Friday, March 21, 2025
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Sir Salman Rushdie delivers lecture “On Civility”

Sir Salman Rushdie came to campus this past Wednesday evening to deliver a lecture, “On Civility.” The lecture, and the Q&A section immediately following, were well-attended by both the Transy and Lexington communities—tickets for the event, although offered for free, were sold out well in advance of the doors to Haggin Auditorium opening.

Rushdie, in his remarks, used the theme of civility as a gateway into a discussion of American and world history, as well as the current political climate in the United States and across the world. He began his remarks by stressing that civility must be understood as “something wider and deeper than mere politeness,” and that a civil society must before all else be a “society of equals.”

This society is something that we have not achieved, he argued, noting the colonial abuses which have concentrated wealth in a handful of countries. He said that “when the British came to India, it was one of the richest countries on Earth. When they left, it was one of the poorest.” He also identified the continuing dangers of white supremacy and anti-migrant xenophobia as threats to a society of equals.

Rushdie identified a societal breakdown in civility as a downstream effect of a breakdown in public faith in governmental and societal institutions, and a breakdown in public understanding and acceptance of an idea of objective truth.

He warned that a rising tide of incivility was tied to a “rising tide of fascism” around the globe; he identified, among others, Rodrigo Duterte in the Philippines, Narendra Modi in India, and Viktor Orbán in Hungary as leaders of this rising tide. He also warned that the rise of the internet and global cultural ties has led to a situation in which “a white supremacist flaps his wings in America, and another such one murders in New Zealand.”

While Rushdie noted that incivility has a “long history” that predates the current political crises, he also warned that the current political climate, in the United States and abroad, was not within what he considered the normal historical bounds of “political insults.”

Rushdie simultaneously insisted that, as a political principle, the First Amendment and the broader principle of free speech be defended, saying that when “we can relentlessly disagree—in peace—that’s freedom.” This often requires the defense of what Rushdie called “uncivil behavior.” To illustrate his point, he said that “if flag burning is a freedom, then so is carrying a Nazi flag.”

Towards the end of the lecture, he had found a middle ground, in which uncivil behavior might be constitutionally protected, but sanctioned quite harshly by civil society. He concluded by admitting that, “I don’t want to talk to bigots. I want to beat them at the ballot box, and marginalize them in every discussion.” He deemed some forms of incivility more acceptable than other forms, such as when those without social power challenge those with it, as opposed to when those with power use the norms of civility to continue to repress those already repressed.

He concluded with remarks on the power of literature to “find our way back to each other, and reestablish the common ground of our society.”


Rushdie is one of world literature’s most prominent authors. In 1981, he won the Man Booker Prize, which is one of the highest honors in English-language literature, for his second novel, Midnight’s Children. He has since published sixteen further novels, several collections of essays, short stories, children’s stories, and other works. He was created a Knight Bachelor by Queen Elizabeth II for his services to literature.

In 1988, his life became the center of a major international controversy with the publication of his novel The Satanic Verses. While the novel is a wide-ranging work that deals with issues of identity and migration, two of the middle chapters deal with a crisis of faith experienced by one of the main characters by relating several dream sequences. These sequences draw inspiration from early Islamic history and early Islamic theological disputes, and some Muslims took offense to what they read as blasphemous depictions of the Prophet Muhammed.

The controversy was globally inflamed by political actors. In Iran, the fundamentalist Islamic cleric and head of state the Ayatollah Khomenei issued a fatwā1 A fatwā is a jurisprudential ruling in Islamic legal tradition. While today many Westerners associate the fatwā with radicals and fundamentalists, it is a widely-used term in Islamic theologies of all stripes. calling for his followers to assassinate the author. The fatwā resulted in Rushdie receiving police protection from the British government (he resided in Britain at the time), and in his assuming a fake identity for several years. He has since written a memoir of that time, titled Joseph Anton, after the alias he used.

Rushdie has written in the past that the controversy began and was sustained for political reasons, saying specifically that Khomeini used the fatwā as a tactic to unify the disparate elements of Iranian government and society at the time, and that both British and Indian politicians used the controversy to court Muslim votes in their respective elections.


The lecture by Rushdie was part of both the Kenan Lecture series and the Creative Intelligence Lecture Series, both sponsored by Transylvania University. Sir Salman Rushdie was the 52nd Kenan Lecturer. Rushdie also met with a group of Transylvania students earlier in the day to discuss literature and his creative process.

Transy Choir joins forces with Lexington Philharmonic to present the Verdi Requiem

The Lexington Philharmonic gave their second concert of the 2018-2019 season last Friday evening at the Singletary Center for the Arts. While there was only one piece on the program, the monumental “Requiem” by Giuseppe Verdi, the concert required a larger-than-usual Philharmonic Orchestra, a full set of four soloists, and over 150 singers drawn from Berea College, Asbury University, Transylvania University, and Eastern Kentucky University.

Conductor Scott Terrell, in his final season at the Philharmonic, led the orchestra and singers for a passionate and fiery (even occasionally apocalyptic) performance. To understand the depth of the performance required, it might be helpful to discuss the history of the “Requiem” (Mass for the Dead).

A Catholic graveyard. Photo by William Murphy, under a Creative Commons License.

Verdi wrote the “Requiem” between 1868 and 1874, and it was composed to commemorate the death of the Italian poet & author Alessandro Manzoni, who was a friend of Verdi’s. (Verdi had written the final movement, titled “Libera Me” (Deliver Me), for a concert commemorating the death of fellow composer Giacchino Rossini, but had shelved it for several years). For a time after it was called the “Manzoni Requiem,” but as the reputation of the piece grew it lost its specific connotations.

The piece today is one of the most-widely-performed choral works, despite the fact that it calls for a rather large orchestra & choir, as well as the efforts of four soloists.

On a historical note, the inclusion of the female voices, and particularly the female soloists, was a point of minor controversy at the time of the Requiem’s premiere; women were not allowed to participate in the performance of the funerary rites of the Catholic Church at the time.

But what a loss it would have been on Friday evening had the soprano and mezzo-soprano parts never been written! D’ana Lombard as the soprano and Nancy Maultsby as the mezzo soloists were practical forces of nature, firing their voices across the length of the hall over the roars of an orchestra that included eight entire trumpets. Maultsby, in particular, gave a sublime performance, by turns measured in a mournful lyricism and soaring on the passionate declamatory sections.

Stylistically, the piece is noted for its operatic, theatrical tone—fitting, as Verdi was primarily an opera composer (as he is still known as such today). The height of this style comes early in the piece, with the “Dies Irae” (usually translated as The Day of Wrath or The Day of Judgment); this movement is most likely the most familiar piece of the Requiem for most listeners—it’s been used in everything from “The Simpsons” to “Mad Max: Fury Road” and “Django Unchained.”

The combined collegiate choirs boomed, rang, and descanted their way through the almost-demonic “Dies Irae,” the full performance of which took about half an hour. While the choir has the showy (and memorable) opening theme, bass soloist Peixin Chen dazzled with the full range of the low voice through the “Mors Stupebit” (Death is Struck) section. The orchestra also got its share of major moments, from a set of trumpets that traded horn calls across the breadth of the hall like hunters finding each other in the woods, to a set of bass drums that gave reports of thunder like the clouds discharging armies of avenging angels.

At the moments of highest intensity, each part of the vast ensemble seemed to momentarily overtake all the others, until another voice crashed over the hall like a wave, followed by another, and a further peak after that, practically until time seemed suspended—in such a way was eternity composed.

Hieronymous Bosch’s depictions of torments that await sinners. Photo: Wikimedia Commons.

After the “Dies Irae”, the “Requiem” finds moments of quietude and stillness in the Offertory movement, although with a boisterous ending of the choir.

The “Sanctus” movement is strutted in one of the most difficult forms in all of music: a double fugue. Now, a fugue is a musical structure where one voice starts a melody, a second voice answers, a third voice replies to the second, a fourth to the third, and so on and so on and so on; now double that and you have a double fugue. Most composers only attempt a fugue at the absolute height of their abilities, and a double fugue is showing off to a degree that’s practically unbearable. Nevertheless, Terrell and choirs were able to keep the structure of the piece clean and clear, even at the points of maximum overlap and possible confusion—this is no modest feat.

Throughout the piece, each component of the ensemble—orchestra, soloists, and choirs—strove to keep the whole effect clear, even while the maximalistic dynamic range of Verdi’s score made it nigh-on impossible to balance a single solo voice against an entire set of strings. By the end of the evening, the final two movements, “Lux Aeterna” (Eternal Light) and “Libera Me,” each gesture, no matter where it was situated in the sections, seemed to melt into the next, as if a great effort had been expended to launch the hall towards the heavens, and the music could now float, weightlessly, in orbit.

The concert proper ended on a quiet sigh, a C major chord, one of the most simple and pure sounds available to a classical composer. But the roaring applause of the hall ended the night on a note that celebrated life after mourning death.

Season in Review: Transy Men’s and Women’s Basketball Season

This basketball season was a special one for every Transy fan. Very few schools have both men’s and women’s basketball teams with winning records and both teams reaching the conference championship game. Now that the sour taste has left our mouth since the season’s end, let’s look back on some of the great moments that made this basketball season one of the best in Transy’s history.

The team stays engaged from the sideline during the HCAC tournament. Photo by Gabrielle Crooks.

The Transylvania Women’s Basketball team finished with a dominating 27-3 record. They were 17-1 in conference play and never lost a game at home. The ladies won 90 percent of their games this season, and a large part of that was their ability to shoot it from downtown. They hit the most three-point field goals in the nation and were fourth in the nation in three-point percentage. Led by sharpshooting senior Celia Kline, the Transy Women won the HCAC tournament at the Beck Center after securing the number one overall seed in the conference. During the HCAC championship, Senior Kristen Hayes hit a layup to send the Pioneers to the National Tournament. The Pioneers’ postseason run ended in the Sweet 16 of the DIII National Tournament. They suffered an 89-74 loss to Thomas More. Thomas More would go on to win the Women’s National Championship.

The graduating senior class has now set the standard for years to come for this Pioneers, as their hard work off the court has changed the culture of Transy Women’s basketball. Next season, rising senior Shelby Boyle will take the reigns of the program and look to make another run at winning the National Championship.


The boys win a crucial game against Mount Union early in the season. Photo by Aaron Bell.

The Transylvania Men’s Basketball team finished with a 17-10 record. After a hard fought game against the Kentucky Wildcats, losing 94-66, Transy had a rough start in non-conference play. They flipped the script once conference play started, finishing 13-5 in the HCAC in the regular season. Winning five of the last seven games, the Pioneers finished tied for the second seed going into the conference tournament at Hanover.

During the first game of the conference tournament against Franklin, Sophomore Michael Jefferson posted an unreal 32 points, six assists, and six rebounds to lead the Pioneers to an 89-77 victory. This set up a championship game between Transy and the Hanover College Panthers. During the championship game, the Pioneers were led by Sophomore forward Lucas Gentry, who posted 25 total points and hit three three-pointers. Transy also got scoring from Junior Gabe Schmitt and Michael Jefferson. In the end, Hanover defeated Transylvania 76-73 in the HCAC championship.

The Pioneers were led all season by Seniors Bo Schuh and Cooper Theobald. Coach Lane said that the Seniors “left the program in a better position than it was when they got here.” The Pioneers have nothing to hang their heads on, as the team will only be losing two players. The Transylvania men will have something to prove to the conference next year because they know they will be back bigger and stronger in the 2019-2020 season.

Both Men’s and Women’s programs will look to continue their successes on the court next year. With all of the firepower coming back for both squads next season, every Transy fan knows they will have something to look forward to come October.

Review: ‘Half Dozen’ at the Morlan Gallery

Friday, Mar. 1, was the opening of the seniors’ Half Dozen exhibition in Morlan Gallery. Jessie Dees, Samara Lyons, Josh Porter, Sarah Schaaf, Sonora Shuck and Stephanie Wayne are the six graduating art majors.

Photo by Gabby Crooks

Because each student has their own body of work, the exhibit was not necessarily themed. However, Sarah Schaaf’s scattering of poppies gives an element of cohesion. “16 Million” is a piece that pays tribute to the 16 million people who lost their lives as a result of World War I. Each of the watercolor poppies represents 160,000 individuals.

Schaaf’s pieces center around the tragedy and memory of World War I. “The Soldier” is a collection of photographs in lockets, sent to the artist by the families of the fallen. “Casualty” is a dark commentary on the sacrifice of war. Shellshock left soldiers psychologically battered while grievous physical wounds marked them for life.


Sonora Shuck’s “Necessary Rituals” is a mixed media piece that speaks to the fabric of the artist’s life. It is a self-portrait made of the crucial components of her existence; prescriptions, sticky notes, product packaging, and prints. Similarly, “Serotonin Syndrome” speaks to the necessity of happiness. It is an oil painting of the molecular structure of serotonin which gives perspective to mental illness.

“Necessary Rituals” By Sonora Schuck. Photo by Gabby Crooks.

Josh Porter’s “American Values: Broken Liberty” is a collection of potted plants hanging from the ceiling with strings of red, white, and blue. Liberty is the only exception. It lies shattered below Unity, Acceptance, Joy and others. An overt political statement, the piece laments what has been lost. If the pot can be glued together again, hope still remains for the value it represents.

“Confidant” is an oil painting by Porter. Its loose and painterly style gives the subject an out-of-focus quality, creating a dreamy aura around her. He is skillful with his ability to emulate form with such little verisimilitude.


“Tres Generaciones: Abuela, Mami y yo” by Stephanie Wayne. Photo by Gabby Crooks.

Stephanie Wayne’s “Tres Generaciones: Abuela, Mami y Yo” is a cotton triptych. She uses pattern to unify the images, and bright colors contrast simple lines and rich earth tones. Matriarchal power is exuded through the joy in the women’s faces—Wayne is celebrating the women who created her.

Wayne also makes a political statement, or rather a humanitarian one, with her piece “Myth; Realidad.” The smocks read “Immigration Is an Issue”, “The U.S. Is a Melting Pot that Welcomes All Immigrants,” “Legal Racialization Cast Immigrants As Permanently Foreign & Unmeltable,” and “Immigration Is a Humanitarian Issue.” It fits well with Porter’s “American Values: Broken Liberty,” echoing the social frustration of the nation.


Samara Lyons’ wooden sculptures are graceful figures that seem to dance around the exhibit. “Ballerina,” suspended delicately from the ceiling, is a permanent gallery viewer rejoicing in the accomplishments of the artists.

Jessie Dees mixed media piece “But Where am I?” depicts a young figure kneeling in front of a mirror. Viewers can pass behind or between the mirror and the hooded figure, choosing to interrupt or contextualize the titular question.

“Natural Beauty” by Jessie Dees. Photo by Gabby Crooks.

Natural Beauty” is another piece by Jessie Dees. A woman hangs her rose-covered head as she sits near a stricken tree. One of her feet has been cut off and is bandaged. The death and decay are juxtaposed by the rose that blooms in her hand and the flowers in her hair. But, one cannot necessarily say that the brokenness of the scene is not beautiful.


Half Dozen is a thought-provoking and varied body of work. The wide range of subject matter and media provide plenty of room for viewers to find something inspiring, interesting or beautiful. Clearly, Transy has produced a strong and talented group of artists. 

Rambler Weekly Blog & Playlist: March 22nd

Hey y’all!

Welcome back! We’re in the final stretch of Winter Term, and things are about to get crazy. While there were a lot of good music videos to choose from this week, these three were the most enjoyable and entertaining to watch. As always, feel free to email me music video suggestions to tmahlinger20@transy.edu!

If you’ve lost hope for a One Direction reunion, I’ve found something to fill the boy band void in your heart. While they’re not exactly the newest kids on the block, meet the American boy band, Why Don’t We, that formed in 2016. They’re currently gaining some traction in the music industry with their latest song “I Don’t Belong In This Club,” a track that features Macklemore. The music video was released on the same day as the single and has gained over a million views and counting. The retro vibes and relatable storyline make it worth the watch.

benny blanco is back at it again, this time featuring a crew of talented, prominent artists. This song currently resides on the United States Top 50 most played tracks on Spotify. The fun music video features Selena, benny, Tainy, and J Balvin all dancing around on a giant, bouncy bed. I don’t know about you, but, even though the song is fun, this video makes me wanna go to bed.

Post Malone has finally released the music video for his song “Wow” that came out back in 2018. The video features other notable artists, including DJ Khalid. It feels like an intimate look into Post Malone’s life since the video is shot documentary-style and shows him getting ready for concerts, partying, and flying around the world in his private jet. The video even features the 40-year-old man from Florida whose video of him dancing to “Wow” went viral. Safe to say, it’s always a good time in Post Malone’s music videos.

Stay chill,

Taylor


As for arts events, we have some good ones this week!

Tuesday, Mar. 26 @7:30 p.m., MFA Carrick Theater

The music technology students at Transy will present their Electronic Music Student Recital. Come support the students and listen to what they have created!

Monday-Friday @12 p.m.-5 p.m., MFA Morlan Art Gallery

The Senior Art Exhibition, “Half Dozen” features work by studio art majors Jessie Dees, Samara Lyons, Josh Porter, Sarah Schaaf, Sonora Schuck and Stephanie Wayne. If you haven’t visited Morlan Gallery to see their art, now is your chance! The gallery will display the exhibition through April 10. You can find out more information here.

Literary Award Showcases Transy and Kentucky Writers

On the night of March 19th, author Silas House was given the Judy Gaines Young Literary Award. Each year, Dr. Byron Young, a Transylvania University alumn, gives this award in honor of his wife and fellow Transylvania alumni, Judy Gaines Young. The award is given to a writer of a book with significance. On that night, the University celebrated Silas House’ novel Southernmost.

Professor Maurice Manning, a professor of writing and our campus’ Writer in Residence, began the night by sharing a list of words he associated with House’s book. He mentioned the world “loyalty,” and compared Southernmost’s theme of blind loyalty to Wendell Berry’s theme of complete loyalty in A World Lost.

Senior Rebecca Blankenship, the former Rambler News Editor and a fiction writer herself, was also complimented by Professor Manning. Blankenship took to the podium and read a few pieces of her own. The first, aptly named “Rupturous Love,” she described as a poem she had written while reflecting on romance, past relationships, dysfunction, new life, among others. The energetic reading was almost like watching an actor perform a monologue, paired with movement and variation in speed, tone, and volume.

The second reading was of a poem translated from Latin by Catullus, which Blankenship had mentioned she interacted with when she was a lot younger. The poem was written about the Catullus’s love for Lesbia and his apathetic view on what others think of his relationship. The translation is printed below:

Let’s live, sweet slut, and therefore love!

Let’s hear the windy wisdom of our

grandpops, pay a nickel for their trouble.

 

The sun sets and returns.

But once our brief light sets

The night is endless sleep.

 

Gimmie a thousand, then a hundred,

a second thousand, a second hundred,

and a thousand and a hundred kisses.

 

Then we’ll lose count, so we won’t even know.

The creeps and sneaks and scientists

will never quantify us.

Her third reading, titled “Pilgrimage Unto Filing,” was a piece of speculative fiction. She introduced it as being written 200 years from now, and though it was written in prose, the performance of it was almost poetic, despite its academic language.

Finally, Silas House came to the podium and summarized Southernmost: on the same day that the Supreme Court rules to legalize same-sex marriage, a preacher’s fictional city is flooded. When he takes in two gay men as a result of the flooding, he begins to rethink what he’s been preaching after a period of reflection and self-education. The novel follows his journey as he shares his enlightened opinion with the community, is rejected, and leaves his city.

House summed up the book’s theme in one quote: “One discrimination is all discrimination. One injustice is all injustice.”


Southernmost is available online for under $20, in the Transy bookstore, along with more of Silas’s work, and in the Transy campus library.

Lit Review: God Engine 2.0

Welcome to Lit Review, where columnist Dominiq Wilson will take apart a series of chapbooks to figure out what works and what doesn’t for the modern reader of poetry.


Jamaal May, the founder of Detriot-based chapbook distributor Organic Weapon Arts, released the second edition of his first chapbook, “God Engine 2.0,” in 2012. It’s described as a collection that combines war and conflict as well as the whimsical world of childhood. While the two seem to lie on two distinct sides, I was pleasantly surprised to read how well these two ideas connect.

I recall my review of “The Spoons in the Grass are There To Dig a Moat” as having a consistent pattern of switching between an innocent and realistic perspective of the world. In “God Engine 2.0,” the switch between innocent and realistic is a bit smoother but still has the same surprising effect that calls for the majority of the poems in this collection to be reread. Take “Warhouse,” for example:

“The chain link fence that fails to keep

grass from spilling onto sidewalk

rattles when we drag old curtain rods

post to post. When they become swords

in our hands, the Clack! Clack! Of our duel

is too much for the robed man who staggers

 

from the house we thought empty

to demand we Cut that fucking shit out!

Back in the splintered garage

 

we call home-base, we stir dust

with our hushed voices, imagine our future

selves, beer-breathed in some dive.

The way we tell it, the dilapidated colonial

we call Warhouse, is a weapons stockpile

or a government test facility

 

or the boarded roof is urban camouflage

for a secret prison. A boy swears

he once got close enough to peer

 

inside and see a naked woman

being tortured. His older sister

told him bones are stacked in the basement,

with loud music pulsing against the old

wood at night to hide the clatter

of skeletons trying to escape—Nu-uhn.

 

I heard mom tell auntie it was a business.

She said men pay wars to do nasty stuff.

She said somebody should burn it down.”

This poem, to me, described an imaginary game of war. I enjoyed this poem a lot because I used to play similar games when I was a kid, but I never would’ve known about the traumas that accompany war at that age. Now, reading this poem and looking back on those fun times makes me see my younger self as naive as I expected.

The majority of the poems in this collection are organized in stanzas, but the one prose poem in this collection is exaggeratedly poetic in its structure, which is exactly how I like them. Due to the less exciting form of prose, I understand how easily the poetic aspect of poetry can turn into uninteresting sentences, but poems like “Storage Room Under Basement Stairs” break the rules of sentence and paragraph structure so badly that it’s obvious that the piece isn’t meant to be read in the same way that essay paragraphs are read. To me, if a prose poem reads easily, it’s not very entertaining.

Another concept I enjoy in this collection are the poems based on phobias. The fear of snow, weapons, and machines are all confronted in a way that I wouldn’t have expected. My favorite is “Mechanophobia: Fear of Machines,” which discusses the replacement of humans with machines in the workplace:

There is no work left for the husks.

automated welders like us,

your like replacements, can’t expect

sympathy after our bright

arms of cable rust over. So come

 

collect us for scrap, grind us up

in the mouth of one of us.

Let your hand pry at the access

panel with the edge of a knife,

silencing the motor and thrum.

 

Come rummage through our guts,

among fistfuls of wire. Clutch,

pull until the LEDs go dark.

Our insides may be the jaggged

gears of clocks you don’t realize

 

function until your blade gets stuck.

The current that sparks, scrambles up

fingertips, hurrying to your heart

will not come as hot, ragged

lightyou won’t notice when it arrives.

 

There is always a way to touch

a system, a way to disrupt

the insides of any machine. Whether that

machine leaks or bleeds. We move quiet  

as fluorescent lights going dim.

 

You fear the chassis that was struck

by lightning can’t be wholly crushed.

You should. Fear the radios left in scrap

yardsstill quivering with the circuit

and hum of our mechanical hymn.

I think I like this poem so much because there isn’t a fear that I detect, but a reasoning for this narrator’s emotions. The fifth stanza suggests that no matter what’s being used, every worker will expire in one way or another, so what exactly is the point with replacing flesh with metal?

I don’t get the opportunity to read about war often, and though it’s a heavy topic for me to read about, I never would have imagined that it could inspire so much creativity. If you enjoyed this review as much as I obviously enjoyed this book, you can grab a copy in our campus library, or online for around $10.

Rambler Blog & Playlist: March 8th

Hey y’all!

It’s FINALLY here! SPRING BREAK! I wish you all happy, warm and safe travels whether you’re hitting the beach or going home. It’s hard to top last week’s new music video playlist, so, instead, I’ve compiled three throwback music videos that scream spring break. You’re welcome, enjoy.

That’s right, this video from the good old days back in 2011 has over 1.6 BILLION views. “Party Rock Anthem” was one of LMFAO’s biggest singles to date, reached the number one spot in twelve countries in 2011, and sold 9.7 million copies worldwide. Rolling Stone magazine even noted the music video for “Party Rock Anthem” as part of the “billion views club” in 2015. Safe to say, even though LMFAO split up indefinitely back in 2012, their video legacy will live on.

Nothing says spring break more like a fun Nicki Minaj throwback video. “Starships” was one of the hits off her 2012 album “Pink Friday: Roman Reloaded.” The song charted top five in fifteen countries and is noted as one of the best selling singles of all time. This video is bright and bubbly and even includes a beach, which I’d say makes this a spring break staple.

Last but not least, I had to end the playlist with an iconic Daft Punk song. “One More Time” is an oldie but a goodie from the ancient times of 2000. The music video is of a 2003 French-Japanese anime film called “Interstella 5555,” which revolves around trippy space scenes and evil robots. No matter how old this song might be, play it next time you’re on the aux and everyone will start dancing.

Stay chill,

Taylor

Lit Review: The Mask of Medusa

Welcome to Lit Review, where columnist Dominiq Wilson will take apart a series of chapbooks to figure out what works and what doesn’t for the modern reader of poetry. 


Before continuing this review, I want to  make readers aware that this book discusses adult themes such as sexual assault and rape. For readers who are sensitive to these topics, I advise that you approach this book cautiously, if at all. —DW


“The Mask of Medusa” is a collection of 36 poems, published in 1987, written by Sheryl St. Germain and illustrated by Janet Morgan. This is the seventh chapbook within the Cross-Cultural Review Women Writers Chapbook Series, which aims to focus and expose women’s writing that has strong cultural ties or addresses women’s issues.

The collection’s title is a strong indicator to the subject of these poems, and, knowing what social commentaries this book is presenting, I found it interesting that Medusa was declared the mythological spokesperson of women’s rights. However, after reading these poems, it’s easy to apply the events in her life to issues faced by women from 1987 to present day. Take “Medusa Has a C-Section” for example:

You come prepared to watch the whole bloody thing,

but when they begin to cut into my belly

I see your eyes travel upwards

to the mirror on the ceiling reflecting everything.

I think of all the times we made love

with you watching everything in a mirror.

The mirror was always, always between us,

even when we thought we were touching.

 

Your mirrored gaze and this birth by knife

remind me of that other birth by sword:

the polished shield held up between two lovers

reflecting the sword severing the head

cleanly from the body, the children

leaping from the wound.

 

I hear their cries inside me

before my head falls.

I found this poem very intricate in its layout. Both stanzas obviously discuss two separate events—a c-section and Medusa’s beheading, respectively—but both events are connected by the object of mirrors between two bodies. With the information I can grasp from this poem, they also seem to be connected by the same man who is the father of her children and her killer. I recall Perseus being her killer, but I don’t know much about Medusa being his lover.

Though Medusa is often portrayed as having a villainous personality, I’ve always liked her and appreciated the powers that she was cursed with. I like to compare her to Ursula from The Little Mermaid, another favorite character of mine who uses her supernatural and slightly villainous powers to pleasure herself instead of others.

This being said, there were a few poems I adored in this collection that portrayed Medusa as something other than this powerfully villainous woman. “Medusa Dreams of Red Tulips” portrays Medusa in a more self-conscious light. The poem takes up a whole page with a description of Medusa’s dream of her snakes being turned into tulips and how the night with a lover would go. “Medusa Falls in Love” reads from the perspective of her finding love at first sight and how her frozen state compares to the nature of her powers.

On the other side of this coin, there are plenty of poems in this collection that reflect the sassy personality I expect from Medusa. “Medusa Goes to a Restaurant” is relatively short and simple. It seems to be her half of a conversation with a waiter who is concerned about her stone eyes. However, my favorite poem in this collection is Medusa’s piece of a conversation with Sigmund Freud. If you’re familiar with his contributions to the social sciences, I think you’ll enjoy “Medusa Has a Breakfast with Freud” below:

Do you like your bacon crisp or limp?

 

Oh, and I wish you would make up your mind:

either my snakes are pubic hairs or penises,

either you get stiff with an erection

or frozen with impotency

when you look at my face. I’ll have

no either/or here.

 

(Have you ever noticed

that everything you look

at turns to sex?)

 

By the way, how do you like your genitals

scrambled or fried?

I almost wish that St. Germain left out the parenthesized stanza, so the theme of the poem would be more of an inside joke for everyone who knows of Freud’s work. But after typing it out just now, I realized that Medusa is comparing Freud’s universal application of sex to her ability to turn people to stone with one look. I’d love to read a poem that showed Freud’s response to this, but I also think that if given the opportunity, a lot of people would like to ask him the same question. An interesting man, Freud was.

I’m really happy that I had the opportunity to read this book, and the last two or so poems wrapped the collection up as if every poem contributed to a larger story, which I also enjoyed. As usual, I strongly recommend that you take some time to read this collection for yourself. I hashed this book out in under an hour, but if you have the opportunity, I suggest that you space this book out a bit more. I will admit that it can get pretty intense at times.

If you’re interested in reading this book, you can pick it up at our campus library, or buy it for around $8.

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