Category: Arts & Life

By Carolyn Williams

Staff Writer

Alison Espach’s “The Adults” represents yet another take on the ever-popular coming-of-age story. Set primarily in Fairfield County, Conn., it centers on the confusing and dramatic adolescence and young adulthood of Emily Vidal, whose sharp narration carries the novel throughout the twists and turns of her unusual life.

“The Adults” opens at a seemingly innocent cocktail party, hosted on the Vidal family patio in the mid-1990s, celebrating the 50th birthday of Emily’s father. Things seem normal for perhaps one page, but 15-year-old Emily reveals almost immediately that appearances are not always what they seem. Not only is Emily’s father taking a job in Prague, she and her childhood friends stumble upon him feeling up the Vidal’s next-door neighbor, who happens to be the mother of Emily’s longtime crush.

Next, the Vidal parents announce their impending divorce just as Emily’s first semester of high school begins. Struggling with upheaval at home and the cruel politics of the high school microcosm, Emily attempts to blend into the crowd of “the other girls,” all of whom are rail-thin and confident in both their bodies and their standing with the opposite sex. As her mother sinks into a post-divorce depression, Emily attempts to bring her back to life with new interior designs. She has trouble, however, separating her mother from her persistent glass of wine (an expensive bouquet, courtesy of alimony). Meanwhile, Emily inadvertently witnesses the suicide of the cuckolded neighbor and is informed that his widow is carrying her father’s lovechild. Throw in a relationship with her handsome young English teacher and the soap opera of Emily’s high school years still isn’t entirely mapped out.

Since Salinger’s seminal “The Catcher in the Rye” changed the rules of the coming-of-age novel in 1951, it seems nearly impossible for any writer to attempt the genre without being held up to the template of Holden Caulfield. Unfortunately, Emily Vidal, though an adept social observer and an undeniably entertaining narrator, does not measure up to her esteemed competition. American writers and their native audiences seem particularly enchanted with the genre, and perhaps “The Adults” might have stood a better chance without such great recent works as C. D. Payne’s “Youth in Revolt” or Victor Lodato’s “Mathilda Savitch” distracting from its legitimate merits.

Emily definitely speaks in a distinguishing voice, but the book might have worked better had Espach restrained herself to Emily’s high school years. Instead, she tells the story in uncomfortably irregular fits and starts, jumping over college almost entirely to get to young adulthood in Europe. Perhaps, in trying to make her heroine worthy of positive comparison to the infamous Holden, Espach goes a little too far, only failing to reinvent a genre as Salinger once did.

By Rob O’Donnell

Columnist

My favorite quote I’ve ever heard about Against Me! is, “This band makes cigarettes look healthy.” The singer describes himself in the song, “Baby, I’m an Anarchist” as “a Molotov cocktail.” And it is completely true. So, yes, this week’s artist is very different from the acoustic and folk bands that I’ve been reviewing. Against Me!’s album, “Reinventing Axl Rose,” is classified in the hardcore punk genre.

Some of you may have heard of Against Me! from their more recent, popular songs “Thrash Unreal” or “I Was a Teenage Anarchist.” Those songs have nothing to do with the sound of this album. This was their first album with a full band, released in 2002, back when they were still true punk. Unfortunately, they have recently moved away from that genre.

The music on this album is complex and entertaining. The sound of it is very gritty and there are even a few mistakes here and there, but it all adds to the overall feel of the album. It wasn’t made to be perfect, because that would strip it of its emotion and rawness. It shows their desire to be more than just another pop-rock band. The music has the raw energy of old Irish drinking songs, but every song drives home a point, either personal or political.

Against Me! is a very political band, but not every song on the album deals with their beliefs. While a few songs that are purely political, most are about heartbreak and other topics most people can relate to. The best lyrics are in the song “Pints of Guinness Make You Strong.” Apparently written about Tom Gabel’s grandparents, it tells the story about a man who died an alcoholic at 37, leaving behind a widow who loved him for the rest of her life. It is one of the most touching stories I’ve heard in a song, despite the fact that most people dismiss this band as too political or too radical to be personal.

Gabel’s voice is, well, an acquired taste. I honestly don’t know how he still has vocal chords after recording this album. He mixes screaming with softer vocals depending on the song and the emotion needed. Staying in tune and sounding nice isn’t a huge priority for him, so it can take awhile for listeners to appreciate the beauty of it. But trust me, once you listen to it enough, you can’t help but judge all other singers for their lack of true emotion.

So that’s why, if you like folk music, you shouldn’t dismiss this album just because it sounds different. Because when it comes down to it, they’re pretty similar genres. Both place an emphasis on lyrics and emotion rather than the aesthetic or prettiness of a song. The only difference is that punk is louder–much, much louder.

By Michelle Reed

Contributing Writer

Poetry, one of the most powerful literary forms of all time, has the ability to create personal connections between writer and audience.

On Jan. 31, Mark Doty enchanted the audience in Bucknell Hall with a reading of poems from his National Book Award winning collection, “Fire to Fire.” Seven students had an even closer encounter with Doty’s poetic prowess: a master class.

During his time as The Stadler Center for Poetry’s 2011-2012 poet-in-residence, Doty taught two advanced poetry workshops at the “Poet’s Cottage” on campus to a small group of students. These writers were required to submit a portfolio of their work well ahead of Doty’s visit to be considered for a spot in the class.

Along with the two three-hour workshop sessions, members of the class were able to meet with Doty one-on-one to discuss their writing. Lauren Krichilsky ’12 found the conference time with Doty especially rewarding.

“Meeting Mark on a personal level to discuss a few of my works enabled me not only to better understand myself as a writer, but also to edit to near completion a poem with which I was struggling,” Krichilsky said. “In fact, I have since submitted that poem to a contest.”

Students who took the workshop enjoyed the informal setting.

“Doty promoted a casual atmosphere by opting to conduct class not in a classroom,” William Bonfiglio ’12 said.

Bonfiglio also took The Stadler Center for Poetry’s poet-in-residence master class last spring with poet Natasha Trethewey.

“Bucknell provides a unique opportunity each spring to work in an intimate setting with an established poet,” Bonfiglio said. “I’ve found that any experience shared with a published writer can be beneficial. Each has his or her own stories and advice to share, and they’re eager to offer guidance.”

Students described Doty’s master class as an “unforgettable” experience, noting the benefit of collaborating with a community of writers.

“The Mark Doty workshop was an amazing way to connect with other Bucknellians who share a passion for poetry,” Krichilsky said. “I hope that master classes will more occasionally be available to Bucknellians. That way, students can realize the true importance of poetry and its relevance today.”

By Jen Lassen

Arts & Life Editor

The thought of performing in front of peers, family and faculty members typically makes most people’s crawl … especially if the performance includes singing.

For Emily Lattal ’12, this type of performance is a piece of cake.

On Sunday, Feb. 19, Lattal gave her senior recital, the culmination of all of her studio voice lessons she takes for class credit each semester. Lattal, who studies under the direction of associate professor of music Catherine Payn, credits her as being a “wonderfully talented and supportive mentor.”

Last March, Lattal performed a junior recital for an audience at the University, and ever since then she has been practicing for her senior recital.

“I was able to choose some of the music myself, and the rest had been assigned to me gradually since then. I practice about one and a half hours per day throughout the year, and two to three hours per night for the weeks leading up to the recital,” Lattal said.

Obviously, Lattal is not one to shy away from the limelight. Having performed at countless classical voice and opera experiences, Lattal has also thoroughly enjoyed singing with the University’s all-female a cappella group, the Silhouettes.

As a current college senior, it is only appropriate that Lattal look back on her musical journey that led to her culminating senior performance.

“I had participated in musical theater and choirs from sixth grade through high school and loved experience of performing! Through voice lessons, I discovered that my voice is most appropriate for classical music. I wanted to explore performance through college, but it was important to me that I receive a strong liberal arts education as well,” Lattal said.

Since Lattal values the University not only for the vocal opportunities it afforded her, but for the education she has received.

“There is a special place in my heart for my freshman hallmates from the Arts Residential College. The common interest housing really helped us develop a lasting bond. My most exciting experience has been my work at the Nueva Vida Health Clinic in Nicaragua with the Bucknell Brigade,” Lattal said.

As a music performance major, Lattal plans to continue studying classical music in addition to performing, yet she wants her career to be focused on the administrative side of performance.

“I would love to work in development, marketing or outreach for an opera company or another performing arts organization,” Lattal said.

To her delight, Lattal’s senior recital accomplished the goals she set for herself from the start.

“My main goal in performing my senior recital was to pull together all I have learned about vocal technique, acting, language study and musicality over the last four years. I do believe that I demonstrated my improvement in these areas and I truly enjoyed giving the performance,” Lattal said.

Certainly, there’s nothing better than putting in hard work and having it pay off; figuratively, and literally for those who attended her performance, it sounds like this is what happened for Lattal. We can look forward to hearing more from this talented senior in the near future, but in the mean time, we can all only hope to imitate the same work ethic and dedication that allowed Lattal to put on a stellar performance after days and months of hard work. In Lattal’s case, practice does truly make perfect.

Rob O’Donnell

Columnist

I could start this column with a series of lame jokes about The Tallest Man on Earth’s actual height. Trust me, I tried a few out on my friend, and I’m lucky he’s so nice. Instead, I’m just going to jump right into reviewing the Swedish singer-songwriter’s album, “The Wild Hunt.”

The Tallest Man on Earth’s real name is Kristian Matsson, and based on his biography, I assume English is his second language. When you listen to his music, you wouldn’t believe it. His lyrics are absolutely original. My first language is English, I am an English major, and I still would have no chance at matching him. His style is very abstract, so it took me a few listens to truly understand most of the songs. But once you start dissecting them, they start to make more sense. Each song is an intensely personal story, so it has to be dealt with individually. I believe abstraction is his way of distancing himself from pain so he can sing with intense emotion and not break down.

He recorded all of the songs at his house by himself, yet the quality is flawless. It’s hard to describe the music, as it’s like nothing I’ve ever heard before. His guitar is fiery and complex, but breaks your heart at the same time. He is one of those rare musicians like John Frusciante who can tell you their emotions just by playing the guitar. It’s acoustic folk guitar but feels like a full band.

The vocals are probably what draw most people in. I would say he’s a cross between early Bob Dylan and Robert Johnson, the infamous blues musician. But at the same time, he is so distinguished it’s almost unfair to compare him to anybody else. His work is rasping and cutting, yet incredibly delicate when he wants. The last song, “Kids on the Run,” is him on a piano, and the result almost made me laugh the first time I heard it. The juxtaposition of the soft, sweet piano and his razor blade voice is unnerving at first, but now it is easily my favorite song on the album.

It takes a little while to get used to his style, but once you do, he has no equal. You truly believe every word he sings, because he sings with such passion he could not possibly be superficial. So when he says “Rumor has it that I wasn’t born, I just walked in one frosty morn’, into the vision of some vacant mind,” I believe him. Because that’s what I imagined when I first listened to his album.