Vol. 74-No. 47 t] The University of Chicago Friday, April 22, 19S6Heagy new SC presidentby Joan PhillipsTom Heagy (GNOSIS), a fourth-year student in the College, was elected Student Govern¬ment president at the first meeting of the new SG Assembly Wednesday night by a voteof 28-11. He was unsuccessfully opposed for the presidency by Alan Bloom, an indepen¬dent representative from New Dorms.In the race for the vice-presiden- — —cy, Steven Silver (GNOSIS—SocialNew members of the SG execu-tive committee (exec) were also ,||®|elected at the meeting and by laws aflpgMp1* ^amendments relating to the exec W J- * ^were passed. ^ % 1 1BLOOM WAS elected SG secr.e- ;tary by a vote of 23-16 over Ed m \Birnbaum (Independent — College- iBHpk taS *■"at-large). \W, 1 ..For the i»>.; of treasurer, Mi £j|:C * & % ichael Yesner (Independent—Busi- " Jjg&BSS&iii. beat IDe tv.o-year incumbent ^jjPM gkJerry Lip-iii - Independent -Cob *lege-at largei was unanimously 1 ® tipll „ l1^P^elected campus action committee ... ^pf***®®^*4chairman, and incumbent election i ^and rules committee (E and R)chairman Danny J. Boggs wasunanimously re-elected.Also elected Wednesday nightwere the four members of the Eand R committee: Warren Coats(GNOSIS—Social Sciences), JerryHyman (GNOSIS — SocialSciences), Birnbaum, and PeterRatner (Independent—Pierce Tow¬er) were elected. Defeated were Rules committee membersattack University policiesby Mike SeidmanOutgoing SG president Bernie Grofman has called theUniversity administration “incredibly lax and incredibly stu¬pid” for “failing to provide housing in Hyde Park while atthe same time shouting from the roof tops its desire topromote community.”His was one of several attacks faculty apathy, the present situa-on University policy on student tion will continue.”housing and social rules in re¬sponse to the memorandum of deanof students Warner A. Wick on thereport of last year’s ad hoc student-faculty social rules committee.Wick’s memorandum, releasedlast week, acknowledged thatmany of the social rules commit¬tee’s proposals for the improve¬ment of the “college community”were useful, but called a numtoof them impractical.IN RESPONSE, Grofman stated,“Student Government was pleasedto see Wick adopt many of thecommittee’s recommendations. Butthere were many steps which Wick .could have taken and has not yet in areas of study ranging fromtaken. Women’s hours for first- and Egyptology to astrophysics willQuality increase neededOthers were less ready to ab¬solve the administration of respon¬sibility, particularly on the issue ofstudent dormitory housing. “If theconcept of dormitory house com-(Continued on page four)r Monday talks viewman, his potentialFive professors specializingSG president Bernie Grofman accepts an honorary gavel from hissuccessor Tom Heagy.Ken Shelton (Independent—Frater¬nities) and Timothy Naylor (Inde¬pendent—Burton-Judson. )AFTER THE election of Heagyas president, Hyman moved thatout-going president Bernie Grof- second-year students, for example,could have been liberalized withthe stroke of a pen.”Faculty members of the ad hocsocial rules committee, althoughnot quite as critical of Wick’smemorandum, nevertheless foundlarge parts of it unsatisfactory.Trailing PurdueRichard Flacks, assistant profes¬sor of sociology and a member ofthe committee, stated, “I think theUniversity is going to find itselftrailing behind others on women’shours. I heard recently that Pur¬due was abolishing its women’s' hours—that’s Purdue, not Sarahman be presented an honorary gav- Lawrence or something. It justseems to me that Wick is beingmore cautious than he has to be.”el. The motion passed, and Heagymade the presentation.Commenting upon Heagy’s pre¬vious involvement in student af¬fairs, Grofman observed that “thestudent leaders of yesterday arethe student leaders of tomorrow.”The by-laws amendments passedWednesday night abolished theexec community relations committeeand student services committee.The reason given for this movewas that these committees hadUniversity to send class ranks or gradesonly with individual student's consentA student’s grades or class rank will be reported to the Se¬lective Service only on specific request of the individual stu- never done anything since they haddent under a new UC draft procedure announced this week the exec wasby dean of students Warner A. Wick.A statement of policy and a stu- ~ ~dent authorization form to serve as mation simply at a draft board’spermission for the University to reqUest or without the knowledge« » » J nl infAr Wt <111 AH Q Koi 11 _ r i 1— _ ..i., a/I ^ coldsend official information aboutclass standing or grades should theSelective Service request it willsoon be mailed to every male UCstudent.See page three forIhe complete text ofDean Wick'sdraft statement the position of NSA coordinator.However, the NSA committee wasnot abolished. It will continue tofunction autonomously.The meeting was adjourned be¬fore the remaining two members... . . .. , , of the exec, the academic affairsUp until now information about commitlee chairman and theadmission, registration, withdraw¬al, expected date of graduation,of theWick. student concerned,” saidAccording to Wick, the purpose and division has been sent to draftboards for students who have filedSelective Service status cards withthe registrar, indicating that theyare seeking student deferments.“We had expected to announcethat having a card on file could betaken as approval to send informa¬tion,” said Wick, “but we havenow decided that students mustgive their permission first.”Wick also noted that a new Se- chairman of the committee on re¬cognized student organizations(CORSO), could be elected. Faculty members of the socialrules committee were, however, byno means unanimous in drawingthis conclusion. Professor of lawSoia Mentchikoff called women’shours “a phoney issue.”"I DON'T think anyone on thecommittee thought women’s hoursreally matter,” she stated. “Thisissue is symptomatic of the broad¬er problem of students relating totheir community. The number ofstudents really interested in wom¬en’s hours except as a form of ado¬lescent rebellion is minimal.”Miss Mentchikoff implied thatmost improvements in College lifewill now have to come from thestudents and faculty. “Without old¬er student and faculty concern,nothing will happen,” she stated.“The administration simply cannot consider the nature of man,his place in the universe, and hispotentialities in the spring Mondaylecture series beginning this Mon¬day.The five talks, to be given onconsecutive Mondays at 8 pm inthe law school auditorium are:• April 25 — “Language andmind,” Noam Chomsky, professorin the department of modern lan¬guages and linguistics at MIT.• May 2—“Some reflections onthe nature of consciousness,” B. A.Farrell, Wilde reader in mentalphilosophy and fellow of CorpusChristi College, Oxford, and visit¬ing professor of philosophy at UC.• May 9—“Triumph and failurein ancient Egypt,” John A. Wilson,Andrew MacLeish distinguishedservice professor of Egyptology atUC.• May 16—“The present revolu¬tion in astronomy,” S. Chandrasek¬har, UC’s Morton D. Hull distin¬guished service professor in astron¬omy and physics.• May 23—“Revolution and de¬velopment,” Kenneth Boulding,professor of economics and direc¬tor of the center for research onconflict resolution at the Universityof Michigan.uC students and faculty may avtend the Monday lecture serieswithout charge through a limitednumber of tickets available at thebe held responsible for this kind of University extension office, Admin-thing. As long as there is student- istration 303-A.The Hunt comes to UCHomicidal? Take a fling at the Huntby Jeff KutaPoison gas capsules, flame throwers, stilettos, high-voltage wires, lasers, contact poisons,snake venom, and ordinary guns are some of the weapons being used in a rash of homicidesof the statement and authorization lective S^rvj^scasrt^n^|n‘„bgn^eet^ea(| that students are committing here—“the Hunt” has come to the University of Chicago.its final form will result after ne¬gotiation with and final approvalby the Selective Service. 21st-century society so frustrated"THE GIVING of student per- by its abundance of leisure timethat to release suppressed anxie-form is “to prevent misunder¬standing about the placing ofresponsibility to report students’class standing or grades to Selec¬tive Service boards.”"WE DO NOT supply any infor- An Oberlin College brainchild, the Hunt is based on a game played in the movie TheTenth Victim, which depicted aStudent recommendations forthis year's Quantrell awardshave again been requested bydean of the College WayneBooth.The Quantrells, given yearlyfor excellence in undergraduateteaching, are awarded by a fac¬ulty committee. This is thesecond year in which DeanBooth has asked for studentopinion.Student recommendationsshould nominate instructors forthese awards on the basis ofspecific reasons. They should besigned by one to five students,and should not be in the form ofpetitions.Student statements on theQuantrells must be delivered toBooth's office, Gates-Blake 132,by noon Monday. mission is simply a new procedureto tide us over until the new cardis in use, and it is being institutedonly because the present card doesno* specifically authorize a report¬ing of grades or academic stand¬ing,” said Wick.“If we can work out the new'card with the Selective Service sothat it explicitly authorizes us toreport academic standing, thenthat will serve as permission, oth¬erwise we will be using the extrastudent permission.”Wick also encouraged UC stu¬dents to take the draft test, sincethey should do well on it, he said.Election of next year'sMaroon editor-in-chief willbe held next Friday, April29, at 4 pm in the Maroonoffice. All Maroon staffmembers are required toattend. ties, the society organized murderas the ultimate means of recrea¬tion for whoever wanted to takepart.Participants were classified ashunters or victims; these situationswere alternated after each murder.A person who killed his tenth vic¬tim (this was possible since the vic¬tim could kill his hunter in self-de¬fense) became a national hero.A MAJOR limitation in the adap¬tation of the movie version to thecampus involved the means of ef¬fecting the kill. Both Oberlin andChicago students are permitted touse an infinite variety of devices,providing they can be proven tohave been effective in a real situa¬tion and no bodily harm is done.High-voltage rubber bandsThus poison gas capsules are pencartridges; flame throwers areaerosol shaving-cream cans; stilet¬tos are Bic pens; high-voltage(Continued on page four) Peter Druian and Terry Barton annihilate each other as the Huntgoes on relentlessly.EDITORIAL;, i i». !Too much powerThe new Student Government Assembly began its term inoffice this week by radically changing the SG executive com¬mittee. Three of the exec positions—community relationschairman, student services committee chairman, and NSAcoordinator—were abolished, leaving an eight-man exec. 0?these eight positions, only six were filled at the Assemblymeeting Wednesday night, with chairmen of the academic af¬fairs committee and the committee on recognized student or¬ganizations ( CORSO ) still unelected.In one sense, decreasing the size of the exec was a wisemove. The abolition of the community relations and stu¬dent services committees was justified in that these twogroups had been weak and ineffective, contributing little, ifanything, to SG. The NSA committee is primarily involved inoff-campus affairs, and for this reason it will be able to func¬tion better without being tied down by SG’s on-campus com¬mitment. In turn, SG will now be unencumbered by NSA’soff-campus resolutions. The functions of these committees willnow be assumed by other SG organs. Student services will belargely managed by the vice president, and community rela¬tions matters will be in the hands of the NSA committee.However, in decreasing the size of the exec, SG may wellhave paved the way for an inordinate amount of power to beconcentrated in the hands of a small number of Assemblymembers; i.e., the eight members of the exec. Although thiswill not necessarily be the case, it may be unless both themembers of the Assembly and those on the exec strive to pre¬vent the establishment of a powder elite w ithin SG.The exec must at all times remember that it is not the wholeSG, and the members of SG must be willing to play active rolesin SG decision making. According to the SG constitution, theexec shall “make proposals on matters of policy and shall pro¬pose plans of action for the consideration of the Assembly.”The Assembly must remember that while it is the exec’s roleto propose policy and action; it is the Assembly’s role to de¬cide.In the light of this, it is curious that the last two exec seatswere not filled at Wednesday’s meeting. Unfortunately thisseems to indicate a plan on the part of those at the top of SGto fill those posts at a later meeting with students appointed tovacated Assembly seats, not with elected members of the As¬sembly. If this is indeed the case, it is a serious mistake.There are at least two elected members of the new Assemblywho are both highly qualified and willing to serve as chair¬man of the academic affairs committee, and one of these isMark Joseph, last year’s academic affairs co-chairman. Withsuch choices available, there is no need for the exec to drawits members from outside the elected body of the Assmbly.Yet this is just what the exec elite plan to do. Heedless ofthe lesson of the recent abolition movement that UC studentsfeel that they have no contact with SG, the new exec membersappear ready to assume more than their fair share of powerand run SG as an oligarchy, as in the past. For the sake of abetter SG, it is the Assembly’s duty to prevent such a powergrab. Hits Maroon reviewer;misses whole (CP pointTO THE EDITOR:It certainly is a shame that CCPmust continuously be reviewed byincompetent critics. Even sadder isthe fact that there aren’t enoughpeople who can criticize well sothat the Maroon must use peoplewho have been shown to be incom¬petent over and over again. In par¬ticular, the latest reviewer hascome out with another installmentof his drivel,' an earlier one being“Modern Music Fails.”To begin with, the reviewermissed the whole point of the CCP.It does not play “Music of the Fu¬ture,” but rather stuff being com¬posed today for today’s people. Heseems to think that the music oftoday was all written before 1870,that nothing written since thattime is worth anyone’s time. Apartfrom the observation that manyworks now in any classical reper¬toire were written since then, thereviewer has missed the fact thatprejudging contemporary worksnecessarily means missing anv-I Chicago Maroon IEDITOR-IN-CHIEF ... Daniel HertibergBUSINESS MANAGER Edward GlasgowMANAGING EDITOR Dinah EsralNEWS EDITOR DavkJ SatterASSISTANT NEWS EDITORDavid E. GumpertASSISTANTS TO THE EDITORDavid L. AikenSharon GoldmanJoan PhillipsCOPY EDITOR Eva HochwaldCULTURE EDITOR Mark RosinEDITOR. CHICAGO LITERARY REVIEWDavid RichterASSOCIATE EDITOR, CHICAGOLITERARY REVIEW Rick PollackMUSIC EDITOR . Peter RablnowitiASSOCIATE MUSIC EDITOIt Ed ChlkofskyPOLITICAL EOITOR Broca FreedSTAFF: Mike Seidman, Bob Hertz,Ken Simonson, Jeff Kuta, NancyStealdey, John Beal, Karen Edwards,Beverly Smith, Joe Lubenow, FredMelcher, Gary Christiana PenelopeForan, Ellie Kaplan, Tom Heagy,Michael Nemeroff, Paul Satter, PaulBurstein, Ellis Levin, MahonrlYoung, Monica Raymond, SladeLander, Dory Solinger.Charter member of US Student PresaAssociation, publishers of CollegiatePress Service.i - ' ,Scholarship applications %are now available in Ad¬ministration 201. The dead-; line for filing an app«ica-tion is May 2.|.. thing that could conceivably be ofvalue in them. I’m curious as tohow the reviewer came to knowthat nothing of value can be writ¬ten from this time forth, or if hethinks something might be writtenthat is good, how he would findout, since he refuses to listen.I cannot comment on Pursewell’stechnique or lack of it, not beingvery familiar with flutes to thatextent. But I can point out some ofthe places in the review which can¬not be accepted as valid criticism.The review of the Johnston pieceshows a couple of the reviewer’sproblems. I don't think anyone willfind “Blam . . . zorch . . . etc.”written in the score of the piece.This effort at w it is misleading anddoes not even attempt to be a fairstatement of the sound of the piece.The refusal of the reviewer to lis¬ten is evident right here. He alsotends to disguise his opinions assomchowr being based on the piece.There is no reason for the judg¬ment “Johnston seems to have losthis touch with reality . . .” apartfrom the reviewer’s rather markedbias. If there were something inpiece that might lead one to sus¬pect this, why not tell us what it is,rather than hiding it? The review¬er's problem in this respect is thatthere was nothing in the Piaca towarrant that sentence. -As I have already mentioned, themusic is being written today forus. How much more “alive” canmusic be? In any case, what arethe characteristics of dead or“ugly” music? Please don’t hidethe infallible rules by which theseperfect criticisms are made.Further on the reviewer men¬tions “devices,” “ideas,” and“gimmickry,” in a derogatoryway. And yet, the reviewer seesabsolutely no need to back up anyof these criticisms with even a sin¬gle example. One suspects that thereviewer tried to put his biasesinto a semi-logical form, and thisreview is the result. Unfortunately,any connections to the musicplayed is rather coincidental.Even in criticizing the more con¬ventional works the reviewershows his inadequacy. Somehow Ican’t quite manage to fit the de¬scription of the Debussy piece tothe performance. Here the review¬er retreats into the mentioning ofthe names of the performers, uses“balances,” “dazzling,” “delicate¬ly,” and thinks he has written areview of the performance of thepiece.And yet all of this means nothingapart from the fact that the re¬ viewer has managed to get thisstuff published as a responsible re¬view. I happen to think this partic¬ular recital was not as good asother CCP concerts, but not onlywould I not want to try to defendthis (not having the knowledge tobe a critic), but also several of myfriends rather liked the recital.The point Is that no one wouldhave ventured to defend theirviews for a paper, and yet every,one would be glad to say the con-cert was nothing like the impres¬sions one gets on reading its re¬view (apart from revulsion at thenonsense). The reviewer has man¬aged to misrepresent not only therecital, but the CCP and contem¬porary composers in general. Theproblem is that people who did notgo to the recital cannot know thegarbage he is shoveling out underthe disguise of a review. These arethe people who are harmed by thedrivel in the review, because theymust accept his review as beingsomehow representative of the con¬cert. Unfortunately, only the re¬viewer’s prejudices and irresponsi¬bilities are represented.My question is this: how muchmore of the garbage Chikofskywrites are we going to have to putup with?PAUL THOMASPlay needs contributions;bras, panties, nylons...TO THE EDITOR:We are doing a Happening April28 and 29 at the Ida Noyes Theater;but are very short on pertinentsupplies. We have a nylon stockfetish and have placed a dignifiedreceptical for contributions at NewDorms. It is very difficult to obtainthem by legal means. We wouldappreciate all contributions. Wewill also hope (but not requestopenly) to get brassieres, panties,jewelry, and miscellaneous.Happenings are lovely.GREGORY T. STENGELDIRECTOR,THE LEAGUE PLAYERSINTERFAITH COMM. FOR FOTAJoseph H. Aaron; Connecticut MutualLife Insurance Protection135 S. LaSalle St.Ml 3-5986 RA 6-1060Professional Careers in Aero (barlingCIVILIAN EMPLOYMENT with the U.S. AIR FORCEMinimum 120 semester hours college credit including 24 hoursof subjects pertinent to charting such as math, geography, geolo¬gy, and physics. Equivalent experience acceptable.Training program. Openings for men and women.Application and further information forwarded on request.WRITE: College Relations (ACPCR)Hq Aeronautical Chart & Information Center,8900 S. Broadway, St. Louis, Missouri 63125An equel opportunity employer Koga Gift ShopDistinctive Gift Items Prom TheOrient and Around The World1462 E. 53rd St.Chicago 15, III.MU 4-6856DEPARTMENT OF MUSICThe Contemporary Chamber Players of the Universityof ChicagoRALPH SHAPEY. Music DirectorTWO CHAMBER OPERASStaged by James O'Reilly(W. B. Yeats) by Hugo Weisgall(based on a Chekhov play) by Lawrence MossSaturday, April 23, 1966$2, general; $1, studentMANDEL HALL - 8:30 P.M.PURGATORYTHE BRUTEFriday. April 22, 19*6Adm.: $3, UC student, $1Tickets at Concert Office, 5802 Woodlewn, or et Mendel Hall box office on evening of concert. PIERCE COMMONSGlory in the MorningFeaturing music byTHE KNIGHTS OF SOULTonight — 6:30SUNDAY SPECIAL6:00 P.M.Twilight Matin—\I MediumascarUmiUfljrJ.t'66mSPECIAL STUDENT RATESAVAILABLE901 N. Rush Df 7-1000t • CHICAGO MAROON • April 32, I960sr ' -ban Loague le—-----y.9het>0> UC to host meeting on federal guidelines,Negro contdinineiit victim ^eir e^ects on Unite(*States economyby Ken SimonsonThe urban Negro today is the victim of tokenism andcontainment, according to Edwin C. Barry, executive directorof the Chicago Urban League.Barry emphasized this point in a lecture Tuesday atBreasted hall on “The status of —onNegroes in the metropolis.” Heclaimed that Negroes have greatdifficulty getting into many profes¬sions on more than a very smallscale.This limitation has led Negroestoward four job areas, Barry said.Until 1960, over 92 per cent of Ne¬groes in colleges went into teach¬ing, social work, the ministry, orgovernment jobs.EVEN IN these fields, Negroeshave been severely slighted, Barrycontended. He said that 37 per centof Chicago’s public school teachersare Negroes, yet only 15 out of 550school principals are colored. Inwelfare work, he noted, there areno Negroes in top positions.Although Negroes are beinghired increasingly for better posi¬tions, there is still a long way togo, Barry commented. Nationally,Negroes earn only 54 per cent asmuch as whites.Barry likened present city ghet-toes to colonies or compounds con¬trolled by whites who live else¬where but siphon off the wealth.This keeps the ghetto inhabitantsfrom improving their lot and re¬stricts them to the ghetto, he point¬ed out.GENERALLY, the ghetto resi¬dent cannot afford a car, Barrysaid, and this reduces greatly hiscontacts outside the “compound.”Ghetto children may not have achance to see areas just a fewmiles from their neighborhood.The isolation of the ghetto is in¬creased by municipal actions, heremarked. Public housing, schools,and health and welfare servicesare all placed within the limits ofthe compound. Outside contact isreduced even further by discrimi¬ natory school districts and zoningboundaries.Barry explained this containmentpolicy by saying that “society hasnever wanted to look at those ithas destroyed or tried to destroy.”It keeps people in the ghettothrough “oppression and suppres¬sion.”Sometimes the suppression is tooeffective. Barry alleged that thisv' ••• ' -V V* *. ** . was the case in Watts, where riotslast summer showed the Negroeswere desperate enough to destroytheir own homes to demand relief.WHAT IS in store for the urbanNegro? According to Barry, “Themetropolis is where the NegroAmerican’s destiny is. He will con¬tinue to adapt himself to it. He willbecome the most urbanized of anygroup.” Concurrent with this willbe a gain in power.“The Negro in the metropolis isabout half-way to democracy.”Barry expressed the hope that thiswas changing, and said he looksforward to the day when Negroeswill have full civil liberties as wellas rights. UC will hold a conference on“Guidelines, informal controls, andthe market place” on April 27 and28 at the center for continuing edu¬cation.The conference, under the direc¬tion of George Shultz, dean of thegraduate school of business, andRobert Aliber, associate professorir the school, will provide a forumfor discussion of federal economicguidelines and their effects on thenational economy.Many leaders in business, labor,government, and education will as¬semble for the two-day meeting.Among the participants who will visers; Clark Kerr, president ofthe University of California; Rob-ben Fleming, chancellor of theUniversity of Wisconsin; and UCprofessors of economics TheodoreSchultz and George Stigler.Background papers will be pre¬pared on the significance of infor¬mal economic controls in their re¬lation to income, labor, trade, in¬vestment, and over-all economicgrowth.Contributors to the paper serie*include UC professors of economicsMilton Friedman and Harry John¬son and professor of law Philiplead discussion workshops will be Kurland, and other educators fromGardner Ackley, chairman of the MIT, Harvard, Carnegie Tech, andPresident’s council of economic ad- the London School of Economics.Text of Dean Wick's statement on the draftIn order to prevent misunderstanding about the placing ofresponsibility to report students’ class standing or grades to Se¬lective Service Boards, the following statement of policy and stu¬dent authorization form will soon be mailed to every male studentin the University.The long-standing policy of tho University is to reveal officialinformation concerning a student's grades or class standing onlyupon request of the student. A student who desires the Universityto forward official information concerning his class or grades, ifasked to do so by a Selective Service Board, should sign the fo4-lowing authorization and request.“I authorize and request the University of Chicago to send offi¬cial information concerning my class standing or grades or bothif requested by my Selective Service Board."(signed)In view of this policy it is important that we be able to get intouch with students about matters relating to their Selective Serv¬ice status. Every male student should make sure that the reg¬istrar of the University, Room 103, 5801 South Ellis Avenue, is in¬formed of his current and summer addresses.Doan of Student*Warner A. Wick AC AMATTEROF...the man who has a planned SunLife program is in an enviabie position.No one is better prepared to face thefuture than the man who has providedfor his retirement years and hisfamily’s security through life insurance.As a local Sun Life representative, mayI call upon you at your convenience?Ralph J. Wood, Jr., CLUHyde Park Bank Building, Chicago 15, III.FAirfax 4-6800 - FR 2-2390Office Hours 9 to 5 Mondays t FridaysSUN LIFE ASSURANCE COMPANY OF CANADAA MUTUAL COMPANYSAMUEL A. BELLUNCI IfM*. IwhnKlnwod S-1190ASPENWRITERS'WORKSHOPFiction, Poetry, PlaywritingColorado, aummor 1009: residentwriters: Robert Crealey, PaulBlackburn, poetry: DonaldBarthelma, fiction, k staff of tin.For brochure: Director, AWW,as? Waal Pnd Ave.. NYC 10025. HAPPENING"KEEP RIGHT ONPAINTING"mi existential sketchof the nudeP.O.T.A.APRIL 28 & 298:30 P.M.Ida Noyes TheatreAMERICAN RADIO ANDTELEVISION LABORATORY1300 E. 53rd Ml 3-9111- TELEFUNKEN A ZENITH -- NEW t USED -Sales and Service on all hi-fi equipment.FREE TECHNICAL ADVICETape Recorders — Phonos — Amplifier*Needles and Cartridges — Tubes — Batteries10% discount to students with 10 cardsSERVICE CALLS - $3Bonanza Book SaleContinues through Apr. 25Many titles remain atGreat SayingsThe University of Chicago Bookstore You Are Invitedto an autographing partyhonoringEmily Taft Douglaswho will autograph copies of her new book“REMEMBER THE LADIES”the story of the women who helped shape Americaher husbandSenator Paul H. Douglaswill also be presentatWOODWORTH’S BOOKSTORE1311 E. 57thMonday, April 25,1966 2:00 -5:00 o'clockApril 22, 1966 CHICAGO MAROON5802 ELLIS AVENUEGrofman for student role Hunt threatens to spread(Continued from page one)munity is ever to be made a reali¬ty,” said Grofman, “if upper classstudents are to be retained in thedormitory houses, the overall qual¬ity of dormitory living must beradically increased.“THE DORMITORIES are atro¬cious,” he continued. “As long asthe University fails to realize how-bad they are and that it will takemoney to improve them, upperclass students will continue tomove out of the dorms.”Taking a similar position. Flachsdeclared, “If the University wantsstudents to live in dorms, the ad¬ministration has a responsibility tomake them as attractive as possi¬ble. The administration has not yetlived up to that responsibility.”Student action requiredYet even among those most criti¬cal of the administration, thereseems to be wide-spread agree¬ment that the next step will haveto come from students.As Flacks put it, “If the studentsaren’t interested in self-govern¬ment, there can’t be any. A lot ofwhat happens now depends on howYOU CAR EARN UP'rtl 14 HOURS OFC0LLE6E CREDIT WHILESTUDYING< THIS SOMMERIN THE NATION'S CAPITALAT THE 6E0RGEWASHINGTON UNIVERSITYA program designed to makethe unparalleled resources ofWashington, D.C. available tostudents in other colleges anduniversities./ JUNE 13-JULY 20, JULY 21-AUGUST 26e Special 3-week workshops inEducation begin June 13,July 5, and July 25* Air-conditioned classrooms,library and residence halle Urban campus just fourblocks from the White Housewrite for catalogue:Dean of theSummer SessionsThe George' WashingtonUniversityWashington, D.C.20006The GeorgeW a,slxington' University- much students care. If studentsare unhappy, they should protest,and then maybe something will bedone.”EVEN GROFMAN apparentlyagrees that students are responsible for initiating further action“Many steps rest with the dormitorv residents themselves,” he said“It is up to them to establish student-faculty committees. Theymust demand liberalization of visi¬tation privileges, strengthening offaculty involvement, etc.”Concerning such action, Grofmannoted that Shorey House had re¬cently asked Dean Wick for a sys¬tem of rotating faculty fellows toreplace resident heads and a one-month experiment in greatly liber¬alized visitation privileges.Grofman indicated that he con¬sidered such action a model forstudent pressure on the University.For example, speaking on the pro¬posed Rathskeller in Ida NoyesHall, he stated, “I am disgustedthat action has been delayed. Thisproposal has been kicking aroundfor three years.“Perhaps Dean Wick can look toits construction before the end ofthe millenium and a similar speedfor the reform of social rules. Ifind such a pace unsatisfactory.“It is foolish for students to thinkthat a beneficient and all-knowingadministration will do everythingfor them,” Grofman declared. “Ifstudents want changes, they’regoing to have to lobby for them.”BOB NELSOB MOTORSImport ControComplete Re pa heAnd ServiceMidway 3-45016052 So. Cottage GroveUNIVERSITYNATIONALBANK“« strong bank99NEW CAR LOANS$ V754#1354 EAST 5St*. STREETMU 4-1200Member F.D.I.C Chance to be James Bond(Continued from page one)wires are rubber bands; lasers areflashlights; contact poisons andsnake venom are most any liq¬uids; and guns, naturally, arewater pistols. No female partic¬ipants—not even Chicago women—have yet attempted to use thebra-gun employed by UrsulaAndress in the film.At Oberlin, an IBM 1620 comput¬er is used to match at randomstudents who have joined the Hunt.One point is awarded to a success¬ful hunter or a victim who haskilled his hunter; one point is sub¬tracted from the score of a de¬ceased victim or a hunter who haskilled the wrong person. The firstperson accumulating ten points be¬comes a “Decathlon” and has aparty thrown for him.INITIATORS of the Hunt here atChicago, advertising themselves as“The Directorate,” have contrib¬uted to the evolution of the rules.A time limit of 96 hours per killinghas been set for increased excite¬ment.Also, an extra point is grantedfor an imaginative murder, whileone point is docked from the scoreof a hunter who has made no at¬tempt to kill his victim, and twopoints not one, are subtracted fromthe score of a hunter who haskilled the wrong person.So while a hunter can receive upto two points for killing his victim,the victim receives nothing formerely eluding his hunter.Bribes acceptedThis makes it profitable to thevictim to know the name of hishunter and possibly set a trap forhim, but since this is precluded bythe rules of the game, the onlyway he can get this information isby bribing the Directorate, and theCobeauty salonExpertPermanent WavingHair CuttingandTinting1350 E. 53rd St. HY S-S302“I think I hear a noise," he said to her. "Couldyour husband have stashed one of those taperecorders with a voice operated relay under thebed?"IF YOUR NEEDS ARE INDIVIDUAL — TRYAUTOAD HALL1444 E. 55th ST. BU 8-4500HI-FI, TV, FM RADIOS. TAPE RECORDERS, TYPEWRITERSi Rentals Sales Repairs rules clearly permit such a move."WE HAVE been approachedseveral times, but there have beenno concrete offers, unfortunately,”said Andrew Lachman, a second-year student in the College andhalf of the two-man Directorate.“We’re waiting . . . Someonestarted a conversation with usabout Mata Hari. and we wouldlike to pursue that further,” headded.Mike Starrels, a third-year stu¬dent in the College and the otherhalf of the Directorate, suggestedmore serious motives behind theirorganizing the Hunt. “We thoughtit would be a good way of givingstudents some relief from academ¬ic pressure, as well as bringingthem together socially,” he said.Femmes fatalesUnlike their Oberlin counter¬parts, Lachman and Starrels donot use a computer to match'hunt-ers and victims; instead, they tryto match w'omen with men. Pres¬ently, about 25 per cent of theHunt’s more than 80 participantsare girls, and the Directorate isurging more women to sign up.ONLY TWO faculty membersare now in the Hunt, but more arebeing urged to join. “We think it’sa great way for professors to meetand become acquainted with stu¬dents,” Lachman commented en¬thusiastically.Since the initial distribution of150 copies of the Hunt rules morethan two weeks ago. an average offour persons have joined each day.Starrels said that he has had callsfrom persons outside the Universi¬ty. but has had to turn them down.“We keep the Hunt confined tothis small area so that poeple don’tgo jetting off to New York on Huntbusiness alone,” he explained.Eager to killA WUCB interview with the Di¬rectorate broadcasted last weekendresulted in a flurry of persons ea¬ger to join the ranks. Lachman nowpredicts more than 100 participantsfor the third Hunt round beginningnext week, and believes that in¬creased publicity will insure evenYou won't have to put yourmoving or storage problemoff until tomorrow if youcall us today.PETERSON MOVINGAND STORAGE CO.12655 S. Doty Ave.646-4411EYE EXAMINATIONFASHION EYEWEARCONTACT LENSESiDR. KURT ROSENBAUMOptometrist53 Kimbark Plaza1200 East 53rd StreetHYde Parle 3-8372Student and Faculty DiscountBe Practical!Buy Utility Clothes!Complete selection of sweat¬shirts, "Levis," rain parjeas,tennis shoes, underwear, jack¬ets, camping equipment, washpants, etc., etc.Universal Army Store1364 E. 63rd ST.PL 2-4744OPEN SUNDAYS 4:30-1:00Student discount with ad greater success.CHICAGO'S AMERICAN has re¬quested material for an illustratedfeature article on the Hunt and,Lachman said, the Directorate ha*sent information to Tima magazineHunt representatives are presentlyat work at the Chicago Circle cam¬pus of the University of Illinoisand at Wellesley College in Mas¬sachusetts. Oberlin’s Hunt partici¬pants now number almost 200 per¬sons.“And if you can get UC studentsinterested in something like this,you can promote it anywhere,”Starrels pointed out, noting thepossibility of further expansion.Quarterback BondWhat do students see in theHunt? “A substitute for football,”one student answered. “A chanceto play James Bond.” replied an¬other. The murders themselves an¬swer the question:• “Zop! OK! I wired yourdoorknob to an electric currentcarrying millions of volts andamps and such, so that as soon asyou touched the doorknob, youwere incinerated...”This alleged murder is beingcontested on the grounds that nowires were attached to the door¬knob cither inside the room cr out¬side- A duel at twelve noon today-outside the Bookstore will settlethe matter.• A po on gas capsule fell fromthe door jamb ard exploded whena student walked into his room.Before he could reach a rag towipe up the inky mess, he noticedthat his hand—the one he had usedon the doorknob—was smearedwith ink-like contact poso'v• Another vietm walked intoLexington Hall and paid no atten¬tion to the music student with theviolin case. Seconds later he diedin a hail of submachine gun Lul-lets.• A letter sent in a registrar'senvelope informed the victim thathe had not paid his fees for thespring quarter, then rambled on asto how the registrar would bespending time in Ruanda-Ubangidrumming up new students. Nearthe end of the letter;“By the way you have just beenhandling a paper impregnated witha contact poison of phenyl hvdro-zine substitution products. Thispoison should by now be speedingthrough your system and you willlie groaning on the floor.”Fascinated? To join the Hunt,send six 3 x 5 cards to The Direc¬torate, Suite 447, Burton-JudsonCourts, faculty exchange. Forfurther information call mass mur¬der MM 7-4947, the Hunt hotline.TOYOTA LAND CRUISER"World's Toughest 4-Whael Drive"6-Cyl. 135-H.P. Engine 35 M.P.H.HARDTOP AND STA. WAGONS247-1400 3967 S. ARCHERJIMMY'Sand theUNIVERSITY ROOMSCHLITZ ON TAPQUADRANGLECLUBWaitersLunch or DinnerCall Doraext. 3696James Schultz cleanersCUSTOM QUALITY CLEANING1343 EAST S3RD STREET: PL 2-9642SHIRTS- LINENS -TAILORING10% Student Discount with I.D. Card4 • CHICAGO MAROON • 22, 1964THE CHICAGOLITERARY REVIEWVol. 3, No. 5 April-May, 1966MENDEL FOR THE MASSES[41015The Language of Life: An Introducetion +0 the Science of Genetics, byGeorge and Muriel Beadle. Double-.day. $5.95. |yIn an age of scientific explosion,IIthe layman is too often incapable of f 'intelligent discussion of current de¬velopments because his onlysources of information are his in¬adequate and often out-dated memo¬ries of high school and collegecourses and the laughably superfi¬cial and sensational scientific arti¬cles in the popular press. And thisat a time when the political and so¬cial impact of scientific develop¬ments demands intelligent consid¬eration by the public, when thegeneral increase in leisure and edu¬cational level promotes popular cu¬riosity into the fascination ofscience and its newly discoveredprinciples. Intelligently writtentexts for adults are needed to pre¬sent new developments comprehen¬sibly, and yet in enough breadthand depth to prevent imparting thenaively oversimplified conceptionsso often characteristic of lay viewsof science. The failure of the scien¬tific community to furnish suchtexts is at least partly to blame forthe present sorry state of publicknowledge.The Beadles’ new book, The Lan¬guage of Life, is meant to fill thisneed in a field particularly excitingto read about and requiring littletechnical background in genetics.The authors recognize and fulfillone requirement for such a work(where many have failed): the needto be reasonably comprehensiveand to present the evidence andreasoning for the principles pre¬sented. The Language of Life takesus through all the high points in thehistory of genetics: Mendel’s laws,Morgan’s work on Drosophila, Bea¬dle’s own experiments on the onegene-one enzyme hypothesis, thediscovery of the Watson-Crick mod¬el for DNA structure, even upthrough the recent breaking of thegenetic code by Nirenberg and theJacob-Moned hypothesis for generegulation.At each level the evidence is pre¬sented and the principles are co¬gently argued from their experi¬mental bases. Because the evidenceis presented, the meaning and sig¬nificance of the results are appre¬hensible. Because the developmentsare presented in historical se¬quence, and in the contexts of othermajor developments, the readergains a feeling for t’ne logicalgrowth—and the elegance—of thefield. The book is enlivened by itswitty style, and good use is made ofthe historical organization for side¬lights on the personalities andevents in the history of genetics.Although the book obviously rep¬resents a valiant attempt at clarity,it occasionally gets bogged down inits own devices. Sometimes expla¬ nations which require statement inwords are abandoned to overlycomplex diagrams. In an effort notto burden the reader with too muchdetail at each stage, the Beadles usea transformational method of pre¬senting the model—adding details,re-explaining it, etc. This “Nowlet’s relabel Figure 11” method of¬ten ends by defeating its own pur¬pose. In attempting to avoid the dif¬ficulties of scientific language, theBeadles have sometimes sacrificedprecision and its partner, clarity.(Those who abhor scientific jargonshould occasionally be remindedthat it supplies precision and is of¬ten handier and more elegant thanvernacular circumlocutions.) Inspite of these occasional lapses, thebook is generally lucid.As the Beadles develop the bodyof genetic knowledge in The Lan¬guage of Life, they use it to eluci¬date the nature and history of hu¬man evolution. In a nice touch ofthe UC interdisciplinary spirit, theylink up prehistoric human evolutionwith the development of cultureand the history of human civiliza¬tion. At the other end of the timescale, they treat the evolution of thepreorganic world out of the prime¬val hydrogen atoms. Some of thebest writing of the book explainsgenetics as the study of the mecha¬nism of self-maintenance, replica¬tion, and organic evolution of theorder of biological systems, whichevolved out of the relative dis-orderof the purely physical world, intothe world of culture and history.The Beadles do a tasteful and oc¬casionally poetic job of reconcilingscience and religion by creating atwentieth century cosmology com¬ plete with a God who created hy¬drogen, out of which evolved theuniverse and all forms of life, in¬cluding Man. This reviewer hassome reservations over the fact thatin their desire to win over the layreader to the universe of modernscience and to the “continuum ofbeing” without offending the moretraditional-minded of the faithful,they softened the blow that science(in this case, especially geneticsand evolution) has dealt to tradi¬tional religion—to God viewed asother than the God of humanism, ofpure emotion, or of pre-phenomeno-logical first cause. They also tem¬pered the certainty with whichscience holds to its belief in thepurely mechanical functioning andevolution of the physical and bio¬logical worlds and the strength ofevidence behind this belief.One may well wonder about thevalue of this attempt at reconcilia¬tion between genetics and theology,for it seems merely to water downthe claims of both. Not only is ittheir own business whether scien¬tists believe in God or in the SecondLaw of Thermodynamics, but theBeadles’ proffered grounds for be¬lief—the small matter of who creat¬ed the primordial hydrogen atoms—will offer small consolation tomen of faith. After all,Malt does more than Mendel canTo justify God's ways to Man.But The Language of Life is afterall not a philosophical treatise andit is perhaps wise that the Beadleshave chosen to state their casefirmly but not belligerently. Such apresentation will lose less by disap¬pointing the more avid mechaniststhen it will gain in eliciting a more open-minded and sympathetic soul-searching from the more conserva¬tively religious.The last chapter of The Lan¬guage of Life consists of an excel¬lent presentation of the social andpolitical problems to which geneticsis relevant: radiation hazards, thepopulation explosion, and racialand cultural deprivation. The Bea¬dles give a very clearly reasonedargument in spite of the disclaimerthat “the authors of this book findit difficult to preserve a dispassion¬ate tone at this point ...” TheBeadles cogently present, with aview to future action, the problemswhich threaten to bring an end tothe long evolutionary history ofmankind. They present the facts,wisely asking the questions of valueinvolved—without answering them.For surely if the intelligent layman,to whom their book is addressed, isnot moved to action by the urgencyof the problems, there will be nosolution.The Language of Life does all itshould: it treats of genetics, humanevolutionary and cultural history,future problems to be solved ingenetics, and the urgent social andpolitical problems which are the leg¬acies of human history and cul¬ture. It is certainly a valuable andmuch-needed contribution to thecollection of non-technical works onscience.Charles K. DasheMr. Dashe, who graduated from theUniversity of Chicago in 1965, is nowa first-year student at Harvard MedicalSchool.Table of ContentsCriticism:From Sensibility to Romanti¬cism, edited by FrederickW. Hilles and Harold Bloom . .11The Modern Movement,by Cyril Connolly 6Fiction:Story of O, by Pauline Reage... 3The Crying of Lot 49,by Thomas Pynchon 9The Double Image,by Helen Maclnnes 12The Nowhere City,by Alison Lurie 5The Secret Swinger, by AlanHarrington; The Embezzler,by Louis Auchincloss; andSwans on an Autumn River,by Sylvia Townsend Warner.. 4The Solid Mandala,by Patrick White 2Valley of the Dolls,by Jaqueline Susann 10Poems: by Mick Gidley 7Poetry:An Handful With Quietness,bv John PtO\V?rt Pprfor gwvvnwunvva Low.vw'/by James Dickey 2Science:The Language of Life, by Georgeand Muriel Beadle 1Social Science:Beyond the Cold War,by Marshall Shulman 4Economic Crises In World Agri¬culture, by Theodore W.Schultz 8HOMO FABER: THE PROCESS OF POETRYEuclcdanccr's Choice: Poems byJames Dickey. Wesleyan Univer¬sity Press. $4.C0 cloth, $1.85 paper.I was very excited by this book ofpoems, and under such circum¬stances I think it is fairer to write apersonal review, than to impose theappearance of objective arbitrationupon judgments so obviously taint¬ed with individual taste. Poetrytakes many forms, but it so happensthat James Dickey writes a kind ofpoetry that interests me very much.T. S. Eliot said of a certain poet, “Athought to him was an experience,’1and although it was said in quite adifferent context, it applies wellhere. There is a group of modernpoets about whom the statement istrue, Wallace Stevens, Boris Pas¬ternak, and, I would add, JamesDickey. If I had to use an impres¬sive phrase to characterize thesepoets I would say that they do nottry so much to transcend the partic¬ular, as to find the transcendencein the particular. This creates akind of poetry which has very littleto do with the imitation of objectsand almost everything to do withthe imitation of a process. The poet¬ic process is itself the subject olthe poem, and the poem is the con¬firmation that the process has anexistence independent of the mo¬ment. The process belongs, in de¬gree, to all men and operates, in de¬gree, at all times, and the poet isthe gifted man who is able to forcethe process to a high rate of ac¬ tivity upon a subject, and then torecord it.I think I should make an attemptat identifying this process before Iproceed any further. We could giveit the name of “poetic apprehen¬sion'’ if we were careful with ourwords and if we understood that thename only identifies the first halfof the process. Let us rememberthat apprehension is the noun andthat it is not the same as percep¬tion. Perception is a seeing or ahearing, but apprehension is a sortof appropriation for oneself of theperception. Poetic is our adjective,and signifies here the manner ofthis appropriation. It is a simple ad¬jective, and means here only thatsomething is made, built or con¬structed. The appropriation is ef¬fected by making the perceptionwholly particular through the con¬scious imposition on it of associatedideas, memories and emotions.Mere sense data are transformedinto intellectual constructs. Theother half of the process, for thepoet, is the verbalization of themental activity. The process as awhole is at work not only in theconstruction of individual meta¬phors, but throughout the poem,and constitutes, so to speak, thelogic of the poem. We may thenmake our personal judgments ofthe poem on the basis of the justiceof the individual associations, theinterest of the process-as-a-wholeand the success with which it hasbeen recorded.The transcendence of the partic¬ular enters because of a peculiarquality of this kind of poetry: itburgeons. Once the first associationhas been made, the subject is no longer the original perception ofthe subject, but the subject plus themental construct. The process con¬tinues from there in an expandingspiral. This means that the scope ofthe poem is limited only by theoverriding conception of the poemin the poet’s mind and by the origi¬nal perception, which must bestrong enough to bear the weight ofthe additions. Within these limitsthe poem may contain as much ma¬terial as necessary and the poetmay change personae as often as hewishes. The form is extremelyfluid, and, with a poet of some sen¬sibility, capable of handling ideasof great power (intellectually andemotionally) and great complexity.I would say that James Dickey iscertainly a man of some sensibility.If I may compare him with the twoother poets I mentioned in the be¬ginning of this review, I would saythat he is not as concerned with theanalysis of experience as Stevens,nor is he as interested in the lumi¬nosity of things as Pasternak. Hisconstant subject is people experi¬encing things, which is to say, peo¬ple making experiences out of whathappens to them. The latitude givenhim by the kind of poetry he writesallows him either, in the case ofsubjects he knows quite well, to in¬crease the density of the experi¬ence, showing it as full and many-sided, or, in the case of events con¬structed from an idea, to expandthe range of their application, call¬ing in more events which the ideailluminates and more personae towhom it is illuminating. In general,the poems are examples of humanminds operating on particular phe¬nomena with some very interestingand impressive results indeed. I might mention two technical Iaspects of the poems in this volume. ISome of them are written in very Ilong lines which incorporate a very lgraceful way of imitating a mentalactivity. Memory does not operatequite continuously, but somethoughts bring to mind others origi¬nally forgotten. Dickey has indicat¬ed this addition of detail from sec¬ond-thoughts by the separation of ^ jclauses with triple spaces. Minor asthis point may be, it is a far moreelegant device than ellipsis dots,and probably closer to the truth aswell. Ellipsis implies that the con¬nection is missing; the spaces imply ,the pause that precedes after- ’’rthought. That kind of carefulness ]find gratifying in a poet. The sec¬ond technical point applies to all ithe poems. Dickey has a very goodear, and the poems read very well. Iam also convinced that they wouldbe almost incomprehensible if they r]were only heard. This is eye andear poetry.I have chosen not to illustratethis review with pieces of thepoems because I feel that parts of ipoems whose effect is more or less ’cumulative and whose organizationis that of progression would be de¬ceptive. Nor have I mentioned par¬ticular poems, as I found almost allof the poems excellent. As, inciden¬tally, are the poems in the two oth¬er volumes Wesleyan has pub- *lished, Drowning with Others andHelmets.Marc R. CoganMr. Cogan is a first-year graduate stu¬dent in the committee on social thoughtat the University of Chicago. 1SYMBOLISM DOWN UNDERThe Solid Mandala, by PatrickWhile. The Viking Press. $5.00.Like Federico Fellini, whosesoaring imagination he approaches,the Australian novelist, PatrickWhite, can become a disease. It isunfortunate, however, that Ameri¬cans have thus far remained rela¬tively immune to the chills, feverand occasional nausea which ac¬company a reading of The Tree ofMan or any of White’s six other no¬vels, including his recently-pub¬lished The Solid Mandala.In all these works he sets out in arealistic manner to illuminate thelives of a fictional assortment ofAustralian lowbrows. But for Pat¬rick White, shallow people do notexist—there are only some who aremore opaque than others. And sim¬ple people are the most transparentof all. By concentrating on the un¬educated, the mentally deficient,and the poor, he minimizes the hu¬man baggage of any particular cul¬ture and confronts the unadornedOur hard-working guest editor essentials of life—the love andloneliness, hate and fear common tomen everywhere.Like Arthur Miller and dozens ofwriters since Death of a Salesman,Patrick White points up the tragedyof the obscure and common man.He probes through the mute exteri¬or to the throb of the inner life. Ofthe plots he conceives, one may saythat they are nothing but a succes¬sion of trivial incidents which com¬prise the tiny lives of his charac¬ters. But if this were the only levelperceived, the culmination of theseevents in a momentous, often vio¬lent and appalling climax, would beinexplicable, out of place.The significance of a White plotlies in the mounting psychologicaltension caused by the deceptivelyordinary events which occur. Whitefrequently reminds his readers ofthese submerged processes with bi¬zarre and surprising poetic imageswhich are undoubtedly the mostdistinctive feature of his style,adding an aura of mysticism towhat had previously appeared to behard-nosed realism.Although the boundaries be¬tween reality and fantasy are farmore clearly distinguishable inWhite’s novels than in the films ofFederico Fellini—perhaps partlybecause of the difference in artisticmedium—there is a similarity inthe startling originality and appar¬ently alternating irrelevancy andaptness of the images used by thesetwo men. One may, for example,draw parallels between the recur¬rent martyr apparition In JuDei ofthe Spirits and a paragraph like thefollowing inserted without waming\or transition into a narrative de¬scription of Mrs. Poulter’s discovery1of Waldo’s body: "And He releasedHis hands from the nans. And feudown, in a thwack of canvas^ acloud of dust/*Like Fellini, people fascinate Pat* rick White. His characters domi¬nate his plots. The Solid Mandaladescribes the brothers Brown—Waldo and Arthur, twins whosedivergent characters complementeach other, forming an interdepend¬ent unity.Waldo, the would-be intellectualand artist who never was, is a re¬current type in Patrick White’sbooks. He represents the frigid manof reason whose discontent withanything less than perfection stiflescreation, the sort of man who“vomits up his soul in reboundingpea pellets,” as White so colorfullydescribes the type in another of hisnovels. Waldo is represented by Ar¬thur’s knotted mandala, a clearmarble with a twisted imperfectionat its center. In David Riesman’smetaphor, Waldo is among the “in-ner-directed” men, set to seek un¬swervingly the literary and moralgoals of their childhood. Through¬out the changing circumstances ofhis life his “psychological gyro¬scope” keeps him “on course”—un¬til it breaks down at the end forreasons not fully comprehensibleafter a single reading.Waldo’s twin Arthur appears tobe a moron, or to possess some sortof mental imbalance. But one isnever quite sure. As Mrs. Poulterreflects, “Of course she knew hewas a nut. Though he wasn’t.They’ll say anybody’s a nut. Theysaid that about Jesus.”Throughout the book referencesare made linking Arthur to theChrist, until one begins to suspectthat White’s point is a theologicalone. Arthur does have a profoundcharismatic effect on people. De¬spite his alleged mental deficiency(or maybe because of it?) he aipears capable of attainlncal understanding of others. Some,like Mrs. Poulter, respond freely toArthur's uncanny way of lumberingstraight into their thought! and e*pressing the lneipremle between them in a grotesque, transfiguringdance. Others, like Waldo, cannotbear to be understood. When con¬tempt and ridicule fail, there is al¬ways hatred. But when even hatredcannot deflect Arthur’s piercing,ever-present love, then the only es¬cape is death.Arthur feels responsible for hisbrother’s death, perhaps because hefailed to save him. He is troubled tothink of “all those pairs of twinsand no word between them to ex¬press the truth.” Symbolized by theintertwining spirals of his secondmandala, Arthur represents the“other-directed” man whose sensi¬tivity to others directs his behavior.White emphasizes his theme ofcomplementary human polaritieswhich only together comprise a to¬tality by relating the story of theBrown brothers twice in the samebook—first from Waldo’s point ofview and then from Arthur’s. It isonly at the conclusion of Arthur’saccount that the reader can fullyunderstand what has taken place;neither version is sufficient alone.Much goes on behind the story ofthese two brothers and some inevi¬tably slips by the first time. Thebook, therefore, merits not one butseveral readings.Patricia SullivanMiss Sullivan is a third-year studentmajoring in French and philosophy inthe college at Valparaiso University.Chicago Literary ReviewEDITOR IN CHIEF: David H. Rich HrCHICAGO EDITORS: Susan M. YaegtrRick PollackVALPARAISO EDITOR! Paul LuebkaROOSEVELT EDITOR! ..,Jatt HalfGUEST EDITOR! ..Robert P. HavenSCAPEGOAT! ..Richard L Snowden* • CHICAOO IITIRARY RIVIIW • AprlUky, lHiTHE PORNOGRAPHY THAT WASNTStory of 0, by Pauline Reage.Grove Press. $6.00.If there’s anything more change-k able than the weather or thehead of South Vietnam, it wouldhave to be the newest sexual aber¬ration or the latest trial discoveredor undergone by what is affection¬ately termed the pornography„ clique. This bunch, those righteouswriters and pubescent publisherswho have given you such unforget¬table hard-core classics as Fay andHer Boy Friend and The Soft Ma¬chine, is always in the news.> But getting into the news for oth¬er reasons than the clique’s perpet¬ual legal imbroglios has been sig¬nificantly harder. Not since Candyin 1954 has the clique producedanything that has been both origi-* nal and of note. Most of the stuffbetween then and now has beenobscure manuscripts by such“name” pornographers as JohnCleland. The somewhat unscrupu¬lous publishers had only to insert“By the author of Fanny Hill” onthe cover, and, faster than youcould say “redeeming social impor¬tance”, such books were makingmoney. Were they any good as lit¬erature? Most of the time, theyweren’t even close.But—prancing prurience!—theclique has just published a bookthat is notably original and welldone, as well as rather likely to endpp in court. It is Pauline Reage’sStory of 0, and it is at once crystalclear and mysteriously complex.Essentially, 0 is an examinationpf female submissiveness in the ex¬treme. As the sexual slave of a fra¬ternity of men who have trainedher to be perpetually available, 0 is the archetype of what women sup¬posedly have always wanted: to bemolded completely by men, whoare overlords more than lovers.Rarely does 0 protest her subjuga¬tion; in fact, she finds her greatestsatisfaction in it. And the more bru¬tally and impersonally she is violat¬ed, the more certain she is of herown worth. Naturally enough, 0 isconcerned about love, and specific¬ally about keeping her “lovers” inlove with her. But her notion oflove is strange, or at least atypical:she feels that she is loved by her“lovers” precisely to the extent thatthey desire her and follow up onthat desire. It is hard to tell wheth¬er 0 is a supremely reasonablewoman because of this, or whethershe is supremely naive. But which¬ever, she is a woman without pre¬tense, and without the insatiable,hell-for-leather sort of sexual out¬look one has come to expect fromwomen in literature of the Orthono-vum era.As to whether the book is porno¬graphic, I would hesitate to go asfar as the New York Times critic,who felt that Story of 0 “marks theend of any coherent restrictive ap¬plication of the concept of pornog¬raphy to books”. Not only does thebook fail every hard-core pornogra¬phy test ever devised (it has a plot,it doesn’t exaggerate things sexual,it doesn’t glorify sexual acts them¬selves), but it has a redeeming so¬cial importance quite apart fromthose found in a Fanny Hill or aLady Chatterley’s Lover: simply,Story of 0 is concerned with dignityand identity in an atmosphere ofdepravity. To say that the book ifpornographic because of this deprav¬ ity is to miss the point. It would belike saying that Goldfinger is notworth reading because it is aboutrobbery, and robbery is bad.But if it isn’t pornographic, Storyof 0 is certainly horrifying. Thetortures that 0 undergoes at thehands of her two principal par¬amours, Rene and Sir Stephen, arebeastly. They include beatings,chaining, and repeated Sade-omyand they leave 0 physically debili¬tated, if psychologically buoyed up.Most chilling of all are the train¬ing and brush-up courses in sexualdiscipline that 0 takes. They are soregimented and rigorous as to seemunbelievable, yet they ring true inthe sense that sexuality can be seenas hostility, and in the sense thatsetting up country retreats for sex¬ual indoctrination is at least plausi¬ble. At the first of these retreats,Roissy, 0 is merely added to thefold, and is taught to withstandbeatings, to avoid crossing herlegs, and to eschew undergar¬ments in the event that someonemight desire her. But at the secondretreat, Samois, she experienceswhat should be the ultimate humili¬ation: being branded with Sir Steph¬en’s initials, and wearing a chaingrafted into her genitalia signifyingher subservience. But through itall, 0 is happy, and does not doubtthe ultimate wisdom of being treat¬ed this way. Strangely, neither dowe, even though it is sometimes dif¬ficult to contain our shock. That is,while we might not enjoy beingwhipped and branded ourselves, itIs understandable that 0 should putup with it. Her lovers want it thisway, and what can one ever say to awoman in love? What accounts for the strangeempathy one feels for 0? My guesswould be that the answer lies par¬tially in our horror at what befallsher, and partially in our wonder(and jealousy?) at the pleasure sheculls from it. While it is difficult toidentify with 0 as a character, it iseasy to see her trials and their out¬comes as relevant and realistic.Much as Story of 0 is a story ofwoe, it is also a story of victory, for0 wins two battles: one against theforces that would destroy her femaleself-esteem, and the other againsther own fears of becoming lonely,obsolete, and unloved. This is a cu¬rious way to achieve self-satisfac¬tion, but it is apparently the rightway for 0.There is thus a profound sense offinality of the end of Story of O. Ido not mean that all is finished andhopeless, but rather that O’s choiceis so firm at the end that even sheherself does not realize its eventualconsequences (death, for which sherequests permission from Sir Steph¬en when he informs her he plansto leave her). But it has been worthit to 0. It might have been hardfor one to read of beatings andO’s seeming humiliation. But O’seventual positive reaction to hersituation is such that we cannotdoubt its intensity or validity. Inorder to appreciate what is a uniqueand above all a serious book, wemust avoid—like 0—the temptationto object to the details, since thetotal picture is one of merit.Robert LeveyMr. Levey is a fourth-year student ma¬joring in tutorial studies at the Univer*sity of Chicago., AprilMay, 1964 • CHICAGO LITIRAKY RIVIIW • ftWii \ :• i v V • * ' ■ 4A SUPERFICIAL VIEW OF THE SOVIETSBeyond the Cold War, by MarshallD. Shulman. Yale University Press.$1.25.Marshall D. Shulman establishedhimself three years ago as one ofthe leading authorities on Sovietforeign policy with his masterlystudy, Stalin’s Foreign Policy Reap¬praised. Now, in Beyond the ColdWar, he has revised several lec¬tures given in the Spring of 1965 onthe evolving Soviet Union, thetransformation of world politicsand the implications of thesechanges for American policy.These are very large subjects tocover in a few brief lectures total¬ing a little over one hundred pages.There are few writers today whowould dare undertake such a grandtask in so few pages, and fewer stillcould make a success of it. Profes¬sor Shulman is unfortunately notone of them.Where he discusses the begin¬nings of the Cold War and can drawupon the scholarship of his pre¬vious study, his conclusions reflectmature thinking These conclusionsdeserve attention, for they empha¬size the degree to which Soviet aswell as American perceptions be¬came distorted early in the courseof the conflict. The result was thatthe Soviet commitment to the finaltriumph of communism in theworld “became vulgarized in theprevailing Western stereotypes as amore immediate, unlimited andprimitive conception of world revo¬lution in a near and militarysense.” Needless to say our nationhas never freed itself from thatconception.Similarly he writes with authori¬ty and perception about current So¬viet policy: its “holding action” inEurope aimed at perpetuating thestatus quo; its aspirations for lead¬ership of the “nationalist move¬ments” in underdeveloped states;its long run hopes for increasingsympathy for the socialist states;and its general tendency to allowtactical caution become strategicquiescence.When he begins to discuss theimplications of all this for Ameri¬can policy, however, ProfessorShulman’s analysis seems both su¬perficial and inconclusive. Afterreading about the crude notionswhich have shaped American re¬sponses to Soviet policy and the realevolution which it has undergone, one is surprised to learn that nofundamental change is required inAmerican policy. Without explana¬tion, he suddenly concludes that thepolicy of containment has been“essentially successful” and all thatis needed is a “shift of emphasis” inAmerican policy. His closest ap¬proach to a real critique of currentthinking is the suggestion that theproblem of nuclear proliferationhas not been given its due priority.Beyond this he is vague and eva¬sive. He pays lip-service to the idealof arms control, but does not gointo the subject deeply enough todiscuss the shortcomings of presentUS policy. He insists that the “riseof Western Europe to power andresponsibility” must be accomplish¬ed “within an Atlantic frame-work,”a formula so imprecise that it doesnot advance our understandingsignificantly.The Soviet Union, according toProfessor Shulman, presents theWest today with a “diffuse and am¬biguous” challenge, his answer towhich is that the Western nationsmust “strengthen the sense of com¬mon purpose.” But he adds almostin the same breath that the Sovietthreat is not the primary reason forthis need for unity.He does not seem at all certain,in fact, of the importance of the So¬viet threat to the US. His assess¬ment of the political rivalry betweenthe United States and the SovietUnion leads him to regard it as“deadly serious” and as leading toSoviet “dominance” in internationalpolitics, unless the US firmly op¬poses Soviet goals.But he periodically offers theconclusion that the Cold War con¬flict with the Soviet Union hasceased to be the dominant fact ofinternational relations and the cen¬tral problem of American diploma¬cy. He here considers Soviet effortsto increase her power, influence,prestige and security and theAmerican responses as the essenceof the Cold War. But the view thatthe Cold War involves the questionof whether or not the Soviet Unionis to dominate international affairsis based upon an undiscriminatinganalysis of Soviet activities whichequates greater Soviet influence orprestige with greater Soviet power,and greater Soviet power withdiminution of American security.While Professor Shulman’s book bears a provocative title, he giveshis blessing to this view. He doesso, I think, in disregard of our ex¬periences during the past ten yearsor so, which have forced upon us arather more discriminating view,one which takes some aspects of thepolitical rivalry far less seriouslythan others.The Soviet success at Taskentthis year in producing a limited ac¬cord between Pakistan and India isonly an extreme example of a polit¬ical move which should not disturbus, in spite of the increase in Sovietprestige and the corresponding lossof American influence. Similarly,Soviet economic aid, once viewedalmost as a form of aggression, hasfinally been accepted by most ob¬servers as a constructive act, al¬though this too is assumed to pre¬serve and enlarge Soviet influenceand prestige. Even the shipment ofSoviet arms to Nasser or Sukarnono longer seems as diabolical as itonce did.There are many aspects of theSoviet political and economic pro¬gram, therefore, which do not nec¬essarily demand some Cold warresponse. This fact is the basis forAmbassador Kennan’s feeling thatthe United States’ greatest need isto relax its attitude toward the un¬derdeveloped countries and not toregard as life and death matterseither their relationships with Com¬munist nations or their internal pol¬itics.Professor Shulman is ready toconcede that the Soviet-Americanrivalry is in a sense “normal” in in¬ternational politics. But he arguesthat it is abnormal to the extentthat the Soviets hold to attitudesand policies which are in conflictwith the United States’ conceptionof a stable and peaceful interna¬tional order. One must question,however, whether it is the Ameri¬can idea of order or the contrastingSoviet attitude which is really ab¬normal in world history. For theAmerican idea of world order is onein which both the people in powerand the people out of power are sat¬isfied with their condition. It is aworld of universal satisfaction; inother words, one in which violenceis quite unnecessary. ProfessorShulman, illustrating this view,speaks of “international processesthat make possible adjustmentswithout war,” thus presumably ruling out revolutions such as thosein Vietnam or the Dominican Re¬public. Yet it is not clear that therewas any way for the politics ofeither of these countries to be set¬tled without violence.Questions of revolutionaryupheaval, of course, carry us farafield from the subject of Sovietforeign policy, for such events oc¬cur quite independently of Sovietdesigns, as Professor Shulman read¬ily admits. He emphasizes thefact that communism is only a mi¬nor factor in a more general prob¬lem, and that anti-communism isnot by itself an adequate policy.But he neither offers anything newby way of a reasonable policy norchallenges the view that the USmay legitimately use its power todefeat Communist movementsabroad. In this regard, he distin¬guishes between a “disciplined ad¬herent of Soviet or Chinese con¬trol” and a “rebel who has no othername to give his rebellion,” whenmore frequently, the revolutionaryis a well-trained Communist who isat the same time a nationalist un¬willing to be controlled by anyone.The author did not see fit to domore than mention in passing thewar in Vietnam. Since the manu¬script did not go to the publisher un¬til September, 1965, it cannot bethat he did not apprehend the seri¬ousness of the Vietnam conflict inSoviet-American relations. I cannothelp feeling that an analysis ofthose relations without a discussionof the Vietnamese problem is seri¬ously lacking in substance. Thecomplexities of Soviet, Chinese andAmerican involvements in Vietnampresent questions of great momentfor the future of that triangular re¬lationship, but Professor Shulman'sgeneralities evade those questions.In short, Beyond the Cold War,barely touches the surface of toomany important matters. ProfessorShulman summarizes his findingsby saying that we must collaboratewith the Soviets in some ways andoppose them in others. An analysiswhich does not proceed beyond thislevel of thinking does not help usunderstand Soviet-American rela¬tions as they are or as they shouldbe.D. Gareth PorterMr. Porter is a first-year graduate inthe department of political science atthe University of Chicago.THE IMITATION OF MODELS: NEW FICTIONThe Secret Swinger, by Alan Har¬rington. Alfred A. Knopf. $4.95.The Embezzler, by Louis Auchin-closs. Houghton Mifflin Co. $4.95.Swans on an Autumn River, by Syl¬via Townsend Warner. The VikingPress. $4.50.The flat, transparent quality ofThe Secret Swinger betrays a deep¬er flaw: a failure by Harrington tobecome seriously engaged with itsgerminal ideas. His not uncommonthemes have been metamorphosedinto magnificent fiction by writerswho have used them as sparks,jumping off points for the intricate¬ly woven expression of a complexvision. Norman Mailer and SaulBellow have demonstrated what itif possible to do with the conceptsof alienation, search for selfhood,- love as a destructive or a vital force, and fervent need. They satlike gods in the minds of their char¬acters; having created them to becomplex, sensitive beings, they dis¬played that complex intellect andsensitivity as it grappled with theproblems of existence, displayed itin so many tonalities and patternsthat the book took shape around themind of the character, not aroundhis actions in the world. It becamepossible for the reader, too, to sit inthe mind of the magnificent hero,to know him as no human beingever knows another. And there wasso much to know. Ideas leaped, tan¬gled, threw off sparks; perspectivewas refined, refracted, distorted,restored. Across a field of force,the hero’s mind engaged the read*er’s mind and made it grow.The themes of a Bellow and • Mailer are useless if they are notunderstood. Mental and emotionalexperiences of that sort have liter¬ary value as they are probed, re¬vealed, and articulated in depth. Tohear a man say of his problems onlywhat he might say to a casualfriend teaches little, moves not atall. The techniques which were ap¬propriate to the novel centered onsocial relations are useless whenthe subject is a subjective, internalanguish, a conflict and search forself. Engagement with the an¬guished mind is meaningful only ifit is revelatory.Mr. Harrington’s book Is a failurebecause his methods do not suit hissupposed ideas. His characters existfor us only as nodding acquaint¬ances, yet their problems are deep¬ly internal. Ws never know these troubled souls; they are barely one¬dimensional. Even more disconcert¬ing is the feeling that Mr. Harring¬ton has here done his best, andcould not possibly reveal more ofhis characters than he has, since nsgreater understanding of them ex¬ists in his own mind. He has at¬tempted to utilize popular contem¬porary themes, while failing to ex¬hibit any understanding of their na¬ture or source of significance.The problems Louis Awchinclossdeals with are social ones; the set¬ting is the Wall Street and the so¬ciety of 1920-40. Both viewpointand style are reminiscent of Henrylames. Mr. Auchincloss is therefor*faced with the two-fold difficulty elmaking his revelations meaningful{Continued on page ten). 4 * CHICAtO UTIRARY RRVIRW • AwiWNm, 1M4STRETCH-SLACKS SOCIETYThe Nowhere City, by Alison Lurie.Coward-McCann Inc. $4.50.It’ll make a great movie.Its characters are exactly theright types for a box-office success:i 1 Paul Cattleman, a clean-cut Har¬vard Ph.D. candidate who leavesthe academic world for a year so hecan finish his dissertation and takesan editorial job with a large Los■>. Angeles Research Corporation;Katherine Cattleman, a pale,asexual type with a chronic sinuscondition and a loathing for thevulgarities of stretch-pants society;Ceci O’Connor, a much-married> blond waitress who reads Beckett,paints abstracts, believes in freelove and anarchy, lives in a pictur¬esque slum, and hangs around witha bunch of pot-smoking guitar play¬ers;Glory Green, a busty starlet withbright pink curls on her head andher abdomen (“you have to keep upthe property; never know whenyou’ll have guests”); and. Dr. Iz Einsam, Glory’s estrangedhusband, a horn rimmed, beardedpsychiatrist who consistently comesto meetings late, always changesthe subject to anything he wants todiscuss, drives a sports car like amaniac, and makes love to all wom¬en who enter his apartment.Its plot also lends itself to wide¬screen technicolor animation:Paul, quickly getting into theswing of L.A. life and already dis¬gusted by bis wife’s sinuses, hopsInto bed with Ceci. Katherine, afterseveral months of sniffing, Startstalking to her employer, Dr. Ein¬sam, about her troubles, and fakesthe- adulterous route to recovery(look, ma, no sinuses!). Ceci getstired of Paul’s squareness and breaks off with him. Dr. Einsamlends Katherine to Glory to helpher answer fan mail. Katherine de¬cides that Glory is really still inlove with her husband and tells himso. Meanwhile, Paul, who has metGlory through Katherine, hops intobed with her. The starlet, who iscarrying on with Paul merely be¬cause she knows Katherine and herhusband are sleeping together, isgladly reconciled with Dr. Einsam.The year over, Paul goes happilyback to Massachusetts, but Kather¬ine decides she likes Los Angeleslife and doesn’t like Paul.With Peter Sellers as Paul, Kath¬erine, Ceci, Glory, and Dr. Einsam,no one can doubt that it will be abig hit in Des Moines.What’s surprising is that The No¬where City is a fine novel.Miss Lurie lets each character fit*his cliche only for a short period oftime. Chapter by chapter, the char¬acters grow more complex andmore human as they advance, makemistakes, fail and triumph in un¬derstanding each other and them¬selves. Their habits of changingpartners are necessary parts of thisprocess, not mere inserts by a nov¬elist who knows all successful nov¬els have Sex.Miss Lurie’s way of working witha cliche is illustrated particularswell in the character of Paul. Oursympathies are entirely with him atthe beginning of the novel—he iswith his wife for the first time insix weeks and1 all she can do iswhine about her sinuses, complainabout* the pink stucco house Paulhas rented for her, and comment onthe unnaturalness of f 1 ewe reblooming in October. In contrastPaul is encouragingly" healthy andreasonable* His reaction to ios An¬ geles is one of pure enthusiasm, notthe “camp” enjoyment of the jaded.From the first description given ofhim, we know he’s an all-aroundgood guy:“When Paul’s acquaintances calledhim a southern California type, theywere probably thinking of his love ofthe beach and other outdoor pleasur¬es, and of the pleasure he took inmovies, and even TV. No doubt theyreferred also to his occasional en¬thusiasm for such things as surf-cast¬ing, surrealistic poetry, hypnotism,and the repair of his own householdappliances—and his readiness forsmall adventures. . • He was cer¬tainly not the standard graduateschool product. . . He was too healthyand played games too well, for ex¬ample, and he did not wear horn¬rimmed spectacles. He did not wearspectacles at all; at large academicgatherings his brown eyes stood outoddly in a sea of glass goggles andrefracting lenses, as if he were aman among Martians.”When Ceci, a beautiful waitressat a coffee shop near his office, of¬fers to lend Paul Samuel Beckett’slatest play, it seems only naturalthat he should want to know herbetter. His desire is enhanced bythe state of his project at work. Be¬cause each step in his writing of theresearch corporation’s history en¬tails considerable red tape, he has*little to do for weeks on end.Ceci seems to be exactly whatPaul needs, and deserves. Insteadof Katherine’s compulsive cleanli¬ness, there is Ceci’s casual way ofliving—mattress beneath a muraledceiling, odds and ends of furniturewith bright canvases leaningagainst them/ Her friends, too,seem delightfully natural—not onlyare they not disturbed by the lackof 'middle-class ordeHn their'lives,’they are ridt- ^ven “hung tip" bnquestions of right arid wtforig. Tlieycan admire the pure artistry of a theft without considering it in mor¬al terms.Paul is happy, Ceci is happy, weare happy. Slowly and subtly, how¬ever, Miss Lurie begins to revealsome of the less favorable aspectsof Paul’s personality—a narrow¬mindedness in ethical matters, aninability to live outside the comfor¬table pattern which his money,possessions, and academic statushave made for him, and a hypocriti¬cal attitude toward Katherine madeeven worse by the fact that he hasfooled himself into believing he’shonest.The first sign that everythingabout Paul isn’t perfect comes inan argument with Ceci’s friendsabout his job at the research cor¬poration. He defends the company’smilitary projects with an appeal toeconomy:/Watson’s Law says that the pur¬pose of this whole economy is to ex¬pend as much time, money, andmaterial as possible without creatinganything useful. Otherwise, see, theproductive capacity of the countrywould get out of hand. You notice itmost in organizations like Nutting.Wherever they’re working on a gov¬ernment contract, they can’t affordto produce anything that might com¬plete with private enterprise. But >the process is going on everywhere.”Ceci’s friends call him a sell-out.Paul counters by calling them ju¬venile and antisocial. Ceci’s friendsare unreasonable, but Paul doesn’tsound any better. In fact, he beginsto sound worse and worse.When Paul finds out that the re¬search corporation has hired him asa showpiece, and that they don’treally want their corporate historywritten, he doesn’t quit, raise hell,or do ahything else, >He merelycomplains*about"his fate to Ceci*Who can't understand his attitude.(Continued on page seven) --vr y>>Aprit‘Mayf *966 •'C H t G A G O l I'TE R A R Y R E V I B W' 5A POTPOURRI OF PUERILITYword out of five centuries of us¬The Modern Movement, by CyrilConnolly. Atheneum. $4.50.Cyril Connolly’s latest book, TheModern Movement, is infuriating—not simply because it is nonsense,but because it is nonsense that car¬ries the weight of authority. It at¬tempts to define what Connolly calls“the Modern Movement,” and topresent a list of one hundred “key”books, representing that movementin France, England and the UnitedStates. Each book is criticized in ashort paragraph or two, introduc¬tions are given for each “period” ofthe movement, and a bibliographyis included. But Connolly’s centralthesis is not supportable, his list ofbooks is puzzling at best, the criti¬cisms descend too often to the levelof plain silliness, and the bibliogra¬phy is a joke.The Modern Movement, accord¬ing to Connolly, began in 1880 as arevolt against traditional values—Puritanism in the United States—and its spirit was “a combination ofcertain intellectual qualities inherit¬ed from the Enlightenment. . . withthe passionate intensity and en-h a n c e d sensibility of theRomantics. . .” The appropriate“touchstone” for judging the re¬volt, in Connolly’s view, is “theawareness of Rimbaud, Baudelaire,and Flaubert.” Flaubert and Bau¬delaire are especially valuable, atleast in part because “Flaubert’sgrandmother’s family was calledCambremer,” and both men were“born in the same year, with sixletters of their names incommon. . . Of course, there ismore to it than that, but these re¬marks tend to illustrate the qualityof Connolly’s thought.It is difficult to believe that theseideas came from an editor and crit¬ic of Connolly’s stature. Asidefrom saying that “in 1858 the Gon-courts’ coined the word “Moderni¬ty’,” he offers little support for hischoice of a name. Even if we agreethat the most distinguishing charac¬teristic of the first half of this cen¬tury was the peculiar quaiity of itsrevolt, we can hardly agree thatthis makes it modern. The Roman¬tics had their own revolution, andno one has thought of calling them“modern” in the sense that Connol¬ly uses the word. Furthermore,people have been talking about“the moderns” at least since thesixteenth century, and there is noreason to believe that they will stopnow. The logic behind yanking thatOur hard-working editor age and making it the exclusiveproperty of seventy years escapesme.And why should these years,1880 to 1950, be the particular ob¬ject of our concern? In the UnitedStates, at least, it would be possibleto argue for a “movement” that be¬gan five years later (with the publi¬cation of Huckleberry Finn), and isonly now beginning to gasp for air.On the other hand, it might haveended with the Second World War.Connolly, as a matter of fact, sug¬gests that this movement did endwith the war, and that its last tenyears had the rather ghostly qualityof a dying age. Aside from thespectre of Eliot, the idea seemsamusing at best. But no matter whatarguments we produce to supportour choices, there will always besomeone to refute them. The precisebeginnings and ends simply cannotbe found, and for the very obviousreason that a “movement” can nev¬er be precisely defined. Even with amovement so subject to definitionas Romanticism, our choice of 1798is finally rather arbitrary, and whocan agree when that ended?How much, after all, have wesaid about “Kubla Khan” if we callit Romantic, or alternatively, howfar have we gone towards definingRomanticism? The poem, certainly,escapes these iron boundaries, andthe movement—perhaps that too isa useless concept. Granted, it mightbe an easy shorthand, useful ifyou’re interested in talking about“periods,” but when you come tothe specific poem, or the novel inyour hands, the idea of a movementis not going to help. I have neverknown anyone who claimed that hewas “moved” by one of these ab¬stractions, but what else is “art” allabout? The kind of thinking thatlikes to throw books into a numberof different sized pots, mix themup, and produce this kind of hash,will never refine our sensibilities,or refresh our own thinking, to thepoint where we can return to thosebooks prepared for new experi¬ences. Of course, we can talk aboutthem. . . .Connolly has chosen to talk aboutone hundred books, which he seesas the keys to understanding theMovement. He admits, immediate¬ly, that probably no two people willagree on the precise composition ofsuch a list, so it is easy, on the read¬er’s part, to be willing to indulgehis tastes, to humor him at least alittle. But here Connolly is the vic¬tim of his own fuzzy thinking. It isdifficult, in the first place, to imag¬ine the logic which persuaded himto include only English, American,and French literature. If he isgoing to let the French in, why noteverybody else? At least, perhaps,he could include the Russians andGermans. If you must make such alist, and if you must arbitrarily lim¬it yourself to one hundred books,why not replace a few of the sec¬ond-rate English speaking writerswith a few of the best foreigners—Rilke, Mann, Dostoevsky? But, Con¬nolly admits, he does not feel com¬petent to judge works in transla¬tion. Of course, this lack of compe¬tence didn’t prevent him from writ¬ing his book.At the same time, ignorance is not the principle that controlled theselection of these books (withinthe bounds of the language barrier).Connolly believes that a truly Mod¬ern book must be in revolt againsttraditional values. But it is not aparticular kind of revolt that inter¬ests him—any old revolt will do.This leads him to a curious sort oflist: he excludes, for example,Huckleberry Finn, but includesNorman Douglas’ Siren Land andSouth Wind. This might lead any¬one else to question the value of hiscriteria, or their application, but itdoesn’t stop Connolly for a mo¬ment. In fact, he tends to excludeas many of the so-called realisticnovels as he can, on the groundsthat realism is “not enough.” Thisproduces a rather strange misrep¬resentation of whatever it was thathappened in the United States dur¬ing that period, meaning the exclu¬sion of not only Twain, but alsoDreiser, Crane, Wharton, Dos Pas-sos, and more. In England, Kipling,Harding, Wells, and Wilde are dis¬missed as “traditionalist.” Frost ismerely “Georgian-Wordsworthian-New England.” Wordsworthian?As for the French, they get somestrange play, but only for the firsttwenty years or so. Gide is there,but not the book he considered tobe his only novel, The Counterfeit¬ers. Proust is in, but only by theskin of the first volume of Remem¬brance of Things Past —the gapinghole left by the exclusion of therest of that masterpiece is not ex¬plained. And yes, Flaubert’sgrandmother. . . .Eliot and James are honoredmost—perhaps they had more torebel against—with four bookseach. Hemingway, Yeats, Law¬rence, and Joyce run a close secondwith three each. Connolly apolo¬gizes for not liking Faulkner, rep¬resents him with Sanctuary, and ex¬cuses himself by claiming, probablyerroneously for most readers, thatthe easiest way to approach thiswriter is through this book. But thequestion of why we should want toapproach a writer at all is not an¬swered. Connolly has managed tofit the writer into his system, andhe’s perfectly willing to let it go atthat. You can come to admire a manwho is willing to sacrifice every¬thing for the sake of an idea.If we approach Connolly on an¬other level, from the point of viewof his criticism itself, he would begood for a few laughs if he didn’tmake such consistently stupidjudgments. Huckleberry Finn, forexample, is to him “over-praised,too involved and sentimental. . . .”Yet, the Goncourts’ Journal is“sophisticated . . . engrossing,” pre¬ferred. On his usual level of discus¬sion—gossip—he implies thatGide’s homosexuality was the prod¬uct of his meeting with Wilde andDouglas; George Moore is “the bestcompany for depressed insom¬niacs;” Valery is prized because LaJeune Parque can “induce atrance.”Too many of Connolly’s remarksare utterly trivial. We hear, again,about Wallace Stevens’ job with theinsurance company, that the modelfor Virginia Woolf’s lighthouse was“near St. Ives,” that Breton “never became a Communist. . . .” In theshort paragraphs that he devotes toeach writer he is able to cram inmore useless gossip and less criti¬cism than anyone would havethought possible. You will be de¬lighted, for example, to know that“Montherlant is connected with oldfamilies in Catalonia and the Cam-argue, was wounded in the firstwar. . . .,” that Michaux “latelyhas taken to painting and drug-in¬vestigation (mescalin).”Connolly is the friendly cornerdruggist of literature. He has tohand out some bitter pills (likeFaulkner), but he can recommend,for example, Marianne Moore: “Inthe pharmacology of the ModernMovement, she occupies the placeof an imperceptible vitamin of lit¬tle-known properties whose absencecould prove terminal.” I must ad¬mit that I had never thought ofMarianne Moore in quite that way.This critic is “modern” himself,and he can be shocking when theneed arises. William Plomer, forexample, gets in because he “statesthe South African colour problemas realistically as it has ever beentreated since. There is even amixed marriage.” Gosh! Or if youwant a better shock, try thinking ofRonald Firbank as one of the greatnovelists of this century.Finally, the book is fattened withan extra fifty pages of bibliographyin the hope, perhaps, that his read¬ers will still want to read the realthing. The results are disastrous.He lists a single hardback and asingle paperback edition of eachbook for his British readers, andevery edition he can find for theAmericans, out of print or not. Ihaven’t been able to figure out whythe Americans get this preferredtreatment. But it probably doesn’tmatter. Under T. S. Eliot, he listsalmost a full page of the varioustranslations and editions of the Di¬vine Comedy, but the reasons forthis and similar curiosities are un¬clear. The entries are in a vaguechronological order, so if you wantto know what editions are availableof, say, The Ambassadors, you haveto know first when it was pub¬lished, and it’s not a bad idea toknow the book’s order in the NewYork edition. For purposes of ref¬erence, the book is useless. It wouldrequire at least another fifty pagesto untangle the mess at the end.Connolly seems to have missedthe point in every possible way. Hehas chosen to criticize seventyyears worth of literature, but hedoes not seem to have an accurateidea of what happened during thoseyears, to know what is significantabout the books produced, or evento be able to arrange those booksinto an order that makes sense. Onewonders why he brought thishodge-podge out at all. Sentimen¬tality? He says of his efforts.One seems to be sticking paper-flages into a dissolving sand-castle,while in full erosion oneself. Try aswe would to be objective, any suchlist (exhibition of compulsive pedant¬ry or debt of gratitude?) is personalas a cardiogram. It may well provethe last unsponsored by a faculty.I hope so.Michael I. MillerMr. Miller is a fourth-year student nut-joring in English in the college atRoosevelt University.April-May, 1966 • CHICAGO LITERARY REVIEW •TWOAfter the Road AccidentI (The Cry)there are not many druids leftand not many left who mourn theirdeathand I'm not one to cryover spik- milk....I was expoundingas you droveand swervedand hitthe lamppostI cannot caress the whitenessof your neckwhile it lies acrossthe kerb. There are not manydruids leftbut we still sacrificefor love of someone or other,in one way or another.Your death does not make yours largerfor neither yours, nor mine so palewillsqueeze backinto our bottle where you keptso white and still my love.C.Jy I’stening to the cutting glass of my hystericsonto your stone altarare you stiller yet.II (Later)Chrome flashes, clattering instrumentsinto white trays; cowled figures raisetheir eyes sterilized as chrome.In unison they move you, starchedlaundry across the table, checkyou onto a long trolley.Already thinking of their blessingslater this twilight white nursesswill the table where you laythrough the ritual, unblinking. Oneis to go to the bowls alleyto move with marked precisionwoods to wooden impact, harmless downthe lanes. Burnt flesh and gas fumes wheelout the theatre with you. Istep aside for you down the hollowtunnel, wondering what to do.With rubber gloves a doctorpats my arm, so I mould with metala smile — perhaps to try to penetratethe chasteness of your shroud. POEMSNeverending lines In memory of Sophia,a Greek nurse in Egina 1962half closing my eyes in the olive groveevening she glides looselythe folds fall — her tunic is a toga yetrevealing live limbs brown fallso dawn gives sense to night's handssoft and dark starred is her hairfull of this island wealth Ikiss her new-bread cheekstasting warm the hand eases mealmost to retzina giddiness those pains awaymy pains through shuttered windows litby dawn's sea silking the waves call"zagapo ... zagapo ..." over and oversands bedded in corners of the morning forevernowMick GidleySTRETCH-SLACKS SOCIETY(Continued from page five)If he is going to quit, he shouldquit; if he has decided to stay, heshouldn’t complain about gettingpaid an enormous salary for doingnothing. Ceci’s annoyance changesto absolute disgust when Paul inad¬vertently confesses that he’s stillsleeping with his wife because it’s“the thing to do,” even though hedoesn’t like it. This last hypocrisyloses Ceci completely, and Paul isshaken up, but he never un¬derstands why his actions at workor at home should have anything todo with the way Ceci feels abouthim.While Paul is cavorting withCeci, Katherine begins to work forthree professors doing a psycholog¬ical research project at UCLA. Twoare mild-mannered and business¬like, but the third, Dr. Einsam, hasa nasty way of telling Katherinethings she doesn’t want to knowabout herself. Gradually, however,she breaks down and starts tellinghim what’s on her mind, and hestarts to tell her about his unfortu¬nate marriage to Glory. In context, Katherine’s affair with Dr. Einsamseems to be a reasonable therapy.She starts to find out that she is adesirable woman and that her hus¬band is something of a jerk. Thevery things that she has hatedabout Los Angeles—the way theseasons run together so that themonths have no personality, theway even day and night lose theirnormal characteristics—begin toexhilarate her. Feeling the effectsof her freedom, she even buys apair of tight slacks and sunglasses.Katherine’s readiness to try liv¬ing and Paul’s break with Ceci oc¬cur at about the same time, makingthe possibility of a happy endingimminent. Unfortunately, Paulturns out to be even more of a jerkthan we suspected. When Katherineacts like a normal seductive female,her husband rejects her advancescompletely and chastises her forreading those ridiculous marriagemanuals.The rest of the book movesquickly in terms of action, but eachstep intensifies the differences be¬tween Katherine and Paul. By theend of the book Katherine has out¬grown her husband completely, but he never even realizes it. -When Paul visits Cambridgeagain, he happily moves right backinto a world which the presentdoesn’t touch:Paul so misunderstands his wifethat he’s sure she is aching to getback to New England. When shetries to explain that being squeezedbetween the past and future isn’tliving, he doesn’t even listen to her.He rides off into the sunrise cheer¬ fully certain that Katherine willfollow him in a few weeks. Weknow better.Only occasionally does Miss Lu¬rie’s well-constructed and well-writ¬ten novel get bogged down. In herdesire to get oss some probablyunnecessary symbolism, she goes toextremes of description. A wholechapter toward the beginning of thebook complete with trip to a zooand a complicated accident, is nec¬essary for Miss Lurie to make onemetaphoric point:“Oh, my goodness. . . you’veripped your skirt.”Katherine looked down. Her nar¬row cotton dress was torn roughlyup the side to the thigh.“Gee, I’m sorry,” Susy said.“That’s the trouble with wearingskirts: something like this alwayshappens. . . It’s all my fault. I’ll V?tell you what, I’ll get you someCapris. You ought to wear Caprison trips like this, anyway.”“It’s not important,” Katherinesaid in an odd voice.Susy looked at her. “Why, Kath¬erine, what’s the matter. . . Whyare you shaking all over like thatnow?”Sharon GoldmanMiss Gold man is a first-year graduatestudent in the department of Englishat the University of Chicago.“Even the first evening, sittingin a friend’s apartment in Cam¬bridge, he could feel the internalsmog lifting and something like anhistorical sense waking; he heardhimself beginning to think again interms of political, cultural, economicmovements and meanings ... intalking to his friends and answeringtheir questions about Los Angeles, hehad begun to see it as an historian.Theories and connections that he hadnever worked out consciously flaredup as he spoke. The basic thing aboutL.A. he explained, was that it lackedthe dimension of time. As Kather¬ine had first pointed out to him, therewere no seasons there, no days ofthe week, no night and day; beyondthat, there was (or was supposed tobe) no youth and age. But worstand most frightening, there was nopast or future—only an eternal dizzy¬ing present- In effect, the city hadbanished historians as Plato hadpoets from his Republic.”• CHICAGO LITERARY REVIEW • April-May# 1966THE MEMORY OF CONSCIOUSNESSPoems: An Handful With Quiet¬ness, by John Stewart Carter.Houghton Miflin Company, $1.95Wildtrack, by John V/ain. TheViking Press. $3.50John Stewart Carter died lastyear shortly after the publication ofhis award-winning first novel, FullFathom Five. Before his death,however. Carter prepared a volumeof poetry which has now posthu¬mously appeared as Poems: AnHandful With Quietness. SinceCarter is an intensely autobiographi¬cal writer, there is often a closesubject matter relationship be¬tween his prose and poetry. Afterdescribing a situation in his novel,he will often state that he has alsowritten a poem on the same sub¬ject. and these poems are nowavailable inN An Handful WithQuietness.While many of the poemsin this volume are related toFull Fathom Five and act as a kindof appendix to the novel, the ma¬jority are outside the narrativeframework. Indeed, it would takemany novels to compass the variedthemes and moods of Carter’s poet¬ry. Carter himself has divided thepoems into seven sections whichcorrespond to seven major thematicdivisions.The first part, “ensanguineddust,” deals with childhood memo¬ries; the second part, “and they cutdown the trees and the shadows,”with changes in American societysince the Twenties. The third sec¬tion, “carnivorous kind.” depictsthe commercialization and destruc¬tion of spiritual values, and thefourth section, “in high careen,”shows the fulfillment of these val¬ues. In the fifth section, Carter /groups his travel poems, while inthe sixth he discusses his personalviews on poetry; and in the last sec¬tion, “the holy shudder,” he exam¬ines the horror of modern timeswhich he visualizes as technologicalperfection of form concomitantwith sterility and madness of spirit.Although Carter’s poems cover awide range of subjects, almost all ofthem have one thing in common,for whether Carter writes about achildhood memory or about a tripto Rome, he is primarily interestedin creating a mood. Carter will be¬gin a poem with a concrete fact orobservation, and then through thealembic of his poetic style, he willdistill the fact into an emotion.Since the poems span a widerange of experience, it is safe to as¬sume they were written over a con¬siderable period time, and differ¬ences in style support this idea.Carter uses three main styles: a“prose” style, a “memory” style,and an “unenglish” style.Carter’s “prose” style of poetryresembles the snappy, conversa¬tional, Salingeresque tone of his nov¬el, Full Fathom Five. He uses thisstyle with deadly effect in “An Ele¬gy Written on the Leaning Tow'er,”where its impervious nothing-is-sa-cred glibness matches the hollow¬ness he describes upon seeing “Kil-roy” scrawled on the top of theLeaning Tower. But occasionally,as in “Historic America,” Cartergets too glib with the style and thepoem itself becomes irritating.Carter’s “memory” style is like astream of consciousness where ahalting series of related imagesdepict the various small-boy fasci¬nations that well up in the middle-age mind. For example, in “Gro¬cery Store:” Malaga grapesspilled cork,Geography, Spainto grocery-sawdust floor.While such a style can be extremelyeffective, it is also extremely limit¬ed. After a few such poems, the nov¬elty wears off and the reader seesonly a collection of nouns missingtheir verbs.Although Carter uses these twostyles to good advantage, it is in histhird or “unenglish” way of writingthat he creates his best (and also hisworst) poetry. I have called this laststyle “unenglish” because in FullFathom Five Carter himself usesthe term to describe the unfamiliarand somewhat awkward rhythm ofhis poetry. This alien quality is theresult of two antagonistic forcessimultaneously at work in Carter’sverse. For at the same time thatCarter uses streamlining techniquesto accelerate the pace of hispoetry, he uses other devices thathave a retarding effect. The resultis like the sound of a lame manrunning.Carter speeds up his poetry by aliberal use of hyphenated words(“line-strayed sheets,” “brown-eyedyears,” “white-bellied croaks,”“vein-skinned plums”), by a quicksuccession of images, and by manyoxymorons which compress compli-cated relationships into little space(“joy-sad,” “cruel-kind dreams,”“awake in sleep,” “lone not lonelyreach”).The contrary retarding force, onthe other hand, largely results fromCarter’s use of the prepositionalphrase. Carter, for example, willnot write “beam’s weight” or“mosque’s dome.” Instead he willwrite “weight of beam” and “domeof mosque.” Other examples are very easy to find: “warmth offlow,” “cool of straw,” “blur of bod¬ies,” “wash of sky,” “redream ofkiss.” And occasionally Carter willcome up with phrases like “wetwith drench” or “alive with rush.”Now when this style is used withmoderation it is capable of produc¬ing an amazingly intriguing tonethat strongly contributes to the suc¬cess of such poems as “Wise Men,Magi, Kings” and “In Holy, HighMeshed.” But unfortunately, Carterplays his grammatical games a bittoo often and he tries to pass clev¬erness off as poetic insight. Hyphen¬ated words, compound imagery,oxymorons, and tricks with preposi¬tional phrases must be carefullycontrolled or a poem will become anirritating bag of syntactical trickswhich often veers off into unintelli¬gibility. Witness “Beech Weed”:Dazzle weed in clutch of swift-shiftsandeye glut with hybrid opulence of rosedeep at feed in earth’s compost en¬closewhere hairy fingers tentacled de¬mandsuburban rot as gleet of long-spentgland.Blown great with greed, graft flowerglowswith spectral glair from scion stalkthat growsto callused stock as ghost of manunmanned.In the two best poems of thebook, “Conversation” and “Mr, DePaolis and the Shades,” Carter re¬mains the master of his poetic de¬vices and the “unenglish” styleworks with the poems. These poemsare especially interesting becausethey embody Carter’s personal ap¬proach to poetry, and they formu¬late what I believe is a valid crite-(Contirvoed on p«g« nine)THE ECONOMICS OF HUNGEREconomic Crises in World Agricul¬ture, by Theodore W. Schultz. Uni¬versity of Michigan Press. $3.50.It has been noted by a prominenteconomist among us, George Si¬gler, that “all free men . . . considerthemselves economists, for the ini¬tial ‘I’m not an economist’ is alwaysfollowed by ‘but’ . . .” One mightsuppose, then, that professionaleconomists, not completely obliv¬ious of this tendency, might directsome works to an interested butnon-professional audience, andcould even present some in whichfirm, economic analysis of impor¬tant problems was presented infairly straightforward, lucid terms.Such is of course not the case.When economics was more of anart (especially as practiced by Mar¬shall), the chief works were labori¬ous in an attempt to be exhaustive.The layman (and even the econo¬mist) of today does not know whereto start in such a work. And now thateconomics has aspirations to be¬come a real science, much of theanalysis is based upon complicatedstatistical a n d/o r mathematicalmodels; this is simply beyond thecapabilities of those not trained tohandle statistical tools. This means:that important economic problems,susceptible in large part to someelementary analysis, are being dis?cussed by laymen <and often by pol¬icymakers) without the slightestknowledge of economic realities. sMr. Schultz, ip bis latest book,Economic^. Crises in World Agi^cul¬ture, turns once again to the ques¬tion^ of.*-the economics of subsist¬ence agriculture, and once again* » CHrcA«<> \Ui*K (as in Transforming TraditionalAgriculture), lucidly presents in¬formation which is otherwise avail¬able in scattered journal articles,and applies the tools of basic eco¬nomic analysis to this informationin order to answer some puzzlingquestions about what he terms “tra¬ditional agriculture.”By this he means a method ofagricultural production in whichneither types of inputs nor amountsof yield have changed appreciablyfor generations. Do traditionalfarmers behave “rationally”? Canthere be significant returns to merereorganization of traditional agri¬culture? Why do some countriesproduce so much, while others pro¬duce so little? Which holds greaterpromise of growth, modernizationof agriculture, or industrialization?All of these questions are currentlybeing discussed, and examples ofstatements both from economic lit¬erature and from the governmentsmost concerned with this discussionwould show that the analysis whichis done is based on erroneous(sometimes contradictory) assump¬tions and illogical reasoning. Mr.Schultz, like onlv very few others,clarifies the discussion of theseproblems, by considering them inorderly, logical manner., One example of erroneous as<sumptions which are rampant inboth popular and. professionalthought ab6ut agriculture in lessdeveloped., nations is sufficient toillustrate the -value of a book whichdeals succinctly with-the realities oftraditional agriculture:-It has lorigbeen issumed that traditional farm-fV i i M w* •l***brfHWjP,HW4# ers are indolent (or alternatively,that their work in large part contrib¬utes nothing to output). In eithercase, farmers are considered irra¬tional, and unresponsive to econom¬ic stimuli. Prominent economistssuch as Magen have stated that cul¬tural standards have to be changedin order to effect economic growth;others, less responsible, make bluntand false statements, such as “one-fifth of the agricultural labor forceis completely non-productive andhence should be placed in industrial work.” Schultz, however, relyingon the data gathered by Mopper,Krishna, Sol Tax, and others, showsthat traditional farmers really arerational economic beings, and thatso far we have not developed pro¬grams embodying the right stimulito appeal to them. He goes on tonote that traditional agriculture hasvery low returns to capital and la¬bor, and that the right stimuliwould in part consist of educationalprograms which would encouragethe use of modern capital inputswhich used properly would have amuch higher rate of return.Economists and social scientistsshould turn to this little book as asource of some valuable informa¬tion on these problems. (Certaineconomists, especially, should ex¬amine this work to see if their as¬sumptions are consistent with whatis actually known about traditionalagriculture.) But, perhaps more im¬portantly, those, writing, scientific,texts should- .read .this book (and.Transforming Traditional Agricul¬ture) asanexaiflftleOf how to> rep¬resent scientific and analysisin a manner which is useful both to those within their disciplines and tothose who are interested but nottrained in a specific discipline. Thewriting, like the analysis which itcontains, is clear, straightforward,and logically arranged; these arepresented succinctly; evidence isshown; conclusions are drawn, towhich certain specifications areadded. Through this procedure, Mr.Schultz shows the extent of ourknowledge about subsistence agri¬culture, and then suggests the nextquestions which must be asked, andwhich programs might have valuein modernizing agriculture and pro¬viding economic growth for less de¬veloped nations.The one real shortcoming of thisbook is that much of the data whichis available, and which should bebrought to bear upon the problemsof agricultural economics, is onlyhinted at, or scantily presented.Unfortunately there is no single au¬thoritative textbook which dealswith problems of agricultural de¬velopment; indeed, certain areassuch as the planning and forecast¬ing aspects of modernization of tra¬ditional agriculture have never feably been treated at all. The only dis¬appointment I have with respect toEconomic Crises in World Agricul¬ture is that it isn’t that generaltextbook which is needed; I hopethat in the near future, either Mr/Schultz or someone capable of writ;ing and thinking as clearly, as hewill produce such a text.R. Edgeworth-SmfthMr. Edgeworth-Smith is a first+yeargraduate student in ihe departmentofEconomics at the University of Xfijr-edgd: ** «««««THE METAMORPHOSIS OF DESPERATIONThe Crying of Lot 49, by ThomasPynchon. Lippincott $3.95,Every so often—maybe once adecade or so—a first novel comesalong which sets the normally hard-headed reviewers into fawning,drooly superlatives. The last timethis happened was 1963: the novel¬ist was Tomas Pynchon; the novelwas V. Three years have gone by,another novel by Pynchon has comeout, and it may be time for a prog¬ress report.On the strength of V., Pynchonhas been called an avant-garde nov¬elist—which is a reviewer’s half-truth if there ever was one. It iscertainly true that he uses all thetechniques of the avant-garde: sym¬bolism, allegory, fantasy, black hu¬mor, surrealism, and shifting nar¬rative styles and points of view. Butin V. these devices are not used asserious novelistic ploys: they arecomic elements in an episodic, pic¬aresque story line. The basic plotitself—Herbert Stencil’s search forthe mysterious, alluring V. — isonly a grotesque transmogrificationof a currently fashionable literarytype: the quest novel. Both themain structure of V. and its ba¬roque decorations are essentiallyself-parodic. (Pynchon is to theavant-garde novelists as MurraySchisgal is to the Absurdist play¬wrights—a parodist seemingly op¬erating in their midst.)The Crying of Lot 49 is clearlyout of the same mold as V. Againwe have Pynchon’s childish delightin naming his characters (StanleyKoteks, Oedipa Maas, Pierce Inver-arity, Mike Fallopian, Dr. Hilarius,etc.); again the decorative flights offancy (a perpetual motion machineusing Maxwell’s Demon to counter¬act the Second Law of Thermody¬namics); and we are again upon aweird quest involving theW.A.S.T.E. organization, the Trist-ero, the independent Thurn andTaxis postal system, and an arcanesymbol—the muted post-horn.It all began one evening whenMrs. Oedipa Maas came homedrunk from a party to learn thather former lover, Pierce Inverarity,had made her executrix of his will.While examining the ins and outsof Inverarity’s estate (did Beacons-field Cigarettes, which Inverarityowned, make its charcoal filters outof human bones?), Oedipa discovers a secret postal system run by thepariahs of American society: thewould-be suicides, the loveless, themisfits. And in the course of hercurious probings into the relation¬ship of this private communicationssystem with certain obscure seven¬teenth century historical events,she is forced into unwelcomeknowledge of the human condition.For those who have already readV., The Crying of Lot 49 may comeas a slight disappointment. In thisshorter, leaner novel, Pynchon haspruned away the pyrotechnics—there are fewer wild images likethe one that begins V., of “custombeer-taps . . . made of foam-rubber.From eight to nine payday nightsthere occurred something ... calledSuck Hour.” There are no orgies,and astonishingly little sex at all.But although most of the fun is sub¬ordinated to the novel’s theme,there is still fun in plenty. LikePynchon’s description of a Carolinerevenge tragedy:Angelo, the evil Duke of Squamu-glia, has perhaps ten years beforethe play’s opening murdered thegood duke of adjoining Faggie, bypoisoning the feet on an image ofSaint Narcissus, Bishop of Jerusa¬lem, in the court chapel, which feetthe Duke was in the habit of kissingevery Sunday at Mass. This enablesthe evil illegitimate son, Pasquale, totake over as regent for his half-brother Niccolo, the rightful heir andgood guy of the play, till he comes ofage. Pasquale of course has no inten¬tion of letting him live so long. Beingin thick with the Duke of Squamu-glia, Pasquale plots to do away withyoung Niccolo by suggesting a gameof hide-and-seek and then finessinghim into crawling inside of an enor¬mous cannon, which a henchman isthen to set off. And so it goes for the next tenpages or so.But the basic tone of the novel ismuch bleaker than that of V. In¬stead of the empty-headed, high¬hearted joking which characterizedthe earlier book, The Crying of Lot49 evinces a grim desperation, analmost gothic horror of a kind thatwas only hinted at in V., in thechapter entitled “Mondaugen’s Sto¬ry”.Those who saw more than humorand fancy in V., who asked them¬selves what Pynchon was driving at—what his supreme symbol stoodfor—might have come up with ananswer like this: V. is a universalobject of search, for it is that whichwe desperately seek when we areunable to love. But the dark hintsof this grim answer are not on thesurface of the book. We have to dig—in some places rather deeply—tofind them.In The Crying of Lot 49, howev¬er, Pynchon is more explicit. Per¬haps he felt that in V. he had ob¬scured his theme with his artisticbut autotelic antics. Here, in oneclimactic paragraph, containing,incidentally, some of Pynchon’sbest prose, he objectifies the epi-phanic climax of Oedipa Maas’search:She thought of other, immobilizedfreight cars, where the kids sat onthe floor planking and sang back,happy as fat, whatever came overthe mother’s pocket radio; of othersquatters who stretched canvas forlean-tos behind smiling billboardsalong all the highways, or slept injunkyards in the stripped shells ofwrecked Plymouths, or even, daring, spent the night up some pole In alineman’s tent like caterpillars’,swung among a web of telephonewires, living in the very copper rig¬ging and secular miracle of com¬munication, untroubled by the dumbvoltages flickering their miles, thenight long, in the thousands of un¬heard messages. She remembereddrifters she had listened to, Ameri¬cans speaking their language care¬fully, scholarly, as if they were inexile from somewhere else invisibleyet congruent with the cheered landshe lived in; and walkers along theroads at night, zooming in and out ofyour headlights without looking up,too far from any town to have a realdestination. And the voices beforeand after the dead man’s that hadphoned at random during the darkest,slowest hours, searching ceaselesslyamong the dials ten million pos¬sibilities for that magical Other whowould reveal herself out of the rearof relays, monotone litanies of insult,filth, fantasy, love whose brute repe¬tition must someday call into beingthe trigger for the unnamable act,the recognition, the Word.Less than V. in some ways, TheCrying of Lot 49 is on the otheihand more than just a virtuoso per*formance. It is an intense work, fullof the imaginative sympathy—andthe artfulness—that mark the greatnovels of our language. And yet onegets the feeling that Pynchon’s tal¬ent has not yet come to maturity,that he is still feeling around forthemes and methods. The Crying otLot 49 is, if I am not mistaken, justanother stepping-stone in the devel¬opment of Pynchon’s art—althoughit might have been the crowningachievement of some inferior tafent.Peter MaartenfMr. Maartens is a first-year graduatestudent in the department of Englishlanguage and literature at the Uni*versify of Chicago.THE MEMORY OF CONSCIOUSNESS(Continued from page eight)rion for judging the merit of subjec¬tive modern poetry.Carter explains that as a poet heis surrounded by “shades*’—pastremembrances—which continuallyclamor for him to give them hisblood so that they can live again.But to imbue them with life, hemust turn himself inside out andspend himself beyond himself: hemust truly bleed. Carter realizes,however, that writing poetry ismore than emotional self-evicera-tion. Too many modern poems haveproven wonderfully therapeutic fortheir poets but completely mean¬ingless for their readers. A poet cangive his shades blood, but tne read¬er must give them breath. For onlyif the reader can see himself in thepoet's creation and feels what thepoet has felt does the poem live. Ascarter writes in "Conversation”;Tha «ye» your pen has teen, see you,And seeing you, must tee them¬selves.The mirror of the aching fleshIs other flesh, not glass.one were to judge Carter’s poeme by his own ars poetica, one wouldhave to say that only a few of thepoems from An Handful WithQuietness come to life. It is equallytrue, however, that those few areindeed very much alive.If Carter’s poems are like somany pocket-size mirrors, onewould have to describe Wildtrack,by the English poet John Wain, asan enormous looking glass built toaccommodate an enormous subject:the hunger of the human spirit.At first glance, Wain seems to beairing the usual despair about thedeath of individualism and ideal¬ism in our modern mass-productionage. But a deeper look will revealthat what one thought was despairis actually compassion. There isblack bitter anger and outrage andsavage irony in the poem, but neverdespair. Wain firmly believes thatno political, social, or economicoppression can ever reduce human¬ity** "irreducible Althoughmodern civilisation may producemillions of homogenized men anaalthough the woodlouse may Urn* porarily inherit the earth, Wainmaintains that there will always be“the dissenter calmly preservingthe verities from decay.”While it is always nice to seesuch noble and inspiring senti¬ments, they can too often dete¬riorate into Sunday school verse.Wain, however, never preaches andhis analysis of human nature is asdisturbing as it is inspiring. Wainbelieves that fear is the key to hu¬man behavior, and since man is notcompletely rational, man fights hisfear by magic.Belief in magic keepshumanity from devouring itsown entrails.Now, according to Wain, theproblem centers around what kindof magic man chooses for himself.To find security from fear, man hasoften dreamed a magic person,made him all-high-hoiy-powerful,called him king, and worshippedhim. But in such worship man de¬grades and enslaves himself. Wainbelieves, however, that human na¬ture knows another way to exorcise its fears and this way is self-fulfill¬ing rather than self-destructive, itis by the magic of creative art anaby the magic of love. And althoughself-degradation has been withmankind ever since Adam firstsquealed on Eve, Wain’s faith inhumanity is such that he believesthat the magic of love will one dayreplace the magic of kings.In Wildtrack, Wain cuts a wildsprawling track across centuries ofhistory and literature and througha diversity of cultures. More im¬pressive, however, is his skillful as¬similation of these materials intohis poem and the vast technicalrange he displays. Whether it isfree verse or alexandrine, blankverse or sonnet, Wain shows him¬self to be an expert poetic crafts¬man and his numerous experiments‘ in both free and stanzaic verse artextremely successful. Both thescope and execution of Wildtrackmurk John Wain as a very promt*-ing port. Jeffrey H«MMr. Hess Is a fourth-year student mg*foring in English m the eollege ggRoosevelt University. • * *1l AffWMty.IgM • CHICAtOMTRRARYRRVIIW •THE IMITATION OF MODELS: NEW FICTION(Continued from page four)to contemporary readers, whose in¬terests have largely turned to morecontemporary styles and issues, andof measuring up to the well-estab¬lished standards of the genre inwhich he chooses to work. Perhapstrue fulfillment of the second con¬dition would assure fulfillment ofthe first: Henry James was simplytoo perfect a craftsman to be con¬sidered irrelevant today.The orderly revelation of charac¬ter is the heart and essence of theJamesian novel. All of the writer’sart is lavished on the creation ofcharacters distinctly individualized,warmly and uniquely real. Nosweeping brushwork will do—a de¬votion to the subtly revealing de¬tail, the fabric of small but neverinsignificant facts, combine tocreate a portrait that is matchlesslyalive. One sees into the mind andheart of the character to the great¬est degree possible within the limi¬tations of the narrative method.The story is usually told in thethird person, a method which facili¬tates the revelation of the charac¬ter’s appearance to others as wellas his true nature.Perhaps Mr. Auchincloss’ firstmistake was his decision to usefirst person narration. We therebylose all of the insights into charac¬ter which a sensitive narrator mightsupply, without being compensatedwith the sort of penetrating self-rev¬elation that goes hand in handwith first person narration in thetruly “contemporary” novel. Hischaracters all think aloud for uscoolly, with gentlemanly restraint,and without originality. An attemptis made to compensate for thesedrawbacks by having the story toldby three different narrators, so thatall are commented upon as well as commenting. Yet in Auchincloss’hands this interesting device failsits purpose. Nothing can compen¬sate for the fact that he has notmastered, perhaps not appreciated,the subtle methods of the master heemulates.The subtle insights of a Jamesiannovel, its fine and intricate detail,are the sources of its greatness. Au¬chincloss’ characters are heavilydrawn and empty creatures by com¬parison with James’ Isabel Archer,Daisy Miller, Christopher Newman.They are too obvious to seem vi¬brantly real. The eye of their ob¬server has seen only generalities ofthought and action, failing to cap¬ture the hidden gestures, the re¬vealing idiosyncrasies which flaw asurface only to make it more per¬fect.Only this sort of penetrating ob¬servation and craftsmanship couldhave given life and value to thisbook, whose themes are, in them¬selves, remote and tired. The levelof sophistication of a sensitive con¬temporary reader has forced himlong ago to grapple with more so¬phisticated problems on a more so¬phisticated plane. Thus this book iscompelled to move us or not, tomatter or not, on the basis of itsskill in delineating character. Fail¬ing in this, it fails altogether.In this context it is all the moredelightful to come upon an authorwhose insights are well under¬stood and her own, an authorwho can measure the exact utilityand suit her methods of storytellingto their demands. Swans on an Au¬tumn River is a collection of shortstories drawn from the carefullyobserved world of daily Englishlife. The stories are not all memo¬rable, and few are flawless, but herdiscipline and care are evident in even the least of them.The title story, one of the best,presents us with an aging sanitaryengineer attending a conference inDublin, Ireland, land of his boy¬hood dreams. Despondent, he looksup at mountains and down at spark¬ling rivers, trudges wearily yethopefully through unfamiliarstreets; he rebels against the floodof prosaic facts and figures recitedby his business companion, to seeka dream. He finds only depressingsqualor, empty hours. “It was notwhat he had meant,” not what hehad come for. Yet he can only con¬tinue to search instinctively forsome unnamed source of happiness,feeling that the city holds some ad¬venture which may answer to hisweary need. His moment doescome, a beautiful moment, and hehurls himself joyously into it. It isonly a school of swans on an Irishriver which reawakens hope andlife for him—and then destroyshim. As he feeds the swans, hungrygulls swoop down to fight for thebits of bread, and in outraged battlewith them the old man dies of aheart attack. In this story the au¬thor is at her best, beautifully sen¬sitive to the strange ways of humanbeings, magnificently in control ofall the threads in her skein. Thelanguage of the story, subtle, evoca¬tive, absolutely right at all times,builds the portrait of the unhappyman.When Miss Warner’s stories dosucceed, they do so from a combi¬nation of reasons. Her best arethose in which the character isplaced in a moment of crisis, a sit¬uation which is uniquely suited totest him, and thereby reveal theessential nature of his character.The stories which do not focus uponsuch a revelatory moment in a pri¬ vate life are more shapeless andless engaging. Miss Warner alsooccasionally descends to mere trite¬ness and commonplaces, relating anold and universally familiar experi¬ence without the infusion of a Jfresh insight or point of view. Some 1of the characters suffer from ourfailure to know them well enoughto be concerned with their crises.The language of these stories is al¬most always competent (I do not cconsider as typical lines like “Sheflew into a rage as into a refrigera¬tor.”), but occasionally only merelyso. Finally, the endings of her sto¬ries—the last lines or paragraph—too frequently jar with a discordant •,resonance. I recall having read that 1many of the endings have beenchanged since the stories were firstpublished in magazines, and thatthe originals were more satisfacto¬ry. In most of these disappointing Jcases, extraneous details are in¬truded at the very end, after thenatural conclusion of the story hasbeen reached. In some other casesthe ending is so abrupt as to seemmore like a punch line; thus MissWarner seems, in an unfortunatenumber of cases, to approach theend of a story with trepidation,either rushing headlong to bring itto an abrupt end, or dallying withdetails which only diminish the vforce of the essential image.Despite the numerous shortcom¬ings of these pieces, however, theyshould certainly be read by anyonewho enjoys the short story form.Miss Warner’s many gifts of sensi- <'tivity and style lend them all anhonest and directness of visionwhich is much to be valued.Susan M. YaegerMiss Yaeger is a fifth-year student inthe committee on general studies in thehumanities at the University of Chi¬cago.BENNIES, BOOBSValley of the Dolls, by JacquelineSusann. Bernard Geis Associates.$5.95.Anne Welles, a Radcliffe alum,moved to New York City in ninetydegree weather but didn’t mind theheat because she thought New Yorkwas “the most exciting city in theworld.” Her former home had beenLawrenceville, Massachusetts — agood, solid, orderly New Englandcommunity (so much so that MissSusann, the author, used the word“orderly” four times and “solid”twice in a paragraph of nine linesdescribing it) to which she sworeshe would never return. And noWonder! She didn’t find the towns¬people very stimulating. “I don’tthink we have one decent kisser inall of LawTenceville,” she declared.But having been told many times byher good, solid, New England moth¬er that no lady enjoys kissing, shecertainly was not ready to rush intomarriage and, in fact, left home toescape it. But she didn’t know whatshe w anted or who she was, and so,like thousands of young hopefulsbefore her, she packed her bagsand went to New York to find out.The rest of her story could as wellhave been written by you or me, be¬cause Anne Welles is not much dif¬ferent from many people we haveknown through books, TV, andmovies.Miss Susann’s characters are generally stereotyped and oftenpredictable. They are too shallow toarouse sympathy, too pathetic tomerit respect. And the fact that thesubject matter (the loneliness thataccompanies success and the deca¬dence of the successful) is old hatmakes even the book’s value as es¬cape literature minimal, if thereader is looking for something ex¬citingly new and different.Valley of the Dolls will complete¬ly frustrate anyone who is search¬ing for something of substance tolatch on to, for it defies the readerto find meaning in the dismal worldof booze and pills which it portraysand for which it presents no solu¬tion. It is a tired, cliche-riddenbook, and there is nothing new init.Valley of the Dolls is the story ofthree gifted women and their climbto fame. Success throughout thebook is referred to as the “top ofMount Everest,” where, once it hasbeen attained, one finds the “Valleyof the Dolls,” which comes as acomplete surprise. This world ofsuccess is a lonely world, and onein which the successful are too“battered, deafened, sightless—andtoo weary” to enjoy their victory.In this world the magic tickets topeace and oblivion are pills—peppills, sleeping pills, pills of everycolor and for every purpose—the“dolls” of the stars and everyoneLITERARY/*. >1 t ';{ :j J £ ; REVIEW*\ $ i *•* > b mV liM 1964hqk ...AND BANALITYconnected with them.Our three gifted women are con¬veniently of three different types,but unfortunately “types” is iustexactly what they are most of thetime. Anne Welles is intelligent,well-educated, beautiful but in anatural, proper sort of way, practi¬cal, idealistic, perpetually naivebut more perceptive than the oth¬ers. Neely O’Hara is a spunky, ea¬ger seventeen-year-old at the start,with a “snub nose, large browneyes, freckles and curly brownhair.” Having had no education, shehas, nevertheless, “the inborn intel¬ligence of a mongrel puppy . . .”and a “streak of unexpected world¬liness running through her inno¬cence.” Jennifer North is “tall, witha spectacular figure,” long blondhair and a beautiful face, “a facethat glowed with genuine interestin each person....”Valley of the Dolls is full of un¬welcome surprises; the reader isnot prepared for certain twists offate because he keeps forgettingthat anything can be this bad. Uponreflection, however, his conclusioncan only be: “Of course, that had tohappen in this book.”Neely, the one refreshingly unso¬phisticated character in the book,the friend about whom AnneWelles said, “Noting, bad couldever happen to someone like Nee-ly,” the young girl; who saw through\ Broadway star Helen Lawson andhated her for her hardness andcruelty, her use and abuse of peo¬ple—this Neely is a smashing suc¬cess, goes through one lover afteranother, including Anne’s husband,and becomes a second Helen Law-son, only perhaps a more mon- -vstrous and selfish version, if that ispossible.One of the funniest scenes in thebook—funny because it is a bit toomuch to stomach—occurs whenHelen Lawson and Neely (by thistime quite famous) meet in a ladiespowder room and exchange blows.The climax comes when Neely grabsHelen’s hair and—low and behold,what should happen but—off comesthe wig! Neely is merciless in her - itriumph and tries to flush her prize ’down the toilet, but, unsuccessful,she returns the soggy mass, togeth¬er with several new insults, to itsowner and walks out the door.Jennifer North, who believedthat the purpose of a “great body”was to “get things you wanted,” hadlittle talent, but, like so many otherbeautiful, curvaceous women, shebecame successful as a sex symbol.She found little satisfaction in lifebecause no one “loved her for her¬self” and ended it with an emptybottle of sleeping pills in her hand,circumstances for which there havebeen obvious parallels in real life.(Continued on page eleven),' *' -Si’/' j 1THEFrom Sensibility to Romanticism,edited by Frederick W. Hilles andHarold Bloom. Oxford UniversityPress. $9.75.The extreme shift of poetic focuswhich took place in English poetryfrom Pope to Keats raises provoca¬tive questions, the most fundamen¬tal of which is: what intellectualand historical events caused thisradical change in world-view? Howcould Samuel Johnson dogmaticallyproclaim “All predominance of fan¬cy over reason is a degree of insani¬ty”; while less than forty years lat¬er Coleridge could, with equal cer¬tainty, praise Wordsworth’s “playof fancy” as his supreme poetic vir¬tue. From Sensibility to Romanti¬cism is offered by its editors as asymposium on this aesthetic transi¬tion.This collection of essays differsfrom most in that it is not rigidlylimited to one literary period. But,unfortunately, the essays whichcomprise this collection give moreemphasis to the poetic effects of thetransition than to its causes. Conse¬quently, the collection is neither asdefinitive nor as comprehensive asit might have been. The collectioncan be likened to a display of or¬namental artifacts from some cul¬ture distant in time. Someone ac¬quainted with the culture could, byviewing them, increase his insightinto the forces which producedthese artifacts. However, if some¬one else with little or no knowledgeexamined them, he could comeaway with only a superficial knowl¬edge of the culture.Some attempt appears to havebeen made by the editors to providea grouping of inter-related essays.For instance, the general eigh¬teenth century attitude towardparks and gardens is explained inMaynard Mack’s “A Post in HisLandscape: Pope at Twickenham.”This provides the necessary back¬drop for the statements in MartinPrice’s “The Picturesque Moment,”and Geoffrey Hartman’s “Words¬worth, Inscriptions, and RomanticNature Poetry.” Also, the two es¬says on Scottish Poetry—“The Re¬vival of Vernacular Scottish Poetryin the Eighteenth Century,” byJohn Butt; and Raymond Bent-man’s “Robert Burns’ Use of Scot¬tish Diction”—complement eachother.But the correlation between es¬(Contlnued from pago ton)The pathetic series of eventswhich leads to her suicide is almostmoving, but it doesn’t quite make itbecause the whole situation seemsstrangely unreal and fore-ordained.When Jennifer finally found a manwhom she thought loved her forherself, her doctor discovered amalignancy which necessitated theremoval of an entire breast (whatelse?). Her fiance misunderstoodthe problem when she tried to tellhim, thinking that she could nothave children, a fact which wouldhave bothered him little. He protest*ed that this was all right and that allhe cared about was her. And thenhe caressed her breasts and saidsoftly, “These are my babies. Theseare the only children I want, to laymy face against their perfection TWILIGHT OF A CLASSIC AGEsays seems more incidental thanpreconceived. I suspect that some¬one at Oxford Press decided it wastime to publish another collectionof literary criticism, and askedMessrs. Hilles and Bloom to hustleup what they could. An indicationof this is the inclusion of Donald J.Greene’s “ ‘Dramatic Texture’ inPope.” Greene’s explication persua¬sively explains how Pope’s use ofdramatis personae adds anotheredge to his wit. However, the essayappears not so much intended toilluminate an aspect of Pope’s rhe¬toric as to substantiate Greene’s at¬tack on T. S. Eliot’s notion of dra¬matic poetry.The concept of joint editorshipemployed in this collection is a sen¬sible approach. Too often scholarstend to emphasize only the aspectswhich have importance to their ex¬clusive area of interest. This wouldbe self-defeating in a collection ofthis nature, which attempts to showa transition between periods. BothMr. Hilles and Mr. Bloom presentadequate scholarly credentials forthe editorship of this collection.Hilles is the author of books onSamuel Johnson and the literary ca¬reer of Joshua Reynolds. Bloom isthe author of books on Shelley andBlake. Both are professors of Eng¬lish at Yale. Assuming that eachtook primary responsibility for theessays on their particular period,Bloom’s selections are more sub¬stantial and pertinent. The selec¬tions which should lay out a para¬digm of eighteenth century sensibil¬ities are not consistently related tothe essays which follow them. Theclearest example being the inclu¬sion of W. K. Wimsatt, Jr.’s “An Im¬age of Pope,” which has no rele¬vance to the overall purpose of thecollection.Of the twenty-six essays in thecollection, four deserve to be sin¬gled out. In doing so, I do not meanto imply that they are all the bookhas to offer. On the contrary, whenthe essays are considered as individ¬ual pieces, a.pa.rt from their placein the thematic context of the col¬lection, the majority deserve to beread. There are in the book onlytwo examples of scholarly keyboardexercises: Frank Brady’s “Struc¬ture and Meaning in Gray’s Elegy,”and Wimsatt’s “An Image of Pope.”The first essay I have singled outis “The Poetry of Collins Reconsid¬ ered,” by A. S. P. Woodhouse. Theparticular virtues of this essay areclarity and comprehension. Wood-house details how Collins’ attitudeswere products of his milieu andthen reflexively uses these attitudesto polarize the galvanic forces ofthis milieu. In Collins, Woodhousesees a synthesis of Augustan sensi¬bility and Romantic yearnings.Through an explication of the ideashe finds in Collins’ poetry and cor¬respondence, and the critical com¬ments of his contemporaries, pri¬marily Samuel Johnson, Wood-house presents an analysis of thenascent sources of Romantic poet¬ry. Collins is presented as a para¬dox: he was aware of, and in strongsympathy with, the admonitions ofHobbes, Bacon, and Addison thatimagination was an important cre¬ative attribute; but he was unable tothrow off his Neoclassical inhibi¬tions, and allow his imagination toramble without restraint.Jack’s “Gray’s Elegy Reconsider¬ed” is an acute comparative analy¬sis of Gray’s prosody, syntax, andpoetics. Jack sharply delineates theMiltonic and Latinate influenceswhich he sees as the determinantof Gray’s poetics and syntax. Per¬haps the most pertinent section ofthe essay is Jack’s analysis of Gray’suse of the abab quatrain and thecaesura in a manner which strong¬ly contrasted with the prosodicpractices of his contemporaries, inorder to give his “Elegy” contem¬plative tone suited to its sense.In “Local Attachment and Cos¬mopolitanism—T h e EighteenthCentury Pattern,” Alan D. McKil-lop traces the notion of “local at¬tachment” from its classicalsources through its embodiment inRomantic poetry. As McKillop ex¬plains, during the latter part of theseventeenth century, attempts weremade to give a scientific basis tothe notion that a man must periodi¬cally return to the land of his birthfor spiritual and physical regenera¬tion. Through the eighteenth andnineteenth century the notion of“local attachment,” in one of itsmany forms, gained the status of anintellectual commonplace. Conse¬quently, an acquaintance with thisnotion is necessary to a comprehen¬sive understanding of, for example,Wordsworth’s poetry of association—such as “Tintern Abbey”—or thenostalgia and isolation of Byron’s Childe Harold’s Pilgrimage.The final essay in the collectionis “Structure and Style in theGreater Romantic Lyric,” by M. W.Abrams. Although the essay dis¬tinctly echoes statements made inhis The Mirror and The Lamp, theessay is more than a redealing of anunshuffled deck of ideas. In the es¬say, Abrams synthesizes compo¬nents of his earlier book into a defi¬nition of what he refers to as “thegreater Romantic lyric.” He de¬scribes these poems as follows:They present a determinate speakerin a particularized . . . outdoor set¬ting, whom we overhear as he car¬ries on, in a . . . sustained colloquy. .. (during which) the lyric speakerachieves an insight, faces up to atragic loss, comes to a moral deci¬sion, or resolves an emotionalproblem. Often the poem roundsupon itself to end where it began,at the outer scene, but with an al¬tered mood and deepened under¬standing which is the result of theintervening meditation.Abrams sees this Romantic trans¬formation of the Neoclassical Pin¬daric ode as the most significantRomantic contribution to the Eng¬lish poetic tradition. The substan¬tial case he presents for this con¬tention provides an excellent sum¬mation for the dominant motifs ofthe entire collection.Joel ZientyMr. Zienty is a fourth-year student ma¬joring in English in the college atRoosevelt University.BENNIES, BOOBS . . . AND BANALITYeach night. . .” It was a sad scenebut a hollow one.Anne Welles, the solid New Eng¬land girl, went out for a few weekswith a man whom she thought wasa struggling salesman. He turnedout to be filthy rich instead, and bynow thoroughly convinced that sheloved him for himself and not hismoney, when in truth she loved himnot. Anne Welles, who never en¬joyed kissing and said “virginityisn’t an affliction,” didn’t hesitatefor a minute to go to bed with thefirst man who aroused her, becauseshe was so glad to know that shewasn’t frigid after all Anne Welle*whose heart-throb Lyon Burke lefther because, in his words, she was4<too wonderful to accept such Ssmall part of a small person whotried to scatter himself ia fo mpy directions,” married him anywayafter fifteen years only to watchhim scatter himself in many moredirections than she would have lethim, had he asked her. which is being given it, and canonly wonder how much longer thissort of novel will be able to sustainthe interest of the reading public.Besides being unconvincing, theepisodes which this reviewer hascited (and many others unmen¬tioned) reveal once again the obses¬sion of our society with sex andsuccess, which becomes less shock¬ing each time a book such as Valleyof the Dolls is published. The factthat this sort of book, which Isneither well-written nor highly im¬aginative, makes the best sellerlists today is indicative both of whatpeople are reading and what ourwriters are turning out This re¬viewer could find nothing at all ofimportance in Miss Susann’s bookthat would merit the attention Georgia RessmeyerMiss Ressmeyer is a first-year studentmajoring in arts and sciences in thicollege at Valparaiso University.The Chicago Literary Review staffartist is Miss Belita Lewis, a secondyear student majoring in th« finearts in the college at the Universityof Chicago. Miss Lewis Is InterestedIn selling ner work, and can bereached for that purpose at BU I-6410, ext. 2407. Four smaller draw¬ings scattered throughout the issueare by Miss Jamie Beth Oale, asecond year student majoring Ingeneral studies In the humanitiesat the University of Chicago.n.’-y.wApriUtay, HU • CHICAOO 1ITIRARY RIVIIWlTHE SELF-RIGHTEOUS SPYThe Double Image, by Helen Mac-Innes. Harcourt, Brace, and Com¬pany. $5.75.Any spy novel in which the herocomplains, “I’m getting holes in theseat of my pants from so muchdamned sitting,” can hardly be rec¬ommended for fast pacing or tautaction. But if you are looking forrapid—and vapid—relief from thecynicism of those British secretagents who have been monopolizingthe genure, you might want to risktrying Helen Maclnnes’ The DoubleImage. Although the author is Scot¬tish and the locale mainly a grubbyGreek Island, it contains a doubledose of clear-headed Americancleanliness and idealism. Whilewriters like Deighton and Le Carrerebelliously refuse to conform tostandardized pictures of the world,Maclnnes remains faithful to thestraight, muddle-free thinking ofthe local editorial page. Dull it maybe; but free-thinking it isn’t.The vast gallery of characters is,perhaps, more undescribed than in¬describable, but two of them dodeserve special attention: thechaste and innocent lovers who findthemselves accidentally involved ininternational intrigue. The hero,John Craig, is dreamily American.Although an intellectual (Miss Mac¬lnnes knows a bit of public rela¬tions), he never shows it, “as if hethought intellectual display wasjust another form of boasting, un¬necessary if you were any good,embarrassing if you weren’t.” Sixfeet tall; dark, thick hair neatly cut,and “grey and alert” eyes to com¬plement his “rugged” features; anda strong moral fiber to match. It’snot simply that he won’t “tangle”(to borrow his quaint idiom) withany girl “unless I like her”; even ifhe loves her, he won’t kiss her untilpage 290, and only then when hefeels his life in such danger that hemight never get another chance.In addition, he has a kind ofinbred Americanism which reactswith both “distaste and doubt” atthe suggestion that a fellow Ameri¬can could work for the Russians.Finally—and most importantly—heis a self-made man: “Whatever I’veattempted, I’ve done on my ownsteam; there have been a few al-most-successes, a lot of failures, butthey are all my own.” It is becauseOf this latter quality that everyWestern agent he bumps into in¬stinctively recognizes in him a sym¬bol of Righteousness and Free En¬terprise, immediately entrustinghim with his personal supply ofsensitive secrets. For, as we allknow, the distinctive feature of anEvil man is that “he cannot func¬tion alone. He gets a lot of assist¬ance on the way up.”• What more could a girl want,especially if she’s named Veronica;<a name inextricably bound to the'American Way from the days whenwe used to read Archie comics)?Veronica Clark is a naive art stu¬dent—but not like vour ordinary‘ ‘ ’ " • “ \ - -i * “ w“” *** - “**-•outline in gray suit and white silkshirt among the sloppy Joes andstraggle-headed Janes flapping■around in their uniform of beatnikconformity—dirty blue jeans anddrooping sweaters. . . . From herthin-heeled pumps to her softlybrushed hair, she was quite remark¬ able. Simplicity. A distinction oftaste, of quiet manners, of inde¬pendence.” A healthy change fromHoneychile Rider who turned up onDoctor No’s beach wearing nothingbut a belt and hunting knife. Ve¬ronica is the kind of girl you couldbring home to your mother.Of course, characters aren’t tooimportant. Since Dostoyevsky,we’ve been aware that the two car¬dinal elements in detective-type fic¬tion are plot and philosophy. Andplot and philosophy are where MissMaclnnes makes her most forcefulrebuttals of the cynicism of Deigh¬ton & Co.Perhaps she believes that artshould strive to simplify and clarifylife, rather than to confuse it withnew questions; perhaps she believesthat with problems like Vietnamand General Education, we shouldbe spared the additional burden ofworrying about the fates of hercreations. I don’t know—but what¬ever the motivations, this is un¬deniably less of a thriller than anintellectual tranquilizer. Nowhereis there even a fleeting fear that theforces of Evil might triumph; nophilosophical question is raisedwithout an immediate soothing an¬swer.The story involves the plot of anex-Nazi named Insarov (who has se¬cretly been working for Moscow allalong) to kidnap an American elec¬tronics expert. We, however, watchon with a smile of smug satisfactionrather than a grimace of fear. Fromthe outset, our side outnumberstheirs by a good five to one; we’vegot their headquarters bugged andwe’re shadowing all their agents;we know every detail of their planand have even substituted a fakeelectronics expert for the real tar¬get of their mission. Even acousticsare firmly on our side. The villainsare prevented from eliminatingJohn and Veronica because “a shotfrom here can be heard clear acrossthe harbor.” A few pages later,when John shoots a would-be cap-tor, the sound carries less than afew hundred yards. We can’t lose.In fact, the novel is little morethan the gradual unfolding (throughconversation more than through di¬rect description) of an elaboratecounter-plan to catch the Commu¬nists red-handed. (Somewhere alongthe line we lose the rationale be¬hind the tedious intricacy of thewhole thing. But why worry? Ithelps full employment—amongboth secret agents and printers.)The only touchy point that mightqualify as suspense is the questionof who secret agent “Alex” reallyis. Another author might have un¬nerved his reader by compellinghim to read the book without know¬ing which supposedly loyal Ameri¬can was really a Soviet agent. Butnot Miss Maclnnes—she is neverone to provoke ulcers. She informsus from the very beginning that itis one of two people, neither ofwhom could qualify as even a minorcomforting certainty that everyonepurporting to be on the right sidereally is, and that we can parcel outour trust without fear of the carpetbeing pulled out from under us.John blabs his knowledge to everytrusty-looking face, and nevermakes a slip. It is in terms of political philoso¬phy, however, that Helen Maclnnesreally opens up the belfry. Afterreading Deighton (or even Fleming)we are apt to adopt the view thatevil lurks on both sides of thefence, if we can figure out whichside is which—or what evil really jis. But Maclnnes, although reluc-’jtantly admitting that “good ones”and “bad ones” exist everywhere,minces no cliches in emphasizing *the differences between Us andThem which make co-existenceequivalent to a pact with the Devil.They use deceit, even to the extentof planting unfair electronic de¬vices, not only in Europe (every¬one’s tromping ground); but also“right in the old U.S.A.” While Wewould never touch a man withoutfirm proof of his guilt, Communistsshamelessly arrest people ontrumped-up charges. In fact, allAmerican “espionage agents” cap¬tured by the Soviets are really in¬nocent: “Don’t you see ... so manyof their embassies are engaged inactive espionage that every nowand again they have to polish uptheir public image? So they tarnishours.Furthermore, Communists lackthat respect for life which to Amer¬icans takes second place to nothing—not even to respect for wealth orchastity. This is not merely a papermaxim; it pervades the whole styleof the Good agents. At the finalscene (following the kiss) the GoodGuys gently tie up a mule whichhas been instrumental in the pro¬ceedings. “Insarov,” we are told,“would simply have put a silencedbullet into it.”Last but not least, Bad Guys real¬ly do talk funny. While the Westernagents, of all nationalities, havetaken the time to perfect their Eng¬lish, the Communists have been toobusy with duplicity to clean uptheir grammar and linguistic style.“Could you stop that yapping ?”asks one of Them; none of Uswould speak like that.Miss Maclnnes’ political philoso¬phy does not, of course, touch onlyupon contemporary problems—weare always reminded that Commu¬nism is part of historical process,just one of a never-ending series ofplots and conspiracies. “Historywasn’t just a record of wars andpeace conferences; history was along and bitter story of intrigue andgrab, of hidden movement and de¬termined leaders . . . the innocentand the ignorant being used accord¬ing to someone else’s plan.” The fu¬ture, however, is not all roseless.Not only are there those few Goodmen who champion the down-trod¬den, but, more important (althougha little incongruous), corruption canbe stifled by preserving the quaint¬ness of the Old World. Keep ’sub¬ways and buses from Athens; re¬fuse the demands of underdevel¬oped areas for corrupting evils: like“running water, hot and cold. .theaters..., mu/mums and concede,the newspapers fresh off thepress.” By doing this and avoidingthe errors of the empires before us(who were comforted by a philoso¬phy of “better barbarians thandeath”), we can insure a safe futurefor man.Almost as subtle as her political philosophy are her keen Insight*into human nature:He had kept thinking of Insarovas some fantastic brain, someinexorable planner, a powerfulforce gathering strength to destroyhis enemy. But Rosie had met thattype before; Rosie knew he washuman. And one thing all humanbeings shared in common, apartfrom the need to eat and drink andsleep and function as a body: eachhad his Achilles heel. What was In¬sarov’s? And what’s yours, Jim?He reached the desolate lobby,pushed open the finger-smeareddoor, and stepped into the darkstreet.That last deft poetic touch is typ¬ical of Maclnnes’ sensitive style.Unfortunately, it’s not all even thatgood—it frequently takes on anawkward, bearish quality (Duclosasks a question “grimly;” Partridgeanswers “equally grimly.”) And thewhole thing is deadened by the typeof hollow wit you would naturallyexpect in a writer married to Gil¬bert Highet: “When a man wasthirty minutes late for a party, hemight as well take ten more and ar¬rive in a clean shirt—especiallywhen he was armed with a bottle ofPiper-Heidsieck, 1955, to launch hisapologies.”But the singularity of The Dou¬ble Image lies neither in itsstraightforward political and socialviews, nor in its calm, easy-going, kmeandering plot, but rather in itssentimentality. It is as if Miss Mac¬lnnes thought she would clean upthe genre with left-over soap-operasuds. Nowhere in spy fiction do wefind so many agents of so many na- 4tionalities working in harmoniousunity forged on the principle that“any enemy of my enemy is myally.” When Duclos says that hewould gladly risk his life for his owncountry, but would hesitate to diefor Britain, Patridge points out, A“Against men like Insarov, thereare no French or British or Ameri¬cans.” Indeed, throughout there isa feeling of responsibility for therest of society, expressed at onepoint in a cascade of pontal-imag- very which few other writers couldmanage:Water under the bridge flows on.There are other bridges, other peo¬ple standing on them such as youand your generation, my friend.You think I should cling to the ^wreck of my bridge and not try towarn you of the hidden strength ofthat water?But the spasms of sentimentreach their climax in the scenewhere Duclos actually does sacri¬fice his life—the closest we get to _violence. He is being tortured byInsarov, although, in deference toMiss Maclnnes’ maidenly squeam¬ishness, it is being done withoutmuch spirit—certainly nothing torival the psychological nightmare _of The Ipcress File or the assaultupon Bond’s genitalia in Casino Roy-ale. Rather than run the risk of di¬vulging information, he decides tocommit suicide. His last thoughtsmust have brought tears to the jwriter’s eyes: “But I will not die asa whimpering animal. ... I am aman.”For sheer impact, this sentencehas only one rival—when John’ssister Sue points out that “These ^Nazis can be so vindictive, youknow.”Peter RabinowitzMr. Rabinowitz is a first-year graduatestudent in the department of Slaviclanguages and literatures at the Uni¬versity of Chicago.12 • CHICAGO LITERARY REVIEW • Apri!-May, 1%6tGADFLY Revue re4 fewUC Students not too hip on activities Ssee°?d CityI wrote the script for this year’s Blackfriars, and I’m sorry now that I did. I’m evensorrier that last June I was excited enough about theater in general and Blackfriars spe¬cifically to get myself elected Abbot of Blacbfriars.Oh, there’ll be a show this *year, a good one. And there’ll probably continue to begood Blackfriars shows, and good : f «UT shows. And perhaps occasion- arjjcjes ajl{j a(js jn f]ie Maroon grades and their health to put on aally the Phoenix wi s nige e to- an(j wajt for tide to come in. show that nobody cares aboutgether an issue But I aon nmi n Well, by the time your fall quarter enough to attend? For prestige?I'd bet on it. 1 aon t ow if i s gra<jes come in? you still have no Don’t put me on. For artistic satis-vvorth betting. show', but you have an idea. The faction? By the time one of these1,* ?E'S SOMETHING about idea is that maybe you should can- shows gets performed, the peoplei' ’ iw that turns glorious Cel the show right now and a\oid a involved are so wrung out thatt.nd excited planning into dis- ]0t 0f work. It’s the best idea only two weeks of sleep will satisfycouraged last ditch efforts. 1 ve you’ve had in months but you for- them.seen it most clearly in campus gct jt. Instead you and some guy I can think of nothing in the atti-theater, but I have no doubts that you’ve scrounged up to do the di- tude of the great majority of UCit exists in student government, rection (oh. yes, you couldn’t find students, at least as that attitude isDoc films, the fraternities talking anybody to undertake that job ei- manifested, that justifies the tre-newspapers, and football classes. ther—too much work) sit down and mendous efforts made by a few.First I thought it was just Black- slave for a month or so to write a Perhaps I am too harsh. I havefriars. Maybe this just isn’t the show, and you get some music seen nothing in four years here,campus for musical comedy. OK, crazed chick to do the music. however, that really inclines me toyou can’t expect people to support Meanwhile the other board mem- believe so.an activity in which they have no are thinking about how to Does any kind of activity that in¬interest. There must be something publicize and choreograph a show volves more than the slighteston campus that appeals to some- which hasn’t been written yet. commitment by its members be-body, but from the support of activi- They make understandably little long on a campus apparently soties and the attendance at rallies headway. But you've got a staff of unwilling to make that commit-and performances 1 get the idea fjve already! Five, count ’em. Now naent? What is one to think when athat nobody here is interested in a yOU start looking for people to help three month long campus wide ap-damn thing. on tech, props, scenery, the whole peal for scripts produces just one?Let me retract that last state- thing. Slowly you accumulate Are UC students wholly talentless?ment. There is one activity of sur- them, and what do you know? The JSjyhat is one to think when theatri-passlng interest to everyone—crit- only ones you can find are the cal productions (of diverse na-ieism of whatever does manage to same people who did the jobs last tures) and concerts cannot attractg:t done. Blackfriars is a kid’s year, and the year before, and the more students than faculty mem-shew. UT has sloppy tech., the soc- year before. Even the cast looks bers? When rallies and politicalcer teem i; a joke, the Maroon'* familiar. discusses draw a few score? Isonly real use is wrapping garbage, To make a long story a little less there no more pressing interest onthere’s no action on campus. torturous, finally the show' gets p'ut campus than sitting in the C-shopIf some of the people who sit on, plays to half houses, and complaining about one s heavyhack and throw knives would get closes. Everyone goes home to workload.into the field of fire, there’d be a write next year's show. It must I’d like to hear what it is that’slot less reason to throw the knives, have been fun; all the old timers so fascinating that it keeps aboutWell then, if nobody supports came back. I say they must have 2000 students away from every-anvthing, why are so many activi- been crazy. thing else. And I d like to hear whyties still dragging themselves WHY SHOULO a dozen people the “everything else shouldn taround-’ After all, not everybody repeatedly bear the brunt of jobs UP s*iop stop knockingcan write a show, or play soccer, that ought to be handled by forty? ^self out for nothing.True enough, but what i wonder Why should they jeopardize their William L. Wolfsonabout is the wisdom of anyone'sbothering at all.But the people who participate in Second City is currently displaying its second-string teamin a second-rate show. If you do go to see it, you probablywon’t want seconds.The show’s problem actually does not lie with the cast,winch seems to be a talented — ——enough sextet. TCie material is the between Rick Snick, a white eivilculprit. The original cast for the rights worker, and a realisticpresent show “Through the Eyes of Southern Negro. These pieces b€*the Inmates, or God Is Only Sleep- gan well, but unfortunately led Whing left lor New York last week* In the first example, theend, and it is to the credit of the action soon reduced to sillinesss. iUpresent cast members that they ^e second, what could have beenare not responsible for the materi- sensitive and touching was dissi*al.THE PLAYERS—Sid Grossfeld, pated in a series of gags.THE EVENING'S greatest disap*David Welsh, Penny White, Sandy pointment was a Second City ver-Holt, Bob Curry and Jon Shank— sion of a Weill-Brecht opera "Th«work together well, showing good Rjse an(j Fall of Old Town.” Nottiming and an understanding of only did the words and story falleach performer’s unique comic flat (you don’t create humor by «S-method. The cast members dis- ing fake German and local Chicagoplayed versatile acting styles for references alone), but also Billboth the subtle and the broad hu- Mathieu’s music, which except lofmor of the various skits, although tbe overture and direct quotedGrossfeld had a tendency to over- from Weill, had scant likeness to Astate a bit too often. Fred Kaz did a Weill score.competent job at the piano. Tbt show>s conciudiDg ••impcovl.Highlights of the evening includ- rations” showed more promis#ed a “romantic” meeting of a girl than the rest of the show. Althoughand boy (Miss Holt and Shank) most of these pieces were not fun*outside a Catholic high school ny—and many were not on-the-spotdance, and a secular funeral creations based on audiencAprompted by the mmister’s an- suggestions, as they were billed tonouncement that God is dead De—they did rate higher than tho(“. . . and it happened so sudden- average routine in the “planned”ly”). portions of the show. This leads m«The trouble with most of the rou- to wonder why the group did nottines was that although they were rewrite much of the second-handbased on good ideas, they failed to material fo their own specifics-deliver in the end. This weakness tions. Such revisions could hardlywas evident in the skit showing the have weakened the show andreactions of three people to con- might have given it a greatertinuous exposure to Muzak and the chance of success,skit concerning the confrontation Barry Salintthe activities have fun, so whyworry about the others? If they’remissing out. tough for them.Tough? I’ll tell you about tough.Let me tell you how much fun it isto write a show, or run one, andthen have it play to a half emptyhouse.THE SHOW for the year is over.Everyone is up, really strong forthe theater. Everybody is goingstraight home to write next year’sshow. Fall quarter comes; so dothe students. The shows don’t,if They got lost somewhere betweensurfing and that mind-rotting sum¬mer job.Fine, you ve got no show, butthere’s still plenty of time. Afterall, this is the University of Chica¬go, by Christmas you’ll be wadingthrough scripts. You put the oldPOWER YOUR PLAY LAW SCHOOL AUDITORIUM8:00 PM THE MONDAY LECTURESApril 25 Noam Chomsky'language and Mind"May 2 B. A. Farrell"Some Reflections on the Nature of Consciousness"May 9 John A. Wilson"Triumph and Failure in Ancient Egypt"May 16 S. Chandrasekhar"Tho Present Revolution in Astronomy"May 23 Ksnnsfh BcuSding"Revolution and Dsvelopment"A limited number of tickets a^e available without charge tostudents who apply to University Ext. office — Adm. Bldg. 303-A. ANNOUNCINGTHE OBJECTIVISTTHE JOURNAL OF THE PHILOSOPHY OF OBJECTIVISMEDITED BY AYN RAND ANDNATHANIEL BRANDENA monthly journal that deals with the theoreticalaspects of Objectivism, with its application to mod¬ern problems, and with the evaluation of today’scultural trends.THE OBJECTIVIST is the development and the newform of THE OBJECTIVIST NEWSLETTER, whose grow¬ing circulation has permitted us to enlarge it andadopt a magazine format.THE OBJECTIVIST features articles by Ayn Rand,Nathaniel Branden and other contributors, on ethics,political economy, psychology, literature—as well asreviews of recommended books, and reports onObjectivist activities. OBJECTIVISTI f.sited » 41N UNDI | M NATH»N!£l BflMDfflTHE OBJECTIVIST, INC. • 120 E. 34 St. • New York City 10016 JPlease enter my subscription to THE OBJECTIVIST for one year. •$5 in U.S., its possessions, Canada and Mexico, $6 in other countries. 18 *□ Remittance enclosed* 2□ Please bill me*lf you enclose paymentthereby eliminating billingcosts, your subscription willbe extended for one extra PLEASE PRINT NAME ABOVfADDRESS•ssue- CTT? staTT —3mjSCANDINAVIANIMPORTSFORMERLY AT 57Hi * STONY ISLAND (The Art Colony)NEXT AT 53rd & LAKE PARKNOW AT 1801 S. MICHIGAN AVENUETHE ENTIRE 4th FLOOR8,000 square feet of “old country" craftedfurniture. Only 10 minutes by auto. Busses stopat the corner.Remember new address —1801 S. MichiganAvenue. New telephone, 842-1650. Open weekdays 'till 6 pm. Sat. 'till 2 pm. Any evenings orSunday by appointment.April 22, 1966 • CHICAGO MAROON * 1Calendar of events Revue reviewm MKlIg € 88* #%«MKaFriday, April 22POETRY READING: Florence JamesAdams poetry reading contest, preliinis. Bond CTharies. Bond Chapel, 3 pmLECTURE: “The 1938 purge and thenew meaning of the Democratic party,"Morton Frisch, associate professor ofpolitical science, Northern Illinois Uni¬versity, sponsored by political sciencenaries. Bond Chapel, 3 pm,LECTURE: “Art as a brake on vio¬lence," John U. Nef, chairman, center Shlomo Carlebach, Ida Noyes. 8:15 pm.CONCERT: Two chamber operas, thecontemporary chamber players, Mandelhall. 8:30 pm.Sunday, April 24RADIO PROGRAM: From the midway.“Are there limits to conscience," Rev.John McKenzie, visiting professor in thedivinity school, WFMF. 100.3 me., 7 am.ART EXHIBIT: Exhibition of paintings,prints drawings, and sculpture by ErinLibby Jones. April 24 through April 30 'Circus' doesn't near the FringeA few years ago, a gaggle of chattering spirits boistering in the mortal frames of fouderanged Englishmen appeared on Broadway in a satirical pastiche called Beyond thFringe, and the quartet, speaking in tongues, said to the throngs, dazed and swollen witmirth: “Go thou and do likewise.” And many did. The latest disciples, five of them, opened Tuesday at the Harper Theatre under the title The Cambridge Circus.Th# Circus attempts to locate it-school.professorChester DivinityChapel, 11 am.FILM: “Little Caesar,” withParticipatory democracy G. Robinson, Henderson house. Piercero r\f Amamnan oAoiotw '• ToWCI*, 2 DIT1.BARBEQUE: Israeli Independence daybarbeque part^^Hillel house. 8 pm>m.CONCERT: Two chamber operas, thecontemporary chamber players, Mandelhall. 8:30 pm.LECTURE:and the future of American society,’1 Jower,^ jjjpisociology, Hillel house. 5715 Woodlawn,8:30 pm.PARTY: The fall of the house of Tufts,■with the knights of soul. Pierce Towercommons, 8:30 pm.PARTY: The high ball, with the noble-men, Mead house, Burton Judson. 8:30pm.Saturday, April 23SYMPOSIUM: “Contemporary opera,”Sith Richard Wernick, Lawrence Moss,ugo Weisgali, James O’Reilly, CharlesVan Tassel, and Richard Stern, BreatedHall, 3 pm.RUGBY GAME: UC v Illinois. W ashing¬ton park, 57 just west of Cottage. 3:15pm.FILM: “Little Caesar,” with EdwardG. Robinson, Henderson house, PierceTower, 7:30 and 9:30 pm.FOLK CONCERT: Hasidic folk concert. BRIDGE JB: Master point, Idarecital- Lila Pwoodruff, soprano, in The whole affair is a smashing dis-recitai. international house, 7:30pm. appointment, a mind-numbing pro¬of old chestnuts, still-LECTURE: “TheMcCarran act, blue¬print for thought control," John Abt, at- cessionIsles and Ireland, and also Las Ve- way stage props the senile, the underlying nightmare logic, igas. The revue consists of songs, helpless, the inately inane, and the short, the company has neither tinmock striptease, running gags, alien, catering to a muddlc-West, courage to be daring, the dramatiislapstick, and, of course, topical- muddle-class, muddle-aged, mud- technique to realize the unreal, tinsocial satire, executed by a hatchet dle-brow audience with such ar- wit to unite disparate elements ocrew of four men and a woman, chaisms as the lampoon of experience, nor the literary abilitirock’n’roll, dated some Beatles or originality to exploit the opporago-go. There are several excer- tunities for satire which theicises in that whining sport of thetorney for the Communist partysored by the WEB DuBoisBreated Hall 7:30 pm. spon-club,Monday, April 25ESP — Message from King David“If I had lo do it all overI'd go to theInternational Guitar FestivalLAKE GENEVA, WISCONSINJUNE 10-11-12for tickets and information8001 N. Clark,or call 743-2621 evenings 642-2385 STROLLING PLAYERS: "The fall”and "Eglantine,” two morality plays, C-shop 1 pm.DOCTORAL LECTURE: “The wrath ofPlato and Dante." Warman Welliversponsored by the committee on socialthought. Swift 201, 4 pm.FILMS: Films by Norman McLaren,sponsored by inter-faith committee.Judd hall 7:30 and 9:30 pm.FILMS: “Gandhi,” India, Asia's newvoice.” Crisis in Asia" and “Pilgrim¬age to freedom,” sponsored by IndianCiv course, Rosenwald 2, 7:30 pm.LECTURE: "Language and mind,”professor of modern born fantasy, insipid invectives,second-hand pipsqueaks, and fiveor six of the most painfully funnycollisions with reality my sideswere ever maimed by.THE SOCIAL satire in Beyondthe Fringe was accompanied by awithering away of norms. Thosefour genii hovered so near empiri¬cal reality that their satiresseemed at times to become whatthey contemplated. Fringe es¬chewed the generous truncheon forthe delicate bamboo sliver gently, intellectually destitute called “Kickthe Kids,” all of them tedious, butthe roobs will lap it up.FRINGE'S true brilliance ema¬nated from the divinely inspiredcopulation of dialogue but vaguelyajar with characters uncannily imagination has uncovered.NOW I HAVE been devastatingdroll, sophisticated, and delightfully pompous, just like a real criticI have derided the efforts of fivvigorous performers spiritedly contending with their own materialThey have invested measureless!conjured in all their tenderly more toil in their enterprise thanK«fsh0.,SJ^SuPlrs“cTM.ss‘ac,=.ns lovingly inserted under the JingerInstitute of Technology, a Monday lee- naji Th# Circus, its perpetrator* pathetic innocence of their own bit¬terly unfurled folly, generating thecoal miner explaining why hewould have preferred to have beena judge, the liberal apologizing forbeing employed by Lord Beaver-brook, the merry zombie of a min- pend for their impact only upoister sermonizing his flock into physical action, and imply that thhave in this facile review. So leme explain why I was disappointsand not appalled. There are five osix moments in Th# Circu* whicstand out like a Howard Johnson’in the wilderness. These scenes ckpmMODEL CAMERAture sponsored by the University exten- “a . r "T' sermonizing ms HOCK inio pnysicai action, ana imply mat 1!sion division, law school auditorium, 8 in figurative whitetace with DulD- Limbo, the religious fanatic await- company could have built a sple.ous noses, heave buckets labeled jng ^e enc| 0f the world, and an did production without any writte“vitriol” full of confetti at the au- impossible parody of Shakespeare, material to speak of. The four meidience. Their comedy seems, at partaking of his body and blood, become four fan-dancers, eactimes, the rancid progeny of such digesting it, placidly excreting it covering the “breasts” and thbelched exchanges as: “Hey Sol, on stage. In Th# Circus, a televi- “public area” with two shirt cardSweetie! I got this great idea, sion newscast struggles to couple boards. One of the eight cardBaby! Suppose Mao-Tse-Tung was with the Biblical epic and, for lack boards is lost. Proceed from therJewish!” Th# Circus clowns haven’t 0f annointed literary and dramatic directly to Nirvana, chanting “chathe courage to tickle the ven- skill, produces a listless bastard, cha-cha.” A pedantic lecture oSeveral attempts to give unlikelycharacters (a nudie-movie addict,a fey physician, a nebish bemoan¬ing his failure to receive the NobelQUALITY 24 HILDEVELOPINGBCPIRT PHOTO ADVICEMSA DISCOUNTS1141 L 55th HY 3-9254If you are tired of cussing at your car call us!We cuss in 4 languages fluently andare studying hard on New Zealandise?Hyde Park Auto Supply7646 S. STONY ISLANDRE 4-6393JIM HARTMAN varieties of pratfall is accompanied by a deadpan demonstrateof military precision. A hospitapatient receives an automatic visitprize) the illusion of reality are or intoning pre-recorded vulgarambushed by inadequate tech¬nique, uninteresting dialogue, andan embarrassing incapacity to putan appropriate end to a scene. Arunning gag involving a man whoeats robins begins nowhere, buildsanticipation, then finally dies inmid-air, punchlineless. A fantasticcourtroom sequence, reminiscentin its blithe irrelevance of the late isms of good cheer. See four meiactually become a machine befonyour very eyes! See the fastenbanana in the West! See the human housefly! Bring something tread during the intervals of He;Roobery, but go and see the fiv<inspired mimes who ought to knovbetter! See! See! See the Cambridge Circu*! Richard EmHONDA SOUTH & SOUTH EASTBOB NELSON MOTORS6136 S COTTAGE GROVE SEE ALL MODELS50 C.C. TO 444 C.C.SALES • SERVICE - PARTS• PICK UP A DELIVERY• EASY FINANCING• LOW INSURANCE RATESMl 3-4500CHICAGO'S LARGEST &JUST AROUND THE CORNERSh th* MAROON dattifiad for your cimpwi salot roprotontativoHEYMANNY GETTHIS!BLACKFRIARSNEW MUSICAL PRODUCTION IS RAPIDLY APPROACHINGAnd Tickets for April 29-30 — May 6-7 at 8:30 pm areON SALE NOW$2.00-$1.50 STUDENT DISCOUNT $ .50Mandel Hall Corridor Daily 10-4 Phone Ext. 3271 ANTIOCH COLLEGE GRADUATEPROGRAM UNIQUEMAT Social Sciences, Financial Aid, Seminars,Tutorial, Travel. Begin June, September.Roy Fairfield, DirectorKEYPUNCHING• 500 CARDS OR MORE •• FAST TURN AROUND •FOR ESTIMATE CALLSHEILA BLIXT 332-4708R. SKIRMONT & ASSOCIATES, INC.33 NORTH LaSALLE STREETCHICAGO, ILLINOIS 60602COMPUTER APPLICATION CONSULTANTSCHICAGO MAROON April 22. 196611thrilling canoe tripsinto the Ouetico-Superior wilderness.Only $7.00 per day. For information,write: Bill Rom, CANOE COUNTRYOUTFITTERS, Ely, Minneeota.ALOHA NUIA hearty greeting from TIKITED who has brought a smallsample of delicacies from theSOUTH SEAS along with someof your favorite AMERICANdishes.TIKI TED BRINGS TO YOUSUCH DISHES AS:Beef Kabob Flambe, Teri Yaki,Ono Ono Kaukau, and Egg Roll,as well as T-Bone, Club andFilet Mignon Steaks, SeafoodDelight, Sandwiches, and ColdPlates.After dinner don’t miss the newplays at the Last Stage. Join usfor cocktails at intermission andsandwiches after the show.URALS HOUSE OF TIKI51ST A HARPERFood served 11 a.m. to 3 a.m.Kitchon closed W*d.LI 1-7515 Ml 3-31135424 S. KImbarkwe sell the best,and fix the restBEST LIVING INSAN FRANCISCO?A friendly residence club.Hotel services, two meals,activities among 100young men and women,cost less than hotel alone.By the day, week, or from$02.50 per month. Threeconvenient locations inlively residential neigh¬borhoods. Reserve for thissummer now. Write The.Monroe, 1870 Sacra¬mento St. Or call (415)GR 4-6200.GOLD CITY INN"A Gold Mine of Good Food” DR. AARON ZIMBLER* OptometristIN THENEW HYDE PARK SHOPPING CENTER1510 E. 55th St.DO 3-7644 DO 3-6866EYE EXAMINATIONSPRESCRIPTIONS FRIED CONTACT LENSESNEWEST STYLING IN FRAMESStucUnt & Faculty Discount j MAROONWEEKEND| GUIDEFellini’s N1QHTS OF CABIRIAwith Giuletta MassinaDFG TONIGHT! SOC SCI 122 7:15 & 9:15HeKnowsThe Max Brook Co.CLEANERS - TAILORS - LAUNDERERShas served the Campus with Unexcelled Qualityand Service Since 19171174 E. 55th 1013-17 EAST 61st ST.FA 4-3500 Ml 3-7447 PIERRE ANDREfoe# flatteringParisian chicton skilledhair stylists of1242 Hyde fetk Stvd.2211 1. 71st Se.DQ 1-672710% SoedewO MscetmOMARRIAGE and PREGNANCYTESTSBlood Typinf A Rh FactorSAME DAY SERVICEComplofo Lab EKO 1 BMR FACILITIESHOURSt Mon. thro Sat. * AM • 10 PMHYDE PARK MEDICALLABORATORY5240 S. HARPER HY 3 200010% Student DiscountHYDE PARK'S BESTCANTONESE FOOD5228 HARPERHY 3-2559I Eat More For LesslTry Our Convenient Take-Out OrdersSPRING ART EXHIBITNOW ON DISPLAYATSmedley’sonHarperPlease feel Free for the next 8 daysto come In and browse, and see thelatest work of over 50 local artists5239 S. Harper Ave. NO 7-5546 THE PUBIN THENew Shoreland Hotel55th & South Shore DriveThe Newest Meeting Place in Old Hyde ParkTHE PUB SPECIAL:Southern Fried Chickenin a Basket... .$1.50Generous Order Every Sunday Night You can have a steaktoo, or the biggeststeakburger In town.Now—A Parade of Piano Artists for Your Pleasure and DancingF.O.T.A.Sponsored by Interfoith CommitteeGeorge Bernard Shaw'sDON JUAN IN HELLLast Stage Plays — directed byJames RedfieldSunday, April 24,8 p.m.FIRST UNITARIAN CHURCH - Woodiawn & 57thAdmission $1. Tickets tt Chapel House, Calvert House end Hillel Housemmmmmmm mtmmm mmmm ,, matClassified advertisements', '♦ “ ffii & ' ''PERSONALSPARTY.ight. Pierce Commons. Come! to-j postponed untilSunday, May 1, 3 pm. INH.WEEKEND Tour by chartered bus toNiagara Falls, Detroit. Lv. I-House,rri. night May 6th, return late May 8th.Sat. sleepover. Bus fare $28. I-HouseAssoc. Call eves. SU 7-2055, FA 4-8200.Bon’t forget SPRING PARTY tonight atf 30 at Ida Noyes! The grad, women ofR5th Sc Ellis. & Blackstone Sc HarperSurf, will look for YOU at this gala{vent.f AKE A TRIP TO THE HIGH BALLChartered Bus to Stratford Theatrefestival. Canada. Wkends July 15-17,Aug. 12-14, tickets to all plays, concerts,reserved, sleeping accom. reserved. Busfare $20. I-House Assoc, call eves.6U 7-2055 FA 4-8200.Come—Wuffle survived both deaths.RUGBY GAMEBat., April 23. 1:30, UC vs. Illinois,Washington Park. 57th just W. of Cot-EXHIBITexhibit of graphics. “The Emancipatedfew as Artist.” Through May 10th. Hil-el House, 5715 Woodlawn, open daytimeid evenings, Mon.-Fri. & Sun._ there a brute in you? UC KARATE;iub. Mon. 7 pm. Wed. 8 pm. INH. Call84-3996.i RITER’S Workshop (PL 2-8377)SRAEL'S 18th YEAR OF INDEPEND¬ENCE.Celebration Sunday April 24th, 8:45 pm.College of Jewish Studies, 72 East 11thStreet. Program of Readings. Music,and Dance. Refreshments. Admissionfree.*‘You can dish it out but you can't take—Little Ceasar—Sat. & Sun.VOLUNTEERS ARE NEEDEDin an after-school center in a housingIiroject on the near Southside. Ind. pro-ect & grp. work w/children, conductedn a 6 rm. building, Mon.-Thurs. after-loons 3:30-5 pm and on Tues. eves.Jfrom 6-7 pm. Tha project is su¬pervised by Gayle Janowitz. Transp. isavail, and a regular commitment oftime one a week is requested. Call Mr. Chatterjee at 228-4609 for further Infor-mation.Is GUNGA DIN a better man than you?;UC KARATE CLUB.Come to the High Ball, Fri. at B-J.The floor of the Cloister Club has beenspecially reinforced for SHLOMO Carle-bach's Saturday night performance soIthat this year we will not have to re¬strict audience participation. Come andbounce! 8:15 pm.REFORM Sabbath Eve Service. EveryFriday at 7:30 pm. at Hillel House.The noblemen will blow your mind atthe High Ball. 8:30 B-J Tonight!HUNT DUEL noon today—main Quad.Edward G. Robinson as Little Caesar.Sat. 7:30, 9:30, Sun, 2:00, 5th Floor,Pierce 50c.WOMEN! Don't stand for another let's-hang-around-your-place Saturday night.Insist that he take you to an authenticHasidic Folk Concert. Ida Noyes, 8:13pm. tomorrow.Desperately need World's Classics Edi¬tion JONATHAN WILD. 752-7646.John ABT, noted lawyer against Smithand McCarren Acts speaks for DuBois,April 24, 7:30 Breasted.Hear the Noblemen’s new 46 at theHigh Ball. B-J 8:30 Tonight.Don’t confuse CARLE-BACH with J.S.BACH. J.S.’s music was never so excit¬ing. Come and see, tomorrow night.It’s your chance to wave the blue &white. When? At Hillel Sunday night.THE TRAVELLING STUDENT ISIN!!!FIFTY QUESTIONSHave you ever wanted to know what amachine could tell you about yourself??To find out, all you need do is answerfifty (yes-no) questions TRUTHFULLY!Send name and address and fifty centsfor handling to Pilot Research ProgramFIFTY QUESTIONS9615 S. SagamonChicago, Ill. 60843ABOLISH VISA! Defend yourselfagainst Vampires In Sanguinary Al¬liance. KAMELOT Restaurant. 2160 E. 71st St.10°o discount for UC students. s . - v ^ >**•> 'sfc*- m mm, . ,Want apt. for 3 summer 493-8423.ROLL YOUR OWN AT THE HIGH¬BALL. B-J.Once upon a time one could stroll down57th St. eat, drink. / be merry. Nowone can stroll down 57th St., eat, drink,& be merry—and also purchase the ni¬ceties of life. One can find at Mr.Bigg’s Restaurant Sc Boutique Shoppierced and piercedlook earrings, allhand made, bracelets imported fromEurope & Orient, unusual sun-glass¬es like granny and Ben Franklin used towear, fish-net nylons, regular nylons,sheer or mesh, and many other interest¬ing sticks and stones. 1440 E. 57th St.MEN! Don’t let her trick you into wast¬ing another Saturday night at her place.Insist that she accompany you to an au¬thentic Hasidic Folk Concert.Kicks keep gettin’ harder to find? Notat the High Ball. B-J Tonight.SUMMER SUBLETSTAYING IN WASHINGTON, DC.,THIS SUMMER?Don’t stay in a little apartment by your¬self—ESCALATE to a 10-room house ina quiet tree-shaded area of northwestWashington. Five (count ’em—5) fullbedrooms, spacious living room, porch¬es, etc., etc. One block from frequentbus service to downtown offices; goodshopping nearby. At least five peoplecan share, more with some doubling.Rent plus util, totals about $320/mo.Avail. mid-June, option for all year. Formore info, call David Aiken, 288-7961.NEED A PLACE TO LIVE THIS SUM-MER, NEAR UC CAMPUS?Female roorrtate wanted for summerquarter to share apartment in excellentcondition; private bedroom; right nearshopping, campus, and the Point; rentand utilities total $60/month. PhoneNew Dorms, BU 8-6610, room 1409; if noanswer leave name and phone number. 6920 S. Crandon. 1 bdrm. modern apt.,furn. reserved pking., air cond., dish¬washer, laundry in basmt. Sun. roof,near 71st Bus. Dist., I.C. Sc Beach. June11-Aug. 20. Call 288-4994 after 5 pm orwkends.5'2 rms., 3 bdrms. Sunporch. June 15-Sept. 15. $125. Gd. ventilation—cool inhot weather. 54th Sc Dorchester. Nr. Co¬op and Harper Ct. Call Jamie, Nancy,or Bea. MI 3-0800, x3773 aft. or eveningstil 10:45.Furnished apt. for 3 to 4 students—Cor¬nell & 54th—$500 flat rate for summer.288-5432.4 rm. apt. furn. 5653 S. Blackstone.$140/ mo. 324-0715, after 6 pm.Furn. 7 rms. 3 bdrms. Enclosed Sunporch-55th nr. Univ. Apts. $150/mo.Call BU 8-6610 rm. 2211.3>/a rms. 3 lg. bedrms. $l05/mo. CallKen 752-9615.5 rms. 53rd & University. Furnished.Call Leiza. BU 8-8610, rm. 3428. Wanted 2 bdrm. apt. to sublet for summer. Call Mel, BU 8-6610, X3102.FOR SALELOSTLOST: April 12th. Ladies wristwatch en¬graved to JDS from JLS. Reward . .Call 228 2792 eves.LOST: Tues. April 14th, brown, wide-knit sweater, near Medici. Substantialreward. Call HY 3-1451.JOBS OFFERED Wooden Desk, 42x31 top, poor finish$10.00 . . . 6844)064. n*Beautiful ¥* size German bass. Askina$120 . . 752-9615, phone Steve. *Smith-Corona portable typewriter likanew. $45; 643-6465 aft. 5 & weekendsRMS. & APTS. FOR RENT6 rm. apt. to share. 2 girls need third$140/mo. + utils. May 1. 55th Sc Cor-nell . . . 493-2126.Nice clean room near campus for rent.Reasonable. MI 3-9257.6 LARGE rooms, natural woodburningfireplace. 4 big closets, bookcases, pan¬try. Suitable for business or profession.I. MUal people. Garage $10 extra. 4-8222.Wanted: Someone to do Ironing, approx.4 hrs./wk. Call 643-6465.Free rm. Sc board in return for babysit-ting, etc. 643-7807.RMS. & APTS. WANTEDFamily of four desires large basementor Eng. basement in Hy. Pk. or So. Sh.363-7391. HOTEL SHORELANDSpecial student rates Hotel rms withprivate baths. 2 students/rm. $45 .stu¬dent per mo. Complete Hotel Service.Ask for Mr, N.T. Norbert. 5454 S. ShoreDrive.GANTSHIRTMAKERSB’NAI B'RITH HILLEL FOUNDATION AT THE UNIVERSITY OF CHICAGO5715 Woodlawn Avenue — Chicago, Illinois 60637 — Plaza 2-1127MAX D. TICKTIN, RabbiDirector DANIEL I. LEIFER, RabbiAssistant DirectorISRAEL’S 18th YEAR OF INDEPENDENCECELEBRATIONSUNDAY, APRIL 24th COLLEGE OF JEWISH STUDIES8:45 pm 72 East 11th StreetPROGRAMJACOB BARMORE, Consul General of IsraelPROF. BENJAMIN BLOOM, UC Dept, of EducationREADINGS - DINA HALPERIN, Yiddish ActressMUSIC-YOUNG JUDAEA ORCHESTRAMARSHA AZARYAHU, SoloistDANCE-UC HILLEL DANCE GROUPREFRESHMENTSAdmission Free JESSELSON’SSERVING HYDE PARK FOR OVER 30 YEARSWITH THE VERY BEST AND FRESHESTFISH AND SEAFOODPL 2-2870, PL 2-8190, DO 3-9186 1340 E. 53rdFor the Convenience and Needs of the UniversityKING RENT A CAR1330 E. 53rd ST.DAILY - WEEKLY - MONTHLYAS LOW AS $4.95 PER DAYIf you require a rental car for business, pleasure, or whilecar is being repaired call us atMl 3-1715 yourMR. BIGGS RESTAURANT1440 E. 57th St.FREE CUSTARD CONES WITHTHIS AD AND THE PURCHASE OFA DINNER OR SANDWICHOpen Mon. 4:30 pm - 8:30 pm; Tues. thru Sat. 11:30 am •pm; Sunday 12 Noon - 8:30 pm. 8:30 OXFORDpulloverZephyr-weight cotton oxfordwith Gant’$ own traditional,half-sl«eve$. Superb quality,long wearing. It has the rollof collar, flair and fit thatmade Gant famous.COHN & STERN,INC.Town & Campus ShopTHE STORE FOR MENin thaNew Hyde Park Shopping Cenfar1502-06 E. 55th ST.Phone 752-8100FOTAWEEKENDEVENTS Friday, April 22Poetry Reading Contest (HarrietMonroe Fund) preliminaries,Bond Chapel, 3:00 pm.Contemporary Opera CCP, LMH,8:30 pm. The Brute by MossPurgatory by Weisgall. Saturday, April 23Contemporary Opera (See FridayListing)Symposium on ContemporaryOpera, Breasted Hall, 3:00 pm(Music Department)Shlomo Carlbach, Hasidic Folk-singer, Cloister Club, IdaNoyes Hall, 8:15 pm.Sunday, April 24Rockefeller Chapel Service, R. H.Holcum, 11:30 am.Art Show Contemporary ItalianPainting, Renaissance Society,Goodspeed Hall.Dramatic Reading: Don Juan inHell, Last Stage players, Uni¬tarian Church, 8:00 pm, $1.00Adm. J. Redfield, Dir. (Inter¬faith Council) Monday, April 25The Strolling Players 1:00 pm atthe C-shop.Films by Norman McLaren, JuddHall, SOc Adm. (InterfaithCouncil)B • CHICAGO MAROON v • April 22, 1966