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November 17, 2014 - Image 5

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The Michigan Daily, 2014-11-17

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5A - Monday, November 17, 2014

The Michigan Daily - michigandaily.com

(\r The Michigan Daily - michigandailycom

EVENT PREVIEW
'Life and Death' a
gourmet exhibition
Jan Longone to give Longone, who has an garnered many loyal readers
encyclopedic knowledge of during its time, including some
lecture alongside culinary literature, has done who went on to become famous
fifteen other major culinary chefs, restaurateurs and writers.
exhibit at Hatcher exhibits in the past, "Gourmet" Longone, who has close ties

TV COLUMN
The return of
Katherine Heigi

By KATHLEEN DAVIS
Daily Arts Writer
You can break down human
nature any which way, and no
matter how you slice it, one thing
remains true:
everyone The Life
must eat, and Death
and food has
always been of Gourmet
an important Magazine
cultural
measure November 18,
through 4 to 6 p.m.
time. The
circulation Hatcher Graduate
of cookbooks Library Gallery
and culinary (Room 100)
publications
have helped to introduce new
culinary practices to many
corners of the world, with one
valuable example being Gourmet
Magazine, established in1941.
Tuesday Jan Longone, the
University's Curator of Culinary
History, will give a lecture "The
Life and Death of Gourmet,"
intended to be viewed alongside
her exhibit of the same name, in
Hatcher library. The lecture will
highlight the influence Gourmet
had on the culinary world during
its publication history, as well as
the factors leading to its downfall
in 2009.
The exhibit, which has been
open since Sept. 2 and will
continue until Dec. 1, highlights
every issue of Gourmet published
in its sexagenarian lifespan.
The exhibit also features
cookbooks written by writers and
contributors to the magazine -
many of which are rare editions
she's collected over the years.

being the latest. She made a living
as a rare book dealer until her
post at the University, focusing
substantially on cookbooks
and books centered around the
culinary arts. Over time, she's
accumulated a vast catalogue
that includes rare copies and a
few invaluable publications. One
of these showpieces is possibly
the only intact copy of a study on
French wine and olives written by
17th century English philosopher
John Locke, who's more well
known for his contributions to
Enlightenment thinking than
wine culture.
The issues and cookbooks
in the "Gourmet" exhibit are
all from Longone's personal
collection, collected over 60years
of marriage with her husband,
who is a fellow culinary fanatic.
In the exhibit, Longone wanted
to showcase the contrast between
the first issue of the magazine in
1941 and the last issue in 2009,
and thought the process of putting
the exhibit together would be
simple. However, she was once
again sucked into the magic of
the magazine and reevaluated her
approachto the exhibit.
"Every time I turned a page,
I realized, 'My God, Gourmet
taught me how to become a
culinary historian'," Longone
said. "I realized how much
influence the magazine played in
my life all along, I really couldn't
believe it."
Gourmet was a deviation
from other culinary publications
because, according to Longone,
the amount of intellectual content
alongside recipes, lifestyle advice,
puzzles and long-form reporting.
This mix of appealing content

with many famous chefs from all
over the World, highlighted how
Gourmet not only affected her
life as a young culinary historian,
but changed the lives of other
individuals in various sects of the
culinary world. She mentioned
Jeremiah Tower, Ruth Reichl
(the last Editor-in-Chief of the
publication) and Alice . Walker
as prolific names in the culinary
world who had purchased lifelong
subscriptions to the magazine, as
Longone had, many years ago.
While Longone believes there
were many factors that led to the
downfall of the magazine, which
is a central topic of her lecture,
she believes a substantial one
was the loss of its original charm
and change in structure after
being purchased by the massive
publishing house Conde Nast.
"When they started writing
articles about playing golf in
Scotland and staying in $7000
hotel rooms, I realized this
isn't written for me anymore,"
Longone said. "I think a lot of
people became discouraged at
that point."
The lasting impact of Gourmet
became the influence the
magazine has played in culinary
culture, and Longone credits the
publication with helping change
the waythe world looks at food.
"Gourmet changed the way we
think about food, and food is part
of culture," Longone said. "When
I was younger, people would pat
me on the head and say 'Oh look
how cute, she collects cookbooks,'
and it used to drive me crazy! I
would say, 'These are valuable
social documents.'You can't really
know anything about anyone
before knowing about their food."

wouldn't sayI'm a
Katherine Heigl fan. To be
honest, I don'treally care
either way about Katherine Heigl.
But tonight, the actress is making
her (welcomed?)
return to
television, and
whether you
love her or
hate her, it's
a fascinating
comeback.
Less than five ALEC
years after an STERN
unceremonious
departure from
"Grey's Anatomy" - amid rumors
of conflict between Heigl and
basically anybody and everybody.
behind-the-scenes - Heigl is
starring in and producing NBC's
"State of Affairs," a White House-
set political drama costarring
Alfre Woodard ("12 Years a
Slave") as the President of the
United States.
Heigl rose to prominence
playing Dr. Izzie Stevens on
ABC's hit medical drama. In
2007, she won a Primetime
Emmy Award for Outstanding
Supporting Actress - beating out
two "Sopranos" stars and two of
her own "Grey's" costars. That
same year,the actress starred in
"Knocked Up,"ushering in one
of the swiftest movie star rise-
and-falls in recent memory. (It
doesn't help that Heigl's ascension
corresponded with the exact time
of death of the entire romantic
comedy genre.) After peaking in
2009 with "The Ugly Truth"'s
$205 million haul, Heigl's next
five releases - from "Killers"
to "The Big Wedding" - were
both critically and commercially
savaged.
What's strange is just how
quickly Heigl has decided to
return to television. Afterclashing
with the writers on "Grey's
Anatomy," publicly withdrawing
her name from Emmy
considerationin 2008because
she didn't feel she was given
material worthy of any awards,
Heigl wisely chose to pursue her
burgeoning film career. But after
the bigscreen chewed herup and

spit her out so fast, Heigl was at a
crossroads; her decision to return
to the smallscreen is so soon that
the series she abandoned isstill
one of television's highest-rated
dramas.
In early2012, Taylor Kitsch,
like Heigl, was poised to become
one of Hollywood's fastest-rising
stars. Kitsch made a name for
himself playingffullback Tim
Riggins on NBC/DirecTV's
"Friday Night Lights."One
of the only members of the
original Panthers team who
remained a significant presence
throughout all five seasons,
Riggins was beleaguered, tortured
and often drunk.:But it was
Kitsch's portrayal that eased
the character's harsh exterior,
making Riggins one ofthe series'
most sympathetic mainstays.
In turn,for Kitsch to parlay his
breakout role onto the big screen
seemed to be the natural next
step. Unfortunately, Kitsch's
up-and-coming career suffered
back-to-back-to-back blows with
"John Carter,""Battleship" and
"Savages." And with each coming
just two months after the last,
his silverscreen aspirationswere
over before you could say "Texas
forever."
And just as Heigl retreated
back to the small screen, Kitsch
has also chosen to clingto the
medium that gave him his start.'
After nabbing a supporting role
in HBO's original movie "The
Normal Heart," the actor finally
confirmed his involvement in
the network's hotly anticipated
second season of "True Detective"
last month. Whereas the transition
from "Grey's Anatomy" to "State
of Affairs" is more of a lateral
move, Kitsch will benefit from the
added prestige a premium cable
network brings. But nonetheless,
the next phase of Kitsch's career
still mirrors that of Heigl's.
Yes, the line between film and
televisi k sleor ing increasingly
blurred with more and more stars
flocking to the small screen. But
while the transition from movies
to TV might be more fluid, moving
from television to movies is one
of the most difficultthings for an

actor to do. Even in this "golden
age," television is still a lifeboat
for "prolific" actors who can't
quite make the switch to the big
screen. Like Heigl and Kitsch, I
imagine Aaron Paul only has a few
more chances (strike one was last
spring's "Need For Speed") before
he's relegated to taking thelead in
a cable drama pilot.
NBC isdoing everything itcan
to ensure "State ofAffairs" takes
off, premiering in "The Blacklist"
's Monday night, post-"Voice"
timeslot. But even if"State of
Affairs" flops - a fate that falls
upon a very large majority ofnew
shows - Katherine Heigl would
largely come out unscathed.
Becauseultimately, television,
in all itsglory, is a much more
forgiving medium than the
big screen, if notsolely for the
constant churn of series we've
grown accustomed to. Does
anybody remember "big star" Greg
Kinnear's FOX series "Rake?"It
even premiered this year -its
mostrecentepisode airing in late
June - beforerthe network pulled
the plug.What about "Harry's
Law," Kathy Bates'NBC star
vehicle? Did you even knotvthat
Halle Berry was on TV every
Wednesday night this summer
on CBS' "Extant?" Probably not,
because when it comes down
to it, audiences will most often
hold stars accountable for their
big screen flopsthan their small
screen ones. Ittook years for Berry
to rid herself of "Catwoman" clout,
but "Extant"'s very mediocre
reception doesn't hold the same
weight or influence over the
actress.
I probably wouldn't call myself
as a Katherine Heigl fan. I don't
know if many people would. But
that shouldn't make her return to
television is any less interesting. So
tonight, you can find me watching
"State of Affairs" at 10 p.m.,
wondering what she could have
d.nedifferently
Maybe I am more of a fan than
I think?
Stern is conflicted on all
things Heigl. To help him,
e-mail alecs@umich.edu.

BOOK R EV IEW
Bolafio' captures late
writer's significance

By COSMO PAPPAS
Daily Arts Writer
As the person to have last
interviewed Chilean writer
Roberto Bolano before his death
from liver
failure Bolano: A
in 2003, Biography in
it's fit-
ting that Conversations
M6nica
Maristain nica Maristain
should Melville House
write his Publishing
biogra-
phy. In "Bolano: A Biography in
Conversations," Maristain art-
fully assembles interviews with
the writer's family members,
friends, enemies and artistic
colleagues of the late novel-
ist, poet, essayist, short-story
writer and l'enfant terrible of
the Spanish-language literary
world.
The unique and sometimes
menacing power of the biog-
rapher is determining how
and what is presented from a
person's life. Particularly with
literary biography, this license
includes writing a narrative
of the interaction between the
person's life and the author's
work. They define, as T.S. Eliot
put it in his 1919 essay "Tradi-
tion and the Individual Tal-
ent," the distance between
"the man who suffers and the
mind which creates." Some-
times the former is sacrificed
to the latter, diminishing an
understanding of the work to
be so much enriched by the life
it was a part of and effacing
that life for a fiction of textual
purity.
Maristain's skill lies in pre-
cisely illustrating this rela-
tionship with measure and
meaning. To do otherwise, as
Maristain's portrait of Bola-
no the social animal demon-
strates, would be to lose the

episodes from Bolafin's life
that he adapted into situa-
tions and characters in works
such as "The Savage Detec-
tives" and "2666." From his
parents' friends to his literary
compatriots, Bolafio construct-
ed a fictional world out of the
relationships he made during
his life. Maristain's method of
oral collage, if perhaps present-
ing an overly literal and mosaic
picture of the life of this writer,
succeeds brilliantly in staying
faithful to Bolafio's tendency to
make art of his life and life of his'
art.
Maristain lavishes attention
on Bolaio's involvement with
a movement called Infrareal-
ism during his days in Mexico,
where he and others terrorized
the "Pazist" literary establish-
ment (called so for the hege-
monic devotion to Mexican
poet and 1990 Nobel laureate
Octavio Paz).
Interrupting
poetry readings,
often heckling
the readers and
generally prac-
ticing a sort of
wine-soaked
bohemianism,
they theorized
forms of lit-
erature such as
"anti-poetry"
that consciously
divorced itself
from estab-
lished traditions
in a way that
reflects (though
not to suggest a
causal relation-
ship) the oppo-
sitional lifestyle.
Bolafio's
personal
involvement
with the group
ended when he
moved to Spain

in1977, more or less precipitating
the end of the movement.
However, Bolaino would then
re-live and reanimate his time
as an Infrarealist through
his writing even as he moved
beyond it in his personal life.
Maristain's biography is a
welcome and enjoyable salve
to any inclination to write out
the life of an author, as if writ-
ers in writing forgot to live or
only did so by accident. Hers is a
story informed by personal cor-
respondence (she notes Bolano's
e-mail address, "robertoba")
with the writer. Her biography
delights in presenting Bolano's
life from the ground level, both
from the perspective of her per-
sonal connection and the con-
nections of those who played
a significant part of the life
of this massively significant
author of the twentieth and
twenty-first century.
A BIOGRAPHY
in CONVERSATIONS
Mr'niCa Maristain
MELVILLE HOUSE PUBLISHING

Call:#734-418-4115
Email: dailydisplay@gmalltcom
RELEASE DATE- Monday, November 17, 2014
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