Writer's Blot - January 2021

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January 2021 edition

Ancient

Writer’s Blot

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Editors’ Letter As we mark the passing of another year, we find ourselves ruminating on the past; what came before. The present, admittedly, defines us, but the past is what irrevocably shapes who we are. We are at once enriched and scarred by our pasts. If we can accept this, then, where do our pasts end, and our presents begin? The better question, posed in myriad of novels and films, is whether we are ever separate of, or indeed free from, our pasts. Perhaps it is an intricate melding of both past and present that lends significance to our greater lives... Beyond the personal, culture as we know it is inextricable from the past. It is the product of ancient society, and exists in the present day in a hundred different languages, taking on a thousand different forms.

Our writers have gone as far back as the prehistoric period to chronicle the theme of Ancient, with ‘The T-Rex’s Story’, a droll depiction of the dinosaur’s life, and of course, its untimely death. The creation of a myth, and a discursive piece on the subject of whether Odysseus is, in fact, a hero, pull us further still through time, as do compelling descriptive pieces on the nature of literature in the Ancient Roman and Greek world. Analytical writing on the novel ‘The Tenant of Wildfell Hall’ provides a delightful modern counterpoint. A range of beautiful modernist pieces of writing transcend age itself, and a diverse variety of book reviews will be of particular interest to those searching for something to read. A thought-provoking creative piece details the past’s advice to the present, and as always, Aggie Nyarnt is here to provide troubled literary characters with some indispensable advice.

If we are to leave you with one idea, it is that Ancient is indefinable and encompasses no single thing. We hope that the diverse array of articles and creative work within the edition reflects this.

Alex Morgan and Schuyler Daffey Editors in chief

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Contents: ¨ ‘Dear Distant Future, Love Ancient Past’—page 4 ¨ The Influence of Ancient Writers on Modern Literature—page 6 ¨ A Myth—page 8 ¨ ‘Ode to Modernity’—page 11 ¨ Odysseus--Does He Deserve the Title of Hero? —page 12 ¨ ‘the idea of her:’—page 13 ¨ A Book Review of ‘Mythos’ by Stephen Fry—page 14 ¨ The Character of Helen Graham in ‘The Tenant of Wildfell Hall’—page 15 ¨ ‘song of a heroine’—page 17 ¨ The History of Literature in Ancient Egypt—page 20 ¨ ‘The T-Rex’s Story’—page 22 ¨ ‘Standing on the Shoulders of Giants’—page 23 ¨ What we’ve been reading—page 24 ¨ Agony Aunt, Literary edition—page 25

Many thanks to Jo Hobsley for her compelling cover image.

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‘Dear Distant Future, Love Ancient Past’ Dear Distant Future, I am writing this letter long before your birth, in the hopes that it will give you some advice, something to help guide you. It is just two simple words – sustain peace. Now that I think about it, it is less words of advice and more a plea. You may think it strange that I am requesting something that seems so obvious, so straightforward, but you are wrong. It is something I failed to do. Look in any book and you will understand what I mean.

We would fight, often to the death, for anything and everything – food, money, land, and sometimes just for the sake of it. Our ancient bodies lie forever beneath the ground, our ancient memory lies forever inked onto paper, a grave reminder of what we did, and a warning to those to come not to follow in our footsteps. But when those who were to come came, they did not listen. So those who were to come went. Went with the same fate of those who were, those whose words of caution were shunned to the side and ignored.

I see people reading books, learning about what happened not only in recent years, but in years so ancient that their events are learned and not remembered. I pray that as each new person begins to read, they also begin to learn not only about history, but from it. Because somehow, even Present has not learned. She carries out the same fights, the same arguments, the same exasperating disagreements as the ones carried out by her ancestors. She somehow believes that this time things will be different, they will change, even though they never have. I believe that this is the definition of insanity: doing the same thing over and over, and expecting different results.

But there is one flicker of light in this darkness, one glimmer of hope in this abyss of despair – you. Holding the fate of the world in your hands, you must tend to it with kindness and tenderness, not the bitterness mistakenly used by all those before you. I made a dreadful mistake, one that continued throughout the ages, but what is the use of making a mistake if only to make it

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again? We make mistakes to learn from them, and that is what nobody did.

History does not define us, because we all have the power to change. It simply teaches us to change wisely. So it is down to you, Future. Choose the right path. Do not be afraid, for I will be watching you from the places in which I remain, in the shadows of crumbling monuments and the cracks of buildings people once called home.

Just because the past didn’t travel down the right road, doesn’t mean that the future can’t turn the car around.

Love, Ancient Past

--Emma Gower

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The Influence of Ancient Writers on Modern Literature Homer: For centuries, Homer (484-425BC) has existed as one of the most prominent poets studied and debated in society. He stands as the epitome of authority for a student of literature. Homer is involved in culture within and outside of university, and his work continues to resonate with and inspire the Western world.

‘The Iliad’ and ‘The Odyssey’ stand fully formed as the earliest poems after the invention of the alphabet. They are considered to be the most important works of Ancient Greek literature and the oldest, undestroyed works of Western literature.

The Iliad tells the story of the last year of the Trojan war, fought between the city of Troy and the Greeks. It is extremely important as a historical document, and as a lens through which we can analyse the ancient past. It was also an impactful text for Ancient Greeks, as it reflected their socio-cultural customs and beliefs. The Iliad contains themes of military glory, in addition to striking depictions of pride and arrogance (expressed in the conflict between Agamemnon and Achilles).

The Odyssey is a Greek epic poem telling of Odysseus’ return journey after the Trojan War to the Island of Ithaca. The Odyssey is considered valuable today because of the way in which it presents virtue and teaches one core values.

The Odyssey is relevant to the modern day through its examination of mortality, and it depicts a level of continuity concerning the way humans view death. It indicates that by working hard, humans can live a life full of achievement and fulfilment. Some of the themes present in the work include the power of desire and the will to overcome extreme adversity. Homer portrays Odysseus’ strong moral leadership, and masks real world ideas with storytelling fiction. The Odyssey has gone on to influence a multitude of modern works, including ‘Lord of the Rings’ and ‘Harry Potter’.

Homer’s stories contain reason, intelligence, secularism, courage and honour, and his poems provide models of nobility and integrity; qualities propounded in modern society.

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Plato: Plato (427-347BC) is one of the world’s best known and most widely read and studied philosophers. He is considered a pivotal figure in Ancient Greek history and Western philosophy, alongside his teacher, Socrates, and student, Aristotle.

Platonic dialogues occupy a particular relevance in the philosophical world. The short speeches and smart wordplay help explore important philosophical topics, whilst acting as a form of dramatic literature. Plato’s method of finding truth through discussion rather than assertion complements our era of interpretation and debate. Plato taught a range of far-reaching theories, acting as a spokesman for every religious mystic and believer in a supernatural reality. Plato devoted his life to one goal: helping people reach a state of fulfilment. His ideas remain deeply relevant, provocative and fascinating today, and his belief in the transformative power of philosophy is one that has endured the test of time.

Plato and Aristotle differ in their approach to the role of literature and its effects on society and the individual. Plato argues that literature impacts society negatively, a notion that is based on his perception of dialogue format literature. In his literary analysis, he argues that “poetry inspires undesirable emotions in society and should be censored from adults and especially children for fear of lasting detrimental consequences”, due to the role that literature may play in manipulating one’s emotions. He believed that poetry was corrupt and taught immorality and evil, serving to degrade moral values within society.

Aristotle, on the other hand, argues from an inductive essay format that literature is an effective way of sharing information and learning. He further contends that “literary representations are pleasurable because they impart beneficial knowledge…objects potentially harmful in nature can be depicted and studied in close proximity without fear.”

--Anya Vaghani

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A Myth Long ago, when Gods were the main force in the lives of humankind, at the centre of the world lay a coastal town named Mesophanos.

It was a town thriving in all aspects, but was known for one particular inhabitant: a young man named Theros.

Theros was twenty-three years old when he braved the stormy waters of the Aegean Sea during the tumultuous quarrel between Poseidon and Ares. This was when he reclaimed his town from the warzone, and became known as the saviour of Mesophanos, the most valiant warrior. He went on to do many more things that made him appear true to his name.

Theros was not born and raised in Mesophanos; he hailed from the little-known village of Anoi ̱tos1, identified as the city of fools. There he had lived with his beloved horse, Nikanor, and his father, Arkeunus, who was a craftsman. His mother was Themis, the Goddess of Justice, who before she became the first bride of Zeus, became Theros’ mother. This made Theros a demigod and gave him a sense of superiority in this city of fools. It was the foundation of his arrogance, which was heightened after his celebrated displays of strength.

He would walk through the marketplace of Mesophanos every midday with his horse, soaking in the sun’s rays and the people’s high praise, revelling in it. While people showered him with words of admiration, he barked back snarky remarks.

The townspeople let it pass as he was still young (arrogance was only natural in one’s successful youth), and they felt indebted to him for saving them. However, this did not last long—his behaviour soon grew tiresome for the locals, His unpleasant nature quickly made him the most unpopular person in town.

Now when he walked through the marketplace, people would look at him with disdain, and even the sun stopped smiling at him– the sun was replaced with clouds which would rain down on him, drenching him and his horse. This gradual 1

Anoi ̱tos – fool [Greek]

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shift became an annoyance for Theros, who lived off praise. He soon decided to leave and move elsewhere, where his greatness would be appreciated.

Upon making his decision, the following morning at the crack of dawn, Theros set out with his trusty companion, Nikanor, and together they journeyed across the Meadows of Omorfia2. As he rode with Nikanor, he watched the everchanging hues of the sky. He dreamt of the town they were travelling towards while he was awake. Yet despite trying to occupy his mind, time was passing slowly, like dandelions blowing in a summer breeze, and they were growing weary. Theros could feel Nikanor’s exhaustion as if it were his own and felt it was time for a rest. Soon enough, they chanced upon a lake with stable banks.

Theros dismounted Nikanor, who then trotted towards the calm lake. Theros watched him in admiration as he leant towards the rippling waters. So preoccupied with Nikanor, he didn’t notice that there was someone else there too, until he heard a voice call out.

“What are you doing here? These are forbidden lands,” the voice admonished.

Theros turned to see a tall woman in a purple belted tunic. She seemed older, yet ageless and her eyes indicated she was wise beyond her years. To Theros her eyes suggested over-confidence.

“Forbidden? No place on Earth is forbidden to Nikanor and me.” He ran his hand over Nikanor’s mane.

“It is forbidden for all,” she warned.

Theros paused, incredulously wondering, how dare she speak to him in such a manner? “Do you know who I am? That’s a pointless question, of course you do.”

“You mustn’t get ahead of yourself Th– ,” she paused and pondered for a moment. Her expression became one of surprise. “You don’t recognise me?”

“Why should I?” he scoffed and returned his gaze to Nikanor.

In the background he could hear the ripples of the water. He glanced back at this strange woman, annoyed at the silence she had responded with. The woman stood there, watching him with a disconcertingly calm composure. “Look at me,” she said. Theros, reluctant to turn his full gaze on her, kept his eyes fixed on Nikanor’s hooves. She let out an uncannily familiar laugh from behind him and 2

Omorfia – beauty [Greek]

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it felt to him as if someone had spilt a drop of cold water down his back. He inhaled a gasp of realisation and timidly turned to face Themis, his mother. The faded memories brightened a little and he wondered how he had not recognised his own mother.

“It has been a while, I know, but you have no right to forget me.” Her eyes seemed alight with fire and it was as though she had been possessed by the furies. She raised her hands and closed her eyes, focussing intensely. Behind him, Theros heard a whinny and he spun hastily to see the suffering that was befalling Nikanor. The hairs on Nikanor’s body were fading to a dark grey colour and he seemed unable to move.

Theros could barely grasp what was happening before him. He ran to hold Nikanor, whispering words of solace to him. Nikanor was writhing around in what must have been unbearable pain, until there was stillness. Theros had watched in agony as the life was drained out of his eyes. Now he was frozen to rock. Nikanor looked up at Themis in horror. The ends of her mouth were gently turned up.

“Never disrespect me again, Theros. Learn your place.” And with that, Themis glided away into the distance, leaving Theros splayed beside the rock formation that was once his beloved horse.

Word origin fun fact: The word ‘hero’ comes from ‘theros’; during his time of glory in Mesophanos anyone who committed an act of bravery was called ‘the-hero’ as a form of praise.

--Prachi Saraf

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‘Ode to Modernity’ And as they walk through the galleries Lingering in each other's limbs, Let them brush past us, Planting sonnets in our hymns, Are they waltzing with vanished partners Or trampling over them?

Preservation inevitably makes way for reinvention Something human unlocked in their minds When we are paid close attention, Waiting, watching for the next ones To come along

--Rania Faraj

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Odysseus--Does He Deserve the Title of Hero?

In my classical civilisation class, we often have discussions as to whether Odysseus really deserves his title as a hero. If you have read ‘The Odyssey’, it is clear that Odysseus can be both lazy and brave. One moment that particularly stands out to me that shows Odysseus being very foolish is when he escapes from Polyphemus. At this moment he has blinded Polyphemus and managed to get away without him knowing, but then Odysseus decides to shout to Polyphemus which reveals his location. If I were Odysseus, I would not want to be chased by a cyclops, so I have no idea what he was thinking in that moment.

To top it all off, Odysseus reveals his identity to Polyphemus, which was a very bad idea as Polyphemus asks the gods to make Odysseus’ journey home very difficult. Not to mention that Polyphemus’ father is Poseidon, the god of the seas, and Odysseus is making his journey home by ship. Odysseus is also not respected by his crew, and at times they do not listen to him which shows his lack in leadership skills. To be a hero, you need respect which Odysseus clearly lacks, and the crew often go behind Odysseus’ back. One example of this is when Odysseus is looking after the bag of winds which will help them get home, and the crew sneak up on Odysseus at night to steal the bag as they believe it contains treasure.

However, Odysseus does show bravery throughout his journey home, which is a key characteristic of a hero. He shows bravery when he stabs the cyclops in the eye to blind him, and when he makes the journey to the underworld to learn about his fate. Odysseus does also have some sensible ideas when he instructs his crew to tie him up to a mast on the ship, so that he can endure the sirens and continue his journey home. Most of the time, Odysseus does receive a lot of help and assistance from the gods, and without their help he would not have reached it home.

Overall, I believe that Odysseus can be seen as a war hero as he fought well in the Trojan War, but not as an ordinary hero in everyday life.

--Poppy Mann

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‘the idea of her:’ there's a dove in my chest I'm coughing up feathers as I laugh, and they're sticking in my teeth and I want them there, If I grab her hair in my handsI won't. but I wish she knew how much I long to, I wish I was more than a paperback: a crumpled lover is no good.

I wish I remembered how to speak, instead of choking my papers with words and words and words, hands drenched with pomegranates' blood. reach down my throat and pick up broken kisses from my mouth, my love I was carved with your lips in mind after all what's a mother's grief to your laugh?

I think I'd kill to be the mirror on your mouth.

--S

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A Book Review of ‘Mythos’

by Stephen Fry I was recommended this book by my Classics teacher, so I read it over the summer holidays, and it was incredible! It was interesting and engaging as well as being entertaining and at times very humorous. Stephen Fry covers the topics of the creation of the gods, and other key events such as the origins of the Olympic games. Fry also references the Isthmian games which occurred on a rotation with the Olympic games and the Pythian games. In this section, he compares the modern-day sporting events to the ancient ones, and he emphasises the fact that in the modern day one would win big prizes, but in the ancient games the prize would simply be a wild celery or an olive wreath.

His colloquial narrative alongside the factual information makes the book even more gripping, and he is very clever in the use of his language, as it is detailed but is not overwhelming, using comedic language which makes it easier to understand. He also creates a modern take on the ancient myths when he is discussing Poseidon, the god of sea, and references Percy Jackson. As we all know, Percy Jackson was a fictional character created by Rick Riordan, and Fry’s reference to him almost gives Percy Jackson an honorary position as a Greek myth. He also tells us how Shakespeare, as well as many other writers, were greatly influenced by the ancient Roman poet, Ovid. Some of Shakespeare’s writing is similar to Ovid’s, such as ‘Romeo and Juliet’ resembling Ovid’s ‘Pyramus and Thisbe.’

Overall, I would really recommend this book if you want an introduction to Greek myths, or if you want to learn more about how modern-day writers have been influenced by ancient texts

--Poppy Mann

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How Does the Character of Helen Graham in The Tenant of Wildfell Hall Defy Traditional Female Stereotypes?

The Tenant of Wildfell Hall by Anne Bronte is referred to as one of the first feminist novels. Many would agree that this novel helped shape the start of the women’s rights movement due to the topics discussed. It is regarded in this way as it discusses themes that were taboo in 19th century Britain such as fluid gender roles, domestic abuse and generally a more realistic portrayal of love and relationships. Anne Bronte is often overlooked by critics and readers, since Charlotte and Emily Bronte’s novels were better received by the public. One male critic went as far to say ‘it is utterly unfit to be put into the hands of girls’ suggesting that the theme of women empowerment would be detrimental to the patriarchal society. Despite the negative reviews which is expected for a controversial novel, The Tenant of Wildfell Hall remains a quintessential feminist novel to this day.

The protagonist Helen Graham is immediately characterised as someone who does not trust people easily, suggesting that she had a difficult past. Because of her uncanny appearance and the fact that she does not care to socialise with her neighbours, false rumours spread about her past. We are quickly introduced to the characters of the Vicar and Mrs Markham, who seems to have much to comment on. It is interesting to see an indifferent woman presented here, sharply contrasting a character such as Jane Eyre, who has a gentle manner. Throughout the novel, the characters that judge Helen are, on the whole, women. This brings attention to the fact that women also disrespect other women. However, the narrator, Gilbert Markham (Mrs Markham’s son and Helen’s love interest) never gives in to the rumours, and instead believes what Helen says.

As I mentioned before, the theme of fluid gender roles is very prevalent in this novel. Firstly, the main character is a single mother instead of a young maiden, suggesting that one does not need to be a virgin or married to be respected.

This in itself is an extremely modern concept that is way ahead of its time. Secondly, it is evident in the novel that Helen’s parenting is not traditional, and rather goes against how most women would parent their sons.

When told by the vicar that sons should learn to revoke their mother, she responds, ‘I trust my son will never be ashamed to love his mother!’ which was shocking to those surrounding her, and this would have also been shocking to the 19th century reader since this kind of behaviour was unheard of. This theme is reiterated in Gilbert’s household. Rose (Gilbert’s

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sister) says, ‘I’m told I ought not to think of myself’ regarding domestic chores, since she is always helping her mother in the kitchen. To which her mother replies ‘and very good doctrine too’ suggesting that even her own mother happily admits that her sons’ wellbeing is more important than her daughter.

To further prove this point, Rose is unable to talk further since her brothers immediately start talking. We can see how Mrs Markham’s parenting directly contrasts to that of Helen Graham.

In conclusion, The Tenant of Wildfell Hall is a fantastic novel for those wanting to explore feminism in the 19th century. The character of Helen Graham interests me the most, due to her indifferent attitude towards men. The fact that she prohibits her husband from sleeping with her, slamming the door, reveals an entirely different narrative for women to aspire to. It was even said that ‘the slamming of Helen's bedroom door against her husband reverberated throughout Victorian England.’ Literature and our society go hand in hand, and by having such an independent character like Helen presented in this novel, this would start to change the way people thought about women. The supporting characters of the vicar and Mrs Markham represent the 19th century readers who had different views. In addition, the realistic features of the novel are unlike most at that time. For this reason, The Tenant of Wildfell Hall defies traditional stereotypes of women, representing deeply feminist ideas.

--Ella Petherick

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‘song of a heroine’ Faint of heart is she From having to face Two-dimensional Honesty.

She feels betrayed by Nature for Mirrors; at their Inescapable candour she cowers and She shivers.

She can no longer gaze out to sea Dreaming of her home being the wine-red Aegean For not one year but ten – Thinking this is the key To be crowned a heroine, for a lock hopefully containing A poem written for her, to call her own. Her song.

She sighs to herself: That dream of mine is hopeless, gone.

For she can no longer gaze out to sea In fear that she might see herself Cast onto the calm of the surface As the light paints what it sees, filling up the canvas Inch by inch.

In her fear she finds herself in the Labyrinth Where (she does not realise) she is both Her Minotaur and Her Victim.

She fears the very visual echo that is called ‘reflection’ To ‘reflect’ to her is but a stream of relentless self-rumination; She convinces herself that the purpose of the visual echoes’ rings Is simply to uncover more of her shortcomings.

But here! in the free solitude of Night She attempts to allow a glimpse of herself in the absence of Light: Her eyes welcome a shy silhouette and A pause. BeforePerhaps I can love my shadow – It is me, yet not me and I like it so.

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But I could never know empathy when it comes to Narcissus; For I am beautiful only when featureless.

She wishes desperately to find a miracle like the Styx And instead finds herself making sacrifices of tears, and scars that Time cannot fix; She wanders aimlessly for aeons until she is numb and lost But her mind stumbles across the swift-footed hero and his Patroclus.

She had forgotten all of Love! The wandering had stripped away all traces; Her heart, paralysed by solitude, now yearns to see Their faces: Her wine-red blood again begins – like the Styx – to flow and so does A tear.

It is true I am my own Achilles’ heel – All of me my weakness, strength I am yet to feel.

But Achilles, despite his fatality, knew and received Love; So I am striving to love Myself, hoping I could someday love others enough.

Someday did arrive – to find this Love she, like a warrior, fought And until the arrival of Someday, this Love she sought.

What are the Trojan War’s ten years when she could find herself?

Love for others and even self-love she did find as well.

Now she watches and hears us as her song we now sing For little did she know her fate from the start was written in us to be a heroine: Not through blind piety, or blind honour, or blind heroism But through the fact she even attempted to cross such a chasm.

Every tear, every step, every use of energy Formed one more note of her faraway melody.

So, friend, if you ever worry about what Your song will be Or if you have one at all, deserve one, hear our voices as we plea: You can design your own song, you can conjure up your own remedy Which is personal, unique to you – your own lock with your own key.

If you doubt your song, look up at us (Although you might not see us between Dawn and Dusk) As we hang in the darkness bringing life to Night There is, in fact, a mystery to our familiar sight:

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Each of us is a note on the musical stave of the world And Someday, the Universe’s secret song may be unfurled But in order for us to be aligned The notes of your faraway melody you must find And when we can sing your beautiful song You will know that as a heroine, or a hero, you truly belong.

Full in her heart is she From having found in her life Such genuine beauty.

She feels grateful to herself for sailing on All this while; at her ability to Love she cries as She smiles.

--Fleur Lee

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The History of Literature in Ancient Egypt The Ancient Egyptians are infamous for the role they play in history; the magnificence of the great pyramids, the enigmatic nature of hieroglyphics and the legendary tales of their Pharaohs. These are fairly well known in the public domain, but perhaps a lesser-known aspect of their culture is their written work, considered to be the world’s earliest literature.

Around the late 4000s BCE, writing, both hieroglyphics and hieratic, first appeared. Hieroglyphics are arguably the more well-known style of writing: a formal writing system combining logographic, syllabic and alphabetic elements. It is said to have approximately 1,000 different characters. These were used on papyrus and wood to write religious literature, such as the Book of the Dead. On the other hand, the hieratic script was used to write the language, mainly with a reed pen and papyrus.

Literature in Ancient Egypt, like in any other culture and civilisation, developed and changed over time. During the Old Kingdom, otherwise known as the Age of the Pyramids (the time when the Great Pyramids of Giza had been constructed), literature included everything from funerary texts, epistles, hymns, poems, and commemorative texts to administrative officials. When the age of the Middle Kingdom had come about, it was then literature had evolved to include narratives. Some historians argue that this was a consequence of a rise in intellectuals and scribes during this period. Nevertheless, as some surmise, whilst literacy rose, it was still only limited to a select few, making literature exclusive to the elite.

As the Ptolemaic period came about, popular stories such as the Story of Sinhue were revived. This story is considered to be one of the most exceptional works of the time. It is set in the aftermath of the death of Pharaoh Amenemhat I; Sinuhe, an Egyptian official, accompanies the current prince to Libya, where he overhears a conversation to do with the death of the Pharaoh and flees. The plot continues to follow his life as he becomes the son-in-law to Chief Ammunenshi, and describes his battles against rebellious tribes. As an old man, after having defeated a very powerful opponent, he prays to the Gods, wanting to return to his homeland. Later, he receives and accepts an invitation from King Senwosret I of Egypt to return. He lives out the rest of his life comfortably, and is finally buried in the necropolis in a lavish tomb. This

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story encompasses several themes and ideas that have inspired other works.

The interpretations of this story are so varied, but the general consensus suggests that tale contains multiple references to the Gods, such as Hathor, the Goddess of fertility, rebirth and the patroness of foreign countries, as well the Goddess Maat, the Goddess of truth, order and justice.

Similarly, the Book of the Dead was an ancient Egyptian funerary text that held much importance in the New Kingdom. The original name for this text is loosely translated to the Book of Emerging Forth into the Light, with ‘Book’ being the closest term to describe a collection of texts. This collection included various writings, such as magic spells that are supposed to help a dead person’s journey through the underworld, and into the afterlife. This compilation was written by several over a thousand years, and it details the journey in depth, whilst also explaining the origins of the Gods.

--Nitya Kapadia

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‘The T-Rex’s Story’ He’s the king of his kind.

His legs are like tree trunks, But three times the size.

His head’s like a boulder.

Beads of blood blink on both sides.

His arched back is covered With sharp, thorny spines.

Every few seconds, Each time that he breathes, The whole world stares at the Rows of deadly, yellow teeth.

He crashes through the jungle, Like he owns the place.

Something dives out of a bush, And so begins the chase.

Now he opens his mouth To bellow a mighty roar.

But then he gets hit By a huge meteor.

--Tammy Berman

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‘Standing on the Shoulders of Giants’ Standing on the shoulders of giants Is no easy thing, The dust of their bones is shifting, Unstable, Too quickly you may slip; One misstep could send you tumbling down And it’s a long way to fall.

Like Lear, perhaps the only recourse is further than you am prepared to go.

The abyss, though tranquil, is dark, Bitterness offers little in the way of company And the quill cannot keep you forever.

Intimate are the libraries of man Yet they can follow you only so far…

Writers of an age long lost gaze down upon the mere calamities of mortals But their eyes are like shards of glass And you fear that you may cut yourself if you gaze too close.

If every human’s a vault The wealth of secrets we conceal is unknowable and inconceivable And too profound to penetrate for most But if Woolf could do it, who’s to say that you couldn’t too?

--Schuyler Daffey

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What we’ve been reading At Swim-Two-Birds, Flann O’Brien Admittedly a book that requires quite a bit of attention, At Swim-Two-Birds is more than worth your time. Considered one of the greatest examples of metafiction, it offers a view into Dublin life that parallels James Joyce’s Ulysses (though if planning on reading both, I’d suggest reading O’Brien’s work first as it is considerably shorter). Constant shifts between contemporary ‘biographical reminiscence’ and Irish myth create a wonderfully fluid novel, aided by the lack of conventional chapters. Brief intercuts of clarification and humorous sidenotes make it a refreshing read – full of satire and playfulness.

--Rania Faraj

Spring Snow, Yukio Mishima Spring Snow is set at the end of the Meiji Era in Japan, after years characterised by tentative democracy and the dismantling of Japan’s feudal system. At the heart of this is the character Kiyoaki, who has been raised in a family of the waning aristocracy. The plot follows Kiyoaki’s developing love for the Siamese princess Satoko, and his devastation after he finds out that she is engaged to a royal prince. Overall, this novel is an enchanting read and allows us to explore an element of history from a perspective which is not always considered. It also allows us to explore the wonderful realm of literature in translation, and appreciate how the captivating imagery has been preserved from the original Japanese.

--Alex Morgan

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DEAR AGGIE

By Aggie Nyarnt

Dear Aggie, I have been told that my wife, Desdemona, has been having an affair with my second-incommand since before she even became my betrothed. I am filled with murderous rage when I look upon the strumpet, and I am forever grateful to my honest and valiant ancient, Iago, for revealing the truth to me. I can feel a pain in my head when I remember how they would have writhed together, and her false innocence makes my blood boil. She even gave him the very first love token I ever bought her, an embroidered handkerchief, and that was all the proof I needed. All I need to know now is how I should enact my revenge?

Yours, Othello

Dear Othello, Have you talked to Desdemona about whether these rumours are true? I do not want to cast doubt on the reputation of the honest Iago, but he may have misconstrued the situation. Remember revenge isn't always the best option; have you considered marriage counselling? Or some simple communication?

From Aggie