EDITORIAL indigo@palatinate.org.uk
The long dark second term of the soul Indigo Editor Samuel Lopes reflects on how to deal with the end of January blues
T is a bit fed up.
he Christmas tree has finally been put away. Whatever New Year’s Resolutions I promised myself I’d do have been tossed aside in favour of binge-watching Netflix and ordering takeout. It’s late January, and everyone
Perhaps this is why political tensions have a habit of boiling over in winter, particularly in January. It has been a year since the US Capitol insurrection that changed the face of American politics forever. Across the pond, the Prime Minister’s ‘Partygate’ scandal continues to develop, each day bringing fresh allegations from all sides of the political spectrum. Astonishingly (or not), the PM has managed to insult nearly everyone possible with this latest raft of nonapologies. From the Queen to the constituents of North Shropshire, the public mood seems to be turning against Johnson. This sense of frustration is echoed here in Durham, too; many students have expressed frustration at the University’s ‘soft start’ to Epiphany term. Over the past two years of restrictions, the British public has sacrificed a great deal to protect our most vulnerable. For most if not all the students at Durham, this includes a normal University experience. As January draws to a close, it seems only natural to feel disillusioned with the state of things.
In this edition of Indigo, we focus on the Royal Family to mark the Queen’s platinum jubilee. Regardless of your opinion on the Royals (and there is doubtless much to criticise), the Queen has remained an integral part of the British brand through fourteen Prime Ministers and a complete transformation of British life. Our fantastic section editors have once again delivered some outstanding articles; on Page 12 Music explores what a 2022 coronation anthem might sound like, and on Page 3 Film and TV discusses how depictions of the royals in cinema have shifted and changed over time. On a lighter note, on Page 15 Creative Writing provide a whimsical take on the innovative films of Wes Anderson. A 70-year reign is a long time and invites comparisons with how things used to be. It’s tempting to view the past through rose-tinted glasses and reminisce about a Golden Age that never really existed. I find this thinking to be fruitless – take the Queen’s accession in 1952. Rationing from the Second World War was still in place. The technology that allows me to watch Netflix and order takeout was still solely in the realm of science fiction. What I think we should all remember at this time of year is that there is light at the end of the tunnel, even if it’s taking a little longer to reach it than we thought. Despite another bleaker midwinter than usual, spring is right around the corner.
Artwork of the week by Adeline Zhao
And yet, at the same time, there are reasons to be optimistic about the future. Restrictions are slowly being lifted, the University has promised a return to in-person teaching, life seems slowly – tentatively – to be returning to normal. But it is impossible not to notice that this is a promise that has been made before; at the start of last term, last summer, the list goes on. The collective trauma of the pandemic will take time to heal. However, I think culture and the arts have a special place for all of us in difficult times – music, books, films and more can provide comfort even when things seem at their most bleak. CONTENT
TEAM
CONTACT
Film and TV (Page 3), Visual Arts (Pages 4 & 5), Style (Page 6), Travel (Page 7), Interview (Page 8), Books (Page 9), Features (Pages 10 & 11), Music (Page 12), Food and Drink (Page 13), Stage (Page 14), Creative Writing (Page 15)
Honor Douglas, Samuel Lopes, Nicole Wu, Isobel Tighe, Miriam Mitchell, Imogen Marchant, Katya Davisson, Annabelle Bulag, Ben Smart, Molly Knox, Saniya Saraf, Charlotte Grimwade, Grace Marshall, Millie Stott, Ella Al-Khalil Coyle, Christian Bland, Gracie Linthwaite, Holly Downes, Grace Jessop, Anna Johns, Nia Kile, Emerson Shams, Stephanie Ormond, Lara Maomar and Josie Lockwood
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Indigo logo: Adeline Zhao Cover image: Adeline Zhao Closing image: Rosie Bromiley
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Image credits (from left): Adeline Zhao; Sophie Draper
FILM & TV film@palatinate.org.uk
The modern monarchy onscreen Alice Bathurst explores how cinematic depictions of the royals have fluctuated
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espite being at the centre of British culture and constantly in the public eye, we know little about the details of the royal family’s private lives. So when The Crown first premiered in 2016, promising an in-depth look into Elizabeth II’s reign, it quickly became one of Netflix’s most talked-about shows. Claire Foy dazzled as a young Queen Elizabeth struggling with the responsibilities of sovereignty. Matt Smith was excellent as Prince Phillip coming to terms with his place in the Queen’s shadow. Vanessa Kirby heartbreakingly portrayed a youthful princess Margaret being kept from the man she loved. It presented the royals as human beings who love, who hate and who feel.
Viewers were given insight like never before into the royals’ lives It was almost as if Buckingham Palace became the Big Brother house, as viewers were given insight like never before into the royals’ lives. Yet, there is a danger of treating The Crown like a reality show. In 2020, the government’s culture secretary, Oliver Dowden, requested that Netflix provide a “disclaimer”, to remind viewers that the show is not completely based on fact. Netflix disagreed, claiming that they have “always presented The Crown as a drama.” Significantly, Dowden’s request came in the aftermath of the release of The Crown’s fourth season. Conversation surrounding the show had reached an all-time high following the arrival of new and controversial character, Diana, played by Emma Corrin. If viewers enjoyed the previous insights into the royals’ more ‘human’ side, Diana’s introduction provided an even greater taste of normality. One of the season’s most memorable images is Diana roller-skating around the halls of Buckingham Palace, listening to ‘Girls On Film’ on her Walkman. Appearing as an archetype of 1980s youth, she seems completely incongruous with her surroundings’ traditional grandeur. While Diana’s refreshing normality delivers some
of the series’ most joyful moments, it is her humane rendering that makes her low points all the more tragic. The series traces the heartbreaking details of Diana’s eating disorder and her isolated, loveless relationship with Charles. Her hardship becomes all the more poignant when thinking back to her charming joy in earlier scenes. When there is a hero, there must be a villain and in the case of The Crown, it’s Charles. Josh O’Connor’s portrayal of the prince was certainly well received by critics, but those close to the royals were less than complimentary. Friends of Charles have apparently branded the series “trolling on a Hollywood budget.”
Kristen Stewart’s Diana was faultless
All I can say in response is that I would love to hear what these people have to say about Spencer. My friend and I ventured to the cinema last term to watch Spencer in a bid for a relaxing essay break. I can now only wonder why this was the film we chose if relaxation was our aim. There are many words I could use to describe Spencer but ‘relaxing’ is certainly not one of them. Set in 1991, when Diana and Charles’ marriage was all but officially over, the film’s chief goal is to convey the complete misery Diana feels when trapped with the Windsors over Christmas. Spencer is laced with graphic depictions of Diana’s bulimia, truly horrifying instances of selfharm and haunting appearances from the ghost of Anne Boleyn. Meanwhile, the Queen, Phillip and Charles barely speak and are rarely seen; they eerily become largely voiceless beings who torment and victimise Diana. Their vicious depiction completely contrasts the humanity that was at the focus of The Crown and is interesting to consider in the wake of Meghan Markle’s accusations against the royals last year. Although certainly not a comfort watch, Spencer is worth the time. It is a fascinating character study, and Kristen Stewart’s Diana was faultless. If you are looking for a slightly warmer depiction of the royal family, I would recommend The Queen (2006), written by The Crown creator Peter Morgan. The Queen follows Elizabeth II, played by Helen Mirren, during the aftermath of Diana’s tragic death in 1997. In contrast to Spencer’s antagonism of the royals, it is a slightly more nuanced exploration into their relationship with Diana. While acknowledging claims that the monarchy was culpable in Diana’s downfall, the film sympathises with the Queen’s prioritisation of tradition and protocol in her largely criticised delayed reaction to the tragedy. Any sympathy won by the Queen is mainly due to Mirren’s performance, for which she earned an Oscar. The film raises questions about the monarchy’s place: How can the monarchy modernise? Should we have a monarchy at all? In the year of the Queen’s Platinum Jubilee, we will inevitably see increased conversation around this. If you are unsure of where you stand, turning to the screen may provide answers. If nothing else, film and television may lead you to see the royals in a new perspective.
Image credit: Elle Fitzgerald-Tesh Thursday, 27 January 2022
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Visual Arts visual.arts@palatinate.org.uk
Pageantry and pomp: the Platinum Jubilee Visual Arts profiles some of the most exciting celebrations planned for the Summer
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his year, Queen Elizabeth II will become the first British monarch to celebrate a Platinum Jubilee, following seven decades of service. For such a momentous occasion, there can be no doubt Britons will go all-out when it comes to spectacle for these celebrations. With this in mind, we have created a guide to some of the standout moments to come, while also discussing the controversies surrounding them.
‘Trooping the Colour’ – 2nd June 2022, Buckingham Palace – Holly Downes
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parade which has marked the birthday of the British Sovereign for over 260 years, ‘Trooping the Colour’ is an impressive ceremonial display, rooted in tradition. It will feature over 1,400 officers and soldiers, 200 horses and 400 musicians, marching straight from Buckingham Palace through towards the Horse Guards Parade. The streets will be lined with waving flags, while the King’s Troop Royal Horse Artillery fires a 41gun in salute at Green Park. It will all end gracefully with the royals admiring a traditional RAF fly-past from their Buckingham Palace balcony. Safe to say, it is British pageantry at its finest.
However, these are simply the trappings of the sovereign born in an age where she became accustomed to military conflict. From her perspective, this militaristic parade is merely a standard procedure for commemorating her reign. This may well be altered when Prince William is crowned King, where the celebrations will look to speak to a younger demographic, but for now, it remains an essential procedure to celebrate the Queen’s Platinum Jubilee.
The Big Jubilee Lunch – 2nd until 5th June 2022 – Holly Downes
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et, one does not have to travel into the mobbed streets of central London to celebrate the Queen’s Platinum Jubilee – plenty will be taking place within the comfort of their own neighbourhood. Having graced the nation with a four-day bank holiday, the Queen has made it inexcusable to
turn town an invitation to a street party this June, whether for a picnic or just an afternoon tea in the garden to commemorate her reign.
Towns and cities across the country will burst into an array of reds, whites, and blues With Britons being encouraged to ‘share friendship, food and fun with neighbours’, we can surely expect streets to be adorned with union-jack plates, cups, tablecloths, hats and food. Towns and cities across the country will burst into an array of reds, whites, and blues, this event will not only be a celebration of the Queen’s reign, but the resilience and support of the community during the last few rollercoaster
Safe to say, it is British pageantry at its finest Such a picture-perfect ceremony has been charged with promoting militarism – representing a ‘classic case of obnoxious jingoism’ complete with aggressive solider marches, loud gun fires and colourful flags celebrating the Queen’s reign – but this accusation is too harsh. Yes, the parade will undeniably flaunt military power by displaying the regalia of military triumph, reviving and glorifying a conflict which came at a severe cost.
This militaristic parade is ... standard procedure for commemorating her reign. 4
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Illustration: Rosie Bromiley
Visual Arts visual.arts@palatinate.org.uk years. With the sun hopefully bursting through the clouds that aleays love to ruin our summer festivities, I fully expect this celebration to be one filled with laughter, scrumptious food, and fun!
Platinum Party at the Palace – 2nd June 2022, Buckingham Palace – Christian Bland
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et to be broadcast across the nation by the BBC, this spectacular live concert, which will feature “the world’s biggest entertainment stars”, is perhaps the most accessible spectacle currently planned for the Jubilee. Staged at the prestigious royal residence in Buckingham, specific performers are yet to be announced, but look certain to be high-profile given the occasion.
This spectacular live concert ... will feature “the world’s biggest
entertainment stars” For those who would prefer to attend the event rather than watching from the comfort of their own homes, applications for tickets are opening up in February. While announcements are still rather limited at the moment, the event essentially looks like it will be a more glamorous version of the concerts staged in the past for events like the New Year, combined with the pomp of the ‘Last Night of the Proms’, so in other words, it should be essential viewing.
An indulgence which the whole nation can share in While other planned events have been criticised for grandeur, exclusivity, and reviving memories of controversial episodes in Britain’s history, the ‘Platinum Party’ will likely be an indulgence which the whole nation can share in.
With the Derby at Epsom Downs and other classical and pop-themed concerts scheduled earlier that day – the 4th of June may just turn out be the most dazzling day of the Platinum Jubilee.
Platinum Jubilee Beacons – 2nd unitl 5th June 2022, Buckingham Palace – Nicole Wu
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ore than 1,500 beacons will be lit throughout the UK and its territories to commemorate this landmark in royal history. As it is the Platinum Jubilee, the ceremonial process has been introduced into each capital city of the Commonwealth countries too. Beacon lighting is an exciting opportunity for the community to pay tribute to the queen together and enjoy the warmth of a bonfire. Durham’s scheduled beacon is to be in Wharton Park where its flame will be visible from across the whole city.
There is certainly the troubling feeling that more should be done to update these traditions to modern times. While beacons have a long history as a useful signaling and navigation tool, it’s a legacy that maybe feels misplaced in the current day. As an environmentally-conscious society, the burning of thousands of bonfires can feel excessive. A preference may be for the tradition to be adapted for a more environmentally friendly option such as LED lights or illuminated shows. While the process of lighting a beacon, and all its wonderful associated imagery is an integral part of the celebrations – ther,e is certainly the troubling feeling that more should be done to update these traditions to modern times.
An exciting opportunity for the community to pay tribute to the queen together Illustration: Anna Kuptsova
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STYLE style@palatinate.org.uk
Euphoria: feelings and femininity through the lens of fashion
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Katerina Panayiotou discusses the style of Euphoria
he second season of Euphoria is officially on the air, bringing with it loose glitter, bisexual lighting, and Maddy’s iconic AKANA black cut out dress. As a Gen Z cultural flagship, the fashion of Euphoria perfectly emulates the current cultural mindset of exuberant selfexpression and subversion of classic styles, in a period where alternative fashion has never been closer to the mainstream. Euphoria’s massive cultural impact lies not only in its knack for reflecting and visually reimagining a gritty yet vibrant youth culture in the face of wider social restriction, but also for fully exploring the expressive nature of fashion and clothing within its narrative.
Euphoria perfectly emulates the current cultural mindset of exuberant self-expression Maddy’s premiere dress is a clear example of the character’s overall style – her classic it-girl aspirations are reflected in a balance between simplicity and meticulous co-ordination. Twinsets (I. AM. GIA. has made several appearances throughout the series, naturally) featuring feminine pastels and sharper cut-outs illustrate her shifting priorities, and throughout the series her clothing choices shit from subtler and effeminate to bolder as her own selfempowerment grows. The iconic plum set that Maddy wears in the infamous carnival argument a peak in her own self-confidence, her refusal to change for Nate and his family presenting a whole-hearted rejection of the quiet girlfriend trope that had served as a central conflict between the pair. Her reimagining of femininity (presented through fashion most succinctly and recently in her safety-pin charm tank top), from fresh and demure to vibrantly defiant, reflects wider cultural narratives of embracing feminine power outside of the constraints of a patriarchal society. Switching gears, Rue’s style in comparison is much more low-key, exploring effortless grunge styles that act as a canvas to explore her emotions regarding drug use. Rue often opts for slouchy androgynous styles, mute colours, faded plaid prints and mixing of traditional men’s and women’s pieces to construct a style that shields her from the judgement of others, a protective cocoon 6
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she is almost swimming in to keep suspicion about relapse off her back. Rue’s interest in
her sexuality through an increasing number of ‘pay pigs’ is expressed both literally and symbolically through her change in appearance. In one of the opening scenes of her feature episode, Kat is embarrassed that her own clothing isn’t on par with her friends, but once her camming brings her monetary success, she is able to completely revamp her wardrobe, expressing her internal change in perspective and increase in self-esteem outwardly. Harnesses, mesh layers and texture-stacking blend to create tactile outfits that reflect Kat embracing her newfound sexual experience, and reflect wider layering trends that most commonly found in modern alternative trend cycles.
Her reimagining of femininity from fresh and demure to vibrantly defiant embracing femininity seems directly tied to her endeavours to attain a relationship with Jules, although some feminine staples fade with oncoming relapse. Her iconic scuffed converse high-tops are a key symbol of Rue’s character as a whole – her tomboy flair, tainted with risk-taking and self-destructive behaviour, with a hint of almost child-like excitement that peeks out in the right circumstances. In the newest season, Rue appears to be sporting a darker colour palette, which seems to be somewhat of a harbinger for things to come later in the season. Even in a much simpler style, key themes in Rue’s character still jump out through these costuming choices. Much like Maddy, Kat has one of the most drastic transformations of any of the characters in Euphoria, although her goal of embracing her personal power is not a journey all that much different to Maddy’s. Kat’s relationship with sex, from writing X-rated fanfiction, losing her virginity and embracing
The balance between character storytelling and allegorical messages presented in Euphoria are captured no better than in through the visual narrative with the meticulous curation of the costuming department, which of course has created somewhat of a symbiotic relationship with current trends, both taking and providing new styles. It’s clear that Euphoria is here to stay, not only because of its compelling narrative, but also because of the
Illustration: Victoria Cheng
TRAVEL travel@palatinate.org.uk
Holidaying like the Royals Goya Verity explores the British Royal family’s favourite holiday hotspots
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ost senior Royals spend their jet-setting lifestyle dealing with official engagements and business. However, like all humans, even the British Royal family need a holiday from time to time! We can count on their ability to choose the best holiday locations, and we hope that one day we will be able to visit these hotspots that hold the Royal seal of approval.
SCOTTISH HIGHLANDS, SCOTLAND:
Balmoral Castle has been the Scottish holiday home to the Royal family since Victoria and Albert in 1852. Is it their love of haggis and whiskey that makes Balmoral the Royals’ annual summer escapade? Or is it the stunning backdrop of the highlands and majestic mountains which has called them back year after year? Hiking, golf, ranging, and salmonfishing are all activities we can expect the Royals to engage in – luckily for us, these Highlands adventures are for everyone! Princess Eugenie once revealed that ‘Granny’ was most happy in the highlands, so we should aim for some feel-good adventuring in our back-doorstep outdoors while imitating the Royal lifestyle. Moreover, Scotland promotes sustainable and responsible tourism which we should all strive for alongside the Royal family in this current era.
KENYA, AFRICA:
70 years go, Elizabeth Windsor embarked on a tour of the Commonwealth countries via Kenya as a princess and returned a Queen. The Queen remains loyal to this country where she found out about her ascension to the throne at the royal residence of Sagana Lodge – the Kenyan government’s wedding present to Her Majesty. Famed for its vast wildlife reserves, the incredible vibrations of the bush ruminating can indeed provide us with a trip of a lifetime. We recommend booking in advance and via a local expert and sustainable provider.
MUSTIQUE, SAINT VINCENT AND THE GRENADINES:
In this far-flung island hideaway in the seascape of St Vincent and the Grenadines, Royals have found Caribbean respite where paparazzi is prohibited. Diligent 24/7 security force patrol ensures the carefree island living, so it seems like the ideal refuge for relaxing Royals. Prince William and Kate have been known to rent a luxury villa for an eye-watering $27,000 per week. Still, Princess Margaret first fell in love with this tropical heaven. She was given a plot of land here as a wedding present from Colin Tennant, who purchased the island in the late 50s. The former royal residence is now available to rent, graduation holiday, anyone? We only wish we could enjoy it with them!
CORFU, GREECE:
Birthplace of the late Prince Philip, the Prince of Wales is known to be fond of this Greek heaven due to having “Greece in his blood” and has since been reported to spending time here in the summer months. The easy-to-reach Greek island is also notorious for its vibrant party scene and picturesque bays, and there are plentiful options for cultural engagement that do not break the bank. It seems like the most accessible summer spot for us out of all the Royal family’s holiday destinations.
KLOSTERS, SWITZERLAND:
The Royal family have had a long association with this Alpine resort in the Swiss Alps. Prince William and Harry first learnt to ski on these premium pistes, accompanied by Princess Diana, and subsequently, one of the cable cars is named “Prince of Wales”. These mountains can provide some of the finest skiing in Europe for seasonal visitors, so PalatinAlps should consider Klosters as the next resort for the University ski trip.
Image credit (from left): Isobel Warwick, Verity Laycock
THE SEYCHELLES, AFRICA:
This isolated island in the Indian Ocean of jaw-dropping beauty seems like the perfect place to escape post-pandemic social anxiety, not to mention it being where the Cambridge’s spent their no-expense-spared honeymoon in 2011. We were surprised to learn that the Cambridge’s broke royal protocol by not leaving on the wedding day itself, as is custom; we would be giddy with excitement if booked to stay in one of eleven private villas on the island! George and Amal Clooney also spent their honeymoon in one of these exclusive hideouts, so we count the Seychelles as a Royal and celebrity-approved destination.
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INTERVIEW indigo.interview@palatinate.org.uk
In conversation with Camilla Tominey Arjun Seth talks all things royal with Royal Commentator Camilla Tominey
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amilla Tominey is one of the nation’s leading royal commentators and writers, covering stories from Brexit negotiations and their subsequent fall-out to Harry and Meghan’s relationship that she unveiled to the world in 2016. Having discovered her passion for journalism at university, she began as a trainee at the Hemel Hempstead Gazette after graduation. She then began working at the Sunday Express on Saturdays to “earn a bit more money” and eventually propelled herself to Royal Editor after covering Prince Charles’ marriage to Camilla Parker-Bowles in 2005. After a fifteenyear stint covering royal and political stories, Tominey joined The Telegraph in 2018 where she currently writes as an Associate Editor, in her role that she describes as providing “an overview of analysis and interviews on both politics and royals”. I begin by asking Tominey what she enjoys the most about her role as a royal commentator, to which she affirmatively answers the coverage of the major royal events because “you get a front row seat in history”. She recalls covering the royal weddings of Kate and William in 2011, and Harry and Meghan’s in 2018, highlighting the merits of her position. “Not only is it fascinating to be a part of it, but your coverage gets great projection. There are those major points in history that you can record and then it is
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also good from a journalistic perspective to get those exclusives and scoops that nobody else has got”. When asked about her biggest challenge she discusses the importance of avoiding
getting together. It was certainly very different that he was with an American, because ordinarily you would think he would be associated with an aristocrat or somebody who you might see on the back pages of Tatler! She was really interesting from the outset, as
If you haven’t gained a history for making things up then when you do take a good story to them, they will know you have done your research and therefore it is mutually quite a respectable relationship. The truth always prevails. speculation and having reliable sources to produce a good story with merit: “Sometimes you hear things that sound interesting and exciting and worth reporting on but unless you can make sure that they are true, you can’t really take the story forward. The biggest challenge is always trying to get people to corroborate what you’ve heard and get evidence for this so you can report it.” Naturally, our attention turns to “Megxit”, the story that she has written about the most extensively, rejecting the idea that it has tainted the Queen or the monarchy. “The popularity of the other royals appears to have gone up and the popularity of Harry and Meghan in this country appear to have gone down. That suggests the monarchy has been well-insulated against their claims.” Instead, she argues that sympathy on the matter largely lies with the Queen, especially given the death of the Duke of Edinburgh. “Goodwill is shown to the institution of monarchy because the Queen is at its helm.” Still, she questions whether this will be present in such abundance when Prince Charles takes over.
we found out when we googled her and read about her humanitarian side when addressing the UN - she is also extremely attractive and glamourous. To land that story before anybody else and have nominated for Scoop of the Year was amazing, but to fast-forward a couple of years and then see them married, was something else!” We finish by discussing trolling and online abuse, a touching issue that affects many journalists including Tominey herself. On this, she clarifies that disagreement should be welcomed and expected. “We cannot as journalists expect to put things out there and not be disagreed with. What bothers me is the lack of agreeability about the disagreement. “Twitter has created this very toxic landscape for people to hurl personal abuse, defamatory comments and to effectively troll people that they do not agree with. The consequence of that is chilling for freedom of speech, particularly for younger journalists. It makes them scared to report things that might be true but what might not be popular.”
On the scandal engulfing Prince Andrew, Tominey argues that it is a story that has tarnished his reputation as an individual, rather than harming the monarchy as an institution. Instead, she says that the swift way in which the Palace responded by distancing itself and stripping him of military titles, illustrates decisiveness and “appears to have rescued the monarchy from the crisis created by some of its participants”.
Following on from this, she implores us all to be forthcoming, confident in writing and report on the truth unwaveringly in the face of such critics. “What we don’t want to see is journalists editing themselves for Twitter - worried that I don’t want to write this as it will initiate a pileon. Never have journalists been required to show more courage when reporting.” Camilla’s advice that we prioritise truth over popularity, and agree about our disagreement, could not be more befitting.
When asked about her most memorable story, Tominey is categorical. “Harry and Meghan
You can find Camilla Tominey on Twitter @ CamillaTominey or read her latest column on The Telegraph website.
Image credit: Camilla Tominey via The Telegraph
BOOKS books@palatinate.org.uk
Happily ever after? Monarchy and fairytale April Howard discusses the relationship between the Royals, fairytale and familiarity
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Editor’s Picks
étif de la Bretonne, writing of the French, claimed that ‘everyone considers the King as a very personal acquittance.’ Shortly after these words were committed to paper, King Louis XVI was guillotined in the Place de la Révolution. Royalty features in most of the fairytales we have encountered in our lifetime. Hans Christian Anderson’s Tales usually centre around a princess, reimagining feudal medieval society for his 19th century audience. While his stories, along with those of the brothers Grimm, are typically dark parables and cautionary tales, our modern, Disneyinformed ideas of fairytale are far more rosetinted. So, too, are our ideas of monarchy. The Monarchy as an institution is a constantly evolving phenomenon. The notion of the Divine Right of Kings has long been dissolved, and many people may question the purpose of the monarchy in today’s political climate. The Queen stands as the face of British imperialism, a faint afterglow of a time gone-by. She is now a relic, placed on display behind glass, in an exhibition of outdated ideals. As an Irish Catholic, my view of the British royals has been less than romantic. I watch in disconcerted awe as people, some of whom are generally left- leaning, buy royal merchandise, scream and cry at royal events, throw street parties for every jubilee, and jump to defend or express admiration for the Queen at any opportunity.
Accidental Gods – Anna Della Subin Perfect for the Jubilee year, Anna Della Subin’s new work tackles identity, divinity and patronage.
I have always had a love for Arthurian literature, for example. Tales of King Arthur and his knights were largely forgotten after Malory’s Le Morte Darthur (1485) until the Victorian revival. I would argue that at the height of empire, the UK needed a cultural myth, a sense of noble identity to rally behind. As Conrad writes in Heart of Darkness: ‘what redeems [the conquest of the earth] is the idea only… something you can set up, and bow down before, and offer a sacrifice to’.
As a student of medieval history, however, I can understand the appeal of art which romanticises royalty. As a child, I loved the Princess Diaries. This film reflects an American understanding of the monarchy, underlain with republicanism. While the people of the US are broadly fascinated with the British royals, this fascination comes with distance, separated by both the Atlantic and a society which has long freed itself from the constraints of the British crown, they have a cosy seat from which to view the spectacle of royalty. The film focuses on the transformation motif, a staple of American teen films (think Clueless, She’s All That, The Breakfast Club), as Mia gets her hair straightened and learns how to sit like a lady. Mia’s royal status merely acts as a catalyst for this.
The Lost Daughter - Elena Ferrante The hauntingpredecessor to Maggie Gyllenhaall’s outstanding new film. Stunning.
Image credit (from top): Filip Zrnzevic via Unsplash, Macmillian, Blackwells, Penguin
In many ways, the death of Princess Diana shattered the fallacy of the royal fairytale most profoundly. She was a classic fairy- tale princess: beautiful, graceful and compassionate, married to a prince twice her age. Her tale of a woman plucked from the life to which she was accustomed and reliant on a man whose heart ultimately belonged to someone else holds much resonance to Anderson’s The Little Mermaid. Diana’s story also ends tragically. This unhappy ending, which we no longer really culturally relate to fairy- tale convention (thanks to Disney), broke down many people’s fairy- tale understanding of the royals. Many films and shows have focused on this brutal side of the royal institution, recent film Spencer, for example, is a psychological thriller portraying the degeneration of Diana’s mental health over a weekend in Sandringham. The Crown, too, has brought Diana’s story to light. The Crown has in many ways done much to deromanticise the monarchy. The show displays the royal family, in all its intricacies and traumas, in a way that is as humanised and dedramatised as a drama series can muster while still holding a level of entertainment value. With recent allegations levied at Prince Andrew, one must question the function of royalty more than ever. The fairytale veneer of the monarchy has profoundly cracked, and it seems that it will only rupture until the whole façade crashes down around us.
Under the Net – Iris Murdoch Iris Murdoch gives classic, escapist humour that will get you through summative season via Paris, and a dog called Max.
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FEATURES features@palatinate.org.uk
An honest critique of imposter syndrome Erin Waks explores how imposter syndrome makes us all the more human
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am yet to meet a single person who is a stranger to that all so familiar voice. I’m not good enough. I don’t deserve to be here. Why would anyone choose me? Amidst application season, it seems as though these voices, these destructive mantras, are deafening. So many of us are our own worst enemy, so it’s not surprising we often hold ourselves back. We avoid making a noise, afraid of climbing so high that we have further to fall. We hide inside ourselves, unable to conceive of the possibility that maybe, just maybe, we might be worth something more. I believe the way forward is through a reassessment of the role errors and mistakes made. Rather than being a constant reminder of our failures, let our pitfalls be a way to learn, and a way to remember that despite the tiny moments of feeling incapable, learning from our experiences is the best way to feel truly accomplished.
You might be an imposter, but rather an imposter than inhuman
Editor’s Picks: Podcasts
Given the current context, with everyone expressing the disappointment at the plethora of rejection emails being received, it isn’t hard to see how this may damage one’s self-confidence. This is often exacerbated by the greater issue which frequently arises in Durham: students from state schools or lower income backgrounds feel inferior or marginalised by their peers. Despite the phenomenal work being done to combat this, for instance work by the 93% Club, these insecurities and fears often run deep. They cannot be overcome rapidly. This has created a generation of students crippled by feelings of mediocrity, inferiority and, quite frankly, of being an imposter. We can’t wipe out these anxieties instantly, but we can seek to understand and listen.
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I want to talk about how absurd, damaging and disempowering this kind of imposter syndrome can be. Rather than dismissing it, telling myself to just ignore it, I want to unpack how and why these voices operate, and how we can move towards a more productive understanding of the phenomenon. For myself, at least, it is often a case of fear for the unknown, past failures or reverence of others. But I, like many others, am trying to challenge this narrative. Whilst, of course, I have made mistakes and messed up in the past, who am I to say that this makes me a failure? Are past errors not the way forward, the way that we learn? Are the things that make me doubt myself not the things that teach me, that make me better, that make me human? The very mistakes that often contribute to imposter syndrome could be the solution. If every student gave up after a bad mark, if everyone in the working world quit after messing up, no one would do anything. I would argue that the very moments we feel like an imposter — the moments where you fail a test, can’t keep up with a conversation, or even feel like you don’t fit in because of the way you dress — are the moments where we realise just how ‘normal’ we are. You are not an imposter because you aren’t perfect. You are an imposter because you think that to fit in, you have to be perfect. Those impossible standards are what keep us trapped in our minds, what allow bullies and critics to keep you ‘in your place’ — even if the critic comes from within. Next time you feel out of place, and can sense the violent words of imposter syndrome kicking in, remind yourself that it’s okay. If everyone felt perfectly in place all of the time, life would be easy, and challenges would not exist. Remember that how you get through the tough moments is what makes you, you. You might be an imposter, but rather an imposter than inhuman.
Working hard, hardly working by Grace Beverley
The Diary of a CEO by Steven Bartlett
Each week, Grace and her weekly guest have and honest conversation about moving away from the traditional 9-5 work day, how to avoid burnout, and overcome feelings of failure.
Steven and his weekly guest discuss the behind the scenes of being an entrepreneur — both the good and the bad — in an unscripted conversation designed to inspire listeners to fulfil their goals.
Thursday, 27 January 2022
Image credit: Anna Kuptsova
FEATURES features@palatinate.org.uk
The beauty to emerge from life in lockdown Interview Editor Josie Lockwood reflects on what multiple lockdowns have taught her
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y last day of school was the 14 February 2020. Almost two years ago. I lived in Northern Italy at the time, one of the first places to be severely struck by coronavirus. Less than a month later, the entire country was placed under lockdown. I spent five months almost exclusively indoors, all semblance of daily order and routine was thrown out the window. My reality shifted from bright classrooms to glitchy Zoom calls through patchy Wi-Fi. Evenings out with friends turned into two notebooks filled with mine and my parents’ Scrabble scores. At a time when I had anticipated my first taste of adult freedom, I found myself placed under stricter rules than ever before. I grew up enthralled by dystopian films and fiction, until suddenly I found myself part of one. Out of nowhere, I was only allowed to leave my house for necessity, work or health reasons. Supermarket speakers blared announcements to complete our shops as swiftly as possible. Shelves were bare and queues outside would last for hours. One morning, I looked out of my bedroom window and a military truck was driving along the road. Soldiers leaned out with megaphones, urging people to stay indoors.
flow tests. I’ve always been an optimist, but silver linings were beginning to get thinner and thinner. Even when I made it to university, I struggled immensely with the transition. I found it hard to find a routine, to wake up before 10am, to bond with the seven strangers who I’d been put in a corridor with. Adjusting to a new country and a new lifestyle was a huge challenge. Just a few weeks into term, I tested positive for the second time in seven months. Isolation in a small bedroom is something I will remember for a long time. Whenever I clean my kitchen with my wild rhubarb anti-bac spray, the smell
I looked at all my anxieties through a new lens
takes me back to the pink gin I drank alone in my room to make my evenings go by a little bit easier. With all the chaos and confusion that I had to deal with each day, it was easy to become overwhelmed. There came a point where I decided to reframe my situation to try to see the positives. I was exhausted by checking the news headlines each day, obsessively refreshing Worldometer statistics, and letting myself get wound up by a world that was far beyond my control. So, I entirely changed my outlook. I started by setting limits on the amount of news that
As time went on and cases soared, it began feel like lockdown life might never end. I’ve always been an avid overthinker, and the uncertainty over my future fostered a sickening sense of anxiety. Before the pandemic, I had felt like I was in control. Yet now, I had no idea when I would be able to see my friends, what grades I would be given, or whether I’d get into university. Sometimes the only positives I could find in my days were the two lines on my lateral Image credit: Anna Kuptsova
I consumed. I reclaimed my routine, setting schedules and sticking to them. I rediscovered my love for hobbies I’d let go of, like cooking, reading and writing. I started to meditate and practice mindfulness. Rather than perceive myself as vulnerable, I resolved to recognise the resilience that I had shown by getting to where I am now.
I am grateful to be the person it has moulded me into As soon as I started thinking like this, I found a burden was lifted off my shoulders. I looked at all my anxieties through a new lens. No longer did I see the pandemic as robbing me of my freedom, but as an unparalleled experience which has bound my cohort impossibly close together. We have all lived through unprecedented times and made it to the other side. As restrictions have gradually loosened, I have realised the preciousness of the moments I spend with family and friends. I notice things in the world that I had neglected to see before and find myself much more closely aligned with nature. I enjoy each laugh and smile that I experience, and feel a new appreciation for being alive. I feel less anxious and have realised the importance of letting go and not getting caught up in things that don’t truly matter. I’ve adopted new habits, like complimenting a stranger every day. I look for beauty in the smallest of things and have learned to love in a way that I didn’t know before. The pandemic has been challenging, but it has entirely transformed my outlook and my values. I am grateful to be the person that it has moulded me into. Thursday, 27 January 2022
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MUSIC music@palatinate.org.uk
The platinum single: who takes the crown? Jess Norton-Raybould explores the possibilities for a 2022 coronation anthem
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he British Isles have an extremely strong tradition of choral music, and composers have supplied anthems for coronations throughout its history. Queen Elizabeth’s own ascension featured the great English Song Composers of Howells, Vaughan Williams and Walton, and her reign has outlived the celebrated musicianship of Maxwell-Davies, Britten and Tavener. Choral heavyweights have dominated the field of Coronation Anthems throughout British history, including the likes of ‘I was Glad’ or ‘Zadok the Priest’. That said, thanks to Queen Elizabeth’s monumental reign of seventy years (and still counting!), we haven’t heard a coronation anthem for a very long time, which leads us to the question: what would a contemporary interpretation of this brief entail?
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Firstly, who would write it? It’s tempting to assume a popular national treasure like Adele would be called upon for a coronation anthem sure to leave no eyes in Westminster Abbey dry. However, for obvious reasons, this is somewhat unlikely. In fact, there is a specific ten-year post in the Royal Household of the United Kingdom for such things: the Master of the Queen’s Music. Traditionally, the Master’s job description has included directing the court orchestra and writing music to mark important royal events such as marriages and coronations. The current Master of the Queen’s Music is Judith Weir, so would the Queen embrace her girl-power and choose her? She might branch out further and select women composers such as Thea Musgrave, Cecilia McDowall or Judith Bingham. Or she might look to the Commonwealth and composers of the devolved nations like Errollyn Wallen, James MacMillan and Karl Jenkins. Perhaps she’ll embrace the nation’s new and
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exciting talents of Thomas Adès or Ed NewtonRex. What about familiar favourites such as John Rutter, Bob Chilcott or Jonathan Dove? It’s clear that this country has an overwhelming wealth of compositional talent, and it would be extremely exciting to see which avenue the Queen would choose. It’s likely she’d embrace the under-celebrated women composers, but which one is uncertain.
... coronation anthems have tended to elevate themselves to a nationalist status... Of course, it would need to be written for a choir and if its anything like her Coronation in 1953, the sheer number of musicians would be hugely impressive: 182 boy trebles, 37 male altos, 62 tenors, 67 basses and 60 instrumentalists in a grand total of 308 singers. This line-up is obviously lacking in women, and it is likely that sopranos and altos would be included nowadays as well. With this number of singers,
its sure to be a monumental musical moment, but what specifically would it sound like? In the past, Coronation anthems have tended to elevate themselves to a nationalist status used in all occasions from Royal celebrations to rugby matches; from Klute remixes marking the end of the night with a hint of camaraderie to employment by other composers to invoke a sound of British-ness. Such a work would have to match up with ‘Land of Hope and Glory’, ‘Jerusalem’, featuring deafening trumpet blasting and making full use of the 32-foot pipes of the Westminster Abbey organ with the utmost grandeur and style. To return to our composer, it’s not unlikely that Her Majesty might choose multiple for a cocktail of choral delights. A best-of-British smorgasbord of music undoubtedly referencing the earlier masters Purcell and Handel might be the route to go down. We’ve already discerned that it’s (unfortunately) unlikely to be Adele, there’s no certainty that it would even be in the classical style! The first lockdown saw the resurgence in popularity of Dame Vera Lynn, and even clips from Andrew Lloyd Webber’s competition shows started reappearing across social media platforms. How well would Joseph and his Technicolour Dreamcoat fare in competition with the garbs and vestments of the Archbishop of Canterbury. So many questions that remind us of just how much change Queen Elizabeth has encountered during her reign. She has certainly outlived far more trends in artistic expression than cringe-worthy TikTok dances. As the patron of the Arts and all things British, she deserves the best we have to offer as a country; a piece commemorating the wealth of talent, culture and choral tradition that her country has cultivated during her reign.
The Gods We Can Touch by AURORA
Shostakovich Symphony No. 7 by London Symphony Orchestra
The Norweigian sensation manages, yet again, to release an album riddled with her trademark quirks whose enchanting moments still appeal to the masses. AURORA is one to watch.
Written during the WWII siege of Leningrad, this Symphony hears the march of the soliders and a struggle towards a fragile victory. Noseda’s recording releases on Febuary 4, 2022.
Thursday, 27 January 2022
Illustration and Images (left to right): Adeline Zhao
FOOD & DRINK food@palatinate.org.uk
Lunar New Year: a feast across borders With the Year of the Tiger just around the corner, four students share how they celebrate
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unar New Year is a festival which welcomes in the start of the lunisolar calendar. Each year is named after a different animal that represents part of the Chinese Zodiac calendar; this upcoming year is the Year of the Tiger. While the holiday originated in China, it is celebrated across the world but primarily in the cultures of East and Southeast Asia and traditions vary greatly amongst cultures. Here are just four examples of the many meals that are eaten as part of the celebration.
Hong Kong
By Marco Fung In Hong Kong, we have the iconic 盤菜 Poon-choi to celebrate the Lunar New Year. Originating from the village communities in New Territories, it is a unique and traditional Hong Kong dish that symbolises unity and togetherness. Poon-choi is a hodgepodge of seafood, meat, vegetables and fungi in a giant communal pot. Each ingredient in the pot has its own special meaning: abalone and fat-choi symbolise wealth and prosperity while fish maw symbolises abundance and bountiful harvest. 蘿蔔糕 Lo bak go (Turnip Cake) is made with radish and Cantonese sausages and is a well-loved dish during Lunar New Year. It can be served steamed or stir-fried with chili sauce depending on personal preferences. The crispy outer layer and a soft, aromatic inner layer of this savoury Dim Sum dish are why it appears in every household during this time of the year. Still have space? 湯圓 Tangyuan will be a delicious treat to wrap up the whole feast. They are chewy glutinous rice balls that have tasty fillings such as peanut, sesame, red bean paste or even chocolate! As it sounds similar to ‘togetherness’ in Cantonese, there is a tradition to share and enjoy Tangyuan with our families. The Year of the Tiger is arriving soon, why not greet your Hong Kong friend with 新年快樂 Sun Nin Fai Lok (Happy NewYear)? Maybe you will get to try one of these dishes made by them! Illustration credit: Anna Kuptsova
Northeast China
By Nicole Wu As an unfortunate second year who spent Epiphany term of first year at home, this year marks my first ever Lunar New Year celebrated without my parent’s incredible homemade meals. Our family’s tradition is 鸭饼 Yā bǐng (crispy duck and pancakes) on the eve of the day. My dad is from a small provincial town in China where they have their own traditional method of making pancakes. The process involves pressing two pieces of oiled dough together before rolling them into a pancake and frying in a pan. If done properly, the two pieces of dough can be easily peeled apart to create two chewy but soft pancakes: one of my life goals is to perfect the method. For dinner on Lunar New Year, we have homemade 饺子 Jiǎozi (dumplings) – the boiled kind rather than steamed. We make them together as a family, one person each on dough rolling, dumpling filling, dumpling crimping. Our wider family always add an almond nut into just one of the dumplings while they are being made. If you eat the dumpling with the nut, you will have luck this coming year! In our home we use a hardboiled sweet so as to not give me anaphylaxis.
Korea
By Ji Chun-Lee Korean Lunar New Year comes with greasy and savoury aromas each year. Since oil was not cheap in medieval, agricultural Korea, fried foods were often reserved for holidays and celebrations. 전 Jeon is a primary example of this: these fritters/pancakes, made from a variety of meats and vegetables, serve as a staple of family gatherings due to how filling and satisfying they are. 잡채 Japchae is another typical LNY pick: this stir-fry dish centred around glass noodles and vegetables is a favourite of mine (and it’s easy to veganise!). My absolute favourite, however, has got to be 떡국 Tteokguk, or sliced rice cake soup, which is often the main event. The cylindrical form in which the type of Korean rice cake 가래떡 garrae-tteok used for this dish is manufactured is symbolic of a long, healthy life. The magic of holiday food comes not only from its novelty, but also its communal aspect. Lunar New Year is the time to get together with those you love and share stories over a delicious meal.
Thailand
By Munin Youngvanich The savoury aroma of ไก่ไหว้เจ้า gai-wai-jao (boiled whole chicken) and ผัดหมี่อายุยืน pad-mee-aayu-yeun (long-living egg noodles) spiral around us in a loving embrace as we get out of bed on the morning of the Lunar New Year. After a round of prayers to the spirits, my brother and I tuck into our breakfast,slurping the oily noodles and tearing apart the yellow skin of the chicken, its gamey notes accompanied by the spicy, acidic punch of น้ำ�จิ้มซีฟู้ดส์ namjim-seafood (green seafood sauce). The meal is completed with a piece of ขนมถ้วยฟู kanom-tu ay-foo (steamed cake); a sweet, airy fluff that melts in the mouth. Lunch begins with a cup of steaming tea, which cleanses our palates for the feast ahead. ไก่แช่เหล้า gai-chalao(chicken marinated in alcohol), เป็ดย่าง ped-yang (roasted chicken), and ปลาจาระเม็ดนึ่งเกี้ยม บ๊วย pla-jaramed-neunggeaum-buay (fish with plum blossom) are family favourites with salty, sour and umani flavours We finish off with ขนม เข่ง kanomkeng (sticky rice cakes); the sweet, caramelised texture of the delicacy reminding me of childhood.
Thursday, 27 January 2022
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STAGE stage@palatinate.org.uk
Durham Drama Festival returns Stage interviews Jodie Sale all about her experience organising DDF 2022
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drama festival is such a massive undertaking, what interested you in the role?
When I was applying to Durham, I was drawn to the fact that they had a festival, in the first place; as it is rare for any universities to have a whole drama festival run by students. To make it even rarer is that the only plays that they put on are student written. I think to have a week that celebrates the importance of writing and what students can create entirely on their own is something that I was very drawn to. My own passion for student writing also played a part in it. In my gap year, I had been part of a local festival in my county. I put my work out there and it was both rewarding and a big moment for me; I wanted to make sure that people could do that at university.
Was the experience what you imagined it to be? Having been part of other festivals, how do you think DDF is similar, or different, in that regard? What I found different about it has been the emphasis on student writing compared to other festivals. The scale of the event is also something that was novel to me. The handling of eight shows in the span of a week along with events such as Opening Night with different styles of student writing, workshops and professional judges all combine to make it a big project that has a large number of people involved in it.
What was the play selection process like for you? That was really fun; reading lots of different work and chatting about different writing in a constructive manner proved to be very useful especially in offering feedback to writers about their plays. It also encouraged conversations about adaptations and redevelopment of plays to fit different formats. Combining the different mixture of styles and genres and subject matters to make an entire programme was an exciting experience for me.
Do you think keeping the festival devoid of a theme, unlike previous years, worked against your favor? I wanted to make sure there were no limits. Even if the theme was vague, I did not want to put any limits on what could be put in the festival. What I liked was that it encouraged diverse subject matters; I am quite excited about the fact that the backdrops of a lot of plays are very
different. From plays set in Shanghai to ones based on the Hungarian Revolution, it has encouraged both freshers and international students to submit writing. I really enjoyed setting up playwriting workshops at the beginning of the year; two of our writers made their work off of the support that DDF provided.
I think to have a week that celebrates the importance of writing and what students can create entirely on their own is something that I was very drawn to What do you think is different about DDF this year? This being the immediate post-covid era, do you think there are factors in play that separate the festival from previous years? Other than the varied content matter, this year the festival has adopted a hybrid quality. All the plays are being filmed and submitted to the National Student Drama festival virtually. This has come off of having an entirely online festival last year. This way plays are accessible to everyone. The festival has found a new venue in Mount Oswald Hub Most significantly, our Opening Night has been completely revamped this year, which is very exciting. This year, instead of having a scratch night, it is taken the form of a showcase. From poetry, to dramatic monologue, the event is being opened by the nationally renowned Durham Revue.
What have been the highlights of your time in the role so far? Contrarily, what were your challenges? Putting out the announcements of the production team and casts was a highlight; it felt like an achievement. Reading the scripts was also very exciting. We did struggle to cast appropriately for certain plays; Something that is bound to become less of a challenge if more varied shows were part of the Durham Student Theatre culture. Pubclicing all shows equally has been a bit of a challenge as well.
Why do you think championing student writing for a select week is essential? I think it’s important to showcase voices that have not had a platform yet. To write a play is one thing but to have it put on a stage and explored is so crucial to student writing. A festival is great for new writers because it offers these rigorous feedback sessions. It’s always so exciting to bring in new blood and new ideas. It’s important to keep theater relevant to today and DDF is a great avenue for this.
Should we look out for a particular show this year? Every single show is top-notch! Buy tickets to all eight plays!
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Thursday, 27 January 2022
Image credit : Durham Drama Festival 2022
Creative Writing creative.writing@palatinate.org.uk
As Inspired by Wes Anderson Peter Firbank and Creative Writing Editors Millicent Stott, Ella Al-khalil Coyle devise works inspired by the filmography of Wes Anderson. The Wes Effect
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he scene moves through the camera, Rolling through a reel, suspending time. The comedy can be sinister, but
beautiful, And most importantly it shines; Through vibrance and aesthetic, Proportions and light. There is a sense of the real world But only as is it told through The Mind. The Mind of creation, of pure story telling divine: It’s absurd and it’s beautiful And you’re hooked to each line. Each chase scene and set, This world is like no other you’ve met. A plot disguised in rube goldberg machine; so sneaky it might convince you it was never seen
By Ella Al-Khalil Coyle
Moonrise Kingdom
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ear Sam, I think they’ve been telling our story. I heard of a raven girl and a raccoon boy running away on the island. Do you think this has anything to do withDear Suzy, I also think this. First, burn all of our old letters. Throw the ashes 500 paces due WEST of your house at 1800 hours (that means 6). I willDear Sam, I thought about that time on the beach dancing to my brother’s record player (I still have it, I told him I threw it through a window, he suspects nothing). Did you paint anotherDear Suzy, It was confiscated. Captain Sharp is better at searching than I am at hiding. But my sleep arson is much-
Dear Sam, That is good to hear. I took another book, but I gave two back. I think this is what authors call character progression. And I only punched oneDear Suzy, I have enclosed my latest survey of the island with flood adjustments. I remain the best cartographer. On our next expedition I will teach youDear Sam, I have an ideaDear Suzy, I have amendments. FirstDear Sam, You are still not good at making friends. FollowDear Suzy, I like this. To make this work-
horizon, my whiskers charged with electricity. A moment of still. Humid evening air. Factory smoke hums in the distance. The grey forms of brick merge against the knife edge of the skyline. They are waiting. Waiting for the cold pad of my paws to grace their floors. I can’t give this up. God knows it tried, but those whirls of smoke across the hill, they call to me. The sun is going down now and my senses are in motion, taking in the scent of musky grass and bottled cider. My ears prick up at the slow sound of the birds in the trees, my saliva glands wetting. Licking my lips. Warm up my ageing muscles. I may be losing some momentum, but I still have my instinct. I know when to run. I have had my moment alone. I am ready to take on that other world, the strange one across the hill. So it begins. Balaclava on. Then we are running and the breeze thrills me and I am animal and I am fantastic.
By Millie Stott
Dear Sam I like you. Do you think our Khaki Scout wedding could beDear Suzy, I’m glad your parents are lawyers. Are youDear Sam, Yes. Dear Suzy, When? Dear Sam, Where?
By Peter Firbank and Ella Al-khalil Coyle
Fantastic Mr Fox
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his place brings out the animal in me. Apples drop from the sky and the breeze is honey on my sticky fur. Here, the sunset is rich and meaty, reds and oranges and I want to open my jaws and drink the sweet, raw colour. Chicken blood dribbling down my chops. Life beckons to me over the
Image credits (from left to right): Ella Al-khalil Coyle, Siobhan Gardiner
Thursday, 27 January 2022
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