We have been blessed to be one of the top attractions in Austin and San Antonio and we work hard to keep it that way.

We want to move away from the horror genre that other rooms use and focus on providing mainstream entertainment. Our goal is to provide people with a fun way to develop their teamwork, logic and communication skills in an interactive group setting. Since we opened our doors, we have continuously strived to provide the very best in escape room entertainment and experience for our customers (locals, tourists, and corporations alike). We then opened a second location in San Antonio in April of 2015, hoping to bring the same excitement to San Antonio as well.

After collaborating to establish the Zombie Room as our first attraction, we opened our doors and have since then added 2 more room concepts to our portfolio (the Museum Room and the Bomb Room). After visiting another escape room venue in London, UK, the founders decided Austin would be a perfect city to bring this concept to. The first location, Austin Panic Room, was founded in August 2014 in a small red house on the east side of Austin, TX by four students and one alumnus of the University of Texas at Austin. London: Duckworth.The San Antonio Panic Room is the second location of the Panic Room Company. Oxford Votes to Drop Name of ‘Sex Pest’ Eduard Fraenkel. Iris Murdoch: A Life London: Harper Collins Iris and the Friends: A Year of Memories. The Characters of Love: A Study in the Literature of Personality. And-as with Stephen Medcalf’s essay above-it is illuminating to capture Valentine Cunningham’s personal memories of his encounters with his Oxford colleagues, Iris Murdoch and John Bayley.īayley, John. However readers may feel about these difficult moral issues, this essay will make them think very precisely about how their judgements on such matters are formed. Questions arising from this issue concern ‘matters of touch’ and ‘matters of what hands do’ (182) which Cunningham shrewdly delineates as the convergence of ‘the discourse of goodness and the discourse of touch’ (182). The contextual background to this contentious opinion lies in Cunningham’s extensive and perceptive reflection on goodness in Murdoch’s fiction and how this is ‘imagined, aestheticised, defined, argued for, shown operating’ in her novels (182).

This was against Cunningham’s judgement as he finds the goodness in Fraenkel’s teaching and scholarship outweighs his deplorable behaviour. Fraenkel’s having been called out as ‘one more case of post-Harvey Weinstein male sexual predator’ (187) in 2017, The Fraenkel Room at Corpus Christi College was renamed The Refugee Scholars’ Room. At the time it was seen by some as a privilege to be pawed by the great Greek scholar, even an important aspect of what Cunningham terms ‘Fraenkelism’ (187) but in this century exception is taken. Like Rowe, Cunningham takes up the ‘hot potato’ of changing sexual mores, revisiting Murdoch’s (and others’) experience of being taught by Fraenkel. The international audience of delegates found Cunningham’s provocative approach to his topic of Iris Murdoch, Eduard Fraenkel, and questions about goodness, hands, and touching, distinctly controversial. This chapter provides a developed version of the Plenary Lecture given by Valentine Cunningham at the Iris Murdoch Centenary Conference, held at St Anne’s College in July 2019.

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