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1015 Packard
734‑996‑1991
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1014 Vaughn
$3250 ‑ $3900 plus utilities
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734‑996‑1991
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Now Renting for 2018.
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# Beds Location Rent
6 1016 S. Forest $4770
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734‑996‑1991
FOR RENT
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Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Color changers
5 Allowing for the
uncertainty of the
future
10 Fairy tale bear
14 Set
15 Greenland coin
16 Holiday lead-ins
17 Aerialists’
insurance
19 Days in Durango
20 Side by side?
21 Medical priority
system
23 Visually
transfixed
26 Porsche Boxster,
e.g.
29 Mauritania
neighbor
30 Make a big stink
31 Immobile
32 Lining fabric
34 Zebra hunter
36 Breakfast order
... and a hint to
the last words of
17-, 26-, 51- and
58-Across
41 Loaves that may
be seeded
42 Printing goofs
44 Narrow groove
48 Take to heart
50 “Yikes!”
51 Like some pizza
ovens
53 Decorative
draperies
54 Brand name for
the sleep aid
zolpidem
55 Culture starter?
57 Tropical tuber
58 Conflict in
Tennyson’s “The
Charge of the
Light Brigade”
64 Tiny bit
65 Broadcaster
66 Sticking point
67 Many Christmas
presents
68 Involuntary
muscle
contraction
69 Jet black
DOWN
1 Wedding
reception VIPs
2 Vote for
3 Cookie baker in
the Hollow Tree
4 More
disreputable
5 Terrier breed
from Scotland
6 Richly decorated
7 Rival
8 Colony crawler
9 Stops working for
a while
10 Highway divider
11 Pilot
12 Scanty
13 State strongly
18 Little Italian
number
22 “Stand By Me”
director
23 Bowling alley
initials
24 Some square
dancers
25 Baldwin brother
27 “Maybe”
28 1930s migrant to
California
30 Beverage
company __
Cointreau
33 Coffee server
35 Binged (on)
37 Paint brand sold
at Home Depot
38 Got big enough
for
39 “Born This Way”
Lady
40 Antlered animal
43 Program
interruptions
44 Try to hit, as a
fly
45 Minestrone
ingredient
46 Drink named for
a Scottish hero
47 Make a scene
and act up
49 One of a ’50s
singing quartet
52 Ancient empire
builders
53 Madrid Mrs.
56 Start of an idea
59 Fabric flaw
60 Yo La Tengo
guitarist Kaplan
61 Break the tape
62 Whichever
63 King of ancient
Rome
By Susan Gelfand
©2018 Tribune Content Agency, LLC
02/08/18
02/08/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Thursday, February 8, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
BOOKS
“Even if we don’t have the
power to choose where we
come from, we can still choose
where we go from there.”
It was the summer before
ninth grade.
I
was
lounging
next
to a pool at a Hawaiian
hotel,
encumbered
by
my
perpetually anxious thoughts,
when my sister handed me a
book and said, “You should
read this.” I took a good look
at it: The cover was attractive
and minimalist, a mix of pale
green and forest brown, and
it felt skinny enough that
reading it didn’t seem like
much of a challenge (spoiler
alert: It wasn’t). I spent the
next three days engulfing
myself in the text, flipping
through every page without
hesitation. When I finished
Stephen
Chbosky’s
“The
Perks of Being a Wallflower,”
I knew instantly it was not
only my new favorite book —
before it had been, naturally,
J.D. Salinger’s “Catcher in
the Rye” — but that it had
reassured almost every single
fear I was facing about high
school up until that point.
Coming-of-age
stories
have always been my favorite
subgenre
of
American
literature — and narrative art
in general — but there hasn’t
been a coming-of-age story
I’ve read quite like “The Perks
of Being a Wallflower.” Set
in the early ’90s, the novel is
presented in a series of soulful,
intimate
journal
entries
written by the protagonist
Charlie, a perceptive introvert
from
suburban
Pittsburgh
who wrestles with childhood
traumas and a fear of rejection
as he enters his first year of
high school. Soon, however,
Charlie
befriends
step-
siblings
Patrick
and
Sam,
both ambitious, extroverted
upperclassmen who help push
Charlie out of his comfort
zone and realize his potential.
As he experiments with LSD,
creates melancholic mixtapes
and revels in watching glitzy
live performances of “The
Rocky Horror Picture Show”
— you know, classic high
school stuff — Charlie comes
closer to his true self, even
as he confronts his darkest
memories,
the
ones
that
attempt to lure him back into
isolation.
“The Perks of Being a
Wallflower”
aches
with
a
tenderness and vulnerability I
have yet to see in other novels.
Every sentence, every careful
observation
from
Charlie,
oozes
with
an
unbridled
adolescent
angst
that’s
devastatingly honest in one
moment, honestly devastating
in the next. In some ways,
the
book
narratively
and
thematically
mirrors
its
spiritual predecessor “Catcher
in the Rye,” but Charlie is
never
as
misanthropic
or
self-aggrandizing as Holden
Caulfield. Instead, Chbosky
embeds
an
uncommonly
genuine kindness into Charlie,
as well as an alluring cultured
taste — his character takes a
liking to F. Scott Fitzgerald’s
“This Side of Paradise,” The
Smiths and “The Graduate.”
The book is a stunning
portrait of what it’s like
to
feel
so
uncomfortable
with yourself, so lost in the
burrows of your past that the
only way to overcome such
pain is through the people
who matter in your present
— whether it’s your friends,
family or teachers. Charlie
learns this in the defining
moments
that
make
and
break his freshman year: He
reluctantly begins his first
romantic relationship with
Sam and Patrick’s punk-rock
friend Mary Elizabeth, takes
his older sister Candace to
an abortion clinic, gets into a
rough fight with some bullies
and admits his love for Sam
in one of the book’s most
elegantly written scenes.
With
each
trial
and
tribulation
that
dictates
his high school experience,
Charlie starts to become a
better version of himself. He
starts to “participate,” as he
would call it. Charlie’s coming
to
terms
with
disturbing
truths about his youth may
have led to a harrowing —
though ultimately optimistic
— conclusion, but the fear he
once had about wanting to fit
in and be accepted for who he
was quietly subsides over the
course of the book. In the final
pages, I could feel a renewed
confidence, a joyful wisdom
emanating from Charlie that
I have carried with me ever
since.
High school can be such an
intense emotional experience.
Every day can feel like the
end of the world, a seemingly
never-ending cycle of soul-
crushing misery propagated
by social alienation, academic
pressure, unrequited love, a
lack of independence, severe
boredom
and
idealized
expectations
from
society
and family. Inevitably, we
turn to music, film, literature
and
our
own
friends
to
guide us toward a sense of
clarity, and perhaps to also
fill the void of despair and
rage that seems to ravage
every teenager who has ever
existed. Before I started high
school, I was frightened by
the prospect of experiencing
a repeat of middle school, a
time that was beset with the
manifestation of my worst
insecurities.
Fortunately,
high school helped me prevail
against that current of dread
— and then some.
And though my high school
experience
may
not
have
been as exciting or as chaotic
as Charlie’s, “Perks of Being
a Wallflower” was a great
compass for immersing me
into a world I was myself
scared to enter, but eventually
learned to embrace.
The Books That
Built Us: ‘Perks’
Every sentence,
every careful
observation from
Charlie, oozes
with an unbridled
adolescent
angst that’s
devastatingly
honest in one
moment, honestly
devastating in the
next
SAM ROSENBERG
Senior Arts Editor
COMMUNITY CULTURE COLUMN
The historical misconceptions
perpetuated through ‘Hamilton’
This past week, I watched
the performance of “Hamilton”
from the 2016 Tony awards in my
musicology class. As we watched
the video, I was struck by the
outstanding popularity of this
music among many of my fellow
School of Music, Theater & Dance
classmates. As far as I could tell,
no one in my class was hearing the
music for the first time. Though a
few students explained that they
had outgrown the “Hamilton”
craze, everyone seemed to be
intimately familiar with each
word in the musical.
The topic of my class is
contemporary American music.
When discussing the role of
“Hamilton”
in
contemporary
American culture, we all had
well-defined understandings of
the significance of the musical.
Depicting the history of the
Founding Fathers with actors of
color, we felt, was clearly intended
to make a statement about the
diverse nature of our modern
nation.
Various
subthemes
existed throughout the musical,
we decided, such as the integral
role of immigrants in American
society and the ever-changing
definition of what it means to be
an American perpetuated through
our historical understanding of
our founding fathers.
When it came to discussing the
legacy of Alexander Hamilton,
however, the class was quite
divided. Culturally, Hamilton has
developed a historical connotation
as a diverse and inclusive liberal
icon. For many, he is an example
of our democratic society. He was
a self-made man, an immigrant
whose
wealth
and
power
stemmed almost entirely from
his speaking and writing abilities.
He represents the successes of
our meritocracy. Thanks to the
musical, he has been idealized as
a bastion of modern day liberal/
progressive politics.
Hamilton’s historical legacy,
however, may not be as clear cut as
his current cultural status would
lead us to believe. His role in
polarizing the politics of his day,
for example, is briefly depicted in
the play, though it is frequently
glossed over in the cultural
lexicon. Even this slightly more
complicated view of Hamilton
may not be entirely accurate;
with some further research one
can learn of Hamilton’s anti-
democratic, almost authoritarian
tendencies.
Historians
have
frequently alleged, for example,
that he believed in an unequal
distribution of wealth as a means
of maintaining a class structure in
American society. He advocated
that the president receive a life
term, an idea clearly at odds with
the current political left and
the various efforts underway
to impeach our President. His
participation in the 1783 attempt
to overthrow the Continental
Congress by harboring the anger of
the unpaid soldiers, furthermore,
is just as decidedly undemocratic
as it is un-American.
I don’t mean to suggest that
Hamilton represents a negative
force in American politics —
many of his financial policies are
still in use today. His arguments
in the Federalist Papers are still
referenced today as the reasoning
behind our system of government.
It is not Hamilton’s legacy that
should be questioned but the role
that the musical “Hamilton” has
played in shaping and defining
this legacy.
As was demonstrated in my
musicology
class,
Hamilton’s
current cultural legacy is built
on the success of “Hamilton”
and not his role in history. This
musical-based historical legacy is
constantly reinforced throughout
our cultural landscape. It’s a
cultural feedback loop of sorts:
The legacy encourages us to follow
the principles of “Hamilton,”
rather then the policies that
the real Hamilton would have
supported.
It is not difficult to move
from this cultural phenomenon
to the larger world as politics
become increasingly polarized. If
anything, the hyperpolarization
of modern politics are almost
perfectly
represented
by
the
codification
of
this
pseudo-
historical
legacy.
Unlike
any
other time in history, the rapid
and
indiscriminate
flow
of
information known as the internet
is encouraging the formation of
distinct subcultures within our
greater national culture. We are
not a country divided — we are
a country diverging into various
independent and largely dissimilar
subcultures. In previous decades,
these subcultures were defined
by geography. Now, more than
they were before, they are based
on other principles; economic
conditions,
race,
class
and
(arguably) population density.
Each subculture has its own
set of beliefs and its own history
used to justify these beliefs. To
those that believe in immigration
and diversity as the foundation
of
the
American
experience,
plays such as “Hamilton” help
reinforce and justify those beliefs.
To those that believe in stronger
border protection and cultural
conservatism, other forms of art
exist to reinforce and justify these
beliefs.
While it is too early to note
the effects of this phenomenon,
changes will undoubtedly occur
as these subcultures become
more defined. The internet allows
for plays such as “Hamilton” to
cleave through the very fabric of
American culture, bringing the
very sustainability of this fabric
into question.
This is not to say that performing
arts have only recently become
polarizing. “Hamilton” isn’t the
first instance of a play developing
any political connotations — the
perpetual re-interpretations of
Shakespeare are among the best
examples of the constant political
meanings to be found in the
performing arts. It is important,
however, to note the false or
misleading
cultural
narratives
that can become grounded in
these works of art. We must be
careful not to ingratiate ourselves
in the common narratives of
our respective subcultures. As
Poincaré said, “to doubt everything
or to believe everything are two
equally convenient solutions; both
dispense with the necessity of
reflection.” As we continue into
an increasingly interconnected
future, we must be conscious
of this tendency induced by our
interconnectedness.
We
must
continue to doubt widespread
cultural narratives even as we
must eventually accept certain
cultural truths.
We must also note the power
of ground-breaking works of
art to overcome the barriers
between
these
subcultures.
Though “Hamilton” seems to
be a decidedly liberal play, this
did not prevent Dick Cheney
from
publicly
expressing
his
admiration for it. While some
might argue that Cheney is not the
specific type of nationalist or anti-
immigrant conservative that one
would expect to oppose this work,
his public support for it defies
almost any other explanation. He
simply enjoyed the work. Though
these subcultures are developing
at rapid speeds, it seems their
divides can still be traversed.
Regardless of the unifying or
polarizing nature of these works,
it is important to note the aspects
of history that we gloss over as
we develop these interpretations
and
understandings
of
art.
What is lost, we must ask, in this
interpretation of the work? What
is being prioritized and what
minimized? We cannot question
everything, but that does not
mean we should question nothing.
We must instead be aware of the
clemency we take in developing
these interpretations and the
inevitable aspects of history lost
along the way.
SAMMY SUSSMAN
Community Culture Columnist
In the final
pages, I could
feel a renewed
confidence, a
joyful wisdom
emanating from
Charlie that I have
carried with me
ever since
Hamilton’s
historical legacy,
however, may
not be as clear
cut as his current
cultural status
would lead us to
believe
6— Thursday, February 8, 2018
Arts
The Michigan Daily — michigandaily.com