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ACROSS
1 Like some
benefit golf
tournaments
6 Baby bed
10 Deadly snakes in
hieroglyphics
14 “It matters to me”
15 Italian money
until 2002
16 Tackle box item
17 *Seeks shelter
19 Samoa’s capital
20 “__ side are you
on?”
21 Not up to snuff
23 Pierced ear part
26 Actor Jared
28 Conceals in
one’s hand
29 Tactical
advancements
31 Like slugs
33 Jellyfish bites
34 Thrilla in Manila
boxer
35 Stop stalling
37 Wee one
38 *Bob Marley
togetherness
classic
41 Mag mogul often
seen in pj’s
43 Letters in
geometry
45 Duracell size
46 Ritzy spread
48 Ivory and Coast,
for two
50 Tom Brady,
notably
51 Garden bug
53 Airline to Tel
Aviv
55 “The Piano”
actress Paquin
56 “Just my luck!”
58 La Scala solos
60 Prime for picking
61 Stationery that
may include a
company logo ...
or what the ends
of answers to the
starred clues can
be?
66 “Got it”
67 Dole (out)
68 Chill-inducing
69 Camera part
70 Toboggan, e.g.
71 Second or sixth
president

DOWN
1 Mango discard
2 Color TV pioneer
3 Sturdy furniture
wood
4 “Is it a go for
tonight?”
5 Sports jersey
material
6 Wraps up
7 Fastener for Rosie
8 Rancor
9 Pub crawl stops
10 Montgomery’s
home
11 *System that gets
goods to
customers
12 Trojan War king
13 Chars
18 Reason for a
heating bill spike
22 Wire service org.
23 Most wanted __
24 In the lead
25 *Major golf
tournament won
five times by
Tom Watson
27 Nobel Institute city
30 Back in the day
32 Habitually
misrepresent
one’s true self

34 Pie __ mode
36 Wyoming’s Grand
__ National Park
39 Lighten (up)
40 Md. winter hours
42 Spanakopita
cheese
44 Evening affairs
47 Seriously
vandalized
49 USN bigwig
50 Took different
paths

51 Month with
showers
52 Composure
54 Foamy pick-me-
up
57 Tall shade trees
59 Environs
62 Slender 
swimmer
63 Pitcher’s stat
64 Asset at the
archery range
65 __ Moines

By C.C. Burnikel
©2017 Tribune Content Agency, LLC
03/28/17

03/28/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, March 28, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Tuesday, March 28, 2017
Arts
The Michigan Daily — michigandaily.com

Clark and Brown bring 
lyrical poetry to Literati

Two previous poet laureates who test the limits of lyricism 
and performance to present their recent poetry at Literati

Literati welcomes poets Fleda 

Brown and Patricia Clark to share 
selections from both of their latest 
published collections, each focused 
on the natural world.

Fleda Brown, a former poet 

laureate of Delaware from 2001 to 
2006, currently resides in Traverse 
City where she writes for the 
Record Eagle. Brown will read 
from her new book, “The Woods 
Are On Fire: New & Selected 
Poems,” as part of the Ted Kooser 
Contemporary Poetry Series.

“I like to hear my poems out 

loud,” Brown wrote in an email 
interview. “It helps me as a writer. 
But even more, the poem is nothing 
until it’s heard. It needs an ear and 
an eye.”

For Brown, nearly anything 

in the world could be her next 
inspiration for a poem. 

“I am inspired by any odd 

thing. Nothing in particular, just 
the ordinaries of my life,” Brown 
wrote. “I am very visual and often a 
poem starts with an image — a tree, 
a cedar waxwing, a man crossing 
the street, etc.”

Brown stressed the importance 

of finding what one is most 
passionate about. In her own life, 
she was unsure of pursuing what 
she loved to do, and encourages 
taking a leap of faith. 

“I had no idea that people could 

do this for a career,” Brown wrote. “I 
got a Ph.D. in American Literature 
and after I began teaching at the 
University of Delaware, I finally put 
together enough poems for a book. 
And behold! Someone wanted to 
publish it. So I was off and running. 
I no longer ‘had’ to be a scholar. I 
could keep doing what gave me the 
most pleasure.”

Brown describes her climb 

to success as many little things 
building up to what she has become 
today.

“Over the years I’ve had some 

great poet friends who’ve read 
my 
poems 
and 
commented, 

encouraged and discouraged me. 

I seem to do best with someone 
pointing 
out 
what’s 
working 

rather than pointing out what isn’t 
working,” Brown wrote. “I do well 
with praise. I’m the one who’s 
hardest on myself.”

In Traverse City, Brown has 

been staying busy with several 
different projects.

“I’ve been working my tail off. 

I put together an edited collection 
of my blog posts from when I 
had cancer and published it as a 
book, ‘My Wobbly 
Bicycle,’ with all 
the proceeds going 
to 
the 
Cowell 

Cancer Center here 
in Traverse City,” 
Brown wrote. “I’m 
writing an essay 
now 
and 
then, 

expecting to pull 
essays together for 
a collection when I 
have enough that I 
like.”

Patricia 
Clark, 

a former poet laureate of Grand 
Rapids from 2005 to 2007, is a 
professor of writing at Grand 
Valley State University. 

Clark will be reading from her 

new book, “The Canopy,” which 
came out in January. She enjoys 
hearing how people respond to 
her work. She may even read a 
new poem that has not yet been 
published. 

“There’s always a surprise in 

terms of what people respond to … 
that’s really fun,” Clark said. “And 
then people come up and say ‘I was 
really moved by this’ or ‘this meant 
a lot to me.’ ”

Clark describes her style of 

poetry as lyrical, and it often 
focuses on aspects of the natural 
environment. 

“Poetry really is closest to music 

in terms of an art form even though 
it is words, so I tend to try to have 
a fairly musical kind of line,” Clark 
said. “And then in terms of imagery 
and stuff like that I have a lot of 
nature imagery in my poems.”

Basing 
her 
writing 
off 

observations, she is known to 
simply walk about and see what 

the eye can see without taking 
any notes. Finding things in the 
physical world inspires her to 
discover what it signifies.

“When I come home, my test 

is kind of, ‘Do I still remember 
something?’ And if I still remember 
something then it must mean 
something psychological,” Clark 
added. “So my goal as a writer is 
to put some words down on paper, 
some observations, and see it I can 
tease out what it means.”

Playing 
with 

language is a large 
part of her writing. 
When the words 
come together just 
right, Clark finds 
her job to be a real 
thrill.

“When 
the 

reader reads it they 
too have a little 
discovery moment 
and a moment of 
insight. Not a big 
moment, like ‘the 

world sucks,’ it’s more like a little 
insight, like this is a beautiful 
moment,” Clark said. “Now that 
sounds kinda trite but hopefully in 
the poem it isn’t. It’s fresh.” 

Clark teaches creative writing 

at Grand Valley State University, 
instructing on poetry, fiction and 
nonfiction. She leads students out 
of the academic writing they may 
be used to into a whole new artistic 
world.

“You can do a lot of wild and 

crazy things … you can experiment, 
you can break the rules. Students 
seem to really respond,” Clark said.

Some 
students 
have 
even 

changed majors as a result of the 
discoveries made in Clark’s class.

“(Teaching) always rejuvenates 

my own writing because I think, 
‘wow this is what I should be 
doing. It can really help my own 
writing.”

Currently, Clark is working 

on a collection of obituaries from 
several different Patricia Clarks 
from all across the country. 
Aiming to laugh in the face of 
death, this piece will have a bit of 
humor to accompany it.

FALLON GATES

For the Daily

COMMUNITY CULTURE PREVIEW

Poetry at 

Literati: Fleda 

Brown and 

Patricia Clark

Literati Bookstore

Tuesday March 
28th @ 7 P.M.

Free

FILM REVIEW

FLICKR

Tony Conrad, subject of the new documentary
Conrad documentary is a 
heartfelt portrait of artist

New doc profiles the life of experimental filmmaker Tony Conrad

“History 
is 
like 
music, 

completely in the present” – Tony 
Conrad

These are the words that 

open this riveting documentary 
on the life and work of artist, 
musician, filmmaker and teacher 
Tony Conrad, and they couldn’t 
be more accurate. Conrad is 
radically present in all of his 
endeavors, using his passion 
and 
creativity 
to 
challenge 

constructs of power, cinema, 
music and art. The film, directed 
and produced by Tyler Hubby 
(“House of Harrington”), is 
a non-linear style timeline of 
Conrad’s 
experimental, 
anti-

authority, sometimes blinding 
collection of artistic endeavors. 
Hubby 
manages 
to 
capture 

Conrad as an artist and a 
character simultaneously, while 
keeping the audience engaged, 
entertained and excited.

Conrad 
is 
loveable 
and 

ridiculous. His personality is 
clearly demonstrated on screen 
as a quirky grandpa-type who 
talks to the camera as if it were 
a dear friend. Before entering 
the world of minimalist music, 
Conrad 
studied 
computers 

at Harvard, which explains 
his high caliber vocabulary 

and 
long-winded 
soliloquies. 

Following 
Harvard, 
Conrad 

took refuge on Ludlow Street 
in downtown New York City, 
where he jammed with the likes 
of John Cale and The Velvet 
Underground. It was there that 
Conrad and his buds helped form 
the foundation for minimalist 
music as we see it today.

After 
making 
strides 
in 

the music scene, Conrad took 
his talents to the world of 
underground filmmaking, where 
he challenged Andy Warhol 
and cinema in general. Hubby 
documents Conrad’s ventures 
in 
underground 
filmmaking 

with his 1965 debut of “The 
Flicker,” a film which consists of, 
well, flickers. Conrad playfully 
addresses the camera declaring 
himself 
“Mr. 
Flicker.” 
Also 

Hubby 
highlights 
Conrad’s 

famous 
“Yellow 
Movies,” 

which fall somewhere between 
performance art and film, with 
a little expressionism thrown in 
for good measure. A hallmark of 
Conrad’s music is the monotoned 
drone of the worst quality violin 
you can imagine. The sound — 
or noise rather — of it can be 
unbearable at times, but the 
passion Conrad feels for his craft 
makes the headache worth it.

In addition to his radical films 

rooted in challenging the norm, 
Conrad also took on teaching 

media at both Antioch College 
and The State University of 
New York at Buffalo. Conrad 
perfectly fits the mold of the 
oddball professor, with teaching 
methods 
in 
the 
classroom 

that keep students on their 
toes. He skyped into a class 
on documentary filmmaking, 
utilizing Hubby as a teaching 
tool in his instruction. The 
meta-effect perfectly captures 
Conrad’s effervescent presence 
and style.

Conrad, an abstract artist 

in his own right, screws the 
construct of abstract art and 
the contemplative religiously 
that goes with it. Conrad would 
rather make his audience laugh 
out loud than silently meditate, 
and Hubby’s film is definitely 
filled with laughter.

The film ends with Conrad 

standing on the streets of New 
York 
City, 
directing 
traffic 

as if he were conducting an 
orchestra; a screaming child, a 
motorcycle, three large trucks. 
It is the perfect end to the 
documentary, leaving the viewer 
with a final taste of Conrad’s 
eccentric, 
quirky 
charm. 

Hubby’s 
documentary 
is 
a 

telling portrait of Tony Conrad’s 
contributions to the world of art, 
cinema and music, all the while 
capturing the unique lovability 
of a legendary creative mind.

BECKY PORTMAN

Daily Arts Writer

FILM PROFILE
The 55th Ann Arbor Film 
Festival Awards Review

Madeleine Gaudin recaps winners and losers of this year’s festival

This past Sunday, the awards 

ceremony of the 55th Ann Arbor 
Film Festival opened with a 
jab at the festival itself. Before 
the award winning shorts were 
screened, they played what the 
introductory 
remarks 
called 

a “PSA.” It was an SNL skit 
from last fall that poked fun at 
the experimental film festival. 
Within a genre of filmmaking 
that seems ripe for this sort of 
mockery, the films recognized 
on Sunday stood out for their 
simultaneous 
mastery 
of 

narrative and innovative artistic 
expression.

The Ken Burns Award for Best 

of the Festival was awarded to 
“Xylophone,” a collage animation 
piece by Jennifer Levonian. In the 
film, Levonian pairs striking cut-
paper animation with a flowing, 
absurdist plot. With no dialogue, 
the film follows a pregnant 
mother and her daughter as 
they travel across a gentrified 
Philadelphia 
neighborhood 

bouncing on exercise balls in 
“mommy and me” yoga classes 
and picking up goats at the petting 
zoo. “Xylophone” demonstrates 
Levonian’s mastery of animation, 
comedy, social commentary and 
unconventional, yet accessible, 
narrative techniques.

An equally smart animated 

film, “‘The Talk’ True Stories 

About the Birds and the Bees,” 
won the Prix DeVarti Award for 
Funniest Film. Alain Delannoy’s 
short film weaves together the 
first-person testimonials of a 
handful of men who recount 
the talks their parents gave — 
or didn’t give — them about 
sex. From the cringe-worthy 
to the absurd, Delannoy’s film 
captures a very precise moment 
in adolescence with a gentleness 
that allows his subjects to be 
vulnerable. Shown as faceless, 
animated silhouettes, the men 
tell their stories anonymously, a 
trick that allows the film to get as 
close to its subjects as it does in 
its brief 11 minute runtime.

A less traditionally narrative 

piece, “Commodity City,” earned 
its 
creator 
Jessica 
Kingdon 

the award for Most Promising 
Filmmaker. 
Kingdon’s 
film 

explores 
the 
world’s 
largest 

wholesale 
market 
in 
Yiwu, 

China. The mall spans over five 
miles end to end, but Kingdon 
stays close to her subjects, 
favoring detail over scale. She 
captures an assortment of booths 
— 
people 
selling 
everything 

from clocks to rope to flowers. 
At first, the subjects are still and 
quiet, they watch videos on their 
phones and type on computers, 
almost visually consumed by the 
products around them. As we 
settle into the space, the subjects 
begin to behave as if no one is 
watching them. A girl pulls a 
stool out from under her younger 

brother, a boy picks his nose, 
others fight over toys. Without a 
plot or much dialogue, Kingdon 
builds an immensely intricate 
and visually stunning world 
inside the mall.

In addition to the specific 

awards, 
a 
number 
of 
films 

received Jury Awards. A standout 
among the Jury Award winners 
was William Caballero’s “Victor 
& Isolina,” a part claymation, 
part 
animation 
piece 
about 

the relationship between the 
filmmakers’ 
grandparents. 

The narrative is built around 
recordings 
of 
an 
interview 

between Caballero and each 
grandparent, but none of them 
are seen until the films credits. 
Rather, Caballero shoots small 
doll-like figurines and animates 
the content of the interview in 
paper-cut letters onscreen. The 
film stands apart from others 
in the festival for its innovative 
approach to animation and the 
way in which it blurs the lines 
between traditional animation 
and live action.

Other notable wins include 

Gabriel 
Ortega’s 
“Emelina” 

taking home the Tios Award 
for 
Best 
International 
Film, 

the \aut\ Film Award for Best 
LGBTQ Film going to Elegance 
Bratton’s “Walk for Me” and 
Jonathan Rattner picking up the 
Michael Moore Award for Best 
Documentary for his film “The 
Interior.” A full list of winners is 
available here.

MADELEINE GAUDIN

Senior Arts Editor

