6 Weekender Friday, February 17, 1978
Vellar Door' on sale
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Tyson comes to Gerrard
Willie Tyson has been described as a "Lily Tomlin with a C&W guitar." She's the kind of
performer who really thrives on an audience. Triangle audiences will get their first such
opportunity at 8 p.m. Saturday Feb. 1 8 as Willie appears in a Chapel Hill concert with Susan
Abod at Gerrard Hall (next to Memorial Hall). A Southern singer songwriter comic and
musician, Willie sings country-folk and blues, with a touch of jazz, and plays an excellent 1 2
string guitar. Her primary focus, though, has been as a lyricist, and she's been shooting the
music industry an armful of sharp satirical lyrics:
Bridal veils, wedding bells, Three-tiered cakes and rice Novice nerves,
highway curves A honeymoon suite with lice Kids, kittens, winter mittens
Budgets, bridge, and rum Divorce, remorse, a month in court And right back
where you started from.
Willie loves "lyrics with a twist of humor and also with a twist of meaning, if 1 can manage
it," and manage it she does on her latest album. Debutante (Urana Records). The title song
features an outrageous mix-up that occurs in an unnamed Southern town when the
debutante ball and the local cattle auction coincide ("The best cows on four legs and the
prettiest gals on two"). Another cut takes off on Wall Street, and in "Levee Blues" she
declares: "If they want white floors in heaven, you know, Jesus gonna have to keep 'em
clean."
Appearing with Willie Tyson at UNC will be Artemis, a women's band from Greensboro.
Admission is S3 at the door, and childcare is provided. The event is sponsored by the
Association for Women Students and is a Cerridwen Production (286-9452).
A Landmark
in Unique Shopping
The Old Mill in Carrboro is a distinctive shopping
experience. Why? . . . Because ot its relaxed, attractive
atmosphere complimented by Carr Mill's exciting variety ot"
specialty shops. Historic preservation and continued
customer service are important to all our merchants.
Keeping the original wooden floors uncluttered and tilling
our stores with unique items make your shopping a genuine
pleasure. Come by today and visit our friendly merchants...
You'll enjoy it.
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Mil
Cirr Mill
shopping village
mil-
PARKING mma
"',r''M
UNC-
Mall hours
Monday-Friday, 10-9 '
Saturday, 10-6
Grow in' Green
Bird-tn-IIand, Ltd.
Knockarounds
Craiy Horse
Foxglove
Head Over Heels
McGinty's Sports Shop
Remnants of the Mill
The Tin Ceiling
Hosanna House Restaurant
Cook's Bazaar
Harvey's Warehouse
Revco Drugs
Doofinkey's
Foto Express
HaiTis-Teeter Foods
College Cafe
This End Up
Bizzy Bee
Mack's Variety
Old Mine
Snack Shack
Good-looking graphics
By CAROLYN JACK
DTH Contributor
Yes, folks, it's that time of year again. The
Fall 1977 Cellar Door has arrived, marking
the fifth year of the publication's existence.
Like most of the issues preceding it, this
semester's Door boasts some undeniable
glimmers of talent. Especially noteworthy is
the unusual abundance of graphics; the
black-and-white photographs of Allen
Jernigan, Greg Hutchinson, and Alex
Standefer deal with interesting subject
matter and perspective. They are; also
remarkably unmuddy. Contrast is well
defined, and images are indentit'iable.
The prose and poetry fall into more
predictable descriptive terms than the
photography. What has held true for most
undergraduate literature in the past is
certainly applicable here: the pieces display
both ambition and ability but are flawed in a
number of ways.
The best of the prose works is "Well
Water," by Clay Carmichael. Terse, effective
dialogue and consistency of language bridge
the several changes in point of view to unify
the story. As well, Carmichael's
unromanticized imagery and sensitivity for
detail maintain the almost brutally realistic
flavor of the piece. Those readers interested
in plot may be disappointed by the cryptic
nature of the story, but for technique and
imagination, "Well Water" tops the list of
this semester's prose selections.
The problem with incomprehensibility
crops up in Bruce May's "Call Me Utah," a
common plague of undergraduate literature
due to young authors going' overboard in
trying to insure thematic depth. May's
difficulties arise from the quality of his
narration, a stream-of -consciousness that is
too abrupt, disjointed, and loaded with
capitalized theme words to adequately
reflect the subtle workings of a mind. "Call
Me Utah" does, however, exhibit a flair for
brusque, sweaty imagery and no-nonsense
dialogue; only in switching to the characters'
thought processes does the rhythm of the
story falter.
Dialogue and description appear high on
the list of skills for Door contributors, the
same being true of "The Guest," by Sally
Stewart. Stewart falls into a stylistic snare
though, as both categories wind too long,
dragging down the tempo of the story.
Unfortunately, too, Stewart fails to lend the
intended significance of emotion to the
trivial events of "The Guest," another
casualty of the slowed rhythm in a too
detailed short work.
The remaining two stories, "February
Quail," and "Nice Men," by John Alder and
Marianne Hansen, respectively, show noble
literary intentions but suffer from major
problems. "February Quail" attempts a
contemplative, pastoral mood but loses
impact because of the repetitive action and
excessive use of modifiers. Another
disconcerting aspect of Adler's style is the
inconsistency between thought and
dialogue; what the hunter thinks is phrased
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The Cellar Door, Carolina's
undergraduate literary magazine, has
arrived.
far differently than what he says. Adler has
created the meditations of a George Bernard
Shaw and the verbalizations of a Billy
Carter. Hansen's "Nice Men" is marred by a
similar incongruity, for her narrator, a Viet
Cong prostitute, ponders her fate with the
vocabulary of a college graduate. Moreover,
while the message of the piece is a valid one,
the horrors-of-Viet-Nam subject matter
limps from overuse. '
Theresa Wooddall leads the roster of
poetry contributors in both the number and
quality of her creations. Alternating between
crisp, practical phrasing and an alliterative,
lyrical tone, Wooddall manages to convey
romanticism that is somehow very 20th
century, an unsentimental sensitivity.
"Jinny" and "The Proposal" are particularly
effective, the first producing the sensation of
images viewed through a lamplit window,
the second juxtaposing the realistic and the
rhapsodic in a modern woman's nature.
Other notable efforts include Kathryn
Bowlin's "Offering," whose images are
almost tangible although they are described
in a rhythm that halts and wobbles. " 1 4th St.
Fruit," by Peter Hapke and "Eyes at Night,"
by V. H. Burns both refresh the senses with
their unhackneyed perceptions and simple
language; each piece reads clearly and with
meaning.
Unfortunately, this is not true of Edna C.
Brown's poem, "Untitled." With imagery
reminiscent of Hunter Thompson on a
bender while reading The Joy of Cooking,
this piece founders in the mire of cute
esotericism. Brown does have a nice sense of
whimsy and has selected her images with
care, but their purpose becomes muddled in
the excess of fantasy; insufficient contrast in
description loses the message in a morass.
This poem could pass as a cluttered Randy
Newman song entitled "Fat People."
The idea to bear in mind while reading '
Cellar Door is that any literature in it is the
work of a budding artist, not an established
one. The contributions may not be worthy of
a Nobel Prize, but they are praiseworthy for
having been written at all; exercises in
developing a mature style and an innovative
approach, they all required ambition and
effort. The Fall 1977 Cellar Door contains its
share of both skill and errors, but the
mistakes are a valuable learning experience
for both writer and audience, and its
achievements are a delight. It is well worth
your money.
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