Eileen Pollack's "The Professor of Immortality" novel explores science, tech, grief, motherhood, whether we can truly know another person -- and the Unabomber's time in Ann Arbor
The Professor of Immortality by Eileen Pollack is preoccupied with how well people can know each other and how they deal with flaws and surprises in relationships when they care about the other person. The book raises questions about whether it is better to be together despite challenges and what the costs are either way. The ending seems to point strongly to an answer yet still lets the reader wrestle with this matter.
Main character Professor Maxine Sayers has an energizing job, loving husband, quirky child, and comfortable home -- until she doesn’t. Her husband dies unexpectedly, and then she experiences issues with her existing family members as her son becomes inaccessible and her mother’s health deteriorates. Through all of these changes and problems, the novel delves into Maxine’s thoughts and feelings about the goings-on. She must contend with whether what she believed and worked for is right and if it is what she still wants.
As Maxine takes action to figure out is transpiring with her son and a former student, she reflects deeply on her life and connections to people. At one point while talking with a friend and colleague, Rosa, Maxine wonders how to cope with her concerns, and she experiences some relief from Rosa:
[Rosa] settles beside Maxine and rubs her back until Maxine is crying in her arms. That’s all anyone wants, isn’t it? To be held? Isn’t that the best Terror Management System any of us has devised?
This passage feels poignant in and of itself and becomes even more weighty with the fact that the book draws inspiration from Ted Kaczynski, the Unabomber. Another character, Angelina, provides further insight, noting that for many, “‘…their troubles are because of what is missing in their lives. And there is no way you could make up for that.’” These insights buoy Maxine when she faces what she fears is true and makes difficult decisions as a mother.
Pollack previously directed the MFA Program in Creative Writing at the University of Michigan (U-M), and she has written numerous books, including the recent novel, The Bible of Dirty Jokes. Now she lives in New York City. Ann Arbor welcomes her back Friday, October 11, at 7 pm at Literati Bookstore, where she’ll be in conversation with author Natalie Bakopoulos. I asked her some questions beforehand.
The Chamber Music Society of Lincoln Center (CMS) is celebrating its 50th anniversary, a milestone. So, co-artistic director and cellist David Finckel says it was fitting that CMS begins this season with milestones in the art of chamber music. “We identified pieces of music that have somehow influenced the way chamber music evolved,” he says.
The program CMS will bring to Rackham Auditorium in Ann Arbor on October 11 includes four of these works: Harry Burleigh’s Southland Sketches (1916), Antonin Dvořák’s Quintet for Two Violins, Two Violas, and Cello in E-flat Major, Op. 97 (1893), Leonard Bernstein’s Sonata for Clarinet and Piano (1941), and Aaron Copland’s Appalachian Spring (1944), originally called Ballet for Martha (Graham).
“The story of Dvořák in America is colorful and entertaining,” says Finckel.
Turns out, it is Burleigh’s story, too.
Seeing Clearly: Singer-songwriter May Erlewine's new album, "Second Sight," is filled with political fire
The much-loved singer-songwriter May Erlewine begins a fall tour this week in support of her powerful and poignant new album, Second Sight, and one of the first shows she has scheduled is on Friday, October 4 at The Ark.
Interviewed by phone last week for Pulp, the Michigan native was already psyched about coming back to Ann Arbor's premier venue for acoustic music. "Oh my gosh, The Ark is my favorite!" Erlewine said. "It feels the most like a homecoming show and I did spend time living in Ann Arbor a lot of my life so there’s truth to that. Every time I play there I put so much intention and thought into it because it’s a big deal to me. It’s just one of the best venues in the whole country."
Erlewine will be bringing a five-piece band and two backup singers to The Ark, with one set devoted to the entire Second Sight album and another set to other songs. "It’s a reflective time but we’re also infusing it with a lot of catharsis and levity," said Erlewine. "I want people to reengage and to feel connected to their home and their community and their heart."
May Erlewine's music truly has a special way of touching the listener's heart and soul with its message of hope and unity, and positivity is something we can never get enough of these days.
A lot can happen in 11 days. One of the original Apollo missions could have gone to the moon and back. The Pony Express could have delivered one piece of mail from Missouri to California. A turtle can walk from New York to Ohio. And the most anticipated YA novel of the fall can be written!
After seeing Black Panther, Brittney Morris penned her debut book, Slay, a story about a young African-American woman who battles a real-life internet troll intent on ruining the video game she created, also called Slay.
“After I saw the movie, I was hoping someone would make a Wakanda simulator video game," Morris says, "because I immediately wanted to go back to Wakanda, and then I got to thinking about how controversial an all-Nubian VR MMO would be. I realized how much responsibility would be on the shoulders of someone managing such a game. And thus, the idea for Slay was born.”
Hydropark's second album, Circuit 2, works like one of those vintage British or Italian library-music albums that feature short songs written to set moods in films and TV shows -- tunes with titles like "Creepy Street," "Misty Canyon," and "Blue Veils and Golden Sands."
Those compositions weren't concerned with key-changing bridges or clean denouements. They parachuted people into the middle of a groove and then extracted them before the mood was exhausted.
"The majority of both our [self-titled] first album and Circuit 2 is loosely structured jams, first takes, experiments, or songs we liked but weren't stylistically consistent with each other," said Hydropark guitarist Fred Thomas, who is joined in the band by drummer Chad Pratt, keyboardist Chuck Sipperley, and bassist Jason Lymangrover. "We looked to J Dilla's beat tapes as inspiration for this record. Collections of fragments and the best parts taken from longer recordings that switch to the next song at the first signs of boredom or disinterest."
Beer captivates and divides a family in J. Ryan Stradal's new Midwestern saga, "The Lager Queen of Minnesota"
Beer and pie remain constant for characters through rifts, tragedies, and changes in J. Ryan Stradal’s new book, The Lager Queen of Minnesota. The novel follows two sisters, Helen and Edith, as they come of age and make lives for themselves. Yet their paths diverge when Helen taps their father for all the money from the sale of the family farm, which divides the family. Edith becomes known for her pies, hops between service industry jobs, and endures several major losses, all while bottling her feelings about the uneven inheritance. Helen pores over chemistry and learns to make beer in college, and then she grows a large, successful brewery with the help of the farm proceeds. When Edith’s granddaughter, Diana, inadvertently enters the beer business, their paths head toward each other again.
Chapters in this plot-driven yet poignant novel alternate the focus between characters and are titled by various sums of money exchanged within them. The backstory and present lives of the three female main characters are blended throughout the chapters as Diana’s story parallels Helen’s in some ways. It is not only about what is happening or has happened, though. The novel also lingers on nostalgic or emotional moments. When Edith loses her husband, Stanley, the narrator describes that:
Her grief was a forest with no trails, and she couldn’t guess how long her heart would walk through it, as her body walked other places. For half a century, she had seen or spoken with this man almost every day, so his life didn’t end when he died; it found its way into cereal aisles and intersections and post office lines and conversations she didn’t intend.
It’s clear that Edith cares deeply about those around her even as she struggles to get by.
The characters don’t succumb to bitterness despite challenges to support themselves, and they celebrate their successes in an industry that fluctuates based on consumers’ preferences. Beer aficionados and foodies might appreciate the well-crafted descriptions of brewing methods and tasting notes. One passage describes “Grandma Edith’s Rhubarb-Pie-In-A-Bottle” ale as such:
The beer has a fluffy pink two-finger head and smells like malty rhubarb, so it’s certainly not out to fool anybody. ... This beer is flawed, wonderful, and strange in a way only a certain individual could devise, and it renders every other beer on the shelf a faceless SKU.
This review of her beer illustrates Edith’s and other characters’ work ethics and distinct Midwestern traits.
Stradal has first-hand knowledge of the setting, as he grew up in Minnesota. He now lives in Los Angeles and is a contributing editor at TASTE, an online magazine about food and cooking. His first novel is Kitchens of the Great Midwest. He reads at Literati Bookstore on Tuesday, September 24, at 7 pm, and I interviewed him ahead of time.
Retired U-M professor Bruce Conforth co-authored the definitive biography of blues legend Robert Johnson
Decades of painstaking research and meticulous attention to detail have led to the 2019 book Up Jumped the Devil: The Real Life of Robert Johnson, which aims to rewrite and correct the story about the legendary bluesman. Co-authored by retired U-M professor Bruce Conforth and Gayle Dean Wardlow, this book entertains with facts, cut through myths, and lets readers learn about a man who has for too long been reduced to a single (and impossible) anecdote about trading his soul to the devil down at the crossroads in order to play the blues.
“When Columbia released its Thesaurus of Classic Jazz [in 1959], it was the first chance for most country-blues artists to have their recordings on a major label," Conforth says. "Most people didn’t even know that these folks existed. And on this record was Robert Johnson. … The liner notes said that he was the greatest blues musician there ever was, but we had nothing to compare him to and didn’t know anything about him. Almost immediately this mystique formed around Johnson while at the same time people were saying, ‘Oh, we’ll never know anything about him.’”
Conforth, who grew up in and around New York City during the 1960s folk revival, took that as a challenge.
Poet, Princeton lecturer, and former Zingerman's employee Michael Dickman accounts for days line by line in new collection
Days go by in many sorts of ways: hectic, enjoyably, dragging, intensely, calmly, explosively, gratifyingly. They can take on not just one but a range of characteristics. I am convinced that poet Michael Dickman goes through his days attentively if his poems are any indication of how he lives.
Drawing on nature and circumstances, Dickman’s new collection, Days & Days, reveals observations about parenthood, television, love, hotel stays, prescription drugs, and bodies of water. The poems are associative. Lines next to each other may seem unrelated and abstract at times, and then a line a few pages later will relate to a previous thought. The longest poem, “Lakes Rivers Streams,” reads:
This is the earth & sometimes the earth
Now I remember they were horses mulching the backyard
The horse metaphor for children continues:
My horse kids eat something off the ground I can’t quite make out
What should I do with their withers & fetlocks what should I do with
A parade is nice
These lines capture the variety and vicissitudes of days, whether with children or other topics. One wonders if Dickman is constantly jotting down fragments as he goes through his days and later fits them together into cohesive poems.
Formerly of Ann Arbor, Dickman now teaches at Princeton University. He reads at Literati Bookstore on Friday, September 20, at 7 pm. I interviewed him prior for Pulp.
Sometimes it feels like monsters are everywhere and the world is out to get you. At times like this, we all need some magic in our lives to make it better. For 12-year-old Addie, whose twin brother Amos died recently, these truths can all be found in Maple Lake.
Addie is the protagonist in Sarah R. Baughman’s debut novel, The Light in the Lake, and she spends much of the book in the coveted role of a summertime Young Scientist studying the very lake where her brother drowned three months ago. Using a notebook that Amos left behind and with the help of her new friend Tai, Addie learns that the lake has secrets that include both those of a scientific nature (pollution) and of a more supernatural nature (a mysterious creature described by Amos as living deep inside the lake). Addie straddles the two worlds, one foot firmly in her trusted science and the other not so firmly in a magic realm that she’s not quite sure she believes in but one that might ultimately bring her closer to her late brother.
U-M grad and Michigan native Baughman says she has always been interested in the “connection between these seemingly different ways of looking at the world.” Though not a scientist by training, “I deeply value scientific knowledge and approaches to problems.”
Sonny Sharrock played guitar like a boxer throws punches: with fluidity and violence. Sweet-science superfan Miles Davis must have recognized this when he had Sharrock join John McLaughlin in the ax section for the trumpeter's stellar 1971 jazz-rock soundtrack for a documentary on the boxer Jack Johnson.
In the mid-'60s, Sharrock began about a decade-long run playing with his singer wife, Linda, saxophonist Pharoah Sanders, flutist Herbie Mann, and others, but he went into semi-retirement from music after divorcing. As with many singular stylists, Sharrock's skills weren't fully appreciated when he first came onto the scene, but his reputation rose up in the 1980s when bassist and producer Bill Laswell recruited him to play in his avant-funk jazz band Material and the punk-jazz supergroup Last Exit. During this time, Sharrock resumed his career as a leader and also played free jazz with Machine Gun, with everything culminating in the 1991 avant-jazz-rock masterpiece Ask the Ages, a Laswell-produced album featuring Sanders on sax, Elvin Jones on drums, and Charnett Moffett on bass. (Sharrock also did soundtrack work for the Cartoon Network classic Space Ghost Coast to Coast.)
But on the eve of signing to a major label, Sharrock died in 1994 at the age of 53. While he died too young, the guitarist's reputation as a major force was sealed forever.
On September 11 at Ziggy's in Ypsilanti, four Ann Arbor jazz musicians will fete Sharrock's Ask the Ages by playing the album in its entirety. Guitarist Max Bowen transcribed the music on Ask the Ages, which he'll interpret with saxophonist Andrew Bishop, bassist Aidan Cafferty, and drummer Bob Sweet.
I interviewed Sweet and Bowen about Sharrock, Ask the Ages, and how this project came together.