2B — Thursday, April 9, 2015
the b-side
The Michigan Daily — michigandaily.com
If you find yourself enrolled
at an esteemed university such
as the University of Michigan,
you’ve either been or are a writ-
er to some degree. Whether it be
typing up lab reports, journal-
ing in your English 125 class or
finalizing your poetry portfo-
lio, you’ve translated thoughts
and ideas into some form of a
written work. Wherever you
stand on the spectrum, some-
where between occasional essay
writer and loud and proud Eng-
lish major, you’ve likely been
strained by the craft at some
juncture
of
your
academic
career. Writing — that’ll getcha.
When I sat down at Espresso
Royale on a rainy afternoon with
two writers, I was reminded of a
truth I so often overlook: writ-
ers are an undeniably odd breed.
That’s not to say LSA senior
Supreet Grewal and Business
and LSA junior Nisreen Salka
were weirdos — quite the oppo-
site, actually. They’re incredibly
intelligent, witty and well-spo-
ken students of the University;
the type that restore your dwin-
dling faith in the student body
after overhearing some utterly
imbecilic conversation at the
UGLi.
Grewal and Salka are the edi-
tor in chief and the finance and
publications chair, respectively,
of the University’s undergradu-
ate student-run literary maga-
zine, Xylem.
Over our afternoon brew,
we discussed their publication,
the logistics behind it and its
lengthy processes of submission
and composition. But, we spent
a majority of our time discuss-
ing the strenuous yet rewarding
process that is writing (i.e. how
we were all alike in that we’re
weirdos by way of the craft).
We touched on the collective
effervescence
shared
among
writers, or the notion that there
are unspoken rules one natu-
rally subscribes to by being a
writer. We determined there’s a
bevy of components, some ben-
eficial, some agonizing, but all
relatable. Between our cathar-
tic chat ranging from our love-
hate relationship with clichés to
the dichotomy of egocentrism
and self-doubt, just listening to
each other was like an apology
of sorts — an apology on behalf
of our creative venture for its
affliction.
That’s not to say writing’s
all bad. Immersing yourself in
writing is an excellent route to
self-discovery, or the thoughts
we can’t seem to articulate in
any other medium, as Grewal
can attest.
“I think for me it is mostly
my experiences, or things I
can’t put into any other con-
text,” she said. “Sometimes I’ll
write a poem only because a
poem is the best form for what
I’m trying to say,” to which she
jokingly added has hindered
her from writing a lot of poems.
On
the
contrary,
Salka
approaches her work from a dif-
ferent angle.
“I hate drawing purely from
my own experiences, but I like
taking emotions from those
experiences and putting it into
a different personalities,” she
said. “I think it’s boring to
reciprocate just what I’ve been
through. Inspiration can come
anywhere.”
Whether derived from per-
sonal experiences and emotions
or purely fictitious, Xylem’s
content includes prose, poetry,
short stories and occasional art-
work. Due to its contingency on
student submissions, at the root
of Xylem stems an admirable
authenticity, each piece distinc-
tively delivered in the author’s
emotive voice.
“I think the unique voice is
that it doesn’t really have one,”
Grewal said. “It doesn’t attempt
to be anything super unified
other than a platform for stu-
dents to get their work out
there.”
As a platform for writers
ranging from burgeoning poets
to Hopwood winners, Xylem
fosters a pedagogical environ-
ment for all skill sets.
Prefacing each issue is Oxford
English Dictionary’s definition
of “xylem”: “n. Collective term
for the cells, vessels, and fibres
forming the harder portion of
the fibrovascular tissue; the
wood, as a tissue of the plant-
body.”
Which raises the question:
what’s in the name? That’s a
question even Salka and Grewal
ask themselves. From a meta-
phorical standpoint, it’s clever
— just a group of typists, sowing
the seeds of their efforts, reap-
ing the benefits of their work
with each tangible copy of the
journal. Yet, to the publication’s
two figureheads, any definition
offered is seen as contrived.
Salka’s been trying to solve the
mystery since she joined the
staff her freshman year.
“No one knows, that is the
biggest mystery,” Salka said.
“That’s the first thing I asked
the editor in chief when I start-
ed and she was like ‘no idea.’ ”
Though their roots may not
be clear, Xylem exists as an
abstract outlet for students like
Grewal and Salka, who explore
the creative pursuits that are
often limited in the classroom
setting.
Salka has seen the publication
grow over the years, but its lead-
ers maintain it has remained
a place for students to express
themselves.
“We accept more work and we
accept more high-quality work,”
Salka said. “We had two or three
times as many submissions this
year than last year. We have
the luxury of being more picky
when we get more options.”
Grewal happened into Xylem
by a turn of events, after stum-
bling upon their submissions
advertisement
featuring
an
open editor position. She came
to the University with inten-
tions
of
a
pre-med-related
major, but a service trip to Nica-
ragua completely changed her
mind, resulting in her pursuit
of a dual degree in English and
economics.
“I realized I was way too emo-
tional to be a doctor,” she said.
Not only did the trip deflect
her academic path, but her pho-
tos taken on the trip resulted
in her photo essay submission
for Xylem, for which she was
accepted into the magazine.
“We were all so impressed by
that, by the way,” Salka added.
As for Salka, Xylem simply
seemed an enjoyable addition
to her Business and Screen Arts
and Cultures majors. The cur-
rent finance and publications
chair has been a part of the pub-
lication since her freshman year.
After the entire board of last
year graduated, Salka was the
only remaining editorial board
member when Grewal assumed
the position of editor in chief.
Prospects were bleak in her
eyes, as she doubted the journal
could replace the graduated tal-
ent.
During the fall, the pair often
met at Elixir Vitae, where Gre-
wal was constantly reassured
by Salka’s optimistic outlook.
“I have blind faith; I’m sorry,”
Salka joked. “I kept telling her,
‘I’m sure we’ll find people.’ ”
Sure enough, Salka was right.
At the mass meeting, it was just
the two of them, pitching the
publication to an eager crowd of
students. Seeing as she under-
estimated the turnout, Grewal’s
only regret was that she didn’t
bring enough cookies.
“I found myself staring into
this sea of people that I wasn’t
expecting to show up at Mason
Hall,” she recalled.
In terms of the yearly logis-
tical timeline, Xylem begins
advertising for submissions in
two waves, one shortly before
Thanksgiving
and
one
just
before Winter Break, allotting
aspiring
contributors
ample
time to create. The magazine
generally closes submissions
during the first week of Janu-
ary, and layout is finalized in
late winter. Throughout the
early spring, all components
are sent to the publishers.
“First semester is all about
generating interest and letting
people know we’re accepting,”
Grewal said.
She initially found the task
daunting and assumed it a dif-
ficult venture to find eager con-
tributors, but alas her doubts
absolved.
“People are eager to get their
work published,” she said.
In terms of what they get
out of their Xylem experience,
Grewal and Salka concluded
the submissions team meet-
ings as invaluable in their pro-
gression as writers. The group
meets in early January for what
Grewal describes as “mega-
discussions” of the potential
content
for
each
upcoming
issue. The lengthy submissions
meetings last five to six hours,
during which the team assesses
the strengths and weaknesses
of each piece from a literary
standpoint.
Group
members
are expected to read each piece
beforehand, all of which are
put in a Google Doc without
names, in order to avoid bias
When one’s own work is the
topic of discussion, the writer
is not allowed to speak on it,
but rather listen intently to the
commentary.
“As a board member, your
analytical abilities and your
method of finding something
valuable in someone’s creative
work really comes into play,”
Grewal said.
The team was smaller than
years past, as Grewal wanted
to emphasize consistency and
avoid past mistakes that came
with a larger, unreliable team.
“In the past, there’s been
issues
with
people
having
this huge amount of interest
upfront, or they say they’re
super excited and they don’t
follow through and I didn’t
want to treat student creative
work with that level of respect,”
Grewal said.
The workshop-style meet-
ings create an environment for
individual writers to improve
their
style,
as
submissions
are dissected for their liter-
ary elements, which are then
campaigned for by dedicated
supporters or rejected by vocif-
erous critics.
“It’s really easy to read a
book that’s won four prizes and
be like, ‘Wow this is great writ-
ing, how do I do this?” Grewal
said. “There’s no entry point
to figure out how to write like
that. You get better as a writer,
as an artist, by reading work
that’s still a little rough around
the edges and putting your own
opinion in.”
“Critically analyzing some-
one else’s work helps you find
the faults in your own writing,”
Salka added. “If we were split
on a certain piece or someone
felt really strongly about it,
we would let them make their
case.”
With thoughtful consider-
ation and helpful criticism, the
60-some selected works rep-
resent a combination of excel-
lent writing and the essence
of
Xylem.
Though
entirely
student-run,
the
publication
exudes a unique professional-
ism that’s reflected in its pre-
sentation, described by Grewal
as “something you would buy
in a store.” This year’s cohe-
sive cover design includes etch-
ings of phantom-esque figures,
with a back cover showing them
walking away.
Though a date has yet to
be decided (they’re looking at
the weekend of the April 17),
Xylem plans to host their annual
launch party at Literati Book-
store, the kitschy bookseller on
East Washington Street. While
serving to distribute the maga-
zine, the event also presents an
opportunity for writers to bring
their works to life as they read
them aloud, with intended tone
and emotion that may not have
translated over text.
As
with
most
creative
endeavors, there’s a lot of cli-
chés attached to writing. So in
the theme of our discussion,
reviving our love-hate feelings
towards clichés, I closed the
interview with a cliché ques-
tion.
“What’s the best part about
Xylem?” I asked.
Salka replied succinctly, stat-
ing, “The best part is the people
you’re with.”
As for Grewel, she gave me an
admittedly clichéd answer.
“Maybe the book is the best
part, but this is going to sound
so cliché, I hope you’re ready …
just everything along the way,”
she said.
By the end of the interview,
out of all the trials and tribula-
tions of writing we had previ-
ously agreed on, there was one
more — they’re clichés for a
reason.
XYLEM
From Page 1B
“The best part
(of Xylem) is the
people you’re
with.”
At the root of
Xylem stems
an undeniable
authenticity.
TV REVIEW
‘Mad Men’ premiere
is sluggish at work
By CATHERINE SULPIZIO
Senior Arts Editrix
Severance, as it turns out,
in the eponymous mid-season
premiere of “Mad Men” ’s final
season, is less easily achieved
than
one
expects.
Indeed,
the
episode
shows
how
the characters
remain
as
bound to their
corporate
identities
as
ever,
with
little
promise
for respite in
the last seven
episodes.
And
on
a
meta-level,
severance
eludes the audience, who feel
stuck back in the thematic mud
of early “Mad Men” — less like
an homage and more like a déjà
vu that refuses to leave.
Where once Don Draper
(Jon
Hamm,
“Bridesmaids”)
plumbed
the
less-than-
glamorous
depths
of
alcoholism, the thick veneer of
advertising coats everything
in “Severance.” Way back in
season five, Draper’s fall from
corporate grace was poised
to offer a phoenix-style rise
from the ashes. But in typical
“Mad
Men”
style,
Draper’s
whorehouse past has simply
been repurposed into another
tool of the trade — in this case,
to seduce a young model.
The episode’s strength is
in showing how entrenched
Draper’s life is in advertising.
In its opener, we see him in the
midst of a psychological mind
fuck (the type that typically
prefaces his brand of sex). Then
the camera pulls back to reveal
it’s just a hyper-sexualized
casting call.
And reunited as the ultimate
wingmen, Sterling (John Slattery,
“The Adjustment Bureau”) and
Draper are living in the financial
excesses of their McCann buyout.
While a brooding discontent
with civilization characterized
late-series “Mad Men” (think
of season five’s string of visual
death metaphors like the empty
elevator
shaft),
“Severance”
evokes its old brand of cynicism
— one in which the rewards are
reaped and the pathos is swept
under the shag rug.
But just as Peggy (Elisabeth
Moss,
“Girl,
Interrupted”)
cryptically suggests to a client,
“I’d never recommend imitation
as a strategy,” perhaps this
circularity is intentional. After
all, “Severance” is laced with
callbacks: Draper’s latest is a
fur client, and ingenue Rachel
Katz née Menken (Maggie Siff,
“Sons of Anarchy”) reappears
in a dream to model it for him.
She dies the next day, and all
of Draper’s attempts to extract
meaning from that well grooved
symbolic network of brunette-
cum-mother-cum-whorehouse
figures run dry.
Where narration is telling
Don old metaphors run out of
significance, other characters
like Ken (Aaron Staton, “L.A.
Noire”) are running head-on
against the narrative fates. After
his father-in-law retires, his
wife urges him to quit the job
that he can afford to quit and
write the book he should have
been writing. The next day,
internal politics lead to Ken’s
firing, providing the deus ex
machina that eludes Don this
episode. Rather than yielding to
the direction fate is channeling
him into, he yields to pettiness
and takes his father-in-law’s
old job — purely to torture his
ex-colleagues.
Other characters are chained
to their stakes: Peggy flirts
with escaping to Paris with a
promising date, but can’t find
her passport. Of course, it turns
up in her office desk. You can
leave work in “Mad Men,” in the
literal sense, but figuratively,
it’s a whole different story.
AMC
“I want to burn this place down.”
B
Mad Men
The Final Epi-
sodes: Episode 1
AMC
Sundays at 10 p.m.
SINGLE REVIEW
“Whip It” first made an
appearance as the fun-but-
forgettable opening track on
ILoveMa-
konnen’s
Drink More
Water 4
mixtape
in 2014. It
featured
the rap-
per’s now
trademark
wavery and
wobbly flow
as he play-
fully free-styled over a poorly
mixed beat and said “whip it” a
shit ton of times.
But 2015 is a new year, Drink
More Water 5 is a new mixtape
and “Whip It (Remix)” is a new
banger. This remix features a
reworked Makonnen verse and
a newly remastered beat. Most
notable, though, is the employ-
ment of rappers Migos and Rich
the Kid. With verses more catchy
than Makonnen’s, the fellow
Atlanta rappers add a new energy
to the track, giving it that this
could actually play at a party feel
that some ILoveMakonnen songs
just don’t have.
But, the hook – “teach me how
to whip it, teach me how to whip
it” – doesn’t have the strength to
carry the song. And Makonnen’s
characteristically choppy delivery
sounds a little too jagged, leaving
us with little to latch on to, little
to hum in our heads a couple min-
utes after the first listen.
Still, no one can resist a good
Migos feature
- RACHEL KERR
ILOVEMAKONNEN
B
Whip It
(Remix)
iLoveMakonnen
ft. Migos and
Rich the Kid
Self-released
TRAILER REVIEW
Trailer #1 for “Ex Machina”
is the perfect example of a trailer
that gives just enough informa-
tion about the film. We glean
scraps of
the initial
premise –
there are two
computer
scientists,
and they’re
working on
a danger-
ously human-
seeming
female A.I.
We know Oscar Isaac and Domn-
hall Gleeson are in it — that’s
enough to get us to see pretty
much anything. And, thanks to
the trailer’s nervous pace, we
know that it’s going to be very,
very intense.
We don’t learn much else, and
that’s a good thing. In the age of
trailers spoiling the most impor-
tant parts of the film, the “Ex
Machina” trailer stands as an
excellent example of how to truly
bait the audience with mystery.
- JACOB RICH
UNIVERSAL PICTURES
A
Ex
Machina
Universal
Pictures
April 10, 2015