How do we know if we are fully living our lives? Does asking that question mean that we are not?
Find Me by André Aciman is a novel obsessed with these questions. Its characters find such great love that they feel as though they had not been living previously. This book also continues the stories of Elio and Oliver, among other characters, which first appeared in Call Me by Your Name, Aciman’s 2007 novel. While reading Call Me by Your Name before Find Me would provide helpful background, you can enjoy Find Me without having read the other book, as I read Find Me first for this interview with Aciman and then Call Me by Your Name after.
Aciman is a professor at the Graduate Center of the City University of New York and lives with his wife in Manhattan. He will be in conversation with Zahir Janmohamed and also answer audience questions at Rackham Auditorium at the University of Michigan Saturday, November 9, at 7 pm in a ticketed event by Literati Bookstore.
In the four-parted Find Me, the first section focuses on Samuel, who is Elio’s father and receives a bigger role than in the previous book. On the topic of whether someone is truly living, Samuel reflects, “Some of us never jumped to the next level. We lost track of where we were headed and as a result stayed where we started.” As he interacts with Miranda, a woman he meets on a train, he muses about embracing life and how conversely, “Perhaps going about one’s daily life with all its paltry joys and sorrows is the surest way of keeping true life at bay.” This concern becomes not only a call to action and attention for Samuel as he comes to this awareness while his relationship with Miranda simultaneously grows, but also a theme as other characters reconsider their lives in subsequent parts of the novel.
The next three sections of Find Me center on other characters -- Elio, Oliver, and Elio again -- in their first-person voices, and they pick up what has happened in their lives since Call Me by Your Name. The subject of how to live gains more nuance as those characters discuss who they have been, who they are now, and how they have changed over time. Michel, Elio’s lover, says to him, “I suspect we have first selves and second selves and perhaps third, fourth, and fifth selves and many more in between.” He recognizes how, at different times and places in life, we are different people, and then later we are no longer those people. This concept becomes especially poignant between Elio and Oliver.
Not only do people evolve during their lives but they also reveal unique parts of themselves in different relationships and situations. As Samuel says to Miranda, “Most of us never meet those who’ll understand our full rounded self. I show people only that sliver of me I think they’ll grasp. I show others other slices. But there’s always a facet of darkness I keep to myself.” Find Me is also clearly preoccupied with who we are and how we know -- and are known to -- others.
The events and musings of characters in Find Me expose the situational nature of relationships and also embrace intensity and sensuality, though it may be hard to believe the ways and speed in which relationships progress. Fate plays somewhat of a role in bringing characters together, but the novel suggests that the characters’ choices and desires have a bigger effect on their lives. At so many points in the relationship between Samuel and Miranda, or Elio and Oliver, someone chooses or chooses not to say something, or they get scared and bolt. Yet, they discover a greater life when following their desires.
Aciman answered some questions from me before his visit to Ann Arbor.
The University of Michigan Department of Afroamerican and African Studies' GalleryDAAS is hosting a multi-media collaborative exhibit by artist and scholar Rachel Willis, titled Il faut se souvenir, we must not forget: Memorializing Slavery in Detroit and Martinique. It combines Willis’ background in fine arts, history, and Francophone studies to bring the under-told history of slavery in Detroit and Martinique.
Willis was raised in Detroit and received a Bachelor of Arts in French & Francophone Studies from the University of Michigan. In her current work, Willis employs a multi-disciplinary approach to her subject matter, using photographs, historical texts, and technology to explore the history of Detroit’s ties to slavery and the French Caribbean Island of Martinique. Willis is currently working on a Master of Arts in Transcultural Studies, with a focus on Francophone and Caribbean history. Her passion to make little-known yet highly important histories accessible through gallery text and voice tour, paired with photography, creates both a challenging and dynamic experience in GalleryDAAS.
The Body Politic: Japanese artist Mari Katayama challenges attitudes toward the differently abled in her debut U.S. solo show
The first solo show in the United States for Japanese artist Mari Katayama is right here in Ann Arbor.
Katayama’s works are on display at the University of Michigan Museum of Art in the Irving Stenn Jr. Family Gallery through January 26, 2020. Her creations include both photographs and sculptures that disrupt normative viewing of the body, which weave a narrative that rejects dominant cultural and societal attitudes toward disabled bodies. Katayama not only uses her own body as a subject, but she also incorporates surrealist, complex, and skillful handmade prosthetics from textiles and other materials. Her works explore concepts of the self, the body and objectification, voyeurism, and agency.
From where I sat, bold body art and piercings, asymmetrical haircuts, and statement eyeglasses abounded. And although about two decades have passed since Mitchell first created and performed in the groundbreaking show (and film) that would become his calling card, Hedwig and the Angry Inch, he not only rocked Hill Auditorium on his ongoing Origin of Love Tour but crowd-surfed, Superman-style, during an encore number.
But the two-hour concert kicked off with a direct reference from Hedwig, as powerhouse guest vocalist Amber Martin arrived first on stage and announced, “Ladies and gentlemen, whether you like it or not … John Cameron Mitchell!”
Doogatron is one of three acts performing at the Ann Arbor Synth Expo (AASE) on Saturday, November 9 at AADL's downtown location. Below is an interview we did with the group earlier this year, prefaced by a band update written by synth player Stevie:
We've mostly been recording and trying different workflows this year. These new processes have yielded a few singles we're excited about releasing next year. Ann Arbor Synth Expo will probably be the only chance to hear some bits and pieces of those before we put them out. We also did some remixes this year that we're debating on releasing or just keeping in our back pocket to play at shows. The last of four EPs we're releasing this year is out on Friday, 11/15/19. The other three are currently available on our Bandcamp and all streaming platforms. Mike moved to Brooklyn in May so he won't be appearing with us at the AASE but he recorded with us quite a bit earlier this year and he might continue recording with us remotely.
Synth music is often a solitary exercise. It's easy enough for one person to program all the music and not have to deal with band dynamics.
Electronic music duos are more common and count influential acts such as Orbital, Mouse on Mars, Autechre, Boards of Canada, Coil, and many more in those ranks.
Less common is a synthesizer trio, quartet, or quintet, but there is a rich history of synth groups, too, from Tangerine Dream, Kraftwerk, Harmonia, Throbbing Gristle, Add N to (X), and Hot Chip. The combination of personalities mixed with live playing over sequenced sections gives the music a more human quality, and Washtenaw County trio Doogatron is part of this lineage.
Stevie, Kyle, and Mike -- family names are for families -- make loose-limbed techno that mixes programmed parts on computer and live playing on vintage synths. The group's sound is elastic and trippy even as it's framed by linear rhythms.
Doogatron's self-titled debut LP came out Nov. 2, 2018, and the group has followed that with a New Year's Day 2019 mix of original tunes, reworked album cuts, and earlier tunes initially heard on Soundcloud. In February, Doogatron will release the first of at least four EPs/singles scheduled for this year. "Each release comes from one continuous recording session," Stevie said, "so each track will serve as a part one, part two, part three experience," starting with "Before Subsidized Time" b/w "After Subsidized Time."
Stevie gave us the lowdown on Doogatron's history, name, and work process.
This article on June 28, 2017. We're re-running it because McDonas is returning to Kerrytown Concert House on Thursday, November 7, and he'll again collaborate with local improvisors Piotr Michalowski and Abby Alwin for an evening of spontaneous music.
Thollem McDonas might be a compulsive collaborator. The American pianist, composer, keyboardist, songwriter, activist, teacher, and author's many projects have included several renowned, and lesser known, players over the years, and he doesn't seem to be slowing.
From improvisations with perennial experimental music headliners -- guitarist Nels Cline; double bassist William Parker; the late composer, accordionist, and electronic music pioneer Pauline Oliveros -- to his Italian agit-punk unit Tsigoti and the art-damaged spiel of the Hand to Man Band (also featuring American punk icon Mike Watt on bass and Deerhoof's John Dietrich on guitar), there's little ground McDonas hasn't covered or isn't covering. He might just be the ideal "six-degrees-of" candidate for people into that particular Venn diagram of weird improv, challenging chamber music, and thinking-people's punk rock.
McDonas plays Kerrytown Concert House on Thursday, November 7, with a trio completed by two accomplished locals: reedman Piotr Michalowski and cellist Abby Alwin. We talked with the restless, and very thoughtful, pianist by email about his many collaborations, balancing political action with music, and sitting down at Claude Debussy's piano.
If you aren’t paying attention at the beginning of Andrew Norman’s “Music in Circles” you might miss it. The first note is just so quiet, an almost imperceptible harmonic whispered high in the viola, the kind of airy, insubstantial noise you have to strain to hear.
But once you hear it you’re hooked.
That first lonely pitch is like a slow intake of breath, interrupted after a moment by a stuttering spiccato exhalation that foreshadows the energy that is to come. Slowly the viola is joined by other strings, and patiently the music unfolds and intensifies until, some two and a half minutes in the viola takes off with an up-tempo rhythmic pulse produced by bouncing the bow vertically off the strings, generating a sound that is a blend between being pitched and being a percussive noise.
From here the music grows in volume and intensity as the cello and trumpet play yearning arpeggiated lines, the bass clarinet pitches in with a fluttering falling figure, the violin scratches wildly and the flute shoots jets of air. It’s thrilling. And then it winds down again, just as patiently as the music of the opening developed.
Eventually, the piece closes out with soft, slowly moving echoes of the previous material, pared down until it’s only the viola, again, playing alone, with that same airy harmonic it began with.
“Music in Circles” has always been one of yMusic’s more popular pieces, at least on the classical music side of things, so it’s no wonder that the group chose to program it on last Friday’s performance at Rackham Auditorium.
AADL cardholders can download PDF copies of the books here; print copies for most titles will be on sale at the reception.
To read interviews with the other authors, click on the book titles below:
➥ The Elements: A Love Letter to All Things Everywhere written and illustrated by Hannah Burr
➥ Intersections by Shanelle Boluyt
➥ All That We Encounter by Bethany Grey
➥ Shape Notes by Judy Patterson Wenzel
➥ Fantastic Planet: Modern Crab Adventures written and illustrated by Douglas Bosley
➥ Over in Motown by Debbie Taylor, with illustrations by Keisha Morris
➥ The Dragon Library by James Barbatano, with illustrations by Douglas Bosley
➥ Breaking Through by Johnny Thompson
➥ The Planet We Live On by Shanda Trent
Flash! Bang! A photographic funeral for the 18-year-old dance party's goodbye blowout at The Blind Pig
The nearly two-decade-old dance party The Bang! went out with ... wait for it ... a bang on Saturday night at The Blind Pig. Photographer Doug Coombe met his wife at this long-running throwdown and he was there for the final night -- "The Bang! Must Die!" -- to capture the euphoric madness for one last time. (If you're unfamiliar with The Bang!, here's our brief history, "Last Dance.")
In a Silent Way: Don Hicks, owner of Ann Arbor's Blue Llama Jazz Club, won an auction for one of Miles Davis' trumpets
A piece of jazz history has found a permanent home in Ann Arbor.
Christie's auction house in New York City put a pre-sale estimate on the instrument’s value between $70,000 and $100,000, but as you can see in the video below, a flurry of bids pushed the cost to $220,000 -- and with the addition of Christie's commission, the final price for the trumpet was $275,000.