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.
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
Poet and U-M writing instructor Molly Spencer sees the world "as a collection of thresholds" in her new book, "If the house"
Throughout Molly Spencer’s new book of poetry, If the house, each measured word reveals the intensities and scenes of home, time, and solitary experience amidst people and relationships. In a poem titled “How to Love the New House,” there is a line that answers, “Until you ache with it.” Another poem, “As if life can go on as it has,” includes the sentence, “The earth has all these endings,” and the speaker goes on to share, “I am / in a kitchen’s heavy afternoon / light,” almost implying that the sun could indicate a conclusion.
Perhaps most consistently, the passage of seasons prominently delineates time in If the house. Early on, a stanza depicts time’s effects through apples and squash:
Given time, they will ripen,
grow sweet, become something
for you to get by on.
It seems that time offers sufficient sustenance to keep going and also that time keeps independently moving, resulting in byproducts like sweetening. Later, the lines, “It’s December” and then “October and the birds flock / and rise, whole-cloth” appear in different poems. So months also mark time in this collection, along with other indicators, such as, “My body / adds itself again to the unfolding / rooms of time,” and there are “...other Augusts far / from here, but not so far you can’t / reel them back in....” Each moment is clearly fixed to others by virtue of time being linear, but life in this poetry collection’s world still changes and shifts, showing contrasts to previous points in time to which the speaker remains connected.
The two years since Casey Nowak last answered questions for Pulp have been filled with personal changes and critical success. Followers of Nowak’s on Twitter may also have noticed her using the platform to discuss her own experiences with sexuality, divorce, mental health, and recently a series of tweets discussing her name change from Carolyn to Casey.
The Ann Arbor cartoonist feels these experiences, both good and bad, have influenced and increased her confidence in her work.
In late 2018, Top Shelf released Nowak’s collection of short stories, Girl Town. These previously released stories, along with one unpublished work, secured Nowak some of her best critical reactions to date. Girl Town finished the year on numerous “Best of” lists, was nominated for an Eisner Award (akin to comics' Academy Award), and last month won Nowak her third Ignatz Award, which recognizes excellence among self-published or small-press creators.
Previously, Nowak had an acclaimed 12-issue run as the artist for the popular series Lumberjanes, and in 2017 she published Chad Agamemnon, an all-original comic for the Ann Arbor District Library's annual Ann Arbor Comic Arts Festival (A2CAF). (AADL cardholders can download the comic here.)
Nowak has also released the first two volumes of her middle-grade Buffy the Vampire Slayer series and ventured into erotic comics with the release of No Better Words, which also scored an Eisner nomination for the cartoonist. Earlier this year, Nowak started a Patreon site, which allows fans to subscribe at various tiers to gain access to exclusive content from Nowak including works in progress and exclusive mini-comics like last month’s Duh! Ha-Ha!
Nowak was kind enough to answer a few emailed questions for Pulp.
Part two of Theatre Nova’s semi-annual Michigan Playwrights Festival has an added evening that gives more opportunities to shine the spotlight on new playwrights. In addition to staged readings of four full length plays, the festival will set aside an evening for the presentation of six 10-minute plays.
The Michigan Playwrights Festival is in its fifth season, part of Theatre Nova’s focus on new plays and playwrights. Twice a year, a committee selects four plays for presentations in staged readings. The festival will present a play each night Oct. 24-27. The Evening of 10-Minute Plays will be presented Oct. 23.
The four plays selected for the regular festival are The Lion’s Share by Catherine Zudak, Dear Camp by Lisa MacDonald, Silo Tree by Sam Collier, and Blight by R.D. Wakeman.
Playwright Sarah Elisabeth Brown is coordinating the evening of 10-minute plays for Theatre Nova.
“The evening is new to the festival and comes out of a group I started in conjunction with Theatre Nova about a year ago called the Nova Lab, which is designed as a resource to playwrights of all levels who would like to develop their craft,” Brown said in an email interview. “Our signature event is called Prompts for Playwrights and we meet on Sunday evenings when the theater is dark.”
Moon Hooch's music has all the manic energy of a city. The Brooklyn group's drums-sax-sax lineup rumbles like the New York City subway system, where the trio spent many hours busking when it formed in 2010. The way the band combines dance beats and avant-garde jazz is akin to a metropolis' relentless forward rhythm that's being intersected by speeding cabs running red lights.
But the nervous energy Moon Hooch exudes in its simultaneously catchy and edgy music is in direct opposition to the way drummer James Muschler and saxophonists Mike Wilbur and Wenzl McGowen live their lives off the stage.
Or even in their touring van.
Moon Hooch's members are avid meditators and they use this practice to stay mentally and physically fit during arduous tours across the U.S.
"Yeah, it’s not easy," McGowen said of touring. "Meditation, Qigong, and breathing exercises are what keeps me going. I try to transmute stress through present moment awareness. I don’t succeed always, but when I am enough present I can stay calm even if the situation is challenging. We usually get together every morning, sit in a circle, breath together and share how we feel. We aren’t doing that every day, but whenever we do it, it really uplifts the group dynamic."
Long-running folk duo Annie and Rod Capps coalesced with a great band for its new album, "When They Fall"
For fans of heartfelt and well-played acoustic roots music, a new album from Ann Arbor duo Annie and Rod Capps is always a treat. But with their latest, When They Fall, something’s a little different.
The songwriting, always smart and heartfelt, has become richer. The musicianship -- fleshed out on the record by Jason Dennie (mandolin and mandola), Dan Ozzie Andrews (bass), and Michael Shimmin (drums and percussion) -- is also better than ever. And the duo is making its most concentrated publicity push. It all feels like something of a step forward for a project that was already a vital and important part of the local music scene.
When They Fall goes from one highlight to the next, but among the most memorable tracks are “Poor Old Me,” showing a great sense of humor with the band sounding particularly lively; the touching “Happy New Year” and “Walking Through” (the latter featuring memorable lines like “I’m praying for the strength to grieve”); and “Build that Fire,” a warm and optimistic conclusion to a truly great recording.
Annie Capps answered a few questions recently via email.