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Left to Right: Matthew Robins, Kaan Budak (Head Coach Polis Akademisi, Ankara), Craig Klinkhoff
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FEATURE: Hockey without borders

by Steven Lampert on

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Hockey is embedded in the fabric of Canadian culture. Many Canadians take for granted the accessibility of their hockey resources—ample ice time, new and used equipment, and willing coaches that are available in almost all Canadian towns and cities. However, in smaller hockey communities around the globe, such as Ankara, Turkey, and Subotica, Serbia, resources are more limited. This is where Hockey Sans Frontières (HSF) steps in.

HSF was founded in 2009 by a group of Canadians who played professionally in Serbia after competing at the junior level. Upon returning to Canada, the group sought out ways to give back to the communities that had supported them. They believed the most direct way of giving back and facilitating growth in these local areas was through coaching. For this reason, the HSF became committed to sending coaches abroad to help run hockey clinics, and organize grassroots initiatives in emerging hockey communities. Many McGillians have been at the forefront of this noble initiative, including Serbian-born Marko Kovacevic, and current Redmen assistant coach Dan Jacob.

Hockey Without Borders co-founder Daniel Jacob (Center) in Bled, Slovenia.
Hockey Without Borders co-founder Daniel Jacob (Center) in Bled, Slovenia.

The Tribune had the opportunity to sit down with two members of the McGill community currently involved in the HSF project, Craig Klinkhoff and Matthew Robins, to discuss the impact, on and off the ice, of the HSF’s non-profit global initiative.

During their time in Serbia,“[The HSF group] saw that the program there wasn’t anything [like in Canada], and that the [Serbian] kids suffered because of it,” Robins said. “They didn’t have as much of an opportunity as they could potentially have if there was the proper infrastructure in place, starting with coaches … To actually send someone there, as opposed to sending a cheque … is the most direct and sustainable way to support a hockey community.”

The group came to realize the value of their contribution to the community. While they were not able to send hundreds of pairs of skates or donate thousands of dollars, they could spare a few hours sharing their knowledge and passion for hockey with young players with the desire to learn.

As part of the initiative, Robins and Klinkhoff travelled together this past summer to Ankara, Turkey, to help run a week-long training camp. Admittedly, the two were nervous and unsure of what they were getting themselves into. However, they soon discovered that despite multiple limitations—such as the lack of resources and other social factors—Ankara has a passionate men’s and women’s hockey community.

The coaches’ arrival was celebrated with great enthusiasm.

Hockey Without Borders ambassador Uros Brestovac in Subotica, Serbia, working with his skating class.
Hockey Without Borders ambassador Uros Brestovac in Subotica, Serbia, working with his skating class.

“From the moment we arrived, everyone took care of us and treated us like kings for six days,” Klinkhoff said. “They joined us off the ice anywhere we went.”

After six days of running on-ice clinics, and spending time with the Turkish players, Klinkhoff felt that he was part of the community and realized that his assistance was valued more than he could have expected.

“I love to travel and I could never have an experience like that anywhere else in the world. But because of hockey, I was able to be part of the community. I did nothing to deserve it other than show up, ” Klinkhoff said. “One of the guys [said] it was one of the best weeks of [his] life. And he’s my age. It’s one thing when a young kid says it, but [when] someone my age said it—that hit home.”

For Robins, the experience was a display of hockey in its most genuine expression.

“[In North America], there are certain implications at different levels … you get involved [with issues of] money, and scholarships, and it can get a little off track,” he said. “There, it was hockey in its purest form. People there played for the love of it and that’s it.”

Robins and Klinkhoff have remained close with all of the players they coached, a testament to the bond that can be created by sharing an interest in sports, even in a short amount of time.

“It’s amazing. We’re still in touch with them. The impact [and] bonding that happen[ed] over six days of hockey is unbelievable,” Klinkhoff said. “We released the video [of the trip] and they saw it, and they’re going crazy … we tell them that they’re stars in Canada.”

Matthew Robins (Top Left) at his last practice in Subotica, Serbia.
Matthew Robins (Top Left) at his last practice in Subotica, Serbia.

Thinking of ways to move ahead, Klinkhoff and Robins want to give their support in other hockey communities. In January 2013, they will travel around the globe to help other places in need of assistance, such as Israel, South Africa, Japan, and South Korea. They are willing to travel anywhere, as long as there is a community who needs their help.

While Robin and Klinkhoff find inspiration in HSF’s success in Serbia, and genuinely believe that there is always potential for growth, they are aware of the struggles that these hockey communities face as they strive to maintain their programs.

“The Serbian under-8 and under-10 teams would play against teams from Czech Republic and Austria—strong hockey programs—and they would be able to compete. But, as soon as they are under-12, under-14, under-16, they can’t,” Robins said. “That’s all because of [lack of] resources.”

The HSF stresses the need to promote grassroots initiatives that ensure the future of the hockey communities. For Robins, the success of hockey projects in these areas largely depends on the commitment and expertise of local coaches.

“We’re looking for those types of communities that don’t have as much opportunity,” Robins said. “Before we got [to Serbia], there were two coaches for 200 kids. For the team I coach here in Montreal, [there] are 5 coaches for 15 kids … Their programs can’t really grow. They’re stuck. There’s only so much those coaches can impart on that many players. By providing more coaches, you can grow the hockey community.”

“In Turkey … there was one coach there running this camp … he was the pillar of the community. If he wasn’t there, none of the kids [would be] there,” Klinkhoff added. “He created a community through hockey. They all became friends. There was that added incentive to become part of that group.”

Robins’ and Klinkhoff’s hope is that their hockey communities become able to sustain themselves over time.

“Eventually over time, the people and the community there can take over … and their hockey community [will take off],” Robins said. “Kids become more interested in coaching—they’ve been inspired and have the knowledge.”

There is something special about these emerging hockey areas around the globe that makes coaches yearn to return, remain involved, and encourage others to do the same. The program is trying to raise awareness and spread the message that a passion for hockey exists in the least expected places, and that anyone who shares that passion can contribute to the mission of HSF.

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

Principally, the team encourages members of the McGill community to get involved. For Klinkhoff and Robins, maintaining the relationship with the school that shaped them and many of the founders is very important.

“It’s something that we want to keep building. It’s where we go [and went] to school, where Dan [Jacob] is now, so we want to keep that relationship strong,” Klinkhoff said.

“Everyone who has gone [overseas] to date has [gone back] at some point. That speaks to the power of this program,” Klinkhoff said.

HSF works towards a common goal, but the game’s impact reaches far beyond. Hockey instills teamwork, focus, determination—all of which translate off the ice, both socially and academically. HSF’s impact may be tangible on the ice, but its hand extends into the lives of everyone affected and involved. It truly embodies hockey in its purest form.

“We see hockey as a great physical activity, but it’s also a social program,” Robins said. “It brings people together, and it has such a positive impact down the round.”

Craig Klinkhoff is currently majoring in marketing in Continuing Studies at McGill. Matthew Robins graduated with a B.A. in 2012. Donations to Hockey Sans Frontières can be made at http://www.indiegogo.com/hsf-world-tour. Craig and Matt’s video of their Ankara trip can be viewed at http://www.hockeysansfrontieres.org/

Photos courtesy of Craig Klinkhoff.

Proteins are the building blocks of cells. (labstrip.com)
a, Science & Technology

Research in protein breakdown opens doors for cancer treatment

by Caity Hui on

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A team of researchers, led by McGill Professor Dr. Barry Posner,  has recently uncovered the importance of growth factors in maintaining healthy cells. Growth factors are molecules that stimulate and regulate cellular growth.

Put simply, our cells are involved in a continuous cycle of breaking down and re-growth, much like the process of building structures with Legos. Once all the Lego pieces are used up, old structures must be broken down and the pieces reused to build new ones. Since there are a limited number of Lego pieces, it is impossible to continue to build structures without breaking down the old ones and using them for their parts.

Cells, too, must be broken down in order for new cell growth to occur, and growth factors facilitate the process.

Insulin, a hormone that stimulates glucose uptake, is also a growth factor. Prior to the discovery of insulin, children with Type I diabetes were characterized by a gaunt appearance. When provided with insulin, a dramatic physical transformation from diminutive to healthy occurred in these children over several weeks.

Dr. Posner’s lab is primarily interested in insulin and growth factors, and their relationship to disease. Recently, they have been focusing on the role inhibiting acidification plays in the growth response by studying certain cellular structures.

The master molecule that is responsible for growth is called mTOR, (Mammalian Target of Rapamycin). When stimulated, this molecule will not act unless it has a large enough supply of amino acids to use to build new molecules.

The relationship between acidification and the growth factor can also be likened to building a house. Even with plans, a construction worker cannot build a structure without a continuous supply of bricks. If this supply is cut off, the construction worker will stop building until more bricks are provided.

Likewise, when growth factors stimulate the acidification of lysosomes (organelles that contain enzymes that degrade cells), the enzymes within lysosomes have the optimal pH condition to break down proteins within cells in order to provide the mTOR molecule with essential building blocks, amino acids. Without sufficient supplies, this molecule will not support the synthesis of new proteins.

Understanding the role of acidification and the growth response opens new avenues for cancer treatment.

“What we know is this: everyone is trying to find ways of blocking growth factors in cancer cells, because it looks like, in a number of cancers, growth factor stimulation is an important facet of the … proliferative process that characterizes the growth and spread of cancer cells,” Dr. Posner said.

For instance, Type II diabetes carriers show an increase in an incidence of cancer. They also have insulin resistance, or higher-than-normal insulin levels in certain tissues. Cancer cells appear to respond to this increase in availability of insulin to their advantage. As insulin is a growth factor, cancer cells use it to promote cell division and rapidly proliferate. Essentially, it appears that insulin resistance promotes the growth of cancer cells.

“There is now another target that we can look at for regulation of growth factor action [the acidification of vacuolar areas]. If we can find ways of probing that target with new molecules, we might be able to inhibit their growth promoting effects and contribute to the control of cancer cells,” Dr. Posner said.

Insulin is necessary for the body. However, if the growth promoting action of insulin on cancer cells is blocked, the increased incidence of cancer in Type II diabetes will likely decline.

This finding is one of many that are contributing to the development of cancer drugs and new treatments.

“I think it will stimulate the imagination… I hope it will promote my colleagues to think more about the regulation of the growth process.”

iWalk’s bionic foot and ankle. (astepaheadprosthetics.wordpress.com)
a, Science & Technology

Robotic prosthetics make technological gains

by Karuna Dhananjai Kadam on

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With his amicable demeanour  and brilliant smile, Cameron Clapp is the quintessential Californian. There is, however, one other dominant element  of his persona­—his shiny, state-of-the-art robotic limbs.

Clapp, now 26, lost both his legs below the knee and his right arm after getting hit by a train at the age of 15 near his home in Grover Beach. Following years of rehabilitation and a series of medical procedures—each more technologically advanced than the previous one—Clapp has joined a new generation of people who are embracing revolutionary advancements in biomechatronics as a means of surpassing their bodies’ limitations.

In the U.S. alone there are almost two million amputees. Robotic prosthetics, though often presented as a harbinger of a soulless future, populated with flesh-and-metal cyborgs like RoboCops and Terminators, in reality, help amputees regain their sense of self-reliance.

Wearable robotic prosthetics are a dynamic and expanding sub-genre of biomedical engineering concerned with the design, fabrication, and fitting of customized artificial limbs. For individuals who have lost limbs as a result of traumatic injuries, vascular diseases, diabetes, cancer, or congenital disorders, these devices restore the function and appearance of a full or partially missing limb. Variations in human anatomy make the fabrication of prosthetics an intricate procedure that requires a high degree of skill and an array of sophisticated technologies.

There are series of challenges and opportunities facing the biomedical and tissue engineers in charge of designing and constructing an artificial or robotic limb. Such a biometric design problem can be divided into four interrelated subsystems:  first, an artificial hand as a biomimetic; secondly, prosthetic implants which use electromyography­—electronic signals in muscles; thirdly, tissue reactions to the material of the implants, and finally, inflammatory responses of the cells surrounding implanted sensors that interfere with the signal transmission of such sensors.

The ‘ideal’ design requirements of satisfactory prosthetic limbs have been defined as ease of control (i.e. body controlled), functionality (performance of multiple routine activities), comfort (with good interface and correct weight inertia, and biocompatibility in the short and long term), and cosmetic intricacy (with skin and design properties).

The technology in lower limb prosthetics is advancing rapidly. M.I.T. professor Hugh Herr has founded a startup called iWalk devoted to making next-generation prosthetics. The company’s first product—a bionic foot and ankle—resulted from careful modeling of the muscles, tendons and spinal reflexes used in human walking. The foot can sense its wearer’s actions, as well as terrain and adjust accordingly. Microprocessors help coordinate reflexes like responses to the user’s motions, and robotics simulate the action of missing calf muscles and Achilles tendons.

Another product, the C-Leg, is yet another example of the blazing advancements in the field of prosthetics. It works with tiny programmable microprocessors, lightweight composite materials, and keen sensors to restore remarkable degrees of mobility in amputees. C-Leg combines computer technology with hydraulics. Sensors on the leg detect terrain and microprocessors guide the limb’s hydraulic system, enabling it to simulate a natural step. It literally does the walking for the walker.

In addition, upper limb prosthetic research has generated a biomimetic solution for the development and use of artificial muscles. Arrays of shape memory alloy actuators, inspired by biological muscles, are today being employed to drive a five-fingered hand with a spectacular 20 degrees of freedom in movement, meaning it allows movement in twenty different directions.

Upper limb prosthetics has also received much attention from McGill’s department of biomedical engineering, where dynamic mechanical properties of the peripheral motor system are being analyzed.

“Here at McGill, we look into muscle responses to sensory change, which are altered by the pathological condition of the body,” Professor Robert Kearney, from the department of biomedical engineering, said.

The muscle responds to varying conditions, prompting changes in mechanical properties. These changes are being studied and further implemented in prosthetic designs.

While technological advancements in the field are moving forward at an accelerated pace, so too is the cost of producing these bionic prosthetics. About 15 rehabilitation centers in the United States are using modern battery operated bionic suits; they pay $140,000 for each one, along with a $10,000 annual service contract.

The enormous price tag associated with the field has raised eyebrows. The questionable marketability of modern prosthetics has made headlines. Cost sensitivity adds another dimension to the challenges faced in the fabrication of artificial limbs. A Google image search reveals the most visually pleasing and dynamically sound prosthetic designs, but these do not match what one sees in a rehabilitation center. In reality, artificial limbs are not as glossy as they appear, and a sophisticated yet cost competitive bionic limb is still needed.

The future of prosthetics lies in the fabrication of artificial limbs that are at the pinnacle of functionality and bionic beauty but also affordable.  The dream is a remarkable piece of biomechatronic design that is cheap enough to be sold in a sporting goods store.

An autumnal tree. (Alexandra Allaire/ Photo Editor)
a, Science & Technology

Branché application reveals the secrets of urban trees

by Jitika Shah on

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Mount Royal, west of downtown Montreal, serves as a vivid contrast to the cityscape. The autumnal leaves, ranging from yellows to fiery reds are reason enough to warrant a visit. Walking under the colourful canopy, a new tool will allow Montrealers to learn more about each tree.

A made-in-Montreal iPhone application called Branché makes information on urban tree species such as the sugar maple, hickory, and red oak easily accessible.

Urban trees can be found alongside city streets, parks and public squares. Trees located on private land owned by residents, businesses and institutions like banks or hospitals are also recognized as urban trees. As of 2011, Montreal has 1.2 million urban trees, 233,000 of which are planted along streets. This number does not include trees on private land.

The city has made a concerted effort to urge Montrealers to learn more about urban foliage. The Montreal Botanical Garden hosts trees that can survive in an urban environment, and La Maison de L’arbre publishes information about how the forest ecosystem works. Branché, created by iEKho communications, fits the city’s objective of spreading arborary knowledge well.

Branché is a free, location-based application compatible with Apple products. It works by accessing the city’s existing inventory of urban trees. When the app is launched, the phone emits a geolocation signal, to locate a real-world object—in this case, a tree. The geolocation signal communicates with the city’s tree database and identifies all the tree species in the vicinity.

The app can also be used interactively to identify an unknown tree in the city.

“The interface encourages interactivity by presenting a dichotomous key,” said Pierre Belec from Soverdi, an organization that assists Montrealers in planting trees. “[This is] essentially, two choices such as ‘is this a deciduous tree or an evergreen tree?’”

After the question is answered, the user is taken to a set of subcategories for further choices. At the end of this process, the tree can be successfully identified. This information is then automatically transmitted to other Montrealers.

As an added bonus, the app can notify the city of a tree that is a victim of a vermin infestation.

“If the resident comes across an ash tree that appears to be unwell, Branché will present a sequence of statements on the screen to either confirm or negate this fact,” said Belec. “If indeed the tree has been infested, a signal can be sent to the city to notify them.”

In recent years in Montreal, the ash tree has been susceptible to the emerald ash borer, a type of beetle that lays its eggs in the tree bark. Branché can be used by conservationists to locate these diseased trees.

One day users may even have the opportunity to express a personal message that is shared when another user comes across the same tree.

“If a private citizen plants a tree on their property, this user can not only upload the tree’s details onto the application but, … can register a poem, a short story or even a dedication,” said Belec.

Silver maples, honey locusts, hackberry, and Siberian elms are just a few of the most common urban trees in Montreal that are easily integrated into Branché. There are still many more unidentified trees that need to be catalogued. With this application you can be a part of this discovery—and maybe even upload a short story or two about your favourite tree.

The Jezabels’ influences include Arcade Fire and Radiohead. (www.fanart.tv)
a, Arts & Entertainment

Wonder down under

by Bronte Martin on

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In the past few years, Australian music has made a significant international  impact. After Gotye’s “Somebody That I Used To Know,” we arrive at a more recent phenomenon: The Jezabels. The ‘Intensindie’ quartet plays a fusion of alternative rock and indie pop that seeks to please.

The band was founded in 2007, when Hayley Mary (vocals), Heather Shannon (keys), and Samuel Lockwood (guitar) met at the University of Sydney and became, as Lockwood describes, “slightly friends.”

The trio bonded over a mutual adoration for music and their previous (and temporary) “experimentation with other musical ventures.” They soon found their fourth and final band mate: Nik Kaloper.

“The Jezabels really came together when we found Nik. That’s when we knew that this hobby of ours was turning serious; serious enough for this to be a career for us all,” explains Lockwood.

Finding themselves collectively inspired by Arcade Fire, The National, and Radiohead, their sound reflects the “theatrical ‘80s” that they describe as “loud and melodic.” Ever since their 2007 debut album Prisoners, which they saw as a “panoramic study of tension and emancipation,” they have since released a trilogy of stylistically fluent EPs.

Promoting Prisoners, the band is winding down their global tour in North America (with Yukon Blonde), before finishing things off in Europe (alongside Skunk Anansie).

“It’s funny to see where your music strikes a chord geographically with an audience. Never in our wildest dreams did we think Ireland, Germany, America, and Canada would have reacted to our musicianship the way they have,” says Lockwood.

In addition to garnering exuberant support from an international community of fans, The Jezabels’ musical energy has landed them spots on top US charts, iTunes Australia’s “Song of the Week,” as well as AIR and APRA nominations. Their most recent source of excitement: winning the “Best Independent Artist” award from the Australian Independent Record Labels Association.

“It’s such a privilege. We’re really, really stoked. Since we’re completely independent in Australia, this win concretes the fact that staying so was a good decision for us. We’ve learned that independence in the music industry in any way, shape, or form, is essential to our experimentation,” says Lockwood.

The Jezabels’ future plans consist of expanding their fan base and returning to the road with even more musical offerings. This time around, an album is on the agenda. “We’re all itching to write a really, really great album that will lead us to another tour,” says Lockwood. “We’re finding this ‘touring’ thing to be pretty addictive!”

The grandiose drama and Gothic approach characteristic of their distinct sound has undeniably reached far beyond Australian borders, and The Jezabels are maintaining a pace that’s bound to increase. If you’re into Australian accents and powerful yet elegantly structured “Intensindie,” The Jezabels provide all this and more, on a rock-infused platform.

The Jezabels are playing tonight, 8 p.m. at at Cabaret du Mile-End (5240 Avenue du Parc). Admission is $28.95. 

a, Arts & Entertainment

Mid-Fall Network Television Round-Up

by Alex Shiri on

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HITS

The Mindy Project (FOX, Tuesdays @ 9:30p.m.)

The Mindy Project was a hit even before its premiere on Sept. 25. Creator, writer, and lead actress Mindy Kaling, who gained fame as the pop culture obsessed Kelly Kapoor on The Office, is to thank for its success. The show’s pilot was one of the most discussed during the May TV previews, and it hasn’t disappointed. Mindy humourously plays a OB/GYN desperate for love, but distracted by the two handsome doctors who are definitely not what she is looking for. FOX has faith in its New Girl companion, and has picked it up for a full season.

Elementary (CBS, Thursdays @ 10 PM)

In its  re-imagining of Sherlock Holmes, CBS has a surefire hit with its new crime drama Elementary. The show is set in the Big Apple with Jonny Lee Miller as Sherlock Holmes and Lucy Liu as Watson. The chemistry between Elementary’s two stars is already pleasing fans. CBS has placed the show on Thursday night, a good sign of confidence. Audience favourites include the female spin on Watson, and a none-too-sober Holmes, to bring viewers back to what they know and love. In a land of SVUs and CSIs, Elementary is a nice break from the normal procedural drama, and is definitely worth a view.

UP IN THE AIR

Revolution (NBC, Mondays @ 10 PM)

NBC has high hopes for Revolution, a post-apocalyptic science fiction drama. The series deals with an unknown phenomenon that disabled all electricity-dependent technology on earth. After a huge marketing push, NBC has deemed Revolution’s performance reliable enough to pick it up for a full season. Even though the concept seems intriguing, the show still gives off a “seen it” vibe, and lacks a captivating cast, aside from Giancarlo Esposito of recent Breaking Bad fame. Revolution is definitely worth checking out—but as viewers have learned with Alcatraz, just because J. J. Abrams stamps a show with an executive producer credit, doesn’t mean it’s the next Lost.

The New Normal (NBC, Tuesdays @ 9:30 PM)

Ryan Murphy, creator of Glee and American Horror Story, brings us The New Normal, a cute, fast-paced sitcom. Deemed a mix of Modern Family and Glee, the show focuses on a gay couple in California that uses a surrogate to have a baby. The pilot was captivating, and featured great comedic and emotional performances from its star-studded cast, comprised of Justin Bartha (The Hangover), Andrew Rannells (Girls), and Ellen Barkin. The show tapers off after its pilot, but is still worth watching to catch Barkin as a Sue Slyvester-type conservative grandmother, completely opposed to her granddaughter helping out a gay couple with their dream of having a family. Even though NBC has picked the show up for a full season, concerns arise over whether its creative edge will continue—Ryan Murphy is probably one of the busiest men in Hollywood, juggling three shows at once. He can’t be everywhere—or can he?

MISSES

The Neighbors (ABC, Wednesdays @ 8:30 PM)

ABC’s new alien/family comedy hybrid is a definite miss. The alphabet network seemed to have high hopes for The Neighbors, giving it the time slot immediately following Modern Family for its premiere. Negative reviews and concerns that alien jokes will quickly become stale are giving the network cause to worry. The show deals with a New Jersey family that moves into a gated community swarming with aliens, who had overtaken a new development complex years earlier. Don’t be surprised if you see ABC yank this one from its schedule in the weeks to come.

Guys With Kids (NBC, Wednesdays @ 8:30 PM)

When Jimmy Fallon announced he was involved in a new NBC comedy, the Twitterverse erupted. Disappointingly however, Guys With Kids hasn’t met expectations. Anthony Anderson stars in this comedy about men in their 30s with newborn children; the jokes are generic, and the idea feels a little too reminiscent of the recent film What To Expect When You’re Expecting. Since its Wednesday night partner Animal Practice (which starred Justin Kirk of Weeds as a veterinarian) has already been cancelled, things are not looking good for Guys With Kids.

http://themadisonreview.blogspot.ca/
a, Arts & Entertainment

What we talk about when we talk about Englander

by Ilia Blinderman on

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“They’re in our house maybe ten minutes and already Mark’s lecturing us on the Israeli occupation. Mark and Lauren live in Jerusalem, and people from there think it gives them the right.”

So read the opening lines of Nathan Englander’s What We Talk About When We Talk About Anne Frank, his award-winning short story collection.

At first glance, Englander tackles the contemporary version of the Jewish Question. What is the relationship between  secular Jews and the orthodox? What about those who live in Israel­—are they any more Jewish (whatever that means today) than those who stayed in the U.S.? How should we treat the tragedy that was the Holocaust (even here, the dilemma arises: was or is?) with due respect while moving on with our lives?

Grab Englander’s latest from a shelf near you. (johnandquarterly.com)
Grab Englander’s latest from a shelf near you. (johnandquarterly.com)

Englander’s dialogue flows in beautifully rhythmic Yiddish cadences, familiar to anyone who’s watched an episode of Seinfeld. Englander is a careful observer, but is not as much of a minimalist as Raymond Carver (whose What We Talk About When We Talk About Love influenced this collection). Carver treats love, and all its discontents, with sharp vignettes; his writing is cold and sparse, with the occasional instance of insight emerging like the top of some grim iceberg. Englander, however, is more open to exploring the ideas which grip his characters, leading readers to identify with them immediately, in a less pessimistic sense. Whether readers are Jewish or not, the characters’ happiness is ours; their vices, their weaknesses, are ours too.

In broader terms, however, Englander’s stories speak to the challenges of being an artist—in this case, a writer. There are two requisites to writing—knowing how to write, and having something to write about.  Englander’s generation was bestowed with happy childhoods, devoid of what has been historically used as creative fuel. They’ve been lucky enough to avoid both abject poverty and the carnage of war; the only worthy topic left is love.

Hemingway once said that there is nothing to writing—all you do is sit down at a typewriter and bleed. Englander follows suit, at his most honest and vulnerable when writing about an old flame. His candid style verges on an intimate rambling in “Everything I Know About My Family on My Mother’s Side,” the collection’s most touching story. Here, Englander mixes equal doses of regret and self-fulfilment, as he wrestles with his identity to find fodder for his stories, and mourns the loss of his first love.

In truth, however, Englander moves beyond the mainstays of love, poverty, and war. Some say an artist must learn how to show beauty in the mundane; if so, Englander writes what he knows, and writes it with plainspoken honesty, peppered with sharp, perfectly timed wit.  With a keen eye for the poignant instances which colour our lives, Englander has produced a masterfully written collection of short stories. Like all good writing, it’s what we talk about when we talk about being human.

“My dad can beat up your dad!” —Liam Neeson Jr. (www.newrisingmedia.com)
a, Arts & Entertainment

Taken 2: franchise taken one sequel too far

by Ilia Blinderman on

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“Buddy, what’s happening? How’s the weekend?”

“Hey dude, same old. But, I did see this movie—the one produced by Luc Besson? The guy that directed Leon: The Professional and The Fifth Element. Oh, that’s what it was—Taken 2, with Liam Neeson.”

“Man, I loved the first Taken! When he plays Bryan Mills, that retired security specialist that wreaks havoc and gets his daughter back from these European gangsters? It was like watching my dad play a secret agent. I loved that!”

“Yeah, this one is kind of similar, but even more awesome. This time around though, all the leftover gangsters from the first movie want to kill Mills because he killed their gangster friends. While he’s in Istanbul with his family, they go all… well, Taken on him, and grab him and his wife, while his daughter helps out.”

“I don’t know, it sounds pretty much like the first movie… I mean, even the bad guys are the same, right?”

“Well, yeah, but this time, there are all these subplots. Like, he’s getting back together with his ex-wife, and his daughter can’t drive and has a boyfriend—so I connect with it more now. Now that I think about it, I guess they’re all pretty lame, and don’t really serve the story, but at least there’s some filler there, right?”

“Uhhh… I don’t know dude, sounds kind of weak. What about all the action, was that decent? The first one had some cool sequences, this one must have some of those too, right?”

“Oh yeah, for sure! I mean, I think it did. It was shot all shaky and close up, so you couldn’t really see what was going on during the fights and car chases. But then again, that’s what it feels like to be in the middle of the action, right?”

“Yeah… I’m not so sure. It sounds like it was just a poor call on the director’s part.”

“Well, that could be. But dude, the script was really sharp. Neeson used this really clever thing where he got the daughter to throw grenades all over Istanbul so that he could hear where they blew up and calculate where she was, so that she could find him and bring him a gun. They did that for about 15 minutes, which was a little repetitive I guess, but—”

“Wait, wait, that’s not a sharp script at all. That’s lame. Did it have any cool dialogue, at least? The first one had that awesome line that everyone always remembers, the one where Mills says ‘I don’t know who you are, I don’t know what you want, but if you don’t let my daughter go, I will find you and I will kill you.’”

“Yeah, I mean, he’s taken in this one, so he doesn’t really have a chance to make threatening phone calls. I noticed that he gives really good directions over the phone, which, you know, is super rare, so that was kind of cool.”

“Dude, my dad is terrible at directions.”

a, Arts & Entertainment

In with the old, in with the new

by Sebastian Grant on

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Carmen, Rigoletto, The Magic Flute—all these works have had a profound influence on our society. Since its inception in the late 16th century, opera has been a powerful force in the arts. Today’s youth, however, see opera as old-fashioned, imagining grandiose theatres, flashy costumes, and hours of glass-shattering vocalizations.

Nevertheless, opera companies such as the Opéra de Montréal are still mounting productions just as strong today as they did many years ago. Their goal is to show today’s youth that opera is not a boring menagerie of dated memories, but a dynamic genre that’s constantly changing and entertaining modern society.

The Opéra de Montréal is relatively young, having been established in 1980. Thirty years later, however, the company has developed into the largest francophone opera company in North America, with a total of 970 performances from a repertoire of 93 operas. They have received five Opus Awards, and were deemed one of the 15 largest opera companies in North America in 2007. They have also recently mounted sold-out performances of La Traviata—a rare occurrence in modern opera.

At present, Opéra de Montréal is focusing on the future by introducing youth to the beauty of opera with its Young Associates Committee (YAC). The committee was formed in 2009, after the founders observed the success of a similar initiative at the Metropolitan Opera in New York. YAC’s mission is to introduce students at McGill, and the rest of Montreal, to a myriad of opera-related activities.

“The first part of the mission is to bring young people to the opera,” says Jean-François Seguin, committee member and one of the YAC’s founder. “[We] always think that people who go to the opera are 60 years old and have grey hair, but it is not true. Already more than 20 per cent of the memberships to the opera are from people younger than 40.”

These numbers continue to grow. Over the past three years, the committee has been able to introduce 500 young professional performers to the opera community, and numerous new young faces to many of its activities.

Neverthelesss, the job is not done, and there are many new events organized by the YAC to make opera a worthwhile experience for young Montrealers.  Apart from cheap tickets and special discussion, the YAC has created a Youth Ambassadors Program, which connects the Opéra de Montréal to university students.

“The Opéra de Montréal wants to reach out to students more to give a better understanding and a more enjoyable experience at the opera,” says Caitlin Hammon, the Ambassador of the program for McGill and a first year graduate student at McGill’s Schulich School of Music. “Opera has always been for the general public … and people have a lot of misconceptions about opera.”

Hammon and other ambassadors are already preparing a slew of activities, such as a Halloween picture contest for the next opera, Wagner’s The Flying Dutchman, and cocktail sessions to help students better appreciate the art form.

“[The grandness of opera] is something that’s kind of hard to find these days,” admits Hammon. In a world of iPods and personal computers, opera has remained a strong beacon, constantly modernizing itself. It’s up to the youth of Montreal to rid themselves of the opera stereotypes, and to try to understand the complexities of the art form. With the help of the Opéra de Montréal’s YAC, and Youth Ambassadors such as Hammon, opera is sure to continue as an influential force in society.

Youth tickets are available for $30 with the purchase of at least two shows. Ticket buyers can also join the newly formed membership program for $20-25, which grants them privileges such as opportunities to meet with performers, join closed discussions, and attend Opéra de Montréal balls. 

For more information, visit www.operademontreal.com/en

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