Kettle’s Yard Review: ‘Mmm, Gotta Try a Little Harder, It Could Be Sweet’
Leaving with a story
St George’s Cross read through Lucan
Varsity’s autumnal reading list
Review
Greg Quinn and Sophie Smout attend Harold Offeh’s exhibition preview

Feature
Otto Bajwa-Greenwood muses on the difficulty of writing museum labels

Ryan Vowles comes to know the artist Gwen Raverat through her perfect childhood memoirs

Feature
Ben Birch explains why commercial galleries are all white cubes

Interview
Talking with the curator of ‘Made in Ancient Egypt’ Sophie Smout argues that the fee shouldn’t put you off

With his new camera Fabian Chan returns to Singapore after a year away

Opinion
Sydney Heintz explores Mervyn Peake’s methodical madness

Feature
Jasper Finlay Burnside thinks of home, Cambridge, and the gulf between the two

Opinion
Amid relentless routine, Abril Duarte González implores you to craft

Review
Otto Bajwa-Greenwood reviews the Fitz’s Discovering Dürer

Feature
Mia Apfel considers how early modern quodlibets shed light on modern pinboards

Review
Rachel Jones unpeels Wendy Cope’s ‘The Orange’

Feature
Heather Irvine speaks to art collector Chen Jian on his reinterpretation of Queens’ College’s Mathematical Bridge

Feature
Emma Tenzler asks if the university has fully accepted women’s education

Opinion
Gina Stock explores the trends and tendencies of book covers

Opinion
Beatrice Tharme explores how the meanings of our names shape who we are

Opinion
Beatrice Tharme defends the romance genre, exploring its interplay of pulp and protection

Feature
Millie Jeffery explores the work of the female Beat generation writers

The Agonies
Eve Connor replies to Joe from her travels abroad, reflecting on her imbrication with the cosmos, and her asthma

Feature
Emily Cushion recounts stories from Plath’s time at Cambridge

Feature
Emma Tenzler recounts three chance encounters which defined literature

Review
Reviewing the Tate Britain’s most recent exhibition, Loveday Cookson explores how archival photography restores the marginalised in our living memory