Tuesday, 26 November 2024

Register

Arts & Life

Posted On

Ted Kooser. Photo credit: UNL Publications and Photography.


James Crews, now living in Vermont, was for a couple of years our assistant here at American Life in Poetry.

He came to us having already won The Prairie Schooner book prize, and his poems have gotten better and better, something all poets wish for.

Here's a lovely poem from How Light Leaves, from FutureCycle Press, that shows us how we can relate to the "other" in the natural world.

Midnight Snow

Outside in the creek that feeds the lake
and never freezes, an otter slaps the water
with his paw to feel the current's pulse—
Slip in, lie back. Slip in, lie back. He shuts
his eyes and obeys, knowing the layers
of hair and underfur will warm him while
he floats on a faith we wish could carry us.

The sound of his splashing fades, but not
his joy in being pushed, light as driftwood,
back to the mouth of the den I have seen
carved out beneath the roots of a fallen fir
now packed with snow and lined with leaves
that promise his sleep will be deep.

Because no dreams wait softly for me,
I open the woodstove and strike a match,
hold the bloom of the flame to kindling
that catches quick as my wish: To be that
slick body sliding into the lake that holds
the moon, bright portal to glide through
without so much as a shiver, no doubt
about where I'm going, how to get there.

American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska, Lincoln. Poem copyright ©2016 by James Crews, “Midnight Snow,” from How Light Leaves, (FutureCycle Press, 2016). Poem reprinted by permission of James Crews and the publisher. Introduction copyright ©2017 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.
Posted On

Ted Kooser. Photo credit: UNL Publications and Photography.


Nancy Willard, who died in February, was one of my favorite poets, with an enviable gift for inventive description.

She published poetry, fiction, essays and children's books, one of which, “A Visit to William Blake's Inn,” was a winner of the prestigious Newbery Award.

For those of you who don't have time to read our archive at www.americanlifeinpoetry.org , here's a poem we used with her permission several years ago.

There are many of her books available and I recommend them all.

The Vanity of the Dragonfly

The dragonfly at rest on the doorbell—
too weak to ring and glad of it,
but well mannered and cautious,
thinking it best to observe us quietly
before flying in, and who knows if he will find
the way out? Cautious of traps, this one.
A winged cross, plain, the body straight
as a thermometer, the old glass kind
that could kill us with mercury if our teeth
did not respect its brittle body. Slim as an eel
but a solitary glider, a pilot without bombs
or weapons, and wings clear and small as a wish
to see over our heads, to see the whole picture.
And when our gaze grazes over it and moves on,
the dragonfly changes its clothes,
sheds its old skin, shriveled like laundry,
and steps forth, polished black, with two
circles buttoned like epaulettes taking the last space
at the edge of its eyes.

American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska, Lincoln. Poem copyright ©2012 by Nancy Willard from The Sea at Truro, Alfred A. Knopf, 2012. Poem reprinted by permission of Nancy Willard and the publisher. Introduction copyright ©2017 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.
Blog Left ad
Posted On

THE GREATEST SHOWMAN (Rated PG)

There’s a lot more to famous showman and huckster Phineas T. Barnum than on display in “The Greatest Showman,” as the story does not fully explore his rise from humble beginnings to later-in-Life circus partnership with James A. Bailey and a noteworthy career in politics.

First and foremost, this is a musical enterprise, in which the catchy tunes are fashioned by Benj Pasek and Justin Paul, the creative team behind “La La Land,” the recent television special “A Christmas Story Live!,” and the award-winning Broadway musical “Dear Evan Hansen.”

Hugh Jackman may be forever immortalized as Wolverine in the “X-Men” franchise, but he had a successful turn as the lead in the New York musical “The Boy from Oz,” and his leap to ringmaster and primary melodic voice in “The Greatest Showman” is no fluke.

Let not the idea of an original musical extravaganza in the form of memorable songs cast a cloud on the idea of enjoying “The Greatest Showman,” which is designed, after all, as a piece of escapist entertainment fit for the entire family.

Besides, the charismatic Hugh Jackman takes center stage, so that can’t be off-putting in the least since he stars as the adult P.T. Barnum, a shameless promoter of oddities and curiosities as a form of mass entertainment that soon materializes into a circus.

First, we see Barnum (Ellis Rubin) as the young son of a working-class father striking up an acquaintance with Charity Hallett (Skylar Dunn), the daughter of a wealthy family that predictably looks down upon the Barnums as beneath their station.

Naturally then, in the span of one musical number, Jackman’s Barnum has not only married the adult Charity (Michelle Williams) after working a few conventional jobs, but they dance elegantly on a rooftop and have two wonderful young daughters before the song ends.

Eager to capitalize on the public appetite for entertainment, Barnum goes deep into debt with the purchase of a museum of wax figures and assorted novelties before grasping the concept of featuring an exploitative array of living human curiosities.

Up against some aggressively hostile bigots and a local critic, Barnum assembles a sideshow of the bearded lady Lettie Lutz (Keala Settle), the diminutive General Tom Thumb (Sam Humphrey), and African-American trapeze artist Anne Wheeler (Zendaya).

Wearing a bright red ringmaster jacket, top hat and twirling a cane, Barnum is front and center to orchestrate a spectacle of elephants and lions backing up an eclectic mix of performers also including the hirsute “Dog Boy,” an Irish giant, an enhanced fat man, an albino and others.

Proving to be the master of low-brow entertainment, Barnum incurs the critical wrath of local newspaper critic James Gordon Bennett (Paul Sparks), which serves no other purpose than to put the impresario into a bad light in polite society.

Seeking to bring acceptability to his endeavors, Barnum recruits upper-class New York playwright Phillip Carlyle (Zac Efron), whose excellent society connections help to arrange an audience with Queen Victoria at Buckingham Palace.

This trip to England brings Barnum into contact with noted opera singer Jenny Lind (Rebecca Ferguson), widely known in Europe as “The Swedish Nightingale,” and before long, he’s has her under contract for a concert tour of the United States.

Performing at an opera house to the high society crowd in tuxedos and formal gowns, Jenny Lind causes the type of admiring sensation that Barnum expected and generates a modicum of respect from the critic Bennett for the flamboyant circus promoter’s shot at respectability.

An extended tour across America with the opera singer causes a rift in Barnum’s marriage, a situation not helped by the fact he’s overextended on his finances and the family is evicted from their mansion.

In due course, Barnum turns back to what he really knows best, and after a disastrous fire destroys his business, he regroups with his performers in a tent that represents the future of a traveling circus.

The Bearded Lady, supported by the rest of the gang, makes the most of the big musical number “This is Me,” an anthem to the uniqueness of the circus performers as they push back against the intolerance of local riff-raff.

Another challenge to societal mores comes with Zac Efron’s Phillip falling hard for Zendaya’s pink-haired acrobat and the stirrings of an interracial romance proves awkward as society frowns on crossing racial lines.

“The Greatest Showman” has enough musical razzle-dazzle that it would seem almost fitting for the legend of P.T. Barnum, though one suspects that the ostentatious showman might be perplexed about a modern representation of his storied career.

Nevertheless, Hugh Jackman is effortlessly magnetic, compelling and charming in this role of the American pioneer of popular culture.

“The Greatest Showman” undoubtedly takes liberties with his life story, but it is still a wonderfully choreographed entertainment.

Tim Riley writes film and television reviews for Lake County News.
Posted On

Printmakers of all experience levels are welcome to “Printmaking Resilience – Etching II” at the Middletown Art Center in Middletown, Calif., on Saturday, December 30, 2017. Photo courtesy of MAC staff.

MIDDLETOWN, Calif. – This Saturday, Dec. 30, Middletown Art Center offers a full day of art and culture to the community.

Posted On

Musicians take a break after the early rehearsal concert before heading back to play again in the afternoon Christmas Concert at the Soper Reese Theater in Lakeport, Calif., on Sunday, December 17, 2017. Many musicians drive long distances to be a part of the Lake County Symphony. From left to right, Richard Chang, comes in to Lake County, Calif., from Napa Valley, Calif., to play bass fiddle; Ned Haran comes from Sebastopol, Calif., with his trombone; John Weeks brings his cello from Hidden Valley.Lake, Calif., and has been doing so since 1981."It's not my usual job. I do this for fun," he said. Photo by Carl Fredrickson.

LAKEPORT, Calif. – It was a full house for the Lake County Symphony’s Christmas concert Dec. 17 at the Soper-Reese Theatre

The event also marked the 40th anniversary of the Lake County Symphony Association.

Former Lakeport Mayor Martin Scheel, the concert’s emcee, gave an excellent introduction and urged concert goers to consider joining the LCSA to provide continuing support for the Lake County Symphony and the youth orchestra.

The Lake County Youth Orchestra (the farm team for the Lake County Symphony), began the concert under the direction of Sue Condit, playing a traditional French Carol, “Noel Nouvelet," followed by “Angels We Have Heard on High.” The audience was impressed, responding to the young musicians with enthusiastic applause.

After that, it was time for symphony conductor John Parkinson to lead the orchestra in a medley of holiday traditional and popular tunes, including “It’s the Most Wonderful Time of the Year,” “Winter Wonderland,” and other favorites like “Frosty the Snowman,” and “Parade of the Wooden Soldiers.”

An energetic John Philip Sousa collaboration with James Pierpoint, “Jingle Bells Forever,” also was on the list.

The orchestra played perfectly, navigating through the traditional and popular songs as well as several new arrangements by Parkinson (“Fum, Fum Fum” and “Mary’s Boy Child”) and then morphing seamlessly into a “big band” sound to back up jazz vocalist, Sarah Cunningham.

She started off with a smooth rendition of “Let It Snow,” by Jule Styne and Sammy Cahn and continued to amaze the audience with her skillful renditions of three other popular holiday selections: “Christmas Time is Here,” followed by Mel Torme’s well known “The Christmas Song,” and “White Christmas,” by Irving Berlin, all featuring arrangements by Parkinson.

After thunderous applause for Sarah Cunningham, another talented pro, Lorraine Gatton, made her way to the stage.

After a little humorous banter with Parkinson, the diminutive singer with the big voice sang his arrangement of “Santa Claus is Coming to Town,” with her usual energy and style – much to the delight of the audience.

Then it was necessary for Parkinson to take charge of the audience sing-a-long medley. After directing the musicians in a flawless “Joy to the World” Parkinson noticed there were not many people who were singing along and turned to face the audience.

"Do you need some help?" he asked. "This is the part where you sing along. We will start again."

Parkinson restarted "Joy to the World" and alternated his direction between the orchestra and the audience. Luckily there were no further reprimands needed during “Oh Come All Ye Faithful,” Hark the Herald Angels Sing,” and “Silent Night.”

Following the sing-a-long, a rousing rendition of Leroy Anderson’s “Sleigh Ride” classic was enjoyed by all before Parkinson began his final audience participation selection: the Hallelujah Chorus from the "Messiah."

"I want to hear all the words," said Parkinson.

The audience came through.

Debra Fredrickson is a volunteer with the Lake County Symphony Association.

Subcategories

Cinema

Home and Garden

LCNews

Responsible local journalism on the shores of Clear Lake.

 

Memberships:

 

Search