Last week, as I walked past my housemate’s room, I overheard her in an online meeting with her dissertation supervisor. ‘My uncle’s a lecturer in the same topic,’ she said, ‘so he can help me with that.’ At the time, I marvelled at how convenient that must be. But then, I started to think about how frequently I see this: middle class students aided by family or family friends in their studies, often receiving a great deal of support and extra resources. Are there any instances, I wondered, where I as a working class student have benefitted educationally from family connections?
By Vyvyan René
CW: sexual assault, rape
David Wiener’s TV adaptation of Huxley’s classic dystopia launched on Sky One and Peacock on July 15th 2020.
Set in New London – in a society where class is enforced by genetic engineering and hypnopaedic indoctrination, the use of the euphoric drug soma is universal, public orgies are wholesome fun and ‘mother’ is a swear word – Brave New World is a novel with many themes. One of them is misogyny and the mechanisms by which it is expressed and perpetuated. Consequently, the portrayal of the novel’s central female character, Lenina Crowne, and her relationship with John the Savage (the emotional core of the story) are huge contributing factors to the success or failure of any adaptation. Wiener faces the challenge of depicting a society he describes as ‘hugely problematic’ without condoning it, which raises questions about how the problematic aspects of the novel could, or even should be, adapted.
By Vyvyan René
Few novels with openly queer protagonists are as enduringly loved, or have achieved such acclaim, as Patricia Highsmith’s The Talented Mr Ripley.
Tom Ripley is a charming, Machiavellian antihero whose talents include ‘forging signatures… and impersonating practically anybody’, and whose unreciprocated worship of Dickie Greenleaf, the prodigal son of a New York shipping tycoon, leads him to kill Dickie and assume his identity. He is also asexual, yet not a single adaptation of Highsmith’s work has addressed this. With a new adaptation in the works, in the form of a Showtime drama directed by Steven Zaillan and starring Andrew Scott, it’s important to acknowledge and reflect on the ways in which this aspect of Ripley’s character has been erased.
By Vyvyan René
‘I was still standing. I’m shot, I thought, I’m shot. I reached down and touched my stomach. Blood. There was a small hole, slightly charred, in my white shirt: my Paul Smith shirt, I thought, with a pang of anguish. I’d paid a week’s salary for it in San Francisco.’
A novel preoccupied with appearances and the dark realities they can conceal, it is no wonder that clothes are a recurring theme in Donna Tartt’s The Secret History. As protagonist Richard notices the gunshot in his expensive shirt at the climax, his ‘anguish’ stems less from the injury to his physical body than to the painstakingly assembled body of signifiers he has spent the novel maintaining; a ‘small hole’ through which his history, in its imperfect secrecy, is exposed.
Although UK universities boast that their online teaching provision is adequate to the current crisis, deep-rooted inequalities in the class system cause the poorest students to suffer the most. In the midst of the coronavirus pandemic, working-class students are faced with more challenges than usual, and are also less able to access online teaching than their middle- and upper-class peers. Despite their disproportionate struggle to engage with remote teaching, universities are refusing to show leniency with deferrals and adjustments, feigning blindness to a violently unjust class system. The response of universities to this pandemic is insufficient at best, and places those students facing hardship at an even further disadvantage.
The only way to make the word ‘politics’, that great indicator of all manner of corruption and trickery, more contemptible is to plonk the word ‘student’ in front of it. It almost feels like you‘re not pronouncing ‘student politics’ right if you do it without a sneer, or at least a shudder. Student politics has an image problem.
CW: mentions suicide, self-harm
In my previous article ‘Consequence of Conscience’, I mention a work titled Suicide by sociologist Émile Durkheim. In Suicide, Durkheim introduced us to the term ‘anomie’, suggesting it to be a breakdown of social norms resulting in a lack of standards and values. He also used this same term and definition to explain a reason as to why some members of society embark on a path of crime or ‘deviance’ – straying from the norm. Durkheim saw deviance as an inevitable part of life which is needed for innovation and change.
By Robyn Banks
Over the last few weeks, UEA Students’ Union has received a number of comments from certain students on social media, complaining about it being ‘political’ and choosing to take political actions such as organising boycotts and funding students to travel to rallies. The SU is also being accused of acting undemocratically for taking these actions. Whilst these accusations are nothing new, in these recent cases the accusers are creating an obscure binary on what the SU can and can’t be seen doing, with a particular focus on only serving certain students’ needs.
By Laura Potts
This year I was determined to make the most of the Norfolk and Norwich Festival, taking place from the beginning of May. Last year I found myself reading about projects and events that had already taken place. However, this year I was aware of a project early on that was just getting underway: ‘Processions’, in association with Artichoke and 14-18 NOW. This idea saw a number of women gather together with local textile artist Fiona Kay Muller to create a banner. This banner, with all its laboured hours very much part of its fibres, would then be part of a nationwide procession in London, also taking place in Belfast, Cardiff, and Edinburgh.
By Sarah Amsler
It is a time of extraordinary potential for change in UK Higher Education. Labour’s promise to end tuition fees has defied the critics and united many behind Corbyn’s political project. But what will the implications for universities be if this comes to pass? And what can we do to leverage this progress? In this series, the Norwich Radical and Bright Green are bringing together perspectives from across the sector to explore these questions.
‘The university’ is a fertile space within which to practice radical imagining and world-making today. I do not mean that actually-existing universities, in the UK or elsewhere, necessarily provide space for such work. On the contrary, there is ample evidence that the spaces for critique and creative thinking in higher education have shrunk as forces of commodity fetishism, privatisation, competition and authoritarian modes of control have permeated university governance.