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Illustration by Ben Ko
a, Features

FEATURE: Under pressure: How students cope with stress

After four years at McGill, Amelia McKinley*, U3 psychology, believed she had reached a relatively seasoned level of mastery in the pursuit of her undergraduate degree, guaranteeing that her final semester would be completed with ease. Much to her surprise, however, she confronted a debilitating level of stress during midterm season this October. In previous years, Amelia navigated through work without becoming too overwhelmed, but this semester she found herself at an unrecognizable crossroad, blurred by a “fog of panic” with no clear solution in sight.

She believes her unparalleled stress levels were ignited by an unforgiving midterm schedule, causing her to feel like she was “up against an impossible amount of work.” Amelia could barely recognize herself.

“Instead of just trying to tackle work like I normally would, I became paralyzed with fear and my brain shut down entirely,” she says. “I would look at a page of material I [knew] and [I would feel] like I had never read it before.”

Click to see the full feature!
Click to see the full feature!

According to Dr. Stepanie Pantel, a psychologist at McGill Mental Health, Amelia’s stress was “the mind and body’s way of responding to a demand.” Pantel distinguishes the difference between the physiological, cognitive, and emotional reactions to stress. “Increased blood pressure and heart rate, dizziness, nausea,  dry mouth, [and] headaches” are bodily reactions to stress. In addition, “negative self-talk, inability to concentrate, restlessness and difficulty making decisions” are common psychological effects.

Pantel asserts that our response to stress is often governed by the body’s protective hardwiring when it senses imminent danger, which triggers the fight-or-flight reaction, also known as the ‘stress response.’ In this case, the body responds whether the danger is real or imagined. An amalgamation of intangible, lurking, and often undiscovered stressors can elicit the same reaction as a set of life threatening or  jeopardizing circumstances—like a car speeding towards you in the wrong lane.

Unlike Amelia, Violet Arsenault*, U3 biology and math, maintains a conscious awareness of the presence of stress in her life. There is a correlation between stress symptoms and clinical depression specific to her case. Last year, Violet was diagnosed with depression, and keeps track of stress symptoms as a measurement of her psychological well-being.

“I always find myself toeing the border of crippling stress,” she recalls.

At the pinnacle of her undiagnosed illness, Violet completely withdrew from expected tasks. She ignored midterms and assignments, didn’t attend lectures, and stayed in bed for up to five days at a time. She explains the double-edged sword that characterizes the connection between stress and depression.

“If you are depressed, you don’t want to do work. If you don’t do work you’re going to become stressed out about it… it’s a vicious cycle.”

Violet recalls feeling unable to climb out of the rut of inactivity she was in. “When my stress levels became too high, I opted out of life. Not only did this make me completely behind in work, I then became more stressed out because I felt completely hopeless.”

According to Pantel, stress management techniques are vital to ensure that symptoms do not evolve into more significant issues. Though Violet alleviated her symptoms after diagnoses and treatment, her stress did not disappear. Yet, identifying depression as the source of her battle with stress enabled her to achieve a level of cognitive clarity, which she describes as on par with that of her peers.

“Certainly, I think I can manage stress much better now, because the medication I take allows me to make choices that make me happy: exercise, eating better, sleeping regularly, working hard.”

Despite her new level of clarity, residual effects remain from self-taught approaches to schoolwork while battling undiscovered depression.

“I have developed really terrible study habits. I usually won’t do anything, and then at the last moment when the stress really hits me, I’ll buckle down and make it in time,” she said.

The starting-line position Violet now finds herself at—facing the impact of stress keeping her from her textbooks—highlights the prevailing paradox at the heart of many students’ tumultuous relationship with stress. A healthy level acts as a boosting mechanism to kick-start work, but once the point of nipping procrastination in the bud is surpassed, the friendly hand of stress can transform into an unsuspected enemy.

Illustration by Ben Ko
Illustration by Ben Ko

Pantel agrees that stress is not always negative, and indeed a certain degree is essential for motivation—the weight of its impact is dependent on how we perceive stress, and how we interpret the events surrounding it. Benjamin Cohn*, U3 political science and economics, shares  this notion, and celebrates the beneficial element of stress.

“[It] has impacted my educational career positively, in that it increases my motivation to discover ways in which I can alleviate what causes me stress, which [means] doing better in school,” he states.

Benjamin finds solace in completing schoolwork, consequently relieving stress and thereby feeling satisfied. He admits, however, that the formula to embrace stress, finish schoolwork, and achieve contentment, is not successful when he faces uninspiring facets of coursework. To preserve the stamina in the ongoing battle to stay on top of work, he uses study drugs, such as Adderall or Vyvanse, as his weapons of choice. Benjamin stocks up from friends who have been diagnosed with attention deficit disorder, and are willing to share or sell their prescriptions on the side. He is conscious of the connection between completing work and maintaining peace of mind, but is handicapped by a genuine lack of interest in a particular subject or aspect of a course.

He uses study drugs to “concentrate on work that doesn’t always have cognitive primacy, like long, drawn-out readings.” Though they enable him to sit for hours attacking tedious tasks, he affirms that the usefulness of ‘study drugs’ is limited to certain situations. These medications ignite extreme levels of concentration in those unaffected by ADD, provoking a detrimental level of attention to detail. Often, they even prompt the user to draw nonsensical or overly abstract connections.

“I couldn’t use study drugs in situations that required a lot of clear and creative thinking or linear thought,” Benjamin confirms.

Paralleling the experiences of Violet and Benjamin, and their use of medication, it is key to recognize that some students’ battle with stress is often compounded by the day-to-day struggle with other issues. Violet  asserts that the treatment of her depression placed her on a leveled playing field with her classmates. Yet, the treatment of one cognitive disorder does not cure the other. In the same vein, Benjamin’s use of study drugs to maintain a consistent degree of stress-free living complicates the relationship between stress, mental illness, and maintaining control through medication—regardless of whether one is diagnosed with an illness or not.

Isaac Gielen, a U4 secondary education student and former floor fellow at McGill Residences, guided over 150 students through the challenges of their first year. Often, he maintained advisory relationships after students left residence. As a central guidance figure to newcomers from all corners of the globe, Gielen recognized a salient stressor among McGill’s fresh faces. He noticed a significant disconnect between the challenges belying the day-to-day grind of an undergrad, and how the reputation of excellence at McGill creates preconceived notions of assured success and satisfaction.

Interestingly, Gielen explains, the reputation of McGill elicits self-doubt for students who become generally dissatisfied with their respective programs. He recalls students believing that their unease was illegitimate, describing it as “this mentality that‘my program isn’t giving me much, but McGill is such a celebrated school, it must be fine and I must be the problem.’”

[pullquote]Our battles with stress will only make us stronger, ensuring that term papers, midterms, and exams are rightfully understood as the small hurdles to jump along the long university marathon.” [/pullquote]

Gielen calls attention to the disconnect between the expectations of school versus the multifaceted struggles it ensures. Many on the margins of academia—even parents, siblings or friends—may not be aware of  their loved ones’ constant exposure to stress.

On the other hand, professors’ proximity to students, by virtue of involvement in the university itself, allows an empathetic understanding of the weighty pressures caused by looming deadlines, exams, and the perpetual need to succeed. Dr. Jody Mason, professor in the department of English, tracks general levels of student stress through interpreting student behaviours in lecture.

“I try to monitor student response in class; if students are clearly not reading or keeping up with the material, I always attempt to pull back or re-organize the material in some way.”

Although  being stressed does not fall under the category of a medical excuse many professors require, Mason accommodates stress symptoms with a “generous late policy, which gives students up to five days to submit late work with a very minimal penalty.” Despite the reasonable mediations Mason employs, she notes that students often simply fail to submit work.

Considering the various causes and manifestations of stress, methods of prevention must be examined. For example, students should maintain physical well-being by sleeping and eating well, as well as exercising regularly. Psychologically, identifying personal strengths and weaknesses is important; aiming for perfection will inevitably lead to dissatisfaction. Students should place reasonable demands on themselves.

Pantel also emphasizes the often forgotten, yet simplest of all preventative tools: keeping a balance between studying and recreation by not letting the pleasures of life be overthrown by schoolwork.

Stress may pop into a student’s life when they least expect it. For some, stress could be a manifestation of depression symptoms, while for others, stress perhaps serves as a motivational tool. Yet, regardless of the way it manifests, each student at the university is bound to develop a relationship with stress in some way or another. Evidently, although stress is ever-present, we have the power to mold and shape it into what we want. Our battles with stress will only make us stronger, ensuring that term papers, midterms, and exams are rightfully understood as the small hurdles to jump along the long university marathon.

*Names were fabricated to maintain the anonymity of those interviewed.

 

Lincoln (Daniel Day-Lewis) surveys the ravages of war. (filmofilia.com)
a, Arts & Entertainment

Lincoln: moral progress has never looked so glorious

The vote to finally abolish slavery in the U.S. was so very close—shockingly close, in fact. Two more votes could have continued to condemn an entire class of living, breathing human beings to the status of property. If the arc of the moral universe bends toward justice, Abraham Lincoln is certainly remembered for doing a disproportionate amount of bending.

Spielberg’s Lincoln, starring Daniel Day-Lewis in the titular role, portrays a man who is as close to the ideal of the moral politician as any in American history. Focusing on the narrow period of time that saw the passing of the 13th Amendment to abolish slavery and the end of the American Civil War, the film paints a portrait of a man who navigated the Scylla and Charybdis of ethical and political obligations like no other. Early whispers of the film as a strong Oscar contender are well-founded. Lincoln is a faithful and glowing eulogy to one of America’s greatest presidents, and more importantly, to the remarkable man who held the office.

The film opens with a scene of carnage and brutality. Spielberg, well-remembered for directing Saving Private Ryan, knows war. There is something to be said for the authenticity with which warfare is treated here. Poets romanticize; soldiers fight. They churn mud with blood, they unhesitatingly bootstomp the faces of opponents, they claw and scrape and kill to win one more second of life—and Spielberg shoots like a soldier, not a poet.

Though the war always looms in the background, it is not the focus of the film. Lincoln’s central and climactic battle is legislative, not military. While the 13th Amendment easily sails through the Republican-controlled Senate, its first appearance in the House of Representatives results in defeat. Further complicating Lincoln’s quest for a constitutional ban on slavery is the division within his own party. Not only is abolition opposed by most Democrats, but Radical Republicans, who favour greater egalitarianism for non-white inhabitants, view the amendment as a morally-deficient compromise.

Day-Lewis’ method acting is legendary—cast and crew reportedly referred to him as ‘Mr. President’ for the duration of filming—and the result is spectacular. His Lincoln is a radiant example of a man who successfully combines principle and pragmatism. Always affable, with plenty of humourous anecdotes to offer during tense situations, the uninitiated may be surprised by just how quirky the president can be. At the same time, Day-Lewis commands such gravitas that it’s impossible not to be awe-struck—whether during a thunderous confrontation with Mrs. Lincoln (Sally Fields) or a moment of tender embrace with his child.

Rivaling Day-Lewis’ performance is Tommy Lee Jones as Thaddeus Stevens, the most prominent Radical Republican in the House. Stevens’ infamously scathing sarcasm is delivered by Jones in delicious, triumphant, booming fashion. But his story is also sadder, and more profound. Lincoln’s victory necessitates Stevens’ compromise. Jones’ Stevens is imminently sympathetic, a man of deep moral sensibility who was ahead of his time.

Tony Kushner’s script, adapted from Pulitzer prize-winning historian Doris Kearns Goodwin’s biography Team of Rivals: The Political Genius of Abraham Lincoln, is infused with wit and tension. Kushner accomplishes the unenviable task of making passing legislation interesting. Biopic-status notwithstanding, Kushner also points to ways in which contemporary America continues to perpetuate racial stigmatization: one blatantly racist citizen employs rhetoric that is uncomfortably similar to current arguments against immigration.

Portraying such a seminal figure in American history may seem like a tough task. Get it wrong, and you’ll be eviscerated. Get it right, and people will still complain. Yet Spielberg and Day-Lewis’ vision is so accomplished, so assuredly well-crafted, that it will undoubtedly weather the test of time, just like the president—and man—that it celebrates.

Lincoln is currently playing at the Cineplex Forum (2313 Ste. Catherine West). Tickets are $13; $6.75 on Tuesdays.

An exuberant crowd in the town of Hillsboro. (Luke Orlando / McGill Tribune)
a, Arts & Entertainment

Monkeys vs. Adam and Eve: Players’ Theatre holds court

Society generally accepts Darwin’s theory of evolution. Nevertheless, there remain pockets that deny its validity—the state of Tennessee, for instance, recently began teaching creationism in schools. With the origins of man still a controversial topic, McGill student Annabel Raby decided to direct Inherit the Wind: a play examining both sides of the current debate through a dramatization of the Scopes trial that addressed these topics almost 90 years ago.

Before the first line is uttered, the audience learns of the narrative’s focal point. A small-town courtroom in rural United States fills the stage, and the seating squarely situates the audience as attendees of the judicial proceedings. The lawyers address the crowd, imploring us to hear their case. This setup leaves the audience to do the jury’s duty. The cast of characters is varied, from hillbillies with slow drawls and banjos, to the outside visitors who comprise many of the play’s principal characters. The ethos of the town of Hillsboro itself is displayed on its church sign during one scene: “Think it’s hot here? IMAGINE HELL.”

Bertram Cates (Matt Smith) is a schoolteacher on trial for corrupting the minds of his young students by reading an excerpt of Darwin’s The Origin of Species. The soft-spoken intellectual doesn’t seem to merit imprisoning. Even the bailiff seems to agree, and allows him to meet his paramour, Rachel Brown (Katie Scharf), who, conveniently, happens to be the preacher’s daughter. Throughout the trial, she is torn between her fundamental Christian values and the man she loves.

Luke Orlando / McGill Tribune
Luke Orlando / McGill Tribune

On the eve of the trial, several outsiders arrive in the small town. Mary Harrison Brady (Emily Doyle), a three-time failed presidential candidate, is given a heroine’s welcome. No surprise here—she fits in with the rest of Hillsboro, a town where signs issue the stern warning, “Read your bible.” Doyle’s performance is nuanced and convincing: she handles both despair and witty repartee with ease. Her courtroom opponent is Henry Drummond (Samuel Steinbock-Pratt), an agnostic from the big city who the townspeople see as the devil incarnate. Another visitor is the deadpanning E.K. Hornbeck (Matthieu Labaudinière), a reporter who delivers some of the show’s biggest laughs.

For the most part, the production is both enjoyable and thought-provoking. The single drawback is the play’s narrative: it often feels like a rushed court case, and the conclusion wraps up somewhat abruptly. Nevertheless, individual performances carry the piece. Doyle and Steinbock-Pratt show themselves to be able performers, with adept interpretations of characters who are sympathetic towards each other’s positions, while remaining in vehemently proclaimed opposition. It was also pleasing to see subtle directorial touches evoke the rural Southern setting. A live guitar, banjo, and violin are used to frame a bygone era, while the people and crickets of Hillsboro chirp in the background of midnight encounters. In short, the atmosphere and acting make up for any shortfalls in the script.

The conflict in Inherit the Wind pits two concepts against each other: science and belief. The narrative itself doesn’t present either as the ruler over the other; it leaves it up to the audience to evaluate each position. Whether Bertrand Cates wins or loses is left up to you.

Inherit the Wind runs Nov. 21-24 at 8 p.m., Player’s Theatre (3rd floor SSMU building). $6 for students and seniors, $5 with a clothing donation.

a, Arts & Entertainment

A ‘must-see’ that lives up to the name

This is what the much-lauded American meritocracy looks like: urban, moral, and spiritual decay; an existence battered by the cruelty of Lady Luck, who wields the Sword of Damocles—always one misstep away from the abyss of abject poverty.

Playwright David Lindsay-Abaire, who received the Pulitzer Prize for Rabbit Hole (2007), captures all this and more in the Tony-nominated Good People. Through sharp comedy and even sharper drama, Lindsay-Abaire takes aim at the heart of the American mythos. What separates the upper crust from the street dweller? Inequality cannot be explained through mere appeals to ‘hard work’ and ‘innate talent.’ Instead, the play points to nothing more than the inscrutable calculus of chance. The message here is as frightening as it is liberating. Directed by Roy Surette, the play’s English-Canadian debut at Centaur Theatre is spectacular, a dizzying blend of acting prowess and technical virtuosity. Deeply funny and deeply moving—and at its best moments, both at once—Good People is a ‘must-see’ that lives up to the bill.

The story begins with a firing. Unfortunately, this is only the beginning of protagonist Margie’s woes. Between the demands of caring for a mentally ill adult daughter and a friendly but predatorial landlady, Margie is forced to turn to a childhood (more than) friend who made it big. The resulting narrative takes a magnifying glass to existing social divisions of class and race, but without political rhetoric. Instead, Lindsay-Abaire is humanistic. In another life, the playwright must have been a boxer; the script makes deft, light-footed movements with its comedy in order to land a few devastating upper-cuts on behalf of the downtrodden.

Johanna Nutter’s Margie is as sly as she is proud, and intensely authentic. The South Boston—or ‘Southie’—accent is as charming as its owner. Perpetually stuck between a rock and a hard place, Margie relies heavily on her resilience and conviction; Nutter’s nuanced and sympathetic performance conveys an inner strength that approaches the inspirational. Few actors can invoke bubbling joy one moment and utter heartbreak the next—Nutter wields such power confidently.

Unsurprisingly then, the best scenes of the play unite Margie with childhood sweetheart Mike (Paul Hopkins). The bittersweet and razor-sharp exchanges between the two are impeccably paced; both Hopkins and Nutter display an extraordinary affinity for comedic timing. Though the war of wits is uproarious, there is sharp, sore truth to the words, clearly reflective of the post-2008 socio-political atmosphere.

John C. Dinning’s set is a beautiful behemoth of brick and steel. Jagged chimneys punctuate the air, and the whole seems to capture the tiredness of the daily struggle. At the same time, it is supremely functional. One gets the impression that Dinning must be an origami champion, as walls fold and unfold to reveal various settings. Peter Spike Lyne’s lighting displays inventiveness—particularly daring is the incorporation of fluorescents, whose harshness are masterfully tamed by Lyne and channelled to great effect.

The climax sees the preceding exchange of retorts explode into a full-out blitzkrieg, a real race to inflict hurt and pain. There is a peculiar shift as the script trades the biting for the blunt, a metamorphosis from sitcom to soap opera. One-too-many surprise twists leave the piece dangerously close to mistreating its audience, but this should not be construed as a criticism of Centaur’s production so much as a failure of this critic to find more substantial flaws. There were simply none. Go see Centaur’s Good People, bask in the talent of its wonderful cast and crew, and reflect on the myth of the meritocracy, and what a just social order would truly mean.

Good People runs until Dec. 9 at Centaur Theatre (453 St. François-Xavier). Student tickets are $26.

a, Arts & Entertainment

Could Be Good

COMEDY: Comedy in Biblical Proportions

Comedian Robby Hoffman explores the world’s most popular book—The Bible—with a perspective that only a honed comedic edge can provide.

Friday Nov. 23, 9:30 p.m., Theatre Ste. Catherine (264 St. Catherine East). Tickets $14.

FILM FESTIVAL: Image+Nation LGBT Film Festival

The oldest LGBT film festival in Canada celebrates 25 years of queer cinema. Selections include domestic and international feature-length and short films.

Nov. 22 to Dec. 2. Student tickets are $8.75. See www.image-nation.org for details.

CULTURE: 24th Annual Tibetan Cultural Fair

Take in traditional Tibetan music, dance, arts and crafts, and cuisine. Organized by the Canada Tibet Committee, an NGO promoting human rights in Tibet.

Saturday Nov. 24, 10 a.m. to 6 p.m.; Sunday Nov. 25, 11 a.m. to 5 p.m., Santa Cruz Church Hall (60 Rachel West).

FILM: Jai Bhim Comrade

A doc about India’s ‘untouchable’ caste and its resistance to oppression through art. Filmmaker Anand Patwardhan leads the post-screening discussion.

Saturday Nov. 24, 7 p.m., (Room H-110, Concordia University, 1455 de Maisonneuve West). $2-5 donation.

MUSIC: Gizmo with Casey Benjamin

Merely 20, Kenneth “Gizmo” Rodgers has already worked with the greatest figures in R&B, rap, jazz, and neo-soul. He will perform with saxophonist Casey Benjamin.

Friday, Nov. 23, 8 p.m., PHI Centre (407 Ste. Pierre Street). Tickets are $12.

Secret vampire handshake: only one set of biceps required. (collider.com)
a, Arts & Entertainment

Twilight surpasses admittedly low expectations

The Twilight Saga: Breaking Dawn—Part 2, the conclusion to the popular vampire franchise, is a good movie. Not great—this is Twilight we’re talking about—but good. Yes, I’m just as surprised as you are.

The final Twilight film, directed by Bill Condon, is by far the best of the series. It’s also a vast improvement over Stephenie Meyer’s source material, a counteraction of Breaking Dawn’s cavernous flaw: the total lack of action.

The film opens with Bella (Kristen Stewart) reawakening as a vampire. As if by magic, or at least a transmogrifying venom, the franchise receives new life as well. As Bella says, she was “born to be a vampire.”

Kristen Stewart, at long last, emotes. She loves vamp husband Edward (Robert Pattinson) and newborn half-human, half-vampire daughter Renesmee. But beyond this, Stewart shows off a veritable flush of emotions—rage, pride, happiness—and they suit her.

Viewers also get the benefit of Bella-vision, the hyper-detailed view of the world through her supernatural eyes. Breaking Dawn amplifies what is, perhaps, the only strong feature of the saga: the visuals. The opening credits mingle enchanting and ominous images of evergreen, snow, and blood.  Even the special effects, save for one uncanny and nightmarish CGI baby, are stunning.

Breaking Dawn–Part 2, deals with the ludicrous parts of Part 1 quickly. Yes, Bella and Edward have a too-perfect, half-vampire baby with a laughable name; and yes, third wheel werewolf Jacob (Taylor Lautner) falls in love with said baby. Got it.

Danger arrives when the vampire mafia, the Volturi, assume Renesmee is an immortal child, a kid-turned-vampire capable of wiping out scores of people. They plan to kill her, so the Cullens set out over the world to amass vampire friends who will stand and fight. A good deal of the film features a parade of these international characters, who, though two-dimensional, help spice up the languid and brooding cast.

This said, there are holes in the already thin story line: a forgotten spy subplot, the unexplained origin of Bella’s vampire superpower, and the arbitrary timing of it all. Why do the Volturi give them ample time to prepare?

But with a couple of clever twists, Breaking Dawn has viewers in its fangs, and the film culminates in a cathartic bloodbath: complete with an operatic score, hellfire frame supernatural fisticuffs, slow motion duels, and faces torn in half. It’s a riveting action sequence, shocking for fans, and devilishly pleasing for those hoping for a Shakespearian level of gore to atone for all things Twilight.

Breaking Dawn—Part 2 wraps up the Twilight Saga with its strongest entry. The acting, art direction, and screenplay are at their apex. Of course, this may not be saying much. Still, the final Twilight film will certainly please fans, and perhaps even manage to entertain those who were dragged to it against their will.

Breaking Dawn—Part 2 is worth a watch for the visuals and action alone. Twilight ends with a film that at last has some bite to back up its bark.

The jovial Julian Barnes. (Hendrick Speck / Flickr)
a, Arts & Entertainment

Books on books: award-winning authors share their insights

In his youth, Julian Barnes’ bibliophilia took on near-pathological proportions. Much like the shoe-obsessed, 2011’s Man Booker prize winner would spend the vast share of his disposable income on books, driving from town to town in search of secondhand treasures.

“I bought with a hunger which I recognize, looking back, was a kind of neediness: well, bibliomania is a known condition,” writes Barnes in the introduction to his upcoming volume, Through the Window: Seventeen Essays and A Short Story. In retrospect, this was a fortunate pursuit.

Reading Barnes is akin to engrossing oneself in a finely wrought tapestry of historical fact, wry wit, and astute criticism. The collection of pieces, which were first published between 1996-2011, deals largely—if, at times, tangentially—with the literary. From casting doubt on George Orwell’s literary honesty as an essayist (if you, like myself, struggle when coming up with pithy titles, I urge you to note the wickedly humorous name of this chapter), to praising Hemingway’s portrayal of the failed and the frail, Barnes offers the reader a heady mix of culture and history.

Barnes’ prolific reading habits form the backbone of the collection’s pieces. When discussing France’s love of Kipling, he draws not only on an obscure roman-à-clef called Dingley, l’illustre ecrivain—impressive, if only because no English translation exists—but recounts the contents of André Gide’s diaries on the topic of its authors, in addition to delivering several lively anecdotes. And, while he takes several potshots at Britain’s historic rivals—in describing the Fashoda Incident: “In July 1898, eight French and 120 Senegalese soldiers arrived at a ruined fort… having spent two years crossing the continent to get there.Frenchly, they set off equipped with 1,300 litres of claret, 50 bottles of Pernod, and a mechanical piano”—Barnes expresses a deep love for his neighbours. Almost half of his essays address the importance of French culture.

Yann Martel, who released 101 Letters to a Prime Minister earlier this month, cuts an odd figure next to Barnes. Unlike the London-dwelling Oxonian, Martel studied at Peterborough’s Trent University and traded metropolitan life for the bucolic calm of Saskatoon. Yet Martel also received the Man Booker for The Life of Pi, and remains its highest-selling author by an impressive margin.

In 2007, Martel began sending noteworthy books to Prime Minister Steven Harper every two weeks, in hopes of expanding his world view (and, of course, garnering a healthy dose of publicity). 101 Letters comprises of the correspondence (almost wholly one-sided) accompanying these literary suggestions.

Martel’s focus is less Western than that of Barnes: from Austen to Borges, through to Xun to Yevtushenko, he delivers an alphabet of world literature in short, chatty snippets.  While Barnes borders on the esoteric, Martel flirts with the colloquial: it is as if he is explaining the importance of each book to a good—albeit semi-literate—friend.

Although a plainspoken account is helpful to burgeoning readers, Martel’s salt-of-the-earth tone verges on the fatuous. Judging from his recommendations, Martel has an exemplary literary pedigree. In spite of his breezy epistles, he has a thorough understanding of the world’s workings, and feigning simplicity does not become him. Cringeworthy lines, such as “Since we have more time, why don’t we go back in time” fill the letters like the lyrics of an ‘80s synth-ballad (an aversion to which may explain Harper’s lacklustre response). Equally frustrating are the letters which fail to address their accompanying books. In the dispatch coupled with García Márquez’ Chronicle of a Death Foretold, for example, Martel makes little mention of the book at all. Instead, he chooses to rehash Orwell’s famous Politics and the English Language, while omitting all mention of the essay itself.

Both Barnes and Martel have an undeniable love for the written word. If you’re seeking beautiful prose and depth of insight, opt for Barnes. Otherwise, for a lavatory experience garnished with a Man Booker winner, opt for 101 Letters.

A selection of publicly generated images portray Montreal’s dynamic nature in CCA’s latest project. (journalmetro.com)
a, Arts & Entertainment

From protests to poutine, ABC:MTL introduces the city

There are the usual famous attractions—the view from Mount Royal, a stroll through Old Port, the obligatory late night poutine. Yet Montreal is a city of multiplicities that extend beyond its tourist tropes. The Canadian Centre for Architecture’s (CCA) newest project, ABC: MTL, offers an invitation to the deeper realities of Montreal.

While previous exhibitions at the CCA have focused on the city as an historical artifact, ABC:MTL speaks of Montreal as it is today—an evolving urban hub composed of various styles, structures, and social landscapes.

To meaningfully capture the nature of the metropolis, the CCA launched an open call for submissions in June 2012. Public submissions served as an integral feature in creating a comprehensive narrative that matched the CCA’s pluralistic vision.

Curator Fabrizio Gallanti notes that “for us, this is a form of democracy: the identity of one site is not the privilege of a few, but rather a perpetually unstable condition that is the result of a real polyphony of voices.” This perspective results in an exhibit from the everyman’s point of view, outside of the traditional top-down approach associated with urban space.

Out of 250 proposals, 90 contributions will be presented over the course of the project, which runs until March 2013. This longevity allows for ongoing submissions to accurately represent a city in flux. However, not all the submissions are new. Some works have been previously included in other galleries. Gallanti explains that ABC:MTL is “not obsessed with originality,” but rather concerned with how well the works describe the city today.

Videos, photos, architectural mock-ups, lectures, and performances constitute the first installment of the project, on view until the end of January. Together, they result in a mixture of media depicting the city’s most indelible impressions. The works touch upon both the abstract and physical elements of Montreal —the ephemeral hums and buzzes of daily life, the fleeting moments the metropolis holds, and the people, buildings, and places that define the present-day city.

The pieces range from immigrant interviews to cell-phone photography. Overall, the works remind us that Montreal is more than a city defined by numbers; it is its own unique entity with its own metabolism, heart, and life.

With the breadth of formats, the term ‘exhibition’ may be a misnomer.  Instead, ABC:MTL is a fully engaging experience. It is not a fixed exhibition, but an ongoing project with changing content. Public participation, lectures, and performances are equally valuable and relevant to the main gallery showing. An online component features all 250 works submitted, including a map that pinpoints the locations of the projects to promote city exploration. The complete project, therefore, encourages interaction and participation on all levels.

Discussion is also an important ingredient. Amidst the student protests of last year, the question of Montreal’s identity was thrown into the spotlight. ABC: MTL comes at a pertinent time of questioning who and what makes up its population.

“There was a high level of engagement, no matter what side people were on,” Gallanti notes.

ABC:MTL profits from this recent engagement, asking its audience to partake in self-reflection, conversation, and discussion. It’s a worthwhile visit; if not for its interesting aesthetic, historical and social qualities, then at least for inspiration. After all, they’re still accepting submissions.

ABC:MTL is showing at the CCA (1920 rue Baille). Public programs are mainly held on Thursday nights and weekends, with guided tours every Thursday at 5:30 p.m. (English) and 6:00 p.m. (French). Free admission for students.

a, Arts & Entertainment, Music

The Twilight Saga: Breaking Dawn—Part 2 Official Soundtrack

The press release promised “an intriguing and irresistible line-up of artists” including Passion Pit, Ellie Goulding, and Feist. But the soundtrack to Twilight—Breaking Dawn Part 2 could leave even the ‘Twihards’ disappointed.

The mood of the album is—for the most part—mellow: the majority of tracks are the sort of slow-building, emotion-charged ballads one may well expect from the soundtrack to a tween-age epic of drama and romance. While some tracks rely too heavily on this emotional element and fall formulaically flat (Green Day’s contribution certainly fits this bill), others communicate the beauteous and haunting—Iko’s “Heart of Stone” being the standout.

Unfortunately, the record lacks any of the consistency necessary to establish an overall tone. More upbeat tracks, such as St. Vincent’s richly-layered “The Antidote,” come across not as natural crescendos in the album’s progression, but as disruptions which make the surrounding songs seem frustratingly slow. Thus, the very tracks which keep monotony at bay detract from the whole.

While tracks may, and do, have individual merit, the whole is less than the sum of its parts. An emotional connection to the scenes that bore these tracks may make this album an evocative work through which fans may relive favourite moments from the film. But in itself, it does little to establish mood or assert itself as a cohesive piece. The result, while listenable, stagnates and ultimately disappoints. Twilight teases in all the right places, but in the end, leaves the tantalising promise of its list of contributors unresolved.

a, Arts & Entertainment, Music

Iamsu!: Suzy 6 Speed

On his new release, Suzy 6 Speed, Bay area rapper and producer Iamsu! trades the bass-heavy beats and dreamy stoner synths of the critically acclaimed spring release Kilt for high BPMs and an endless supply of carefully programmed snare claps. Su’s smooth, sing-song flow contrasts with the mixtape’s high-energy production, resulting in a fantastical animation typically absent in this style of rapping.

Unfortunately, more often than not, this briskness hides Su’s lyrical ingenuity and results in a tiring repetitiveness. Layers of samples and an unrelenting high-hat rattle drone out Su’s unique style and hinder his ability to form effective verses.

Despite this, Iamsu! shines on tracks like “Welcome Back” and “Mobbin,” where his ganja-influenced drawl juxtaposes beautifully with hard-hitting snare claps to create easily digestible rap bangers. Even so, Iamsu! sees the most success when the tempo turns down, emphasizing his impressive lyricism. On the tape’s best track, “Losin,” Su takes a simpler approach, rapping over a soft-spoken sample, reflecting on his rise to regional fame with an underground edge.

Although it’s fun to flop around to in the moment, Su’s new release fails to create the same meaningful experience as did Kilt. All in all, Suzy 6 Speed presents itself as a high paced, in-your-face party rager that has its moments of greatness—but for the most part, is left forgotten in the haze of the morning after.

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