This month in Literary Ashland

Last week Ashland celebrated William Stafford’s birthday with Thursday’s reading at SOU’s Hannon Library featuring “poets from eighteen to eighty,” including Eugene poets Ingrid Wendt and Ralph Salisbury and the Rogue Valley’s Kasey Mohammad, Marisa Petersen, Michael Holstein, and Lucia Hadella. It was a sonogrammatic, “you-may-open-your-eyes,” yowling celebration of Stafford, rounded out with Vince Wixon’s archives report, audience readings and a showing of the short film “Every War Has Two Losers.”

This week, don’t miss Robert Arellano’s Thursday evening reading from his acclaimed Curse the Names. It’s part of his west coast book tour and you can hear him at Bloomsbury Books on January 26 at 7 pm. Here’s a link to the Literary Ashland review.

There’s still time to see Dan Verner’s retrospective in the Stevenson Union Gallery at SOU. “Now & Then” is a retrospective his Verner’s series “The Call” and “The Religious” as well as his witty assemblages.

Coming your way in February at the Illahe Studios and Gallery on Fourth Street, there’s Poetry in the Neighborhood with Dave Harvey, Morgan Hunt, and Ashland High School “Voices of the Young.” That’s Thursday, February 16, at 7 pm.

If you want to explore a different perspective on civility, you might think about submitting something to the Summer 2012 issue of Oregon Humanities, on the theme “Fight.” Check out their site for more info on proposals and drafts.

At the end of February, the Ashland Public Library celebrate its centennial on February 26, and on February 29, award-winning author Hampton Sides will be featured at the Southern Oregon Arts & Lecture Series at the South Medford High School Auditorium, 7:30 PM.

And coming soon on Literary Ashland–interviews with Courtney Pondelick and Pat Brewer, more clips from Bill Cameron and a visit to Bauman Rare Books.

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An Interview with Amy Richard and Kit Leary

This week Literary Ashland features Amy Richard and Kathleen (Kit) Leary, authors of the photographic history Oregon Shakespeare Festival, part of the Images of America series by Arcadia Press. Published in 2009, Oregon Shakespeare Festival, chronicles the story of Ashland’s renowned theatre company beginning with that first Chautauqua in the 1890s. The 200 images, from the OSF’s archival collection, the Southern Oregon Historical Society and the Terry Skibby collection, document the growth, change and challenges of the Festival. You’ll see people too—from historical figures like William Jennings Bryan, Duke Ellington and Ginger Rogers—to others that you may run into around town.

Amy Richard joined the Oregon Shakespeare Festival in 1998 as the Media Relations Manager. Kit Leary served as the Festival Archivist for the Oregon Shakespeare Festival from 1986 until her retirement in 2011.

EB: How did you come to write your book, Oregon Shakespeare Festival?

AR: Arcadia Publishing contacted OSF about writers who might author a book about Ashland. I believe they asked if Kit might want to, but she deferred and offered some suggestions for local writers with deep knowledge of the city. A few weeks later we received another call from Arcadia asking if someone at OSF would like to write a book about the organization. Since we were about to celebrate our 75th anniversary it seemed a propitious time to have a book for our audiences. After discussions with various folks here at OSF, Kit and I decided to co-author the book. The anniversary committee had been talking about creating a video or a book, but it’s an expensive endeavor, and Arcadia made it more affordable as it took on the publishing costs, and OSF would pay photographer fees and Actors Equity Association fees. OSF gets a small royalty on each sale. We haven’t covered the costs yet, but maybe some day!

KL: It’s my recollection that Arcadia hadn’t yet cracked the Southern Oregon area with their books so they contacted OSF and maybe other groups. Our Arcadia contact had grown up in Oregon and was familiar with OSF and Ashland. Originally the thought was for it to be a combined book about Ashland and OSF together in one book. I felt that others knew more about Ashland than I did and that it would take quite a lot of work to research for me, outside of my regular job. I mentioned several other names of people who I knew were authors of articles or books about local history and might like the work. One of them said they knew about Ashland, but that I should write the book about OSF. I mentioned this to Amy, and word got back to Arcadia too.

In the meantime, I knew that the Tudor Guild had been hungering for some sort of history book on OSF to sell in the Tudor Guild since The Golden Fire by Ed and Mary Brubaker had come out around 1985 for the 50th Anniversary Season. Amy and I had also earlier worked together on a feature article about OSF history in the Souvenir Program for the 60th, I think, and then it was published as a separate piece around the 2000 or 2001 season. It seemed logical for the two of us to take it on when Arcadia approached us about doing a book devoted exclusively to OSF.

EB: What’s the process of telling a story through photos? Do you have an overarching theme in mind and look for ways to illustrate that or did the photos suggest the themes?

AR: I would say knowledge of the image collection informed the narrative line, but the narrative ultimately guided the choice of photos. We started by creating an outline of the various major events over the years and then distilled it down to sections which then became chapters. Of course, one has to work within the Arcadia template that dictates number of photos, words, etc., so we had to keep that in mind as we decided how to lay out the sections. I think we had six or seven chapters to begin with and then eventually honed it down to five.

For example, because the OSF archives have some great images of the Chautauqua years (as does local historian Terry Skibby) that preceded the founding of OSF, as well as the archives’ early photos of Angus Bowmer before he arrived in Ashland, we definitely wanted to get those images in the book. So the first chapter was an attempt to tell the story, through text and images, how accident, fate and coincidence can bring the right man to the right town at an opportune time.

KL: All Arcadia books are primarily photos, with lengthy captions, so we knew they had to be dynamic pictures to draw people in and interesting comments or connections that would drive it forward. We really wanted to tell the story of how this major regional theatre started in this small town during the Depression with Angus Bowmer’s vision, and how it grew to what it is today. It didn’t just happen. We also wanted to tell what Angus had done in his life that led him to Ashland and to collaborate with the community to start the whole thing going. There was a foundation laid by earlier cultural activities in the Valley, including the three Chautauqua theatres on the site of the Elizabethan Stage. We also wanted to take it roughly in chronological order to show that one thing led to another.

I knew there were wonderful pictures or events that I wanted to get into the book which I had learned about from previous reference requests or dealing with researchers for so many years. Amy knew some of these, but not all. Additionally, we wanted to cover the whole of OSF, not just the actors and the plays on stage. It really takes people working in collaboration for the “Ashland Experience” to come about.

Kit Leary and Amy Richard by Jenny Graham
Photo by Jenny Graham

EB: How did you decide which photos to use?

AR: That was tough. There were so many choices. We wanted to show the changes that had occurred, highlight people and events that were critical to OSF’s success, show the breadth and depth of the work that occurs here, and share images from productions that company members and audiences have held dear. The book lends itself to horizontal images, but as I laid out the pages and wrote, I wanted to provide visual variety. And of course, some images are just better than others.

KL: Sometimes, there might have been only one picture I could find of some event, and we went with that, and I searched and searched for some pictures. We did leave some things out because I couldn’t find a picture. Usually there were a whole lot, and I gave Amy about five choices and she chose one. At some point we had too many pictures for one chapter and not enough for others, so we balanced it out a little.

EB: What was your collaboration like? Were you each involved in everything or did you divide up the tasks?

AR: In a nutshell, Kit was the researcher and I was the writer. We felt it would be difficult to hold on to the narrative line if we both wrote and that we needed one voice throughout the book. So Kit pulled a ton of images and I sorted through them and wrote, and sometimes I’d ask if there was a specific image to illustrate an event, and she’d find it or tell me no. Often I’d find I didn’t have enough information about an image I wanted to use, and she would delve into the archives to find what was needed. The collaboration worked well.

KL: Amy’s right that she was largely the writer, though she would ask me for a few more words for some caption and I’d help her out there. I found most of the pictures, but she would ask for specific ones sometimes, too. I did fact-checking and proofreading on what she wrote. In the outlining stage at the start, I also added some events for chapters since I knew when something started like Park Talks or Backstage Tours. As I said, we were doing it in chronological order, so we wanted to get the dates right.

EB: Your book draws on a great tradition of OSF documentation and archiving. Can you tell us a little about that? What was the scope of the material that you had to choose from?

AR: I think Kit can address that question more accurately, but there was a massive amount of material. I found I used the yearly souvenir programs a great deal. The information and images in those programs was invaluable to fleshing out the narrative and in pointing us toward some great images.

KL: The Archives has not only photographic images, but audio and video recordings, scripts and production books, reviews and feature stories about the artistic side of the operation, but also board minutes, press releases, oral histories, publications, marketing materials, financial and construction records on the administrative side. We drew on all of it.

EB: What did you learn in writing the book?

AR: I was blown away by the dedication, collaboration and hard work that went on through the 75 years of this organization. Not only by company members, but by the community…and not just Ashland. OSF had close relationships with Medford and Rogue Valley individuals, organizations and companies. OSF was built by the Rogue Valley community and it seems the entire valley felt ownership and pride in OSF. Unfortunately, that seems to have greatly diminished in the last three to four decades.

KL: I learned about many things in more detail than I knew from just working on a particular request that I had perhaps five years before, but hadn’t the luxury to go back and delve into. Also, as I was researching one thing, I would stumble on something else that was crucial. It was all about laying the foundation. I also became more and more indebted that Angus Bowmer and Bill Patton were packrats. After the book came out, it was also great to see people look at a picture and show true excitement over that relative of theirs or that fond memory of a production they had seen. Amy also interviewed people who were in the pictures and they told funny stories or recalled something that happened at the time of the picture. Amy was able to bring gems to the caption writing.

EB: Are there any plans for a sequel or other works drawing on OSF archives?

AR: Not at this point! Maybe for the 100th anniversary!

KL: I defer to Amy on this.

EB: It was really interesting to me to see photos of current company members when they were younger—I almost felt like I was looking at their personal albums. What’s been the response from the OSF company members and from patrons?

AR: I don’t have exact sales numbers at my fingertips, but what I hear from the Tudor Guild is that the response has been very positive.

KL: Showing pictures of current company members in their younger days also shows off the dedication and longevity and versatility of these theatre artists. Longevity and the repertory are two esteemed values at OSF.

My impression is that the response has been very good. Arcadia is pleased too, since apparently this book has had more printings than some others they have published. The book also won an award from the City of Ashland and was nominated for a national award from the Theatre Library Association. The Tudor Guild loves having it in the shop and it is available at many other venues as well, including the drug store and the hardware store. We are happy to have that interest from the community.

EB: Thanks for the interview.

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Life, Liberty and the Pursuit of Happiness

Last month I attended a memorial reading in honor of Ralph Temple, who passed away in August at the age of 78. I only knew him slightly but admired him a lot. He worked with Thurgood Marshall and Martin Luther King, Jr. Later, during his career with the ACLU, where he served as legal director of the American Civil Liberties Union in Washington, D.C., he represented Dr. Spock, Joan Baez, and others. And after his retirement to Ashland, he remained active in civil liberties issues, tasing, jail conditions, the right to demonstrate in city parks, the rights of the homeless, and nudity. And he wrote—stories, essays, reflections, letters to the editor, even humorous pieces like a faux review of a play his grandchildren appeared in.

I bought a copy of his memoirs, Life, Liberty and the Pursuit of Happiness by Akashic Books. It vanished and reappeared on Christmas and I’ve spent some time since then reading some of Temple’s essays and taking another look at the ones from the gathering at Bloomsbury Books on December 10.

Life, Liberty and the Pursuit of Happiness contains 34 essays by Ralph Temple. Most are short–letters to the editor really but there are some longer pieces like “St. Augustine 1964,” his recollection of the early civil rights struggles in the South. The essays trace his life from the 1930s (an English immigrant in Miami) to 2009 (facing heart surgery). Early on in his life, Temple’s mother instills a fighting spirit and sense of justice, when she instructs Ralph to punch another boy in the face for insulting his faith.

The army. Law school. And then Camelot. Temple ends up an ACLU lawyer for a time, in the thick of legal history. The volume includes his letter in defense of the Skokie Nazis right to march, an essay on the right of Iranians to demonstrate, another on the right of Quakers to practice civil disobedience, and one on the indefensibility of racial profiling. There’s a cogent “Creed of a Liberal” and some legal strategy to boot.

The volume ends with reflections of illness, surgery, death, and courage. Through it all, Ralph Temple is Rawlsian, asking readers again and again how they would judge actions if they didn’t know whether they were the infringer or infringed. And in the final essay, “Whistling in the Dark,” he imagines negotiating with God for children’s lives, a perhaps for is. When his son-in-law mentions his he is brave to undergo heart surgery, Temple replies “I’m not brave. I had no choice.” He was being unduly modest.

Life, Liberty and the Pursuit of Happiness will be available as an ebook. Don’t miss it. And don’t skip the long essays.

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An Interview with Travis Chaney

This week Literary Ashland interviews Scrabble expert Travis Chaney.

Travis Chaney grew up on the border of Oklahoma and Arkansas and began playing Scrabble in his early twenties. Since then he’s become the first player in history to attain expert ratings in Spanish and English Scrabble simultaneously. He competes nationally and internationally and also organized Scrabble tournaments.

EB: How did you get interested in Scrabble? Were you always someone who was interested in games?

TC: I started playing informally after I graduated from high school. I wasn’t a big board game player, but I realized that I had a knack for Scrabble, so I contacted Hasbro inquiring about competitive play. They directed me to the only club in Arkansas, about a four and half hour drive to Jonesboro. I played a session with them, liked it, returned a couple of a months later to Jonesboro to play in my first tournament, got hooked on the tournament scene, and have continued participating.

EB: How long did it take to become an expert player?

TC: It was a slow process for me. I attained a rating of 1600 (considered an “expert” rating) for the first in April of 2002, about 6 years after I played in my first tournament. It took another few years for me to attain what I call “world class” level of play. The tourney scene has evolved significantly since I first started playing. What was considered an expert back then is a mere intermediate level player nowadays.

EB: How do you study or train for tournaments?

TC: Most just studying word lists. I use a study program called Zyzzyva to generate special lists (for example, all the four letter words with a display of letters that can be hooked to the front or back; or all the seven-letter words in order of probability). I play online at Facebook with other top players. Additionally, I play and simulate games using Quackle, a Scrabble-like program developed by high-ranking Scrabblers.

EB: About how often do you complete?

TC: I like to play in about four or five tournaments per year. Since I’ve begun my master’s degree studies and have been training to play in Spanish-language tournaments, I haven’t been able to play in as many the last couple of years.

EB: You’ve studied some of the research on Scrabble. So let me ask, what does it take to be a strong Scrabble player?

TC: Many people have the idea that to be a good player, one must have a mastery of the English language, that someone like an English professor must have a natural propensity toward being an expert Scrabbler. This was well illustrated with a recent comical Xtranormal video online, entitled “So You Want to Be a Professional Scrabble Player?,” written by an actual tournament player. Quite to the contrary, many of the top tournament Scrabble players are great because they have great rote memorization, are able to find (unscramble) patterns in random letters and are mathematicians with understandings of probabilities. Some are not even English speakers at all (e.g., many players from Thailand, where English Scrabble is hugely popular). Even among those who do speak English natively, bystanders who watch a game will often comment: “That is a weird word. What does it mean?” to which the answer is quite frequently “I have no idea.”

EB: I wonder if, or how, tournament Scrabble players’ use of language by their study of the lexicon and of morphological and transpositional characteristics of words. What do you think about that?

TC: One very logical example of how tournament Scrabble might affect one aspect of one’s use of language would be to examine his/her writings. In 2001, Stefan Fatsis’ published Word Freak–Heartbreak, Triumph, Genius, and Obsession in the World of Competive Scrabble Players, a book which was an instant hit–not only among competitive Scrabble players. It is evident that the experience of playing Scrabble competitively (he eventually attained expert tournament rating status) affected his approach to language. For instance, he added an Appendix to his book which states:

    I wrote this book according to the rules of competitive Scrabble. Whenever I wondered whether a word was a word, I consulted the game’s bibles: Official Tournament and Club Word List and/or Merriam Webster’s Collegiate Dictionary, Tenth Edition. As a result, almost every two- through fifteen-letter word in the text that isn’t capitalized, hyphenated, contracted, foreign, part of a multiword phrase, or marked with an asterisk is playable in Scrabble.

On the bottom half of the page, he goes on to list every single word in the book that is unacceptable in Scrabble, words like expertdom, experthood, industrywide, neurolinguistic, supergenius and windowless.

EB: So Scrabble expertise can prompt writers to access certain types of words or spellings.

TC: Yes. A few years later, Stefan Fatsis published the book A Few Seconds of Panic in which he documents his experience trying out as a placekicker for the Denver Broncos. As an experiment, I opened to a random page to find some evidence of Scrabble knowledge’s influence. I opened to page 307, where he uses metaphorically the word scimitar. It is quite possible that this word is greater in his awareness because he is likely aware that the word has an alternate spelling of scimetar (along with scimiter, semitar, semitaur, simitar, symitar and symitare if we include British dictionary entries) and that scimetar is in a group of anagrams that also includes ceramist, matrices and mistrace and that this anagram group is fairly high in the probability of eight-letter words (think of seven Scrabble tiles from, through or into another tile on the board), coming in at 4237 out of 40622 (based on computerized probability calculations). In an email correspondence, he mentioned specifically that he dropped the words tsktsks and tennistinto articles he had written for the Wall Street Journal.

EB: Do other Scrabble writers do this as well?

TC: Sure. Another example is from a book written by Scrabble expert Paul McCarthy, Letterati . Page 136 ends with this paragraph:

    The letterati take pride in their word knowledge. After a match it’s not uncommon for a kibbitzer to ask, “Why didn’t you play OCARINA in turn four?” Players also get more satisfaction from slapping down a word like RETIARII than RETAINS, even if they score the same number of points because it demonstrates prowess. It’s not unheard of for someone to play an unusual word when a more prosaic alternative is the strategically best play, because the unusual word is proof of a long-term study commitment.

Notice his use of the word kibbitzer. This is from kibbitz, meaning “to look on and offer unwanted, usually meddlesome, advice to others.” This word is not particularly common; my Google search of the similar word kibbutz yields 3.6 million hits versus just 513,000 for kibbitz. It can be assumed fairly straightforwardly, that kibbitz word would be of interest to a Scrabble player, since it is a seven-letter word–Scrabblers are particularly interested in using all seven of their tiles for a bonus play–and because it involves a number of mid- and high-value tiles, the K worth five points, the B’s three points each. and the Z ten points, creating a significant scoring potential (albeit quite unlikely). Interestingly, if kibbitz is typed in a Google search, it automatically brings up results with kibitz, apparently the more common spelling.

Also, notice that three words begin with the letters P-R-O in the paragraph from McCarthy: prowess, prosaic and proof. Could this also be influenced by the way a Scrabble player organizes like words and looks for common prefixes like pro-?

EB: So writers who are Scrabble experts have certain words or types of words primed for use in their writing.

TC: It seems so. Here’s another illustration. I compared three randomly selected pages from Letterati with three pages of from jazz critic Gary Giddins’ book Weather Bird: Jazz at the Dawn of Its Second Century to see if Scrabble word study influences the length of words used. Scrabble players rarely study words longer than 9 letters (because these words rarely ever come about on their 15 space by 15 space boards), so I counted the number of distinct instances of words of 10 letters or longer. On the pages selected, McCarthy’s book yielded 15, 6, and 8 long words, all of which were common except for expurgation. On the other hand, Giddins’ pages contained 15, 18 and 18, including significantly more erudite words like irascibility, masterworks, and suburbanite. I propose that this lesser concentration of polysyllabics, too, is a manifestation of the focus of a Scrabble players’ word study.

EB: What about the speech of Scrabble players?

TC: Written language is one thing; spoken is quite another. In general, it seems that word knowledge has less influence on the spoken part of language of Scrabble players than the written. Marlon Hill, one of the most highly rated Scrabble players in the United States, has an enormous knowledge of words and an extraordinary ability to anagram. Nevertheless, this clip from the documentary Word Wars shows that his manner of speaking and his choice of words is influenced more by his cultural surroundings. Other interviews by competitive Scrabble players also shows that in general they are not any more grandiloquent than their non-Scrabble-playing counterparts. In fact, the only player to have won two World Championships, Nigel Richards, considered to be the greatest player who ever lived, and who established his word knowledge not by reading lists but by reading the source dictionaries and memorizing them eidetically, is notoriously laconic when it comes to conversation and absolutely refuses interviews from the press. His acceptance speech after winning the 2011 championship was one word: “Nice!”

EB: Does the same hold true for Spanish-language players?

TC: As the sole expert tournament Scrabble player in the world who competes in both English and Spanish, I can say with some certainty that this also appears to be the case among the Spanish-language players: I rarely hear words that fall outside of the speech of normal persons conversing out on the street. Of course, it should be added that the microcosm of competitive Scrabble–like any other niche of aficionados–has its own little argot which means little to those outside the community. It is not uncommon to hear words and phrases like “stems” (groups of letters likely to produce bingos, e.g. AEINST), “triple-triple” (a word which touches two triple word score squares, increasing the word value nine-fold), “hooks” (letters that can be added to the front or back of a word to create another word, e.g. J to the front of NANA to create JNANA) and “outbingo” (to score more bingos, or bonus plays, than one’s opponent).

EB: It sounds like applied linguistics.

TC: Yes, despite their apathy toward learning the definitions to all the words in their heads, Scrabble players are remarkable in tune with morphology, even if they do not know what that means. They would refer to morphemes as “hooks” or “extensions.” They think a lot about how to increase the value of a word by adding morphemes like out-, mis-, -ation, -ment, etc. One classic example is a legendary play by Jim Geary, who played EXISTENT from the triple word score in the lower left hand corner of the board, only to extend it to EXISTENTIALISTS later in the game. Probably only a Scrabble player would think to front-hook TEMPORAL to create ATEMPORAL, front-extend SNORING to OUTSNORING or wrap letters around ALLERGEN to create ANTIALLERGENIC. (These sorts of plays rarely ever happen, but they happen in discussion and theory quite frequently.)

EB: Does the method of study differ from language to language?

TC: Spanish-language players focus a great deal of their study time on learning verbs. Since each verb has scores of inflections, learning one word means learning 40. Likewise most adjectives have feminine and masculine forms and plurals of each of those and frequently turn into adverbs with the addition of –mente. Therefore, even though they may never encounter the word SAINETEE in any text, they are quite familiar with the infinitive form SAINETEAR and would easily find the play through an existing letter on the board. Even those who do not speak the language, like many of the players from Thailand, must understand something about basic morphology in order to be effective at the world championship level. They must know that WIRELESS can be a verb, inflected to WIRELESSED, WIRELESSES and WIRELESSING, for instance, a fact that would not be intuitive even to a native speaker of English.

EB: Would it be fair to say that Scrabble players are only average at language and just better and word memorization and unscrambling obscure words?

TC: Not necessarily. A recent study by Diane Halpern of Claremont McKenna College and Jonathan Wai of Vanderbilt University, found that Scrabble experts performed better at certain verbal and visuospatial tasks and in lexical decision task than as compared to high-achieving college students. So, while Scrabble players may not use many more obscure words in their speech or writing, they are more likely to recognize these words, whether that involves mere salience or actually full comprehension.

EB: I wonder if Scrabble plays a role in the preservation of words that might otherwise be lost.

TC: It is not conclusive that Scrabble word knowledge profoundly affects evident, everyday verbal and written expressions, but there are indications that such knowledge influences in more subtle ways the persons’ use of words, especially with respect to written language, and their awareness of the technical aspects of language like morphology. If a player is proud to show of his lexical prowess on the board, why not occasionally in conversation with an interlocutor? While their use of sesquipedialians longer than the 15-letter words that fit on a board are likely no more frequent that someone who might have never played a game of Scrabble, it is inevitable that the vastly greater numbers of words in their brain are more probable to appear from time to time in conversation, even if they know a lower proportion of definitions to words. As words boom and sizzle in the evolution of language, Scrabble players surely play a role as preservers and presenters of the arcane and antiquated, even if those words they place on the board are never uttered from their lips.

EB: Thanks for talking with me about this.

TC: You’re very welcome.

The Ashland Scrabble Club meets Sundays at noon at the Boulevard Café in the Stratford Inn.

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