Writer and journalist based in London.
Published Works
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Works as a writer from September 2021 to June 2024. Appointed Editor of the Culture Column in April 2023
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Worked as a writer from May 2023 to September 2023.
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Working as a writer from August 2023 to the present.
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Published through an open call submission
ROAR NEWS
CULTURE COLUMN
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Today, TATE Britain welcomes the exhibition “Happy Gas” by renowned artist Sarah Lucas. Lucas rose to prominence through the Young British Artists art movement in the early 1990s. Having studied at Goldsmiths College from 1984 to 1987 and displayed her work as part of the legendary exhibition “Freeze”, curated by Damien Hirst in 1988, she has led a triumphant career. Celebrated for her provocative and refreshing takes on sex, mortality and the human body, Lucas communicates her views on gender and class through a very British lens. Her ever-evolving style and stirring taste are palpable throughout the exhibition “Happy Gas”, which features more than 75 works and spans over four decades.
In discussing the title of the exhibition, one of the curators shared that the show was originally going to be called “Sarah Lucas”, as TATE shows are often titled with the name of the artist. That was until Lucas stepped in and named the exhibition “Happy Gas”, referring to nitrous oxide, also known as laughing gas. This title pays homage to Lucas’s overall artistic presence on many different levels. Besides it being reminiscent of a tabloid headline and related to the eminent nitrous oxide ban, the joyous and sinister connotations of the gas are in alignment with Lucas’s creative character.
Whilst normally the entrance room, known as Gallery 61, is recognized for its grey walls and displays of prints and products inspired by the featured artist, this is not the case for this particular exhibition. As soon as you enter Gallery 61 you are greeted by the “Tits in Space” peach wallpaper, two sofa works and breezeblocks, immediately immersing the audience into the “Happy Gas” world. Entering the exhibition space, the art show flows between three rooms.
Chairs
Chairs have been a regular object in Lucas’s works and stood as an important theme for this exhibition. The artist has been using chairs as a medium of her work since 1992, when The Old Couple, the first work you encounter in Room 1, was created. Loaded with meaning, these familiar and ubiquitous objects morph into human figures, with legs, arms and backs.
There is a strong intertwinement of autobiographical elements and objective reality in Lucas’s work, particularly in her use of chairs. In the Thematic texts by Dominique Heyse-Moore and Amy Emmerson Martin, the artist admits “I didn’t set out to be autobiographical really. […] Though now that I have a lot of works behind me, I can see that they inevitably tell a story, in their way”. The autobiographical element of her practice is evident in works like “Me (stool)” – a piece composed of a plaster set of naked glutes, with a cigarette inserted between them and a pair of legs climbing onto a bar stool.
Bodily structures, some made by kapok stuffed tights, others by bronze or plaster are laid on different types of chairs, tending to performative onanism in diverse positions, ranging from dejection to ecstasy. These lumpy figures, posed for the audiences to see, are caught in the midst of, arguably, one of the most private and vulnerable forms of human pleasure. In creating this sexual pursuit and blurring the line between the private and public sphere, Lucas as well as all the on-lookers inevitably inhabit the position of the voyeur. This exposure of impropriety and the forced role the viewers take is intended to elicit strong emotions, whether that be discomfort, guilt, jealousy, relatability or pleasure.
Language
This phenomenon continues through her use of language. Language is a tool that Lucas utilizes in expressing the playfulness and humour behind her works. This is evident in the provocatively witty titles she allocates to each piece – for example, “Fat, Forty and Flab-ulous” is the title of one of the three photocopy-on-paper laid-on canvas art pieces she completed in 1990, inspired by her newfound interest in feminism, catalysed by Andrea Dworkin’s books “Intercourse” and “Pornography: Men Possessing Women”. This trio of works are all large tabloid works that feature pornographic images of women, sex lines and satyrical puns such as “All set for our breast quest?”.
Even though these pieces were completed over two decades ago, these works still manage to obtain the same shock value they did on their first exhibition. Viewing this hyper-sexual portrayal of women catered to male audiences continues to evoke the same guilt of accidentally finding a porno channel while zapping through channels as a child on your family television. A learned habit of propriety urges one to look away, but their grand size of 238.8 x 320.0 cm makes it impossible for one’s eyes to not land on them.
Conclusion
Toilets, a sandwich, bronze cats and Mumum, a cocoon-like sculpture composed of stuffed breast-shaped tights, are just a few of the works on display. A testimony to motherhood, femininity and sexuality, the artist explains, in the aforementioned thematic texts, that there simply is “no substitute for genitalia in terms of meaningfulness and a bit of edge”. Lucas’s oeuvre is a testament to its undeniable capacity to evoke a spectrum of emotions, regardless of one’s own volition.
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By Presidential Decree, the Greek government has equated the degree of all graduates of the Higher Schools of Dancer or Theatre, recognised by the Ministry of Culture, with a high school diploma, not a BA.
The Presidential Decree 85/2022 on “Determination of appointment qualifications for appointment to public institutions” recognises graduates of drama schools with secondary school qualifications.
Through this the Greek government has, according to the students of the National Theatre School, devalued the studies of art. It is shocking to see the birthplace of western theatre, art and culture to treat its young artists in such a way.
There is a lack of coverage from the Greek media, therefore we must take it upon ourselves to share this story. All the professors of the National Theatre have resigned as the ultimatum they had sent to the government demanding the altering of the Presidential Decree expired on February 8th. Meanwhile, the students, who have been striking outside the National Theatre School, issued a statement on December 22nd, announcing the beginning of their strike.
“It is clear once again that the government has a plan to shrink the budget for contemporary culture and to cut what labour rights and prospects remain for our workers, officially treating us as hobbyists.”
King’s Students must stand with the students and professors of Greek Theatre.
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Q: How do I make closer friends at uni? I’ve tried some societies but it feels like everyone already has their friend groups and I end up just knowing the people I meet there rather than being good friends with any of them.
Jess: First things first, you definitely aren’t alone with this one – making good friends at uni can be hard to begin with. It’s almost as bad as dating: “Do they like me? Do they think I’m funny? Am I coming on too strong?” It can be a situation ripe for imposter syndrome. You’ve got to remember though, everyone’s in the same boat. On the surface it might seem that everyone is getting along swimmingly but I can guarantee that they’re probably feeling a similar way. I think the most important thing, and I know this is much easier said than done, is to put yourself out there. No one likes doing this, and it’s a terrifying prospect, but it sounds like you’re halfway there – joining societies is a great step in making friends. If you’re feeling like you need to solidify these friendships, ask people to do something outside of these society meetings, whether its a uni event, a new exhibition, or even just a coffee. It’ll give you the chance to get to know someone, or a small group of people, in a more personal environment. The worst that will happen is they say they’re busy, or you don’t click, in which case you’ll know that you’re better off as people who nod hello in the library and leave it at that. Much more likely, you’ll end up with some great mates and a confidence boost.
Q: I feel like I’m getting too caught up in uni work (there’s so much of it) and don’t have time to hang out with my friends. They mean well but do hang out a lot without me and I’m having some FOMO and I don’t know what to do about all this…
Caroline: Uni work can be overwhelming at times. Trust me, you are not alone. That being said, worry not, as there are many ways to restore the balance between studying and hanging out with friends. Firstly, you can incorporate your friends into your studying. Pick out a nice coffee shop, whether that be the local cafe near your flat, or something closer to uni, like a Starbucks or a SOHO coffee, and get to work. Study groups are not only beneficial in terms of socialising but they are also extremely advantageous for actual revision. You can motivate and help each other out and push one another to be the best students you can be. If you find coffee shops too distracting, the library also works well in this context. Pick a good study spot, whichever works for you and every hour or so you can take small breaks to chat with your friends, grab a snack or a coffee with them.
For better or for worse, academics need to be pretty high on your priorities list. Still, it may be the case that not all of your friends agree with this. It is important that you feel comfortable enough to share your feelings with the people close to you. If you are feeling a little left out, say it. Talk it through and try to find solutions which work for everyone. If they really are your friends, they are going to care for you and your feelings. Remember, your studies are important, no doubt about that, but you need to make sure you give yourself the opportunity to relax and have fun.
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Tears filled the eyes of every cinephile who had a soft spot for French New Wave films as we learned that, as of the morning of 13 September, the French-Swiss film director Jean-Luc Godard is no longer with us. At 91, Godard died through assisted suicide in Rolle, Switzerland. The iconoclastic director’s legal advisor shared with the AFP news agency that the reason behind his voluntary departure was the fact that “he was stricken with ‘multiple invalidating illnesses’, according to the medical report”.
Many paid tribute to the revolutionary director, amongst which was the French president. Mr. Emmanuel Macron took to Twitter to pay tribute with a post, writing that “Jean-Luc Godard, the most iconoclastic of New Wave filmmakers, had invented a resolutely modern, intensely free art”.
The director began as a film critic for the French magazine Cahiers du Cinema, alongside Francois Truffaut and Alain Resnais. His two colleagues quit their jobs and went on to direct masterpieces which arguably acted as catalysts for a new style of cinema, The French New Wave, which had begun developing around a year before. (For Truffaut it was “The 400 blows” and for Resnais, “Hiroshima, Mon Amour“). Godard followed this pattern and began to make “Breathless”, with Truffaut by his side as a producer.
Released in 1960, “Breathless” shook French cinemas. The film tells the tale of a young man who, through accidental impulse, developed from a petty thief to a policeman murderer. The story follows him as he plans his escape to Italy, whilst also fiercely going after his American love interest.
“Breathless”, although it is Godard’s first film, is still used as an emblem of his directing style. This refers to the general air of nonchalance in his films combined with obvious talent and self-assurance, along with an abundance of knowledge and judgment. This unorthodox mix is apparent in every aspect of his filmmaking. A glaring example of this is the fact that the film was shot without a script. Instead, Godard continuously drafted the dialogue throughout the filming. In terms of actual shooting, the director once again chooses an inventive approach.
Yet, before analysing the editing and shooting techniques of Godard, a large element of his films needs to be acknowledged. Godard wanted his films to be films; he wished to constantly remind the viewer that what lies on the cinema screen is a fictitious world with actors. The director, with sly whimsy, picked apart the blocks of not only each of his films, but the entire industry of cinema and then supremely reconstructed them before the audience’s eyes, forming his calculating pictures. He masterfully accomplishes this goal through keeping multiple takes of one scene in the final product, also by having the actors directly speak to the audience, even going as far as calling them out. An artful example of this is in one of his later films “Pierrot le Fou”.
In a scene where we see both of the protagonists’ backs as they are driving in a car, the main character looks directly at the camera and quotes what the woman beside him just said. The woman looks at him and asks him who he is talking to. The character simply responds “the audience”, to which the woman looks back at the camera and playfully waves to the viewers. Then they both turn back and continue their drive.
Oftentimes, Godard chooses for the camera work to be handheld. To shake and rumble as his actors walk and jump. These low budget cameras allowed the director to move freely, fortuitously becoming an emblem to the shaky, grainy aesthetic of the French New Wave movement. There is a very distinct theatricality in Godard. Every piece of dialogue, every movement, colour, wave and sound is carefully orchestrated to portray exactly what the director had in mind. He innovated film editing; paying a lot of attention on post-production, through his almost aggressive jump cuts, black screens – the editing often posing a general question around the subject of continuity of the film. He often has the actors stand offscreen or have their backs turned to the camera, making them invisible to the viewers.
His directing inspired multiple movements, such as the American new wave of the 70s, and his films remain relevant to this day. We can detect strokes of Godard’s methods in films by very popular contemporary directors, like Wes Anderson. Godard had always been passionate about politics – he often utilised his film to express criticism toward the sociopolitical climate of the time – a number of his films taking place during wars or including spies as main characters. This resulted in his films often being banned from countries for a number of years. An example of this is “Le Petit Soldat”, a film which was banned for two and a half years due to the prevalent appearances of French spies during the Algerian war.
Godard pushed us all to ask ourselves questions about politics and trust, love, romance – about life and death. Films somehow obtain a rigid, almost aggressive structure, while portraying amorphous tales of passion, emotion and ultimately loss. He continuously challenged and forever changed cinema.
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Although it is not the most popular book of the Czech writer, “The Book of Laughter and Forgetting” is a wonderful example of how an erratic writing structure can elevate a book. Filled with enthralling stories inspired by personal excavations of the author, each divergent plot playfully nods to compelling theories about love, sex, partnership, politics, history, eroticism, loneliness, grief – the list goes on.
The writer intertwines crucial historical events with seemingly inconsequential ideas and investigates the rawness of emotion produced by each with the same level of love and attention; whether he is examining the assassination of a political figure or a child silently rowing a boat, the intensity of his analysis remains the same.
The duality of laughter is a pivotal concept in the book. It is elaborated upon through its diverse appearances throughout the stories and examined further in each of the theories which are interwoven in each separate plot. For example, laughter is seen in a very negative light when it comes to love and poetry; Kundera writing through the character of a “great poet” shares that “Joking is the enemy of love and poetry” and “Love can never be laughable. Love has nothing in common with laughter.”
Through this, the writer alludes to the idea that love is something which is innately shared; the merging of two individuals is an elemental quality of love. On the other hand, laughter is something done in solitude. Whether someone else triggered it or even if it is done with someone else is completely irrelevant. The pillars of laughter lay in it being an absurdly singular, selfish act, done for one by one.
Throughout the novel, we can see laughter act like freedom, like awkwardness; we also view it under a theological scope, where laughter takes two forms, the devil’s and the angel’s. “Whereas the devil’s laughter denoted the absurdity of things, the angel on the contrary meant to rejoice over how well ordered, wisely conceived, good, and meaningful everything here below was”
At this point one can point to an example of genius in this novel. This fictional tale of the origin of laughter is undoubtedly interesting and engaging. It can stand independently as a story, but Kundera does not leave it at that. Instead he goes on to criticise modern society through it, by pointing out how now, both the laughter of the angels and the devil are called the same name.
This analogy explores the themes of good and evil, illustrating that as time goes by, we tend to not only mix them up, but develop a carelessness regarding their true identity. If good and evil are identical on a surface level, modern society does not care about which is which, we call it the same name, give it the same value. Questioning has disappeared and Kundera instead of blatantly giving an analysis of that concept, an examination which he is indubitably capable of, he allows the creative process to lead the readers to the conclusion he aims for by themselves.
As he often refers directly to himself, writing in first person, Kundera reaches his hand out to the reader and leads them down the path of his ideas. Sometimes the writer even retells his own stories, challenging the bounds of autobiography and fiction. Due to the personal character of the stories, each of the theories they birth obtain an incredibly fresh feel to them.
Reading these pages, we get to dine with great poets, fall in love, experience heartbreaking nostalgia, connect with the divinity of humans and many more. A truly great read, which transports the reader through simple yet eloquent prose. Recommended to anyone with an inkling for emotive, philosophical short stories.
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Films have always held a place for artists’ creative expression. Not only for the filmmakers, for whom it encapsulates a sense of elation, but for the film enthusiasts who have an endearing attachment to the characters and stories spewed ever so carefully. The sudden impact on the industry in 2020 closed all the doors to the cinematic universes, and audiences were left to cope with the bleak reality. With this year pushing us closer to the new normal, producers have reopened the doors of the wildest lands, lifted the blanket of grey clouds, and filled the sky with imaginaries. Following them, these are the best films of 2021, handpicked by Roar writers.
“The French Dispatch”
“The French Dispatch” is a much-anticipated film directed by Wes Anderson. It is his first live-action movie since 2014, yet it features the animation-like cinematography one can expect from any Anderson movie along with an exceedingly aesthetic scenery and a dramatic yet whimsical plotline. Known as a love letter to journalism, the film captures four different stories that feature in the last issue of “The French Dispatch,” a fictional American newspaper based in the eccentric, fabricated town of  Ennui-sur-Blas, France. The film enchants the viewer, immersing them in the heavily romanticized time and place of 20th-century France.
The meticulously detailed narrative allows for each character to elegantly display their idiosyncrasies. This is only further enhanced by the costume design, which alludes to the candid and unique air that each journalist possesses. The stories brought to life are under the sections of human interest, art, politics, and gastronomy, and whilst each does appeal to their particular categories, the unique set of quirks, focus, and atmosphere allows them to reach allurement stretching far beyond their titles. Anderson’s obsession with symmetry and theatricality creates a composition ready for all to take delight in.
“After Love”
In 2021, “After Love” won six awards in the BIFA, one of them being the Best British Independent Film Award. Being the director’s, Aleem Khan, first film, the level of empathy which this film evokes is superlative. Loaded with heavy emotional charge, the film accompanies an English Muslim woman in her journey through grief, following her husband’s abrupt death and the uncovering of a secret of his which leads her to Paris. A veil of melancholy and deceit sits over the plot, invoking a myriad of emotional responses ranging from compassion to unease.
One would imagine such a film to psychologically deplete the viewer; instead, combined with the appealingly bleak atmosphere of the drama and the vastness and pure beauty of the portrayed landscapes, one can drift into the narrative, experiencing every sigh and tear closely to the exceptionally talented cast. Joanna Scanlan’s powerful protagonistic performance won the best actress award. The film invades her character’s privacy, but unlike most dramas – which sacrifice mundane moments – it cherishes the prosaicness of everyday life, making the story all the more realistic. The bittersweet shape that intimacy and companionship take is truly unparalleled, and although slow, this film’s suspenseful, anomalous plot allows for it to stand out.
“Last Night in Soho “
This is London. There has been a murder in every room in every building on every corner of this city. With a rather glamorous yet grim look at London, Edgar Wright comes up with another masterpiece. The pleasing visual concoction of cinematic genius by Chung-hoon Chung and thrilling horrors of the narrative hypnotise one into the world through the eyes of Eloise. Starting out as a fashion student at London College of Fashion, Eloise (Thomasin McKenzie) finds herself in the middle of patriarchal horror from the 60s lived by Sandy (Anya-Taylor Joy). As she progresses into her quest to find answers to what happened to the glamorous blonde girl, she uncovers truths from the past hidden between the shiny lights of Soho.
The film engulfs one in its rose-coloured lens, catching them off-guard with the frightening moments. The montages and smooth cuts surely mesmerise the film fanatics. Despite the alluring visuals, the soundtrack gives an edge to the film unlike any other. “Land of 1000 Dances” by The Walter Brothers, “A World Without Love” by Peter and Gordon, “Starstruck” by The Kinks, and many others will totally enchant one into dreaming of London in the 60s like Eloise. With its blend of outstanding filmography and smartly constructed soundtrack, the film charms one into a world beyond the horrors of it.
“Spider-Man: No Way Home”
Another one for the fans – “Spider-Man: No Way Home” directed by Jon Watts is surely charming. Being the last one in the trilogy, the story continues with what happens to Peter Parker when the world comes to know their friendly neighbourhood Spider-Man. After the brutal fight with Mysterio, Peter is left to deal with the consequences of his actions. The trailer peaks into his efforts to fix teenage troubles with Dr Strange’s magic; will he be able to cope with what life brings to him?
Considering the adoration and nostalgia attached to the character, the film is spewed brilliantly and precisely for the fans to cherish. The yet again brilliant portrayal of Spidey by Tom Holland will make one’s eyes tear several times. The movie also delves into the sweet romance of Peter and his MJ (Zendaya). The film amplifies the emotions unlike any other made before.
Overall, the film took me back to my childhood and made me reminisce the first time I fell in love with Spiderman. Unlike several other Marvel productions, “Spider-Man: No Way Home” lives up to the hype around it. It’s the perfect Christmas gift for Spiderman lovers.
From classic blockbusters to debut award-winning films, this list comprises what we believe to be the best films of 2021. This was a difficult year for all of us, but film-watching was definitely one of the outlets that not only assisted us in getting through it individually; it is one of the channels which we all share, connecting us to each other through creativity and enjoyment.
ROAR NEWS
COMMENT COLUMN
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From a young age we all find ourselves beneath the daunting gaze of obsolete ideals. As children, most try to conform with them; as teenagers to rebel against them; as adults to just ignore them. We assume ourselves to have become so intellectually and spiritually developed that archaic values hold no place in our minds. Yet patriarchal ideas are so deeply engraved in the skeleton of society that it is impossible to be rid of them.
It is admittedly a scary and rather bleak thought to suppose that such antiquated beliefs have trespassed for good into the pathways of our brains and now perpetually roam our heads. We don’t want to consider that they may not only pollute our own pursuit of self-acceptance, but even potentially doom society’s attempts to live by gender fairness.
But it is not too late. Not for us and definitely not for younger generations. We need to be mindful when coming in contact with the malleable and naïve minds of the future. Accidentally indoctrinating children is not at all uncommon; often it is done with the best intentions.
To give a young girl a boost of confidence one may tell her that they know “all the boys are running after her.” A correlation between the female value of self and appealing to the male gaze is prevalent in society. The male gaze can be defined as “the assumption in visual and creative arts that the default or desired audience consists of heterosexual males, and inclusion of women in narrative or art should seek to please this audience with the objectification or sexualization of these depicted women.”
The male gaze is applicable to real life. Young girls are continuously exposed to it – taught to chase it, crave it. The concept of women inhabiting roles to satisfy patriarchal standards might seem like an idea of the past – and it undoubtedly should be. Yet how and why is this outdated idea still prevalent in our society? How are young pushed into these molds? Is it possible to shake off this problematic social framework? In what ways do we, often accidentally, corrupt the youth?
Patriarchal Standards in Early Social Life
When ‘comforting’ a little girl who’s just had her hair pulled by a boy by telling her that he probably likes her, one sets a very dangerous precedent. Not only is this creating a heteronormative foundation, both in terms of sexuality and gender identity, but this excuses harmful behaviour by dismissing it as a child just being unable to express their feelings. This is usually not followed by helping said child learn how to express their feelings appropriately – instead, the lesson is that it should be ‘tolerated’ by the victim.
Anticipating a conservative response, no one is denying children the right to play. Kids are going to playfight – they have from the beginning of time and will probably continue until the end. But harmful behaviour should be recognised as harmful behaviour.
When conflict arises and a child is understandably emotional, do not recite the indoctrinating ballad of “boys don’t cry” or that “big girls don’t cry” (interesting how for girls, age is necessary to convey a false maturity). The correct response to violence is not to excuse it, but to inform the perpetrator that what they did was wrong, ask them what caused their action, and explain that no matter the case, this response is not appropriate. They are obliged to apologise and to develop different ways to express their feelings. Do not invalidate the feelings of the victim.
The patriarchal notion of suppressing emotions is augmented for boys. ‘Being a man’ implies a need to strip yourself of feelings – these are weaknesses. Being guarded and emotionless is applauded. Progress here needs to emanate from home; parents urging children to express their feelings. Strong emotions are not ‘girly’, they are not ‘manly’ – they do not need a gender assigned to them. Feeling is necessary for psychological health.
Children need to be educated about gender but this does not require attaching gender to societal activities. As soon as this attachment is established, the concept of gender is interwoven with senses of shame and guilt. Kids need to feel comfortable with the concept of gender and to be free to explore it and question it in order understand their own identity. Using gender to shame the expression of emotion makes this progress impossible.
EducationalEnvironment
We are all, to some extent, familiar with the repercussions of school dress codes. Operating on a heteronormative foundation, dress codes sexualise young girl’s bodies, and make the difficult undertaking of accepting your changing appearance in teenager-hood even tougher. Not only are bounds strictly set in terms of self-expression, but there is a constant judgemental eye in a place where most young people spend the majority of their time.
“Within our education system dress codes teach and enforce sexism starting from a young age. Rather than teaching young girls to hide themselves and be ashamed, we should start teaching to treat women with respect and see them as equal participants in the educational system” comments Haley Hartnett. The ideas which are implemented into young girls’ minds are not easily scraped away after leaving the school gate – they follow them throughout their lives.
Most of us support the abolishment of school dress codes, yet when, now grown up, we walk into a job interview we will rarely wear a skirt with a hem higher than our fingertips. Even if you are an individual who stands by your beliefs and does not change the way you express yourself through your appearance, there is a need to recognise the luxury and privilege in that. Not bending our values is commendable, but getting a job and supporting a family is more significant for most.
Our hypocrisy is not our own fault. No matter how much we believe in the right to express an identity through appearance, there is a large risk involved with self-expression if does not adhere to patriarchal standards. It’s understandable that young people don’t want to take a risk after landing an important job interview. We bite our tongues and wear our blazers. It seems that change cannot come from us; change needs to come from up high the corporate ladder. To shake institutionalised ideals, progress needs to come from institutions themselves.
Conclusion
The ways that patriarchal ideals are pumped into people’s minds are endless. From the media we consume, to our treatment by family and friends, to the academic system, the list goes on.
We owe it to not only to future generations, but also to ourselves, to help provide what we were cheated of. It is thereby our duty to help instil ideas of gender fairness, equality and justice. We need to recognise all the nooks and crannies where poisonous patriarchal standards hide; we need to examine their mindlessness and do our best to diminish their value. Persisting against patriarchy will uphold the values of the future.
ROAR NEWS
CREATIVE CORNER
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The sky outside the window is intriguing; the sea of black clouds resembling cracked pavement. If I look closely, they look like drifting waves with their greyish highlights obtaining an abstract similarity to a salty sea’s froth.
This endless black sea is slashed in half by a thin gradient line deep in the horizon. One could clearly distinguish the opposing colours found at the head and the tail of the line, transcending from a bright orange to a vibrant pink. When inspecting the centre though, the hues are ambiguously intertwined, making it impossible to detect the point at which the two colours are separated. This view, this mingling of colours and shades excites my eyes.
There is blue above the dark clouds. The familiar prototype-kind of blue that comes to mind when thinking of a night sky. It’s a mere blue, with a few dreary, almost transparent clouds that look like sloppy, white brush strokes. It adds a lightness to the heavy, serious-looking blue, as though an artist’s paintbrush happily danced along the sky. Above there is only a singular star shining.
I thought about this image that I so enjoyed. I imagine coming across it in an art gallery as a realistic, modern piece. It would be a mix of acrylic and water paint, possibly even some pencil here and there, attempting to capture the animated aliveness of the sky.
For some inexplicable reason, I don’t believe I would have resonated with this artwork to the level I did with the view out my window. Come to think of it, I would probably not award it a second glance. As I picture myself standing across from this piece, examining it, having no previous memory or knowledge of the scene which I currently only need to tilt my head to see, I think I would have condemned it as mediocre.
No matter whether I’m enamoured with the colours, the lines, the strokes; I believe that I would have thought such a composition boring. Most importantly, I would not regard it as true. There indubitably is no way through which I could come to believe that the sky had ever taken such a pose. The realistic aspect that usually appeals to me is thereby thrown in the trash.
That being said, the colour, shapes and lines would not in any way be absurd enough for my interest to be allured by their peculiarity.
As I finish writing this now, the sky has darkened. The once dynamic pink and orange, now seem faintish, as if they have begun to succumb to the dark sky. The line is fading much too rapidly and I’m sure that next time I lift my head from my notepad and look out my window it will be completely gone. I have not managed to snap a picture of this musical image. The fleeting nature of it makes me hope I did an adequate job of describing it, as this is an image I would not want lost from my memory. At last, the line is gone.
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I found homage under a thick barked tree, neglecting the bench that was around fifteen meters to my right. I wasn’t planning on coming here, which meant that I had no picnic blanket or anything of that sort to sit on, further italicising my depreciation of the wooden bench. No, I’m not being very honest – I have no personal vendettas towards benches, truly! But today, seeing how I ended up in this park – no other option seemed plausible, but for me to take my black button-up off and lay it on the grass, leaving my arms bare victims to the crisp London wind. Littered with the fall leaves, I feel that if someone were to see this ground from a height, a reasonable one at that – it would seem like a green tapestry with a plethora of brown freckles. The sky was a bright, yet pale blue; it looked as if one had put a transparent page, with a greyish tint over a very vibrant cerulean.
All sorts of people walk through Hyde Park. Whether it’s the familiar intellectual-looking university student sporting a black turtleneck and tote bag, or stylishly challenged women ranging from about age twenty to thirty, wearing her beige-coloured pants, combat boots, and unfashionable shirt. Continually capturing the moment on their cellphone cameras, this occurrence was one that irritated me, inexplicably so. Maybe it was because of the glimpse of hypocrisy I saw in it; maybe because of the annoying rise of social media, whose purpose in some cases is purely sharing or rather proving how wonderful one’s life is and to competitively compare it with individuals one knows; but then again this vexatious habit is not much different than what I am doing, capturing the moment. Although I am observing, I am possibly missing quite a lot, as having my head down, sunk into my notepad prevents me from witnessing the park to its full potential. Back to the diverse Hyde-attender population, passing by are also the fitness aficionados, who by the way always have a reddish-pink tint to their face – evidence of their vigorous training regiments, with their tight fit outfits or unusually short shorts.
A cyclist comes around every so often, either riding a classic metal bike or those provoking red rental ones. How can a colour be so pungently smug? I couldn’t properly justify my contempt towards those bikes, they seem so distasteful; like blemishes that uglily protrude from the otherwise poised face of the park. And the dog walkers, oh how I love the dog walkers; one can see dogs of all breeds here at Hyde Park. In the past ten minutes as I sit here writing this piece, I have seen a joyfully mischievous French bulldog puppy with dark grey fur pass by me, and later on its walk back, it seemed tired and its human companion picked it up and carried it – a phenomenon which seemed to greatly delight the young canine. A very polite-looking brown-furred poodle, walking loyally by the side of an old white-haired man bouncing a basketball – which oddly enough did not seem to impel the dog of straining from his manners. I also saw a jumpy Jack Russell terrier that seemed just a small hop away from chasing its own tail.
Having university to worry about, an overload of coursework and new meetings sitting over my chest, even writing this tightens the knot the year has tied in my stomach. The holidays are approaching, a fair combination of anxiety and stress, but so is exam season, which lacks the aforementioned fairness in the distribution of emotions. Yet Hyde Park, this cheap and easy location, can assist one in finding, even for a flash, the slit of serenity one needs to motivate the sustaining of themselves and enduring the weeks to come. Whether you wish to sit under a tree or on a bench, bike around, in whichever colour of the steel machinery you wish, read a book, write a story or merely observe, the benefit is almost guaranteed; pay it a visit.
KATHIMERINI
English Edition
CULTURE
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Renowned “artivist” Barthelemy Toguo shared insights into his creative journey and the philosophy behind his work as he closed the six-week art exhibition “Life Is a Dream” on the Saronic island of Hydra at the beginning of this month. The show was born from the collaboration between Wilhelmina’s Art Gallery on Hydra and the Nosbaum Reding Gallery in Luxembourg and took place on Hydra. Whilst being a fairly new gallery, Wilhelmina’s has managed to establish itself in the art world, hosting exhibitions of contemporary works by celebrated international artists. The aforementioned show displayed works by Toguo, Damien Deroubaix and Manuel Ocampo.
Toguo, born in Cameroon in 1967, works between Paris, France and Bandjoun, Cameroon and his achievements are nothing short of prolific, both as an artist as well as a philanthropist, being named UNESCO Artist for Peace 2021, finalist for the Marcel Duchamp Prize 2016 and Knight of the Order of Art and Literature, to reference a few. Exhibited at the Tate Modern, MoMA, the Pompidou Center, the Parkview Museum, Studio Museum and numerous biennales, Toguo’s art is a reflection of life’s beauty, complexity and richness.
Aiming to guide viewers to “a therapeutic process towards self-fulfilment,” he discussed his inspirations, techniques, and the role of the artist in expressing universal human emotions. In his youth, Toguo discovered “the Old Masters: Titian, Rembrandt, Goya. Their images emerge in a dark universe where form appears as light and it was a visual rendering of beauty that fascinated me.” While inspired by these masters, Toguo “did not seek to copy them” and “very quickly found my own voice, and I worked hard, delving into unknown territory that further fed my desire to continue painting and drawing.”
‘My technique allows me to express beauty and violence at the same time; in short, a whole range of universal human feelings’
For Toguo, art is about evoking powerful feelings and capturing the essence of human experiences. “The most important thing for me is to be able to express emotions, sensations and human feelings. My technique allows me to express beauty and violence at the same time; in short, a whole range of universal human feelings. It permits the creation of light, sadness, darkness and beauty but what is most interesting is the universal dimension because regardless of where or who you are, you can experience all these emotions and all these sensations.”
One notable aspect of Toguo’s approach is his versatility in choosing materials. “What’s important for me is to find the material that will allow me to express what I want to achieve. If I think that wood or metal or ceramic will allow me to express my idea, I’ll use that without thinking.” This confidence and trust in both his vision as well as his materials was fostered through his extensive art studies. “I was lucky enough to study ceramics, engraving and sculpture at Abidjan, performance and installation at Grenoble, and then to hone a more professional expression of these techniques at the Kunstakademie in Dusseldorf.” “Today, I’m able to measure and decide what’s easiest for me to use to express an idea or a thought. If performance is the most effective way I’ll do the performance; if it’s painting, then painting will gain the upper hand.”
Still, he does not claim that all young artists must follow artistic studies in order to succeed. Yet his academic background “gave me this richness of choice and the ability to not hesitate between any techniques when deciding what needs to be done to express myself.”
One of Toguo’s remarkable projects is Bandjoun Station, a nonprofit organization that combines art, architecture and agriculture to benefit the local community. “It is an exhibition space for international and local artists with studios, and we also provide workshops. Local artisans built the center from my designs and plantations were created. Food is produced and given to the population. The aim is to achieve self-sufficiency artistically and nutritionally to have a direct impact on the immediate surrounding society.” Toguo aims to achieve self-sufficiency artistically and nutritionally, harvesting vegetables for the children. Moreover, this project serves an additional purpose by providing a direct platform to voice his opinions on particular issues. “In this way, I can address directly the problem of the exportation of contemporary art and artists from the African continent to Europe, America and Australia, but also the more immediate problem of self-sufficiency. People need the chance to see art, to learn what it is. But to do this we have to address the social concerns too. In a way, Bandjoun Station is an artwork like the other projects I spoke to you about.”
Toguo’s art is a celebration of life’s richness, a reflection of universal human emotions, and a bridge between cultures. His ability to express complex feelings and experiences through various mediums and techniques makes his work not only visually captivating but also emotionally resonant. Toguo’s dedication to his craft and commitment to using art as a tool for social change exemplifies the power of creativity to inspire and connect people across the globe.
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The enchanting premises of The Foundry Suites Athens come alive with the immersive group exhibition “Transformations: Gaia & Chthonia,” which sets out to capture the duality inherent in the building, the dance between its natural and industrial components. Inspired by philosopher Giorgio Agamben’s penetrating exploration of Gaia and Chthonia, investigating the relationship between the living, self-regulating Earth and the primordial subterranean aspects of existence, the featured artists create a bridge that transcends the apparent dichotomy, revealing a coexistence within the very fabric of the space. The showcased artworks, diverse in mediums, find a common thread in their mystical interpretations of the Earth and its profound depths. The venue is representative of the remarkable communication between the natural and industrial, its distinctive features serve as a poignant backdrop for the group show.
As visitors step into the exhibition they are surrounded by sculptures by Dimitris Tampakis, Despina Charitonidi and Panos Profitis, and, on the staircase, come face to face with a striking painting by Ioanna Limniou, where vibrant colors and self-crafted framing come together. Ascending the stairs, one encounters two works by Vasilis Galanis. The artist shared that “these works are part of a series that I have been working on since the summer of 2022 that are all AI-inspired. I work with the DALL-E, which is a text-to-image program.” The artist then allows himself to be inspired by the works produced by the AI and intertwines them with his own artistic style. “I insert words into the program that are not easily translated into an image, different notions, from history or the history of art for example.”
‘I wanted to develop a discussion between the paintings themselves as well as the building, for there to be an interlacing’
Facing the drawings is a sculpture by Georgios Papageorgiou. “The sculpture is conversing with the drawings because it’s as if it came out of the jungle,” says Theodora Koumoundourou, explaining that the project marks her debut as a curator, and thus “I wanted to develop a discussion between the paintings themselves as well as the building, for there to be an interlacing.” In the corridor are artworks by Valentina Bartolini, her designs being conscious attempts at crossings and openings, investigating the liminal.
Stepping onto the terrace upstairs, visitors find themselves surrounded by nature, complemented by a delightful rooftop bar/restaurant that harmonizes with the remaining art pieces subtly camouflaged amidst the wheat and flowers. Two sculptures complete the exhibition’s journey: One is by Dimitris Tampakis, its flexible design unconstrained by conventional placement. The other is by Despina Charitonidi, seamlessly blending into the garden, reflecting on ideas of the seen and unseen, the natural and artificial.
With its rich tapestry of artistic expressions, the exhibition encapsulates the essence of the building itself. The diverse artworks on display weave a mystical narrative, offering a glimpse into the profound depths of the Earth. Each artwork speaks its own language and yet is in constant dialogue with its surroundings.
The exhibition at The Foundry Suites Athens (40 Sarri), tel 6908.688.004, thefoundrysuitesathens.com) is set to continue until the end of September.
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The Kalamata International Dance Festival returns to the southern Greek city this summer, in a rich celebration of some of the most exhilarating Greek and international contemporary choreographies, for 10 days from July 14. The theme of this year’s program is “(Re)Turn to the Body.”
In a note, Linda Kapetanea, the festival’s artistic director, explains the significance of mortality and aliveness in the event’s 29th edition, both in terms of the physical body as well as “the actual locale of each individual’s existence.” The continuity of one’s way of life and its connection with past and future generations is also emphasized, presented as the justification for longing to return to the basics.
The protagonists of this major artistic event are Greek and international artists, flying in from as far away as China and Canada to eulogize the human body as the “very essence of life.” In the performance “Carcaca,” Marco da Silva Ferreira utilizes dance and motion in studying cultural crystallization, as a cast of 10 performers physically question their collective identity, their movements inspired by nightclub scenes and technical folk dances, each particular to the performer’s heritage. Greek artists including Mariana Tzouda will be performing solo, while the Greek National School of Dance is also set to take the stage.
The program comprises 25 events, most being performances, but there will also be workshops and exhibitions taking place. These include workshops for families, individuals with disabilities, and an exhibition for kids organized in collaboration with the Museum of Cycladic Art.
Performances will be taking place in Kalamata’s main square too, blurring the line separating art from everyday life.
Founded in 1995, Kalamata International Dance Center organizes the festival with the support of the Ministry of Culture and Sports, the Municipality of Kalamata and the Regional Authority of the Peloponnese.
King’s Philosophy Review
Political Philosophy
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One of the foundational moral teachings, engrained in us from childhood, is that it is morally wrong to lie. But is that still the case when in the pursuit of noble aims? This question lies at the intersection of moral and political philosophy.
Political ethicists study the values that underpin political decision-making, and analyze their moral implications (Thompson, 2013). A central debate in political ethics is whether there is a fundamental difference between the morals that govern politics and those dictating everyday life. Whilst thinkers like Machiavelli and Walzer advocate for a separation of political and everyday values, others such as Kant argue that the moral principles expected in daily life should equally apply to the political sphere.
Machiavelli’s seminal work, The Prince (1532), offered a practical guide for successful leaders. In this work, the term ‘virtú’ transformed, shifting from Aristotle’s notion of ‘moral worth’ to one of effectiveness (O’Rourke, 2019). For Machiavelli, an effective leader must be prepared to commit whatever immoral action necessary to maintain his power. He writes: “It is necessary for a prince wishing to hold his own, to know how to do wrong,
and to make use of it or not according to necessity” (Machiavelli, 2004, XV). For Machiavelli, in conflict, a prince faces a choice: to follow the laws, the way of men; or to enact force, the way of beasts. Recognizing the impracticality of strictly following the laws, the Machiavellian Prince must learn to fight both as a man and as a beast.
Machiavelli’s philosophy is illuminated in the Discourses (1531), which complements The Prince as a guide for the successful organization of republics. For Machiavelli, the primary objective of a leader is to secure the glory of his state. This perspective leads him to morally justify actions such as Romulus’ murder of his own brother to secure his kingship, as
BY CAROLINA VLACHAKOU
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Romulus possessed superior qualities for leading the Roman republic.
In the realm of leadership, dealing with individuals who may exploit one’s honesty and benevolence is a constant challenge - leaders are always surrounded by duplicitous people. Machiavelli employs a striking metaphor, likening an effective prince to both a fox and a lion (Machiavelli,2004, XVIII). This image highlights that a successful leader must be both cunning and sly as well as strong and courageous. An idealistic politician who solely relies on the attributes of the lion is fated to ruin, and endangers the state, leaving it vulnerable to self-interested leaders. While an evil politician will lie and attempt to deceive the public in order to obtain likeness and support, the moral politician must lie and deceive the public to safeguard the citizens from falling into the evil politician’s trap. The fox-like qualities of cunning and strategic thinking become indispensable for a politician to outmaneuver adversaries, maintain power and protect the citizens’ interest. Therefore, according to Machiavelli, lying is not only permissible, but necessary, for effective politicians.
American political theorist Michael Walzer further develops Machiavelli’s thought in his work Political Action: The Problem of Dirty Hands (1973), arguing that exceptions to moral principles can be justified in the pursuit of important political goals (Walzer, 1973, 161). Walzer contends that the morality of political actions cannot be based on religious morals or conventional moral standards
(Walzer, 1973, 168). He asserts that the nature of politics itself exempts it from the moral considerations that guide everyday life. There are three reasons why moral exceptions can be made in political life: moral isolation, compromise and extrication (Coady, 2018).
First, politicians surrounded by corruption may at times have to lie to protect the greater good from this corrupt influence. Second, the need to compromise in politics sometimes requires politicians to alter their positions, pretending to wholeheartedly support an action they may truly be extremely discontent with, to achieve outcomes. Third, in times of severe threat to the wider community, politicians may perform actions that would ordinarily be considered moral wrongdoings. An example of extrication can be seen in Barack Obama’s use of George W. Bush’s covert counterterrorism programs; the torture of terrorist suspects, and the use of drones to kill them outside of traditional battlefields (Zenko, 2016). For Walzer, politics is a uniquely ‘dirty’ sphere. A leader who is unwilling to get his hands dirty, fails to meet the obligations of his office, and cannot govern effectively.
Kant, on the other hand, takes a staunch stance against lying for the greater good. He firmly asserts that lying is inherently immoral and that politicians are bound by the same moral standards as ordinary citizens. In his work "The Metaphysics of Morals" (1797), Kant posits that lying contradicts the principles of human dignity which are rooted in inner freedom, and thus is always immoral. He identifies lying,
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avarice, and false humility as vices opposing the human character (Kant, 2017, 187). Kant extends this stance to politicians in "Perpetual Peace" (1795), distinguishing between a moral politician and a political moralist. A moral politician adheres to ethical principles in statesmanship, whereas a political moralist forms self-serving moral standards. Kant emphasises that political ethics cannot deviate from universal morality. Consequently, lying lacks justification for anyone, including politicians, as Kant prioritises intent and goodwill over effectiveness. This highlights that Kant's notion of the greater good differs from conventional interpretations, emphasising morality over outcomes, and rendering lying incompatible with virtuous action.
Whilst recent opinion polls have shown declining voter trust in politicians and political institutions, philosophers have long made moral exceptions for political life. The problem seems to be that voters perceive politicians to be more Machiavellian than pragmatic in character, who they view as “out for themselves”, rather than leaders compelled to make difficult decisions in the interests of the public good (ippr, 2021). Whilst it is clear that political actors must sometimes be cunning, it is the ‘why’, not only the ‘what’, that determines the morality of lying.
References
Coady, C.A.J. (2018) ‘The Problem of Dirty Hands’, In E.N. Zalta (ed.) The Stanford Encyclopedia of Philosophy. 5th edn. Stanford: Metaphysics Research Lab.
Crimmins, James E. (2021) ‘Jeremy Bentham’, In E. N. Zalta (ed.) The Stanford Encyclopedia of Philosophy. 9th edn. Stanford: Metaphysics Research Lab.
IPPR (2021) Revealed trust in politicians at lowest level on record.
Machiavelli, N. (1983) Discourses on Livy. Translated from Italian by Leslie J. Walker. London: Penguin Classics.
Machiavelli, N. (2003) The Prince. Translated from Italian by George Bull. London: Penguin Classics.
O’Rourke, J. (2013) ‘Machiavelli’s The Prince: Still Relevant after All These Years’, BU Today, 6 February.
Pandya, S. (2016) ‘The Greater Good Theory (Utilitarianism)’, SCMS - Editorial Board, 20 December.
Sagarika, K. (2016) Machiavelli and When, If Ever, Should Evil Be Done for the Sake of Good?
Thompson, D. F. (2013) ‘Political Ethics’, International Encyclopedia of Ethics, 1 February.
Thompson, D. F. (1987) Political Ethics and Public Office. Cambridge: Harvard University Press.
Zenko, M. (2016) ‘Obama’s embrace of drone strikes will be a lasting legacy’, The New York Times, 12 January.
Weber, M. (2009) ‘Politics as a Vocation’, From Max Weber. Translated from German by H. Hearth and C. Wright Mills. London: Routledge
Walzer, M. (1973) ‘Political Action: The Problem of Dirty Hands’, Philosophy & Public Affairs, 2(2), pp. 160–180.
Wilkes, J. (2022) ‘Operation Mincemeat: how a corpse duped Hitler’, History Extra, 14 April.
Paris LitUp
Paris Lit Up Magazine No. 11
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Her American school hosted a science fair for the sixth grade. While she did not exactly
remember what her project was on, she does recall the winning team’s. It was a study on
flowers blooming and living longer when played classical music. For some unexplainable
reason, this project stuck with her all these years. Always loving flowers, plants and nature,
as a young girl, she always dreamed of her bedroom looking more like a garden, but her
mother did not trust her to keep so much as a cactus alive. Who can blame her, Danae
regularly forgot her jacket in the girls’ locker rooms, her backpack on the bus, and her
homework at home, how could anyone count on her to take care of another living
organism?
Growing older and moving to a strange country by herself to pursue her academic career, one
of the first items she decided to purchase was a white orchid. A white orchid in a red flower
pot. She rested it on the edge of her wooden table, right by the window, to ensure that it could
receive all the sun Paris had to give. She had heard from a friend that orchids were extremely
easy to take care of and barely required any watering. You see, her mother’s distrust of her
had echoed into her adult life and she did not believe herself apt to tend to a needy plant. This
plant and she shared this small studio apartment at Rue de Grenelle. They ate at the same
table, drank the same water and listened to the same music. One Thursday, the day she had
designated to watering her orchid, she remembered the study that had beaten her in
childhood. She looked at her flower. It looked healthy enough. She began to hum. Initially,
she felt this was a silly process for her to engage in, humming a spontaneous melody she
created on the spot. Her vocal cords buzzed, while her lips remained shut, almost shielding
her from this, seemingly, embarrassing act.
That afternoon she sat down with her books, preparing to study for her poetry class. Her
teacher had advised the students to read poetry aloud, to fully immerse themselves in the
literary world. She was studying Keats, her, so far, favourite poet. Her eyes followed the
letters on the page.
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
She lifted her eyes to her plant.
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
She looked up again.
It was as if the orchid was begging for a serenade. With a sigh, Danae gave in. She opened
her mouth and began to silently mouth the words. Timidly, her reciting was robotic. Slowly,
her tone shifted, as she fell deeper into the Keatsian rhyme, into this planet of symphonies,
surging into sound, her voice, hushed, got louder, her reading more melodious. She took turns
gazing once at her book, once at her flower; feeling her voice palpitating through her and
onto its leaves, as she sang of summer warmth and spring fruits. She became more and more
aware of her tongue touching her teeth, of her swift breaths and rising thorax. Enunciating
every word, appealing to each colour, she saw her orchid grow. Now, she was standing, with
a straight spine and emotive brows, her movements flowed to the tune of her voice.
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.
She closed her mouth. The poem was done. She let out a deep breath. Her orchid was staring
at her. Taking a sip of her water she sat down. She felt as if she had just lived an out-of-body
experience, her voice taking the role of Charon, guiding her through her surreal travels. She
bit her bottom lip. She had studied enough poetry for tonight.