Vol. 77, No. 4 The Chicago Maroon, August 8, 1968 Literary Review - InsideAs the Republicans flail themselves in Miami, millions of Americans lookto the Democratic convention as their only chance to change now the direc¬tion of the country. They are discouraged by the grip that the Nixonsand the Humphreys have on the system, and at the last minute they mayall decide to come to Chicago to demonstrate to the politicians the extentof their power. Analysis by ■Maroon Editor Roger BlackThe ProblemIn the fog of the conflicting opinion pollsand the obfuscating talk of party hacks,one thing is becoming clear: left to its owndevices, the American electoral systemwill once more install in the White Housea President who will make the same kindof mistakes as Lyndon Johnson.In the past month, McCarthy has re¬mained strangely quiet for a presidentialcandidate. He is seen more and more as a“one-issue” man. His staff, discouraged atits own lack of direction and organization,is falling apart.As the various delegate counts are com¬piled, it becomes clear that McCarthysimply does not have the momentum tocarry him past the several ballots he needsto survive in order to get the nomination.And Senator George McGovern’s candi¬dacy was abruptly checked almost the dayhe announced, when his daughter was ar¬rested for possession of marijuana.McCarthy scouts are in Miami trying toround up disaffected Rockefeller people,but as Nixon is the man, as they say, Mc¬Carthy’s main argument to the delegateshas been taken away. That is, the pollsshow that McCarthy would do much betteragainst Rockefeller than Humphrey would;but even Humphrey could beat Nixon fair¬ly easily.And so it looks like a Nixon-Humphreyrace. And it looks like the grounds well for“a change” that began very quietly in NewHampshire last February, is going to be ig¬nored, and if not ignored, still frustrated.Humphrey is trying to co-opt the rhetoric(he is already talking about “reaccessingour national priorities;), Mrs. Nixon said ilast night that people support her hus¬band because they want a change — “justlike 1952.” But the movement is greaterthan its rhetoric.Based on an unprecedented student in¬volvement in politics, an involvement thatstems in part from their participation inContinued on Page Four The PlansHow many people will come to Chicagofor the convention is still a matter ofspeculation.Rennie Davis, the Chicago co-ordinatorfor the Mobilization to End the War in VietNam, gives a rock-bottom figure of 100,000.That is the number of people at the Penta¬gon demonstration last October.A1 Lowenstein, the national chairman ofthe Coalition for an Open Convention, anda Democratic candidate for Congress onLong Island, spoke at one time in terms often times as many people. And that stillis.not an absurd estimate.But the problem for the two groups isnot getting the people to Chicago; all toomany will come anyway. The problem ishousing them, and finding something to dowith them so that they will not end up“clashing” (as the newspapers like to say)with the Chicago police.The housing staffs of both groups arenow fairly well-organized. The Coalitionhas worked to organize a “Welcome toChicago Committee” composed of “promi¬nent Chicagoans” who want to see the citymake it through the convention relativelyin one piece. The committee will try first tohelp find housing.Davis thinks that at the best, places willleast 50,000 out on the streets,be found for 50,000 people. That leaves atThe only short-term solution would be toopen up some parks for Mobilization Cities.So far the city has been reluctant to evenconsider opening up the parks; but as thepeople actually arrive, they will probablybe forced to change their minds.The programs for convention week aredetermined by what the various groupshope to accomplish by coming.The Yippies want to have a “festival oflife” and that is what they will undoubtedlyhave.The McCarthy people want to concentrateon the delegates, the “people with the pow-Continued on Page Three The StallIf Mayor Daley has any idea that halfa million people may be coming to Chicagoto influence the convention one way or an¬other, he has not betrayed it.But that’s the way he plays the game.For the tactics of the city in dealing withprevious demonstrations by people who areeither (1) not in the same political campas Daley or (2) are not in a position to con¬tribute very much to Chicago’s touristtrade (such as the Shriners) is to ignorethem as long as possible in the hopes thatthey will stay home.This was the case with the Mobilization’smarch on the civic center on April 27.It is the case housing with Mobilization’sefforts to obtain permits for its conventionprograms. They have been trying for fourmonths to get through to the mayor’s of¬fice and the park commission, with no suc¬cess until last week.The Yippies, as might be expected, haveend of June to communicate with the cityhad even less success.The Coalition for an Open Conventionstarted soon after its first meeting at theabout its large rally on Sunday, August 25.Here is a chronology of the Coalitionsefforts to communicate with Chicago:July 12: Martin Slate “On to Chicago”rally program co-ordinator phones parkdistrict superintendent Thomas Barry. Hespeaks to an assistant who tells him tosubmit a formal request for park space forthe rally.July 13: Formal request is sent.July 15: Slate calls Barry. Request isacknowledged, but Barry is “out.” Secre¬tary says Barry will return call, but doesnot.July 16: Slate calls to invite Barry tomeet with Coalition executive board mem¬ber Arnold Kauffman. Secretary says Bar¬ry will call back, but he does not.July 17: Barry “too busy” to talk toContinued on Page Three» ♦ c ' * t > t \ «ABOUT THE MIDWAYHospital ChairsTwo Blum-Riese professorships have beenestablished in the division of biological sci¬ences and the Pritzker School of Medicineand two faculty members have been namedto hold them.The professorships will be held by Dr.Hans H. Hecht, chairman of the depart¬ment of medicine, and Dr. George L. Wied,professor of obstetrics and gynecology.The chairs were established in October,1967, under the will of the late William J.Blum, an alumnus of the University.The endowment fund honors his parents,Amalis and Eugene Blum, and his uncle,Max J. Riese.Blum’s will provided for two professor¬ships, one in the Department of Obstetricsand Gynecology and the other in the De¬partment of Medicine.A well-known cardiologist, Dr. Hechtjoined the faculty in 1964 after many yearsat the University of Utah College ofMedicine. He is an authority in the electro-physiological study of heart action.Dr. Wied, an authority on exfoliative cy¬tology (the study of cells shed from thesurface of various organs), developed newmethods for cell diagnosis of cancer.Union ServicesThe Reverend Deane Starr, vice-presi¬dent of the Unitarian Universalist Associa¬tion and director of its Office of Field Serv¬ices, will preach at the University’s AugustUnion Service in Rockefeller Chapel at 11a.m. Sunday.His sermon is titled “What To Do ‘Tilthe Deity Comes.”The August Union Services are a cooper¬ative effort of various churches in HydePark, which each year during August in¬vite guest speakers for each Sunday’s serv¬ice at Rockefeller Chapel.The next August Union Services, sched¬uled for 11 a.m. each Sunday, will bepreached by:The Reverend Gene E. Bartlett, presi¬dent of Colgate Rochester Divinity School,who will preach on “A Revolution of Re¬pentance,” August 18.New Hum DeanPeter F. Dembowski, associate professorof French, has been appointed Dean ofStudents in the University’s Division of theHumanities.Ttie appointment, effective October 1,was announced by Robert E. Streeter,dean of the division of the humanities.Dembowski will succeed Kenneth J.Northcott, Professor of Older German Lit¬erature and Secretary of the Department ofGermanic Languages and Literatures.Northcott has resigned the deanship to de¬vote full time to other academic duties atthe University.Dembowski, who was bom in Warsaw,Poland, in 1925, joined the faculty of theUniversity in 1966. He previously had beena faculty member at the University of Tor¬onto (1960-66) and the University of Brit¬ish Columbia (1954-56). He was a teachingfellow at the University of California atBerkeley from 1956 to 1960.Dembowski received a B.A. degree fromthe University of British Columbia in 1952,a Doctorat d’Universite from the Universityof California at Berkeley in 1960.His special areas of academic interestare the study of Old French language andliterature, textual criticism, and historicallinguistics. He is the author of La Chron-ique de Robert de Clari. Etude de la Lang-ue et du style (Toronto, 1963), as well asseveral articles in scholarly journals.Gene’s PeopleOne group of Eugene McCarthy support¬ers has formed the McCarthy Action Com¬mittee m order to initiate programs effec¬tively utilizing McCarthy’s greatest re¬source: people.According to committee members, the national headquarters was coming up withno effective programs. To fill the gap, thecommittee was organized.The projects the committee is currentlycarrying out include:• A program in which volunteers are col¬lecting letters to delegates urging the nom¬ination of McCarthy for President. Over1000 letters have already been collected.The committee estimates that by con¬vention time, they will have mailed ap¬proximately six thousand letters to mem¬bers of the Illinois delegation.• A New Hampshire style canvass ofdelegates, meeting personally with as manyas possible. The canvassers will leave abrochure containing reproductions of newsclippings, columns, and polls reflecting thepopularity of McCarthy’s candidacy amongthe public and the politicians.• A service to throw letter-writing partiesin homes, sending a McCarthy volunteerto help serve refreshments and to clean upafterwards.• Finally, a campaign among the blackpeople of Chicago to educate the people asto McCarthy’s record on the issues and topublicize the endorsements McCarthy hasreceived from black leaders such as RonKarenga of Los Angeles and the ReverendArthur Cleage of Detroit.Headquarters for the committee are lo¬cated at 1438 E. 57th St., above Ahmad’sRestuarant and Sarnat’s Drug Store. Uni¬versity of Chicago students on the commit¬tee include Marc Cogan, Drew Pfeiffer,Susan Toss will, and David Barnard. Bangs Show“Prime English one of the paintings in art history studentJeremy Bangs’ show at the Bergman Gallery in Cobb HallNEWS FROM THE QUADRANGLESfour Chicago Profs Endorse HHHFour University of Chicago professors re¬cently joined 996 other professors acrossthe country in endorsing Vice PresidentHumphrey for President.Professors Robert L. Miller (geophysics),Morton A. Kaplan (political science), Phil¬ip H. Hauser (sociology), and Daniel J.Oaks AppointedTo SFA CourtThe Council of the University Senate hasselected Dallin H. Oaks, law professor, asthe successor to Harry Kalven, law profes¬sor, on the Student Faculty Administration(SFA) Court.The SFA Court considers violations of theStudent Code and matters pertaining to theStudent Government Constitution and by¬laws.On the court are six students, two facul¬ty members and one representative of theadministration.VC PublicationsGet AwardsThe University of Chicago Magazine re¬cently won the Atlantic Award for excel¬lence of staff written articles. The awardwas made by The Atlantic Monthly.The alumni magazine was also, desig¬nated as one of the top ten alumni maga¬zines in the nation and was cited for “allaround editorial excellence and high profes¬sional status” by the American AlumniCouncil.The University also won awards for fourdevelopment publications and lor its quar¬terly, Chicago Today, from the AmericanCollege Public Relations Association. Boorstin (history) were included in a listof supporters distributed by the Profes¬sors for Humphrey Committee.Co-chairmen of the committee are Pro¬fessors Samuel P. Huntington (government)at Harvard, Paul Seabury (political sci¬ence) at Berkeley, and Carl A. Auerbach(law) at University of Minnesota.In a joint statement the committeeclaimed that “Hubert Humphrey is a greatleader because, among other qualities, heis a great educator of the American public.His innovating role in that areas of disarm¬ament and arms control, civil rights, socialdevelopment and international economicand political cooperation testify to his ca¬pacity for creative leadership. We believehe will be an outstanding r resident.”Professor Kaplan said, “I think the prob¬lems facing the world are so great that noindividual is capable of leading a nationthe way they should. Among leading can¬didates (although I have reservations aboutall) there are three that I thought showedgravest intelligence, responsibility, and ad¬ministrative ability: Hubert Humphrey,Nelson Rockefeller, and Richard Nixon.“I think the times call for a man withgreat compassion, and Humphrey has morecompassion than either of the others,”stated Kaplan.Hauser declared, “I have known HubertHumphrey over the years, and he is atwentieth-century mind. He is conversantwith th6 nation’s problems, and he can dealwith them in a rationally effective manner.“Eugene McCarthy is a one-issue man,not as well prepared for the Presidency asHumphrey,” he stated.“Their instinct for suicide will probablyget the Republicans to nominate Nixon,who is a nineteenth-century mind,” saidHauser.One professor who supports Humphrey has said that he thought McCarthy, withfortune of only $30,000, did not have tladministrative experience to make a gocpresident.None of the professors reached for conment have plans for active participationHumphrey’s behalf, however, except f(the use of their names in committee- spoisored advertisements. Said Hauser, “I wilend my support, but I am too heavily cormitted to be politically active. I work f<the University of Chicago.”The statement released by the group anounced that many of the professors wouparticipate in the intellectual work of tlcampaign, serving as advisers, task forimembers, and as speakers.The Chicago MaroonRoger Black, EditorJohn Recht, Managing EditorRobert Factor, Associate EditorJeffrey Kuta, Senior EditorMark Steinhoff, Photography EditorThe Chicago Maroon is published bi-weekly on Thuidays during the summer, and twice weekly on Tu<days and Fridays during the regular academic yeton-profit postage paid at Chicago, Illinois. Addreall correspondence to 1212 E. 59th Street, ChicasIllinois 60637. Telephone (312 ) 955-5240. Due to rnovation of Ida Noyes Hall, the offices will be op'by appointment only. Mail subscriptions may 1ordered from the Maroon for $6 per year. The finissue of the Summer Maroon will appear on Augu22; the annual Orientation issue will appear on Setember 27. Subscribers to the College Press ServicFounded in 1892. Ungawa.2 THE CHTCSGD MAROON August 8, 1968 6 ) iContinued from Page 1:The Planser,” and hence plan nothing in the way ofa mass demonstration.The Coalition wants to influence the con¬vention process by physically representingthe popular movement for a change andplans, first of all, a traditional-style rallySunday, August 25.The Mobilization, which is resigned to thenomination of Humphrey, will begin ifcprogram on Saturday, with movement centers around the city focusing on single issues. Tuesday they will leave open for theYippie unbirthday party for PresidentJohnson and for any specific protests de¬cided upon at the movement centers.The major event for the Mobilization willcoincide with the balloting Wednesday nightThey will begin in the mid-afternoon, in theLoop, to assemble for a 40-block longmarch to the Amphitheatre. The city hasreserved the east side of the mile-squarestock yards area where the Amphitheatreis located (that is, Halsted between Persh¬ing and 47th), possibly for just such ademonstration.The street could be easily blocked andthe demonstration contained, perhaps moreeasily there than any other place in the cityIn any case the Mobilization will have amarch. As Don Rose, editor of the HydePark-Kenwood Vocies and the PR man forthe Mobilization, says, “You don’t need apermit to walk on the sidewalks.” It ishard to see how even the Chicago policecould stop 100,000 people walking to theAmphitheatre, without provoking a largeriot.The StallSlate, but will call back, but does not.July 26: Press conference in which textof letter from Coalition staff co-ordinatorLanny Davis to Hubert Humphrey on thepark problem is released.July 29: Barry calls Slate and sets upappointment.July 31: Barry meets with Slate and Co¬alition Chicago co-ordinator Paul Offner.Slate reports meeting as “cordial.” Hesays that Barry said he would call him at2 p.m., August 2, with a decision.August 2, 2 p.m.: Barry does not call.August 5: Barry's secretary says the de¬cision will not be made for a week. HubertHumphrey sends letter Democratic nation¬al chairman John Baily urging cooperationon a site for the rally.And so it goes. Hopefully the city willcome to its senses and realize that themore they co-operate with the Coalitionand the Mobilization, the more orderly andless harmful to Chicago’s “image” the ral¬lies and demonstrations will probably be. JUCDEMOCRATICCONVENTIONIS UNDERA CLOUD.A cloud of smoke that pours outfrom all the back rooms of all theDemocratic wards in the country.The smoke of a machine.Smoke that fills the eyes ofobservers until they cannot see.But this year they have to see.Because this year, at the Demo¬cratic convention, the countrymight begin to take a new direction.The party hacks may like thingsthe way they are, but 50 percentof the Democrats voting in theprimaries voted for a change.The Coalition for an OpenConvention plans to bring a halfmillion people to the conventionto show that they meant it.The Mobilization is talkingabout another 100,000.And a New Party is ready tobe launched if the Democratsrefuse to listen.And so a lot will be happeningat the convention.But it is possible that it willall be lost in the smoke.And that the people who cometo it won't have much effectbecause of the confusion.And that the people at homewon't be able to do anythingbecause they won't know what isgoing on. What is needed is a new kind ofcommunication at the convention.And this is what we hope toprovide.SUNDAY/FRIDAY will be adaily paper published from theconvention by students.It will start on 'SUNDAY',August 25, and continue throughthe following 'FRIDAY'.Its reporters will be the mosttalented young writers from the beststudent newspapers in the country.The editorial board will consistof the editors-in-chief of the ChicagoMaroon (University of Chicago), theDaily Bruin (UCLA), the DailyMinnesota (University of Minne¬sota), the Daily Texan (Universityof Texas), the Harvard Crimson, theMIT Tech, the Michigan Daily(University of Michigan), and theYale Daily News, to name a few.We will have a reporter assignedto every delegation. And many moreassigned to the campaign staffs andthe various insurgent movements.Our writers and editors havefollowed the campaign from NewHampshire and know it as well asanyone can.But most important, SUNDAY/FRIDAY will not be a part of theestablishment press. We will report not only what ishappening inside the conventionhall, but also what is happeningoutside.If the New Party holds aconvention right after theDemocrats', SUNDAY/FRIDAVwill continue to publish into thenext week.So the Democratic conventionmay be under a cloud.But we think we can lift it.I [ ] All right. Send me the six ij (or more) issues of SUNDAY/ jI FRIDAY. Enclosed is my check |j or money order for $4. jI [ ] Okay. Send me SUNDAY/ I| FRIDAY. Bill me for $6. j} [ ] Attached is my classified adI and payment (check or money jI order). [35 characters equal one Ij line equals SI.] M-1 jname| addressIj city state zip| SUNDAY/FRIDAY| 1212 EAST 59TH STREET| CHICAGO, ILLINOIS 606371 1 -MAROON CLASSIFIED ADS CAMPUSRATES: For University students, faculty,and staff: 50 cents per line, 40 cents perline repeat. For non-University clientele:75 cents per line, 40 cents per line re¬peat. Count 35 characters and spacesper line. 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HALSTEDTHE CHICAGO MAROON August 8, 1968mmW'Wi PP ?;% ,s’3 *►, »k * ? .<-. 5 * 'The Chicago Literary Reviewififii'ifc >lY-i■ i '..' ’ •' - / " , • . wwmrmmrVol. 5 No. 7 Special Summer IssueShakespeare Ms Alive in PolandSelected Poems, Zbigniew Herbert, (Penguin ModernEuropean Poets), translated by Czeslaw Milosz and PeterDale Scott, introduction by A. Alvarez, Penguin Books,$1.25.by IVAN LOURIEVisit the Palace of Laughter. Visit the Palace ofLaughter. This is the vestibule of Life, the anteroomof torture. — Z. Herbert“The emergence of modern Polish literature coincidesroughly with the time when Poland, partitioned by Russia,Prussia, and Austria in 1795, ceased to exist as an inde¬pendent state.” — Celina Wieniewska, editor’s introductionto Penguin Polish Writing Today. If you were not aware thatthere is a modern Polish literature, the new Penguin volumeof Zbigniew Herbert’s poems may be an eye-opener. In fact,you may have to swallow all those Polack jokes and blusha little. Herbert’s poems are intelligent, clever, contempor¬ary, very human — a rare find even in translation. ZbigniewHerbert’s Polish jokes consistently go one better than yours.It is appropriate that a poet who has something to sayabout our confusions should emerge from Poland, thecountry where conditions have always been absurd and im¬possible (didn’t someone, perhaps Sartre, set a play “in Pol-land, which is to say, nowhere”?) We have become accus¬tomed to good Polish films. Well, they can write that way,too. - i • tti j .Herbert’s poems have a humor reminiscent of the bestlaughing sufferers, the Irish; and in Eastern Europe, theYjffdish writers. The ‘one better’ quality is irony that encom¬passes the peculiarly contemporary pressures of stock lang¬uage and ideals. Some lines from “Report from Paradise”to introduce the poet:In paradise the work week is fixed at thirtyhours salaries are higher prices steadily go down(manual labor is not tiring because of reduced gra¬vity) chopping wood is no harder than typing the so¬cial system is stable and the rulers are wise reallyin paradise one is better off than in whatever coun¬try. ..So, what did you expect?one more departure from doctrine the last departureonly John foresaw it: you will be resurrected in thefleshHerbert emerged recently to read his poetry on a plat¬form with several other foreign poets in New York. He worea grey tailored suit, his hair was streaked grey. (“Bom inLwow in 1924, he wrote his first poems during the appallingNazi occupation of Poland and served a peculiarly savageapprenticeship in the underground resistance.” — A. Alvar¬ez, introduction to Herbert). He’s a trim, handsome fellow,his expression is wise, and a little puckish. Or a little puck¬ish but wise, wise. Czeslaw Milosz, who with Peter Scotttranslated Herbert, introduced himself and Herbert as poetswho write “against despair”, having lived through the Ger¬man occupation. Milosz, a leader of the avant-garde of the’30s, is now a distinguished translator, critic, and professorat Berkeley. He glowered through bushy eyebrows and readpoems that did not seem exceptionally good in English.Herbert read in Polish. A blonde Polish actress read trans¬lations in a thick accent, by far the most moving Englishreading of the evening. She and Herbert, cool and collected,smoking on stage, could have been the protagonists of a 4-star dramatic movie for mature audiences. The high-pointwas the reading of the “Elegy of Fortinbras”, a majorpoem. It opens:Now that we’re alone we can talk prince man to manthough you lie on the stairs and see no more than adead ant nothing but black sun with broken rays. Icould never think of your hands without smiling andnow that they lie on the stone like fallen nests theyare as defenseless as before The end is exactly thisThe hands lie apart The sword lies apart The headapart and the knight’s feet is soft slippers. . .Notice the vague monotony of rhetoric in the rhythm, thecontrolled fantasy. The poet is drawn to history and classicsfor his scenarios. He can get inside the myths he choosesChicago Literary Review Summer, 1968 and use them to give a cool pers *ective on his world. He ex¬plains in “From Mythology”:First there was a god of night and tempest, a blackidol without eyes, before whom they leaped, nakedand smeared with blood. Later on, in the times of therepublic, there were many gods with wives, children,creaking beds, and harmlessly exploding thunder¬bolts. At the end only superstitious neurotics carriedin their pockets little statues of salt, representing thegod of irony. There was no greater god at that time.Then came the barbarians. They too valued highlythe little god of irony. They would crush itunder their heels and add it to their dishes.The Greek poet Cavafy has this breadth; but the subtlety ofimplication and intense self-consciousness without self indul¬gence (“intellectual astringency ”) I cannot rcall in anotherpoet.Herbert is constantly building up a case that eases the legsout from under idealist, romantic, rigid assumptions. Al¬though we’re saddled with them. “He is political by virtueof being permanently and warily in opposition.. .a strict andwary attitude to a situation which is at best prone to roman¬ticism and at worst a violation of all sanity” — Translator’snote.In “Three Studies on the Subject of Realism,” rose-tintfantasists and dingy realists are parodied. Then the strictyes or now, black or white painters, the Marxists, are vividlyportrayed as promising a lot but throwing you on stage:with a shout: choose while there’s timechoose what you’re waiting forchooseAnd to help you we imperceptibly give a nudge tothe balance.In the marvelous '‘At the Gate of the Valley”, the scene isthe Last Judgment, in matter of fact detail. It aids:those who as it seemshave obeyed the orders without paingo lowering their heads as a sign of consentbut in their clenched fists they hidefragments of letters ribbons clippings of hairand photographswhich they naively thinkwon’t be taken from themso they appeara moment beforethe final divisionof those gnashing their teethfrom those singing psalmsYou don’t quite envy the saved or the damned; there’ssomething funny about the whole show. Herbert chides theimage itself, he chides us humans for the way we think. Hewill always poke fun, more or less respectfully, at the hal¬lowed dead — Hamlet, the Emperor, the Tsar, Devils, An¬gels — to the credit of the living. Here is some more of the“Elegy”:You will have a soldier’s funeral without having beena soldier the only ritual I am acquainted with a littleThere will be no candles no singing only cannon-fusesand bursts crepe dragged on the pavement helmetsboots artillery horsesdrums drums I know nothing exquisitethose will by manoevres before I start to ruleone has to take the city by the neck and shake it abitAnyhow you had to perish Hamlet you were not forlifeyou believed in crystal notions not in human clayalways twitching as if asleep you hunted chimeraswolfishly you crunched the air only to vomityou knew no human thing you did not know even howto breathe8*i»i ,8 vujpjA Now you have peace Hamlet you accomplished whatyou had toand you have peace Hie rest is not silence but be¬longs to meyou chose the easier part an elegant thrustr.oom.u 'f&PWA-rf*!*:7VIRTUE REWARDEDby SUE GOLDBERGIt’s not often that a 23-year-old getsasked to write her memoirs. But I’ve beenasked to jot down some notes on what itwas like working on a “pulp” magazinefor two years. Walk up to any cornernewstand and you’ll find it decorated withtitles such as: “Fifteen and The Mother ofThree”; “My Husband is White, I’m White,But I Had A Black Baby”; “Raped By MyFather-in-law”. And would you believe whowrites these salacious titles? Well, there’sme, a college drop-out who majored in lit¬erature, had delusions of being a famouswriter someday, and decided that a job inpublishing would be a good start. Thenthere was one of our editors, a 25-year-oldgraduate of one of the finest women’scolleges in the country, who finally quitthe smut business to get a law degree.And another co-worker was an ex-Playboybunny (or almost a bunny — she quit whenthey told her she’d be fined two buckswhenever she was caught with a run inher stocking.)I was 20 when I first interviewed for thejob as Managing Editor of the “confession”magazine. My only previous experiencewas a year as a cashier in an art movietheater and a year on a boring trade mag¬azine in the advertising dept. I was hired,barely knowing what proofreading was allabout, and so began my career in smut —at 90 bucks a week. The first thing I had to learn was thatconfession stories have a formula: SIN,suffer, and repent. But after reading a fewpiles of manuscripts, I realized that theyusually have more in common. There areabout a handful of plots that are used timeand again, with characters and incidentsplaying musical chairs. There’s always theyoung thing whose parents got killedat the railroad crossing: “Dad jammedhis foot wi the gas, but somehow, in thatlast agonizing moment, the car wouldn’tmove, and a neighbor came to tell me thenews.” She then either goes to live with anaunt, uncle and cousin, disrupting theirlives and running wild, sometimes gettingpregnant, sometimes seducing the cousin,or if it’s a girl cousin, stealing her boy¬friend. Or, she’s sent to an orphanage,gets out at eighteen, finds a dull job, fallsin love with a sweet sober guy, and findshappiness with her Joe, who understandsthe tough times she’s had.We also went through a hippy storystage, buying all the manuscripts thatcame in about teeny boppers and acid.Marijuana no longer made good copy — weused that in the early ’60’s. In one story,a rich, spoiled (of course) school girlmeets her death during Easter vacationby sucking paint thinner, followed by amug of beer.In each story there’s a lesson to belearned, whc her its “keep your virginityBEATLES SOLD HEREThe Beatles —The Real Story, JuliusFast, Putnam, 252 pp. $5.95.by IRVING SCHMIDTThe really interesting thing about thisbook is that its publication shows thevicious economic realities of the publish¬ing world. G.P. Putnam’s Sons, a publish¬ing house of high prestige for nearly acentury and a half, has dumped this shod¬dy, erroneous, ill-written book on thepublic for one reason: McGraw-Hill willsoon be coming out with an authorized bi¬ography of the Beatles. And anything con¬nected with the Beatles’ name meansmoney, lots of it. Money — that, seeming¬ly, is the name of the publishing game.Putnam literally could not afford to n o tcome out with a book on the Beatles —any book on the Beatles. And as fast aspossible.The “real story,” indeed. Mr. Fast,other than being a rather facile journalist,has no particular qualification to writeabout the Beatles Apparently, he has nev¬er even met them, never even interviewedthem. There are no startling revelationsin his “real story”; anyone reading News¬week fairly regularly would know morethan his “story” reveals. For example,Fast asks (and never answers) the ques¬tion of why the late Brian Epstein, thebusiness manager of the Beatles, felt a“compulsion” to manage them when hefirst saw them, although he had never pre¬viously done anything similar. One readyanswer which Mr. Fast ignores (he onlyhints late in the book at Epstein’s, I be¬lieve, admitted homosexuality) is that Mr.Epstein may have been, on one or anoth¬er level, sexually attracted to the fouryoung men then costumed in skin-tightpants and black leather jackets. That, asmany people have surmised, may havebeen the real story. So much for revela¬tions.I suppose that the clue to a non-bookpublished quickly in order to make a fastbuck is its relative shoddiness. Mr. Fast’sbook has a number of typographical errorsin it; at least one sentence is incompre¬hensible due to missing words. That wouldnever be tolerated by a prestige house likePutnam unless the stress was on gettingthe book out as fast as possible. Moreover,the editing is shoddy; Mr. Fast contradictshimself all over the place. One example concerns the quality of Ringo’s drummingability. Mr. Fast says that Ringo is theequal of anyone and, 75 pages later, healso says that Ringo is“only one of themost moderately able drummers in Brit¬ain.” However one may feel about Rin¬go’s drumming, Mr. Fast makes it diffi¬cult to disagree with him. And, of course,there is no index.I don’t want to talk very much aboutwhat Mr. Fast has to say about the Bea¬tles’ music; thinking about what he has tosay hurts too much. Fast says at one pointthat the Beatles “leave Dylan far behind.”Whether or not that is true may be passedover, but, at the very least, Fast shouldhave pointed out that Dylan’s work stemsfrom an entirely different tradition, andthat, because of this, his work is not di¬rectly comparable to that of the Beatles.On the same page, Fast says that non ofthe songs on the Sgt. Peppers albumare “hummable.” Perhaps, Mr. Fastcannot hum.The only redeeming grace in the bookcomes from the Beatles’ own humor:The Beatle breakfast consisted oforange juice, cereal, and boiledeggs. Paul sometimes favored friedeggs until, as he tells it, “John de¬cided t o join me and ordered a pairfor himself. Lifting the lid from thedish he stared down at a ghastlyf ri e d embryo chick in on e of theeggs.”After a long take John said, with a pok¬er face, “It’s not Easter or anything, isit then?” In Mr. Fast’s book, by the way,John is always things “with a poker face,”and what the Beatles eat for breakfast isjust the sort of information with which thebook is padded; one even learns that Liv¬erpool was issued its first charter by KingJohn in 1207.The message should be more than clearby now—don’t buy the book As previous¬ly mentioned, an authorized biography willsoon appear and, by the law of averages,it has to be better. Anyway, maybe oneof these days Newsweek mil put out aspecial issue devoted solely to the Beatles;it’s sure to be better than this book and,in any case, cost a lot less than six bucks.Mr. Schmidt is a fourth-year studentmajoring in Music at Boston Univer¬sity.* e till your wedding night” or “don’t let any¬thing pass through your lips except foodand Coke.”One of the most educational aspects ofthe job, sociologically speaking, was read¬ing all our nice fan mail, and answers tothe polls we slipped on the last page whenwe had room.One of my favorite poll answers to “whydid you buy this magazine,” was from alady in the west who wrote, “Where elsecan you find so much truth fora quarter?” Most of the poll answerswere very virtuous, agreeing with our ed¬itorial policy that all sins must be punishedand the good be rewarded. Once in a whilea lady would write, “Who the Hell do youthink you’re kidding? There aren’t anyvirgins around any more over 13.” Someladies even gave away their deepest se¬crets when they appraised a story: “Iliked it because I went through the samething and I hope other young girls canlearn from this story and not make thesame mistake.”The best fan letter I ever received wasa letter of protest from a group of maleprisoners in a Louisiana penitentiary. Theywere protesting the outcome of a story about a mad strangler Wfo)vreftt aroundattacking nurses in a tunnel between thehospital and the annex. The author skill¬fully casts suspicion on all the male char¬acters, including the young doctor whowants to make it with the stand-offishnurse (our heroine), and the son of a pa¬tient (he hates his mother and is the causeof her hospitalization.) The heroine, ofcourse, doesn’t escape from the strangler’sattacks — and the dashing doctor, hearingher screams, comes to save her, but onlyafter the criminal escapes. So there’s noproof he’s not a Dr. Jekyll and Mr. Hyde.In the end, poor Amie, the schnook whodoes his mother in by burning her, is con¬victed for the attacks — the psychology isclear but the prisoners disagreed. Theyinsisted the doctor did it, Amie got a bumrap, and if I didn’t have an errata in thenext issue, they’d never read my maga¬zine again! In my respect for Oedipus,Freud, et al, I couldn’t do as asked, somaybe now in their revolt against mymagazine, the prisoners of the penitentairyin Louisiana are reading about Raskolni¬kov, another guy who got “a bum rap.”Miss Goldberg, New York Editor ofCLR, despite protestations is a studentat the New School.The Chicago Literary ReviewTABLE OF CONTENTSPSYCHOVISCEROLOGYLe Petomane p. 8Gluttons and Libertines p. 8The Third Reich of Dreams p. 15LETTERS AND BIOGRAPHYThe Beatles: The Real Sory p. 2Letters of Theodore Roethke p. 6The Jeweler's Eye p. 10Letters of Paul Klee p. 12FICTIONCollected Stories: Muriel Spark . .. . p. 8Science Fiction p. 9Dark As the Grave in WhichMy Friend Is Laid p. 13MEDIAPulp Magazines p. 2Marvel Comics p. 3 POETRYSelected Poems: Z. Herbert p. 1PUBLIC AFFAIRSBlack Critics Respond To Styron . ... p. 4Chronicles of Negro Protest p. 8Anything But the Truth p. 9The Academic Revolution p. 14FILM AND THEATREIllusions of Deadly Angels p. 5Lovers p. 8MUSICHair p. 16Country Joe and the Fish p. 16TEXTS AND CONTEXTSPoverty and Culture & TheRed Machines p. 4Paperback Play p. 11Creator Spiritus Richard L. SnowdenEditor Jeff SchnitzerAssociate Editor Gary HoustonCo-Editor Rick HackArt-Editor Bob GriessPaperback Editor Jeanne SaferManaging Editor Shirley ThornberAssoc. Managing Editor Jim KeoughAss't Managing Editors Sara HellerRoberta GallowayJeremy BangsBarbara BlairBusiness Manager Barry EpsteinCampus EditorsAlbion College Thomas TerpBarat College Mary BoldaChicago Kent Collegeof Law Al ScarnavackChicago State College .... Michael SteffU. of Colorado Susan SchmidtConcordia College Herb GeislerGoucher Colloge Karen SandlerU. of Illinois, Chicago .... Ronald PrimeauU. of Illinois, Urbana .... James KomibeIllinois Inst, of Tech Steve SavageKalamazoo College Liz LindemannLoyola University, Chicago .... Paul LavinMiles College Deloris McQueenMundelein College Kathy CumminsShimer College Ken MolinelliSouthwestern University,Texas Charles NeufferTemple Buell College,Denver Judi FranksValparaiso University Bruce BittingWayne State University .... Tony ZineskiU. of Wisconsin,Milwaukee John SeversonCollege of Wooster Bryan Dunlap New York Editor Sue GoldbergWashington Editor Tom MillerSan Francisco Editor .... Patrick GormanLondon Editor Roger NichollsCleveland Editor Ted CelesteChief editorial offices: 1212 E. 59thStreet, Chicago, Illinois 60637. Phone:Ml 3-0800 ext. 3276. Subscriptions: $2.50per year. Copyright 1968 by The ChicagoLiterary Review. All Rights reserved.The Chicago Literary Review is publishedsix times a year at the University of Chi¬cago. It is distributed by the Chicago Ma¬roon, The Albion Pleiad, The Chicago StateTempo, The Concordia Spectator, The Gou¬cher Weekly, The l.l.T. Technology News,The Kalamazoo Index, The Loyola News,The Mundelein Skyscraper, The ShimerExcaliber, The Southwestern Megaphone,The Valparaiso Torch, and The WoosterVoice. Reprint rights have been granted toThe Colorado Daily, The U. of I. Commuter-lllini, The Temple Buell Western Graphic,The Wayne State South End, and The UMWPost. CLR is distributed at the U. of Illinois,Champaign-Urbana, by the Student Gov¬ernment, at Miles College by the Office ofthe Dean of Students, and at Chicago-KentCollege of Law.The Special Summer Issue of The ChicagoLiterary Review is being distributed at theUniversity of Chicago, Chicago-Kent Col¬lege of Law, Chicago State College, theUniversity of Illinois, Champaign-Urbana,Kalamazoo College, Loyola University, MilesCollege, Mundelein College, and the Col¬lege of Wooster.The next issue of The Chicago LiteraryReview will be published on October 18.2 CHICAGO LITERARY REVIEW Summer, 1968MARVHt'iCOMICS h?*r r ,M'v4'-* by BOB GRIESSMarvel Comics! Violence! Sadism! Sex!Well, not exactly. The world of MerryMarveldom doesn’t quite fit the pattern ofother comic book fantasy worlds. The su¬perheroes and their adventures are amaz¬ing enough, but the Marvel angle is thatcomic books can successfully combine in¬tellectual appeal with a good spirit of fun.In Marveldom the people are three-dimen¬sional, with feelings, concerns, and sensesof humor. They present enough complexpersonalities to invite the reader’s identi¬fication or empathy, and the superhero es¬capades are sufficiently full of action andcolor to hold the reader’s interest.Majordomo and chief editor of the Mar¬vel Comics Group is Stan Lee, a two-dec¬ade veteran of the industry. Lee is respon¬sible for his new concept in comic books,and under his guidance Marvel has ex¬panded to a worldwide annual circulationof 50 million, several T.V. cartoon shows,superhero merchandise, and a fan clubcalled the Merry Marvel MarchingSociety.The Spiderman series is one of Marvel’smost popular comics, and it affords aclear example of Marvel’s distinctiveness.Peter Parker (Spidey’s alter ego) is a sci¬ence major at Empire university, whowent to high school in Poorest Hills, justoutside New York City. During his adoles-cense. a radioactive spider bit him andsomehow zapped him with spider powers—powerful jumping ability, the proportionatestrength of a spider, and a spider sense,which tingles when danger is imminent.(The web-spinning abilities result from hisscientific prowess )Swinging from New York City rooftopson spider silk and hustling superbaddiescan make life pretty exciting, but oy! hasthis guy got problems! Peter has a guiltcomplex about his Aunt May, the only“parent” he has. Only recently has h eemerged from an adolescent social w i t h-drawal, although he is still an aliented, in¬trospective character. The demands o fbattling supervillains, the thrill of super¬hero life, and his needs for friendship andsocial life as Peter Parker arouse tremen¬dous guilt when he thinks of his Aunt Maywhom he’s supported since her husbanddied. (“I’m the only one she has; what ifsomething happens to me as Spiderman; Ishould think more of her and less of my¬self.”) All this topped with the problemsof whether he’ll ever find happiness andwhether or not to continue being spider¬man grabs a lot of young readers whocan really identify with him.Thie recognition and exploration of per¬sonality and life-problems truly sets Mar¬vel comics apart from other brands. Justconsider D.C. comics, for example. Super¬man’s problems amount to hangups aboutkryptonite and coping with Lois Lane’s oc¬casional pesky romantic notions. He showslittle concern about his life outside theimmediate dangers. Batman and Robin gothrough life innocently aloof from the pos¬sibility of homosexual relationship orshowing any real kind of emotion. Onedoesn’t know what sort of people t h es efour are. They fight crime and care aboutlittle else. At least Spiderman’s genitalsb'dee noticably, and we can almost be¬lieve that they’re for real.The success of t hese comics dependsgreatly on an amazing group of artists—easily some of the finest in the comicbook industry. Jack “King” Kirby is ab¬solutely masterful with the Thor series.Odin’s palace in Asgard looks truly regaldown to the last powerful detail on a dis¬tant gargoyle, and the background is con¬sistently impressive from delicate flowersto machinery The problems of producingartwork for reproduction, particularly incolor on low-quality comic book paper, re¬quire ingenious solutions. Jack Kirby’squality and quantity (every month he us¬ually pencils Thor, The Fantastic Four, Captain America, and often others) arevery impressive indeed. Gene Colan’sdramatic use of light and shadow in IronMan and Daredevil ranks him with WillEisner in that respect (Eisner writes anddraws Spirit comics, a non-Marvel mag).Unlike Eisner, who uses shadow for creat¬ing a mood of deep mystery and horrorto exploit the wierd, the ingenious, andthe comical in his detective stories, Co¬lan’s chiaroscuro enhances the power ofthe drawing itself. The power of his draw¬ing lies in the excellent facial expressions,convincing action scenes, and the general¬ly interesting composition and spirited de¬tail work. A relatively new artist in theMarvel Bullpen is Jim Steranko, who isstrikingly different from the rest of theMarvel artists in his extensive incorpora¬tion of op art patterns, geometrical de -signs, and abstractions into the illustra¬tions. It is difficult to use these devicesregularly without becoming trite, but thisguy really has an imagination and hasused it damn well on the past few issuesof Shield. The list of other artists istoo long for individual comment; but al¬though there are a few duds on the staff,however, the quality of Marvel artworkis generally higher than that of competingcomics groupsThe major scripwriters are Editor StanLee and Roy Thomas, supported by GaryFriedrich, Archie Goodwin, and others. Itis difficult to assess the contributions ofeach because Lee’s name appears in mostof the staff boxes as either editor or co¬author, and because the artists sometimeswrite or collaborate on the scripts. RoyThomas’ influence on scripting, however, seems to be a particularly lively style ofdialogue and character interaction (seeone of his Sgt. Fury of X-Men stories) andmay account for the rise in vocabularylevel and literary allusions in the scripts.Many of the stories, such as Spiderman,Fantastic Four and Daredevil, are welland thoughtfully written — so much so,that one fan was prompted to write thatMarvel Comics are “almost literature.”But who are these guys who put out theMarvel Mags, anyway? Just a bunch ofgood-time-Charlies who get their innocentkicks spinning out yarns, doodling, anddrinking root beer, or what? A long timethoughful reader has probably noticedcertain philosophies and propaganda ex¬pressed in the stories and on the letterspage. One aspect of Marvel’s ideals whichhas drawn much comment from readers isthe Negro superhero, Black Panther (anAfrican Negro, chief of the clandestineWakanda tribe, endowed with the powersof a panther.) Many readers have praisedStan Lee for having Marvel be the first(and only, so far) comics group to honorthe Black race, and Lee seems glad to doso. Actually, Negroes have appeared in thepages of Marvel for some time as lab as¬sistants, policemen, and faces in thecrowd, but some readers have offered thevalid criticism that the Marvel artists—simply draw a Caucasian face and color itdark. Lee’s answer to this is a feeble“Well, our artists draw things as they seethem.” No kidding.Marvel’s bag is not social com¬mentary, but certain phenomena of mod¬ern life are treated from a highly one¬ sided viewpoint, *Many Marvel superheroes have e x-pressed the ideals they use their abilitiesto pursue. Captain America, is particular¬ly inclined to remark something like“America’s freedom will eternally stand”or “The cause of Justice will always bechampioned as long as there is a . .. Cap¬tain America!” Iron Man has visited thetroops in Vietnam and fought a scientistnamed Half-Face, who sent Titanium Manto destroy villages and make the destruc¬tion look like the work of American bomb¬ers. When Iron Man defeated TitaniumMan, Half-Face met his former wife andchild in the village, repented his evilCommunist ways, vowed to serve the ty¬rants no longer, and to fight for freedom.Maybe this sort of persuasion is under¬standable for Cap (an old World War IIhero), or even for Iron Man (who’s worna chest plate to keep his heart going sincebeing wounded in Vietnam years ago.) Butin light of all the introspection and iden¬tity searches all these Marvel superheroesundergo, it is remarkable that they (or.more precisely, the .script writers) neverseem to offer opposite points of view aspossibly valid ones. As might be expected,the Comics are portrayed as insensitive,stupid, brainwashed enemies of “decadentCapitalism,” who chatter appropriate an-ti-West platitudes.Lee makes a big point of punctuatinghis comments throughout the stories andletter pages with expressions like "FaceFront!” and he extorts his readers withappelatives like "True Believer” and"Keeper of the Flame.” Noting this bigpush for readers to dig the stories and ac¬cept the ideals, one wonders about t h eaccompanying package of social dogmaand the America-is-always-right propagan¬da. In Hulk, for example, our green¬skinned hero is hounded by the militaryforces under the command o f General"Thunderbolt” Ross. Yet. who is this gen¬eral? Why, just a soldier doing his bestto protect citizens against a menace (inhis hot-tempered way.) Hell, this guywould make anyone paranoid, the wayhe misinterperts the Hulks personality andopens fire. After all these years duringwhich Ross’ personality has remained un¬scathed, one suspects that either thescriptwriters aren’t aware that he’s a realass, or that they fear losing a few salesif they insult the people, loyal Americansare supposed to respect.The dominant fact is, however, that theMarvel Comics Group has raised the stan¬dards of the industry a good sight over thelevel of the past five years or so, eitherdirectly or indirectly, by competitor’s imi¬tation. Imitation is a difficult thing to de¬termine and has been a touchy topic forsome time in the industry. Death-by-lawsuit was the fate of the short-livedoriginal Captain Marvel (anyone remem¬ber "Shazam!” and Billy Batshit, or who¬ever he was?) when Superman’s companythought that an airborne hero with a capeconstituted imitation.I can’t give credit where it’s duefor these ideas, but Marvel has initiatedthe idea if canning the distant, imperson¬al, or unbearably dull superhero person¬ality, and has created the idea of a morehuman and even warm oneA number of current non-Marvel comicsimpress me highly with their artwork andwriting (such as D.C.’s Spectre, WallyWood’s fly-by-nightly science fiction ef¬fort Witzend, and Jean-Claude Forest’sBarbarella, but Marvel’s total impacton the industry and on the readers hasbeen the greatest of all efforts so far,and justifiably so. Until Willie Elderand the Little Annie Fanny staff decideto put out Herbie, the Fat Fury, makemine Marvel!Mr. Griess is Ph.D. candidate in math¬ematics and artist-in-residence at theOsgood Zuber Institute.Sttinmeri'1068 CHICAGO 1IATBRARY ^RRVIE/W'Tm, and con,ms ^re Culturally Deprived?The Red Machines, F. D. Reeve, WilliamMorrow & Company, Inc., $3.95.Culture and Poverty: Critique andCounter-Proposals, Charles A. Valentine,University of Chicago Press, $5.95.by LINDA KEISTEROddly, Charles Valentine’s Culture andPoverty, a book whose subject is culturalanthropology, reveals much that could beof enormous help to a writer interested incombating some of the common ailmentsof contemporary fiction. I say “oddly” be¬cause this is clearly not one of Valentine’sconscious, or unconscious, intentions.Rather, his purposes include a devastatingattack on the pervasive “culture ofpoverty” myth, constructed and popu¬lated by Moynihan, Frazier, Lewis, et al,and a program for an ethnological studyof the Poor, whose findings, he hopes,would thoroughly squelch any tendency toview poverty as the manifestation of adisintegrated and disorganized communitymotivated by a self-perpetuating cultureentirely alien to middle cla^s thinking andwealth.The value of Valentine’s book to the art¬ist appears when it is read in conjunctionwith a piece of new fiction like F. D.Reeve’s first novel, The Red Machines.This fiction concerns a group of itinerantwheat harvesters in South Dakota, a sub¬ject of potentially high interest because ofits strangeness to the usual middle classreader. But although the novel is decentlywritten, it remains among those insignifi¬cant fictions whose reputations rest on thatdubious distinction of being classed bylibrarians and pool side mamas as “lightsummer reading.” Why, one wonders, hasReeve failed to mine the fascination in¬herent in his subject?The vast wheat fields of South Dakotaprovide the background. Here natureoverwhelms by pure extent of space: whitesky and hazy field merge at a horizon thatstretches across miles of rolling, wine-colored, ripened wheat. The people, fre¬quently metamorphosed into small birdsor animals, move with an anonymity inwhich even the giving of names seems ac¬cidental. Bland dialogue and unstressedphysical characteristics contribute to thesense of a hopelessly indistinguishablemass. Slight aid, however, is offered byour author who provides a dramiatis per-sonnae containing such useful informationas “Blue, a very old, very fat, very lazyTexan. Irene, his wife.” Later, the styleshifts, and in a series of short scenes,Reeve juxtaposes characters, and, so,distinguishes recognizable types. Indeed, one of the major interests of this novel isthe writing of it. Towards the end, Reeveeven offers us an imitation of Joyce’sNighttown to ponder. Style alone, however,cannot be eternally interesting. Significantfiction must also be an act of under¬standing.Mr. Reeve refuses to dig below the sur¬face, to reveal the comprehensibility of theacts his characters perform. He persistsin seeing them as little people, whose livescontain little of dramatic consequence:they eat, sleep, get pregnant, think aboutsex, cut wheat, complain, get sick, gethot, die, are buried. They charm by theiruniversal insignificance. Mr Reeve alsodeclines to explore the socio-economic con¬text of the life of these characters: littledistinction is made between the workersand the owners of the combines or of thewheat; and only the barest hints drop thatpoverty threatens: one of them dies; thereis not money to bury him properly, so inthe rain his friends sadly dig a hole andslide him in. Their relationship to the restof society, to us as readers, remains amor¬phous, almost ignored. Why, one wonders,does Reeve write about combiners insteadof little farmers or business men or evenstudents.Mathew Arnold noted the intimate re¬lationship between the artist and his soci¬ety, and the necessity for the integrationof all elements of that society (social,political, economic, religious) to producegreat literature. The discovery of multiplesub-cultures in our society, the wheatfarmers and combiners, the ghetto Negro,increases enormously the sense of so¬ciety’s flux and shapelessness, its com¬plexity, its disintegration. Cyril Connollycomplained thirty years ago about thelack of a myth common to artist and audi¬ence to shape the masses of detail thatmake up experience: Marxism doesn’twork, Christianity doesn’t work; all that’sleft is that old hang-up, alienation anddisintegration, which when carried to anextreme ends in private obscurity, notgreat fiction. The current crisis in socialand political thought makes it difficultfor the artist to conceive and hold a stableand objective intellectual framework forhis art; every statement is hedged bydoubts, fears of pure subjectivity.Charles Valentine presents the artistwith hope of a model. He constructs aworkable, socioeconomic framework thatunites the fragmented pieces of experi¬ence. Perhaps, he implies, the disintegra¬tion we worry about is not in society at all,but in us. If so, we can combat it. The first half of Valentine’s book con¬tains a devastating critique of theories of“the culture of poverty.” This, he claims,has been constructed by students who can¬not escape the values of their own dearmiddle class. Using the necessarily biasedstatistics from middle class institution,such as social work agencies and policecourts, these sociolgists describe the lifeof the Poor in purely negative terms:separated families, loose sexual relation¬ships, early maturity, flagrant vauntingof law and property, rampant unemploy¬ment. Viewed this way, the Poor follow adisintegrated, disorganized, thoroughlydespicable way of life, primarily becausetheir way of life differs noticeably fromthat of the middle class. Valentine urgesa more objective approach, modelled onthe methods of an anthropologist studyingthe South Sea Islanders, a situation inwhich class interest is hardly possible.With authority, he asserts the ambiguityof statistics as an indicator of social or¬ganization: the bare statistic of fatherlesshomes does not always mean the lack ofmasculine influence; kinship ties withuncles or grandfathers, close male friend¬ships, are in some societies acceptablesubstitutes: is there among the Poor asocial organization invisible to collectorsof statistics?Yet, one could wish that Valentine wouldmake his final vision clearer sooner. Hispolemic is virulent, and the reader gleansonly from infrequent hints where theauthor actually stands. The strong nega¬tive is misleading, for we tend to place hisown solution at the antipodes from themiddle class apologists. In other words,for a moment, and quite unfairly, thereader may fear that Valentine is head¬ing for the opposite extreme of blackpower. His total condemnation of the mid¬dle class seems to imply a total exaltationof the ghetto and poverty, and a programof segregation and self-sufficiency.Valentine himself, however, points outthe fallacy of confusing culture with class.The culture exalted by the black powergroups is not a racial characteristic ofNegroes alone, but is something shared byall people, Italian, Jew, even Wasp, whoare forced to live in the lower classenvironment of poverty. He recognizes ofcourse the burdens of racial discrimina¬tion, but at the same time he stresses thatrace and culture cannot be equated; wit¬ness the “betrayal” of the middle classNegro. Ethnological studies will prove, hehopes, that the Poor share the generalculture of America; the obviously differ¬ent social patterns in the ghetto result from a reasonable adaptation externallyimposed condition of poverty of means toreach goals similar to those shared bythe middle classes, e. g., masculinity,“smartness,” excitement, independence.The essential difference that must bedealt with is one of class, of socioeconomicenvironment. The fundamental solution isemployment, not re-education of the youngto middle class ways.The existence of poverty is built into theeconomic system, a system in which it isexpedient to perpetuate the lower classin order to have a pool of menial laborersand an inarticulate mass to absorb thefluctuations of the labor market. Valentinecalls for a long range program of researchto determine and describe the socialorganization of poverty communities, toestablish their relationship to the rest ofsociety, and to discover what is neededand wanted most by the Poor themselves.He asserts that the War on Poverty failedbecause it was based on a misconceptionof the problem: we need employment, notre-education. The immediate solution tothe problem turns on a program to hirethe unemployed poor, a program reallyrun by the poor themselves, a program inwhich business and industry are compelledby law to hire and to train. Volunteer pro¬grams, such as the current one suggestedby President Johnson, too often collapseinto farce, like that of the A & P in Chi¬cago: a promise to hire 800 Negros, actualhiring of only 70. In the end, the eradica¬tion of some of the worst aspects ofpoverty requires the effort of the wholesociety, for poverty is not a result of someinherent attitude of the Poor themselves.The value of this book for the govern¬ment planner, the politician, the interest¬ed citizen, the sociologist or anthropolo¬gist is obvious. In a lucid and surprisinglymoving manner, Valentine presents us witha socioeconomic conceptualization of soci¬ety that is flexible enough to explain manyof the seemingly unreconcilable phenomenaof experience. He creates a hopeful senseof the unity of things, their interrelations,their shapes and forms; he provides apositive approach and solutions. For theartist trying to work the details of experi¬ence together into a meaningful pattern,Valentine offers the rudiments of a model:As Durrell in Bathazar puts it, “can factsbe left to themselves? Can you say ‘hefell in love’ or ‘she fell in love’ withouttrying to divine its meaning, to set it in acontext of plausibilities?”Linda Keister is a fourth-year studentin English at Bryn Mawr College.Styron Never ConfessesWilliam Styron's Nat Turner, Ten BlackWriters Respond, edited by John K.Clarke, Beacon Press, $4.95.by DELORIS McQUEENFor four hundred years the Negro hasbeen denied his place in American history.For one hundred years the emancipatedAfro-American has been taught a white ra¬cist history which has managed to denyand strip him of an identity singularly asan individual and collectively as a race.The Confessions of Nat Turner, as per¬petrated by William Styron, adds insult toinjury, for despite the fact that Styron ad¬mits permitting himself “the utmost free¬dom of imagination” when recountingevents which are factually obscure, anddespite the fact that Styron repeatedlyclaims his book is not historical, laymenand the general public will read and ac¬cept his “imaginings” as fact. Because ofthis ground for potential misinterpretation,what Styron wrote becomes for most Af¬ro-Americans another attempt by a whiteracist to obscure and to deny the validityof the life of the very real human beingand black revolutionist, Nat Turner. Tomost Afro-Americans the book representsanother attempt to destroy their racialidentity by destroying and distorting an historical leader’s life.It is for these reasons, especially whenmost black writers, leaders and educatorsare instilling into the Afro-American youthof this nation a racial pride which recog¬nizes its African heritage physically, cul¬turally, and spiritually, and which demandsof America its American heritage in a re¬writing of history and full-class citizenrynow, that Styron’s “imaginings.” are nottolerable.The question, “How far can a white manproject into the soul of a black revolution¬ist?” becomes relevant for the Afro-Ameri-an critic who realizes that throughoutAmerica’s history the black man has beenconditioned to learn the white man’s men¬tality in order to survive, while the whitehas sat on his supremacy and allowed theblack’s mind to become a novelty whichfinally now produces fear with the utter¬ance “blackpower.”One critic says “no one objects to a nov¬elist using the best of his imagination towrite a work of fiction that will have colorand saleability. However, Styron is asouthern white man who has been raised ina racist society and is not free from the impact of his teachings. How will we everknow how well the author has freed him¬self of his own white supremacist attitudesas he attempts to project himself into themind of a black slave.” And it was H. L.Mencken, an Arnoldian critic of the earlyTwentieth Century, who had this to sayabout southern writers:Another literary Alsatia is theSouth. The South is by no means il¬literate. . .But the quality of thestuff thus produced is simplyfrightful. . .For a Southerner todeal with his neighbors realis¬tically, as Masters and Andersonhave dealt with theirs in theMiddle West and many a scriven-ing old maid has dealt with hers inNew England, would be almost un¬believable. If it is ever done, it willbe done by the new school of Afro-american novelists, now strugglingheavily to emerge. . .The typicalSouthern author remain an archa¬ic sentimentalist of the farm-papervariety.The critics who respond to Styron’s book,moreover, say “we are not quibbling here• CHICAGO LITERARY REVIEW* IV,1 « 111 UIAIU. Ik •% Summer, 1968 over footnotes in scholarly journals. Weare objecting to something more insidious,more dangerous. We are objecting to a de¬liberate attempt to steal the meaning of aman’s life. And that attempt must be con¬demned in the name of the man whosename has been illicitly appropriated for adubious literary adventure.”For many of the critics, The Confessionsof Nat Turner has some obvious and somesubtle manifestations of white racist atti¬tudes and supports derivative stereotypes.In the novel, Nat Turner is presented as adocile, domesticated “house nigger” pos¬sessing the full range of currently popu¬lar and usually over-generalized feelings ofself-hatred, of anti-Negritude, and of thedesire to be white which psychiatrists tellus plague black people in a racist culture.“If this book is important,” says MikeThelwell in his closing paragraph, “it is sonot because it tells much about slavery butbecause of the manner in which it demon¬strates the persistence of white southernmyths, racial stereotypes, and literarycircles shows us how far we still have togo. The real ‘history’ of Nat Turner, andindeed of the black people, remains to bewritten.”Miss McQueen is a fourth-year studentmajoring in English at Miles College.•*?u/ )f•'I) . 1f1 Illusions of Deadly Angelsby JOHN DRUSKAAll-time good guy Jimmy Stewart saidit: .. .a little moment will come wheneverything is right. You get involved. Thesweat glands start to work. You tremble alittle. And people will remember thosescenes for years. They’ll forget the wholemovie, but remember the scene.”Remember this one: Clyde has finallybrought bad girl Bonnie Parker back toher family. They are picnicking, and thechildren are fighting, and two of the boysare at the head of a little sand dune play¬ing guns. The whole thing in a mutedlight that frays everyone at the edges, andsometimes slow motion that catches in itstracks Bonni’s own elusive dreamings;and these two qualities hollow out thewords when anyone speaks — makes themempty and alien.But in this scene there’s no sound: Oneboy pointing his finger at the other andfiring; and the other carelessly tumblingdownhill to Bonnie’s feet. And she bending,her hand touching and lifting him and re¬storing him to a quicker life.It was perhaps all that Bonnie Parker —Warren Beatty’s and Arthur Penn’s parti¬cular Bonnie, that is — ever wanted to do:to give life, to make somebody real, evenif it was to be just herself.Or remember this scene: a band of aris¬tocrats has just broken a mysterious andlengthy spell which has held them captivein one of their number’s house. They aregathered, at the head of a large congre¬gation, in church. The mass ends, but thepriests inexplicably stop at the door, un¬able to leave. A similar phenomenonoccurs at the back of the church, wheremembers of the crowd shuffle about, urg¬ing each other to leave first. None can.Outside a file of lambs prances toward thechurch, presumably to be slaughtered,even as the trapped aristocrats had luredanimals into their den and killed them inorder to survive. Meanwhile soldiers onhorseback ride in the streets and slaughterthe people.With this closing sequence in “The Ex¬terminating Angel,” Luis Bunuel tries totransfer the effect of all his previousaction into an ironic statement that sug¬gests what had happened as a microcosmof what is, in the broader church-statecontext: the central decadence that brutal¬izes and controls life.The trouble is you don’t remember thisscene because of your sweat glands, asmuch as Bunuel might prefer this; asmuch as he has been able to affect sweatglands, as in some of “Los Olvidados.”If you remember it, you muse over howit calls on the experience of the whole filmand attempts to underscore, or shade, or bring a different perspective to bear uponthe sometimes harrowing action that pre¬cedes it.It might work for aristocrats. They mightidentify with the hapless crew to beginwith; and then be forced to do a littlesoul-searching during the epilogue. But ifthis is so, the film is working as a fable —a fable that even identifies the humans asanimals in the end. I have nothing againstfables, except that after Aesop most fabil-ists have been less concerned with touch¬ing a universal nerve or two, and morewith venting a personal spleen. Themechanics of the fable tend to be inter¬larded with individual messages to man,sermons on existance.When you match the effect of an “Ex¬terminating Angel” against a Bonnie andClyde, the latter makes the full potentialityof film so much clearer that anyone con¬cerned with film at all needs to stop andtake stock: to see what it means to choosebetween shaking a finger at naughty men-childs of knifing to the jugular vein.“Bonnie and Clyde” is by no means aperfect film. It turns a little too senti¬mental near the end, for example, whenBonnie, just before her ride to death, mo¬mentarily frolics with a little girl. Simi¬larly, all Clydes’ statements about the poorpeople being on his side became irrelevantafter the startling scene in which C. W.Moss begs water at a migrant camp. It isthe sort of scene James Agee alwayslooked for from Hollywood and seldomfound — one of believable action, emotion,timing, gesture and tone, given the local¬ized people involved, their history andpresent circumstances. One in which youcan taste the grapes of wrath.The really good scenes in “Bonnie andClyde” make you remember the moviemore than themselves: they knit togetherall strands of what has happened and worktoward what will happen. They catch thepresence of motion, even as it passes. Youare sweating not because of the scene, butbecause this scene is in this movie at thistime.We should have guessed from the startthat Jimmy Stewart couldn’t have beenartistically corrct. But, considering hisenvironment, the mistake is excusable.Most of Hollywood’s effects, while perhapslight years away from Bunuel’s intent, area image of what he tries to do in “Angel.”There the final scene must draw attentionto itself, must barb with deeper truth theentire film. Granted Hollywood tends moreto entertain than to scratch or bite. Stillthe entertainment, if it ever hopes to pickup an Oscar, must hint at a moral or so:and thus a truly galvanic scene is neces¬sary, one that may jerk tears for someprecious and long-remembered seconds, but should leave no one’s skin permanentlyraw. The movies are rememberd for whatthey said.The shame is that you’d like to remem-br as serious a film as “Angel” for whatit does. Up to a point it tells a story,though often marred with overtly meaning,ful dialogue — a story that might have re¬mained a complex web of sexual passionand emotional sterility, a medium able tosummon a full range of response from itsaudience. But once commented upon, thestory is bent to one man’s didactic point,and all that dialogue is made even moremeaningful, but toward a narrowed end.Again, this doesn’t necessarily make ita bad movie. It is a different film thanwhat it might have been had action stop¬ped at the mansion instead of the church,as “B & C” stops on the road instead ofat a police station or a morgue or C. W.’strial.I’ve been comparing “The Exterminat¬ing Angel” and “Bonnie and Clyde” onlybecause I saw the first between two view¬ings of the latter; and the difference itstruck seems cruical to films present andfuture. The difference is precisely that“Angel” is directed to a definite end-as-statement, an end that takes off from thefilm and in a sense explains what hashappened; while “Bonnie and Clyde” isshaped as a story whose effect depends onits whole movement as experienced, ratherthan on elevated moments or reflection onwhere its moments have taken us. The dif¬ference is crucial because any single filmcan achieve about as much as can beachieved in the way of film if it follows the“Angel” approach — the film’s relativeimportance only hinges on the relevanceof the director’s own message. But in tell¬ing a story — if we understand story inthe loosest sense of a thing-shaped — thepossibilities are virtually limitless and thesuggestions contained in individual filmsof this sort are able, by being entirely inthe film, to involve a gamut of people andcircumstance for which the film is a livetouchstone.“Bonnie” is a film we can paraphraseonly in “perhaps” statements. PerhapsBonnie wanted to make herself real. Per¬haps the film’s irony is its living in death.Because, in light of the story, statementis narrow, fragmentary and insufficient.It is divorced from the sweat as sensed— in a complex medium that weds snap-shot-and-newsprint history with the person¬al experience of that history, and in thetracing of that experience, in the registerof Bonnie Parker’s face and the goldensands of her dreams, makes a history thatis only its history, meaningful only interms of the filmed Bonnie and Clyde.The films’ angle on reality is not that of a judge glancing back on the dead to setthem in their place. We don’t count realbodies of real people in the 1930s; wedon’t correlate depicted crime with state¬ment on crime and freeze people into life¬less signals.The film’s angle is Bonnie’s: the film ishers: from the time she first catches Clydestealing her Ma’s car, through the blurredlens of her lost childhood, to the time shedies with Clyde. And so the reality of thefilm is the film’s reality — as it uses alegendary framework for Bonnie’s creationof an action that charges the present withher own truth, the film’s own angle onthat present as it passes.This is “Bonnie and Clyde’s” greatness:the ability to see as film and the film’sclaim on our sight. And this is the reasona good part of its audience keeps laughingon through “B & C”, or curses the fuzz atthe end, or decries the blood. Because it’sa film that asks us not to listen, agree,learn or discern; but to participate: afilm that is defining the possibilities offilm and not the sort that too many peoplecan stomach without a snicker or snort ofDr. Pepper, After all, counting dead bodiesis so much easier that shedding real tearsor real blood.Mr. Druska is a graduate student inthe English Dept, at the Universityof Chicago.Summer, 1968 CHICAGO LITERARY REVIEW 5ft** Selected Letters of Theodore Roethke,edited by Ralp J. Mills, Jr., Universityof Washington Press, 1968, 273 pp.,$6.95.by CHRISTOPHER BONEOne of the most famous American poemsof our time concludes with the stanza:Let seed be grass, and grass turninto hay:I’m martyr to a motion not myown;What’s freedom for? To knoweternity.I swear she cast a shadow whiteas stone.But who could count eternity indays?These old bones live to learn herwanton ways:(I measure time by how a bodysways).The poem, written by Theodore Roethke,helped to win him the National Book Awardin 1958 for the volume of poetry entitled.Words for the Wind. We are now fortunateto have a well-edited selection of Roethke’sletters from 1931 until a few weeks beforehis death in the summer of 1963. The ed¬itor, professor Ralph J. Mills Jr. of theUniversity of Illinois at Chicago Circle,also provides a short but very adequatebiography of Roethke and a brief chron¬ology of the poet’s'life.It might be expected, then, that SelectedLetters of Theodore Roethke would yielda wealth of information about the philos¬ophy of poetry, techniques of writingpoetry, and the genesis of individualpoems. This is not the case. (Informationof this nature will be available when thenotebooks of Roethke are published. Thepoet, David Wagoner of the University ofWashington, is now editing these note¬books.) The letters which professor Millshas selected are primarily from Roethke’scorrespondence with other poets and a feweditors in matters relating to the publica¬tion of individual poems. The letters arenot intimate, but ‘rather show the poet’sdaily concerns — to get a job, to publish,to sustain a healthy mental equilibrium(Roethke suffered several mental break¬downs and was liable to manic depres¬sion.) In short, these are essentially busi¬ness letters in which Roethke seeks theadvice and assistance of critics, poets, andeditors such as Stanley Kunitz, Rolfe Hum¬phries, William Carlos Williams, KennethBurke, John Ciardi, and Babette Deutsche.Since the letters are arranged in a chron¬ological order, they offer a kind of person¬al history of the poet. They do assist theliterary historian who wants to know whatRoethke was doing at a given time andplace.Those seriously interested in poetry willfind Roethke’s letter of March 1943 to thepoet, Leonie Adams to be very interesting.Using a lengthy syllabus which movesweek by week, the letter describes in de¬tail how Roethke taught modem poetry.In addition, the letters point to whomhe thought were the best contemporarypoets — Auden, Spender, Burke, Kunitz,MacNeice.The letters are saved from dullness bythe many poems which are included inthem — poems which Roethke sought tohave published, but did not always suc¬ceed. There are, therefore, several unpub¬lished poems included. The reader hasbefore him on many occasions a copy ofthe letter which Roethke wrote to intro¬duce a poem to an editor or a critic. Manyof these poems were later published andseveral are among Roethke’s most famouspoems such as “The Victims” (1938),whose central stanzas are:Who squirmed by the wall at theearliest childhood dances,Uneasy at play, the victims ofclassroom jest,Walked with averted faces pastscribbled fences,In comeptition always came sec¬ond best. The Dancing BearInfection’s bloom expands in se¬cret places.They strip themselves of strangeness to survive,But death puts on a set of falserfacesTo lure them down the highway tothe grave.The poet seldom voluntarily explicated apoem, but often gave his estimation of it.Roethke simply told an editor whether apoem of his was excellent greater aver¬age. Here the letters clearly illustrate aside of his personality. Roethke wouldbluster, even range in self-justification andself-praise and denounce those who failedto give him recognition.Th letters certainly point up this highlycompetitive, sometimes overbearing, bel¬ligerent, masculine side of his personality.One sees Roethke the man, the strong,well-trained athlete who, while he wrotepoetry and taught classes, was also var¬sity tennis coach at Lafayette College, Roethke was a man who wanted to belooked at twice, to be recognized for morethan a single glance would reveal, to berecognized as a super-achiever, a leader.This conjures up the Roethke who wrote,“I mean almost nothing to the people ofmy own state, to the man in the street —and desire that regard most passionately.”Unfortunately, a few of the letters tiethis competitive masculinity to another al¬most opposite side of Roethke’s personal¬ity: his natural humility which carriedwith it kindness and generosity. However,there is a hint of this side of his person¬ality in a biographical statement Roethkewrote on an application to the Ford Foun¬dation for a fellowship in 1952. “I am cer¬tain that I succeed most of the time as ateacher.. .But I teach viscerally: I try tomake up for ignorance by energy and en¬thusiasm.” The more' humble and kindlyside of Roethke is also evident in a lengthyletter he wrote to Babette Deutsch aftershe asked him to explicate his long poem,and Pennsylvania State College. One re¬members that this man was enormous,6’3”, tall and weighed over 200 pounds.This was a man who had to perform inorder to provide people with an accurateidea of himself. This was because Roethkelooked clumsy and ungainly, he movedwith a deceptively slow, relaxed, almostsloppy gait. But this was not really Theo¬dore Roethke. On the tennis court he wasastonishingly quick and graceful with re¬markably fast reflexes. Thus, he referredto himself as “the dancing bear.” The let¬ters give us the accurate impression that “The Lost Son” (1948). Here Roethke sil¬houetted the crude as well as the polishedaspects of the poem. This was Roethke atwork — humble, halting, self-effacing, butdevoted and dilligent. Only at the end ofthe letter does Roethke the competitor,the achiever, the sufferer, the woundedbear come again to the fore. “In doingthese (poems) I have worked intuitivelyall the time. I’ve read almost no psychol¬ogy. Several people have made the pointthat they (poems) are at once a personalhistory and a history of the race itself”(That sounds high falutin’; but that’s whatCHICAGO ■LIBRARY RByipW y , Summer,. 1QS& , they said.) I can make no claims, ofcourse, one way or another. They arewritten to be heard; and they were writtenout of suffering, and are mine, by God.”Perhaps the greatest drawback of Select¬ed Letters is that they give so slight anindication of how painfully sensitive Theo¬dore Roethke was. This hyper-sensitivitymade him a great teacher. (At Benningtonand the University of Washington he wascited by the students as the best professorin their respective English departments.)For while Roethke could bluster as theseletters indicate, he could also suffer im¬measurably at the hands of would-be crit¬ics. He often had his students criticizepoems in class. One seldom knew who hadwritten the poems which were passedaround for cfiticism. In a seminar givenin the Spring of 1963, an older student at¬tacked one such poem for several minutes,without looking at Roethke. Most of us feltthe increasing tension and soon realizedthat Roethke had written the poem. Butthe student continued his attack; we couldnot seem to stop him. Soon Roethke’s eyeswatered, he grew flushed and dejected.By the time the student realized the situ¬ation, Roethke was severely shaken andsuffering horribly.W. H. Auden, a close friend of Roethke’s,captured this crucial dimension to his lifewhen he wrote: “Many people have theexperience of feeling physically soiled andhumiliated by life: some quickly put it outof their mind, others gloat narcissisticallyon its unimportant details, but both to re¬member and to transform the humiliationsinto something beautiful, as Mr. Roethkedoes, is rare.” In his poetry and in hisclasses, Roethke transformed these humil¬iations into things universal. This he didby retreating back into himself where heforged something indomitable, somethingraw, survivialist, and reliable.I would with the fish, the blacken¬ing salon, and the madlemmings,The children dancing, the flowerswidening.I would unlearn the lingo of exas¬peration, all the distortions ofmalice and hatred;Roethke explores and fertilizes the realmof the primordial, carefully, painfullyseeking to force its germination. Fromthis germination came the strength, thepower to heal the psychic wounds whichinevitably accompany the agonizing mir¬acle of growth.And I rejoiced in being what Iwas:In the lilac change, the white rep¬tilian calm,In the bird beyond the bough, thesingle oneWith all the air to greet him ashe flies,The dolphin rising from the dark¬ening waves;And in this rose, this rose in thesea-wind,Rooted in stone, keeping the wholeof light,Gathering to itself sound andsilence —Mine and the sea-wind’s.And these are the same symbols whichilluminate the poem most prophetic ofRoethke’s death:I heard a dying manSay to his gathered kin,“My soul’s hung out to dry,Like a fresh-salted skin;I doubt I’ll use it again.What’s done is yet to come;The flesh deserts the bone,But a kiss widens the rose;I know, as the dying know,Eternity is Now”Mr. Bone is a graduate student in Mod¬em Intellectual History at the Univer¬sity at the University of Chicago. Hestudied with Roethke at the Universityof Washingon, Seattle.> \M 4 v'ih r. v i *■# >',* j » t if o4*t>Continued from Page 1but what is heroic death compared with eternal Madness Without, Balance Withinwatchingwith a cold apple in one’s hand on a narrow chairwith a view of the ant-hill and the clock’s dial...Or take this picture of Apollo the triumphant god torturinga mere mortel who challenged him to a musicians duel:shaken by a shudder of disgustApollo is cleaning his instrumentonly seemingly is the voice of Marsyasmonotonousand composed of a single vowelAaain realityMarsyas relatesthe inexhaustible wealthof his bodybald mountains of liverwhite ravines of alimentrustling forests of lungsweet hillocks of musclejoints bile blood and shuddersthe wintry wind of boneover the salt of memoryshaken by a shudder of disgustApollo is cleaning his instrumentIn “Nike Who Hesitates” the goddess wavers in her resolu¬tion to send a young man to battle:Thus Nike hesitatesand at last decidesto remain in the positionwhich sculptors taught herbeing mightily ashamed of that flash of emotionshe understandsthat tomorrow at dawnthis boy must be foundwith an open breastclosed eyesand the acid obol of his countryunder his numb tongueThere is no appeal, only that incipient resistance of the emo¬tions: “the only sanity lies in the brief, cronic tendernessof one person for another.” — Alvarex (introduction.) In“Five Men” the situation is as stark as it can be:They take them out in the morningto the stone courtyardand put them against the wall...when the platoonlevel their gunseverything suddenly appearsin the garish lightof obviousnessA cold description of death by firing squad. Most modempoets would quit with a vivid description of horror. HerbertOnly takes it as his test, it poses a logical problem to him.He goes further to make his paradoxical point about lifeand art:I did not learn this todayI knew it before yesterdayso why have I been writingunimportant poems on flowerswhat did the five talk ofthe night before the executionof prophetic dreamsof an escapade in a brothelof automobile partsof a sea voyageor how when he had spadeshe ought not to have openedof how, vodka is bestafter wine you get a headacheof girlsof fruitof lifethus one can use in poetrynames of Greek shepherdsone can attempt to catch the color or morning skywrite of loveand alsoonce againin dead earnestoffer to the betrayed worlda roseIs all this sentimental? Polish charm? I can imagine himgrinning slyly over the Greek shepherds line. He answers the charge in another defense of his poesy, “Why the Clas¬sics”. Recent generals who whine and shift responsibilityand “praise their heroism and innocence” are compared toThucydides, who, upon loosing a city and incurring exile,“says only/that he had seven ships/it was winter/and hesailed quickly”. Then, what he means to say:if art for its subject!will have a broken jara small broken soulwith a great self-pitywhat will remain after uswill be like lovers’ weepingin a small dirty hotelwhen wall-paper dawnsHerbert knows what he’s saying and how he’s saying it.Yet he doesn’t write as if he knows more than he tells. Thepoems are casual, simple, open. The ineffable is presentedto the reader for his perusal. As with Kafka, you need notresearch the artist’s life, at least not to resolve the ambigui¬ties. It’s all there in the texture of the work, a surface to bedealt with like a movie. The myth plus the logic structureof the poems is highly conducive to translation. “Insofar asthey were composed according to trains of thought ratherthan language, these poems seemed more cosmopolitan thansome Polish poetry, without paying the price of being ab¬stract or commonplace”. — Translators* introduction.Penguin should be congratulated for bringing out this bookof poems. It presents one masterpiece; a number of first-rate poems (including love poems and surreal dreams, whichI have passed over in this review;) and a lively though dis¬ciplined imagination throughout. Two poems, “Elegy of For-tinbras” and “Fragment,” are excellent as poems in Eng¬lish idiom, a credit to Milosz, who is credited with them inthe List of Translations in the back. There is one poem,“Mona Lisa”, that I cannot decipher. Alvarez’ introductionis useful and provocative. Let me quote him once more:The best Western poets, arguably, do much the same.By implication at least, they too are deeply com¬mitted to politics — or anti-politics — of protest.But where they create worlds which are autonomous,internalized, complete inside their own heads, Her¬bert’s is continually exposed to the impersonal, ex¬ternal pressures of politics and history. This makesfor a curious reversal of values. Poets in WesternEurope and American react to the cosy, domestica¬ted senselessly sensible way of life in a mass demo¬cracy by asserting the precariousness of things anddeliberately xeploring the realm of brakdown andmadness. For Herbert, on the other hand, madnessand disintegration are all on the outside, the productsof war and totalitarianism. This is a perspective that might do ussome good. If “materialism” and “massculture” could be rescued from the worstsermons and examined as conditions, hon¬esty and resistance might begin fromthere. Hypocrisy is a universal problem.The atmosphere of life in Eastern Europemay be more like the local climate thanwe can imagine. We’re no better off thanthe Poles where leadership and ideologiesare concerned. Our politicians and mili¬tarists maintain us as true barbarians, in¬struments to the daily commission of atro¬cities, while we remain powerless. This isno Polack joke, the world is upside downeverywhere. “After all, we’re not in Po¬land. ..” said the Jewess to her husbandjust before the Gestapo came to send themfrom Rome to Auschwitz (“The Deputy”,Rolf Hochhuth).There is evidence of a classical cyclehere. Herbert’s three books of poetry (andone of essays, The Barbarian in the Gar¬den) have all been published since the“thaw” of 1956 in Poland. It will be inter¬esting to see what the Czechs and the en¬tire Soviet bloc will make of their presenttransition. A Czech poet, Mirosalv Holub,is another offering of this Penguin series.Forthcoming is Poets of Greece, includingthe poet and the composer who col¬laborated on the universally popular free¬dom songs in Zorba the Greek and whoare still in jail. The Penguin Latin Ameri¬can Writing Today presents some of theCuban revolutionary writers.Turmoil and change are also not likelyto end soon. A final reservation about Her¬bert — is he a phantom Platb, telling uswe’d be better off as philosophers in theface of botched civilizations? He managesto sit right in the gap between everpresentdreams and the daily news; and shrug,and grin, and light a cigarette. Rathermore like the gadfly Socrates himself. Heis intensely conscious of the paradox ofexpression itself, a consciousness that heshares with the best modernists and themost interesting young American poets.And everyone who realizes what is hap¬pening, for that matter. Not does he shirkor shrink from it:I would like to describe the simp¬lest emotionjoy or sadnessbut not as others doreaching for shafts of rainor sun...we fall asleepwith one hand under out headand with the other in a mound ofplanetsour feet abandon usand taste the earthwith their tiny rootswhich next morningwe tear out painfullyYou have only to listen, listen closely tothe end of “Elegy of Fortinbras”:Adieu prince I have tasks a sewerprojectand a decree on prostitutes andbeggarsI must also elaborate a better sys¬tem of prisonssince as you justly said Denmarkis a prisonI go to my affairs this night isborna star named Hamlet We shallnever meetwhat I shall leave will notbe worth a tragedyIt is not for us to greet each otheror bid farewell we live on archi¬pelagosand that water these words whatwhat can they do princeMr. Lourie, a student at the Universityof Chicago, is Poetry Editor of theChicago Review.Summer, 1968' ‘ CHICAGO LITERARY REVIEW JLovers: Winners (Part One) and Losers(Part Two), Brian Friel, Farrar, Strausand Giroux, $4.50.by T. EDWARD HEARNEBrian Friel has a nice touch—you haveto give him that. The two one-acts pub¬lished this spring under the collective titleof Lovers have the author’s benevolentspirit imprinted on the characters as wellas the dramatic governing conception. Buteach lacks a certain toughness I feel weneed today.Not that one should slam Friel for doingwhat he does badly. Not at all. Winners,the first of the two plays, tells the story oftwo young Irish lovers, very young, veryIrish, as they dawdle away the very lastaftei noons of their lives on a sunny hilloverlooking their hometown of Ballymore.Meg is seventeen, two months pregnant, acharming, loveable, impulsive and ex¬ceedingly verbal girl whose emotions spillout in beguilingly discombobulated prattle.Her fiancee, Joe, a studious, nose-in-bookcat is har foil. As the couple sqabbles andpets, you fall in love with them. Every¬thing is so charming; Friel makes us lovethem, really.Around Joe and Meg, on either side ofthe stage, as they romp through the after¬noon, Friel has placed two commentators,a man and a woman, each carrying abound MS; “they read from this every sooften. Their reading is impersonal, com¬pletely without emotion: their function isto give information. At no time must theyreveal their attitude towards theirmaterial.”The commentators supply the audiencewith the dismal facts about Joe and Meg,their parent’s circumstances, local history,current weather reports, and, ultimately,the reported story of the couple’s death.Apparently Friel wants to prevent the au¬dience’s full identification with the couple,to cut through the potentially heavy senti¬mentality, thereby developing a rich dra¬matic irony. By foreshadowing death bydrowning, Friel increases pathos.The device is partially successful. Theconvention of the “stage-manager” type ofchoral figure is well established, but Imiss more definite characterization forthese figures. When staged, it seems tome that the young lovers become quite vi¬vid and need a stronger counterbalance toachieve the irony which makes the playwork.In Losers, the second of the one-acts,Friel has also used direct narration tospeed his exposition. But here he is moresuccessful. First, his characters are not asopen to stock emotional responses, and theplaylet’s basically comic mode allows moredistance between the spectator and thestage action. The commentator also has astrong character, which is integrated intothe action.Again the story is rich in Irish love, butthis time Friel has created characterscaught in the awkward pre-marital passionof the middle-aged. Andy Tracy is the mainloser, courting a forty-year-old spinster,Hanna, while her mother tries to keepthem from Recking on the living roomcouch. The only way the lovers can keepthe mother off their backs is to talk. Itdossn’t matter what they say as long asthe mother can hear voices rising from theliving room. Andy solves the problem byreciting the only poem he knows—Gray’s“Elegy written in a Country Churchyard”(you know, “The curfew tolls the knsllof parting day,” etc.) As the lovers/loserspet on the couch to this bit of morbidpoetry—well, I don’t want to give awaythe plot on this one. But it’s very funny.Suffice it to say that Andy has revengeon his new mother-in-law and loses hisnew wife in the process.Friel seems to be saying in these shortpieces that the winners are lovers whograb what they have and forget the rest ofthe world. The losers lose because theylet their love take second place to thetroubles of everyday living. His lovershave a magical quality which can’t stand being tampered with. If you make a falsestep or are a little chickenshit about yourlover in a Friel play, forget it.As a dramatist Friel is moving into aninteresting area, between the narrativeand the dramatic forms. The one-acts ofLovers are slight plays, amusing, sensi¬tive, and at times extrordinarily delicate.If Friel moves further in this direction andfinds a more successful technique forhandling narrative exposition, we may findhe is another of the great Irish masters ofcomic irony. He has the touch.Mr. Hearne is presently at W. VirginiaState Teacher’s College.Collected Stories: 1, Muriel Spark,Knopf, $6.95.by KATHLEEN CUMMINSMuriel Spark’s latest collection of shortstories, Collected Stories I, mixes the sin¬ister and the frivolous in various formulas— none of them predictable. There areGhosts, Flying Saucers, miracles, menfrom the moon, seraphs, coincidences, mis¬taken identities-but Miss Spark’s treatmentis so spare and unsensational that theseanomalies sneak by without provoking un¬due notice. The import of the “accidental”hits later.Some of the characters are Miss JeanBrodie types-eccentrics who neverthelessare admirable in an obscure, almost mys¬tical way. Frau Lublonitsch, a Swissmountain resort owner, ruthlessly squeezesout an inept competition, appropriating hisancestral estate piece by piece, with themethodical wrath of a Calvinist God chast¬ening the slovenly. Miss Marjorie Petti¬grew is the most aloof pligrim at a mon¬astery retreat for “neurotics,” but she isrevered by the other pilgrims who areshocked when asylum attendants whocome to take her away address her as“Marjorie.”There are several imperterbable, sensi-able heroines who quietly dominate theirlives, or have the irony of life played outupon them, as a judgment on their lan¬guor. And even then they don’t seem tomind much. A few stories, like “DaisyOverend” and “A Sad Tale’s Best ForWinter” threaten to become “My Most Un-forgetable Character” anecdotes, but wit¬ty language and mock moralization savesthem. Witness the ending of “Daisy”; “Ihave forgotten the real name of DaisyOverend. I have forgotten her name but Ishall remember it at the Bar of Justice.”Much of the collection is set in colonialSouth Africa, where the dry climate keepsthings flammable, the shortage of womenbreeds triangles, and “shooting affairs”and vendettas abound. But Miss Spark’sunawed, there-it-is view of life is not daz¬zled by exotic surroundings, and we don’tget smothered in symbolic settings andDark Continent archetypes. Nature sym¬bols in the African stories establish andsharpen the mood; they don’t typify thetheme. In “The Curtain Blown by theBreeze,” breeze only comes before astorm in the flat, windless veldt country;similarly, what moves in this story movesviolently. In “the Go-Away Bird” thetropical bird's cry “Go-’way, Go-’way” isarbitrarily associated, like all privatesymbols, with a girl’s growing matter-of-fact goals, amassing of experience, andfinal admission that “life is unbearable”;it forces going away and offers no refuge.In this, as in the other stories, there islittle interior monologue. The girl, Daph¬ne, greets every revelation in her prog¬ress to wisdom with “Oh, I see,” but wedon’t know what she sees or what conclu¬sion she draws.Instead of imbuing ordinary events withoccult meanings, Muriel Spark covers asense of chaos with the glaze of the mun¬dane. Her quiet style and genteel humorpromise the reader something chatty,homely, and soothing, then unsettles himwith the crash of teacups.Miss Cummins is a third-year Englishmajor at Mundelein College. Gluttons and Libertines, by MarstonBates, Random House, $5.95.by TOM CLARKDid you ever eat a bag of ants? Did youever screw your mother? I never dideither. Did you ever wonder why younever did? Some more questions: Did youever notice that you can speak of fecalmatter, defecation and bowels around al¬most anybody, but just try telling yourdate you have to take a shit. Early in mycareer of guarded obscenity, I began usingwords, nice words like “intercourse,”“copulation,” and occasionally “coitus.”You can say them anywhere. Then I said“fuck” once. Just once. There’s a big dif¬ference. Oh, I can hear the cries alreadyfrom tender young co-eds: pornography,filth, gutter talk. Well, frankly Scarlet, Idon’t give a damn, and that, you mightremember, was the first time “damn” wasever used in a motion picture “Gone Withthe Wind”. The cries of censorship werelong and loud, like when Joyce tried toimport that dirty book back in ’33.Anyway, what does all this have to dowith anything? That is Bates’ thesis in anut shell. What does anything have to dowith anything? Do we stay away fromMommy’s bed because of an inherent ab¬horrence, or because of a social taboo?He begins in a fairly light vein, as youmight guess, by citing various contradic¬tory customs of food and sex ritual amongus humans and our humanoid acquaint¬ances. (Thus the title.) He’s an anthro¬pologist-zoologist by profession and a pro¬fessor at the University of Michigan bytrade. Consequently he uses this introduc¬tion as a springboard into the severalrealms of sociology. Some chapter titles:“Sex: Male, Female, Other,” “OnBeing Mean,” “Crackpots, Phonies andSquares,” “Covering Up: What to Wear.”The whole thing is done in a very loose,anecdotal style, and is sometimes damnfunny. So is his documentation. He writeswith the attitude of a frustrated Hell’sAngel in a Nash Rambler. His sources areusually accurately quoted and accredited,but any single chapter, if written by anundergraduate, could serve as grounds foracademic expulsion on several counts. It’sreally nice to find a professional academi¬cian whose mind doesn’t live under anasterisk.Occasionally Bates allows himself to bewafted away on winged words and he be¬gins to bury the reader with jargon, but heusually catches himself and pulls hismagic carpet back to earth. Like this:If everyone conformed, culture (inthe anthropological sense) wouldstagnate. I am not sure about ourideal of endless progress, but I dothink there is ample room for im¬provement in our ideas and in ourway of life. With change, howeverslow, there is always hope that itwill be for the better — howeverthat is to be measured. And if noone ever acted or thought uncon¬ventionally, there could be nochange. But there is that tightropeagain. You have to balance care¬fully, or the cops will get you.I have only one real criticism of thebook, and it is a tentative one, at best.For a zoologist, he certainly seems to talka lot about the science (discipline?) ofsociology. His theorizing borders on ahighly complex field of study. Some peo¬ple even major in it! I didn’t, and hedidn’t, and I don’t really know how muchhe knows about it, but I do know a fewsociology profs who would definitely defe¬cate a brick at Mr. Bates’ “lay theorizing”(no pun). On the other side of the coinhowever, my “roommate,” a soc major,claims that sociology is the discipline (sci¬ence?) of defecating bricks and callingthem golden eggs. Perhaps anyone of in¬telligence is qualified to make valid the¬ories. He sounds all right to me. Besides,he has a sense of humor.Bates called his book (when he wrotein 1952-1958) “a plea for tolerance of diver¬sity.” It was a forerunner of Do-your-own-thing-ism. Man has been doing his thingfor quite a while now, but then men havebeen fearing, hating, and killing othermen who do the wrong thing for just aboutas long. Maybe someday Bates will be in- Literaryeluded in the Bible, but until then we hadbetter all watch our fucking mouths.Mr. Clark is fifth year student major¬ing in several things at the College ofWooster.Le Petomane by Jean Nohain and F.Caradec, Sherbourne, 95 pages, $2.50.by MARTHA MOCKFor some time I swore by AubreyBeardsley as the epitome of the fin du sie-cle grotesques, and it was with a certainsense of compromise that I beganreading this little biography of an¬other artiste of the 1890’s. Now,in all fairness, the fool’s crown mustbe shared with this decadently-costumed,bent-kneed French “phenomenon”—JosephPujol, his name; crepitation, his game. Ap¬pearing nightly for 22 years at the elephantgarden of the Moulin Rouge, Le Petomane(cherchez le radical) blew out morethrough his anal trunk than any elephantcould have ever cut through the properextremity.Due to a strange quirk of nature (hewas examined all over Europe), Pujolcould control his rectal organs just as weall are able to regulate our breathing. Hav¬ing accidentally discovered this trait whileswimming, Pujol hit upon his calling as anentertainer and learned to “sing” literallyfrom the depths of his being. His repetoireincluded “Au Clair de la Lune,” a rendi¬tion of imitative farts such as the youngbride before and after the wedding night,and the miraculous feat of blowing out acandle from a distance of one foot. The la¬dies loved it. In fact, all Paris thought anevening with Pujol was a gas. He drew in(and let out, needless to say) more thantwice Sarah Bernhardt.The authors of this little book (it can beread in a sitting and is highly recommend¬ed to those global villagers who do theirreading on the stool) are careful to pointout that, in fact, Pujol was a man of thepeople. His career found its justification inmaking people laugh by the way he knewbest. Prone to effusive panegyrics, the au¬thors also depict Pujol as a man of highhumor and spirit. During his long war withthe Moulin Rouge over his contract, Pujolis reported as having threatened to “turnoff the gas” and to have exclaimed at theopening of his own theater, “Maybe I’llfart less loudly but I shall be fr:e!” Farfrom being a frivolous character Pujol isfurther glorified as having opened new in¬roads in medicine and as having accomp¬lished new human possibilities when cent¬uries of medical endeavor had failed.My only disappointment with this bookis that the authors did not mix their praiseand diligently researched secondary com¬ment with a little fuller biographical sub¬stance. As far as I can tell, they reallymissed a grand opportunity for some “getthee behind me Satan” psychological stu¬dy. A more anal personality would be hardto find. Yet, after reading this book, it’sjust about impossible to put Joseph Pujoland his career behind us. Perhaps he haseven been an influence on many in thisday and age. Is it any wonder that a flam¬er like Tiny Tim envisions the 1890’s asthe world of his dreams?Miss Mock, a student at Wooster, isa Russian and French translator forthe US Patent Office and President ofthe Aubrey Beardsley Society of Rock¬ville, Maryland.Chronicles of Negro Protest A Back¬ground Book for Young People Docu¬menting the history of Black Power, ed.Bradford Chambers. Parents' MagazinePress, 1968, $4.50 and $3.75 (Lib. Ed.).For Ages 12-up, grades 7-up.by BETSY GOULD HEARNEIn the last few years the demand forbooks on and including Negro history hasbegun to catch up with the need. Where8 CHICAGO LITERARY REVIEW Summer, 1968 i'4Notebookprofit is, publishers comply. In the gentlenew wave of hastily amended texts, en¬larged by tacked-on chapters about contri¬butions black men have made to the GreatWhite Society’s mainstream of Progress,Bradford Chambers’ book stands out like abreaker. Not for what he says, though hisexplanatory notes are clear and strong,but because he lets history stand on itsown documents and makes one face factsinstead of rhetoric and rationalization.These documents tell the strange tale ofa unique experiment in democracy foster¬ing from its inception an equally uniquetyranny. They expose the systematic des¬truction by fear and white racism of blackAmericans’ pride, past, and rights. Theyreveal the black grass-roots resistence thatnever died, though most of the resistersdid.The documents include letters, newspa¬per and magazine articles, laws and stat¬utes, journal entries, speeches, book andpamphlet excerpts, Congressional testi¬monies and Senate reports. The commen¬taries give the historical background ofthe documents, often including statistics,facts from state and county records, andevents that touched off debate among lead¬ers. Chronicles describes, among otherthings, the development of early Americanslave policies, later slavery conditions, theunderground railroad, rebellions led byNat Turner and other slave leaders, theoutspoken protests of men like FrederickDouglas; Civil War and Reconstructionbetrayal of the Negro; Jim Crow lawsand the countering Negro organizationsranging from moderate to militant stands;the rise of spokesmen like Martin LutherKing, Malcolm X, and Stokely Carmi¬chael; the split between lower and middleclass Negros; and Separatist movements.This collection is particularly appealingfor high school and college readers be¬cause the documents are first-hand sourcematerials, making fascinating reading aswell as powerful and relevent history. Theevidence accumulates and builds an impe¬tus toward a forceful picture of 1968’s ex¬ploding American. It is true the book hasa quality especially geared toward youngpeople—not (the usual) oversimplification,but blunt honesty. Adults who like thatkind of approach will learn a lot fromChronicles. Most cf us, black and white,have been deprived of this branch andbrand of American history for too long.Mrs. Hearne will receive her M.A. inChildren’s Literature this summer.Orbit 3, edited by Damon Knight, Put¬nam, $4.95.Year's Best Science Fiction 1967, 10thedition, edited by Judith Merrill, Dell,Paper 750, Hard $4.95.New Writings in SF 4, edited by JohnCarnell, Bantam, 50?!.World's Best Science Fiction 1967, ed¬ited by T. Carr and Donald Wollheim,750 Ace.by CHRIS HOBSONMy assignment calls only for reviewingOrbit 3, a collection of what are proudlyblurbed as “original science-fiction stories,appearing here for the first time anywherein the world.” As I read Orbin 3 this be¬came such a disagreeble assignment thatI decided to throw in comments on threeother annual collections in order to havesomething to recommend.Orbit 3 contains only one really first-rate story, a snippet (only five pages) bythe usually reliable Philip Jose Farmer,about a man whose tumors are preciousstones. They are precious only in the sameway as Hagga’s tears of laughter in TheThirteen Clocks, a circumstance which gives the story its title, “Don’t Wash theCarats,” but they occasion much caucus¬ing over the patient’s anaesthetized body.“My last wife left me,” he relates; “shetook off with my surgeon for parts un¬known after my hemorrhoid operation. Inever found out why.’In addition, there is one near-miss; atouching variation on the theme of the lastman and woman in the world, in which thewoman is mentally retarded, childish andfaithful; it is the story of how the mancomes gradually to love her. Two thingsspoil this story. First, after the birth oftheir child-named Adam, of course-the au¬thor resolves the Oedipus situation by hav¬ing the young sprat watch his parents inthe Act; his response, of course, is to kissthem both. Vomit. And incidentally, un¬convincing. This spoils the story artistical¬ly, but there is a more serious flaw in theauthor’s perception of reality, which spoilsthe central love situation which is por¬trayed with such artistry. The man’s ac¬ceptance of the woman is presented assomething like noblesse oblige, and thewoman’s simplemindedness is painted asqualifying her for the role of “mother tothe world.” In both respects, this treat¬ment is nearly impossible to imagine in astory in which the male was the retardedpartner. Thus male supremacy is the hid¬den assumption on which the whole storyrests. (In the introduction to another story,the editor finds it enlightening to inform usthat women “are people.”)The rest of Orbit 3 is hack stuff. RichardMcKenna, always an imaginative writer,imagines a scientific basis for some ratherremarkable magic on a far planet, butruins his treatment by trite dialogue andthe irritating standard ethnicity of theworst SF-the earth-ship’s crew consists ofa Dutchman, a Scot, an Italian, a Russianand, of course, two WASPs. James Sallis’s“Letter to a Young Poet” is set in the fu¬ture but otherwise is no more than therather ordinary advice of an 84-year oldpoet to a young one. The names of stellarsystems, and lyrical descriptions, arethrown in for effect like chocolate chips;the advice is, in effect, “Be sensitive,”which, God knows, is uninteresting enough.At the end there is an arresting aphorism-“Ally yourself to causes and people, andyou’ll leave bits of yourself behind everystep you take; keep it all, and you’llchoke on it. The choice is every man’s,for himself’-which might have made amoving conclusion to a different story; buteven on a re-reading, the reader cannottell which course the old poet actually took.Thus while the story is convincing, this isbecause the letter says as little as suchletters usually do in real life; and one can¬not imagine why the story was written.And so on. One or two stories I glancedback at, for this review, and was totallyunable to remember what they were about.Nearly all are simply badly written-tritedialogue, humor that is topical but not fun¬ny, over-worked technical devices, uncon¬vincing portentousness.The author’s represented are good ones;Damon Knight is an established name.Why then is Orbit 3 so dreadful? Partly,perhaps, because of Knight’s insensitivity:one of the other almost-good stories, whichbegins with a corpse-snatching, goes on toa scientist devising a technique for “rec¬ording” and Splaying back” the experienceof death so that the fear of death can beovercome, and concludes that this veryfear is “the engine of the wor!d”-this storyKnight describes editorially as “exuberantand funny,” which unless I am neurotical¬ly morbid is totally inaccurate. But a morebasic explanation is suggested by the boastquoted above. SF stories which were notpublished in any of the magazines areprobably not very good ones, the worst ef¬forts even of very good authors; this atleast is my suspicion, and it is supportedby the much higher quality,'of the other three collections, which consist of reprints.Year’s Best and New Writings are goodserviceable collections-more good than badstories in each. The latter is worth readingfor “High Eight,” by David Stringer, inwhich an unusual setting-a power complexin the Pacific orthwest-combines with con¬vincing charaterization and a good tech¬nical conception to provide a terrifyingstory of an alien form which lures peopleto their deaths on high-tension lines. Con¬sidered as annuals, however, these titlesare hit-or-miss; you do not wait for themknowing they will be of exceptionally highquality.But if the reader suspects that there isno such SF annual, he is wrong. For threeyears, World’s Best Science Fiction, pub¬lished by Ace, has been exactly that. Itstitle, which should not confuse it with Mer¬rill’s annual, suggests a basis for its super¬iority in its containing English as well asAmerican stories; but since the same istrue of Carnell’s collection, the real ex¬planation must simply be good editing.There have been only a few misses in eachvolume-mainly near-misses. In contrast toother SF collections, the volumes are long-250 tO 350 pages-and usually include one ortwo novellette-length stories. Newish auth¬ors predominate, and among these, RogerZelazny (in 1966 and 1967) and Harlan El¬lison (1965, 1966, 5*967) are consistently ex¬cellent. Plots generally leave behind thestandard planet-surveys and eugenic labor¬atories which overpopulate mast SF col-elections; an example worth mentioning isEllison’s 1965 ‘ “Repent, Harlequin! Saidthe Ticktockman,” an hilarious story oftomfoolery in a totally programmed world,a world in which tomfoolery amounts toconscious subversion, and in which the Har¬lequin is finally and unmercifully broken.The writing is consistently and variouslyfine-ranging from Ellison’s pyrotechnicspecial effects to Zelazny’s lyricism, whichis reminiscent of Ray Bradbury but with¬out the saccharin. The World’s Best vol¬umes may not actually be that-but it wouldbe worth ending to the publisher for allthree. As for Orbit 3 (presently in hard¬cover but presumably approaching, ines¬capably, in paper). I wish I could advisebuying it for what is good in it; but I can’t.Mr. Hobson is a graduate student inpolitical science at the University ofChicago.Anything but the Truth, by WilliamMcGaffin and Erwin Knoll, Putnam's,250 pages, $5.95.by PHIL SEMASAny reporter who has been in Washing¬ton for very long knows dozens of storiesabout the “credibility gap” and other mis¬adventures of the press and the JohnsonAdministration.Like the time President Johnson calledup a UPI wire service editor in the mid¬dle of the night to correct a typographicalerror in a story about tours of his Texasranch.Or the time a White House assistantcalled up the New York Review of Books—after that journal had run a book reviewblasting the Vietnam war—suggesting thatsubsequent Vietnam book reviews be writ¬ten by super-hawk columnist Joe Alsop.Or the Saigon press briefing at whichArthur Sylvester, then assistant secretaryof state for public affairs, told correspond¬ents, “Look, I don’t even have to talk toyou people. I know how to deal with youthrough your editors and publishers backin the States ” At that point, according toCBS correspondent Morley Safer, “theHon. Arthur Sylvester put iiis thumbs inhis ears, bulged his eyes, stuck out histongue, and wiggled his fingers.”The list could go on and on. One couldfill a book with such anecodotes, which iswhat William McGaffin and Erwin Knoll,two long-time Washington reporters, havedone. This book contains few new revelations.It is made up mostly of rather hoary taleslike those mentioned above. And like mostreporters, McGaffin and Knoll include aminimum of analysis. Operating with lit¬tle ideological framework, they mainly setdown story after story without embellish¬ment.But it is enough, especially for someonewho has never been a Washington report¬er, to make one clear point: the FederalGovernment lies as often as it tells thetruth, perhaps oftener. As the authorswere just an occupational problem for re¬porters. But it is not, of course, only thatbecause it makes it difficult if not impos¬sible for the people to make intelligentdecisions about public policyWhy does the gap exist? McGaffin andKnoll, like most of those who have writtenabout the problem, lay the bulk of theblame to Lyndon B. Johnson. Johnson hascertainly made a definite contribution. Heseems to love “playing the old shellgame,” as James Deakin of the St. LouisPost-Dispatch puts it. He cannot answera reporter’s question with a “no com¬ment”—instead he lies. The stories of hisrescinding appointments and decisions af¬ter their premature disclosure by thepress are legion.But the whole problem is not LBJ’s per¬sonality, repuslive as that may be. Offi¬cial government lying existed long before1963, as this book demonstrates, and it hasgrown especially since the Cold War be¬gan. Eisenhower lied about the U-2. Ken¬nedy (who used to be attacked for “newmanagement,” the forerunner of the“credibility gap”) lied about the Bay ofPigs and the Cuban Missle crisis. LBJseems to be different only in that, whereother presidents lied only about importantmatters, he seems compelled to lie andmislead the public even on minor details.It is significant that, even under John¬son, the government lies most about thebig issues. Thus, the credibility gap iswidest ovar Vietnam. And in second placeis the way the government has tried tomake it appear that it is doing a lot forthe poor and the black. (This book’s bestchapter is on how war-on-poverty-public¬ists made a small effort seem the wholeanswer to the problem.) If the govern¬ment lies most about its major policies,then one is compelled to conclude thatthose policies could not be supported1 bythe truth.Of course, the great mounds of misin¬formation handed down to the public arenot just the government’s fault. The press,too, must beat a large share of the respon¬sibility. Most analysts of the credibilitygap tend to ignore the failure of the pressto carry out its watchdog role. To theircredit, McGaffin and Knoll include astring indictment of their fellow journal¬ists:With only a few notable exceptions,the press has been acquiescent, in theface of unprecedent efforts to suppressthe news. Editors and publishers—themen who run the media—have, by andlarge, been content to produce sonor¬ous freedom-of-information resolutionsat their annual conventions. And alto¬gether too many of the reporters, themen in the front lines, have turnedaside from the battle.How can the gap ba closed? The auth¬ors offer no real answers beyond notingthe need for greater vigilance by the pressand public and making more governmentdocuments public. Those would be import¬ant steps, but they do not go to the heartof the problem: the policies which officiallies are used to defend.The real answer, then, is to charge thepolicies. I may be naive , but it seemsclear to me that if the government adopt¬ed policies which could be defended by thetruth, there then would be no need to lie.Mr. Sernas is Editor of the CollegePress Service.Summer, 1968 CHICAGO LITERARY REVIEW 9They Won't Eat MeThe Jeweler's Eye, William F. BuckleyJr., Putnam's, 378 pp., $6.95.by MARTIN E. NORTHWAYWilliam F. Buckley may not be the thornin the side of American liberals ofthe twentieth century that Edmund Burkewas to radicals of the eighteenth, but hisanti-revolutionism has nonethelessachieved him a deserved measure of in¬famy. Once again, this time in a glitteringcollection of essays, he has successfully at¬tempted to display his multifaceted politi¬cal insights to the edification of the mod¬ern reader. Although this volume, like itspredecessor. Rumbles Left and Right, per¬haps will not be as important to the moreprofound development and sophistication ofthe American conservative philosophy ashave been his Up From Liberalism andThe Unmaking of a Mayor, it nonethelessserves a necessary function in an absorb¬ingly literate manner.Buckley, perhaps more than anyone, re¬alizes that, since conservatism is not somuch a systematic philosophy as an oftenunexamined point of view that constitutesan imposing structure grounded in habitand tradition, its proponents are not proneto re-evaluate it except when it is undersiege. It is indeed via these day-to-dayresponses to challenges directed at theconservative point of view, that Buckleyhas crystalized his own conception of “le¬gitimate” American conservatism, and theskill of his analyses (mostly in the columnsof National Review) has won him much re¬cognition in the past two or three years.His position has been enhanced by the na-ti. .al attention he received as the unsuc¬cessful Conservative Party candidate forMayor of New York City and by the publicexposure his nationally-televised weeklyprogram “Firing Line” has provided. Itis therefore timely that a selection of hisarticles have been issued in book form, sothat the politically concerned Americanmay evaluate the validity of this spokes¬man's influence and may get some kindof idea of the present state of affairs inconservative thought.* Buckley's style, as usual, is ingenious,witty, and engagingly verbose. Beyondthese qualities, his style is character¬ized by a certain glibness which appearsto the critical reader as a cynicism thatmust result naturally from a frustratinglifetime spent in attempting to “salvageWestern Civilization from the throes of anencroaching Communism." This glibnessmust not be mistaken, however; it is akeen rhetorical agent that articulate con¬servatives of the author’s cast have alwaysemployed to enable them to bridge the ap¬ parently insurmountable aesthetic gap be¬tween a language that suffices to con¬vey an appropriate other-worldness andlack of concern for the petty in the greaterinterest of the transcendant, and the ap¬parently necessary vocalization of the con¬servative philosophy in terms of frequentresponses to particular problems and is¬sues. In this respect Buckley often re¬minds one of Burke, or even of SamuelJohnson, and this feature of his rhetoric isthe chief stumbling block to the readerwho wishes to consider seriously Buckley’sanalytic method.Despite the many virtues of this vol¬ume and the editor's fortunate selection ofmaterials, the reader not particularly fa¬miliar with the author’s work will findhimself confused, if not angered, by thisglibness, and despite the fact that WFB isperhaps the finest master of the King’sEnglish around these days. The difficultycompounded by the fact that the theses ofthese articles are not self-sufficient, pro¬bably the chief weakness of any collection of essays — the reader must have somecomprehension of the Weltanschauungthat dictated Buckley’s responses in orderto give them a fair hearing. Within themodern liberal frame of reference many ofthe author’s solutions seem hopelesslyoversimplified and many of his positionscontradictory. A reader functioning withinsuch a frame of reference will find it dif¬ficult to reconcile Buckley’s rather dog¬matic intolerance of those who are unwit¬ting (or witting, for that matter) Commu¬nist fellow-travelers with his almost mono-maniacal concern for the welfare of a for¬gotten man sentenced to the death penalty,a contradiction which disappears in theconservative world-view. (Jack Paar, pop¬ular television personality of some yearsago, often referred to this alleged lack ofhumanity. “Here’s the kind of thing,”Paar said on one of his shows, “Mr. Buck- ley has said.” He went on to relate thefollowing dialogue;Interviewer; You mean that thecolored people of Africa should nothave the right of self-determina¬tion?Buckley: No, not until theyare ready to form governments.Interviewer: Well, when do youthink they will be?Buckley: When they stop eatingeach other.“That’s what Mr. Buckley said. Andthere’s that whole lack of humanity Ithink in his philosophy.”) Without the nec¬essary insight into this structure, liberalcritics are likely to be repelled by therhetoric and be too hesitant to examinedeeply a point of view, held in less de¬veloped form by many a “common man,”that may have something truly construc¬tive to offer.Necessarily, then, any reading of Buck-ley in this particular format must involvea great deal of reading between the lines.Buckley, first of all, entertains a view ofsociety which is essentially organic, apoint of view shared among the ancientsby Aristotle, and by Burke, the author’smost recent forebear. Second, Buckley be¬lieves in the divinity of Christ and in therightness of traditional Christianity. Bothof these, in his view, must be preserved— the inherited structure of society andChristian morality.Buckley’s idea of society is particular¬ly interesting to examine. Society, for him,is the result of many complex interac¬tions among individuals. Church and othergroups over a not inconsiderable period oftime. In such a society, the test of legiti¬macy is the test of time. Specific reformswithin the system must be made with theobject of preserving the essential struc¬ture. Society (and the relation betweengovernment and “private” society) is notsomething that is ordered and re-orderedat will. The realities of human nature andthe natural disagreements of men make itimpossible to “construct” a society withwhich all men will agree in every detail.Because of these disagreements, Buckleybelieves it is important that everyoneagree that differences in particulars mustbe subordinated to the common interest ofpreserving the society.Knowing Buckley’s premises it is not dif¬ficult to understand his rather sour-notedpost mortem on the late Dr. Martin LutherKing’s work. Dr. King’s secular concernsconflicted with Buckley's distinctly non¬secular interpretation of Christianity. Fur¬ther. Buckley fears that the doctrine of civ¬il disobedience (even though the peacefulvariety) will prove to have been a danger¬ous precedent once it has been acceptedthat men may break the law as a politicaltactic, it is but one short step to tearingContinued on Page 11'k t k 'i rU*-4<H tL jUttu- C* )(IV■V.I f. / A'. A'vJt * C ,n HARPER^COURTWj'CHICAGO REVIEW(the original)? “ Dirty Writing On The Midway ” ?High Quality Writing By New And Established AuthorsFiction, Poetry, Drama, Artwork, Essays, ReviewsIsaac Bashevis SingerPeter Michelson Bill Knott (st. Geraud)Kenji Miyazawa Vladimir MayakovskyJames Tate ' Margaret RandellTristan Tzara George HitchcockDazai Osamu Alain Arias-MissonDenise Levertov Aram Saroyan$ 1.00 per issue $ 3.50 a year5 75 7 Drexel A venue, Chicago 60637 Consider the alternative...THEDRAFT?A report against conscription, pre*pared for the Peace Education Div*ision, American Friends ServiceCommittee.$3.50; paper $1.25THE GREEN DOOR BOOKSHOPCarefully Selected Scholarly Paperbacks and Children’s Books1450 East 57th Street (Hy-3-5829)Open Every Day1tl f V / > \tfi M ' ? KJ ' • J . r.CHICAGO LITERARY REVIEW Summer, W68Paperbackby JEANNE SAFERSummer is the time when most recuper¬ating students finally manage to read evensome unassigned paperbacks. There’s alavish array of titles in all fields availa¬ble—from meaty drama anthologies to ar¬cane mystical tracts—to ease or stimulatetired minds.The triangle is examined with muchsubtlety and grace in Albert Moravia’sConjugal Love, a new Delta release. Andthe book which has been called the great¬est modern novel and compared with Warand Peace in scope and depth has joinedBantam’s Modern Classics series The Thi-baults by Nobel laureate Roger Martin duGard, introduction by Albert Camus. Par¬ticularly recommended is Frank O’Con¬ner’s critical anthology of short storiesentitled The Lonely Voice (Bantam). Aprofound and eminently readable analysisof the craft of de Maupassant, Lawrence,Joyce and others, with nineteen masterfulexamples.Concomitant with a new edition ofShakespeare’s complete writings, Penguinis issuing a collection of sourcebooks andcritical works on the bard. The first ofthese is Elizabethan Love Stories edited byT. J. Spencer, a volume of romances fromwhich several of the plays derive.Penguin has also recently released twosolid poetry collections. One is the saltyPenguin Book of Satirical Verse edited andintroduced by Edward Lucie-Smith withbarbs by Swift and others. An unusualselection, but marred by archaic spellingand rampant capitalization. The PenguinBook of Romantic Verse with introductionand notes by David Wright includes ampleportions of Shelley et al.Translated into English for the first timeby Barbara Miller is the verse of an an¬cient Indian poet almost unknown in theWest. The bilingual Bhatrihari: Poems(Columbia)—the original Sanskirt is pro¬vided transliterated for the chosen few—reveals the contemporaneous voice of anelegant court poet torn between his cynicalasceticism and his desire for “ample¬hipped” women. A rich cache of wisdomand sensuality.Excellent dramabooks there are in pro¬fusion this summer. Samples: Bantam’sThe New Underground Theatre (edited byRobert Schroeder) presenting such off-offBroadway lights as van Itallie; a multi¬volume set entitled The New Theatre ofEurope in Delta edited by the noted Rob¬ert Corrigan with works of Brecht, Ghel-ABM, MIRV, ICBM, FOBS:Are you hip to the facts?THE BULLETINOF THEATOMIC SCIENTISTSA Journal of Science and Public AffairsSpecial Fall Issues:Science and the Human ConditionChina Revisited$ 7.00 per yearBulletin Of The Atomic Scientists935 East 60th StreetChicago, Illinois 60637NameAddressCity State ... Zip .... Playbackderode and others; plays of Weiss, Durren-matt, Grass and others in Michael Bene-dikt and George Wellwarth’s Postwar Ger¬man Theatre. For Classical tastes there isthe Viking edition of Greek Tragedy andComedy by F. L. Lucas, introduction andtranslations of sundry plays and frag¬ments, all of which have been analyzedwith more insight and rendered with moregrace elsewhere. But the book is valuablefor its breadth.By far the most impressive collection oftitles appears in psychology and relatedfields. Such staples as Wilhelm Stekel’sthick and harrowingly documented Sadismand Masochism (Washington Square) andMargaret Mead’s study of sex roles in so¬ciety Male and Female (Dell) have beenreprinted. And Delta offers Aron Krich’stwo volume The Sexual Revolution. Thefirst of these, Pioneer Writings on Sex,contains basic works of the old mastersKrafft-Ebbing (in English), Ellis, Freud;the second, entitled—could it be intention¬ally?—Seminal Studies into TwentiethCentury American Sexual Behavior, con¬tains less memorable sociological ac¬counts. The Pelican History of Phychologyby Robert Thomson fulfills a necessaryfunction as an accurate if dry survey ofthe development of the science. AnotherPenguin edition, C. I. Sandstrom’s ThePsychology of Childhood and Adolescense,is an adequate, though hardly inspired, de¬velopmental account with illustrations.Morris Rosenberg’s study Society and theAdolescent Self-Image, a Princeton paper¬back, bristles with statistics and offers afew enlightening observations, but does notprobe with sufficient sensitivity into theinternal emotional struggles involved inthe establishment of self image.Thomas Szasz elaborates his controversi¬al theory on psychiatry in Delta’s TheMyth of Mental Illness. The doctor con¬ tends that the neuroses and psychosesshould be conceived of as communicativegames (deadly serious ones) rather thanas states analagous to physical ailments.Such a theory demands radical revision ofthe reader’s attitudes in order to be under¬stood, but is most challenging.Summer is a convenient season to takeup divination and mysticism. John Blofeldhas prepared a readable translation of theChinese I Ching or Book of Change, in aDutton edition. This ancient prophetic workbased on hexagrams is abstruse but in¬triguing, and this version is less impen¬etrable than most.Or if, perhaps, the attainment of Nir¬vana is of more immediate import. TheTibetan Book of the Great Liberation (Ox¬ford) densely edited by W. Y. Evans-Wentz, is an appropriate guide for thepersevering. It is to be published in Sep¬tember the third book of the editor’s ser¬ies of sacred Mahayana texts The TibetanBook of the Dead and Tibetan Yoga andSecret Doctrines are the others) hithertountranslated. This volume has an invalua¬ble addition—a “psychological commen¬tary” by Jung, as interesting as the scrip¬tures themselves, which amounts to a pro¬found interpretation of the doctrines assymbolical revelations of the unconscious.Difficult and exciting fare.If the Zen way to Satori appeals more,see D. T. Suzuki’s lucid and luminous es¬says on the topic in Delta’s Studies in Zen.These are among the most eloquent and il¬luminating works in the field. Bon voyage.PICTURE CREDITSJeremy Bangs p. 5, 12, 13,Barbara Blair p. 1, 6, 7Bob Griess p. 10Mr. Bangs’ work is currently on dis¬play at the Bergman Gallery, CobbHall, University of Chicago. His dealerin London is the Fulham Gallery.Mr. Griess’ work is currently beingexhibited at the Rosner Galleries ofChicago.EUROPEAN ADVENTURESkillful translations of three new novels4- 4Spanning 18 years and several countries, a five-hundred escudo notebecomes a commentator on the fate of men manipulated by the whims ofa materialistic age. "... a many-faceted, meaningful little gem of anovel. Touching, amusing, ironic and tragic.” PUBLISHERS' WEEKLYMEMOIRS OF A BANKNOTEJ. PA<JO D'ARCOSTranslated from the Portuguese by Robert Lyle$4.95 at your bookstore4 4Money—the lack of it—is Mario s problem. He s got everything else ittakes to enter the world of the very rich at the Excelsior Hotel in Venice.But Gloria, a bored jetsetter, could be his ticket if he plys his charms well.A brilliant portrayal of a man out to win his “just desserts.'EXCELSIORALBERTO ONGAROTranslated from the Italian by Gilles Cremonesi$4.95 at your bookstore4 4Determined to bring honor and respect to the village of Kyralessa.Bogomil devises a plan to waylay the tax money. But General Dracopoldoes not find the idea of a Romanian Robin Hood either romantic oramusing and eventually resorts to imprisoning the entire village. Apowerful example of the skill that made Gheorghiu s THE 25TH HOURan international best seller, "...impossible to put down...LIBRARY JOURNAL.THE DEATH OF KYRALESSAC VIRGIL GHEORGHIUTranslated from the French by Marika Mihalyi$5.95 at your bookstore4 Henry Regnery Company <44 BuckleyCotinued from Page 10the law’s justification from its Christianmoorings and condoning violence as amethod when civil disobedience appearsineffectual.It is even easier for one to understandhis heavy-handed criticism of the BlackNationalist and New Left movements; themore militant members of these move¬ments are convinced that society as it ex¬ists is basically evil, or at least evilenough to warrant razing it and beginningto build anew. The problem is, however,that although these contingents are easilygalvanized into opposition to the System,as dissenters so often are, when and ifthey have the opportunity to reconstructsociety, they must necessarily fail sincethey will lack the consensus that a well-“constructed” society society presupposes.This disagreement on particulars is basic,not imaginary, for the New Leftists sharean ideological contradiction that makes ob¬jective policy determinations impossible:namely, how do you reconcile disdain forBig Government and Big Business with aneo-Marxist approach to the solution ofthe predicament of social freedom? Sure¬ly these decisions must be largely arbi¬trary — which item of government con¬trol are we to concede to the solution ofwhich pressing problem?In addition to his political commentaries,there are some rather lighter, andthoroughly delightful, reminiscences in theback of the book that somehow fell underthe guise of “Obituaries” — they are ac¬tually fond remembrances of old friendsand relatives. These, coupled with themore serious political pieces, his critiquesof “somehow unsatisfactory” people (anenumeration of which has become an an¬nual feature of the National Review), andhis insights into such political figures asRonald Reagan, reflect a quality and scopeof journalism that has come to be con¬sidered distinctly Buckley.Mr. Northday, a student, is a past edi¬tor of The Other.WOODWORTH'S BOOKSTORE1311 East 57th Street*******Books of all kindsNew and used textbooksStudent SuppliesFountain pens, Notebooks,Stationary, Files, etc.Magazines - NewspapersTypewritersSold - Rented - RepairedRental LibraryPostal Station*******Daily 8:00 AM - 6:00 PMSunday 10.00 AM - 3:00 PM_lSummer, 1968 CHICAGO LITERARY REVIEW 11Paul Klee: Portrait ofAn Artist a as a Human BeingThe Diaries of Paul Klee, 1898-1918,edited with an introduction by FelixKlee, University of California Press,Berkeley and Los Angeles, 1968. 434pages. $3.45. Illustrated with drawingsand photographs.by ROBERT BECKMANNIn the spring of 1901 I drew up thefollowing program: first of all, theart of life; then, as ideal profession,poetry and philosophy; as real pro¬fession, the plastic arts; and finally,for lack of an income, drawingillustrations.”Irving Stone hasn’t written a “biogra¬phy” of Paul Klee. And it’s not likely thathe will. Klee simply is not susceptible tosuch mythmaking: no suicide, no hasslewith Popes, no missing ear, none of the us¬ual stuff with sales appeal, nothing to dra¬matically confirm the public’s suspicion ofthe artist. Stone would do better with Sou¬tine and his dead chickens, or ArshileGorky, or Jackson Pollock. Part of thepopular appeal of Stone's Rodin or VanGogh is their super-energy, super-struggle,super-humanity, — their non-humaness. Tothe wistful yet apathetic group-thinker.James Bond has the same sort of appeal.Michelangelo’s struggle with Pope Juliusor Bond's struggle with Dr. No is the littleman's struggle with Big Brother.Enough of wish-fulfillment and popularfables. What of Klee’s diaries? They arenot likely to be best-sellers simply becausethey present us with a portrait of the art¬ist as a human-being, as a man with manyof the same concerns and problems as therest of us. Klee didn’t intend his diariesas literature: indeed, he never intendedthem to be published and so he avoids in¬dulging in any romantic exaggeration ofhis role or self-apotheosis. How refreshing!The would-be artist might better identifywith Klee's systematic, no-nonsense ap- ;jroach to working than concern himselfwith modeling the alienation of a StephenDedalus of Tonio Kroger. “The trainedhand often knows far more than the head.”After all, Joyce and Mann were more con¬cerned with creating literature than withgiving the public a real idea of what it isto be an artist.One gets the idea from Klee’s diariesthat he occasionally went to the grocerystore and even the bathroom. Because itwas Klee’s intention that the diaries re¬main secret, they remain fresh and spon¬taneous documents of his development, notonly as an artist, but as a curious and in¬telligent human being. We sense his in¬volvement with all the events of daily liv¬ing. Travel impressions alternate withcritical remarks on concerts or exhibits.Sarcastic remarks are juxtaposed with setsof rhymed words t o be used in poems("Fasted / stomach weighs / endure / rested /carriag-es / forbid / buyrent.”) Letters are followed by simple ob¬servations, dialogues or aphorisms.(“There are two mountains on which theweather is bright and clear, the mountainof the beasts and the mountain of thegods. But between them lies the crepuscu¬lar valley of men. If perchance one ofthem gazes upward, he is seized by a pre¬monitory, unquenchable yearning, he whoknows that he does not know, for thosethat do not know that they do not knowand those who know that they know.”)Unmotivated to establish a philosophicconsistancy throughout the diaries, Klee’sthoughts ramble as the pick up an idea,drops it and then returns to develop it ahundred pages, ten years later.While the diaries are a record of Klee’slife from childhood through his experienceof the first world war, they also chroniclethe beginnings of modern art and Klee’son-the-spot reactions to much of the newart and its exponents. His descriptions ofhis dealers and his relationships to themare always amusing. “Herwarth Walden. ..lives on cigarettes, gives orders andruns, like a strategist1! He is somebody,but something is lacking. He just doesn’tlike paintings at all! He just sniffs at themwith his good sniffing organs.” And hisevaluation of the Berlin Sezession exhibitsand the subsequent formation of Die BlaueReiter make the history book accountsseem dry. Klee of course became acquaint¬ed with all the right people, but in thediaries he tells us why he sought them outor why they came to him.Klee, like his friend Wassily Kandinsky,early sought a language of visual symbolsfreed from photographic naturalism andperspective. From the diaries it appearsthat they came by this development inde¬pendently but for much the same reasons.Both men were deeply affected by music and sought to achieve as “pure” an ex¬pression in the plastic arts. A good portionof Klee’s diaries are critical accounts ofconcerts he attended (at least every othernight.) Klee was also an excellent violin¬ist (first chair, Bern Symphony) and, al¬though he never really considered musicas a vocation, he was fond, like Kandinsky,of drawing parallels between the arts.Perhaps because both men were so fa¬miliar with literature, both had to fight adisposition to caricature in their work. Asthe product of an academic classroom,Klee also had to struggle with his ownvirtuosity, particularly with nude drawing.He seems to have countered an early tend¬ency towards illustration by a constantreevaluation of the means and procedureof his art by finding a poetry in the suc¬cessive acts involved in drawing or paint¬ing. Both Kandinsky and Klee approachedtheir task in a very orderly manner. Twoor three years of the diaries will describethe experiments and conclusions Kleemade with line, the next inree with tonali¬ty, the next with color. “Will and disciplin¬ing are everything. Discipline as regardsthe work as a whole, will as regards itsparts. Will and craft are intimately joinedhere; here, the man who can’t do, can’twill. The work then accomplishes itself outof these parts thanks to discipline that isdirected toward the whole. If my workssometimes produce a primitive impres¬sion, this “primitiveness” is explained bymy discipline, which consists in reducingeverything to a few steps. It is no morethan economy; that is, the ultimate pro¬fessional awareness. Which is to say, theopposite of real primitiveness.”Through a gradual enlargement of hisartistic experience that included the as¬sessment of the effect and means of anyContinued on Page 15“Nothing has really replaced Big Table Magazine for power and talent . . .Big Table took special and important risks." —London times literary supplementBiq TaWe Books...At your booksellerFollett Publishing Company Chicago / New YorkThe Poem in Its SkinBy Paul CarrollThe first hook of criticism to explorethe important generation of Amer¬ican Poets now in their early 40’s.Ten essays examine in depth oneoutstanding poem by each of thesepoets: John Ashhery, RobertCreelev, James Dickey, IsabellaGardner, Allen Ginsberg, JohnLogan, W. S. Merwin, FrankO’Hara, W. D. Snodgrass, JamesWright. In the long concludingessay Carroll examines and attemptsto define the achievements of thegeneration as a whole. Texts of eachpoem are included and a full pagephotograph of each poet. 300 pages.September Heavy Paper $2.95Deluxe Cloth $4.95The Naomi Poems, Book One:Corpse and BeansBy Saint CeraudVolume One of the Rig Table Seriesof Younger Poets. 64 pages.‘Saint Geraud is one of the bestpoets in America. He’s terrific.” —Kenneth Rexroth.Heavy Paper $1.95Deluxe Cloth $3.50a new series that will continue along theroad that Big Table Magazine took in 1959: thediscovery and development of today's most excitingand potentially important poets, novelists and critics.The Young American PoetsEdited by Paul CarrollIntroduction by James DickeyAn anthology of the freshest andmost exciting of the American poetsnow in their 20’s.Over 300 pwms by some 54fresh, original poets, ranging fromavantgarde Lower East Side tothose, including a Blaekfoot Indian,who work in more traditional styles.A full page photograph and biogra¬phy of each poet is included. 400pages.“Such clearness and passion astheirs has not been heard in a longtime, in our land and in our lan¬guage . . . These young Americanpoets are with and in human ex¬perience as poets have not been fora very long time.” — James Dickey(Winner of the 1966 National BookAward; Consultant in Poetry, Li¬brary of Congress).Heavy Paper $3.95Deluxe Cloth $6 9512 CHICAGO LITERARY REVIEW Summer, 1968The Suffering CorpseDark As the Grave Wherein My FriendIs Laid, Malcolm Lowry, New AmericanLibrary, $5.95.by MICHAEL REIDThe newly released, novelized edition ofMalcolm Lowry’s Dark As The GraveWherein My Friend Is Laid might best bedescribed, as Lowry himself might haveput it, as a “Too-loose Lowry-trek”. Themammoth task of editing 705 pages of ori¬ginal typescript into a roughly coherent255-page work has been admirably done,but it has not produced a novel. As editorDouglas Day reminds in his preface to thework, “Lowry was not really a novelist,except by accident.”LiOwry wrote only one real novel of mer¬it, Under The Volcano, but, more than per¬haps any other writer, he lived, anticipatedand relived this novel, and the rest of hiswritings must be read in its light. Havingaccepted this initial, vitally personal framework, the reader can then begin to explorethe vast scope of the unique Lowry genius;his other writings, although deriving fromhis supreme creation, are no more note¬books than is Under The Volcano, they aresimply further links to the essential myththat was Lowry’s life and his art. Such ispre-eminently the case with Dark As TheGrave, “a kind of side-street to my ownconciousness,” as Lowry said in a letterconcerning the book.The action of the book is concerned withLowry’s return, ten years after the eventsof Under The Volcano, to Mexico, and thusto the symbols and dreams, the Hell whichhas possessed his soul and to which hemust return to regain it, or lose it forever.Thus, again Lowry’s favorite myths inhabithis language and action. There is theNietzschean-derived Dionysian tension be¬ tween Lowry’s internal demon and hisgods. Will Sigbjorn Wilderness (Lowry’sfictional identity) again succumb to thedangerous flirtation with death and lose,or will he at last liberate himself, harnesshis artistic daemon as he had done tocreate Under The Volcano, and rise again in the face of his own fire? The paralyzingfears upon reaching Mexico, “the land—could it be?—were he (Sigbjorn-Lowry)wanted to die,” lead again to a hastyfall, he returns to constant drunkenness.But Lowry has realized that his dreamsmust be lived through before they can be conquered, “surrounded by ghosts of thepast, of his life — it was a dream —and about to set off to meet one of hisown characters,” Lowry returns toOaxaca, the symbol of death whichhas become the dominant, and yetmost misunderstood and vaguecharacter in his life. Faust and Prometh¬eus run through the uniquely Lowryesquesymbolic layering, though here the unfin¬ished quality of the work is most evident,for the symbolic themes remain largelycerebral; not having been finally woveninto an organic unity, they remain tenuous.The book as a novel cannot, indeed neednot, stand on its own. It is artistically in¬valid without the readers' acquaintancewith Lowry through Under The Volcano,yet this very fact calls to mind perhaps themost central symbol to all of Lowry’swork, that of the Phoenix. By returningto the ashes, the annihilation that wasUnder The Volcano, Lowry has been re¬born artistically and therefore spiritually:Here he (Sigbjorn) was enclosed inhis own book. In one sense it gavehim a feeling of power, and in an¬other he felt like a puppet. Orwould God close the book uponhim?The answer is given by Lowry himself up¬on his final confrontation with Oaxaca:The inconceivable yet magnificantdesolation of the whole place,an image, indeed, of death, remind¬ed Sigbjorn for the first time, per¬haps since the fire, of the evengreater magnificence of beingalive.Mr. Reid is a third-year student ma¬joring in literature at Kalamazoo Col¬lege.The view from Chicagois as wide as your world Before the 1880’s, when the Chicago School of Architectschanged the face of their city, windows were narrow slits Tn brickbuildings. The “Chicago Window” let the light in and expandedthe view. It’s a tradition we still uphold in the books we publish.IpiiiilpliContexts ofDryden’s ThoughtPhillip HarthA revolutionary reassess¬ment of Dryden’s attitudestoward reason and faith.The author elucidates par¬ticularly Religio Laid andThe Hind and the Pantherand discovers new histori¬cal contexts which willgreatly deepen the reader’sunderstanding of Dryden’sthought and art. $8.50"Curtain Playwrights”SeriesJohn Dryden:Four ComediesSecret Love; Marriage a-la-Mode; Sir Martin Moral!;An Evening's Love. $10.00John Dryden:Four TragediesAll for Love; Don Sebas¬tian; The Indian Emperour;Aureng-Zebe. $10.95Both edited byL. A. Beaurlineand Fredson Bowers THE FICTION OFNATHANAEL WESTNo Redeemer,No Promised LandRandall ReidThese are the days of “op” and “pop” culture,literary cults and fads, and no one, Randall Reidbelieves, can tell us more about popularculture than Nathanael West. He re¬garded it with ruthless sympathy, andwas the enemy “of both the denouncersand applaudcrs, the hip and the square,the hot and the cool.” “I admire thiswork. It brings West, to say nothingof the significance of his work, fullyto life.”—UOSF.PUINK hfrbst. “Reid’streatment of the use of myth, theritual violence, the ‘comic strip’ technique,the polar hells of futility and misery/violcnce... is stimulating ... Reid writes ratherhandsomely himself—spare prose, intelligent,unadorned ... A superb introductionto West.”— The Kirkus Service. $4.50.UNIVERSITY OF CHICAGO PRESSJWWfi, IWH The Dramatic Conceptsof Antonin ArtaudEric SellinArtaud’s Theatre of Cruel¬ty has profoundly influ¬enced the avant gardetheatre of today. This firstexploration of his paradox¬ical ideas, their sources,and how he implementedthem in his own plays is es¬sential for all interested inmodern French literatureand contemporary drama.$6.50Major Trends inModern Hebrew FictionIsaiah RabinovichTranslated by M. RostonA full historical and criti¬cal survey of twelve im¬portant writers producedby the Jewish national re¬naissance—from before thenaturalistic writings ofMendele Mokher Sefarimto the epic modernism ofHaiyim Hazaz and NobelPrize winner S.Y. Agnon.$7.50mmmkl13emcAw ujmwx mwPedagogy PeddlersThe Academic Revolution, David Ries-man and Christopher Jencks, Double¬day, $10.00.by LINDA CROXFORDDavid Riesman, an eminent sociologist,may be familiar to students as the authorof The Lonely Crowd in which he expound¬ed the concept of inner-directed and other-directed people. After ten years of re¬search he has recently published, in col¬laboration with the journalist ChristopherJencks, The Academic Revolution. It is alengthy, descriptive study of Americanhigher education.Perhaps due to Mr. Jenck’s influence, itis unlike most sociological tomes. The Ac¬ademic Revolution is not verbose, nor is itprone to hedging or extremely qualifiedstatements. Rather it is a highly readable,and at times, even witty book aboundingin strong, clear statements and absolutevalue judgments, many of which will ir¬ritate academicians of every species.Riesman and Jencks’ major thesis isthat American education is a clear reflec¬tion of American society. Just as Americabegan with people of various ethnic, reli¬gious, and racial backgrounds, so didAmerican education. People of the samerace , religion, or national backgroundformed special interest groups and thesegroups founded colleges. These institutionswere strongly separatist, catering to theprejudices of the groups from which theydrew their financial support. Yet they alsoAmericanized their students and gavethem the education they needed to join themiddle class.Over the past century, America hasadopted a national culture, an upper-mid¬dle class ethos which emphasizes com¬petence, interest, and achievement as thebasis of social differentiation. It is, in theauthors’ term, “meritocratic.” Americaneducation has also become national; pre¬viously special interest colleges have merged into one homogeneous and mer¬itocratic whole.The nature of this homogeneous wholeis increasingly determined by the demandsof the academic profession. “Academicianstoday decide what a student ought toknow, how he should be taught it, and whoshould teach it to him. Not only that—their standards increasingly determinewhich students attend which colleges, whofeels competent once he arrives, and howmuch time he has for non-academic ac¬ademic activities.”These academicians are more loyal totheir profession than to the institutionswhich they serve. Their major interest isin research—research designed to pleasetheir colleagues. It is this research thathas made them the major moulders ofcontemporary technology and social poli¬cy, and the federal funds which they re¬ceive for doing it has given them greatpower over their institutions.Academicians have made undergrad¬uate education a watered-down version ofspecialized, professionalized graduate edu¬cation. Curricula have false emphasis onobjectivity, which make them unrelated tothe students’ human concerns. Researchand independent study are central. Profes¬sors have little concern for their students’social and moral development. (Yet thisapproach is not wholly evil, for today’sstudents have more freedom and aretreated as socially and intellectually ma¬ture. )This rise of a national university cul¬ture is not the only disturbing idea whichRiesman and Jencks present. The authorsdevote much attention to the popular myththat education is a means to upward so¬cial mobility. In this context they empha¬size that the function of education is notteaching but certified and professionalsocialization. Education is not a means to mobility; they cite several studies show¬ing little correlation between educationand power and prestige in later life andbetween grades in graduate school andprofessional success.The authors show that the present na¬ture of American society presents obsta¬cles to mobility through education. It isonly the middle class child who has theessential motivation, who can “train thelongest and care the most” in order to getan education. The lower class child usuallycomes from an urban school which neitherprepares him for, nor encourages him togo to college while the middle class childcomes from an urban school with a strong¬ly precollege atmosphere. Further, themiddle class fear of downward mobilityfar exceeds the lower class feeling of frus¬tration that occurs when upward mobilityis thwarted.It is increasingly this middle class childwhom academicians prefer to teach, for heis docile and competent. Colleges are con¬cerned with a student’s absolute level offuture attainment and therefore reject thestudent who tests at a* low level. The re¬bellious, creative student is not wanted.This is true despite contemporary academ¬ic rhetoric about and programs for “under¬achievers.”Riesman and Jencks also condemn mod¬ern graduate education which teaches stu¬dents how to do research but certifiesthem to teach. These graduate schools arerigidly departmentalized and produce peo¬ple with strictly uniform academic skills.The Academic Revolution is not withoutits fallacies, the most notable being itsfailure to say much that is new; perhapsthe only exception is its perceptive andsad chapter on Negro education which theycan only describe as “an academic disas¬ter area.”'The proposals for reform which Riesman and Jencks offer are limited, fifczy', fend al¬most off-hand. This superficiality is prob¬ably due to a contradiction in their argue-ment. They praise and idealize the aca¬demic revolution towards secular and na¬tional universities as the only viable formof education. They write that “we see noreason to regret the rise of the academi¬cians.” Yet they praise the diversity of thespecial interest colleges, as being able tominister to students of differing needs andabilities, writing that “one of the greatstrength of American higher education hasalways been its lack of regulation.”The Academic Revolution will doubtless¬ly and unfortunately be dismissed bymany social scientists for its methodology.The more orthodox will crucify Riesmanand Jencks for writing in their introduc¬tion, “We feel that responsible scholarshipmust invent methods and data appropriateto the problems of the day.” And they willchortle in triumphant self-vindication atthe closing statement, “This book is. . .largely non-academic despite its statisti¬cal excursions and footnotes.” Yet is is ex¬actly this kind of academic narrow-mind¬edness and insistence on utter objectivitythat the authors criticize when write, “(Tochoose) one’s problems to fit the methodsand data that happen to be most satisfac¬tory strikes us as an abdication of socialand personal responsibility.”Whatever its faults, The American Rev¬olution is a valuable study for the perspec¬tive it offers on American higher edu¬cation. It will surely spark some neededcontroversy on campuses across the na¬tion. It should be read by all those whofeel what the authors describe as that“something about a college, as about anation, that engenders a paradoxical com¬bination of euphoria and paranoia andleads otherwise judicious people to dedi¬cate themselves to its service in spite ofsomehow knowing better.”Miss Croxford is a junior sociologymajor at Kalamazoo College.If your lipsmove whenyou read,you wont beinterested intheseQuadrangleBooksunlessunless you enjoythe savor of words andphrases as much asideas and you can tresist voicing themhalf-aloud. We Are the People Our Parents Warned Us Againstby Nicholas Von HoffmanHere's the hippie movement brought toearth at last. In hard-headed and unro¬mantic terms Mr. Von Hoffman definesthe spirit of the Flower Children andilluminates the much more lastingchanges occurring within Americanyouth. "A rare example of journalism thatapproaches aft in one direction and the best ofsocial science in another."—Newsweek. $5.95To Abolish Childrenby Karl ShapiroIn his title piece, America's Pulitzerprize-winning poet and essayist sends acrackling message to hippie youth: GetLost! Long a defender of the avantgarde, Mr. Shapiro has lost patiencewith today's crop of immature rebels. Abrilliant collection of essays.“Karl Shapiro's views on youth are illuminating... a godsend."—Saul Bellow. $6.50The Third Reich of Dreamsby Charlotte Beradt, with an essay by Bruno BettelheimAn extraordinary book by a former German journalist who,in the early 1930's in Germany, began collecting the politicaldreams of Nazi victims. With her perceptive commentary,the dreams furnish documentary evidence of the remarkabledegree of control possible in a totalitarian state. Kafka andOrwell envisioned such terror. These people lived it. $4.95Violence in the StreetsShalom Endleman, editorThe origins and forms of violence, itsdissemination by mass media, criminaland racial violence, and the role of thepolice are all explored by a distin¬guished group of contributors, includingNorman Mailer, Bruno Bettelheim, Ken¬neth Clark, Lewis Coser, and JaneJacobs. These essays suggest methodsand approaches for dealing with a prob¬lem that threatens to turn us into a"boarded-up" society. $10.00 The Temptation to Existby E. M. CioranTranslated from the French by Richard HowardIntroduction by Susan SontagThe first collection in English of the essays of a remarkableFrench thinker whom Susan Sontag calls "one of the mostdelicate minds of real power writing today." His notes onconsciousness, intellect, writing, and language qualify him"as among the handful of forceful and original minds writ¬ing anywhere today" (Richard Gilman, The New Republic). $5.00Permanent Poverty—An American Syndromeby Ben B. SeligmanA distinguished economist explains whyAmerica's "war on poverty" ended be¬fore it began. "A highly intelligent, very com¬passionate survey of the present position ofpoverty, the changing attitudes, and recentaction...'—John Kenneth Galbraith. Partof Quadrangle's new series on the im¬portant social problems of our time.$6.50Eleanor Roosevelt—An American Conscience by Tamara K. HarevenSome people revered her as a saint; others dismissed her asa busybody. In this fascinating and intimate book, the uniqueimpact of Eleanor Roosevelt on American life and her in¬fluence on FDR are explored for the first time.16 pages of photographs. $7.50QuadrangleQuadrangle Books, Inc.12 East Delaware Place, Chicago 60611• *14 ,u CHICAGO* LITERARY. REVIEW • Summer, 1968JTo DreamUnderOrdersThe Third Reich of Dreams by CharlotteBeradt, translated by Adriane GottwaldWith an essay by Bruno Bettelheim,Quadrangle, $4.95.by BILLY KEELThe twentieth century has been marredperhaps beyond repair by the totalitarianregime of Nazi Germany and the atrocitiesassociated with it. Any insights, therefore,to be gained into the inner workings of thisregime are vitally necessary if we are tounderstand the world of today. When deal¬ing with Nazi Germany, we must alwaysremember that the vast majority of theGerman population were not members ofthe Nazi party or Storm Troop units. Thosesegments passed quickly into history withthe fall of the Third Reich. The greatestand the most lasting effect of the Naziregime was made on the everyday life ofthe common people. What was the re¬gime’s effect on the life of a baker, a fac¬tory worker, a housewife? These are thequestions that can help us most in under¬standing this totalitarian system.In her book The Third Reich of Dreams,Charlotte Beradt attempts to probe thedepths of the mind in order to answerthese questions. This collection of dreams,made at great personal risk to the authorduring the years 1933-1939, gives us aglimpse of the overwhelming effect of thetotalitarian regime on the conscious andsubconscious mind of the individual.The result is extremely interesting ifnot completely satisfying. The author re¬lates the dreams as told her by her friendsand acquaintances, but does not discussKleeContinued from Page 12work by other men that he encountered,Klee developed a creative physics of plas¬tic vision that was the wellspring for hisenchanted dream paintings. It was alsogiven verbal form in his lectures whileteaching at the Bauhaus (gathered togeth¬er in The Thinking Eye). Like Hans Hof-man and Kandinsky, Klee was an excel¬lent teacher. He could say more in a fewwords than an art critic could in pages.The diaries are spiced with such remarks:“Rational: the shadow image; irrational:the color image. Perhaps the two cannotbe melted into agreement, but it should atleast be tried!” or “Too bad that the earlyVan Gogh was so fine a human being, butnot so good as a painter, and the later,wonderful artist is such a marked man. Amean should be found between these fourpoints of comparison: then, yes! Then onewould want to be like that oneself” or“Monet uneven because he constantlypushes ahead, but many-sided in compen¬sation; Sisley refined! Reonir, the facile,so close to trash and yet so significant!Pissaro more tart.” or, finally, “Reduc¬tion! One wants to say more than natureand one makes the impossible mistake ofwanting to say it with more means thanshe, instead of fewer. Light and the ra¬tional forms are locked in combat; lightsets them into motion, bends what isstraight, makes parallels oval, inscribescircles in the intervals, makes the inter¬vals active. Hence the inexhaustiblevariety.”Who was Paul Klee? A great artist. Agreat teacher (Klee’s Pedagogical Sketch¬book, his lectures On Modern Art are alsoavailable in translation). A fine musician,poet and philosopher. A good father ( 5pages of the diaries consists of the “FelixCalendar”, entries about Klee’s son dur¬ing the first two years of his life). Perhapssome artists should only live through theirpaintings, but with Paul Klee, for whomliving was an art and a dynamic, lovingexperience, we are fortunate to have alsohis diaries.Mr. Beckmann is an artist presentlyliving in Chicago. He has recently re¬ceived his M.A. and M.F.A. from theUniversity of Iowa. and interpret them with the thoroughnessthey deserve. The reader is forced to inter¬pret dreams which occurred in a situationwhich he cannot comprehend, and must becontent with only a partial understandingof the dreams. However, the collection ofdreams is enough to demonstrate the un¬conscious reaction of the individual to theterror of totalitarian rule.It is indeed shocking, as the concludingessay by Bruno Bettelheim points out, tosee how the regime blotted out the privatelives of its citizens. It is perhaps impos¬sible for us to realize the total depersonal¬ization of the German population masses achieved in just a few months by the Naz¬is. The contribution of Mrs. Behadt’s bookis that it gives us a basis upon which wecan begin to understand this psychologicalphenomenon. The constant pressure of thefear of somehow saying or writing state¬ments critical of the government led to ir¬rational feelings of guilt. This in turncaused people to have dreams of wantingto cover up their so called misdeeds in anyfashion, even to the point of wanting tohelp the Nazi government. Others foundthemselves dreaming of the apathy of theirfellow citizens in respect to the injusticesand atrocities committed. The interesting fact about most of thedreams in the book is that they are gen¬erally from the first year of Nazi rule,1933, and the actual official discriminationand destruction of property of the Jews didnot begin until iy36-1938. Thus, the subcon¬scious of the average man on the streetwas already accustomed to these horrorsin 1933 and the later change to the consci¬ous would be no great shock. The existenceof these dreams provide proof that eventhe private thoughts of the people were nottheir own.The valuable experience of reading TheThird Reich of Dreams is unfortunatelyhindered by the lack of any evident struc¬ture and disorganization of sentences andparagraphs. This could be the result of apoor translation. The impression is that af¬ter sorting the notes the author began copy¬ing them down in no intentional order.The chapter divisions do not serve any use¬ful purpose except to chop up the text. Ide¬as float about and are scrambled togetherin amorphous sentences. This should not,however, deter the interested person fromsifting through the valuable material tobe found in the dreams themselves.Billy Keel is a junior majoring inGerman literature at Kalamazoo Col¬lege.The voice that could not be silenced -a leading Buddhist monkand one of Vietnam’s most beloved poetsoffers the first direct call for anon-Communist end to the warin one of the most important books of 1968VIETNAM:LOTUS IN ASEA OF FIREby Thich Nhat HanhThis modest yet world-shaking volume, by a famousspokesman for the Buddhist majority in Vietnam who hasdevoted his life to working with the Vietnamese peasants,will be read, discussed, disputed.Thich Nhat Hanh has been nominated for the 1967Nobel Peace Prize.In his recent world tour, his audience with the Pope wasa decisive factor in the Pope’s sending a special missionto Vietnam.His fluency in Vietnamese, French, and English has enabledhim to communicate successfully with leaders all overthe world. His book may be mightier than the sword or theflame-thrower in ending the Vietnamese war.The same publishers who sold over 80,000 copies ofPeace in Vietnam predict at least as many sales—andperhaps a great many more—for this book of vision,practicality, and immense hope.with a foreword by Thomas MertonFirst printing 20,000National advertisingPaper, $1.25Cloth, $3.50in HILL & WANG 141 Fifth Avenue, New York, N.Y. 10010Summer, 196$, . . CHICAGO LITERARY, REVIEW 15Hair, (LSOl 143), (LS01150), RCA Victor,$4.59.Together, Country Joe and the Fish,Vanguard, (US079277), $4.59.by VERN BARNETHair has been called the most excitingmusical to hit Broadway since LeonardBernstein’s West Side Story. It is not sur¬prising, then, that RCA Victor seems un¬able to keep the record shops supplied withthe original cast album—either of them.For there are two “original cast” record¬ings, one (LSO 1143) produced when Hairopened Joseph Papp’s Public Theatre lastyear, and the second (LSO 1150) from thepresent incarnation at the Biltmore. Isaw Hair when it was still underground,before it underwent the changes to appealto the prurient interests of the over-thirtyaudiences which now flock to and applauda less than honest Broadway production.So though your record shop is apologeticabout having only the first recording, grabit and risk disappointing your friends be¬cause you failed to purchase the “unex¬purgated” version. The stodgy New YorkTimes finds the second album superior tothe first; but in fact, the second is heavy-handed, artificial, and grossly commercial,as only a commercial hippie product canbe. It is unfortunate that James Rado (whowith Gerome Ragni wrote the lyrics) re¬places Walker Daniels as Claude in thenew production. The title song “Hair,” forexample, is a natural ornament for anyhead in the first recording; in the second,Rado sings as if his “Hair” were a com¬pulsive toupee.Though the play is billed as an “Ameri¬can tribal love-rock musical,” composerGalt MacDermot has not written muchgenuine rock; he has mainly substitutedguitars for the traditional Broadway or¬chestra. As a play about war (the Revolu¬tionary, the Civil, the Vietnam), sex (allkids), civil rights (including miscegena¬tion), drugs, the draft, education, the gen- AYHair And Fisheration gap, astrology, air and water pollu¬tion, Eastern religions, and space travel,Hair is a landmark in our generation’s at¬tempt to escape a manifesto; as music,Hair, by recognizing recent folk and rockdevelopments in popular music, simplylegitimizes the use of “rock” in theatreand fails to reach the standard of innova¬tion achieved by, say, Gershwin in Porgyand Bess.The best song is the hymn “Ain’t GotNo—I Got Life” which begins the first al¬bum. The male leads sing what they ain’tgot (and the chorus comments): no pot(busted!) no faith (Catholic!), no soap(dirty!), no job (lazy!), no good (good!),no TV (honest?!), no sleep (high!), nobooks (lovely!), no sex (ugly.) After anextended and pleasant catalog in thisfashion, Mother 1947 asks, “What have yougot, 1967, that makes you so damn super¬ior and gives me such a headache?” Theinevitable and cleanly optimistic and pro¬foundly religious response: “I got life,mother; laughs, sister, freedom, brother;I got good times, man. . .1 got headachesand toothaches and bad times, too, I likeyou. I got my hair, my head, my tits, myass. . .1 got life.”The honesty, frankness, and openness ofthe play is joyously captured on the firstdisk, no where better illustrated than inShelley Plimpton’s disarmingly corny“Frank Mills:” “If you see him, tell himthat I don’t want the two dollars back,just him.”As radio stations seem intent on playingoriginal “original cast” album if you wantto hear what Hair is really about.While these days it’s fashionable if notpolitically obligitory for liberals like my¬self to accept anything black, I can now admit that I just don’t find much soul mu¬sic worth listening to—an opinion kept pri¬vate until butressed by the release of“Country Joe and the Fish: Together”(Vanguard VSD 79277). The first cut on thedisk is “Rock and Soul Music,” a mocktribute to James Brown. The Fish have“discovered” in soul a great new beat(Bam), and they play it, once (Bam),twice (Bam Bam), thrice (Bam, Bam,Bam). This is the best satire on bad pop¬ular music since Peter Paul and Mary’s“Dog Blue.”The cut that has been most aired is“The Harlem Song,” a commercial, muchmore successful as music and commentthan the LSD advertisement in the firstFish album. David Cohen’s spoken intro¬duction is in flawless travelouge diction.He says:Glorious, breath-taking, spectacular!Relax in the grandeur of America’syesteryear—Harlem, land of en¬chanting contrasts, where the ro¬mantic past tocuhes the hands of theexciting present. First, the pleasureof being received with warmth andgenuine hospitality, the easy adjust¬ment to the comfort and style ofsuperb meals, exotic beverages,colorful entertainment, and dyna¬mite action.The music is in a pleasant Hawaiian-coun¬try style, broken with an interlude of con¬versation on the street, itself perfect instereotypic dialect. “I was havin’ a goodmeal of wat’rmel’n and hom’ly grits. . .”The musical phrasing of “Harlem Song”is immaculate, as if to contrast with themess suggested at the end of the ad: “Ifyou can’t go to Harlem, maybe you’ll belucky and Harlem will come to you.”The “Good Guys—Bad Guys Cheer” il¬lustrates the futility of the good-bad guypolarity, and the consequent confusion thataccompanies insistent and persistent side¬taking. The “Cheer” leads into “The Streets of Your Town” (New ^or£), inwhich the striking phrase, “The subway isnot the underground” carries more weightthe first time you hear the song than onnlouincrcThe final cut, “An Untitled Protest,” isa rock recitative. The subject is Vietnam,and perhaps more effective in its quietway than the earlier Fish “I-Feel-Like-I’m Fixin’-To-Die Rag.” The new protestis conceived in personal rather than politi¬cal terms; and, as in the quatrain below,the satire is not raucous but sad,Superheroes fill the skies,Tally sheets in hand;Yes, keeping score in times of warTakes a superman.The new Fish record is the group’s mostsuccessful album as social comment, but itfalls short of the high achievement in theearlier “Electric Music for the Mind andBody” in purely musical terms. The newrecord has no music that can comparewith “Flying High” or “Lorraine.” In¬stead, the emphasis on the novelty songrock of which the Fish are capable.“Waltzing in the Moonlight,” for instance,is a tortured flamenco with dull chord pro¬gressions and a bromidic use of the Span¬ish style. One vocalist in “Away BounceMy Bubbles” is often and indefensibly off-pitch. The electronic tricks in “Susan” areannoying. Some of the organ playing inthis album is good, however, especially in“Bright Suburban Mr. and Mrs. Clean Machine,” where, before we get to the thirdfloor, “underwear, Barbie dolls, war toys,plastic artificial flowers. . .,” we hear thegospel tabernacle sound—it never soundedso good! The most interesting song mu¬sically is “Catacean,” which has severaldistinguished solos. But the song is just be-*ginning when it ends, “Open the door andlove walks in; close the door and you’realone again.”Mr. Barnet is a graduate student atthe Meadville Theological School.AutobiMrj|JiU(lN^(XFrawte Fatton-V/retched tkeEirtltMAvtiitUtlerktaAftlht) Vie CmAVAmI3otm HerscM- Jlkiers Hotel ffccUutHernAe roturctcnr AvnertcfcJdtos Hiller - Wkj tke DraftJustice Ale fovtas - ConcerningDiskutACivil DiscUftttersVH) jlfliKyUaW SflgflflV*16 / CHI0AQO hJTERMY. REViEW 'Swmmer;}968