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FALL 2020 THE CHRONICLE M O N D AY, S E P T E M B E R 14, 2 0 2 0

2 | MONDAY, SEPTEMBER 14, 2020

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The Chronicle

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MONDAY, SEPTEMBER 14, 2020 | 3

campus arts

Remote programming keeps Duke Performances’ fall season alive By Tessa Delgo Local Arts Editor

Six months into the COVID-19 pandemic, virtual concerts have become almost as commonplace as the phrase “these unprecedented times,” but Duke Performances is still finding new ways to innovate. Under the leadership of new director Bobby Asher, who officially began his tenure at the beginning of Sept., the organization transformed its planned lineup of live performances into a series of commissioned concert films. The initiative, titled “The Show Must Go Online!” kicked off Sept. 12 with the Attacca Quartet. This season will include performances from jazz group Mwenso & the Shakes, piano duo Christine and Michelle Naughton, classical instrumentalists from the Chamber Music Society of Lincoln Center and the critically acclaimed Cuarteto Casals. “One of the questions that people in artistic organizations ask as a test of relevance is ‘If your organization went away, who would miss it?’ I think what I’ve learned through this time … is that there are a lot of people who have been touched by Duke Performances and would really miss it,” Asher said. “I think our job going forward is to make it as relevant and connected as possible [and] to make it a vital part of life for as many people in the Durham area and on campus as we can.” Over the summer, Duke Performances put on “Music in Your Gardens,” a series of eight free online concerts, in lieu of their typical “Music in the Gardens” summer series, which is held in the Duke Gardens. Once Duke Performances learned mid-summer that their fall season could not go on in-person, this endeavor was the organization’s first taste of what a virtual season could be. According to Asher, artists in the series stayed in the live chat while the recording of their performance played. “The chat became this really beautiful conversation between the artist and the audience while the performance was going on,” he said. “That’s a really fascinating thing that you don’t see in live performances.” Having a few months of experience under

their belts, the staff began to see the fall as an opportunity to push their boundaries, finding new ways of connection and even beginning to explore the genre of film as part of their artistic product. “I think one thing you’re going to see with some of the performances that we’ve yet to announce is our artists evolving to make the videography part of what they’re doing artistically, instead of just a representation of what would’ve happened live,” Asher said. “We’re saying ‘Let’s make something new and different with the set of circumstances we’ve been given.’ I’m excited to see what they’re going to make that’s different [from] what we would’ve seen on stage or on canvas.” Asher also anticipates the virtual setting will be a catalyst for innovation in the eventual comeback of live performances. “What’s interesting about [a virtual season] is that you have more time to experience it. The films are premiering on Saturday evenings, but then they’re going to be available all of the next day,” Asher said. “You can have a drink or eat or talk about the performance while it’s going on in a way that isn’t part of our practice when we’re in person. I would invite people to sort of explore how they’re experiencing this work and to see if there are ways that they want the live experience to be different when we’re back.” The remote format has necessitated more collaboration than normal, which is something that Asher hopes to maintain even after the pandemic is over. Each concert film in this fall series is made in cooperation with filmmakers and sound engineers in the artist’s area, and Duke Performances worked with the Provost and the vice provost for the arts to make tickets free for all Duke students. “I want Duke Performances to be the most partnership-based organization on our campus and in our community,” Asher said. “If anyone has an idea or a plan or a vision or anything that they want to do that they think could be connected to the arts in any way … we want people to reach out and we’ll find ways to connect the arts to whatever their idea or vision is.” In his previous role as the director of programming for the Artist Partner Program at the University of Maryland’s Clarice

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1 Musicians David Finckel & Wu Han, 2 Cover art from Wesley Hogan’s On The Freedom Side, 3 poster art from Carrie Mae Weems’ Resist Covid Take 6! project, 4 Cover art from Lisa Levenstein’s They Didn’t See Us Coming, 5 poster art from Carrie Mae Weems’ Resist Covid Take 6! project, 6 an artist painting for a DukeCreates workshop zoom event, 7 music group Mwenso & The Shakes, 8 A Duke student takes notes this semester at The Nasher Museum of Art, 9 Poster art from Carrie Mae Weems’ Resist Covid Take 6! project, 10 Pianists Christina & Michelle Naughton

Courtesy of Duke Performances

This season will include remote performances from jazz group Mwenso & the Shakes among other musical acts. Smith Performing Arts Center, Asher led the development of the NextNOW Fest, a studentrun festival that “celebrates community and creativity.” At Duke, he hopes to see an increase in student involvement, both in Duke Performances and in Duke Arts at large, and “democratize” the process of curating the organization’s slate of performances. For now, though, he hopes students — and the greater community — will engage with Duke Performances by attending “The Show Must Go Online” events and supporting artists in a time that has been challenging for so many.

“I’m excited about making sure that when people in the community buy a ticket, [they know] those tickets are supporting an industry that is going through a complete decimation right now. Buying that ticket and seeing that virtual performance is almost an act of survival for the industry,” Asher said. “I want the audience to feel that they’re getting something great, but also that they’re giving back. I want them to feel as great about that as they do about seeing the performance.” Tickets for Duke Performances events can be purchased online at https://dukeperformances. duke.edu/

The Chronicle

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4 | MONDAY, SEPTEMBER 14, 2020

campus arts

Nasher exhibit ‘RESIST COVID |TAKE 6’ to launch across campus By Sydny Long Managing Editor

When the Nasher Museum of Art announced that it would remain closed to visitors throughout the fall semester, students and Durham residents alike braced themselves for a year without experiencing the museum’s beautifully-curated exhibits. The Nasher, however, had no such plans. “When it was clear that the museum would not be open to the public, we were charged with thinking about how we could best activate the outdoor space of the museum and this project sort of fell into our laps,” said Nasher curator Marshall Price in a virtual interview with the Nasher’s director of engagement and marketing Wendy Hower and Recess. “It was great because we recognized that not only could it activate the outdoor space, it could address some of the most pressing issues facing our country at this moment and… give us the ability to collaborate with our neighbors across the street. It was a project we needed to do.” The project in question — “RESIST COVID | TAKE 6” — is the work of artist Carrie Mae Weems, whose transformative use of photography, textile and installations have made her a fixture of contemporary American art. What sets this exhibit apart from previous Nasher installations is its scope: Weems’ fusion of photographs and PSA’s concerning the intersection of the COVID-19 pandemic and racism will exist not only throughout Duke’s campus, but the entire Durham community and beyond. “These images take the form of wall banners, billboards, posters, window clings, electronic billboards, street banners, even yard signs, magnets, buttons, church vans… Carrie’s team has created a whole array of material that carry these messages,” Hower described, her list accompanied by the prototypes and mockups of Weems’ snappy mottos emblazoned on buttons and magnets. In spite of the vast array of materials concerned, the message of Weems’ art is piercingly clear: “Her project is fighting two viruses — COVID-19 and racism. It’s putting at the forefront the sad reality that this pandemic is disproportionately hitting people of color.” This exhibit will not be confined to the Nasher in accordance with regulations

preventing attendees from crowding the museum’s tight interior. Instead, the Nasher has collaborated with Duke Arts, Duke Health and the city of Durham to spread this installation across a greater acreage, allowing a larger and more diverse audience to enjoy Weems’ art. Hower spoke enthusiastically about both the project’s potential scale and the many institutions that the Nasher have partnered with to undertake this massive endeavor. “For the first time ever, the Nasher is collaborating with Duke Arts,” Hower said. “The project will also be installed in the Ruby and down Campus Drive… Instead of being proprietary and trying to grip it really hard, this project grows with the partners that have taken it on. We’re having meetings with the city and county of Durham, and we’re hopeful that we can get a presence on buses and the bus stations, have a presence at Covid testing sites… Our colleagues at North Carolina central are envisioning yard signs up and down Fayetteville Street and we are taking on more and more campus partners. By the time the first installment appears at the Nasher, we’re hoping we can announce some other partnerships.” In spite of the passion and innovation behind this exhibit, it was very much a spontaneous effort. Hower admitted to this: “Usually, the Nasher is very proprietary about exhibitions, they’re our exhibitions,” she said. “We would be talking about this exhibition for months and planning it for a year or two or even three years. But you will not see a webpage on this. We are throwing this thing together.” Marshall agreed with this sentiment, adding that they are “building the plane while flying it.” However quickly-designed, this project has ample support from its partners and has already attracted attention from faculty and staff who hope to harness the exhibit’s accessibility and message for fall courses. “Mark Anthony Neal is teaching a rhythm and blues class and said he can have his students as a class project do an annotated playlist responding to the exhibition,” Hower said. Another vocal supporter is John Brown, Duke’s vice provost for the arts and one of the Nasher’s many collaborators. In a statement to Recess, Brown expressed: “This is the first time the Nasher Museum

Courtesy of Nasher Museum

“RESIST COVID | TAKE 6” is the work of artist Carrie Mae Weems and will be displayed widely. and Duke Arts are collaborating on a project of this scale and the first time Duke Health is co-presenting an exhibition with us. This groundbreaking partnership will let us bring ‘RESIST COVID I TAKE 6’ from the Duke Arts District into downtown Durham and Durham County. Carrie Mae Weems is showing us how art can address a public health crisis: by raising awareness, starting conversations, and expanding the museum well beyond gallery walls.” Duke Health has also expressed excitement about this project, as conveyed in a statement from A. Eugene Washington, M.D., Chancellor for Health Affairs, Duke University, President and CEO, DUHS. “At Duke Health, we’ve been privileged to care for our community through unprecedented times, and we have seen firsthand the disproportionate effect that COVID-19 has had on frontline workers throughout our state,” he said. “We are proud to partner with the Nasher and Duke Arts to present this powerful work by Carrie Mae Weems, which shines a light on these essential

and valued members of our community.” In spite of the exhibit’s vastness and the nascent partnerships behind it, Hower and Price firmly believe that it is Weems’ art that makes this project so important. “Carrie intended this project to be a project that could be done in various locales,” Price said. “A really important aspect of it is that it functions both as a work of art and a PSA, and the line between the two is intentionally blurred so that it can be as effective as possible. This is very unique, the first time we’ve done a project like this.” The installation will go up in phases as the collaborators find suitable locations and forge further partnerships, but its spirit is already spreading across the county. “This fits well within Carrie’s body of work, but it reaches far beyond institutional walls. All of this is part of the project’s immense potential for change,” Hower said. “We’re envisioning it for the Duke community and the greater Durham community and beyond that. It’s something that affects us all.”

recess

What arts programming are you looking forward to this year? Sarah Derris.............. chaus? Sydny Long............... virtual theater Kerry Rork................ standup Tessa Delgo.............. ldoc

Stephen Atkinson..... stream/society Skyler Graham.......... wxdu x DP Jonathan Pertile....... puppets Derek Chen.............. basket weaving

read more online at https://www.dukechronicle.com/section/recess

The Chronicle

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MONDAY, SEPTEMBER 14, 2020 | 5

tgiFHI virtual series brings humanities research to the forefront By Akshaj Turebylu Contributing Writer

audience, for there to be a slight challenge associated with grasping the scholarship. If you come and listen, you can expect to learn a lot.” Professor Khanna hopes that the program will be both balanced and diverse. Additionally, speakers are not asked to speak on a specific theme or topic (as most other speaking events require), but are encouraged to speak on whatever they wish to present from their own research. This freedom is one of the strengths of tgiFHI. One of the most important aspects of these events, Khanna noted, is “the important work of discussion.” Professor Thomas DeFrantz of Duke’s African and African American Studies Department And Dance Program spoke at tgiFHI last year on “Resisting the Universal: Black Dance, Aesthetics, and the Afterlives of Slavery,” centering around afropessimism and the production of Black dance.

According to Professor DeFrantz, tgiFHI is a great opportunity for faculty or advanced researchers to present materials in progress. The series allowed him to present a topic that he hadn’t before had the opportunity to share. “[tgiFHI was valuable] for the chance to get feedback and hone an argument,” DeFrantz said. “Discussion was useful due to the mix of people present: local residents, faculty, staff and students. Coming together in small groups is important for generating ideas before presenting [writing] to the general public.” Meeting people and making mental connections are all part of the power of speaking events that will hopefully be recreated through a small room environment. In this sense, tgiFHI hopes to be a forum for connecting students, faculty, staff and community members through a shared moment of intellectual engagement in a time of difficulty.

In years past, humanities and arts departments held catered speaker events to help generate community between faculty, students and the Durham community. They varied from lectures and discussions to invited speakers. Often, these programs existed between the categories of “classroom” and “lecture:” a syncretic and interactive mode of education. Last spring, as students scrambled to find alternative living accommodations, these speaking events were brought to an abrupt halt. Since then, the outlets for this kind of engagement have been limited, with students and faculty in remote locations as the fear of infection prevents in-person meetings. This year, however, Duke’s John Hope Franklin Humanities Institute is hoping to engage some of those creative and intellectual possibilities of the past through the renewal of it’s program tgiFHI. Every Friday this semester at 9:30 am, tgiFHI will provide online speaking and discussion events to the public. At each event, a Humanities faculty member will present on one of their ongoing research projects. The lineup is diverse with about one faculty member from each Humanities or Arts department invited to speak. tgiFHI events will be held on Zoom, and an additional interview with the speaker will be posted online alongside an article of their work. After the speaking engagement, members will be placed in breakout rooms for 10 minutes to generate questions. After, the group will be allowed to pose questions to the speaker. Among the many discussions to come in the tgiFHI series, Professor of Literature Luciana Parisi will present on “Recursive Colonialism and Speculative Computation,” Professor of African & African American studies Jasmine Nichole Cobb will hold a discussion on “Tactility and the Texture of Racial Capitalism” and Dance faculty member Michael Kliën will host “The Body is a Site of Creative Politics” during the fall semester. Professor Khanna, director of FHI, noted the importance of the program to the Humanities and Arts culture at Duke. “Duke has very strong Humanities departments, and this program will work to introduce the faculty to a Courtesy of Franklin Humanities Institute broader audience,” Khanna said. “The hope is to stretch the FHI is hoping to engage the intellectual possibilities of the past through the renewal of its speaker series, “tgiFHI.”

Your guide to the arts across Duke. Stories, events, opportunities & community.

arts.duke.edu & follow @dukearts Illustration by Nate Beaty

“Creating is healing. Taking time to create together or in solitude is an important bridge to healing and happiness in hard times.” —Ashleigh Smith ‘20 Art History Major Concentration in Museum Theory & Practic Nasher Museum of Art Intern

6 | MONDAY, SEPTEMBER 14, 2020

can’t miss e

CENTER FOR DOCUMENTARY STUDIES

NASHER

“Looking Back, Moving Forward with Southerners on New Ground”

Saturday, September 19 | 10:15–11:15 am Online: instagram.com/nashermuseum/

Wednesday, September 16 | 4-5 pm Online via Zoom: bit.ly/SONGpanel2020

Online panel discussion grounded in the history of Southerners on New Ground (SONG) that will explore how activist archives inform intersectional struggles for social justice. Mandy Carter (SONG co-founder), CDS director Wesley Hogan (historian), Lisa Levenstein (historian), and Mab Segrest (SONG co-founder) will reflect on the importance and contemporary relevance of SONG’s organizing in the 1990s and beyond. Wesley Hogan’s On the Freedom Side and Lisa Levenstein’s They Didn’t See Us Coming both incorporate research using the SONG Records and the papers of two SONG co-founders, Mandy Carter and Mab Segrest, from the Rubenstein Library. Co-sponsored with Bingham Center for Women’s History and Culture, David M. Rubenstein Rare Book & Manuscript Library, Gender, Sexuality, and Feminist Studies, and Libraries

Sketching from Home: Stephen Hayes

In this Instagram Live workshop, artist Stephen Hayes encourages participants at home to “sketch” in three-dimensions. Stephen will talk participants through his process of drawing with objects and encourage viewers to create their own work. Get ready by gathering materials including colored paper, magazines, paint, markers, and any small objects you might want to include (shells, pieces of wood, small toys—anything is possible). To attach pieces together, we recommend a hot glue gun. Elmers glue and wire may be possible, depending on your materials. The Scrap Exchange can be a great resource for items.

DUKE PERFORMANCES

Mwenso & The Shake

Saturday, September 26 | 8 pm Online

NASHER MUSEUM OF ART

RESIST COVID | TAKE 6!

Late September 2020-Jan 31 2021

OFFICE OF THE VICE PROVOST FOR THE ARTS

DukeCreate

Monday, September 14-Wednesday, September 16 This well-loved arts workshop series moved online in Spring 2020! Workshops are now on Zoom, usually an hour, offered on a variety of days of the week and times, and explore dance, music, visual art, creative tools and software, and much more. Every workshop is free and open to Duke students, faculty, and staff. “During this unprecedented semester, we hope that these offerings will allow us to create together, try something new, and highlight artists at Duke and in Durham,” says Kevin Erixson, Director of DukeCreate. Check out arts. duke.edu/workshops for the current schedule, upcoming workshops include: Hip-Hop Vibez (Mon, Sept 14, 6–7pm), Script to Screen with MISS JUNETEENTH with DEMAN Live (Wed, Sept 16, 7–9:45pm) and 3D Modeling 101: TinkerCAD (Wed, Sept 16, 3–5pm). DukeCreate is a program of Duke Arts.

DUKE ENTERTAINMENT, MEDIA, AND ARTS NETWORK

Miss Juneteenth Screening & Talkback

The Chronicle

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The Nasher Museum is collaborating with Duke Arts and Duke Health to present an unprecedented outdoor exhibition and public awareness campaign by nationally renowned artist Carrie Mae Weems. The project RESIST COVID | TAKE SIX! emphasizes the disproportionate impact of the deadly virus on the lives of communities of color through large-scale banners and window clings, posters, buttons, stickers and more. The Nasher Museum has a long history and strong relationship with artist Carrie Mae Weems, whose work is part of the museum’s collection. RESIST COVID / TAKE 6! will take shape on the exterior walls and windows of the Nasher Museum and Rubenstein Arts Center in late September 2020. In October, the installation will expand along the Duke Arts District, from the Sarah P. Duke Gardens gate, on Campus Drive street pole banners all the way to the Carpentry Shop (home of the MFA EDA). Additional locations will be explored in coordination with University Communications.

Wednesday, September 16 7-10 pm ET

The Duke Entertainment, Media, and Arts Network (DEMAN) has worked to connect alumni and students all spring and summer long through DEMAN Live. Catch up on every episode at arts.duke.edu/deman, and tune into the “second season” of DEMAN Live this semester. Join us for a special film screening of “MissJuneteenth,” a Sundance Film Festival-premiere produced by Neil Creque Williams ‘06, followed by a talkback with Williams; writer/director Channing Godfrey Peoples; and Treva Lindsey AM’06, PhD’10, associate professor in the Department of Women’s, Gender, and Sexuality Studies at The Ohio State University. Moderated by Mark Anthony Neal, the James B. Duke Distinguished Professor of African and African American Studies.

Mwenso & The Shakes specialize in adopting and repurposing the dram American Songbook, African beats, Delta blues, and cabaret theater wit Shakes’ vocalist, Brianna Thomas, d dectet as, “theater meets opera me meets total improvisation.” Pulling f 2019 live debut, Emergence [The Pr — which NPR Music hailed as “an e wrapped around familiar instrument brant and powerful set to Duke Perf

General admission $10; Duke stude Purchase tickets at tickets.dukeperfo a unique Vimeo link to stream your uled time, and then films will be ava beyond the premiere.

SAVE TH

DEMAN Weekend

Thursday, Octob Check DEMAN L

MUSIC

Duke Chorale, Duke S Duke University Wind S Concert Saturday, October 17 | 8 pm Online: Visit music.duke.edu as the performance

The annual Family Weekend traditio mance featuring three of the Music Free and open to all.

The Chronicle

events

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MONDAY, SEPTEMBER 14, 2020 | 7

Brought to you by Center for Documentary Studies, Dance Program, Music Department, Duke Performances, and Nasher Museum of Art, with support from the Office of the Vice Provost of the Arts.

DUKE PERFORMANCES

David Finckel, Cello & Wu Han, Piano, with Arnaud Sussmann, Violin & Paul Neubauer, Viola

Saturday, October 17 | 8 pm

The directors of the Chamber Music Society of Lincoln Center, husband-and-wife duo David Finckel (cello) and Wu Han (piano), bring with them Arnaud Sussman (violin) and Paul Neuberger (viola) to present a program for Duke Performances’ virtual season. The evening begins with Beethoven’s first cello sonata, low in range and quietly contemplative. The program closes with all four instrumentalists playing one of the greatest piano quartets, Brahms’ op. 25, wide in range and outright unconventional. Known for its “gypsy style” finale, the work will end the evening frantic and frenzied — with a finishing movement verging on magical.

DUKE PERFORMANCES

Christina & Michelle Naughton, Piano Duo

Saturday, December 5 | 8 pm

There’s a long tradition of sibling piano duos, with inherited musical connections — the Labèques, the Pekinels, the Paratores — and Christina and Michelle Naughton are no different. The captivating identical twins are renowned for their technical mastery and “have to be heard to be believed” (The Washington Post). They bring a range of four-handed pieces to the Chamber Arts Series. With Mendelssohn’s stately Andante and Variations as the prelude, the pair launch into Poulenc’s Sonata for Four Hands, followed by Debussy’s En Blanc et Noir for Two Pianos. The Naughtons finish with Brahms’ stunning neoclassical-style Haydn Variations, imitating a whole symphony orchestra. With the sisters’ hands moving in dazzling speed, their unique power will be on full display.

n musical code-switching, freely ma, whimsy, and spirit of the Great , funk, modern jazz, dance pop, th equal, effortless verve. The describes Mwenso’s Harlem-based eets James Brown meets jazz from, among other material, its rocess of Coming Into Being] explosion of ideas and sounds tation” — the band brings a viformances’ virtual season.

General admission $10; Duke students FREE Purchase tickets at tickets.dukeperformances.duke.edu and receive a unique Vimeo link to stream your performance online at the scheduled time, and then films will be available for viewing for 24 hours beyond the premiere.

ents FREE ormances.duke.edu and receive performance online at the schedailable for viewing for 24 hours

HE DATE!

d: Virtual Edition!

ber 22 | 8pm EST Live for updates!

Symphony Orchestra, Symphony Showcase

CENTER FOR DOCUMENTARY STUDIES

You Are What You Watch: Fostering Empathy Among Students with Documentary Thursday, October 21 | 3-5 pm Register at airtable.com/shrlO0jWkQamNBvip

Part of Full Frame Documentary Film Festival’s virtual Teach the Teachers series. This online professional development series on using documentary film in the classroom, for educators teaching elementary through high school/college students. DUKE PERFORMANCES

date approaches for a link to the

on continues in a virtual perforDepartment’s largest ensembles.

Cuarteto Casals

Saturday, November 7 | 8 pm In 2017, a critic for The Times (London) wrote, “The Cuarteto Casals’ sound is so arresting that any scientist would be itching to put it under the microscope.” Back by popular demand, the Spanish quartet returns for Duke Performances’ virtual season for a multi-colored, emotional program. The ensemble begins the evening with one of the 20th century’s most gripping chamber pieces, Shostakovitch’s mesmerizing String Quartet No. 8, dedicated “to the victims of fascism and war.” Written in a time of personal and political turmoil, the Eighth is renowned for its deeply personal touch, with Shostakovich’s signature motif — his name spelled out in musical notes — peppered throughout. The program closes with Beethoven’s second Razumovsky Quartet, op. 59, no. 2, full of Slavic fire and ferocity. General admission $10; Duke students FREE Purchase tickets at tickets.dukeperformances.duke.edu and receive a unique Vimeo link to stream your performance online at the scheduled time, and then films will be available for viewing for 24 hours beyond the premiere.

CENTER FOR DOCUMENTARY STUDIES

Promoting Media Literacy in a Documentary Age Thursday, December 9 | 3-5 pm Register at airtable.com/shrlO0jWkQamNBvip

8 | MONDAY, SEPTEMBER 14, 2020

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The Chronicle

campus arts

English faculty discussion series builds intellectual community online By Sarah Derris Recess Editor

Each year, the English department is host to a number of events that invite students to hear from faculty members about their interests or latest research endeavors. Usually, the talks are hosted in more intimate settings: a space on campus or in a faculty member’s home over dinner. But this year, with events now held remotely, the department was tasked with rethinking ways to engage students on a social and intellectual level. The result? A monthly faculty discussion series held over Zoom where faculty members are able to center conversation around their latest work. Recess spoke with associate professor of english and director of undergraduate studies Corina Stan about organizing the English Faculty Discussion Series and the department’s hopes for the fall semester. For students and staff alike, it has been difficult to meaningfully connect both inside and out of the classroom with the limitations of online meeting platforms. The department wanted to create a series where that sort of connection might be more possible. “We always have events in the English department for socializing, informing students about the work we do, about courses and opportunities,” Stan said. “They are an important aspect of the life of the department, but this year, it is of course impossible to organize events in person. Last year’s [inperson] events had a certain spontaneity to them that you can’t really recreate, so the series was organized in order to compensate to some degree for that — to create a space both for intellectual exchange and for staying in touch with the community: to socialize to the extent that it’s possible.” Although the sort of spontaneity of inperson events is difficult to recreate, the series

will offer students rare and special insight into subjects that their professors have been exploring or working on outside of class. Attendees will have access to the necessary reading material before the presentation, and a Q+A session will follow. “Each event will be different as it centers around the work of a different faculty member. All of us work on very different things. Professor Ferraro is an Americanist, he will talk about the way he teaches American literature, but also about the critical conversation around a canonical text, Nathaniel Hawthorne’s ‘The Scarlet Letter,’” Stan said. “Next month, I will do a presentation on tact ... What I anticipate is that each of these [presentations] will have a unique character based on the nature of the work discussed and the persona of the professor presenting.” Of course, interest in English department events tend to attract english majors and those in adjacent departments, but the series is open to all students and members of the Duke community regardless of academic concentration who wish to take part in the faculty discussion and potentially learn something new. It is also an opportunity for students and faculty across departments to interact. “What I hope is that [students] will get a sense of the kind of work being done in the English department; the topics of the presentations each month are, I hope, intriguing: transgression and redemption, tact and so on,” Stan said. “I hope students will develop an interest in these events, in faculty work and in continuing the discussions beyond the confines of these events. Of course, I also hope that the students will want to take more english classes.” Following Professor Ferraro’s presentation “Transgression and Redemption in American Fiction” that took place last Friday, Sept. 11, Professor Stan will present her latest work on tact Nov. 9, specifically to generate conversation

Photo by Sarah Derris The discussion series will feature talks from Duke faculty, including Professors Corina Stan and Tom Ferraro

COVID-19’s impacts on “self and community.” “The article I am going to discuss is about tact in dark times. Usually we think of tact as being nice or protecting someone’s feelings,” Stan said. “I am showing that thinkers who have considered tact in the past century did so when they thought life was threatened. They thought of tact in the sense of being attentive to human individuality and the conditions of human flourishing. It is a very deep sense of tact that can be cultivated through education and the frequentation of literature.” Despite the difficulty in connecting with one another that students and faculty have been facing, this fall’s selection of virtual arts and humanities programming demonstrates the commitment of our student groups and

academic departments to building meaningful connection and engagement. If anything, building and maintaining community in the virtual space allows us to hold greater appreciation for our moments together. The English Faculty Discussion Series also hopes to enhance that appreciation. “We’re lucky to still have the opportunity to connect over Zoom, but it makes me realize how much we take for granted in meeting with one another,” Stan said. “I hope it makes us more aware of the importance of having a social and intellectual life on campus, and what a privilege it is to be surrounded by scholars and people who are interested in ideas and books. So I guess [I hope for] an enhanced appreciation of intellectual community.”

The best DukeCreate virtual workshops to take this fall By Courtney Dantzler Staff Writer

As the Duke community continues to practice social distancing this fall, DukeCreate will offer free workshops in a wide range of arts practices, including dance, visual art, music, film and creative technology. These online workshops are open to students, faculty and staff of all skill levels and backgrounds. Whether you “Zoom” in from the safety of your home, your apartment or even your childhood bedroom, DukeCreate encourages its participants to develop a wide range of creative skills in a welcoming group setting. The DukeCreate program began in the Arts Annex in 2015, where weekly group classes, taught by professional artists, were centered around the visual arts, such as painting, drawing, ceramics, screen printing and photography. Over the last eight years, the program has collaborated with many organizations on campus to provide more diverse offerings in all areas of the arts. DukeCreate has partnered with the Innovation Co-Lab Roots Series to offer the following interdisciplinary classes in creative technology and the arts this fall: An Introduction to Adobe Premiere: A Duke Student Broadcasting Collaboration Sept. 15, 3-5 p.m. Learn how to use the film editing software Adobe Premiere with J. Brandon Johnson, a multimedia producer at Duke. 3D Modeling 101: TinkerCAD Sept. 16, 3-5 p.m. Learn how to use TinkerCAD for 3D Modeling with Chip Bobbert, founder and manager of Duke CoLab Studios. Adobe Dimension: Creating 3D Graphics

Sept. 22, 1-3 p.m. Learn how to work in 3D to create the perfect images and graphics for your work with Sandra Bermond, the program manager of the Innovation Co-Lab. DukeCreate has also partnered with Duke Cinematic Arts to teach filmmakers practical techniques necessary for the craft. Streamed live from the Cinematic Arts Film Studio, these workshops focus on cinematography, lighting, editing, post-production and sound: Film Lighting: Strategy and Techniques Sept. 17, 12:30-2:30 p.m. Learn about cinematic lighting by understanding how light occurs in the world and how it can be constructed for film. This workshop is taught by Steve Milligan, a professional cinematographer and lecturing fellow in the Cinematic Arts at Duke. Film Lighting: Fixtures and Gripping Sept. 24, 12:30-2:30 p.m. Learn about the specific tools employed in cinematic lighting and their infinite possibilities. This workshop, also taught by Steve Mulligan, is a companion to Film Lighting: Strategy and Techniques. Another collaboration between DukeCreate and DuWell has allowed for artists to reduce their stress and anxiety through wellness practices: Easing Tension Through Mindful Movement: An Introduction to Alexander Technique Sept. 23, 6-7 p.m. Learn about daily movement practices that lead to less tension and fatigue and greater creative freedom through the Alexander Technique, taught by Dr. Shawn L. Copeland, a music professor at the University of Idaho. DukeCreate has also partnered with student organizations on campus, like Mi

Courtesy of DukeCreate

The DukeCreate program began in the Arts Annex in 2015, where group classes centered around visual arts. Gente, the Latinx community at Duke, and VisArts, the visual arts committee of Duke University Union: Mi Gente will begin their Latinx Heritage Month celebration on Sept. 18 from 5-7 p.m. with El Poder de la Comunidad (The Power of Community), a collaboration with DukeCreate. After an hourlong art session led by members of Mi Gente, Duke alumna Dr. Lauren Czaplicki will speak on what it means to be part of the Latinx community. The DUU VisArts committee will continue its “Paint Like” series on Sept. 28 from 6-7 p.m. with a workshop centered on recreating iconic television artist Bob Ross’s “Autumn Fantasy,” taught by Durham artist Christine Holton. Free supplies are provided for the first 30 Durham-based students who register. DukeCreate quickly transitioned online after

their in-person programming was suspended earlier this spring. It’s apparent that these arts workshops are needed more than ever as more students, faculty and staff are seeking solace in creative practice. DukeCreate’s vast schedule of workshops is updated frequently throughout the school year, so there is always a new activity to look forward to. Ultimately, the program encourages its participants to explore new artistic mediums without the fear of judgment or pressure from the outside world. As a result, DukeCreate has become an inclusive space greatly appreciated by the Duke community. DukeCreate is sponsored by the Office of the Vice Provost for the Arts (DukeArts) and University Center Activities and Events (UCAE). For a full list of events, visit https:// arts.duke.edu/workshops.

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Virtual exhibits provide first look at Nasher remote programming By Damla Ozdemir Contributing Writer

The Nasher Museum of Art, like all other communities and initiatives at Duke, had to adapt during the pandemic. As Wendy Hower, the Director of Engagement & Marketing at the museum, said: “Everything has changed at the Nasher, and we spent the entire summer responding to COVID-19.” The digital avenues that are now being explored come at a pivotal point in Duke’s history. We are witnessing an unprecedented transition in museum work, which is indicative of global trends. There are two digital projects that have been developed over the course of the summer. The first is the digitization of “Ebony G. Patterson . . . while the dew is still on the roses . . .,” an exhibit created right before the closing

of campus. When completed, it will bring Patterson’s breathtaking and provocative work to a wider audience. The second exhibit, “Cultures of the Sea,” is ready for viewing on the Nasher website. Once you click to enter, you are placed in the middle of the physical space. Navigating virtually, in much the same way as Google Street View, the user can appreciate the bigger picture or zoom into detailed 3D rotating images of the objects. A delightful touch to the whole project is the presence of Memojis (animated characters that take on the appearance of the speaker) voiced by the curators of the exhibition, which go further in-depth about the exhibit. It is like a personal tour by the creators. Julia McHugh, Ph.D., the Curator of Academic Initiatives at the Nasher and Adjunct Assistant Professor of Art History, was tasked with bringing in the people to collaborate on this

Courtesy of Nasher Museum

Among the Nasher’s virtual exhibits on view is Ebony Patterson’s “. . . while the dew is still on the roses . . .”

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unprecedented engagement for the museum. “One of our big goals with the exhibition was to feature student work, so to really feature the way that students can be involved in the curatorial process and actually curate an exhibition at the Nasher,” she said. “One of the things we tried to do in the virtual tour was to give them a voice in some way. To be alive in the space. I think this is normally quite missing in other virtual content.” The origin of this virtual exhibit lies in a time before COVID-19. Before the pandemic started, McHugh had already been working in the Wired! Lab with Mark Olson, and sophomore Nathan Ostrowski, on a project called “The Art of the Americas Interactive.” This effort was focused on creating 3D models of exhibition works. “With the pandemic, when everything shifted to a virtual realm, this project became even more important,” McHugh said. “It really transformed into creating a virtual space for this exhibition as quickly as possible. The neat thing is that there are 3D models embedded within the exhibition. So, it combines our past project with this current one.” There were early collaborators in the digitization efforts. Duke Radiology helped the team do CT scans of artworks, and the Lemur Center provided guidance in thinking about the bone objects they were studying. “It really brought in all of these different partners across campus,” McHugh said. “This was all before COVID-19, so it is really fortuitous that we had started this work already.” McHugh also noted the enthusiasm for digital projects that the new Director of the Nasher, Trevor Schoonmaker, has brought to the museum. Ostrowski, who worked on the software development for the virtual exhibit, stresses the art history opportunities that are available

to students interested in technology: “With museums, there is such a capacity for computer science students to create incredible works. The landscape of immersive museum tech changes every day, so I would encourage students to think deeply about the tools that would enhance their museum experience –– then go out and build them. The Nasher staff are embracing new ways of driving understanding and immersion, so if you have an idea, reach out and get involved!” The heart of the “Cultures of the Sea” project is undeniably the students who curated it. Ally Perez (Trinity ’20) took part in getting it from the classroom to the museum during her time as an intern in the Academic Initiatives department at the Nasher, and during the curatorial practicum course in Fall 2019. “Many of the objects had been in storage, untouched on their shelves for over 10 years,” Perez said. “I wrote labels for objects in the show as well as worked on the exhibition text, which is the first introductory text you see when you walk into the show.” She also added the point that all of the student curators for this exhibition were seniors. The digitization gives them the chance to say goodbye — something they were not afforded when campus shut down unexpectedly. “The digital exhibition brings everything alive for me. I love hearing our voices. We worked so hard on this exhibition and for it to be available to anyone who would want to see it is incredibly special,” she said. How is this individual project going to set the stage for future Nasher endeavors? According to Hower, this is just the beginning. “Every single exhibition going forward will be online. We have taken 360 photos of several other gallery spaces too. We would have never done that before the pandemic.”

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Virtual networks: A new season of DEMAN Live comes to Duke By Megan Liu Staff Writer

Duke is no stranger to recruitment season, with each fall marked by visits from all kinds of consulting firms. But for students interested in the creative and entertainment industries, the traditional recruitment offerings give little opportunity to establish a solid connection. Whether their entertainment interests lie in theater or sports, DEMAN was founded in 2009 to help students network, find jobs or internships and discover important resources. DEMAN, short for Duke Entertainment, Media and Arts Network, celebrated its 10th anniversary last year. The event, traditionally a one-weekend event in the fall semester connecting students with alumni in creative industries, has quickly grown into a vital community for students intent on finding an entertainment-related career. When Duke shifted to remote learning in the spring, DEMAN Live premiered due to “an immediate need to help Dukies find jobs, internships, helpful humans and creative industry resources during these unprecedented times,” according to Amy Unell, Senior Director of Arts Engagement & Partnerships at Duke. The first iteration of DEMAN Live, referred to as “Season 1,” featured a series of conversations hosted over Zoom with Duke alumni working in creative industries. DEMAN Live will continue after the first season’s success, with the Season 2 premiere on August 27th featuring the Duke alumni creatives behind the Beats By Dre commercial and Guilty By Association Studios. Students can attest to DEMAN’s value, with the event providing exposure to what can seem like a mysterious, inaccessible industry. “Growing up as a son of immigrants, career

paths in Tinseltown weren’t discussed in conversations,” senior Harrison Yue said. “Not because of a lack of support, but primarily due to the lack of exposure and understanding of the industry in [my] close circles.” For many, DEMAN helps foster creativity and initiative while also providing important networking connections. “DEMAN is the reason why I was able to obtain my first internship in freshman year at Brand Assembly. I met the founder, Hillary France, at DEMAN weekend. She offered me a marketing internship where I had an incredible amount of freedom to pursue any project I wanted,” junior Lydia Wang said. “As a highly ambitious and self-driven person, I took full advantage of that flexibility and started my own beauty industry market research project…I have met many other amazing people through DEMAN and Duke Arts who have really helped guide me in my career choices as well as encouraged my creativity.” Following the same format as in the spring, Season 2 of DEMAN offers a fresh drop of Zoom conversations. On Sept. 16, DEMAN will host a special screening of “Miss Juneteenth,” which had its premiere at Sundance 2020. Afterwards, writer and director Channing Godfrey Peoples and producer Neil Creque Williams (Trinity ’06) will join for a filmmaker Q+A. Sept. 17 will introduce Delta Rae, a Durham band with two Duke alumni brothers that gained significant traction after a Kickstarter funding project. Further unannounced DEMAN Live episodes are also in the works. Although in-person contact has been lost, DEMAN Live has found invaluable benefit in their online format. Alumni who previously were unable to travel to Durham due to personal and professional commitments can now participate

Courtesy of DukeArts

DEMAN was founded in 2009 to help students network and find jobs or internships in episodes, and the program’s success has displayed DEMAN’s strong support for one another despite the challenges. Nicole Schlegal (Trinity ’02), Digital Marketing Director at Universal Pictures, was not able to attend DEMAN last year but collaborated with DukeCreate and DEMAN Live on Season 1 to discuss Universal’s marketing strategies. Connecting with potential alumni speakers involves

both DEMAN organizers reaching out and interested alumni offering themselves, resulting in broad industry representation. Season 1 offerings, which ran from April 15 to July 30, included episodes ranging from late night comedy to entertainment law. More details are forthcoming on future DEMAN Live Season 2 episodes, and the roster for upcoming and past episodes can be found at https://arts.duke.edu/deman-live/.

Screen/Society brings film programming online with Stream/Society By Courtney Dantzler

family similar or different to yours?” said fellow panelist Skip Elsheimer of A/V Geeks. “By giving the kids something to get excited about, they are Organized by the Cinematic Arts at Duke, Screen/Society is a beloved film programming body able to think critically.” The first film, “Birthday for Grandma,” (1976) in the Triangle area. Their most recent presentation on Sep. 4, “Screening Race: Short Films of the 1960s follows a young Chinese-American girl who & 1970s,” examined how educational, non-theatrical ventures into the streets and shops of Chinatown to pick up her grandma’s birthday cake. The films portrayed race in classrooms, churches and community centers all across America. film subtly explores culturally specific ideas of independence and expectations for children This curated series of four short films was inspired by the recently published essay collection, that might be different from other American “Screening Race in American Non-Theatrical households. The young girl, Pamela, playfully bounces between her American and Chinese Film,” which was co-edited by Marsha Gordon, a identities with her food preferences and questions Film Studies professor at NC State, and Allyson of cultural difference and assimilation as she Field, a Cinema and Media Studies professor at the University of Chicago. These film experts roams throughout the city. were drawn to these non-theatrical films because The next film, “Minority Youth: Adam,” (1971) reflects upon a young Native-American man who hopes his Indigenous culture does not fully fade away. The film follows Adam being teased by his classmates at school, playing games in his backyard and performing traditional dances with his tribe, which juxtaposes his two disparate modes of living. He wants to learn from his grandmother about passing down history and upholding their traditions. Rather than assimilating into a society that is prejudiced against him, Adam plans to live on the reservation and protect his heritage. The third film, “Felicia,” (1965) follows a day in the life of a young Black woman growing up in Los Angeles. Felicia examines her racial identity in the context of her primarily white school and her home in Watts, a neighborhood with a reputation as a low-income, high-crime area due to the Watts Riots that occurred a few months after filming. The film presents the country’s diverse youth as hope Courtesy of Duke Cinematic Arts for the future in the face of racial tensions. To Organized by the Cinematic Arts at Duke, Screen/Society is a beloved local film programming body. Felicia, the film is a home movie, a record of her Staff Writer

of their surprisingly nuanced representation of minorities. “Unlike the Hollywood studios during that time, which were run largely by white men, the educational film market was operating on a smaller scale.” remarked Dr. Field. “This was an opportunity for more independent work to freely explore content not seen on the big screen.” When watched in succession, the films allowed the audience to draw overarching lessons about youth, family and belonging in the crossroads between conflicting identities. The films were mostly targeted towards children, so the messages being taught were somewhat simplified, but still effective in introducing new perspectives. “These films are meant to get kids to talk about things, like where is your family from? How is this

family during a tumultuous time. As she walks along the railroad tracks nearby, Felicia reflects upon her aspirations to attend college and help her community. The final film, “Ro-Revus Talks About Worms,” (1971) warns young audiences in rural South Carolina about the dangers of intestinal parasites, narrated by a playful pair of frog and squirrel puppets. They instruct these children about washing their hands, not eating dirt and not using the outdoors as their bathroom. The film addresses widespread malnutrition and unsanitary living conditions in the South and uses young actors of diverse races to target these areas. Complete with hand-drawn animations and microscopic shots of parasites, the film tackles this otherwise grim issue with a silliness that can be enjoyed by children of all backgrounds. Screen/Society will continue to present films online on their Twitch channel, where audience members can contribute their thoughts during the streams in the comment section. In this upcoming fall semester, Screen/Society is collaborating with the John Hope Franklin Humanities Institute to present the Antigone Film Series, which consists of four films that handle the political turmoil and grief exhibited in Sophocles’s ancient tragedy, “Antigone.” The first film in the series, “Germany in Autumn” will be shown Sep. 11. On Sept. 16, “Miss Juneteenth,” which premiered at Sundance earlier this year, will be presented in a collaboration between Screen/ Society, DukeCreate and DEMAN Live. It will be followed by a Q&A on Zoom with writer/director Channing Godfrey Peoples, producer and Duke alumnus Neil Creque Williams and other cast and crew members of the film. For Screen/Society’s full fall virtual lineup, visit https://cinematicarts.duke.edu/screensociety.

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Art of zine-making provokes soulful activism in a digital age By Jasmine Santos Contributing Writer

For each story released online, a thousand others are mindlessly forwarded to our newsfeed. Technology and self-publishing have come a long way in diminishing the power of publishing houses, as creatives no longer need mediated channels to broadcast their ideas; they simply open their phones and type away. Such convenience, however, comes at a price: although digitization has granted these writers and illustrators means to connect, the impersonal culture of the internet makes

it difficult to form genuine connections. Thankfully, the re-emerging culture of zinemaking is steadily rewriting this narrative. On Sept. 3, Chicago artists Sarita Garcia and Mel Cook hosted their own virtual zinemaking workshop with the theme “Activist Illustrations and Zine Making” as part of the DukeCreate virtual workshop series. “Zines are independent self-published tiny magazines,” Garcia said. “[They] have a life in communicating texts and images that are often radical.’’ Zines give marginalized creatives an inexpensive avenue to disseminate and self-

Courtesy of DukeCreate

The re-emerging culture of zine-making is steadily rewriting the narrative of digital publishing.

publish their ideas. While their namesake, the magazine, is made to fit the rectangular dimensions of a book, zines take on a much freer form: paper dolls, a deck of cards, a book within a book — one could even make an accordion house for a zine that raises awareness on a housing project. The general practice of “anything goes” in zine-making guarantees artists the freedom to deep dive and play with the interpretation of their ideas. One of the attendees planned to glue together a zine with pages that become increasingly transparent to showcase his evolving perspective of the world. This impressive example does not mean the process of zine-making itself has to be complex. The simplest zine, which the community learned to make through the workshop, required only three materials: a sheet of paper, a pair of scissors and a marker. Through a simple eight-panel fold and a cut down the middle, any sheet of paper can be swiftly transformed into a pocket-sized zine, and if spread out, a foldable roadmap of sorts. Zines offer a space where communities unite and individuals feel included. Indeed, zines democratize publishing, but so does blogging and desktop publishing. What makes zines different? An artist’s metamorphosis into an activist or begins with mindful patterns of thinking, encouraged by zine-making. Zines may not share the same polish as their mainstream or digital counterparts, but in the craft’s inherent resourcefulness and attentiveness to pressing issues, their pages culminate in a folio representative of a community. On the internet, even the most personalized channels are plastered with brands and ads,

such that a reader is likely to be skeptical upon first glance. Because of targeted ads and feed algorithms, people find themselves stuck in the same niche. Outside a few photos and typed sentences, there is no real room for connection, even among members of the same community. Zines provide what the internet is truly lacking: authenticity and soul. Regardless of background, the art of zines embraces the stories that easily get lost in digital timelines and capitalist assembly lines, and transforms them into a tangible publication — a timeless story. They help creators map out their roles in the social ecosystem through the diversity they invite. As they harness the tools at their disposal, these artists begin to draw answers for harder questions with their own skills and talents. Cook and Garcia did not fall short on underlining this point throughout their hourlong instruction: zines offer a collaborative framework for activism as the creator realizes the role she best plays. “Maybe you are a storyteller or a person who loves giving care to people doing work,” Cook said. “I feel like I could be a weaver, seeing lines of connectivity between people, ideas and movements, and a healer, tending to the generational traumas caused by past systems.” Through engaging in the art of zinemaking, activism will feel different depending on the type of person you are. Like conversations, one can never really predict how a zine will turn out. That is what makes zines an inclusive vessel of alternative voices and the perfect medium for every activist to regulate their beliefs and explore new ones.

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Twilight fever revived by Stephanie Meyer’s latest, ‘Midnight Sun’ By Juanita Vargas Ibanez Contributing Writer

novels. His constant struggle with his inhuman side and animallike instincts adds a layer of complexity that is only hinted at through Bella’s perspective. Edwards’ character becomes far more complex and emotional in “Midnight Sun.” His thoughts reveal the insecurities and anxieties he lives with. This side of Edward contrasts the romanticized version that Bella described and makes Edward a likely winner of the most thought-provoking character of the series. After powering through the overlapping plot that Twihards are familiar with, the novel provides insight not only into Edward’s thoughts, but the thoughts of other characters: Edward’s unique mind-reading abilities leave the reader with the unfiltered thoughts of supporting characters such as Alice, Jessica and Jasper. Although the insights are provoking and add a layer of novelty to the story, Edward’s condescending opinion and judgement of other character’s thoughts further hinder his charming aesthetic found in past novels. Consequently, Meyer widens the juxtaposition between vampires and humans through Edward’s growing god complex, even to the extent that he refers to humans as “children.” Edward’s obsessive stalking is still evident in this novel, and Meyer does little to ameliorate it. Edward’s controlling habits

are, as they were in previous novels, an obvious flaw. Meyer attributes this to his animal-like nature as opposed to blaming Edward’s human nature, which reads as an evasion of criticism rather than a solution. Likewise, the additional 150 pages of Midnight Sun do little to quench the thirst of Twilight fans that have been waiting for new Twilight material for years. Instead of providing readers with new information, the novel is longer because it uses an absurd amount of adjectives and adverbs that make Edward’s account more vivid, but tedious to read. Although Edward’s extremely detailed thoughts are overloaded, the novel does not provide considerable new information apart from the original script of the first “Twilight” novel. Nonetheless, the new novel revived the Twilight fandom and created nostalgia for fantasy romances. Meyer dedicated “Midnight Sun” to the fans who have followed her throughout this journey. “When we first met, many of you were young teenagers with bright, beautiful eyes full of dreams for the future,” Meyer wrote in the dedication of the novel. “I hope that in the years that have passed, you’ve all found your dreams and that the reality of them was even better than you had hoped.”

When “Twilight” was released 15 years ago, the atypical love story between the immortal Edward Cullen and 17-year-old Bella Swan shook the world. The first four books of the series are told from Bella’s perspective and recount her relentless journey to understand her vampire lover. Eight years after the release of the last film “Twilight Saga: Breaking Dawn Part 2,” the Twihard fandom is recharged on Twilight fever with Stephenie Meyer’s new book “Midnight Sun.” The companion novel to the first “Twilight” book retells Edward and Bella’s love story from Edward’s perspective. A draft of “Midnight Sun” leaked online in 2008, which led fans into an infinite anticipation of the rebirth of the series. Even though most of the original Twilight fans are in their twenties now, the new novel sold 1 million copies in the first week of its Aug. 4 release. “It became quickly obvious that there wasn’t a real end in sight with COVID,” author Stephenie Meyer told the New York Times. “I am really excited when I have a book to read right now, because there’s not much else that’s exciting. I hoped people would feel the same way.” Meyer was right: releasing the book in the middle of quarantine boredom became the time to revive Twilight fever. However, it also emphasized the bizarre connection between Twilight and pandemics. Edward died during the 1918 Influenza pandemic in Chicago, and more than 100 years later, his interpretation of his fantastical love story was released in the middle of the COVID-19 pandemic. Along with a recollection of memories from Edward’s transformation, the novel discloses a complex characterization of Edward, full of cringy, petrifying and uncomfortable moments. “Midnight Sun” reveals Edward’s constant battles with his inner beast that originates from the animal instinct of his vampire nature. Readers learn a very detailed and, at times, excruciating description of Edward’s thoughts as he meets Bella and instantly falls in love with her (and her thirst-quenching scent). The first pages of the novel disturbingly depict his exhaustive massmurder plans initiated by his first encounter with Bella’s bewitching scent. This plot to muder his classmates deteriorates Photo by Sarah Derris the dreamy image that Team Edward has created from past Stephanie Meyer’s accompaniment to the first “Twilight” novel, “Midnight Sun” is told from Edward’s point of view.

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