacle Faye Saulsbury visual.arts@palatinate.org.uk
T
hese are just some of the comments made on social media about the 32 tonnes of real, fresh carrots that were piled on Goldsmiths, University of London campus earlier this month. “An appalling waste of perfectly edible food.” “This art has sparked conversation about food waste.” “Unpleasant to look at.” I found out about this bizarre occurrence not through a gallery website or an artist press release but from a tweet that went viral. George Greenwood, a data analyst at The Times, tweeted “Does anyone know why a significant volume of carrots has just been dumped on Goldsmiths university campus?” Within a day, it had been liked by 64k people and shared 10,000 times. Twitter provided the answer to the mystery. The carrots were an installation by Goldsmiths art student, Rafael Pérez Evans. He assured viewers that all the carrots used were discarded by supermarkets for being “too ugly” to sell and that they would be used as animal feed after the exhibit. His piece was titled Grounding and was designed to imitate “dumping” - an act of protest seen in mainland Europe.
“protestors in Belgium poured three million litres of milk over the streets” In protest of price drops, farmers in France, Spain and Belgium have dumped vast amounts of fresh produce in urban areas. In 2009, protestors in Belgium poured three million litres of milk over the streets in Brussels, and threw eggs at the E.U.’s headquarters, after their demands to reduce production quotas was ignored. Evans interprets these protests as the result of a growing disjunction between urban and rural life. City people are supposedly “blind” to the processes and labour that go into producing their food; dumping protests shock them into understanding. Alongside this, Evans hoped to draw attention to the fact that a third of produce farmed in Europe is discarded. It is discarded not because it is inedible but because supermarkets consider it too “ugly” to sell. To compensate, farmers are often contracted by supermarkets to grow more produce than could ever be sold - a hugely wasteful practice. These are certainly important issues - and Evans is quite right to say that urbanites can easily turn a blind eye to them. However, his installation drew much criticism.
“Lewisham is one of the poorest boroughs in London and this mass dumping of carrots at Goldsmiths is beyond insensitive,” wrote a fellow Goldsmiths student on social media. “Evans only used veg that was already considered waste,” replied another, “that’s the point.” However, for an onlooker like myself, the most interesting aspect of the debacle was the action of another group of Goldsmiths students. Like many, they were annoyed at the food waste. But instead of tweeting angrily from the sidelines, when life gave them carrots, they made carrot cake. Their Instagram account @goldsmithscarrots documents them grating the carrots to make carrot cake and carrot soup. They then sold their homemade goods at a stall right next to the original installation. They reported making over £700 in two days and donated the entire amount to local food banks. And Twitter, in response to that, declared, “I CARROT BELIEVE IT.” Whether you’re repulsed or impressed by this display, one thing is for sure: Evans’ mountain of carrots did what art should do. It shocked people, informed people, and inspired positive action. Perhaps carrots really do help us see. Image Credits: Anna Kuptsova
FASHION 8
Friday, 6th November 2020
Behind the screens at DUCFS Faye Saulsbury talks to the presidential team of DUCFS about the coming year Faye Saulsbury fashion@palatinate.org.uk
L
ast year, Durham University Charity Fashion Show raised a recordbreaking £171,000. But DUCFS is set on being more than just a single event. It aspires to be a brand, a movement, a social force. Faye Saulsbury speaks to this year’s presidential team to find out more.
In support of Create and 3 Sided Cube The first ‘something different’ is their choice of charity. “We’re actually funding a partnership between an arts charity, Create, and a digital development agency, 3 Sided Cube,” Cube,” says Emily.
Lockdown may have caused sales of alcohol, train tickets and condoms to plummet, but sales of clothing did not take the same hit. While we sheltered inside, delivery drivers worked harder than ever to bring us our new loungewear. It is this increasingly tight connection between the digital world and the fashion world that has grasped the imagination of the Durham University Charity Fashion Show team, informing their choice of charity and creative theme.
#ReflectReset - a creative vision I ask them to tell me about the black and white posters I’ve seen plastered around the streets of Durham.
I spoke to Emily Kirkby (President), Soo Hahn (Vice-President, Creative) and Odi Oladuji (VicePresident, Operations) for an early glimpse into this year’s DUCFS plans.
“a charity that fosters both creativity and community” 2020 has certainly unfolded in unexpected ways, but it is evident from their chatty manner that this has not deterred them. If anything, they view the unconventional format of this year as an opportunity to radically change the face of DUCFS. “This year was never going to be a traditional one,” says Odi, “so why not use that to our advantage, to try something different?”
being used in a practical way,” says Emily. “Over the lockdown, Create had to take all of their work online. As a small charity, their digital capacities weren’t really the best. 3 Sided Cube is a digital development agency. The idea is that we fund 3 Sided Cube to help Create build their digital capabilities.”
As she explains their idea, I am struck by its inventiveness and originality. “Create supports young carers, the elderly, the disabled, and children in deprived areas through local arts programmes. They bring together people or groups who might not have a community of their own.” “DUCFS is a creative hub,” says Soo. “It made sense for us to support a charity that fosters both creativity and community,” — just as DUCFS does. But the key is that they are not simply handing over a lump sum of cash to Create. That is where 3 Sided Cube comes in. “We want to ensure that the money is
“The theme this year is #ReflectReset. It’s all about the dichotomy between the human and technological worlds. We want to reflect on internet usage, e-commerce consumption, and who we become digitally,” Soo explains. “Reflecting is a very human action.” “Reset, however, is about moving forward. We often come across the word in relation to computers, but lockdown highlighted the benefits of resetting our attitudes, too.” The clean, sleek graphics echo digital worlds, while the black, grey and white colour scheme was chosen for its simplicity. In implementing this theme, Soo says she has “become hyper conscious of the different ways wording can be read. You
FASHION 9
Friday, 6th November 2020
have to see things from every possible perspective.”
And what exactly is that definition? I ask. “Solid teamwork,” she replies. “Success is everyone feeling proud of their work, regardless of how much money we raise in the end.”
Odi continues, “It’s important that the message is clear. In the past, some of the DUCFS graphics and videos have been very experimental, and perhaps disorienting.”
“it’s not just an exclusive fashion show”
That’s why the creative vision for 2020/2021 is to reflect, reset and strip back to more minimalist design. This year, DUCFS encourages us to be “mindful about our interactions with each other, whether that is in person or online.” So, it’s all about living with technology, but not within it. Behind the screens - events in a socially distanced Durham “In the past, DUCFS has relied on photoshoots and videos,” says Odi, “but these are hard to organise when everyone has to distance and there are limitations on group size.” But Emily, Soo and Odi seem excited about having to rethink events this year. “Club nights have been done a hundred times before,” says Emily. “The present situation gives an opportunity to try different types of events.” A webinar series, DUCFS LIVE, where industry professionals will give talks about digital technologies in the world of fashion, is in the works. And, never straying far from their community spirit, they’re involving local charities in order to bring together students and residents. “DUCFS is such a big platform. We want to give that platform to local charities in Durham,” says Odi. Their plans to co-host photography and comic book workshops, in collaboration with Durham youth groups, have just been approved.
A new definition of success What’s clear to me is that Emily, Soo and Odi want more than to organise a fashion show. They want to change the face of DUCFS. Emily says, “It’s going to be really hard to raise the same amount of money as last year without physical events. Also, a lot of brands we might have asked sponsorship from in the past are facing financial hardship so they’re less able to sponsor us.” “I admit I don’t see us raising as much as we did last year or the year before.” Ever-pragmatic, however, Emily goes on: “that’s why we need a new definition of success. One that is not purely financial.”
“For me,” says Soo, “it’s creating a better name for DUCFS. It’s not just an exclusive fashion show for tall, skinny models. It’s a community of creative people coming together — don’t forget that it takes artists, choreographers, videographers, lighting technicians, marketing strategists, designers and writers to put on a show.” Odi agrees that DUCFS needs to be more inclusive — not only in a creative sense, but in a practical one, too. That’s why he has made sure that, this year, ticket prices for downstairs tables will not be more expensive than last year. The capacity upstairs will be increased, allowing more audience members to attend. He concludes, “If we can be more engaged with social issues — global ones like sustainability in fashion, as well as one specific to Durham University, like making events more financially accessible — then we will have achieved success.” Images courtousy of DUCFS
MUSIC 10
Friday, 6th November 2020
James Acaster’s “Perfect Sound Whatever” Music revisits James Acaster’s podcast. Tom Burgess music@palatinate.org.uk
I
f, like any reasonable person, you have become enamoured with James Acaster, you will be aware that the further you delve into his career, the deeper the love grows. Many first came across the comedian’s zany antics in the four-part Netflix special “Repertoire”, and so prolific were his ‘classic scrapes’ that James penned a book compiling them. More recently, his “Perfect Sound Whatever” was a personal revelation. The book details his unorthodox attempt to combat an array of professional and romantic crises in 2017, achieved by immersing himself in music from 2016 – an astounding feat of escapism. As a Music student obsessed with unearthing weird and wonderful artists, the book’s recounting of 366 albums was beyond my wildest dreams. This article outlines the select few albums that Acaster missed out, describing similarities to another mentioned in the book. Common - Black America Again (For fans of: A Tribe Called Quest - We Got It From Here) Despite being a prolific rapper in the same vein as Tribe’s jazz rap/boom bap style, and having worked alongside Kanye West, Stevie Wonder and the Soulquarians, Common somehow still eludes widespread fame. However, his ‘conscious’ music now proves more relevant than ever in light of the BLM resurgence, with “Letter to the Free” featuring in the credits to the documentary “13th”, concerning mass incarceration. His NPR performance at the White House best encapsulates his warmth and positivity, accompanied by some phenomenal musicians, if you’re looking for something more bitesize. Tigran Hamasyan - Atmosphères (For fans of: Rocks and Waves Song Circle) One of Acaster’s more esoteric findings in his musical quest is “Rocks and Waves Song Circle” - a pretty enigmatic release with ties to Sweden, Mexico and Haiti. Its ambient and folky qualities are quite quirky, reminiscent of post-rock but with
zard’s concept albums, more explicitly on “Infest the Rats’ Nest” and “Murder of the Universe”.
a haunting choir at the forefront. However, “Atmosphères” gets my recommendation as a brilliant 2016 album that passed James by, as the Armenian musician impressively straddles the line between the pensive and mysterious for an engaging 90 minutes. Uyama Hiroto - Freeform Jazz (For fans of: BADBADNOTGOOD - IV) Long-time collaborator with Nujabes (i.e. godfather of lo-fi hip-hop), Hiroto builds on his success streak with this most recent solo effort. While proving the endurance of Nujabes’ all-too-often underwhelming imitations, Hiroto embraces his signature spiritualistic style, expertly fusing Japanese and jazz influences. As a result, this record bridges the gap between nu jazz and lo-fi hip-hop effortlessly and resembles the lavish stylings and general luxuriance of “IV”. Haken - Affinity (For fans of: King Gizzard & The Lizard Wizard - Nonagon Infinity) While the prog metal intricacies of Haken immediately appear at a distance from King Gizzard’s frantic psych rock, many similarities can be found (even beyond their mutual obsession with unusual time signatures). Haken’s harmony, inclination towards retro styles, and general unashamed indulgence resonates with Nonagon Infinity, in a form that many King Gizzard fans may not have encountered. Thematically, “Affinity”’s toiling with the relationship between humanity and technology shares a great deal with King Giz-
Shabaka and the Ancestors - Wisdom of Elders (For fans of: Yuseef Kamaal - Black Focus) This sprawling, spiritual jazz record continues the recent trend set in motion by artists like Kamasi Washington (specifically on his 3-hour behemoth “The Epic”, but better known for his sax appearances on Kendrick’s TPAB). Something a bit weirder and more out there than “Black Focus” but maintains a lot of the same ingredients. Particular influences seem to be the transcendence of John Coltrane and Pharoah Sanders as the ‘60s progressed, with both upholding the distinctive PanAfrican sound. “Wisdom of Elders” is definitely one for those who want to indulge a little more into a world akin to “Black Focus”’ well-restrained experimentalisms. iamthemorning - Lighthouse (For fans of: Adam Torres - Pearls to Swine) While this beautiful Adam Torres record is pretty unparalleled, giving Iron & Wine or Father John Misty a run for their money, his subtle inclusions of all matter of styles recalls progressive/chamber-folk Russian group iamthemorning. Frontwoman Marjana Semkina’s birdlike singing is as enchanting as Torres’ warbling falsetto, with pianist Gleb Kolyadin creating a wonderous neoclassical backdrop. Influences from Kate Bush to Steven Wilson shine through, all unified with concepts of mental degradation as inspired by the works of Sylvia Plath and Virginia Woolf. All in all, striking an impressive balance of self-deprecating hilarity and devastating honesty, including both factual and anecdotal musical insights, I would recommend this book to comedy and music fans alike. Image Credits: James Acaster at the Vaudeville Theatre via Flickr
BOOKS 11
Friday, 6th November 2020
Bill Bryson and writerly retirement Imogen Usherwood looks back on Bill Bryson’s career and what it means for a writer to retire
Imogen Usherwood books@palatinate.org.uk
I
n October, nonfiction legend and namesake of every Durham student’s favourite place for an essay crisis, author Bill Bryson, announced that he’s putting down his pen and retiring. Having authored twenty-one books on topics from travel writing to Shakespeare to the human body, Bryson has spent thirty-five years producing warm, witty and cynical prose that has earnt him awards including an OBE and, rarely for a writer, a chemistry prize. And, of course, he was Chancellor of Durham University for six years. Bryson’s decision emerged during an interview on Times Radio: “I don’t know how much of this is pandemic-related, I’m really quite enjoying not doing anything at all. For the first time in literally decades I’ve been reading for pleasure and I’m really enjoying it. Whatever time is left to me on this planet I’d like to spend it indulging myself, rather than going out and trying to cover new territory.” Is it even possible for a writer to retire officially? In what is effectively a self-employed job – Bryson’s level of success means he could write a book on any topic he likes in the assurance it would get published immediately – the decision to stop is a personal one. There’s no notice to hand in, no resignation to
make. Yet, he’s not the first author to announce retirement; in 2012, the late novelist Philip Roth declared that Nemesis (2010) was his final novel, and Harper Lee famously never wrote another book after To Kill a Mockingbird (1960). J. D. Salinger spoke of the “marvellous peace of not publishing” after he quit writing in his mid-forties, and in 2016 Annie Proulx declared that she had published her final novel. Bryson may well make a return to publishing in the future but, for now at least, he’s had enough. Back in January, when coronavirus was only a minor headline on Palatinate’s front page, I had the pleasure of interviewing Bryson when he visited Durham for a few days. He declared that “Durham is my favourite place in the whole world – this is the only place where they call me ‘Doctor’ and name buildings after me”, and told me that he’s actually quite fond of his namesake library being nicknamed the Billy B. During his Chancellorship, Bryson used to visit what was then called the Main Library to research his books. He couldn’t be prouder that it’s named after him today, remarking “it’s the best honour that’s ever been paid to me. I love libraries.” Bryson first encountered Durham as he was writing what is perhaps his most famous book, Notes from a Small Island (1995). Having lived in Great Britain for over twenty years, he travelled around the country in an attempt to get to know it properly before moving back to the US with
his family. He stopped at Durham by chance on the way to Newcastle, discovering a “perfect little city” with “the best cathedral on planet earth”, a moniker that Durham Cathedral regularly uses in its publicity to this day. Notes from a Small Island is a fond, tongue-in-cheek look at British life for all its oddities, and the book that made him a real hit in the UK – clearly us Brits love being told how strange we are. The book was matched by Notes from a Big Country (1999), an essay collection of columns that Bryson wrote for the Mail on Sunday about moving back to the States and finding himself a stranger in his own country.
“I try to make a virtue of ignorance” Having started his career as a journalist, it’s unsurprising that so much of his work is grounded in research. “I try to make a virtue of ignorance,” he told me about his love of learning, “and one powerful advantage is my capacity to be amazed all the time”. He has found a niche in writing accessible, warm nonfiction about ostensibly academic topics, including The Mother Tongue, Shakespeare: the World as Stage, and his most recent (and, presumably, final) book, The Body: A Guide for Occupants. Whether this is really the end of Bryson’s career or just a pause, there can be no doubt that his contributions will be sorely missed. Regardless, many readers to come will keep consuming and delighting in Bryson’s work and, of course, Durham students will keep paying visits to the Billy B – even if you now have to book a slot in advance and wear a mask on entry. Image credits: The National Churches Trust
TRAVEL 12
Friday, 6th November 2020
November Destination of the Month: Japan Gracie Linthwaite gives a whistle-stop tour of the land of the rising sun Gracie Linthwaite Travel Editor travel@palatinate.org.uk
J
apan has fascinated me since my first visit as a young child; it seems in many ways like a parallel universe; a society so polite, punctual, and completely different from our own. The country is one of the most densely populated places on earth, famous around the world for its vast cities rife with canyons of glass and steel and the picturesque Mount Fuji, as well as the beautiful rows of cherry blossom in the spring months. Yet beauty can be found in the autumn too, for Japan is a society in which so much is informed by aesthetics; not only in the way you appreciate cherry blossom, but in painting, sculpture, the way you drink tea, and even the arrangement of your lunch-box. It is perhaps this feature which inspires me most about Japan, for here almost everything has the capacity to become art. JAPAN AT A GLANCE... LOCATION: East Asia LANGUAGE: Japansese CURRENCY: Japanese Yen CLIMATE: Most areas on Honshu have a humid subtropical climate, with warm and rainy summers and mild winters. The island of Okinawa has a subtropical climate with high humidity and rainfall. HOW TO GET AROUND: In cities, walking and public transport are the best ways to get around. Japan’s extensive railway network is an extremely efficient way to get from city to city. Travelling on one of the Shinkansen (bullet trains) is an experience not to be missed! WHAT TO EAT: Tokyo is one of the culinary capitals of the world. Its restaurants have been awarded more Michelin stars than any other city; delicacies such as ramen, tempura, omurice are abundant. Alternatively for the freshest sushi and sashimi, head to the Tsukiji fish markets. Tokyo is one of the largest and most exciting cities on the planet. Rocked by earthquakes and scorched by war, Tokyo
has continued to rise like the sun. Here, the new lives in harmony with the old. The city is held together with an efficient train system that never rests, allowing you to go wherever you want at any hour. Start your adventure in the ancient temple town of Asakusa: at the city’s oldest temple, you can pay your respects, and you may even be lucky enough to receive good fortune. During November, you can attend Tori no Ichi Fair, a traditional festival held at Otori Shrine in Asakusa, where attendants pray for good luck and success in business. To escape the crowds, Ueno park is a good place to recenter yourself and delve into the treasures of the Tokyo national museum. Not far from Ueno, the suburb of Harajuku is renowned around the world as a centre of youth culture and fashion. It
is also home to one of Tokyo’s largest green spaces: Yoyogi park. To the north of Yoyogi park, take a walk beneath the towering torii gate and into a forest of over 100,000 trees, originally sent as saplings from all over Japan. From here you can pass through the main gates to Meiji shrine. Here, many come to pay their respects to Emperor Meiji, the beloved 19th century ruler who helped Japan to throw off its feudal cloak and grow into the dynamic country it is today. South of the city is Shibuya, home to one of the busiest crossings in the world. In nearby Ginza, there are huge department stores, selling everything from robots to paintings. If you like anime, manga or gaming, Akihabara Electric Town will be right up your street. As it’s name suggests, this area glows after dark. As the sky begins to be illuminated by a haze of neon, head to the restaurants and bars in Shinjuku for some respite,
TRAVEL Friday, 6th November 2020
renowned as dining and
one of Tokyo’s main entertainment areas.
Only 1 hour south of Tokyo, Kamakura is an excellent day trip destination to escape the city. Popular not only for its iconic giant Buddha and temples, the town also boasts sandy beaches and a popular shopping district. Tsurugaoka Hachimangu is the most important shrine in Kamakura. Additionally, at the base of the shrine’s staircase stands a stage where dance and music performances are occasionally held. Alternatively on the western side of Tokyo is Mitaka, home to the Ghibli museum. A Ghibli themed bus will collect you f r o m
Mitaka station and take you right to the museum itself. Inside, the attention to detail matches the films themselves, and it is the perfect place to let your inner child free and reminisce over your favourite Ghibli creations. On the roof the giant robot from the film Laputa calmly looks down on all the visitors and the museum, and makes a great photo opportunity. At the bottom of the main island of Honshu lies Hiroshima. For lovers of history, the Atomic Bomb Dome has to be first on your list of places to visit. The Exhibition Hall was the only building able to survive the blast of the first atomic bomb ever to be used in war. Surrounding the dome is the Peace Park, containing the Peace Flame, which will burn until the production and use of nuclear weapons are banned worldwide; the Peace Bell; and
13
a museum which is an excellent opportunity to learn more about the history of the place. A short train Journey from Hiroshima is Miyajima train station, from which you can take a short ferry ride to visit the island of Miyajima. Once you step onto the island you may feel like you have been taken back in time, as restrictions are in place to make sure the island retains a classical Japanese Edo era architectural design. Miyajima has a long history as a holy site: Itsukushima Shrine and its torii gate are unique for being built over water. During high tide, it even looks like it is floating in the sea. Be sure to try some of the maple shaped Castella which the island is known for. As deer wander freely throughout the island, be careful that they don’t steal your food! For those looking to explore even further, Okinawa is a short plane journey away from mainland Japan. The birthplace of Karate, the island is a popular tropical getaway and has its own distinct culture, with influences from Taiwan and China as well as modern influences from America. Train and bus transportation is not as efficient as in other parts of Japan, so I would recommend renting a car to explore the island. Churawmi Aquarium is not to be missed, as it is the second
largest aquarium in the world. The aquarium houses over 60 different types of sea creatures, including the huge and rare Whale Sharks. You can even walk around the grounds of the aquarium and see beautiful beaches, gardens and views, as well as walk through an old Okinawan village museum. Japan is a place of multiple personalities: whether you are a lover of history, a gamer, or simply just looking for white sandy beaches, everyone can find somewhere for them in this vibrant country. Photography by Gracie Linthwaite
INTERVIEW 14
Friday, 6th November 2020
The Corridor Marathon The Trevs Freshers who attempted a corridor marathon in aid of Help Musicians UK Claudia Jacob and Amy Dickenson Interview Editors interview@palatinate.org.uk
O
n Sunday 18th October, 13 isolating freshers from Trevelyan College ran a corridor marathon between them. Since then, they’ve made the headlines at BBC News, raised over £2,500 worth of funds for Help Musicians UK and even made a marathon Instagram account. But who are the people behind the Household 14 marathon? Interview Editors, Aimee Dickinson and Claudia Jacob chat to three of the participants, Milo Anderson, Francesca Hibbit and Emily Horsfield, who reflect on the marathon, their mutual love for music and their experience of being freshers in isolation. The trio explain light-heartedly that the idea of the marathon began as a way to pass the time. Milo explains “I made a joke about running a 5K along the corridor and it just kind of spiralled from there”. However, the group soon realised that they could be turning their lockdown laughs into a valuable fundraising opportunity. United by their “passion for music and respect for the industry”, they “felt that Help Musicians UK was a charity that would have the impact we wanted”. And they’ve certainly made an impact. In fact, a much larger impact than anyone could’ve expected. Milo explains “we thought we could raise maybe £200 for the charity and maybe even get on a Durham Instagram page…and then the BBC got in touch!” At the time of this interview, Emily reported that they had raised £2,530, including £500 worth of gift aid. Francesca explained that the funds will “create opportunities and provide support for emerging
professional and retired musicians of all genres”, as well as “organise health and welfare support, such as a mental health helpline and a hearing health scheme”. The three of them agree that “a lot more could be done to support the arts” during this crisis. As Milo puts it, “I think the arts are such an important industry; in the UK they are a massive part of our culture, so to leave them on their own in their time of need is absolutely not what we should be doing”. The group spoke to the CEO of Help Musicians UK, James Ainscough, who explained that the fact that musicians are generally self-employed means that they often don’t have access to financial schemes such as furlough. Milo, whose parents are classical musicians, added that he’s heard stories of professional musicians having to turn to “delivering pizzas just to stay afloat”, adding “it’s really awful to see highly trained people turning to any job just to keep their families going”. Despite not being music students, the three freshers have a mutual passion for music. Between them they play the cello, flute and piano, and are vocally trained. They explained that college household groupings enabled them to find people who had similar interests to them. The group has been entertaining themselves throughout isolation by “doing acapella stuff in the evenings”. The group seemed optimistic and grateful for the support the college has provided. Milo deems it, “an interesting and unique experience”, adding that “the college has been trying their hardest to make it as normal as they possibly can which
has been really nice to see”. Francesca adds: “I think for us it’s been quite a positive experience - they matched our household really well…so being in isolation for two weeks hasn’t been a difficult experience”. The group also agreed that isolation has brought them “a lot closer” together as a group than they would otherwise be. However, isolation does have its downsides; as Milo put it, “I love my household, but I’d quite like to speak to other people as well”. We asked the group about their advice for other freshers in this strange and difficult year. “It’s really difficult to see being locked down as an opportunity”, Milo chuckles, “but it can be if you look at it in the right way. I don’t want to sound preachy, but you can start that thing you’ve always really wanted to do”. Emily agrees that it’s important to “make the most of spending time with the people you’re with and enjoy the fact that you’re all in this together”. The group explains they have been discussing ideas for future events, including “climbing the stairs to reach the height of Mount Everest”, but agree that they “might give it a break for a little while!” Photography by Constance Froment
FOOD AND DRINK Friday, 6th November 2020
15
Foodbank donations and Beyond Food Chloe Sutton tells us about Beyond Food’s mission and how to help Chloe Sutton food@palatinate.org.uk
D
urham Foodbank, seeded by The Trussell Trust, has released new figures showing that across April there was an 89% increase in demand for foodbanks as a direct consequence of the effects of the pandemic. If we take a look closer at the particular groups in need, foodbanks saw a 107% increase in the number of children requiring support. With the Commons voting against Labour’s motion of extending free school meals over the holidays in these difficult and uncertain times, it is expected that the North East will be one of the regions hit hardest by this decision. Although long-term, preventative solutions are required, it would be negligent to ignore the need for short-term fixes – such as foodbanks. Increases in universal credit obviously fail to compensate for the loss of family income which produces child hunger. Bringing people out of poverty isn’t done overnight, and the sad fact of the matter is that children will go hungry during their half-term break. The Trussell Trust have pledged that until they are certain that the government can provide adequate protection against poverty in the charity’s place – the foodbanks will continue their commendable work. Foodbanks provide an essential community service to people unable to afford food. But how can Durham students get involved when they have busy lives or can’t volunteer due to Covid-19 restrictions? Introducing: Beyond Food – the university’s connection with Durham Foodbank. Beyond Food is a student-led project,
associated with DUSVO, working with Durham Foodbank to raise awareness of the importance of foodbanks, collect food donations, monetary donations, and other essential items for those most in need in our local community. The food donation
What to Donate This list compiled by The Trussell Trust is intended to provide a minimum of three days’ “nutritionally balanced, nonperishable tinned and dried foods,” containing sufficient nutrition for all ages. A typical food parcel includes the featured items in the illustration: cereal, soup, pasta, rice, tinned goods, biscuits, long-life milk… and more. Alongside those, the non-food items that are often forgotten, but of course essential include: • Baby supplies – nappies, baby wipes and baby food • Feminine products – sanitary towels and tampons • Household items – laundry liquid detergent, laundry powder, washing up liquid • Toiletries – deodorant, toilet paper, shower gel, shampoo, soap, toothbrushes, toothpaste, hand wipes
boxes you’ve probably seen around your college JCRs and receptions are collected by Beyond Food throughout each term. But with the increase in demand for food donations, they are now more important than ever – and we need your help. Project leader, Chloe Sutton, views this project as a necessity rather than a charitable thing to be doing. In times like these, it is more important than ever to break out of the Durham bubble and become a part of the community, with foodbanks on our very doorsteps. The project thus far has had tremendous success in recruiting hardworking, creative College Representatives and volunteers to spread the word and encourage donations. But what is most important is meeting the demand for food donations.
Where to Donate Below are the locations of food donation boxes regularly collected by Beyond Food and taken to the Durham Foodbank warehouse in Chester-le-Street. • Durham University Colleges – every college will have their own donation box, usually found in JCRs, receptions and entrances. • Palatine Centre • Calman Learning Centre • Durham Student’s Union • Maiden Castle Please donate whatever you can afford to help alleviate the difficult circumstances currently faced by our local community. If you want to keep up to date with Beyond Food, you can follow us on Twitter and Facebook @beyondfood.dusvo. Illustration by Alexandra-McLaren
CREATIVE WRITING 16
Friday, 6th November 2020
Reflecting on Isolation ‘Hey Covid, thank you, but I’ll choose my own ‘normal’’ Delia He Peici creative.writing@palatinate.org.uk
7
0 consecutive days isolated, alone, in a 12 square metre hotel room, and my best takeaway was an obsession with sleep. Every day was a rendition of yesterday, and a depressing indicator of tomorrow – a hazy blend of napping, snacking, reading and the occasional Chloe Ting workout.
the failing score. The health app attributed my poor sleep to an abnormally high rate of REM cycle – my brain was activated when it was supposed to be resting; I was dreaming too much, too intensely. I recalled that, indeed, I was having a proliferation of unhinged and increasingly vivid nightmares.
I spent most of my time asleep, which was why it was shocking when the notification came from my smartwatch alerting me that my sleep scores were unusually poor. I wouldn’t consider myself health-conscious, but my curiosity was piqued. This tidbit of information logged a new checkbox on my otherwise mundane to-do list. Could the technology be inaccurate? The data manipulated? Or was a sinister entity messing with me while I sleep? I had to know! And thus began my obsession with sleep.
In one nightmare, civilization as we knew it dissipated. The dream was set in an I Am Legend-esque backdrop, with a yellowish hue for the added cinematic effect. Dressed in nothing but a surgical mask and scrubs, I frantically looked around for signs of human life, only to find my Mom standing 10 metres away from me. My legs wanted to lunge over, but inertia came in the form of: “Please observe social distancing. Violating the law will subject you to a fine or jail term.” An alarm blared overhead while a spotlight fell on me. Instinctively, I backed away, afraid that even with the consolidated effort of a surgical mask and the distance, I still posed a deadly health hazard to my Mom. “Is this enough?” I mumbled with each step I took further and further back, till
How long? How deep? How consistent? Each morning, as my eyes snap open, I rush to check the little digital screen, now permanently attached to my wrist, desperate for a little triumph of attaining a sleep score higher than that of yesterday. And each time, my unconscious-self disappoints. The average sleep score for women my age is 77%, but mine ranged from 20-40. The trained student in me couldn’t help but be a little distressed at
she was just a speck in the faraway. In another, I’m at Durham. Starting the first class of University in a socially distanced lecture hall, where each student was armed with a gigantic headphone, those only possessed by professional gamers. I let out a timid “hello”, and immediately, the microphone picks it up and my voice reverberates throughout the hall. Everybody turned to stare, faces blank but eyes filled with judgement, demanding to know who dared infiltrate the silence. In this ‘new normal’, there was no room for subtlety, no whispered conferencing with classmates, no timid venturing of a half-formed opinion, ready to be retracted at the first sense of disagreement. Silence has truly become golden, everyone protective over the bubble of space and peace that they can now rightfully claim as theirs. University has now transformed from a place that one facilitated intellectually stimulating discourse, to one that rewarded students who had better tech gadgets and knew how to use the mute button. It has been four months since I left isolation, but the dreams packed themselves into my luggage and came home with me. Even now, rarely do I dream of the past, they typically come in assaulting forms of imagined futures. No matter, though, for I actually enjoy them. They aren’t so much a benchmark of anxiety, but rather, a comforting prologue to my day. As I sleep, my mind conjures bleak versions of the future, and my body resists, rebelling against the compromises and the settlements we are told to accept, refusing to resign to the belief that the rest of our days will encompass this ‘new normal’. I will welcome a new day, tired and caffeine-craved, but armed with a fervent trust in the potential that my future holds. Image Credits: Delia He Peici