No scruples about Valentine’s dayindigo

14.02.13

indigo Thursday 14th February 2013 | INDIGO

Indigo Editors: Justina Crabtree & Robin Marshallindigo@palatinate.org.uk 2

editors’ letter

Valentine’s Day: we love it, we hate it, we love to hate it… yet ultimately can’t help but hate to love it. With no desire to indulge in the melodramatic debate sur-rounding the validity of the day (it’s now well and truly common knowledge that the entire operation is a commercial gimmick), we’ve decided instead that this issue of indigo will focus on the redemptive benefits afforded to us by this particular cause for celebration. As we hurtle into the second half of term, February can be chilling enough without any doom-and-gloom scaremongering about corporations tak-ing our gold coins and swapping them for chocolate pretending to be gold coins. Everyone knows this goes on, so we advise you to sit back and be taken for a ride – it might even be fun. Gorge yourself on choccies and have some more rosé, loved up or not, because these things are fun, and we especially rec-ommend fun. In fact we rate it very highly, just be-hind debates about commercialism and heartache. If you do find yourself on a date tonight and are struggling for conversation, may we suggest some topics to keep you going? You could, like our Stage Editor’s been busy doing, discuss the upcoming Durham Drama Festi-val, which looks set to showcase an exciting array of student theatre. Maybe wait until the night’s over to set in stone any future meetings, however. Alternatively, if you’re feeling confident with how the date is going, why not plan ahead to a holiday in Prague? Apparently it’s rather lovely for weekend get-aways, according to our Travel Editor. There’s plenty of hype surrounding Jane Austen at the moment, so if you’re literarily inclined, consult indigo first to find out whether her novels are still worth the bother. You never know, your very own Mr Darcy might be sitting on the next table. But perhaps more importantly you should talk about The Love Hearts Appeal, as discussed in our Features section, which seeks to raise awareness of the importance of organ donation. Whatever the case, we hope there’s plenty in this issue to keep your tongues flowing at dinner (and beyond). Just make sure that the bill gets paid with the right type of gold coins. JC & RM

inside this issuePage 3 FEATURES: if there’s one thing close to our heart this Valentine’s Day it’s this inspi-rational story about the importance of organ donation from one very courageous Dur-ham student.

Pages 4&5 FASHION: indigo believes you shouldn’t mix business with pleasure, except maybe on Valentine’s Day. Our very own fashionistas explore the endless dating possibilities on offer at Flat White.

Page 6 FILM & TV: is today’s re-lease of the fifth instalment of Die Hard slightly incongruous with the whole Valentine thing?

Page 7 TRAVEL:if you haven’t already planned your reading week getaway, may we recommend Prague?

Pages 8&9 STAGE: our Stage Editor plays muse to the thesps, picking their brains over the upcoming Durham Drama Festival.

Pages 10&11 MUSIC: as incongruous as it sounds, Daughter recently played in Stockton. See indigo’s review of the concert inside, as well as our interview with scarf-wearing, guitar-weilding, heart-wilting Jack Savoretti.

Page 12: FOOD & DRINK: indigo provides you with the essential Valentine’s Day menu for one - trust us, we would know.

Page 13 VISUAL ARTS: the debate over what constitutes art in the 21st cen-tury continues, with a discussion of 3D printing and its validity.

Pages 14&15 BOOKS: once you’ve pol-ished off your chocolates, tuck into our reading list of the greatest love stories tried and tested by the experts.

More articles on palatinate.org.uk. Cover photograph: Liza Kozowyk.

Searching for the perfect Val-entine’s Day gift this year? Those who are aiming to

impress could maybe seek in-spiration from rapper Jay Z who bought his beloved Beyoncé a $24,000 platinum covered mo-bile phone as a symbol of his love, or Katy Perry, who treated Russell Brand to a lilac Bentley.

Slightly closer to home, us Brits together manage to spend around 1.3 billion pounds every year on greeting cards, flowers, chocolates and other small treats to spoil that specialsomeone.

However, February 14th is a

day just like any other. Amongst all the hype, three people will die whilst waiting for a different kind of gift – an organ they des-perately need to survive.

Why am I so concerned? Well, seven years ago I was a “normal” and healthy fifteen year-old teenager. After noticing a slightly unusual heartbeat my parents took me to the local A&E depart-ment in Jersey where it became apparent that I was not quite as healthy as I seemed. I was trans-ferred to Great Ormond Street Hospital for Children (GOSH) where I was immediately diag-nosed with dilated cardiomy-

opathy: my heart was struggling to pump enough blood around my body.

Things went from bad to worse in a matter of weeks and after a failed attempt to insert a pace-maker, my health rapidly dete-riorated and it was decided that my only hope was to receive a new heart. I was added to the Register but as nurses and doc-tors struggled to keep me alive, the hope of finding a suitable heart was fading quickly and on 15th June 2006 they confirmed that I had one more night left to live.

Three hours later, to the im-mense relief of my family and friends, a donor heart became available and the surgeons at GOSH performed the amazing operation that saved my life.

On Valentine’s Day 2012, my family and I started up the Love Hearts Appeal. Since then, with the support of hundreds of peo-ple we have managed to raise over £150,000 to put towards the new Heart and Lung Cen-tre at GOSH. The other aim of the Appeal was to increase awareness of the critical short-age of organs in Britain. Bill Bryson, Durham’s ex-chancellor and patron of the Love Hearts Appeal, has stressed the impor-tance of students signing up, as we are the generation who has the opportunity to make change happen.

Today there are over 10,000 people in Britain who are so gravely ill that they have been placed on the waiting list for a transplant. They may remain there for days, months, even years until a suitable donor be-comes available or their time runs out.

90% of the British population have stated they would be will-ing to donate their organs, yet only 31% have actively signed up. Without wanting to sound overdramatic, that gap is causing deaths that could easily be pre-vented.

Once you have signed the Reg-ister, in the rare event of your death, your family will ultimate-ly still have the right to overrule this and refuse donation.

Thanks to the selflessness and extreme generosity of my donor and their family, along with the skill and expertise of the team at GOSH, I was literally given a second chance at life that I will never take for granted. I was extremely lucky, and to this day I still feel incredibly lucky to be alive let alone studying at University and living a full, active life.

But the truth is luck should not need to play such a power-ful role. Unlike many other prob-lems our country is facing today, we already have a successful so-lution in place – the frustrating thing is that people just aren’t

using it.It is unquestionably a horri-

ble situation to find yourself in, when your last hope of survival (or that of a loved one) depends on the death of someone else.Tragically, people do die every day and nothing will change the grief this brings upon a fam-ily but perhaps there can be a certain sense of consolation if this single death will lead to eight saved lives.

So I urge you, if you belong to that 90% of the population who would donate then please take action. Sign the register and in-form your family of your wishes. All it takes is two minutes of your time, two minutes that may give someone a new life. It’s a heart-felt gift that nearly everyone, from the A-list celebrity to the humble student, is able to give this Valentine’s Day.

To sign up to the Register and for more information please visit:

The most heartfelt gift

Dear Mrs Elvet,My boyfriend broke up with me because he says I go to ‘that slum’ i.e. Klute, too often. How do I convince him that he is wrong and get him back?Klute Lover, St. Mary’s

Dear KL,Darling, when I was an extremely attractive undergraduate, I went to my beloved Klute every nightand not a single boy ever dared comment. He is clearly not afraid enough of you. Take my advice,become the type of woman that men fear to question and he will come trotting right back. I know from experience. And if he doesn’t, he is simply not worth the bother.

Dear Mrs Elvet, I have been invited by a girl I fancy to attend Ballroom Dancing society with her. Does she like me or does she simply wish to use me as a dancing partner?Perplexed Newbie, Hild Bede

Dear PN,The answer to this question is very simple. If she has not ever seen you dance, then she likes you as she is willing to take a chance on your potentially clum-sy dancing to spend time with you. If this is the case, try not to stamp on her feet and you will be just charming. However, if she has seen you dance (and you are good), then I am afraid she only

likes your dancing, not any other feature of you, and is merely us-ing you in her ruthless campaign to win competitions.

Dear Mrs Elvet,I am having serious issues in trying to balance my disserta-tion and job applications with spending time with the boy-friend. He seems to just want to spend all this time gazing aimlessly at each other in cof-fee shops. What is the point? Stressed Finalist, Trevs

Dear SF,Banish this moocher. He is clear-ly holding you back in your quest for greater things, and seems to be taking the puppy-love thing

too far. Do just cut him off, he will eventually get the point.

Dear Mrs Elvet,I am too shy to talk to girls. How will I ever get a girlfriend?Anxious Fresher, Grey

Dear AF,My dear man, do you not know that silent and mysterious can be a rather pleasant alternative to the Durham gentleman who will not cease talking? Just try and look vaguely unimpressed and brooding near the ladies. I’m sure they will be mightily entranced without you uttering a word.

Emma Dawson

INDIGO | Thursday 14th February 2013

Features Editor: Sophia ChanDeputy: Emily Woodhouse feature@palatinate.org.uk features 3

Mrs Elvet sorts you out

indigo’s very own Agony Aunt solves all your problems

Catherine Mclachlan shares the importance of The Love Hearts Appeal with indigo

Photograph: Sophia Chan

Thursday 144h February 2013 | INDIGO

4 fashion

indigo flatters and chatters

INDIGO | Thursday 14th February 2013

5Fashion Editors: Lois Bryson-Edmett, Cordelia YeungDeputy: Jess McGahan

fashion@palatinate.org.uk

Location: Flat White.

Photography: Liza Kozowyk. Clothes: ASOS; Jewellery: Accessorize.

Models: Dom Williams, Laura Johnson & Robin Marshall.

Clothing: available on ASOSThank you to Flat White for letting us use the venue.Models: Laura Johnson, Dom Williams and Robin MarshallPhotograph: Liza Ko-zowyk

Today sees the release of the fifth Die Hard film, A Good Day to Die Hard, 25

years after John McTiernan’s 1988 classic redefined both the action movie and the action star. Die hard fans have been awaiting it with anticipation for six years but could a fifth film be a step too far for the franchise?

The original Die Hard, general-ly regarded as the best, introduc-es us to John McClane, an NYPD

cop who becomes caught up in a $640m terrorist heist led by Hans Gruber (Alan Rickman), the villain that every other ac-tion movie wishes it had claim to. A shoe-less McClane is forced to save a number of hostages whilst abseiling down the side of the Nakatomi Plaza building and blowing up helicopters. This film provided us with the perfect dose of adrenaline, humour and morals (although it was released

in the summer, it is set at Christ-mas, proponing goodwill and the importance of family).

Die Hard 2, directed by Renny Harlin, is set in an airport and it is planes, not helicopters, that are blown up this time. The tried and tested formula works again here. The plots grow in depth and drama but the everyman character John McClane contin-ues to deliver; Die Hard with a Vengeance saw the return of the legendary McTiernan as director and, for me, is closest to rivaling the first. The franchise returned twelve years later with Die Hard 4.0, directed by Len Wiseman. Stand-alone, it’s a good action film, but as an avid Die Hard fan, I felt let down by this one. The franchise seemed to have lost its way, especially as the swear-

ing and violence is minimal in order to appeal to the masses. Yippee-ki-yay mother *gunshot* just doesn’t have quite the same ring to it.

It’s difficult not to love the sar-donic John McClane, the guy is just trying to live his life but is greeted by terrorists, machine guns and shattered glass at every crossroad. As the trailer for the first film stated: ‘The last thing McClane wants is to be a hero, but he doesn’t have a choice.’ This is what makes him such a brilliant character, he is the un-assuming hero with real emo-tions (yes, he cries), yet he is still so very frank in the way he goes about killing badass villains.

Though little has been re-vealed about the plot, we know the fifth film sees McClane ven-

turing into foreign territory for the first time. He finds himself in Russia visiting his estranged son (Jai Courtney), a CIA opera-tive working to prevent a nuclear weapon heist. He will probably find himself in a lift shaft in the wrong place at the wrong time, but I’ll keep my reservations on this aspect at bay. The trail-ers, however, look spectacular, and the explosive scenes set to Beethoven’s Ninth Symphony are reminiscent of the original film’s sheer magnificence.

A Good Day to Die Hard has been rated R in the US so plen-ty of violence is assured. It may seem odd that this explosive, machine gun-ridden action mov-ie is being released on the most romantic day of the year but, as the seductively stripping Yulia Snigir in the trailer also implies, this is a tactical decision made to attract all you single men to the cinema this evening. Perhaps I’m being cynical, there could well be a theme of love and reunion underlying the fifth instalment, just as there was a festive one in the first two. This franchise has never been conventional, so who knows what awaits us?

film & tv Thursday 14th February 2013 | INDIGO

6 Film & TV Editor: Alex Leadbeater film@palatinate.org.uk

‘I like the way you die, boy’ - the best of online reviews

Will this one Die Hard on V day?With a fifth entry in the Bruce Willis franchise hitting cinemas today, Frankie Humpreys takes a look back over Die Hard

Director: John Moore

Release: 14th February 2013

Starring: Bruce Willis, Jai Courtney, Cole Hauser, Sebastian Koch

Running Time: 97 Minutes

BBFC Rating: 15

A Good Day To Die Hard - Fact File

Yippee Ki Yay Mother Russia: Die Hard 5 promises explo-sive father-son angst (main) as well as something a bit

more seductive (insert)Photographs: 20th Century Fox

Django Unchained

Dir. Quentin Tarantino

«««««

“The narrative pace has its lulls, but overall it is another tour de force for Tarantino, at the peak of his talent and showing no signs of stopping

Photograph: Columbia Pictures

Photograph: 20th Century Fox“Daniel Day-Lewis explodes with impassioned

speeches that would give a Shakespearean pro-tagonist a run for their money

Lincoln

Dir. Steven Spielberg

«««««

For more on all the Oscar contenders and a special week of articles leading up to the Academy Awards, check out palatinate.org.uk

P

INDIGO | Thursday 14th February 2013

travel 7

Travel Editor: Dan Hunt travel@palatinate.org.uk

With its gorgeous archi-tecture, a thrilling past, and world famous beer,

family friends easily sold Prague to me after their short break in the Bohemian capital.

But when we came to plan our break in the Czech city my guide-book painted a strikingly different picture: one of a city marred by mass tourism and tacky commer-cialism. But this wasn’t going to stop some intrepid travellers from taking to the skies to experience the city for ourselves.

The plane descended on a pierc-ingly cold January afternoon to a city blanketed by snow and glis-tening in the midwinter sunshine. Prague, or Praha to locals, is divided into two main parts: the Old Town and the New Town. Our first stop was Wenceslas Square – named after the patron saint of Bohemia.

Traditionally intended for horse markets, the square has hosted an array of events, from anti-commu-nist rallies to national sporting cel-ebrations, and serves as a central base for tourists. Standing proudly in a neo Renaissance building to-wards the end of the square we stepped into the National Thea-tre, considered the Alma Mater of Czech opera.

Our walking tour then required us to negotiate Prague’s spider’s web of narrow streets, which di-rected us to what is supposedly the largest medieval square in Europe, Charles Square. Named after Charles IV, it dates back to 1348, and is today the city’s busy trans-port hub.

Not to mention one of Prague’s architectural gems, the Jubilee Synagogue. Built with interweav-ing red and white stonework, the building reflects a combination of

Art Nouveau and Moorish revival styles.

Later, we took to exploring the old quarter, the most iconic part of the city, with its picture postcard landmarks. We harnessed Prague’s impressive tram network to arrive at Old Town Square, a seeming oasis for tourists like ourselves struck by claustrophobia in some of the city’s impossibly crowded streets.

Suddenly, we heard a loud chime; it was the astronomical clock. Adorned with four animated figures set in motion on the hour every hour, the clock represented four major fears at the time of its production, Vanity, Greed, Death and Entertainment. Passing by this magnificent clock, we admired the square’s eclectic mix of architectur-al styles, from the Old New Syna-gogue, completed in gothic style in 1270, and the baroque style of

Clam-Gallan Palace, the venue for lavish balls and concerts, to Monu-ment House – the city’s concert hall, whose Art Nouveau structure serves as an artefact of Czech na-tionalism. Then there’s Pisek Gate, the last preserved baroque gate in the city.

Already wearied from the end-less craning of our necks to admire the strikingly quaint architecture dotted through this square, we didn’t know that the best of Prague was still to come. Labelled number one in our carefully researched compact top-ten guide was Prague castle and cathedral – and it was easy to see why.

Towering over the Old Town, the castle is not only home to the Czech crown jewels but also incorporates the gothic St Vitus Cathedral, the St George’s Basilica and the Na-tional Gallery of Bohemian Art to name but a few. Alongside its

numerous palaces and gardens, it’s no wonder then it has been voted the world’s biggest castle - the building is more than 500m long!

By this time we were well and truly culturally exhausted, but one landmark still remained on our check list – Petřín Hill. Located on the left bank of the Vltava River, this hill features the famous Petřín Tower, a mini Eiffel tower that of-fers exceptional views over Prague. Despite a tiring climb, we reached the viewing platform to contem-plate the sunset over the snowy cityscape below. All that was left was to stop by the only bar on the hill to sample a generous glass of quality Czech beer - an ideal ending to an action-packed trip in perfect Prague.

Find travel updates on the new twitter feed for Palatinate Travel. Follow @palatiTRAVEL to find out more.

Picturing perfect PragueCombining a rich history with stunning scenery, the Czech capital is an affordable weekend break like no other, writes Peter StewartWenceslas Square by nightPhotograph: Flickr ID: Photo Bobil

Travel Editor: Dan Hunt travel@palatinate.org.uk

Thursday 14th February 2013 | INDIGO

8 stageForget the Fringe - it’s DDF takeover time

The Durham Drama Festival returns to celebrate its 38th birth-day next week and will be an exciting and eclectic showcase of the theatrical talent that is pulsing through the veins of our great city. With a range of performances and interactive workshops or-ganised for 19th – 23rd February, DDF promises to entertain, to inspire and to make industry professionals of us all. These writ-ers, directors, actors and producers may be on the fast track to the Oscars, but you saw them here first!

With an extra day added to the festival this year, its publicity offic-ers Chris Blois-Brooke and Heather Cave have been hard at work to ensure that DDF 2013 is even more dramatic, alternative and accessible than ever before.

It is a truth universally acknowledged... that CTC’s adaption of Pride and Prejudice will pull on Duham’s heartstrings. indigo interviews Leo Mylonadis, director, to find out more.

With only a few days before DDF opens, what can you tell us about what we can expect both on and off-stage?

CHRIS: This will be the 38th year for the Durham Drama Festival and so it is very well es-tablished. The way that I would describe it is Durham’s version of the Edinburgh Fringe. It’s got all of the elements of the Fringe: original writing; short, punchy performances; there is absolute-ly tonnes to see within a week. It’s a very different vibe from your standard piece of theatre in Durham.

This year, the programme is very diverse. We have physical theatre pieces, a comedy night, there are some deep, meaning-ful, philosophical plays, but there’s also some light and cheery stuff. We have also de-cided to have nightly socials this year – an acoustics night at Fishtank, a comedy night and of course the awards ceremony – as well as introducing a brand new Community Day.

Tell me a bit more about this community theatre initiative.

HEATHER: The community performances are meant to be a student showcase to allow local A Level drama students to use the Assembly Rooms and to get the opportunity to perform in a real theatre.

What kinds of workshops will be running?

CHRIS: The workshops are going to offer some really valu-able industry insights. We have a workshop about how to break

into the industry and one on Greek Tragedy. The one that I am really excited about is a work-shop run by one of this year’s expert judges. They’ll be offering advice on audition techniques and there’ll be the opportunity to book one-on-one audition coaching sessions. Look out for details on the DDF website (www.durhamdramafest.com) and in DST emails.

HEATHER: We want to make these workshops really accessi-ble so we won’t be charging. We want people to feel that they can just come along.

What has the response to DDF been like so far this year?

CHRIS: We have had so many applications this year. We had places for 10 shows, but we could easily have chosen more. We had over twenty applications and not only from Durham. One was written by a student at the University of York and we also have a show that was written by an Erasmus student.

The response from people wanting to direct, produce and act has been wonderful too. Dur-ing DDF, suddenly there are so many shows going on and there are so many different styles that, not only is there excellent varie-ty for the audiences, but there is also something to interest every actor.

HEATHER: I also think that the response is so great because the DDF shows are smaller and more approachable. It’s a lot less daunting auditioning for DDF than for bigger DST or DULOG productions. We have so many people involved this year who

have never done anything with DST before.

So all the shows are written by students?

CHRIS: The special thing about DDF is that it’s all origi-nal writing. I find that it makes a real difference because the au-dience turns up with no precon-ceived ideas but, as in the case of Haya and Jamil (based on Shake-speare’s Romeo and Juliet, but set in Palestine), you can also see interesting twists on the classics.

With DDF 2013, expect new venues, new actors, new scripts and new ideas.

Are there any shows that you are particularly excited about?

CHRIS: I’m slightly biased be-cause I am directing Charles on Charles Bridge, but it is a great play. It’s a very distant, frag-mented love story set in Prague.

DDF had a great publicity cam-paign last year and the mimes caused quite a stir in Durham! Tell me a bit more about mar-keting and publicity for DDF this year.

HEATHER: Our slogan this year is ‘Push for drama.’

CHRIS: We have a very excit-ing publicity event in Market Square at 11:30 on Saturday 16th February. There will be some diverse performances. It’s going to be really exciting.

And this year will be a first for the D’Oliviers awards…

CHRIS: Yes, the Durham Film Festival decided to call their

What do you think has made Pride and Prejudice such an en-during and timeless love story?

For me, the power and real charm

of the story lie in the characters and the ease with which readers and au-diences throughout time have been able to relate to them. Austen’s characters have very real motiva-tions, fears and desires, most of which are still apparent in many of us today. Darcy’s social ineptness, Jane’s unwavering optimism, Mrs Bennet’s fear for her daughters – all these are the traits of characters which I feel cry out to be brought to life.

What three words would you

use to describe your vision for this adaptation?

I think “contrasting” is the key adjective in this particular case, accompanied by “comic” and “in-timate”.

How would you describe the Elizabeth Bennet and the Mr Darcy in CTC’s show?

The ideal would be to have Eliz-abeth and Darcy as the emotional anchors throughout the production. They may take part in the comedy and even be caricatured in certain

scenes, but in the end it is with these two characters that we can most identify and I feel it is very important to bring out their very human aspects in the scenes where they essentially bare their hearts to one another. The genuineness of the love between these two is one of the main reasons why this story is so famous and popular, and I hope that we do it justice by creat-ing it as naturally as possible.

Which is your favourite couple in Pride and Prejudice and why?

In this adaptation, my favourite would have to be Mr and Mrs. Ben-net. The interplay between the two of them is brilliant and it contains that sort of observational humour that I hold as a personal favourite. Although the characters are in dan-ger of becoming caricatures, I am certain that the actors will control the comedy of the scenes expertly and bring out the humour tastefully and really quite excellently.

This Valentine’s Day, what would you say is the main thing that people should take away from the story of Pride and Prejudice?

I would say that the most appli-cable moral lesson lies in the latter half of the title: don’t be narrow-minded; be open to new possi-bilities and you may be pleasantly surprised. Also, don’t insult the person you’re chatting up behind their back.

Performances will run from 24th - 26th February in the Castle.

Illustrations: James Crosland-Mills

INDIGO | Thursday 14th February 2013

9Stage Editor: Victoria FergusonDeputy: Gabriel Samuels

stage@palatinate.org.uk

Forget the Fringe - it’s DDF takeover time

awards ceremony the DAFTAs and so, this year, we are the D’Oliviers. The awards ceremony is a great way to round off DDF and our sponsors, Ernst & Young, have organised all kinds of bits and bobs for the evening.

We have a great judging panel this year; we’re really lucky. It includes Cat Tyre from the Na-tional Theatre of Scotland and Jake Murray, a freelance theatre director.

What impact will the festival have on student theatre in Durham?

CHRIS: DDF is a fantastic way to get fresh blood involved in Durham theatre. For one thing, it makes you realise that anyone can try writing. A lot of the writ-ers this year have done hardly any DST productions before. We also have entire casts that are brand new to student theatre.

HEATHER: It’s a shame be-cause we are so lucky to have the Assembly Rooms as a perform-ance space, but so few people as a percentage of the student population go and see student theatre on a regular basis. The Durham Drama Festival is a

showcase to remind Durham of the talent we’ve got and to en-courage people to come and sup-port DST.

So you’ve organised some pro-fessional theatre workshops, you’ve got the local commu-nity involved and there will be a special surprise in Market Square on Saturday. A final push for DDF 2013?

HEATHER: Apart from any-thing else, the Durham Drama Festival is just excellent value for money. The tickets are £5 per night (the price of your average DST show), but you can also get a ticket for all five days. For £15, you can see ten shows, attend a workshop each day, a social each night and then there are the D’Olivier awards on the Saturday night.

DDF looks set to be Durham’s very own Fringe experience. For almost four decades, the Durham Drama Festival has showcased some of our university’s best theatre talent, with some of its past performances going on to enjoy runs at the Edinburgh Fringe Fes-tival as well as other international venues. However, as a general rule, these shows only run once and so don’t miss your chance to be blown away this season. Victoria Ferguson

Photograph and logo: Harry Gatt and Dave Stodel

PFor more Pa-latinate coverage of the Durham Drama Festival, go to palatinate.org.uk

Olivia Le Poidevin talks to young singer-songwriter Jack Savoretti, not to be mistaken for the next Bob Dylan

It’s always the same story. The prodigy kid who was born with a guitar in his hand and

subsequently flew to stardom. However, no such story is to be found within the raw husk of Jack Savoretti’s whisky-tinged music. A product of hard work, determination and love for song-writing, Jack came to music fair-ly late in the day. After years of touring, writing, recording and then touring some more, the fresh sweat from his brow is still a close memory for Jack.

But it seems his time has come. His album Before The Storm, released last year, soared to number 18 in the iTunes charts, he recently appeared on BBC 1 Breakfast and has just finished a tour supporting Jools Holland. The music industry appears to be dealing all the right cards to Jack.

I met Jack on a rooftop nestled in the middle of Durham Market Square, and greeted with a big hug and glowing smile, I couldn’t help but feel immediately at home with this international crooner.

Despite having come up from Manchester after two weeks on tour with another two to go, Jack looked fresh and sprightly – leaving me to wonder little as to why his rugged good looks were featured in Cosmo’s ‘who’s hot’ section.

I began by asking him just how his support slot with Jools Hol-land, which is normally a privi-lege to the elite few, came to frui-tion.

‘Things come about...friends of friends, people see you, and that’s kind of how it works.’

You’ve been around quite a while; your first album, Between The Minds, came out in 2006. So how did the musical road begin?

‘Well, I moved to LA when I was 17 and I wanted to study film...but I kept coming home and writing songs. So when I moved back to London and didn’t have a job I decided to wing it and say ‘let’s try and do this’. And that was eight years ago and I’m still doing it.’

So when did your love for mu-sic begin? When did you first pick up the guitar?

‘My parents always played music. And when I was 16 I discovered the beauty of poetry, purely because you

couldn’t be graded badly in poetry, you could make up your own rules...no one could tell you it was wrong. So that in itself blew my mind. That got me into being creative with words. It was actually then my mother who always had a guitar lying around and said ‘why don’t you try putting it to music’, and I did. It was kinda like killing two birds with one stone because I was getting a lot out of it and people were enjoying it. It was being used for something positive and productive.’

Your guitar and your voice, are they both classically trained?

‘No, no there’s nothing trained about anything. And I think if I had been trained I wouldn’t have liked it. No-body’s ever told me how to do this, it’s mine.’

Expanding on his mention of his love for poetry, I was inter-ested to find out just how Jack’s songs are crafted, as indeed some of his lyrics are quite reflective: ‘There were the politicians/Men of the cloth, painters and poets / Starting a revolution/Without even knowing it’.

‘It’s always about captur-ing a moment, a bit like a photograph, something that everybody sees everyday, but doesn’t realise how beautiful or how sad it is. So if you can capture that moment like you do with a photograph, you know that it is going to work, because everyone sees it, eve-ryone hears it...It becomes a very powerful thing.’

In terms of the progression of your songwriting, has it changed quite drastically from the early years to now?

‘Yeah, I think it changes on a daily basis, because I change. So if I was still writing the same songs when I was 17, it would be strange. I’m not the same person so I’m not going to write the same songs. Again like photography, depending

where you live, depending on your settings, your photos will change. And that’s kinda what I see with songwriting.’

In terms of your musical influ-ences, who would you say you grew up listening to?

‘Simon & Garfunkel was the first time I discovered what songwriting was, rather than music. Music to me was just music, something that didn’t have that lyrical impact on me initially when growing up. But when I listened to Simon & Garfunkel I realised you could tell a story with a song. You could paint a picture with a song...and then Crosby, Stills and Nash showed me that mu-sic could be cool, as well as deep.’

You’re an incredibly interna-tional guy, where do you actually call home?

‘I was born in London, but to German-Polish-Italian par-ents. I grew up in Switzerland. A little bit in California...but I’m a Londoner now, and eve-ryone’s international. I mean the guys I work with [his band The Dirty Romantics] they’re not from the same country.’

Do you find that actually helps your music? Is that foreign ele-ment present in the sound you create?

‘A lot of bands are from the same town...but I like [that] when we play we bring some-thing to the table, which no one has ever tasted before.’

So it sounds like you have a great band for Eurovision. Jack bursts into raucous laughter. On record, would you ever enter for Switzerland for Eurovision?

He replies adamantly ‘NO!’ and chuckles loudly again.

Out of the people you’re listen-ing to right now, who would you recommend?

‘Ben Howard’s album is in-credible. It’s been a long time coming. And Michael Kiwanu-ka’s album is phenomenal.’

So the musical road from here: you’ve got your UK tour, and your new record released. What is your future plan with your music?

‘Just to keep doing this, it’s really nice to watch it grow… We’re doing this all ourselves...it is growing quicker and fast-er than it ever did before.’

Well, in the UK you’ve been on BBC Radio 2, and I read a review the other day suggesting you could be the next Bob Dylan – a great compliment!

‘Nah that’s just lazy journal-ism! But amazing! But when-ever they say that...whenever they compare a guy with a gui-tar to Bob Dylan, I’m always a bit like ‘ah, oh no...’ Well it’s very flattering but nuts!’

Best moment of your career so far?

‘We’re playing in Royal Al-bert Hall in a week. That’s a real tick in the box. I might just hang everything up after that - done. I’ve played the Royal

Albert Hall, I’m good,’ he says playfully.

Finally, what would be your one piece of advice to any up-and-coming artists considering a career in music?

‘Pursue it! Listen to those around you, but don’t change what you believe. So just stay with it and keep doing it. Be-cause the quicker it comes, the quicker it will leave you. So the longer it takes, it means you’re in it for the long run.’

The Sound of 2013 critics have somehow managed to pass right by Jack’s growing prominence on the music scene and will sure-ly be scratching their heads as to how they missed out on catching this golden boy early on.

If a music career was like a university degree, then it seems that Jack has reached his gradua-tion with flying colours.

Watch: Jack’s Me & The Mu-sica Presents Rooftop Session:

www.youtube.com/Musicapre-sents

Listen: ‘Before The Storm’ (Album) or single ‘Not Worthy’, available to buy and download at stores.

Our pick: ‘Wonder’.

music Thursday 14th February 2013 | INDIGO

Music Editors: Patrick Bernard and Alex DenbyDeputy: Sophia Smith Galer

music@palatinate.org.uk 10

Jack Savoretti performs live for Rooftop Session Photograph: Olivia Le Poidevin

Shout it from the rooftops

“Simon & Garfunkel made me realise you could tell a story with a song

Stockton is full of surprises: well sometimes. Wandering around the widest high street in the UK we stumbled upon Daughter; Elena, Igor and Remi holed up in the quirky little Georgian Thea-tre. We had gone hoping to meet some indie medics, we were met with an interestingly middle aged and rowdy audience demographic. Well then, Vane Tempest eat your heart out.

Quite simply Elena is a beauty. Greeting us quietly in her delicate North London accent, (she had played at Stockton before: why? Nobody knows) the band began and we were mesmerized. The power of their music is rooted in the haunting poignancy of Elena’s sweet voice and often vehement lyrics. Daughter quietly made their way onto the folk scene in 2011, with their debut EP His Young Heart finding itself into TV shows like Skins and played on Radio 1.

They were signed to Mumford and Son’s label Communion and have released the emotive The Wild Youth EP. It seems like the be-ginning of a great career.

There were some beautiful mo-ments in the gig as everybody sang along to the angst-ridden ‘Can-dles’ and the thumping emotion of ‘Youth’ - Elena actually paused in surprise that we knew the words. In spite of her unassuming char-acter, standing calmly before us; school girl bob, eyes hidden behind a heavy fringe, the band’s front-

woman captured us with the range of her ethereal voice. As a band they were completely in sync, and times of controlled beauty were demolished by intense electronic force. Switching from electric gui-tar to bass Elena controlled the set charmingly, but it was Igor’s unex-pected use of a bow on his guitar that charged the atmosphere. He was the most surprising element of the whole gig, coping well with the abuse of a few merry Stocktoners who jeered at the poor chap to take his shirt off. Our hearts went out to Elena – bit awkward for strangers to heckle your boyfriend when you are trying to do your thing.

But it was their new material that made a real impression: mark-edly darker and more experimen-tal than we have heard from them before. Had we have known the new songs we would have danced, but all anyone could do was stand together entranced. As a trio they

did well to create the depth of sound that they did, and against all the odds (Igor’s groupies slightly tainted the experience as a whole) Daughter kept their ethereal cool. But what an adventure to find a

beautiful corner of Stockton; a courtyard lined with ash trees, a theatre and a new sound.

By Naomi Ellis andKate Coulter

Music Editors: Patrick Bernard and Alex DenbyDeputy: Sophia Smith Galer

music@palatinate.org.uk

INDIGO |Thursday 14th February 2013

11

Beyoncé / Crazy In Love

Al Green / Let’s Stay Together

Chris Isaak / Wicked Game

Sisqo / Thong Song

R. Kelly / Bump N’ Grind

Marvin Gaye / Let’s Get It On

Serge Gainsbourg & Brigitte Bardot / Je T’aime Moi Non Plus

Joy Division / Love Will Tear Us Apart

Bon Jovi / Bed of Roses

Alt-J / Tessellate

Des’ree / Kissing You

Joni Mitchell / A Case Of You

Elvis Presley / Can’t Help Falling In Love With You

Meat Loaf / I’d Do Anything For Love (But I Won’t Do That)

S Club 7 / Never Had A Dream Come True

Mario / Let Me Love You

OutKast / Roses

Pussycat Dolls / Stickwitu

Ja Rule & Ashanti / Al-ways On Time

Kelly Rowland & Nelly / Dilemma

Cole Porter / Let’s Do It (Let’s Fall In Love)

lonely hearts club

With the arsenal of indie-pop hits Two Door Cinema Club have to boast, the gig was never go-ing to be a bad one. Though the enormous queues outside would suggest their average listener is a 14-year-old girl, the maturity of the band’s lyrics draws in just about every possible age group and the gig swelled with as many people living their youths as re-living them.

A dimming of the lights and a hugely penetrative bass line first

welcomed support act Bastille onto the stage. Fresh from the success of their recent mixtape, Bastille were an ideal choice to get the crowd singing along. Then came the Belfast quartet, resplendent in strobe lighting as their steamed in with ‘Sleep Alone’, the main hit from their second album. ‘Undercover Martyn’ swiftly followed, show-casing a sturdiness to Alex Trim-ble’s seemingly innocent, deli-cate vocals.

The rest of the set suggested the band know their first album has a wider appeal than their sec-ond; although their most recent record has been well-lauded, it doesn’t have the same shaky boisterousness of their debut, and gig-wise the band do well to know that Tourist History car-ries better. Despite rarely speak-ing to the audience (apart from a bashful praise of Newcastle as one of their favourite places to perform) Two Door Cinema Club have a buzzing stage presence that pours straight out into the crowd.

The gig ended with the sudden appearance of huge white bal-loons bigger than the Academy’s disco ball. Needless to say, they were well accepted by a crowd of hyperactive fans and everybody left well-satiated with indie pop. Two Door Cinema Club are rid-ing high on their two successful albums, and so are we.

By Sophia Smith Galer

“Their new material made a real impres-sion: markedly darker and more experimental

For more Music reviews, visit palatinate.org.uk P

Daughter / The Georgian Theatre 19.01.13

Two Door Cinema Club / O2 Academy 24.1.13

Daughter reveal a darker side Photograph: Naomi Ellis

Little drummer boys Photograph: Press

Valentine’s day; a horrific, commercially exploited public holiday or a time

to celebrate true love? However you may feel about Valentine’s Day, it is, to the dread of us sin-gletons, swiftly approaching.

Normally I cue revelling in a state of self-pity and amounts of chocolate that should probably be illegal. However rather than embarking on a divine relation-ship with two wonderful men, Mr Ben and Mr Jerry, this year I am determined not to let this single day ruin my New Year’s resolutions to eat well!

Being single has a wonderful attribute in its favour – free-dom. Whilst other people are stressing over suitable gifts and struggling through awkward for-mal meals, this is the perfect op-portunity to try out those exotic recipes you’ve never quite got round to attempting.

Instead of picking up that ex-tra bar of chocolate, why not reach for some new spices and experiment with unusual flavours? After all, rumour has it chillies increase your metabo-lism, so while couples are guz-zling heart shaped confectionary your waistline won’t be expand-ing!

Dining alone? Why not try this Thai-style chicken and sweet po-tato parcels:

Ingredients: (Serves 1)25g creamed coconut (from a

block)2 tsp soft brown sugar1 tsp fish sauce2 tsp Thai green curry paste½ sweet potato , peeled and

cut into small cubes1 small red pepper , deseeded

and cut into small cubes1 skinless chicken breasthandful coriander leaves and a

few lime wedges, to serve

1. Heat oven to 200C/180C fan/gas 6. Dissolve the creamed coconut with 3 tbsp boiling wa-ter and mix to a smooth paste. Stir in the sugar, fish sauce and curry paste.

2. Place a large piece of baking parchment on a baking sheet. Arrange the sweet potato and pepper in the middle of the paper, clearing a space in the centre. Lay the chicken breast in the space and pour over the sauce. Fold over the top edges of the parchment to form a seal and scrunch up the ends like a sweet wrapper.

3. Cook in the oven for 25-30 mins or until the chicken is cooked through and the veg-etables are tender. Sit the par-cel on a dinner plate or shallow bowl and carefully open. Sprin-kle with coriander and squeeze over some lime juice, to taste. Recipe: Good Food Magazine, May 2012

If the idea of dancing around the kitchen by yourself to Aretha Franklin and Beyoncé still doesn’t appeal, then why not invite your friends round for a baking session à la Mary Berry and try these scrummy honey flapjacks:

Ingredients: 200g/7¼oz unsalted butter200g/7¼oz demerara sugar200g/7¼oz honey400g/14¼oz porridge oats

50g/1¾oz dried fruits or choco-

late chunks (optional)You will also need a 20cm

x 30cm (8in x 12in) cake tin, greased

1. Put the butter, sugar and honey in a saucepan and heat, stirring occasionally, until the butter has melted and the sugar has dissolved. Add the dried fruit or chocolate, if using, and mix well.

2. Transfer the oat mix-ture to the prepared cake tin and spread to about 2cm (¾in) thick. Smooth the surface with the back of a spoon. Bake in a pre-heated oven at 180C/350F/Gas

12 Food & Drink Editor: Prudence Wadefood@palatinate.org.uk food & drink

INDIGO | Tuesday 13th

INDIGO | Thursday 14th February 2013

Rather than embarking on a divine relationship with two wonderful men, Mr Ben and Mr Jerry, I am determined not to let this single day ruin my New Year’s resolutions to eat well

“

With her enticing sweet and savoury recipes, Helen Sandford tells indigo that we can still eat well and enjoy Valentine’s Day, with or without a partner

Dinner for one on the 14th?

As enticing as they may seem, step away from the chocolates this Valentine’s Day Photograph: Samuel Spencer

... and get your sweet kick from delicious honey flap-jacks instead Photograph: Scott Bauer

If you are still head-ing for the chocolate hold back until the 15th and then hit the dis-count shelves. It’s not sad, it’s called savvy shopping and who doesn’t love a bargain?

“

lightly golden around the edg-es, but still slightly soft in the middle. Let cool in the tin, then turn out and cut into squares. Recipe: www.bbc.co.uk/food/

If cooking really doesn’t tickle your fancy why not go out for a meal?

Take a book or go with a friend, sit back and relax whilst you treat yourself to an evening without having to worry about cooking or whether you’ve de-frosted anything.

If you’re still heading for the chocolate hold back until the 15th and then hit the discount shelves. It’s not sad, it’s called savvy shopping and who doesn’t love a bargain?

Whether waiting for a hand-some prince to sweep you off your feet or hoping no one comes near you with a barge pole, you still can eat well this Valentine’s Day.

PFor more Food and Drink suggstions, go to palatinate.org.uk

INDIGO | Thursday 14th February 2013

Innovative technology allow-ing the printing of 3D objects has recently become far more

accessible due to companies such as Makerbot introducing 3D printers for home use with, prices starting at around $1,750 (the same price as a Macbook).

The opportunity to use this technology at home has raised worrying questions about prod-uct piracy. Products could easily be replicated at home if the gen-eral public took the time to cre-ate the design file for the printer to read.

Websites such as Defence Dis-tribution, who state their goal as to ‘produce and publish a file for a completely printable gun’ so that ‘the result will be an easily accessible and replicable design shared with the world’, allowing anyone with access to a 3D printer to make their own working firearm.

However, it is not just industry set to be affected by this dramat-ic leap in technology, but the Art World as well. There are many people to be found online claim-ing to be ‘artists’ who manufac-

ture their art from 3D printers. Can we really call this art?

True, artists have always looked to technology for guid-ance, from Leonardo Da Vin-ci’s camera obscurra to David Hockney’s recent exhibition ‘A Bigger Picture’ at the Royal Academy last year, which in-cluded pictures created by iPad.

However, it seems unfair to deem printed objects ‘sculpture’ when they are created so ef-fortlessly in comparison to the great labour that must be given to stone carving or clay mod-

eling. ‘Art’ implies that a creative process has been undertaken, and the finished product has been thoughtfully created with great skill. To replace this proc-ess with a 3D printer is surely to manufacture, rather than create, and sucks the history and dex-terity from the final object.

Furthermore, one of the most interesting concepts of art is the process of translation to the medium used. For example, when Hockney created ‘Winter Timber’ on his iPad, he could have just decided to take a pho-tograph of the landscape before him. Instead, he made a quick painting with an app, exagger-ated the colours and warped the perspective in order to create an impressionist piece, so that a spectator is presented with the feeling of the landscape, and not just the cold hard facts of it.

3D printing does not allow this kind of expression and in-stead presents the purpose of art as merely to replicate; in the ‘Art World’ the 3D printer is a foundry, made emotionless by its lack of tradition and exper-tise.

Additionally, if (or perhaps when) these printers appear in schools, they may be detrimen-tal to the creative learning of some children. Among young children in particular, there is a desire to replicate real life in art, before they fully understand the idea behind abstraction.

3D printers will fuel this by stopping them from channeling their feelings into the material with their own hands. Although many people do not go on to be-come artists, it is important to allow every child the chance to

find their creative side, and computer-created sculpture may distract from this.

Of course, it is not all black and white. Some people may call a bowl art, where others see it as merely functional. It is pos-sible that if enough creativity is put into the design file, that the printed product can be safely called art. However, this does not mean that it can be classed as sculpture, which requires a more personal touch. The 3D printer is not a craftsman’s tool. To merely manufacture an ob-ject is not enough.

Duchamp’s famous ‘Foun-tain’ shows that even a urinal can be called art if it forces a reanalysis of our perceptions, or makes a bold statement. However it is his presentation of the urinal which makes it art; he does not just recreate it. Per-haps as the technology develops it will be possible to have a more creative approach to developing art via a 3D printer, but for me, it can never capture the charm of a piece of sculpture created from natural materials with a pair of skilled hands.

The ‘Art’ of 3D printingCressida Peever argues that 3D printing technology undermines creativity

3D printers are able to read design files and effortlessly translate them into three dimensional objects. Photograph: Flickr ID: kakissel

visual artsVisual Arts Editor: Lucy Edwardes Jones visual.arts@palatinate.org.uk 13

“In the ‘Art World’ the 3D printer is a foundry, made emotionless by its lack of tradition and expertise

“The 3D printer is not a craftsman’s tool. To merely manufacture an object is not enough

On January 28th 1813, Pride and Prejudice was first printed, and the book

Austen described as her ‘own darling child’ remains a favour-ite among book lovers around the world.

Now celebrating its 200th anniversary, the novel is still famous in the literary world, and indeed beyond. Numerous TV and film adaptations have propelled it back into modern awareness, ranging from the highly successful 1995 BBC ver-sion starring Colin Firth and Jennifer Ehle, to the more ec-centric Bollywood production of Bride and Prejudice.

The love story between Eliza-beth Bennett and Darcy still per-vades modern literature, with numerous novel spin-offs, such as Mr Darcy Takes a Wife: Pride and Prejudice Continues by Lin-da Berdoll, and Seth Grahame-Smith’s more unusual literary mash-up, Pride and Prejudice and Zombies.

Yet at the centre of the Austen media fixation are the novels; six books have captured the hearts and minds of readers for 200 years. Though not necessarily her most complex or captivat-ing book, it is Pride and Preju-dice that remains the universal favourite.

So often dismissed by readers for being a whimsical romance novel for women, Pride and Prej-udice is invaluable for the spec-trum of perspectives it gives that span both gender and age. With an estimated fifty thousand cop-ies of the book sold every year, what is it that continues to cap-tivate a generation of readers today?

On the surface, there would seem to be little remarkable about Austen’s second novel. Courtship drama was popular in Austen’s time, and the story of a girl trapped in unfortunate circumstances and seeking mar-riage formed the backbone of many now forgotten books.

The difference in Pride and Prejudice, however, is the bril-liance of Elizabeth Bennett, and her feisty voice gives the novel an electricity which captivates the reader. Any preconceptions of female passivity in the novel are banished through Austen’s portrayal of Elizabeth as a spir-ited and wilful character who

rebels against the desires of her family.

Elizabeth grabs the reader because she gets things wrong, a truly audacious thing to do in Austen’s time. Austen makes no effort to paint Elizabeth as per-fect; she makes mistakes through her own wilfulness rather than constantly being subjected to misfortune.

The argument that Austen’s novel has no relevance to a 21st century reader foolishly over-looks the universality of the story line, with issues of confused love, pride, and oppressive relation-ships remaining prevalent today. Any twenty-first century reader cannot help but be touched by

the tragedy of Charlotte’s mar-riage to the repugnant, not to mention ridiculous, Mr Collins.

It only takes Helen Fielding’s Bridget Jones’ Diary, to show how Pride and Prejudice is still a huge influence in popular cul-ture – Bridget’s damning opinion of Mark Darcy is inspired by the deeply cutting impressions we receive of him through Elizabeth Bennett. On being asked around a crowded, couple-plied din-ner table why exactly Bridget is still single, she displays the same tightly controlled manners that we see in Elizabeth, and the same seething underlying cyni-cism towards her surrounding peers.

So often, the pioneering narra-tive techniques Austen uses are overlooked, yet as one of the first practitioners of free indirect dis-course, Austen commands a skil-ful and complex narrative style that creates extraordinary en-ergy within the novel form.

Free indirect discourse gives an unparalleled in-depth view of both male and female conscious-

ness in the novel, and while the voice she gives to Elizabeth is viv-idly alive, so too are the portray-als of Mr Collins and the impen-etrable Mr Darcy. By employing this technique, Austen achieves a clarity and depth of characteri-sation that remains rare among writers, achieving similar liter-ary success to Joyce’s use of it in Ulysses and A Portrait of the Artist as a Young Man.

Perhaps most importantly, the novel remains universally liked because it is genuinely funny. The extraordinary poise and self-confidence of Austen’s voice shines through, combined with a sharpness of wit that has rarely been seen before or since her writing.

Renowned for her razor sharp social satire, Austen’s novels are pervaded with harshly satiri-cal opinions of both individuals and wider society. The novel’s opening line, ‘It is a truth uni-versally acknowledged, that a single man in possession of a good fortune must be in want of a wife,’ is one of the most

memorable and quoted lines in literature. Almost Wildean in its subtly critical portrayal of the absurdity of society, it sets up a criticism that only intensifies Austen’s disparaging depiction of many of the characters, from the hysterical Mrs Bennett to the ridiculously prim and proper Mary, who Austen seemingly condemns to spinsterhood.

Austen once wrote, ‘The per-son, be it gentleman or lady, who has not pleasure in a good novel, must be intoler-ably stupid’ and this seems a fair summary of how we should approach her most-loved book. Instead of being banished to compulsory reading on school syllabuses, Pride and Prejudice should instead be appreciated for its universal accessibility. Austen didn’t want her books to be read and thrown away, but treasured and thought about, and the ongoing popularity of her novels clearly shows that the messages she had to convey in the 18th century are still relevant to us today.

Thursday 14th February 2013 | INDIGO

14 books 200 years of being Proud and PrejudicedSarah Giles examines why Pride and Prejudice is so much more than a romance novel, and why its themes are as relevant today as they were several centuries ago

A grand estate, much like the one in which Mr Darcy inhabits in Pride and Prejudice Photograph: Flickr ID: Natman

Austen’s novels are pervaded with harshly satirical opinions

“

As an irredeemable cynic, this time of year always makes me feel rather queasy. All those fake red roses in Card Factory, the scarlet and pink greetings cards offering wild promises of devo-tion, the sudden rash of cuddly toys bearing hearts.

Yes, it’s Valentine’s Day again, second in many ways only to Christmas in terms of over-hyped commercialism and financial ex-cess. The irony behind all of this is that this day was originally supposed to commemorate the painful martyrdom of a saint, and as such has precious little to do with romance. However, being an impartial and unprejudiced critic (it’s true), even I have to admit there are plenty of cases in literature relating to true love, which can be ecstatic even in the throes of pain. Romeo and Juliet are nearly always at the top of lov-ers’ lists, closely followed by a slightly happier (though still deeply troubled) couple, Jane Eyre and Mr Rochester. Tris-tan and Iseult, Lancelot and Guinevere and Madame Bovary make regular star appearances,

and with Joe Wright’s 2012 ad-aptation of Tolstoy’s famous novel, Anna Karenina will once more be invading the popular consciousness as another arche-typal, doomed lover. Yet I aim to look at a few works not always included in such lists but which, for me, depict love at its best and worst, at its most painful, roman-tic, and abiding.

Brokeback Mountain by Annie Proulx (1997)

Ang Lee’s 2005 movie of this short novella has achieved notoriety in many circles, but nevertheless he only draws out and expands

on the vast emotional landscape Proulx incorporates into her af-fecting tale of Ennis Del Mar and Jack Twist, two men meant for each other but who can never be together. Their surreptitious 20-year affair breaks your heart even as you rejoice at their snatched bliss, and the tragic ending makes this one of the few stories which has ever made me cry.

The Age of Innocence by Edith Wharton (1920)

An understated masterpiece. Set in 1870s New York within an up-per-class atmosphere of personal and sexual repression, the pro-tagonist Newland Archer meets Ellen Olenska, the woman of his dreams – but he is engaged to May Welland and Ellen cannot divorce her abusive husband. Their subli-mated affair simmers beneath the genteel societal hypocrisy which forbids open acknowledgement of passion, and their unhappy story lingers in the mind long after the final page.

Words, Wide Night and Anne Hathaway by Carol Ann Duffy

(1990 and 1999)

Writing good love poetry is a com-plicated business: the worst poems are sentimental and overblown, while ones which are considered the best are often highly stylised and can feel impersonal. Carol Ann Duffy strikes the right note with two of the simplest, yet emo-tionally honest, love poems I have ever read. The former gives voice to the often confused feelings of love in a sweet, straightforward way; the latter offers a touching and surprisingly intimate take on Mrs William Shakespeare’s mar-riage to the great playwright.

The Odyssey by Homer

In similarly poetic vein, Homer’s epic depicts a rare thing in lit-erature: a happy marriage. Some may scoff at this since Odysseus appears to spend most of his re-turn from Troy gallivanting with assorted goddesses, but through-out these episodes his mind is al-ways on Penelope, the wife he had to leave twenty years before and who still waits for him. His devo-tion to her, and their eventual

emotional reunion, makes this pair one of the few literary happy couples who are also romantically interesting.

The Song of Achilles by Made-line Miller (2011)

Signing off on another classical tale, Miller’s new novel focuses on Patroclus, the young prince in classical mythology who was euphemistically called Achilles’ ‘companion’ for centuries but who Miller presents as Achilles’ best friend and lover. Sexy without being vulgar, tender without too much sentimentality, the affair between these two youths is all the more precious for being doomed from the start, star-crossed due to Achilles’ predestined fate on the battlefields of Troy.

“There are plenty of cases of true love, which can be ecstatic even in the throes of pain

15Books Editor: Stephanie Staffordbooks@palatinate.org.uk

INDIGO | Thursday 14th February 2013

A love greater than Romeo and Juliet’s?Charlotte Meredith considers the unsung romance of five famous literary works

For more on Books, visit palatinate.org.uk P

Photograph: Flickr: Roboppy

the last wordThursday 14th February 2013 | INDIGO

ACROSS1 Plot point: chapter replaces lead theme (6) 4 Stony faced relative? 8 Bewildered sister takes the tests again (69 Backward peasant engaged in coal turning outside (8) 10 Fundamentally between play strings in Spanish score count (14) 12 Head brass gives speech: wrong ale gets to head and clarifies! (10) 13 Three and three head to Brazil-ian capital (4) 15 Edit edited rise and fall (4) 17 The ends of middle index and little ring nailed over (10)20 Spy in team, performance tours without us (6,8)22 Supplement A-list with almost true philanthropist (8)23 Coin angry buccaneer (6)24 Emma’s short way to hear why feelings are understood (7) 25 Go up and dance jig with son (6)

DOWN1 Painful rose entwined (4) 2 Religious call on has an error (7) 3 Reflect, soundly know it at Uni-versity of Miami’s first transforma-tion (8) 4 No one agile past passed youth appearing in characteristic, valu-able flyer, perhaps? (11)5 Take spotted Chimaera tersely out of water (6)

6 Blinkered city of angels, ruins col-lapsing (7)7 Name-giving rodent chasing little horse has tail docked with energy to get ahead (9)11 Uni on asylum is mad without a doubt! (11) 12 Remove unfinished prank at echo below previous favourite (9) 14 We hear chippies are full of men of the cloth! (8)16 Computer screen above of table (7) 18 Cut off, nothing after is tardy (7)19 Change short adjective to uni-versal standard time (6)21 Capulets and Montagues, per-haps, sighed aloud (4)

LAST ISSUE’S ANSWERS

ACROSS9 Wheelbase 10 Mourn 11 Mi-aow 12 Dinosaurs 13 Saffron 14 Exhibit 18 Pot 19 Gen-isis 20 Realism 22 Electoral 24 Guilt 26 Green 27 Extravert

DOWN1 Swim 2 Decaff 3 Flower beds 4 Garden 5 Reinvent 6 Imps 7 Cu-cumber 8 Ants 13 Shrug 15 Hy-drangeas 16 Totem 17 Fingered 18 Pastries 20 Relate 21 Irises 22 Edge 23 Tone 25 Tots

recipe