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3 & 4 Bedroom Apartments
$2100‑$2800 plus utilities.
Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991
5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991
ARBOR PROPERTIES
Award‑Winning Rentals in
Kerrytown
Central Campus,
Old West Side, Burns Park.
Now Renting for 2018.
734‑649‑8637 | www.arborprops.com
CENTRAL CAMPUS
7 BD furnished house,
LR, DR, 2 baths,
kitchen fully equipped, w/d,
int.cable,parking 4 ‑ 5.
MAY to MAY.
Contact: 706‑284‑3807 or
meadika@gmail.com.
FALL 2018 HOUSES
# Beds Location Rent
6 1016 S. Forest $4770
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3180
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
734‑996‑1991
FOR RENT
DOMINICK’S NOW HIRING
all positions FT/PT. Call
734‑834‑5021.
HELP WANTED
ACROSS
1 Suffix with silver
or glass
5 1980 Dom
DeLuise film
10 Cry noisily
13 Acme
14 This evening, on
marquees
15 Actress Longoria
16 Fiction’s
opposite
17 Drag race racer
18 Women’s __
19 Trick-taking
game
21 “Stay With Me”
singer Smith
22 A-OK
23 Fixes
25 Does harm to
27 Prefix with gram
or graph
28 Earth sci.
29 World’s largest
cognac producer
33 Cry of distress
37 Economist
Greenspan
38 Marilyn Monroe’s
first name at birth
40 Pakistan
neighbor
41 Game piece with
pips
43 Refused
45 Former House
leader Gingrich
47 Gurgling sound
48 BBC TV series
about cars
51 “You don’t have
to tell me”
55 Kia
subcompacts
56 ’60s-’80s Red
Sox nickname
58 Makes happy
59 Raised railroads
60 Really tired
62 President before
Wilson
63 Nintendo’s
Super __
64 Steam shovel
scoop
65 The “E” in the
HOMES
mnemonic
66 Dr. with
Grammys
67 Jouster’s horse
68 Ceremony
DOWN
1 Kit Kat layer
2 Quickly
3 Brief summary
4 Baseball
overtime
5 Egg __ yung
6 Carpenter insects
7 Rant
8 Bellyache
9 Multivolume ref.
work
10 Former baseball
commissioner
Bud
11 Sheeplike
12 Innocents “in the
woods”
14 “We’re trapped in
here!”
20 It ebbs and flows
22 Frank Lloyd
Wright house built
around multiple
cascades, and
what’s literally
found in this
puzzle’s circles
24 “Meh”
26 “The Simpsons”
beer server
29 Fooled
30 “Xanadu” gp.
31 ’60s war zone
32 Coll. periods
34 For
35 Gym cushion
36 Musical Brian
39 Nativity trio
42 Formerly, in
bridal
announcements
44 Two-part
46 Hypnotic state
48 General
tendency
49 Refueling ship
50 Old West outlaw
chasers
52 Video game
pioneer
53 Equip anew
54 Cosmetician
Lauder
57 “The Wizard of
Oz” farmhand
60 Sound units,
briefly
61 Mil. roadside
hazard
By Brian Gubin
©2018 Tribune Content Agency, LLC
02/13/18
02/13/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, February 13, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
BOOK REVIEW
If you knew the hour of
your death, would you live
differently?
This
deeply
existential
question
forms
the basis of Chloe Benjamin’s
New York Times-bestselling
novel “The Immortalists,” a
saga which follows the four
Gold siblings from childhood,
each
of
their
respective
paths carrying magic, love,
mystery and science in tow.
It’s a book that calls a reader
to consider their own lives
at every turn of the page.
The Golds find themselves
juggling both unfathomable
tragedy
and
joy
as
time
plugs
onward.
Benjamin’s
writing ebbs and flows with
it,
creating
believable
and
engaging settings in which the
drama of life plays out across
decades. Though these places
are rich and enthralling, they
never seem to overshadow
the poignancy of Benjamin’s
characters — the Golds’ history
as a family is steeped in a sense
of the unknown, something
which ultimately propels them
into the future.
The novel begins in late
1960s New York City, where the
devoutly Jewish Gold family
lives in a small apartment on
the Lower East Side. The Golds
— parents Saul and Gertie
and children Varya, Daniel,
Klara and Simon — live with
both friction and admiration
for each other, some closer
than others but still a family
nonetheless. Klara and Simon
are
inseparable,
Daniel
stony and adult and Varya
withdrawn. The children hear
of a travelling fortune teller
who can predict when a person
will die, and sneak out to find
her — this is where the story
truly starts, a point from which
the Golds decide how their
lives will truly be, based on
the years they supposedly have
left. For Simon, the youngest,
it’s short, for Klara, somewhat
longer, for Daniel, middle age
but Varya is promised a long,
long life. Benjamin’s expert
fiction takes this sometimes-
cliché storyline and uses it
to create a meditation on fate
and family, following each
Gold from that fortune-teller’s
home with their own death
dates lodged into the children’s
minds.
From
there,
the
novel
spirals into four distinct parts,
each shadowing the Golds’
paths into the future with the
knowledge of the past guiding
them. Simon and Klara run off
to San Francisco too young,
Simon in search of a community
that supports his budding gay
identity and Klara following
dreams of becoming a magician
to end all magicians. Daniel
becomes an army doctor, and
Varya a medical researcher. In
knowing their own mortality,
life seems to have a bitter bite —
each Gold child grapples with
their fortune on a subconscious
level, especially in the wake of
each sibling’s predicted death.
As the decades pass, this
fortune becomes even more
abstract,
as the
remaining
Golds try to understand the
power
of
their
knowledge
and its influence over their
realities. Benjamin’s strength
is in this conflict, as she
explores the meaning of life and
death on a small scale, in the
situations and histories which
the
Golds
find
themselves
a part of. The existential
questions posed throughout
the novel are daunting, yes,
but easier to consider in the
scope of one family whom the
reader comes to know quite
well. In this, Benjamin gives
us a gift — a way to think about
the
overwhelming
darkness
and lightness of life as applied
to others, as the reader is on
the outside looking in. While
“The
Immortalists”
tackles
different places, periods and
social issues throughout the
lifespans of its characters, the
core question is never lost and
instead fuels the story, making
it one of the more engaging and
emotionally poignant family
sagas in recent years.
‘The Immortalists’ takes
on life, death and family
Benjamin gives
us a gift — a way
to think about the
overwhelming
darkness and
lightness of life
CLARA SCOTT
Daily Arts Writer
“The
Immortalists”
Chloe Banjamin
G.P. Putnam’s Sons
Jan. 9, 2018
“The Insult” is a Lebanese
film that navigates the rocky
landscape of ethnic tensions,
systematic
prejudice
and
victimization. Earning an Oscar
nomination for Best Foreign
Language Film, “The Insult”
seeks to explore the complexities
surrounding
Palestinian
immigration
into
Lebanon
through an allegorical narrative
of a Lebanese Christian suing
a Palestinian refugee in court.
The film works like a courtroom
drama, in which the ethnic
divide
between
Lebanese
and Palestinian is examined
and challenged through the
framework of legality.
The conflict that sets the
premise for the entire film comes
almost immediately — Lebanese
resident
Toni
(Adel
Karam,
“Caramel”) gets angry when
Palestinian
foreman
Yasser
(Kamel El Basha, “Love, Theft
and
Other
Entanglements”)
fixes his gutter. Yasser throws
a derogatory slur at Toni, and
Toni demands an apology. But
when Yasser goes to apologize,
Toni throws a derogatory slur
right back, causing Yasser to
punch him in the stomach.
The exchange of insults leads
Toni to take Yasser to court,
and the following length of the
film examines the underlying
tensions behind this petty and
inconsequential incident.
The beginning of “The Insult”
is clumsy and nonsensical. Toni
appears irrationally angry and
hostile towards Yasser, who is
doing his job with a polite and
calm demeanor. The binary
between Lebanese Christians
and
Palestinian
refugees
is
established early on, and is
the clear reason for Toni’s
hostility, but the lack of back
story for either character makes
the confrontation seem one-
dimensional and archetypal. The
pacing is rapid, making Toni’s
decision to sue seem confusing
and melodramatic. The film’s
failure to ground itself and its
preoccupations
with
ethnic
tension in its first act weakens the
gravity of the film as a whole —
Toni and Yasser’s anger towards
each other doesn’t translate
seamlessly
into
internalized
prejudice, but instead comes off
as petty anger.
The court room scenes take
up the entire second and third
acts. The court room allegory
is a somewhat effective tool
for analyzing perspective in
victimhood and creating an
empathetic link between two
characters
who
are
victims
of trauma and displacement.
However, most of the time, these
scenes are extremely tedious
and static, with little physical or
narrative movement. Ultimately,
the stage on which the film
chooses to set its discussion of
ethnic divide is an uncompelling
one, weighted down by dramatic
clichés and repetitive imagery.
While Karam and El Basha
deliver
solid,
if
simplistic,
performances, the women of the
film stand as the most compelling
characters. Rita Hayek (“Kafa:
Enough”) plays Toni’s wife, a
strong and outspoken woman
who acts as the moral compass
for Toni and the audience.
Diamand
Bou
Abboud
(“In
Syria”) plays Yasser’s calculated,
capable lawyer and Julia Kassar
commands the film as the firm
but rational judge. The women in
this film are all incredibly strong
and thoughtful characters; their
actions drive the fate of the men
whose stubbornness, pride and
bouts of anger lead them to fall
in a sinkhole of a larger national
conversation.
Ultimately, “The Insult” does
manage to communicate the
impact of trauma in cementing
ethnic prejudice, as well as
the complicated landscape of
contemporary Lebanon. The film
seeks to explore silenced parts of
Lebanese history, showing that
identities rooted in tragedies of
the past (the civil war in 1990,
for example) have profound
lifelong impacts. With its final
images, “The Insult” resonates
with a heavy understanding of
irrational hatred and the power
of human empathy to peek
through the haze.
‘The Insult’ lacks logic as
it exlpores ethnic tension
SYDNEY COHEN
Daily Arts Writer
FILM REVIEW
DIAPHANA FILMS
“The Insult”
Diaphana Films
State Theater
Ultimately,
“The Insult”
does manage to
communicate the
impact of trauma
in cementing
ethnic prejudic
6 — Tuesday, February 13, 2018
Arts
The Michigan Daily — michigandaily.com