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ACROSS
1 Position at work
4 Busy as __
8 India neighbor
13 “You __ here”:
mall map words
14 Banquet, e.g.
15 Top-quality
16 With 36-Across,
Polo Grounds
great
17 Saber-rattling
19 Ravel classic
21 Car dealer’s no.
22 Bro’s sib
23 Carry on wildly
25 Regatta
propellers
27 Shed a few
pounds
32 California’s San
__ Obispo
34 Disco __: “The
Simpsons”
character
35 More up-to-date
36 See 16-Across
37 Shed purpose
40 Dismantled Brit.
music
conglomerate
41 Truckee River’s
lake
43 Crude __
44 Small cut
45 Romantic triangle
figure
49 Continuous
change
50 “__ le roi!”:
French
Revolution cry
51 Relaxing retreat
54 Drop from a list
56 Rose garden
pests
60 End up just fine
63 After-tax
64 What a
password
provides
65 Not working
66 Rocks in a bar
67 Giggly sound
68 Little dog breeds
69 Highway
breakdown need
... or, initially,
feature of 17-,
27-, 45- and 60-
Across

DOWN
1 Vertical door part
2 Two-toned
cookie

3 Inventor
associated with
telephones
4 California Zephyr
operator
5 “Tell it like it is”
6 Sensory organ
7 Sch. before junior
high
8 Wetsuit material
9 North Pole
assistant
10 Seats for the
flock
11 Palm tree berry
12 Acronym parts:
Abbr.
15 McDonald’s
freebie
18 Starting on
20 Important periods
24 Dorothy’s dog
26 “Sprechen __
Deutsch?”
27 Ten percent
donation
28 Public commotion
29 Edmund who
played Kris
Kringle
30 Prefix with sphere
31 __ odometer
32 Ronnie in the Pro
Football Hall of
Fame

33 Beehive State
37 Let free
38 Old Sony brand
39 “Think __, act
locally”
42 Cartoon fight
sound
44 Merit badge holder
46 Garden fertilizer
47 Red sign over a
door
48 Syrup trees
51 ASAP, to an MD

52 Brownish purple
53 Foot part
55 Silly goose
57 Not yet
eliminated
58 Art __
59 Hearty bowlful
61 Word seen
between married
and maiden
names
62 Old name for
Tokyo

By Mark McClain
©2017 Tribune Content Agency, LLC
11/13/17

11/13/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, November 13, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

FOLLOW US ON TWITTER

@michigandaily
NOW.

5 — Monday, November 13, 2017
Arts
The Michigan Daily — michigandaily.com

AMAZON STUDIOS

Julianne Moore and Michelle Williams star in “Wonderstruck”
‘Wonderstruck’ ultimately 
is redeemed by innovation
Haynes’s latest release struggles to escape its formulaic plot

This 
review 
was 
first 

published during our coverage 
of 
the 
2017 
Cannes 
Film 

Festival. We are re-printing a 
slightly edited version in honor 
of the film’s release this past 
weekend.

Todd Haynes’s new film 

“Wonderstruck” is a playful if 
somewhat contrived view on 
children, the deaf experience 
and the magic of history 
museums. While stuffed with 
acclaimed 
American 
actors 

including 
Julianne 
Moore 

and 
Michelle 
Williams, 

“Wonderstruck” fails to inspire 
but sufficiently entertains.

“Wonderstruck” 
oscillates 

between 
stories 
that 
are 

parallel in theme but separated 
by 
time. 
The 
film’s 
main 

story takes place in 1979 and 
follows Ben (Oakes Fegley, 
“Pete’s Dragon”), a young boy 
plagued by the recent death of 
his mother and his continuous 
nightmares of wolves, who 
longs to find the identity of 
his father and understand his 
past. Ben loses his hearing 
permanently shortly into the 
film after being struck by 
lightning. The other story, set in 
1929, follows Rose (first-timer 
Millicent Simmonds), a young 
deaf girl trapped in a loveless 
household and obsessed with 
the silent movies of the era. 
The stories follow a parallel 
trajectory: Both protagonists 
escape their unhappy homes 
and embark on a journey to 
New York City, where they 
search for and find compassion 
and companionship.

Furthermore, both stories 

highlight the deaf experience 
and 
challenge 
the 
notion 

of 
communication; 
as 

neither 
character 
speaks 

sign 
language, 
they 
must 

communicate through pen and 
paper, creating a lagging time 
between question and answer 
and subsequently generating 
suspense 
and 
frustration. 

The film does a great job of 
spotlighting an often-forgotten 
disability by celebrating and 
destigmatizing 
deafness, 

reversely 
constructing 
a 

whimsical story of two lost 
souls who happen to be deaf.

Beyond its characterizations, 

the film explores deafness 
through form. Todd Haynes 
brilliantly tells the cinematic 
tale of two deaf kids through 
the form of a silent movie, 
playing with the conventions 
of the genre to create multiple 
layers 
through 
which 
to 

explore the deaf experience. 
Rose’s story is told through 
the satirized silent film, with 
exaggerated gestures, sounds 
effects and musical cues to 
mimic the format of the classic 
silent picture. Furthermore, 
the shots in Rose’s storyline 
are 
in 
black-and-white, 

contributing to the overall Old 
Hollywood feel. Ben’s story 
is similarly crafted with the 
tropes of a silent film, but with 
a modern twist; his scenes are 
characterized by jazz and rock 
music instead of sound effects, 
with a heightened emphasis on 
cinematography and lighting 
to create a more stylized feel. 

Ultimately, 
the 
silent 
film 

format creates multiple layers 
through 
which 
to 
portray 

the deaf experience, while 
simultaneously paying respect 
to an era of cinema equally 
accessible to the hearing and 
the hearing-impaired.

Museums 
also 
play 

an 
important 
role 
in 

“Wonderstruck”, 
both 
as 

settings 
and 
plot-drivers. 

Museums act as the stage 
on which characters meet, 
cultivate friendships, discover 
passions and work through 
issues. While the parallel story 
segments seem disjointed and 
unrelated for a large portion 
of the film, the end reveals 
that 
the 
two 
protagonists 

are united by the Natural 
History Museum, both the 
place where Rose’s and Ben’s 
fathers worked, and where Ben 
discovered his father’s identity. 
The 
film’s 
preoccupation 

with museums extends to its 
form as well; the origin story 
of Ben’s father, a diorama 
maker for the museum, is told 
through a complex diorama 
format reminiscent of Laika 
Entertainment 
claymation. 

Again, Haynes exhibits his 
ability to play with form and 
construct multiple, self-aware 
layers of storytelling.

As a whole, “Wonderstruck” 

is a charming but formulaic 
story, 
with 
uninspired 

acting 
and 
cheesy 
clichés. 

The plot escalates suddenly 
and without warning, with 
betrayal 
or 
revelations 

happening too quickly and 
conveniently to feel genuine. 
However, Haynes’s innovative 
use of form saves this film 
from mediocrity, effectively 
revealing unexplored themes 
in a playful and subtle way.

SINGLE REVIEW

In case you missed it, Dis-
ney-bred pop duo Aly & AJ 
is making music again after 
a decade-long hiatus. Now 
operating under their own 
record label, the sisters are 
putting out incredible West 

Coast-inspired synthpop. 
We got the first taste with 
mid-August release “Take 
Me” and another dose this 
past week with shiny single 

“I Know.”

Both songs present some 
of the most intricate pop 

production heard in recent 

years. “Take Me” lacks 
predictability even after 

multiple listens, leading into 
each refrain differently and 
scattering the multiple lay-
ers of backtracks to create 
a song that sounds coherent 
against all odds. “I Know” is 
similar in that it plays with 
syncopation, but relies heav-
ily on vocal distortion to cre-

ate ear-catching production. 
One of the finest examples 

occurs post-bridge with 
a crescendoing autotune-
enhanced delivery of the 

title lyrics, “I know / you 

know who’s going to pick you 
up / who’s going to take you 
home” that culminates in an 
ornate drum sequence and 
leads into the final refrain.
From many angles, “I Know” 

is a pick-me-up song. The 
lyrics resemble the average 

pep talk given to a friend 

going through a rough patch, 

reassuring them with, “it’s 
going to be fine” and plead-
ing, “tell me what will get 
you out.” Besides the raw 
lyric content, the delivery 
and its surrounding atmo-
sphere add to the comfort-
ing spirit of the track. The 
vocals transition from des-
perate and sympathetic to 
motivating; the glittery and 
airy synth production ulti-
mately induces a soothing 

quality.

With the release of “I 
Know,” Aly & AJ also 

announced that their new 
EP, aptly-named Ten Years, 

will be out Nov. 17. The 

released singles place a huge 
amount of potential into the 
forthcoming work, proving 
that these sisters are back 

and better than ever. 

 
— JESS ZEISLOFT

DAILY LITERATURE COLUMN

June Jordan, a poet for 

the people

Poetry 
has 
long 
held 

the reins as a conduit for 
conscious 
revolution. 
In 

recent years particularly this 
notion has blossomed, as poets 
like Claudia Rankine have 
gained traction due in part to 
their work with social protest 
poems. Their poems are not 
only intelligently crafted, but 
are also deeply heartfelt and 
socially conscientious.

There are probably few who 

embody this balance more 
thoroughly than June Jordan. 
Alive for two-thirds of the 
twentieth century, Jordan’s 

work 
not 
only 
influenced 

the 
always-evolving 
craft 

of literature; it also came to 
represent many of the issues at 
the forefront of her own time. 
She wrote about race, class, 
sexuality, LGBTQ experiences 
and a great deal more, often 
anchoring her work in specific 
historical events and figures. 
Her nickname was literally 
“the Poet of the People,” and it 
isn’t very hard to see why.

The only child of Jamaican 

immigrant 
parents, 
Jordan 

was raised in Harlem during 
the 1940s. She developed very 
distinctive ideas about race 
and identity from a young 

age, due in part to her father 
— who also shared with her 
his love of literature — and 
in part to her experiences 
attending 
a 
predominantly 

white high school. She later 
attended 
Barnard 
College, 

but dropped out following 
her extreme dissatisfaction 
with the curriculum, which 
focused almost exclusively on 
white men.

One 
of 
Jordan’s 
most 

remarkable 
facets 
is 
her 

versatility. She engaged in a 
number of different writing 
styles, including playwriting, 
children’s 
literature 
and 

journalism as a columnist for 
The Progressive. Even within 
her poetry alone, one can 
detect an amazing tendency 
to explore and to experiment. 
Her range of skills extends 
from beautiful descriptions 
(“It’s Hard to Keep a Clean 
Shirt Clean”) to modernesque 
freeform 
(“In 
Memoriam: 

Martin Luther King, Jr.”) to 
almost prose-like storytelling 
(“A Poem about Intelligence 
for My Brothers and Sisters”).

The emotions in her poems 

are 
deeply 
rendered, 
and 

accessible even to strangers 
reading her work from half 
a century away. She often 
draws from the well of her 
own 
personal 
experience 

with familiar issues, even 
when she’s attaching those 
experiences 
to 
well-known 

instances and figures, such as 
in “1977: Poem for Mrs. Fannie 
Lou Hamer.”

Jordan 
isn’t 
afraid 
to 

venture into the realm of the 
confessional. Her beautiful 
poem 
“Apologies 
to 
All 

the 
People 
in 
Lebanon,” 

probably my favorite of the 
ones 
mentioned 
here, 
is 

a personal apology to the 

people of Lebanon, on behalf 
of herself and all of the 
American people, for their 
lack of aid or interference in 
the South Lebanon conflict. 
Jordan shows no reservation 
here in claiming her own 
culpability in the matter, with 
straightforward 
lines 
such 

as: “Yes, I did know it was 
the money I earned as a poet 
that / paid / for the bombs 
and the planes and the tanks 
/ that they used to massacre 
your family.” This is strikingly 

honest, and speaks volumes as 
to the genuine quality of her 
poetry.

Jordan’s literary impacts 

are 
undeniable, 
from 
her 

approaches to the complex 
topic 
of 
privilege 
to 
her 

contributions 
to 
feminist 

theory. Equally remarkable is 
the fact that while she often 
writes about specific moments 
or aspects of history, her work 
is no less relevant today than 
it would have been thirty or 
fifty years ago. She is not only 
a poet for the people, but for 
America and for the ages.

LAURA 
DZUBAY

 Her work is 

absolutely no less 

relevant today 
than it would 

have been thirty 
or fifty years ago

Literature Columnist Laura Dzubay examines the 
everlasting effect of Jordan’s 20th century poetry

“I Know”

Aly & AJ 

Aly & AJ Music 

FILM REVIEW

SYDNEY COHEN

Daily Arts Writer

“Wonderstruck”

Amazon Studios

Michigan Theater

