An Irish Student’s Journey at Oxford: Embracing Literature, Navigating Alienation

Studying English literature at the University of Oxford as an Irish undergraduate was a transformative yet challenging experience. From the very beginning, I felt like an outsider, navigating a world that seemed alien to me.

The Initial Culture Shock

On my second evening, the college arranged a “formal dinner” for the new undergraduates to meet our tutors. We were dressed in “white-tie” and “sub fusc,” enjoying a three-course meal in the dining hall alongside our tutors. Many of my peers came from British private schools and were already familiar with these social norms. One even corrected my professor’s table manners, disapproving of her use of cutlery.

Feeling reassured by the professor’s unfamiliarity with these codes, I initially found solace. However, my comfort was short-lived when a professor in his 70s, who had been at Oxford for decades, sat next to me. He inquired about my summer reading, and I mentioned Moby-Dick. He praised the book as “the second best novel in the English language,” which only seemed to ignite a debate that left me questioning the standards of literature.

Publishing Hypes and Literary Discrepancies

He then admitted that he read 100 books every summer, a truth evident in his weathered appearance. Curiously, this summer, he decided to read Sally Rooney’s novels, which he found overrated and unsuitable for publication. This conversation further highlighted the stark differences in literary standards between the traditional and modern eras.

[ Sally Rooney: ‘I think I should have read more at university’Opens in new window ]

It was then that I realized I was no longer in the realm of everyday experiences.

An Uncomfortable Social Event

One surreal evening in my second year, I was forced to attend an event at a Conservative club. The room was dingy and dark, filled with Oxford students in fancy dress, each taking turns to give drunken speeches. This Guy Fawkes night, a Northern Irish unionist took the stage, protesting about the differences between a papist and a Catholic, advocating for the burning of one. The audience roared in approval, leaving me deeply uncomfortable.

Scanning the room for any signs of discomfort, I found none. Everyone laughed, their enthusiasm overriding any ethical considerations.

Literary Traditions and Anti-Irish Rhetoric

The alienation extended beyond the social sphere to the academic curriculum. Oxford taught literature with a focus on traditions rooted in the 19th century, predominantly before 1830. The books were often dusty with historical biases, and many contained explicit anti-Irish rhetoric.

Edmund Spenser’s Faerie Queene (1590), a canonical epic poem, became a subject of analysis. Initially, I found it quirky and enjoyable. However, upon closer inspection, I discovered it was infused with anti-Irish allegories. Spenser had even written a tract called “A View of the Present State of Ireland” (1596), advocating for the extermination of the Irish.

This realization was unsettling. Instead of engaging with the text critically, I found it offensive and disheartening. Class after class, I encountered literature that belittled the Irish or Catholics, with awkward glances from classmates each time my name was mentioned.

The Silver Lining: Irish Writers in the Canon

Amidst the alienation, there was a silver lining. Despite the literature’s historical biases, Irish writers played a significant role in the English literary canon. Their contributions provided me with a connection to my heritage and a sense of belonging in a foreign environment.

Seamus Heaney, for instance, was present in numerous facets of my studies—from his poetry to his translation of Beowulf in Old English. His presence was comforting, as he had been a familiar figure in my life, introduced to me by my mother, a secondary-school English teacher. She had even taken me to one of his last public recitals when I was young.

Oscar Wilde, another Irish writer, added to my sense of pride. Attending Oxford himself, Wilde’s legacy was significant at the university. My grandmother, who never finished secondary school, cherished his wit and humor, often quoting his witticisms to me. Receiving postcards of Wilde from Oxford was a source of great pride for me.

These Irish writers, among others, enriched my academic journey, providing a link to my cultural roots and giving me a quiet solidarity within the university’s walls.

Conclusion

Studying at Oxford was a complex experience, filled with alienation and cultural misunderstandings. Despite the challenges, the works of Irish writers provided me with a sense of connection and pride. My journey underscored the importance of diverse literary perspectives and the need to address historical biases in academic curricula.

• Hugo Harvey is an Irish writer and presenter born in Cork. He started his studies at Oxford University in 2021, graduating in 2024 with a bachelor’s degree in English literature and language. He is now an aspiring presenter and interviewer, having interviewed notable figures like Noam Chomsky and Maverick Sabre, and he is also a musician, with his debut single, Step Up, released under the artist name Kogan in October 2024.
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