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VOL. CLXXV NO.17

RAIN

TUESDAY, APRIL 17, 2018

HANOVER, NEW HAMPSHIRE

Yearly sexual assault symposium held

WHAT’S ALL THIS DARTHUBBUB?

HIGH 43 LOW 30

By JENNIE RHODES The Dartmouth

TIFFANY ZHAI/THE DARTMOUTH SENIOR STAFF

OPINION

BARTLETT: A SHAMEFUL CONFLICT PAGE 4

LI SHEN: DIMENSIONS OF DIMENSIONS PAGE 4

ARTS

‘A SERIES OF UNFORTUNATE EVENTS’ IS BACK WITH CLIFFHANGERS PAGE 7

DAYMÉ AROCENA’S ENERGIZING SHOW CELEBRATES CUBAN HISTORY PAGE 8

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TWITTER @thedartmouth COPYRIGHT © 2016 THE DARTMOUTH, INC.

The College’s new DartHub program replaces Banner Student for undergraduates.

The 7th Annual Student and Presidential Committee on Sexual Assault Symposium on Apr. 13 presented progress made on the last year’s projects, which included a “Survivors of Sexual Assault Handbook,” a flowchart and feedback form for survivors, student research and other initiatives. Around 70 students, faculty, staff and Hanover town residents were in attendance. According to SPCSA executive chair Paulina

New rabbi comes to Dartmouth B y ALEC ROSSI The Dartmouth

On July 1, Rabbi Meir Goldstein will start his tenure as the Michael Steinberg ’61 Rabbi and executive director of Dartmouth Hillel. He succeeds Rabbi Edward Boraz, who will leave the College on June 30 after a 20-year tenure. “Dartmouth seems like such a special place, and people are very committed to the success

of the [Roth Center] and to student growth, which are all things that I am so passionate about” Goldstein said. While Goldstein does not arrive on campus until July 1, he said both he and his family are excited about joining the Dartmouth and Upper Valley Jewish community. Goldstein is currently the associate chaplain for Jewish Life at Elon University in North Carolina. At Elon, Goldstein is

Calcaterra ’19 and SPCSA outreach chair Neerja Thakkar ’19, the symposium intended to communicate updates and changes in sexual violence prevention on campus. It was designed to be a space for a collaborative reflection on the work done and future work to prevent sexual violence, Calcaterra said. The symposium began with an introduction from College President Phil Hanlon, who acknowledged recent action SEE SPCSA PAGE 3

A STARK DAY IN APRIL

responsible for helping organize education, programming and holidays for Jewish students. He also works with the other chaplains at the University’s multi-faith center and serves as a spiritual advisor to all students on campus. Dartmouth College Hillel president Talia Lorch ’20 said that the interview process was conducted by a committee MICHAEL LIN/THE DARTMOUTH SENIOR STAFF

SEE RABBI PAGE 3

Winter is coming ... back.

Hanover debates ‘The Godfather’ author’s amending voting system papers on display in Baker

B y AbBY mihaly

The Dartmouth Staff

On May 8, Hanover voters will decide whether to amend the town’s voting system for its budget. Proponents say the change will allow more voter participation in the budgetary process, but opponents such as Hanover town manager Julia Griffin warn that it could allow the process to be abused by small

groups of individuals, noting that “the devil is always in the details.” Under the current system, town staff propose a budget to the Hanover select board, which then holds a series of public hearings and finalizes the proposed budget based on feedback. This version is then voted on during an evening SEE VOTERS PAGE 5

B y RACHEL PAKIANATHAN The Dartmouth Staff

Bruce and Diana Rauner ’78 have donated their collection of novelist and screenwriter Mario Puzo’s draft manuscripts, correspondence and other records to the College’s Rauner Special Collections Library. The collection includes notes for several of Puzo’s published works, including his best-selling novel “The Godfather” and its subsequent film adaptations,

the script for the 1978 Superman movie, a children’s book and Puzo’s novels released before “The Godfather, according to head of special collections Jay Satterfield. While selections from the papers and Puzo’s typewriter will be exhibited to the public in Baker-Berry Library from Apr. 5 to June 30, special collections processing specialist Elena Cordova will prepare the rest of the collection SEE PUZO PAGE 5


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THE DARTMOUTH NEWS

Researchers develop 3D-printing ink

m a t e r i a l s , L i a d d e d . T h e with researchers from other fields d e ve l o p m e n t o f r e s p o n s i ve to apply its method to new areas The Dartmouth materials in the field of chemistry of inquiry, according to Li. Researchers from Dartmouth’s follows a recent scientific trend that The method has the potential to Ke Research Group, which is led concentrates on creating objects create materials for smart devices, by chemistr y t h at re s p o n d such as a soft-robotics system that professor t o e x t e r n a l responds to external factors and Chenfeng Ke, “When we talk about i n f o r m a t i o n , changes its shape, Ke said. have developed 3D printing, we can according to Li. “The brain processes a lot of a “smart ink” “Right information that elicits a response control the x, y, and that reacts n o w, p e o p l e in the human body,” Ke said. “We t o p a r t ic ul ar z axes. Now we can w a n t t h i n g s want to mimic those processes signals, such as control the size, color, that respond to at a very low level … with the heat or other the information creation of smart materials that chemicals, for and also the response you give them,” mechanically respond to external 3 D - p r i n t i n g of the object after Li said. “For stimuli.” applications. example, people The method could also impact printing. It’s a living T h e i r like artificial the pharmaceutical industry by findings were system.” i n t e l l i g e n c e paving the way for the creation published in the b e c a u s e i t ’ s of 3D-printed medications that “A n g e w a n d t e responsive, so deliver medicine to a specific area C h e m i e -LONGYU LI, RESEARCH the same thing in the body, according to Li. He Inter national ASSOCIATE AND LEAD h a p p e n s i n added that the group is currently E d i t i o n ” chemistry.” working alongside engineering AUTHOR journal in L i n professor Fiona Li on an energy collaboration e x p r e s s e d storage research project that will with scientists a s i m i l a r use the new method to 3D-print f r o m s e n t i m e n t , a battery. Northwester n emphasizing “Now that we can use multiple University and that responsive materials for 3D-printing, we can the University chemicals have combine different molecules to of Texas at Dallas. applications in other disciplines, make smarter objects,” Lin said. The study’s topic reflects the Ke such as engineering. However, Ke said that it will group’s focus on developing smart Ke s a i d t h a t t h e t e a m take several years to develop materials for 3D and 4D-printing collaborated with scientists from technologies that take advantage applications and elastic crystalline other institutions to measure of the new research. He noted that porous organic materials for the results of the creation of environmental and energy-related their printing “The brain processes smart devices is purposes. m e t h o d . Fo r a complicated The research team’s method instance, when a lot of information process that allows 3D-printed objects to the researchers that elicits a response requires a clear change size or color in response s h r a n k t h e understanding in the human body. to external stimuli, according 3 D - p r i n t e d of how existing to research associate and lead o b j e c t s, t h ey We want to mimic mechanisms author Longyu Li. Li added that c r e a t e d a those processes at function so that the method allows a $1,000 3D porous material smart materials printer to print objects that would with molecular a very low level ... can mimic these otherwise require the use of more h o l e s t h a t with the creation of processes. For expensive 3D printers which would required special example, using smart materials that cost upwards of $100,000. instruments to this method “When we talk about 3D m e a s u r e, h e mechanically respond to 3D-print printing, we can control the x, said. organs would to external stimuli.” y and z axes,” Li said. “Now we “We use our be difficult, can control the size, color and also c o n n e c t i o n s given the the response of the object after t o f a c i l i t a t e -CHENFENG KE, complexity of printing. It’s a living system.” o u r re s e a rch the underlying CHEMISTRY PROFESSOR Second-year chemistry doctoral projects,” Ke biological student Qianming Lin, another s a i d . “ O u r processes, one of the study’s co-authors, said collaborators at which biologists that the method not only lowers the the University still do not fully cost of 3D printing, but also greatly o f Te x a s a t understand, Ke expands the range of molecules Dallas helped said. that can be used. us measures “If we The research group’s method the size of the pores, since they 3D-print organs in my lifetime, I advances the capabilities of have the tools to measure our hope that I can see it,” Ke said. 3D printing while improving 3D-printed material.” “That’s the type of timeline [we the performance of 3D-printed The team plans to collaborate are talking about].”

B y RUBEN GALLARDO

CORRECTIONS Correction Appended (April 15, 2018): The article “Greenland’s ice sheet is melting at the fastest rate in centuries” has been updated online to clarify a comment by Osterberg about learning to traverse ice sheets on snowmobiles. We welcome corrections. If you believe there is a factual error in a story, please email editor@thedartmouth. com.

TUESDAY, APRIL 17, 2018


TUESDAY, APRIL 17, 2018

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THE DARTMOUTH NEWS

Progress presented at symposium Hillel to gain new executive director FROM SPCSA PAGE 1

on campus to raise awareness about sexual assault prevention, including the “Take Back the Night” march and Greek houses closing their doors in solidarity. Following Hanlon’s speech, Calcaterra and Thakkar presented progress updates on the projects SPCSA has implemented in the past year as well as future plans for those projects. Since summer 2017, the SPCSA has been developing a “Survivors of Sexual Assault” Handbook. According to Calcaterra and Thakkar, the SPCSA noticed both a lack of resources with language reflecting a survivor’s experience and a need for a survivorcentered guide on how to move forward after experiencing sexual misconduct. Using non-triggering language, the handbook aims to compile resources and post-assault processes available for survivors, as well as frequently asked questions about sexual assault. The SPCSA is also working to develop a flowchart that will help survivors visualize the options and resources they have at their disposal after a sexual assault incident. Additionally, the SPCSA is creating a feedback form for survivors to inform the College about ways in which specific departments at the school can improve their support for survivors. “I want people to know that there are new initiatives,” Calcaterra said. “These are important things that the community members need to know if they are responding to sexual violence or if they want to know how to collaborate or publicize these processes.” The symposium also detailed the student research on campus sexual misconduct, which is funded by the SPCSA’s Elizabeth A. Hoffman Research Grants. The three recipients of the 2017 Hoffman Grants were

Amanda Royek ’19, who is working on a project to improve student-faculty encounters during and following sexual violence disclosures; Sydney Paluch, a student in the Masters of Arts in Liberal Studies program, whose project seeks to identify the social factors that discourage sexual assault reporting at Dartmouth; and Jaclyn Eagle ’19, who is working to improve sexual assault education at the College. “Many [research projects] have helped our understanding of the issues on campus,” senior associate dean of student affairs Liz Agosto said in an interview with The Dartmouth. “The grants are a liaison between students and the administration. They help students and faculty create policy to support students.” The SPCSA also plays a large role in recommending solutions to the College for sexual assault prevention, according to Agosto. “It is important to get together to discuss any challenging issues,” Agosto said in the same interview. “Sexual violence impacts every person. Every person has a role to play in addressing and stopping behavior and advocating. [The forum] serves as an important vocal point for different voices to talk about this issue.” At the symposium, four members of the Dartmouth and Hanover community also presented on recent sexual assault prevention initiatives. Agosto presented on the 2017 Sexual Misconduct Survey, in which 34 percent of respondents reported experiencing non-consensual sexual contact since arriving on campus, up from 28 percent in 2015. According to Agosto, this increase could be caused by a number of reasons, including an actual increase in incidents, an increase in survey response or an increase in national conversation and understanding of what sexual misconduct looks like. “Regardless of the reason, [34

percent] is too many,” Agosto said at the symposium. Student Wellness Center associate director Amanda Childress announced the progress the Wellness Center has made in the Sexual Violence Prevention Project since the project’s conception in 2015. This four-year program starts in a student’s freshman year and aims to shift the mentality on campus toward sexual misconduct, according to Childress. She added that she wants an increased proportion of positive relationships on campus. Hanover Police captain Mark Bodanza reiterated that the Hanover Police Department has recently implemented the You Have Options program, in which survivors decide if they only report information, launch a partial investigation or launch a full investigation. According to Bodanza, Hanover Police is the only department in Northeastern U.S. with this program and is one of seven departments nationwide. Mae Hardebeck ’18 reported to the audience on the past year of her Title IX office internship. Hardebeck said she has noticed the need for transparency in student to faculty reporting and the need for easilyaccessible resources for survivors. Dispersed throughout the symposium were group discussions on sexual assault, including filling out a pre- and post-presentation survey. These surveys were later collected by the SPCSA for future analysis on campus mentality. “I came to increase my understanding as a[n] [undergraduate advisor] on the updated resources, material and information that community has access to,” Monik Walters ’19 said. Calcaterra said she believes that rethinking language and taking stock of one’s own behavior are powerful ways to work toward prevention. “If you are going to go to an event and then act harmful[ly], it defeats the purpose,” Calcaterra said. Thakkar said that being educated is the best way to alleviate support fellow students. “Take time to join student groups or learn about sexual violence and why it’s so prevalent, how it can be prevented and how to respond,” she said. Agosto said that she hopes every student who participated in the forum can take away the information they have learned and share it with the community. “You, as a student, have the ability to talk about sexual violence and create space to not fear social life on campus, supporting people coming forward,” Agosto said. “Every student has the ability to stop behavior if something doesn’t look or feel right.” Eagle is a member of The Dartmouth senior staff.

FROM RABBI PAGE 1

comprised of two students, members of administration and a few Dartmouth alumni. After the first round of interviews, candidates were invited to campus. During their visit, candidates conducted a lesson around the weekly Torah portion. Following their teaching demonstration, the session opened up to questions from students. “We were able to write down our reactions and ... there were a couple of other candidates who came … and really polarized the group and who people weren’t 100 percent sure about,” Lorch said. “I heard that Rabbi Goldstein got like 100 percent positive reviews, which is something that we [at Hillel] are excited about.” Former president of Hillel Julia Feinstein ’19 said that she was able to meet Goldstein shortly before the question and answer session. “I was really struck when I got to the session and he remembered my name,” said Feinstein. “He seemed [to be] really interactive with the students and happy to be there and very engaging.” Rabbi Edward Boraz, the current executive director of Dartmouth Hillel, said that while he chose not to be directly involved in the selection process, he was kept informed of its proceedings. “It is really important for the college students to really feel unencumbered with me providing input, and so I took a step back intentionally,” Boraz said. Boraz, Goldstein and current members of Hillel said that they are all committed to ensuring that the transition period goes smoothly. “We have to figure out various things about how we are going to reconfigure the building to have two rabbis instead of just one,” Lorch said. While Boraz served both the Dartmouth College Hillel and the Upper Valley Jewish community, Goldstein will only work with the College Hillel. The Upper Valley Jewish community is still in the process of searching for their new rabbi. “We are in the process right now of making sure that the transition is as smooth as possible … There is a saying that it takes a village to raise a child, I think it also takes a village to raise a rabbi,” Goldstein said. “I’ll look towards the wisdom and insights of the folks around.” Lorch said that she hopes the Upper Valley Jewish community and Dartmouth Hillel will remain connected.

“It’s nice to have two rabbis in general because if you are looking for a spiritual advisor, sometimes people like choosing one over the other,” said Lorch. “We are really hoping for the relationship we have with the Upper Valley community to continue and maybe even grow because of this transition.” Feinstein said that Dartmouth students also teach children of the Upper Valley Community at the Hebrew school within the Roth center. While Goldstein plans on bringing new ideas to the College, he also said he believes that the best plan for success is to listen and be receptive to its community members. “Dartmouth is a unique and special place, so I am going to look to the students and professionals there for us to really build [this community] together,” he said. Lorch said that she and other member s of Hillel hope to collaborate with Goldstein to come up with new programming and events. “Something about Hillel at Dartmouth is that it generally tends to be pretty secular … I think we often struggled to come up with programming that would be engaging, but also would be related to the Jewish faith,” said Lorch. “I think having a rabbi who has the time to really sit down ... and focus solely on the students will help us come up with new ideas that are engaging and bring more people in.” In his time at the College, Boraz said he has most enjoyed working with students. “One of my guiding principles was to make this truly a studentcentered Hillel,” Boraz said. “The students were the ones who had to form the community, and they had it within themselves to form the religious, cultural, spiritual Jewish community, and I was there to be of help to them.” After he decided that it was time for new leadership and that Dartmouth College and the Upper Valley Community needed their own rabbi, Boraz decided to step down to lead Mount Sinai, a small reformed congregation in Wausau, Wisconsin. Boraz said that he believes Goldstein is an excellent pick for Dartmouth. When asked if he had any advice for Goldstein, Boraz said that it is important to be the rabbi for students. “They want you to be who you are, to be honest, to be there, to be present and to encourage, to nurture and help them learn,” he said.


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THE DARTMOUTH OPINION

STAFF COLUMNIST NICHOLAS BARTLETT ’21

CONTRIBUTING COLUMNIST SABRINA LI SHEN ’21

A Shameful Conflict

Dimensions of Dimensions

Trump’s response to Comey is unbecoming of the White House. The saga of President Donald Trump vs. former FBI Director James Comey never fails to entertain. In what may be the most outspoken and belligerent case of a high-profile “he said, she said” in years, the two political elites continue to trade blow after blow with one another. For Trump, this obviously takes the form of Twitterborn diatribes. For Comey, his sentiment takes the form of subtle jabs and incendiary claims within his memoir, “A Higher Loyalty.” Now, I’ll admit — and perhaps this is just my twisted sense of humor — that watching our president, who is arguably the most powerful man on the planet, describe one of his fellow Americans and similarly powerful leaders as “slippery” prompted a slightly morbid chuckle. However, one chuckle does not an opinion make, and I find this whole situation to be in reality both extremely shameful and woefully unbecoming. Not so far as Comey is concerned, really; at this point, his actions are those of a private citizen and reflect more upon himself than his nation. No, what rings distasteful is Trump’s insistence to personally refute each claim in an attempt to play damage control. I understand the impulse of wanting to correct falsehoods — assuming they are false in the first place — and uphold one’s reputation. I understand that the current situation is viewed by the White House as both an assault on Trump’s character and a critique of his capabilities as president. I understand that highly-sensitive criticism from a formerly powerful director necessitates an official response. What I don’t understand, however, is why the President continues to take matters into his own, allegedly tiny, hands and tweet in a manner which in no way matches the respect and esteem of the office he holds. For a great example of what I mean, look no further than Trump’s Apr. 15 Twitter tirade. The commander-in-chief began the day on a light note, tweeting for all the world to see that “Unbelievably, James Comey states that Polls, where Crooked Hillary was leading, were a factor in the handling (stupidly) of the Clinton Email probe. In other words, he was making decisions based on the fact that he thought she was going to win, and he wanted a job. Slimeball!” Poetic. He then followed up his act with, among many others, the statement that

“Slippery James Comey, a man who always ends up badly and out of whack (he is not smart!), will go down as the WORST FBI Director in history, by far!” The word choice here is fascinating, with “slippery” and “slimeball” being among my personal least-favorites. I mean, they’re not exactly what comes to mind when one thinks of “presidential diction,” right? Mind you, it’s not my place to say that all of Trump’s sentiments are misguided. That’s an issue for another time. However, as an American citizen, it is most certainly my place to feel incensed that my president — the man who represents me to the rest of the world — publicly and vociferously spews playground insults at his peers. The president is supposed to embody the best of American citizenship: calm in the face of panic, compassion in the face of hatred. Yet the leader of the free world is tapping away at his Twitter page as he lambasts everything from his own Department of Justice to a former FBI director. This isn’t leadership, nor is it presidential. It would have been more respectable if Trump had held a press conference in which he discussed the matter, or if the White House had offered an official statement, or even if the denizens of 1600 Pennsylvania Avenue had remained silent. Why? Because any recourse taken by the president is automatically of great import solely for the fact that it comes from him. When Trump tweets, he puts his every word on a pedestal to be shown around the world. Logically, one would assume that such power would facilitate a sense of formality, tact and awareness. But as we’ve seen, that is not the case. When I look at how Trump’s every Comey-related message drips with vitriol tantamount to a YouTube comments section, I am ashamed that the president of my country fights the fires of criticism with the infernos of controversy; ashamed that American leaders “go at it” online like they’re the political equivalents of Mayweather and Pacquiao; ashamed that the world looks at the United States like a country of inarticulate belligerents. But I guess respectable representation is too much to ask for.

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ISSUE

TUESDAY, APRIL 17, 2018

LAYOUT: Anthony Robles

SUBMISSIONS: We welcome letters and guest columns. All submissions must include the author’s name and affiliation with Dartmouth

College, and should not exceed 250 words for letters or 700 words for columns. The Dartmouth reserves the right to edit all material before publication. All material submitted becomes property of The Dartmouth. Please email submissions to editor@thedartmouth.com.

What is Dartmouth really saying about itself during Dimensions?

This past Thursday marked the start of managed my academic-extracurricular-social the year’s first Dimensions of Dartmouth. life balance (poorly), if I knew what I was Hundreds of fresh-faced prospective students going to do after college (probably descend descended upon the Green, many of them into existential crisis), if I regretted my decision already committed to the College and some to come here (no). Out loud, I answered that in the process of deciding where to spend the balance is not an individual act but a collective next four years of their lives. One of my two one; that I think I might go to law school; that prospective students told me that these two I did not regret it, not even one bit. All sets days would make the decision for her; when she of answers are true: I would never be able to returned to my dorm on Thursday night, she balance my academic-extracurricular-social life gushed about the Dimensions show and After without the help of my friends, I can definitely Dark Tours and told me that she felt like this place have an existential crisis and go to law school at could be home. My other prospective student the same time and I have always been grateful seemed a little more skeptical about the wildly to be here. enthusiastic, summer-camp vibes surrounding Perhaps Dimensions presents an overly her. It caused me to wonder: is Dimensions truly optimistic view of Dartmouth, but that is not a realistic representation necessarily a bad thing. of life at Dartmouth, or is “ I have cried in At 7 p.m. last Wednesday, it merely a marketing tool I stood in line at Collis, which paints this school in multiple locations bemoaning my increasing rather misleadingly rosy around campus, I am amount of homework hues? and decreasing amount still a terrible skier, About a year ago, of sleep. Two hours later, I sat on the hardwood and drafting D-plans I attended a preview of floors of Collis Common always makes me feel the Dimensions show, and Ground, surrounded by I was filled with the same college students dressed in like the confused lady sense of magic that had garish clothes and armed in that meme with entranced me a year earlier. with ridiculous dance I know now that the role moves. They sang to me the math equations of the singing, dancing, about various seasonal superimposed on her walking advertisement traditions, joked around for Dartmouth is a highly face.” about “reading” and yelled contested one — so many “We love you, Dartmouth people want to participate 21s!” at me. It was a loud, sweaty mess and in the Dimensions show, even though they know I absolutely loved it. The idea that random they will have to give up countless hours of their strangers would spend hours choreographing time with no monetary benefit or promise of dances and rewriting lyrics, rehearsing a resume-booster. There is something to be transitions and planning tour routes, screaming said about a school that inspires such love and themselves hoarse night after night — all for the devotion from its students that they cannot help sole purpose of making me feel welcomed? To but want to express those feelings to others. me, that idea was as foreign as it was magical. Dartmouth is not without its vices. It is not a I was enamored, and I couldn’t wait to spend perfect place, nor has it ever been such. There the next four years feeling that way. are plenty of things that need to change, but The good vibes persisted all throughout there are just as many people willing to effect trips and orientation week, that change. Though I am but reality soon set in. still a floundering, mostly Dimensions made me feel “Dartmouth is not anonymous freshman, special, valuable, desirable without its vices. It is I know there are people — Dartmouth wanted here who would go to not a perfect place, me, they loved me! But the ends of the world for on campus, no one knew nor has it ever been me (let alone to the end my name, my professors such. There are plenty of the line at the Hop). I intimidated me, and I have a professor who is got lost more times than of things that need to determined to learn the I am willing to admit. change, but there are names of all of his students I did not feel like I was (140 in my class alone, just as many people participating in enough and counting), I no longer activities, and after a first willing to effect that get lost on campus and round of rejections, I was someone even asked me if change.” doubtful I would even be it was my article that they accepted to the clubs and read in The Dartmouth. organizations for which I applied. I have cried To an extent, events for admitted students in multiple locations around campus, I am still will always have a carefully constructed sheen a terrible skier, and drafting D-plans always of perfection. Dartmouth is not the perpetually makes me feel like the confused lady in that welcoming, fulfilling place that Dimensions meme with the math equations superimposed makes it out to be — but it can be that place. on her face. If nothing else, Dimensions reminds us of the So when my prospective students asked me to school we are trying to be, the school that we all be honest with them about the true Dartmouth dreamed of so long ago. Now that we are here, experience, I hesitated. They asked me how I we can transform those dreams into reality.


TUESDAY, APRIL 17, 2018

THE DARTMOUTH NEWS

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Rauner prepares Mario Town torn by proposed voting system Puzo’s papers

for families with children, those or radically lowered local budgets with early morning jobs and through amendments at these “business meeting,” which is elderly residents without reliable deliberative sessions. she said. It separate from the ballot vote. The transportation to vote. is these amended budgets that are ballot vote contains other items, “If we’re looking at 10 percent then voted on during the official such as zoning issues and select of the voting population, are we ballot vote. board elections. really getting These amended budgets are Should SB 2 a n a c c u r a t e significantly lower than the pass, discussion “[SB 2] is about representation originally proposed budgets, at the budget enfranchising the of the town?” “making it very difficult for meeting and Hanover town a community to continue to entire community, select board resident Kevin operate,” and eventually causing hearings would regardless of what Cotter said. residents to be dissatisfied with be replaced by your policy views are.” P r e s s a lack of services due to the a deliberative s a i d h e a v y decreased budget, Griffin said. session a few participation in Newport town manager Hunter weeks prior to -DARYL PRESS, meetings and Rieseberg explained that SB 2 the ballot vote, d e l i b e r a t i o n towns such as Newport have not and the budget GOVERNMENT r e g a r d i n g seen the bill positively impact would be voted PROFESSOR t h e s c h o o l voting participation. on along with board budget “I don’t think SB 2 was illother balloted s u g g e s t e d intended — it just didn’t work,” issues during the day. Hanover voters would be similarly Rieseberg said, adding that Griffin said discussion regarding involved in deliberative sessions Newport has attempted to return to SB 2 has been minimal, despite some under SB 2. traditional town meetings on more informational and deliberative According to Griffin, however, than one occasion, but the required sessions, and that support for the across New Hampshire SB 2 three-fifths super-majority has measure is therefore difficult to towns, an even smaller number of proved a hurdle. gauge. people attend Rieseberg Gover nment professor and d e l i b e r a t i v e “If your goal agreed the Hanover resident Daryl Press, sessions than passage of SB is to increase along with Hanover finance t h e n u m b e r 2 will probably committee member John Ruth, of those who public dialogue increase the petitioned that the article be voted attend business in involvement number of upon on the May 8 ballot. meetings under townspeople as defined by Press said the current low t r a d i t i o n a l voting on turnout at the business meeting town meeting information the budget, means a low percentage of the laws. wh e n d i re c t l y and sharing of population decides on the budget Additionally, comparing for the entire town. she said that SB perspectives ... SB 2 the number of Attendance at the evening 2 rules allow will not achieve that.” those voting at business meeting, where residents d e l i b e r a t i v e the polls to the vote on the proposed budget under sessions to be number voting current rules, ranges from 150 to “hijacked” by -HUNTER RIESEBERG, on the floor of 250 people and can reach up to a small group town meetings, NEWPORT TOWN 600, if a hot topic draws a crowd. of individuals. but he expressed This is a much lower number than U n d e r t h e MANAGER c o n c e r n s residents who vote on balloted current system, regarding issues such as select board elections a t t e n d e e s a t overall public and zoning issues, Griffin said. public meetings can provide input engagement and voters’ knowledge “[SB 2] is about enfranchising to the select board and discuss the of the issues. the entire issues, but cannot “If your goal is to increase c o m m u n i t y, vote to modify the public dialogue in involvement as regardless of “If we’re looking at budget upward or defined by information and sharing w h a t y o u r 10 percent of the downward. of perspectives and debate … SB policy views G r i f f i n s a i d 2 will not achieve that,” Rieseberg voting population, are,” Press said. that under SB 2, said. Press called are we really low attendance Town meetings allow space for t h e H a n ove r a t d e l i b e r a t i v e voters to understand what their getting an accurate community sessions, i n neighbors think, and to hear “ e d u c a t e d ” representation of combination with debates surrounding the issue, and “engaged,” the town?” voters’ ability to including debating specific articles saying he was amend the budget, and details of provisions, according disappointed w o u l d a l l o w to Rieseberg. t h a t v o t i n g -KEVIN COTTER, groups with strong Due to the difficulty of attending procedures agendas to push the both a voting session and a HANOVER TOWN do n ot s ee m budget in a certain deliberative session weeks earlier, to match this RESIDENT direction. many voters choose to only cast engagement. “[Deliberative a ballot without the benefit of “Our voting s e s s i o n s a l l o w ] the conversations during town procedures are taxpayer groups, meetings, he added. designed in such a fashion that or others with an agenda, to come “I’m not necessarily suggesting we disenfranchise our highly out and decimate the local budget that all of the voters are illpolitically active community,” that’s being proposed by the select informed,” he said, “But, you still Press said. board,” Griffin said. Across New lack the quality of the debate ... He added that the current Hampshire’s SB 2 towns, small and the depth of information [with system tends to make it harder groups of people have zeroed out SB 2].” FROM VOTING PAGE 1

trilogy and in Puzo’s papers. “Dartmouth and Hanover just for research use in Rauner Library. pop up over and over again in This process includes cataloging The Godfather trilogy, and in the and organizing each document in scripts, and even things that didn’t the collection and highlighting those make it in,” he said. “We think that he visited here as a kid and saw it. of interest, Cordova said. “The primary value of the I’d say it’s like the antithesis of the collection is its documentation of world of the Corleone family, both the life of a working writer,” film in the physical environment and the and media studies professor Mark social environment.” After the collection is prepared Williams said. “He did a lot of for research use, different kinds S at t e r f i e l d a n d of writing and “The primary value Cordova said had this gigantic of the collection is they welcome success with the novel ‘The its documentation of i n q u i r i e s f r o m both researchers G o d f a t h e r ’ the life of a working and fans of Puzo’s that led to work. these genuinely writer.” “People might h i s t o r i c adaptations.” -MARK WILLIAMS, FILM come in and ask about seeing the Cordova papers with famous a d d e d t h a t AND MEDIA STUDIES lines from ‘The h av i n g g o n e PROFESSOR Godfather,’ like through the ‘Leave the gun, collection, she believes it will intrigue those take the cannoli!’ only to find that interested in the screenwriting ‘Take the cannoli’ was improvised in the film,” Cordova said. process. Andrew Skow ’21 said he is “I think for people that are interested in the production aspect excited to look at Puzo’s papers of screenwriting, it’s a really rich more closely, particularly those collection,” she said. “You can see relating to background research on the editorial process at work, and the mafia. “He basically created the image it’s been really fascinating even just examining handwritten notations people picture when they think that suggest small changes in about the Italian mafia,” Skow said. “I’d be interested to look at language.” Satterfield said he anticipates what research he did to construct that some of research value of his narrative.” Williams said that collections the collection will relate to The Godfather’s portrayal of the mafia such as Puzo’s papers are often and the experiences of Italian- used for research by students and American immigrants in the United faculty in the film and media studies department at States. He Dartmouth. added that “The “It’s great that the “We’re the first Godfather” department of also has unique papers are here, film and media c o n n e c t i o n s because Michael studies in the t h e C o l l e g e, Corleone’s got I v y L e a g u e, ” as the novel’s Williams said. p r o t a g o n i s t to be one of the “A n d t h e r e ’ s M i c h a e l most famous this really rich, Corleone fictional alumni of unknown legacy enrolled at of professional Dartmouth to Dartmouth.” film makers and escape taking aspiring film part in the makers studying family business. -JAY SATTERFIELD, HEAD “It’s g reat OF SPECIAL COLLECTIONS at Dartmouth.” He added that that the papers he anticipates the are here, collection will be because Michael useful to those Corleone’s got to be one of the most famous interested in studying the writing fictional alumni of Dartmouth,” process and progression careers like Puzo’s. he said. “[The collection] puts students Satterfield also said that while author Mario Puzo is not known and scholars in a position to think to have a direct connection to about a career of that stature Dartmouth, the College and the and think about Puzo’s career in town of Hanover are mentioned particular,” he said. “There’s a lot frequently in both “The Godfather” to discover about him.” FROM PUZO PAGE 1


PAGE 6

DARTMOUTHEVENTS TODAY

THE DARTMOUTH EVENTS

LOST IN TRANSLATION

TUESDAY, APRIL 17, 2018

CECILIA MORIN ’21

11:30 a.m. - 1:00 p.m.

Lunch: Mittagstisch German Lunch Table, sponsored by the German department, Class of ‘53 Commons

4:30 p.m. - 6:30 p.m.

Lecture: “Venezuela: The Survival Strategies of an Authoritarian Regime,” with Amherst College political science professor Javier Corrales, Haldeman 41

5:00 p.m. - 6:30 p.m.

Lecture: “From Amnesia to Memorialization: Challenge of Rebuilding the Beirut City Center,” with head urban planner of the Beirut Central District Amira Sohl, Rockefeller Center 001

TOMORROW

8:00 a.m. - 2:00 a.m.

Exhibition: “Will Carter and the Dartmouth Typeface,” Main Hall, Baker-Berry Library

8:30 a.m. - 4:30 p.m.

Exhibition: “Pilgrims, Parades, and Politics,” featuring artist and journalist Herb Swanson, 7 Lebanon Street, Suite 107

7:00 p.m. - 8:00 p.m.

Lecture: “Natural Cooperation,” with Harvard University professor Martin Nowack, Oopik Auditorium, Class of 1978 Life Sciences Center

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TUESDAY, APRIL 17, 2018

PAGE 7

THE DARTMOUTH ARTS

‘A Series of Unfortunate Events’ is back and darker than ever By SEBASTIAN WURZRAINER The Dartmouth Staff

The Baudelaire Orphans are back for a second season in Netflix’s “A Series of Unfortunate Events,” and fortunately for us the show hasn’t lost its gothic charm, idiosyncratic humor or heartfelt sincerity. Once again, producer and director Barry Sonnenfeld and his team of writers adapt the books from the beloved book series by Lemony Snicket (nom de plume for Daniel Handler) into two-part episodes. In doing so, they allow each book the chance to shine, breathe and grow in what is essentially a 90-plus minute minimovie. This season tackles books five through nine: “The Austere Academy,” “The Ersatz Elevator,” “The Vile Village,” “The Hostile Hospital” and “The Carnivorous Carnival.” As the titles suggest, the show remains as erudite and obsessed with literary allusions as before. In my glowing review for the first season, I wrote, “When I was younger, I remember my favorite books came after the halfway point in the series.” At the time, I was surprised by the quality of the first season considering that it adapted some of Handler’s weaker entries. Thankfully, my memory served me

well. The second season isn’t better due to improved writing, directing or acting — “Unfortunate Events” is nothing if not incredibly consistent in execution. Rather, this season is better because the source material is darker, more intricate and a little less episodic. Admittedly, the first few episodes follow the same basic formula set up in the first season: The Baudelaires are taken in by a new guardian, prompting the villainous Count Olaf to show up in disguise to steal their family fortune. No one aside from the orphans recognizes that it is Olaf and the Baudelaires barely manage to escape with the murderous Count hot on their tail — yet the series do so with such aplomb and style that one hardly notices their repetitive nature. “The Austere Academy” episodes in particular do an excellent job of hiding this structure beneath hysterical joke after hysterical joke. But it’s during “The Vile Village” episodes where things get interesting. As with the original books, this story serves as a real demarcation point for the series. Given that it is the precise middle of the Baudelaire saga, adapted from the seventh book out of a total of 13, the status quo is quickly upended as the orphans become fugitives of the law and Count

Olaf gains immunity when he is falsely declared dead. As a result, “The Hostile Hospital” and “The Carnivorous Carnival” episodes are the most twisted and exciting that the show has yet produced. While they never quite recapture the infectious humor of “The Austere Academy,” they successfully deepen the show’s mythology while raising the stakes for all the major characters. Speaking of which, it is once again the large ensemble of unique and quirky characters that truly makes the show memorable. Neil Patrick Harris is at his best when he gets to sink his teeth into Olaf ’s sadistic side, conjuring up an antagonist who is often amusing and frightening in a single sentence. Patrick Warburton returns as Lemony Snicket, the dutiful and downtrodden in-universe narrator whose interjections become, if possible, even more meta than they were in the first season. We’re also introduced to a host of supporting players, most of whom are improvements on their book counterparts. Lucy Punch turns a character I loathed as a child, Olaf ’s vain girlfriend Esmé Squalor, into a truly deranged delight, something of a maniacal Lady Gaga. David Alan Grier leaves an indelible mark by bringing real heart and soul to

Hal, a visually disabled hospital clerk who befriends the Baudelaires. Unsurprisingly, though, it’s Nathan Fillion who steals every scene he’s in as Jacques Snicket, Lemony’s dashing and adventurous brother. T he few scenes Fillion and Warburton share are some of the season’s highlights. This season also properly introduces us to Duncan and Isadora Quagmire, orphans who become the Baudelaires’s best friends after it is revealed that their parents also died in a mysterious house fire. Avi Lake and Dylan Kingwell acquit themselves admirably but suffer from some of the same stiffness that plagued the Baudelaire actors in the first season. By contrast, Malina Weissman and Louis Hynes have grown substantially as Violet and Klaus Baudelaire, together bringing a sense of sanity to this insane, anachronistic world. Even their baby sister Sunny seems better integrated. Although still mostly used for punchlines, she’s starting to feel more like a real character. While this season lacks any weak episodes, it certainly has a few such moments. Its style of comedy often repeats or extends certain jokes, almost excessively. While this can be funny, it can also grow immensely tiring. The central joke surrounding Esmé is that she only likes things that

she considers fashionable and “in,” a gag which becomes increasingly wearying during “The Ersatz Elevator” episodes. The consistent dourness of the plotlines can also be rather exhausting, though that’s really more of a fault of the books than of the show. As was the case with the first season, “A Series of Unfortunate Events” remains oddly theatrical. The acting especially seems more suited for a Broadway show than for a cinematic endeavor. Episodes often seem as though they are itching to break out into explicitly staged moments, permitting Harris and company the occasional chance to jump into a variety of song and dance numbers. This is often part of the show’s oddball charm, but is at times off-putting. If nothing else, it keeps the story and characters at an arm’s length away from the viewer. While the first season ended on a sad note, it still possessed a degree of closure. Season two opts for both a figurative and literal cliffhanger. In many ways, the ending is emblematic of the tonal shift that occurs during the last few episodes. Some fans may miss the bizarre and often satirical humor, but I suspect most will appreciate the show’s growing maturity as it hurtles toward its next and final season.

Lauren Groff ’s ‘Fates and Furies’ is a glimpse at new work ‘Florida’ By ISABELLE BLANK The Dartmouth

Lauren Groff, a master of evocative prose and unexpected narrative twists, has a new book coming out this summer. Groff’s “Florida,” a collection of short stories to be released June 5, is her first work since the much acclaimed 2015 novel “Fates and Furies.” The new volume explores the themes of motherhood, mental illness and the general plight of being human. While we don’t know much about “Florida” beyond the publisher’s note, a look back at Groff’s most recent work — which then-President Barack Obama named his favorite book of the year — can help set our expectations for the collection. “Fates and Furies” deals with many of the same themes as “Florida.” The novel features complex characters with fantastic names — Antoinette, Gawain, Lancelot and Mathilde — who inhabit settings from New York City to the French countryside. But the novel’s narrative remains tied to Florida: its swamplands, its sprawling Southern mansions, its beaches and condos … and its secrets. “Fates and Furies” is the story of a marriage. It is a double

portrait, a split narrative written from two sides. The first half of the novel, “Fate,” is from the earnest point of view of the husband, Lancelot Satterwhite. The second half is told from the perspective of his inscrutable widowed wife, Mathilde. Son to Antoinette and the late Gawain, brought up in a Florida mansion and then in a cramped condo, Lancelot is sent away to a New England boarding school. Lanky and acne-pitted, Lotto, as he is called, is out of his element, marked as different by his birth-state. Groff details Lotto’s transformation from awkward youth to twinkling Vassar student. He catches the eye of the mysterious and bone-sharp Mathilde. The two marry within weeks. Their marriage is a whirlwind romance that, even in its budding stages, spins a little off-kilter, though it seems fatal all the same. Groff’s vivid imagery congeals into an arsenal of clues for the reader to draw upon later: a gargoyle on a train, plays within a novel, a root covered base to tip. The novel’s first half follows the course of Lotto and Mathilde’s marriage from basement apartment to cozy house in the New England countryside. It details Lotto’s failure as an actor, his success

as a playwright and his estrangement from his mother. It spells out his failings and triumphs as a husband and man, his insatiable love and lust for his wife Mathilde. We meet Mathilde in “Fates” through the veil of her husband’s perspective: cold, mysterious, alluring, whip-smart. It’s only when Lotto dies that the veil separating reader from the true Mathilde falls away. As a result, layers of Mathilde’s personal history and trauma come tumbling down. Groff, perhaps a little heavy-handed here, though to poignant effect, quotes Alice Tolkien: “I have sat very long and very often with many wives and many wives of geniuses.” The second half of the book, “Furies,” offers the reader a chance to sit with the wife of the genius. If “Fates” is about what we take from our partners, “Furies” is about what we leave behind. Told from Mathilde’s point of view, “Furies” transforms the double-painted portrait into baroque sculpture. The narrative and characters become wholly different when seen from a different angle. Seemingly cold Mathilde is launched into a deep depression after Lotto’s death. Torn from Lotto and from herself, she spills the story of all she’s lost, speaking unsentimentally.

She describes another name and a darker life before the one she shared with Lotto, with a childhood ripped out from under her, a native language concealed and a college education provided to her on conditional terms. The silvery shape of Mathilde takes form, becomes blood drenched and emerges in full color. Mathilde’s story is one made tragic not only by the trauma she suffered, but by everything she did not reveal to her husband. It’s a cautionary tale about the parts of ourselves we keep concealed from those we love most. Mathilde is a kind of Lady Macbeth, the quiet driving force behind the very un-Macbeth Lotto. But it is Mathilde rather than Lotto who survives; it is he who succumbs to off-stage death. Lady Macbeth goes on without her knight. They are from different worlds after all — Lady Macbeth from a dark past in Europe, Lancelot from the warm climate of a Southern Camelot. “Fates and Furies” is about wives and sons and fathers and sons and wives and husbands and wives and sons again. It is about longtime friends who become enemies and who become friends once more, a Floridian snake eating its own tail, a narrative consuming its own tale. Groff has been a resident of

Florida for a little over a decade. She lives in Gainesville, a place where she says “everything seems a little bit dangerous,” with her two sons and husband. She is a master of evocatively weaving together a strong sense of place and character. The Florida she invokes in “Fates and Furies” is a setting host to many contradictions. Groff’s Florida is simultaneously seaside utopia and swampy inferno, mystical and commercial, a place for the old and a place for the young. The June 5 release of “Florida” promises tales of mothers and their children, of madness, hurricanes and Northern escapes. Many of the stories in “Florida” draw upon family and personal history. Groff explains that she wrote many of the stories with a singular person in mind. She describes a story about a woman who leaves her marriage to run a bookstore up north with her son, citing her father-in-law’s mother, who ran a bookstore during World War II, as the inspiration. If “Florida’s” Florida is as sticky as the F lorida of “Fates and Furies,” a palimpsest of secrets and swampland, then the stories which grow out of that setting, fertilized by Groff’s sharp prose, are sure to be fascinating.


PAGE 8

TUESDAY, APRIL 17, 2018

THE DARTMOUTH ARTS

Daymé Arocena’s energizing show celebrates Cuban history By SAVANNAH MILLER The Dartmouth Staff

Daymé Arocena walks onto the stage like a ray of light. Barefoot and dressed head-to-toe in white, Arocena finally appears on the left side of Spaulding Auditorium. Her band — comprised only of a bassist, pianist and drummer — has played up to a crescendo for the past five minutes. She steps out of the darkness with a beaming smile, and the audience claps ferociously. Her entrance seems a spectacle, a finale, yet the show is just getting started. Hailed as a mix of Celia Cruz and Aretha Franklin, Arocena has been making a name for herself. A 26-year-old Havana native, she was accepted into one of Cuba’s most prestigious music schools at the age of nine. Since then, she has morphed into a prolific composer, musical director and singer. In 2007, she received the Martí y el Arte award for her music, and just this past year, she released her third album “Cubafonía.” At the beginning of her career Arocena is already making waves. When Arocena performed last Thursday at the Hopkins Center for the Arts, her versatility, talent and energy were on full display. Arocena sang a mixture of upbeat crowd-pleasers like “Mambo Na’ Mà” and “La Rumba Me Llamo Yo” with her more sentimental pieces like “Todo Por Amor.” The common thread throughout each song was her excitement to be on a stage singing her compositions. The performance was at once

a wonderful experience and a lear ning opportunity. Before several songs, Arocena paused to cheerfully explain the origins of the beats and rhythms she would be using in the next piece, sharing Cuban history in the process. Recognizing that many of her audience members were not familiar with the rumba and other musical traditions of her home country, she responded welcomingly, sharing her home culture in a way that was both fun and educational. A stellar band supplemented the Cuban powerhouse. Jorge Luis Lagarza, Arocena’s pianist, opened the show with a brief organ solo. After that, he alternated between a standard piano and an electronic keyboard, occasionally playing both at the same time or providing back-up vocals. Rafael Aldama alternated between an electric and upright bass. Drummer Ruly Herrera, who has released an album of his own called “Mal Tiempo,” was extremely entertaining to watch as he tapped out the rhythms and beats of Arocena’s songs. The small group often bantered on stage in between songs, adding a fun and personal feeling to the show. Arocena often got in on her band’s fun and encouraged her audience to do so as well. She employed audience members as backup vocals, teaching them Spanish phrases and cueing them in. One moment called for audience participation. Arocena brought onto the stage a woman from the crowd, attending the

COURTESY OF DAYMÉ AROCENA

Arocena is not just a singer, but also a prolific composer and musical director.

COURTESY OF DAYMÉ AROCENA

Twenty-six-year-old Havana native Daymé Arocena performed at the Hopkins Center for the Arts last Thursday night.

show with her husband, to show her how Cubans expressed love to one another — through repeatedly singing the phrase “I love you” on their knees with an upbeat drum beat behind them. Arocena then gave the audience member a hug for being a good sport. “You see now why it had to be you and not your husband,” she said as the audience roared with laughter. Arocena was endearing and genuine, and her pure love for music and people was the main

takeaway from the performance. One of my favorite moments came when she talked about her parents, who have been married many years and have worked through their issues with love and understanding. This was followed by a performance of the sweet “Todo Por Amor,” inspired by and dedicated to her parents. Religion is an inspiration for much of Arocena’s work. The singer practices Santería, an Afro-Cuban belief system that draws from both the Catholicism

COURTESY OF DAYMÉ AROCENA

The artist won the prestigious Martí y el Arte award for her music in 2007.

of Cuba’s Spanish colonizers and from the rituals of the West African men and women they enslaved for work on the islands. Meaning “the worship of saints,” Santería encourages believers to live harmoniously and ethically. Through good works and behavior, practitioners seek to maintain and grow a spiritual energy or force in themselves which is present in all things. Arocena frequently referenced Santeria and her beliefs in the lyrics of her songs, and she performed in all white, an important color in Santería. Before introducing “Gods of Yoruba,” a piece about her religion and the spiritual connection she feels to the slaves who began it, Arocena expressed the joy she felt being able to celebrate her history and religion on the stage with her audience. Since Arocena’s show, she has dominated my Spotify stream. I firmly believe that Arocena’s remarkable talent and personality will continue to gain recognition for the artist herself and the country that inspires so much of her work. In the last moments of her performance, the crowd rose to a standing ovation. Arocena told her band to keep playing. She wanted to see people dancing, and she did.

The Dartmouth 04/17/18  
The Dartmouth 04/17/18  
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