West Begins to Take Shape at Construction Site

Noticeable Construction has Started at Sturgis West

By Meghan Agostinelli, co-editor

All photos by Alicia Pollard, co-editor

Starting at Sturgis East, head west down Main Street, drive around the West End rotary, drive past the Melody Tent, and take a left onto a dusty road just before the Stop & Shop petrol station. You have now arrived at the future home for Sturgis West.

Using a large crane a sub-foundation panel is moved into place.

At present, the site looks like a “big jigsaw puzzle” as aptly described by Mr. Hyer. A
huge pile of sand is located in the middle of the construction site. But, the full foundation is laid in place, indicating the large footprint of what will become of the two-story construction. Piles of pipes lie in various areas throughout the site. About a dozen modules, all transported here from Pennsylvania, stand in a row. Each module is covered with white tarp, and each has been written on in red ink to indicate where the piece will later be placed.
          
Although much work remains, the construction workers are rapidly making headway. Two modules, including windows, has been put upon the foundation, and completely assembled.

Facing East: A view of the crawl space. The basement is in the distance.

Watership Down a Rare Treasure

by Alicia Pollard, staff reporter

Watership Down is one of those rare treasures that hide behind a humble appearance seemingly dull premise: a book about rabbits sounds dry at best, but is a poor description of Richard Adams’ incredible story. Watership Down is a window into a captivating world where men are one of a thousand enemies, survival is paramount but precarious, and the veil between natural and supernatural unravels. The language, characters and storyline are so vivid as to make them as real as the reader’s armchair: the tension of escaping an unknown doom, one rabbit’s tenuous, frightened possession of the second sight, and the peril of escaping an evil, prison-like warren. Adams masterfully blends the portrayal of a rabbit’s life with the humor, courage and friendship of humans.

            Adams’ rich language is vibrant in its description yet clear in its expression. Without dragging down the story with boring digressions, he lets portraits of wildlife’s beauty steal into the action so that both the peace of quiet moments and the tension of dangerous ones come alive. Though avoiding elaborate, clumsy wording, phrases such as “sunset…red in clouds” (12) and “far land of wild mountains”(356) catch the reader’s imagination yet disappear into the intertwinement of setting and atmosphere.  He describes but the characters’ feelings with a gentle, meditative tone and descriptions such as “delightful sense of security” (89) that keeps the omniscience of a narrator and the temperament of the character.

            The characters in Watership Down are charming and realistic, with the instincts and aims of rabbits but the flaws and strengths of humans. Hazel’s wise yet humble leadership, Bigwig’s proud but frank toughness, and Blackberry’s quiet ingenuity are endearing and entertaining. Adams has also made his villains as real as his heroes: heartless and ignorant as Cowslip and Strawberry, or cruel and calculating as General Woundwort and his Council – all as terrifying as complex, realistic villains should be. The characters are engaging from the first page and continue to captivate the reader as they grow and develop.

            One of the most fascinating elements of Watership Down is how Adams has woven culture into the rabbit’s lives. From explanations about the world’s beginning to why some litters miscarriage, the rabbit folktales sprinkled throughout the story are entertaining and enhance the main plot. The glimpses into the mystery of the folktale’s truthfulness also bind them to the central storyline: Fiver’s truthful prophecies, the storm which helped Bigwig and his fugitives escape from General Woundwort, and Vilthuril’s retelling of one of Hazel’s adventures as a folktale all speak of a society shaped by love of trickery and desire to survive. This colorful description of an animal culture so akin to human culture enriches each character.

            Watership Down is simple enough for young and older readers to enjoy, yet rich with imagery, language and characters that become three-dimensional from the first page. Adam’s work lets readers experience the thrill of an adventure and the deeper meaning of a quest.

"The Help" Turns Back Time

by Alicia Pollard, staff reporter

In a world where racism is quickly becoming a memory, “The Help” turns back time to when racism was not only tolerated but praised under the guise of respectability. Emma Stone as the shyly courageous Skeeter, Viola Davis as the wise but under-appreciated Aibleen, and Bryce Dallas Howard as the manipulative, fashionably cruel Hilly skillfully portray the battle of words and actions that goes on in Jackson, Mississippi between rich housewives and their poor “colored help”.
The movie’s filming elegantly captures the beauty of Mississippi in the glory of summer: Skeeter’s lonely bench beneath a magnificent weeping willow and the lush gardens of wealthy homes are ironically peaceful behind the cruelty and injustice of racism. The luxury of the white Hilly, Skeeter, Celia (Jessica Chastain) and Mae’s homes are a significant contrast to the plainness and small size of African American Aibleen and Minnie’s houses. The subtle emphasis on the racial divide of housing in the town is something of a shock today, but its seeming normality teaches the audience about the thoughtlessly selfish mentality of the early 1960s.
The costumes used in “The Help” both revealed the characters’ personalities and were a continual reminder of how different life was in the 60’s from today. Skeeter’s mother’s prized olive green dress (and why she gives it to Skeeter), Mae’s lovely purple floral dress, and Celia Foote’s unforgettably revealing red dress show the importance of being dainty, feminine and modest as a woman in this time period. The plain blue starched dress-and-apron that Aibleen, Minnie and the other maids wear demonstrates how they were viewed as inferior and suited mainly for work. A reminder of a past society and its values, the costumes used in “The Help” create an atmosphere of comfortable wealth and stretched poverty, stylish delicacy and coarse discrimination.
The acting in “The Help” is exceptional. Hilly’s demanding, superior attitude is an interesting contrast to Skeeter’s warm, easygoing personality. Jessica Chastain plays the kind-hearted but scatter-brained and oblivious Celia with strength and subtlety. Octavia Spencer is hilarious as the sassy, outspoken Minnie, and shone especially in how she carefully balanced Minnie’s confidence to others but allowance of her husband’s abuse. The cast of “The Help” deftly portrays the vast spectrum of characters and their diverse responses to racism - acceptance, obliviousness, or horror.
“The Help” is a captivating portrait of the relationships between the races at the beginning of the Civil Rights movement. Both the actors and scriptwriters skillfully kept a balance between the stereotypes of radical racism and passionate equality, both addressing the issue and making every character human with their own hopes, dreams and fears.