*CHICAGO MVolume 77, Number 15 Chicago, Illinois October 25, 1968 16 Pages, 2 SectionsCommittee Announcesi,, -vsNew Housing Report )n m ap* p** o* *2o •-* {* >« )r.r /p* £ V12??*- • 2• • 3O' GO »cr\A <•AERIAL VIEW: Part of the Quadrangles looking northwest from 59th Streetand Ellis Avenue.800 Sign SG PetitionThe petition to amend Student Govern¬ment (SG) will be presented today to theSG election and rules committee by BillPhillips, 70, one of the initiators of thepetition.The purpose of the petition accordingto Phillips is to increase representationof the students of the College by dividingSG into two houses; a lower house repre¬senting the College, and an upper house,representing the graduate schools.The petition which is being presentedhas 800 signatures of students, the num¬ber required to ensure the amendment a place on the election ballot.It is at this point where the first con¬flict may occur. According to Mitch Pines,’69, one of the leaders in the reform move¬ment, “We’d like to put this amendmenton next week’s election ballot. The con¬cerned students on this campus want thischange and we want it now.”SG President Jerry Lipsch has explained,however, that the SG constitution statesthat amendments are to be placed on theballot at or before the next general elec¬tion — and the term “general election”refers to the election in the spring.Continued on Page Six by Caroline Heck“The University must either provide ad¬ditional housing, or realistically reduce fur¬ther growth,” states the report of the Uni¬versity financed student report on housingThe 170-page report is the result of fourmonths of research by Alan Jaffe and JohnWertymer, second year graduate studentsin urban studies, and Brad Rogers, a fourthyear psychology major in the College. Theywere assisted by George Tolley, professorof economics. The University funded theproject last spring, after the ad hoc com¬mittee on housing, a student group, sug¬gested that the University hire a studenthousing researcher.The report’s preface states that is is“factual in nature and does not representopinions of an group, either administra¬tive or student.” The report does makecertain definite recommendations, however,based on its extensive statistical researchon where students live now, projected hous¬ing needs, present degree of satisfactionwith housing, and possible financingtechniques.The report found that 57 per cent of allstudents live in nonuniversity hosing, 10%in married student housing, and 33 percentin single student housing. A majority ofstudents, 69 percent, live in Hyde Park.They also found that “most students payrents between $51 and $54.” exluding utili¬ties and furnishings.In examining possible solutions to thehousing problem, the report paid particularattention to University financed high riseSG AimsAt Classby Wendy GlocknerStudent Government announced Wednes¬day that it will initiate an “educational re¬form project” this quarter, aimed atclarifying students’ discontent with theircollege educations and reviewing impli¬cations for change.The co-ordinators of the project areJerry Lipsch, ’69, president of SG; RobSkeist, 70, SG chairman of academic af¬fairs; Richard Jenney, director of theCounseling and Psychotherapy ResearchCenter; and Shawn Clark, 72.A central aspect of the project will be“the systematic organization of smallgroup discussions on how people feel aboutschool—and about this place in general,”according to Lipsch. He stated that hope¬fully, the program will generate concretesuggestions for change.“It is the job of this project to help usdiscover what we really want and how toget it” Lipsch said. “Many students have aubiquitous, deep feeling of dissonance—ofunauthenticity—about their education andabout the docial relations on the campus,both in and outside of the classroom.“They find their education boring,” hecontinued .“because it becomes irrelevantto them in a way they cannot easily de¬fine. However, most students just suppress s.THE sHOUSING ?CRISISapartments and four over one buildings, alow rise four story building on raised stilts,with parking undernearth. The latter,the report states, “provide decenthousing, permit high student densities, andare not expensive. Per student construc¬tion cost would be approximately $4,008,considerably less than that of newdormitories.”While stressing that the four over onebuilding is not an ideal alternative, the re¬port found that this approach “basicallyrepresents the most inexpensive and yetmost decent approach for housing for manystudents. Many other schools have builtfar inferior types of housing and the fourover one still ranks above average for allschools.”The report studied housing accomoda¬tions at other universities. It stated thatthe construction residences with “two stu¬dents, two bed, two bureaus, two desks,two straight chairs, and 200 square feet offloor space” is taking place at many uni¬versities, but that it is an approach thatis not acceptable at a quality private Uni¬versity such as the University of Chicago.”The report also states that the suite con¬cept. . . seems to represent a somewhat dis¬continued on Page TwoProjectReformtheir objections and accept the implicit UCeducational doctrine that students’ lack ofenthusiasm in demands of their coursesrepresent illiberal elements i nthemselves.”“Still,” Lipsch declared, “they are notwholly convinced of this, and however theymay have failed thus far to assert an alter¬native, still want something better.”Members of the administration and fac¬ulty have received the reform project withmixed feelings. Wayne Booth, Dean of theCollege, asserts that “the more people in¬trusted in the improvement of education,the better.” Booth, who regards the forma¬tion of the project as an excellent idea,feels that the committee will be quite ef¬fective if it meets with the other commit¬tees in the College which have alreadybeen formed to discuss this problem.Richard Flacks, assistant professor of so¬ciology, was more skeptical of the effec¬tiveness of the project, due to what hecalled “an unwillingness of faculty mem¬bers to change their ways of teaching.”However, he feels that the project willprovide answers to the question of exactlywhat students at UC are “unhappy and dis¬appointed about.” The only way things willbe changed is if enough pressure is put onthe faculty by the students,” he declared.! IText of University Housing Report SummarizedThe following is a summary of “TheUniversity of Chicago Student Housing Re¬portThe university of Chicago must provideadditional student housing, and cannot de¬pend on the existing private market to doso. Further private market housing will bein increasingly short supply, and not besufficient for future university growth.A more realistic alternative for future single student housing is new constructionrather than rehabilitating existing units.New construction provides better security,more cohesive campus life, no additionalrelocation, and many amenties, in additionto student clusters of housing.Alternatives for new construction aredormitory, apartment, or a combination ofboth. Both types are needed, and the Uni¬versity should maintain several projects. Donations should be encouraged for hous¬ing as the Student Village. If donations areobtained, the plan should be carried throughwith co-operation from the already existingstudent advisory board.While this is being developed, however,presently financially feasible projectsshould be initiated. These should be in theform of student apartment, either as rentalunits or student cooperatives. This program should begin now, while the Student Vil¬lage is still being presented to donors.New apartment, dorm, or combined apart¬ment-dorm construction can be inexpensiveand yet satisfactory. Apartments are moreinexpensive than comparative quality dormand should be constructed. Alternativessuch as high rise, walk up, and four overone are all feasible, and can be built onpresently available land. South Campus(near law school, or soon to be obtained ur¬ban renewal land) is available.SPA Sponsors Chicago Park 'Plant-In'University of Chicago Students for aPolitical Alternative (SPA) is sponsoring acity wide “Plant-In” to be held in severalChicago parks this Sunday.Plant-ins will be held at 3:00 in Washing¬ ton, Lincoln, Grant, Jackson, Calumet,Montrose, Garfield, Sherman, Joyce Kil¬mer and Donovan Parks.The plant-ins, according to Peter Kranzof SPA, are a response to Mayor Daley’s$750,000 Given for AdditionMothers’ Aid, a voluntary service organ¬ization, has pledged $750,000 to the Univer¬sity toward construction of an addition toChicago Lying-in Hospital’s Mothers AidResearch Pavilion.The initial contribution was presentedWednesday, October 16, by Mothers’ Aid,a voluntary group of more than 1,500 sup¬porters of the hospital and its programs ofpatient care, research, and teaching in ob¬stetrics and gynecology.According to Dr. Frederick P. Zuspan.the Joseph Bolivar DeLee professor andchairman of the department of obstetricsand gynecology, the addition will provide space for investigation in the field of re¬production and will include a Mothers’ AidPerinatal Study Unit.Announcement of the pledge was madeby Mrs. Robert S. Fishbein of 5454 STfhore Drive, Chicago, President ofMothers’ Aid.Approximately 10 years ago, Mothers’Aid pledger and raised $600,000 to remodela wing of Chicago Lying-in Hospital. Thearea, now known as the Mothers’ Aid Re¬search Pavilion, houses the basic researchlaboratories of the department of obstetricsand gynecology.I want to save my seat. Here’s my $2.00. Send meThe Sit-On. Send check or money order to: NoDoz Pillow,360 Lexington Avenue, New York, New York 10017.NameSave your seatat your first sit-in.The trouble with a sit-in is what you sit on. Andthat you have to sit on it so long.Since our thing is keeping you alert mentally,we’ve had no remedy for other parts of the bodythat may fall asleep. Until we invented The Sit-On.What distinguishes The Sit-On from an ordinarypillow is a pocket for your NoDoz".Which means that now you can sit it out untilthe wee hours. Alert from top to bottom.Send for the Sit-On ZHThis offer expires March 31, 1969. Allow 2 to 3 weeks for delivery. remark during the Democratic NationalConvention held here in August, “Whattrees do they plant?”SPA leader Peter Kranz said the plant-in would also protest the arrest of MartyNoone, candidate for state representativefrom the 10th Congressional District whowas arrested as he attempted to plant a“liberty tree” in Joyce Kilmer Park onSeptember 28.A permit for the plant-in has been ap¬plied for, according to Kranz, “whether ornot it will be accepted is another ques¬tion.” Kranz added that if a permit is notobtained, the plant-in would still continueas planned.Persons interested in participating in thisevent should come to SPA headquarters inChapel House, Sunday at 1, Kranz said. Housing NeedsContinued from Page Onetinct trend in housing for many qualityschools.”At present, the administration’s chief re¬sponse to the housing crisis has been itsplans for constructing Barnes Village, theproposed student residential complex thatwill house 900 students. The complex willbe unusually expensive ($17,000 per student)and so far no donor has been found. In dis¬cussing the Barnes Village plan, the reportcalls it, a not unreasonable concept.1’However, it goes on, the need for manyhousing units now, the present financiallimitations (unless a great donation isfound), the expense of the project, and theunavailability of government funds do notmake the project look encouraging.”Folk, rock,jazz groups • Mwe’re lending you our ears!ENTER THE 1969 INTERCOLLEGIATE MUSIC FESTIVALIf your group sings, picks,strums, claps—or makes anykind of good sound,sign up now for thenational competi¬tion ... co-sponsoredby the brewers ofBudweiser, King ofBeers.. REGIONALS: Mobile, Ala¬bama; Villanova, Pennsylvania;Norwalk, Califor¬nia; Elmhurst, Illi¬nois; Little Rock,Arkansas; Salt LakeCity, Utah.FINALS: St. Louis,Missouri, May 22-24WRITE: I. M. F., Box 1275, Leesburg, Florida 32748Budweiser.ANHEUSER-BUSCH, INC. . ST.LOUIS • NEWARK • LOS ANGELES . TAMPA . HOUSTON • COLUMBUS< CARPET CITY I6740 STONY ISLAND324-7998Has what you need from a$io >used 9 x 12 Rug, to a custom• carpet. Specializing in Rem¬nants & Mill returns at afraction of the original cost.Decoration Colors and Qual- 1ities. Additional 10% Discount iwith this Ad.FREE DELIVERY , REYNOLDS CLUBBARBER SHOP5706South University Ave,Only shop on campus6 BarbersHours 8-5 Mon. thru Fri.Appts. if desiredExt. 3 573 EYE EXAMINATIONSFASHION EYEWEARCONTACT LENSESDR. KURT ROSENBAUMOptometrist53 Kimbark Plaza1200 East 53rd StreetHYde Park 3-8372McCarthy and Clark Speak on IssuesSen. Eugene McCarthy (D Minn) re-tuened to the Chicago area Tuesday for thefirst time since the Democratic Presiden¬tial nomination was denied him at the con¬vention here in August.McCarthy appeared in Northwestern’sMcGaw Memorial Hall in Evanston at 8pm with Illinois Attorney General WilliamClark to support Clark’s campaign for theUS Senate seat now held by Sen EverettDirksen.McCarthy praised Clark’s political cour¬age in taking on Dirksen, and skirted theissue of the Presidential race as he hasoften done in recent weeks. “What kind ofa Senate we have can be more importantthan which man we elect to be President,’’he said.The audience of over 3,000 heard McCar¬thy display his characteristically mild sar¬ donic wit. He called the Senate “the lastprimitive society in the world” and, takinga swipe at the 72-year-old Dirksen, “asociety in which we have a great respectfor the elders.”McCarthy took note of the fact that theprogram, which was sponsored by North¬western’s “Political Forum ‘69” for speak¬ers on various issues, was before a collegeaudience. Remembering the beginning ofthe opposition to the Vietnam war, whichultimately drew him into the Presidentialcampaign, he said “It was on the cam¬puses that the first warning signals wererun up.”He described the growing role of theacademic community in responsible dissenton public policy, and called upon the youngto accept the “special burden” of continu¬ing to make and politically support indi¬ vidual moral judgements in a spirit of“openness, optimism, and genuineconfidence.”The Minnesota Democrat recalled thefact that he had received the nomination ofNorthwestern’s mock political conventionand termed the event “the only free politi¬cal convention that was held in this area.”McCarthy was greeted with wildly exhu-berant cheering upon his arrival andthroughout his speech, especially when herepeated his earlier call for the replace¬ment of Selective Service Director LewisHershey and FBI Director J. EdgarHoover.Other themes which he expressed just ashe had in pre-convention campaigning in¬cluded the overextension of American com¬mitment and the failure of the decision¬making organs of the State and Defense Departments to objectively evaluate theirpolicy aims.McCarthy demanded a re-examination of“the whole process and the whole disposi¬tion by which we have come to be involvedin Vietnam” and indicated that the Senatein the future will play “an active and posi¬tive part in the determination of policy.”He urged students to continue to be ac¬tive in politics; to work in the short termfor the election of Clark in November andin the long term for the cause of peaceand political reform.Clark, who appeared here in Mandel Halllast week with longtime Kennedy advisorTed Sorenson and Alderman Leon Despres,preceded McCarthy at the rally Tuesdaynight. He delivered a forceful speech whichwas studded with attacks on Richard Nix¬on, Spiro Agnew and Dirksen.“Our most urgent piece of unfinishedbusiness is the terrible war in Vietnam,”Clark declared.Negro High School Students Learn Black Powerby Paula Szewczyk“Say it loud — I’m black and I’m proud”— it has become the rallying cry of blackpeople throughout the nation and particu¬larly of black high school students. In twomajor cities black high school students arechallenging the inbred racism of lily-whiteliberals. Chicago and Philadelphia for thefirst time are facing black pride. Bothcities are reacting in silent fear and louddissent over the will of a group of hard¬ened and hopeful students.The first challenge took place in Phila¬delphia earlier this year where severalhundred black students boycotted theirschool to march down to the Board of Edu¬cation demanding Afro-American coursestaught by black teachers. The marchersclashed with police before the Board of Edrelented to hear the demands of the stu¬dents. The challenge was met and theblack students won a sweeping victory. In Chicago similar demands are beingvoiced but the issue goes deeper — can awhite school board accept black pride?No longer is the right to integrate whiteschools the major issue, rather, the rightto be black has revealed to both Negroesand white people the determination ofblack students to lead a black life.Black students in Chicago facing expul¬sion and police arrest continue their fightagainst the white power structure. Theirseemingly limited fight is in reality afight of the black community to exert theirlegitimate power in controlling the educa¬tional processes of their schools.As the teachers’ strike in New York re¬vealed, the racism of white pople so hasthe school board in Chicago revealed thesame racism which black people are fac¬ing. Control of black courses is only a pre¬lude to the real issue of community con¬trol. Plans for community control of ANALYSISschools in Chicago are being set up; how¬ever, the ambivalent and negative reactionof the Board of Education to the black stu¬dents demands only shows that the so-called community control program is acop-out by the Board of Ed to temporarilyplacate the black community. Whether theblack community will have real control oftheir schools will be determined in part bythe defeat or victory of black control ofAfro-American courses.Next week the Maroon will present PartII of the High School Crisis: The Challen-lenge: Black Control in Chicago. He addressed himself particularly to stu¬dents who had been drawn into politicalactivity by McCarthy’s campaign, urgingthem to continue to work within the elec¬toral system. “You don’t turn off thingsyou believe in like a light switch,” he said,“unless you prefer the darkness.”There were two names which werenoticeably absent from Clark’s address.He implied support for one Hubert Hum¬phrey, when he commented on the Nixonlead in the polls by saying, “The only pollI believe is Ed Muskie.”The other name was that of MayorRichard J. Daley, with whom Clark has atleast partially broken as he has taken adovish stand on the Vietnam war. Onepossible mild rebuke to Daley was Clark’sstatement that “The Democratic Partymust put its house in order.. .The voiceof the individual must be heard andacknowledged.”Cohn A Stem(Fount Sc (EanuroaShopgo-getters goOZARK And wherever you find a congenial crowd, you’llfind Coca-Cola. For Coca-Cola has the refresh¬ing taste you never get tired of. That’s why thingsgo better with Coke, after Coke, after Coke.tottM undtr Hi* authority of Dto Coca-Cola Company kyiCOCA-COLA BOTTLING COMPANY OF CHTCAGQ CHICAGO, ILLA COAT FOR ALL SEASONSThis London Fog all weather coat staystrim, crisp & handsome no matter what.Machine washable, water repellent Dacron/cotton with zip out Orion pile lining to keepyou toasty on the coldest days. Navy, black,olive, natural, British tan. S50HE HYDE PARK SHOPPING CENTER55th & LAKE PARKopen Thursday & Friday evenings on OZARK, that IsWith Ozark’s new Weekend Unlimited fare, youcan fly to any of Ozark’s over 50 cities and backagain for just $30 plus tax ... as many cities asyou want to visit, or just one city, . . . you nameit, ... a real Flying Fling. Leave any timeSaturday, start your final flight before six P.M.the next day. So get up and go .Call your travel agent or Ozark Air Lines.EDITORIALS.O.C. vs. DaleySince the close of the Democratic convention Mayor RichardJ. Daley is showing himself for what he is — a man deeply in lovewith the city of Chicago. He obviously does his best for the city;however, what is best for Chicago would be to get rid of thissordid Machiavelian boss-prince. So far there are only twomovements which may effectively put a crack in the Daley ma¬chine — the black boycott of votes and the Students for an OpenChicago (SOC).Students for an Open Chicago began organizing after the con¬vention with one goal in sight — break Daley. Working closelywith the black boycott, SOC hopes to achieve in an anti-Daleymovement in the white areas. Combined effects of both the blackboycott and SOC will hopefully show Daley that he doesn’t controlthe people of Chicago.SOC’s tactics are two fold: to get out the anti-Daley votes byworking in the white areas and to set up long term projects edu¬cating the people about the machine until Daley is up for electionin 1970. Pushing whites to vote a straight Republican ticket on thelocal level would if effective break the Daley machine enough toallow independent political movements a chance in reformingor restructuring the city government.If it is possible to get Republicans to win on the local levelthe effect on the machine could mean as much as the loss of15,000 machine patronage jobs. SOC is trying to achieve thisthrough (if you wish to call it ‘playing dirty’) the electoral process.SOC is the only movement trying to break the machine. It canachieve its goals only if students are willing to put away theiridealistic attitudes and join in playing politics. Radicals and liberalscan not hope to reorganize the city until the Daley machine isbroken. SOC is neither radical nor liberal; however, it promisesgreat hope of intially destroying part of the machine.SOC in one sense truly revolutionary. It can be aptly de¬scribed as a sheep in wolf’s clothing. Idealogically the organizationis composed of liberal left students desiring the overthrow ofDaley; tacticly it is fighting Daley on his own battle grounds.S.D.S. EgoFrom year to year the Maroon has complained about stu¬dent apathy on campus; however, we have never looked far intoone of the main reasons v/hy students here are reluctant to joinin building a movement for student power: the Students for aDemocratic Society (SDS).SDS for all its political sophistication and insight has failed toorganize students on this campus because it comes on as anegotistical, elitist organization. Its social cliqueness permeates itsmeetings leaving many students interested in SDS with an alien¬ated feeling. SDS does not allow open dialogue with liberals; theyhave incessantly denounced liberals in such a manner that theirgoal of so-called radicalization is lost in their ego-intellectv .! standon the issue which they are trying to organize students (who onthe most part have liberal ideals) around.Their cliqueness is hard enough to swallow but SDS’s egotrips are enough to make one disgusted with the radical move¬ment. To knock down a liberal student before he is allowed tofinish his speech at a meeting by saying that he doesn’t have theexperience or the understanding of the issue is an effective wayof turning people off.If SDS is really interested in building a student movement, ithas two alternatives: to dissolve or to wise up. SDS has failed toorganize the many disenchanted liberals on campus. They havefailed to offer students an open political organization which allowsliberals a chance to freely offer their ideas without the fear ofbeing cut short.If radicalization is to occur on this campus, if an effectivestudent movement is to be built, SDS must learn that radicaliza¬tion is a slow process. The Great Debate!Mikva vs. IrelandABNER J. Ml-VAThe DemocratThe following are ex< erpts from a debateheld Monday, October 21 at the ChicagoLaw Sehool between Abner J. Mikva (D)and Thomas R. Irela nd (R), opposing can¬didates for Congress from the Second Con¬gressional District. Mikva, 42, spent tenyears in the Illinois House of Representa¬tives and served as chairman of the HouseJuriciary Committee and vice-chairman ofthe Bipartisan Economy Bloc. In 1966 heran for Congress and lost by a slim marginin the primaries. Ireland, 26, is a professorof economics at Loyola University.Ireland: The basic problem I think you’reall familiar with — the problem of housingand education, the problem of economicfrustration in the ghettoes. We could sumup the major problems by simply sayingthere’s something very wrong in our citiestoday and some solution has to be broughtforward which will answer those problems.I don’t think the solutions proposed by theso-called liberals of today — and I considermyself a classic liberal in the older tradi¬tion of the 19th century, although I thinkmy point of view is directed perhaps to¬ward 1970 a lot more than the so-called20th century liberals.I believe that the solution lies in recog¬nizing the character of the individual. AndI see my point of view manifested greatlyin a number of things going on today. Isee it in the cry for local control overschools which comes from. . .now the blackstudent boycott complimentary movements.I think this is the strange thing we findin people who are not restful today, peoplewho are frustrated, and who are comingcloser and closer to areas of agreement.The key to that area of agreement is lo¬cal control, local respect and integrity ofthe individual. This has been the issuein this nation since it was founded. Thesolutions basically lie in two directions:THE CHICAGO MAROONEditor: Roger BlackBusiness Manager: Jerry LevyManaging Editor: John RechtNews Editor: Barbara HurstPhotographic Editor: David TravisNews Board: Wendy Glockner, Carolina Hack,Timothy S. Kelley, Paula SiewezykSenior Editor: Jeffrey KutaContributing Editor: John MoscowNews Staff: Walter Cipin, Caroline Daffron,Debby Dobish, Ann Goodman, Bruce Gres-sin. Con Hitchcock, C. D. Jaco, StephanieLowe, Chris Lyon, Bruce Norton, DavidSteele, Leslie Strauss, Robert Swift.Production Staff: Mitch Bobkin, Sue Loth,Howie Schamest, David Steele, LeslieStrauss, Robert Swift.Star: Jean WiklerFounded in 1892. Published by University ofChicago students on Tuesdays and Fridaysthroughout the regular school year and inter¬mittently throughout the summer, except duringthe tenth week of the academic quarter andduring examination periods. Of fices in Rooms303, 304, and 305 of Ida Noyes Hall, 1212 E.59th St., Chicago, III. 60637. Phone Midway 3-0800, Ext. 3269. Distributed on campus andin the Hyde «Park neighborhood free of charge.Subscriptions by mail $7 per year. Non-profitpostage paid at Chicago. Hi. Subscribers toCollege Press Service. THOMAS R. IRELANDThe Republicanone of these of course is reflected in thecall for law and order which is perhapsmore of a call than a practical positiveidea of what the solution might be. Butit’s a call for community cooperation withthe police.I think that the basic problem is a neecin the ghettoes for equal police protectionA lot of people talk about police brutality,criticize the police, but I think the basicproblem is the police haven’t been giventhe wherewithall to do the job that’s ex¬pected of them. It may be true that threetimes as much crime is committed in theghettoes, but three times as much crimeis committed against people in the ghettoesI would say the safety in the streetsof the ghetto is the first prerequisite tothe economic development which leads tothe solution of all the other problemsThat is going to require some more localexpenditures. And local expendituresmeans more local funds. And in that areaI support the position of the Republicanparty on tax (rebates), that is returningfunds to that states to use for purposes,and especially on improving the qualityof a policeman’s job. I’m going to admitmy opponent came up with one suggestionI agree with — that is place the policeunder social security. The second directionand this has been really what I’ve concen¬trated my comments on the campaign on.is using the free enterprises system toreplace the programs now in operation.This basically involves 1) a tax incentivethat gives people who are willing to gointo the ghetto or people in the ghetto tostart business — a break, a tax break,for doing that. It gives people a privateenterprise reason for going into the ghet¬toes. And to back this up, I want also aloan guaranteed program because there isa great deal of difficulty on the part ofblack people to borrow money to financebusiness. I want to simply equalize thesituation so that businesses can developin these areas. Make it possible for a manto build creatively and earn his self-re¬spect, and you’ll be surprised what hecan do for himself.MIKVA:.. .1 think you ought to know whatsome of my extremist views are. I sup¬pose the most extreme of all is that Idon’t consider government an evil, eithernecessary or otherwise. I consider gov¬ernment an ideal by which people try tosolve their problems together because theydon’t lend themselves to individual solu¬tions. The question is, are we in a sit¬uation where the government is doingthings that people could do better them¬selves, or is it the problem that govern¬ment isn’t doing many of the things itought to be doing because people can’tdo them by themselves. I’d suggest to youthat the latter is still the case. In theurban affairs area, I believe it is a factthat people cannot solve the school prob¬lems by themselves. It’s all nice and wellContinued on Next Page4 The Chicago Maroon October 25, 1968Second Congressional District Seat At StakeContinued from Preceding Pageto pray that the family ought to be takingcare of these problems and teaching ethi¬cal standards, yet the fact is that, in manyparts of our great cities and in particularour ghettoes, family life has broken down.We rely more and more on the schools,and these are the common values thathold us together as a society, and we givethe schools less and less by way of toolsto perform this job. And it isn’t a caseof the federal government providing theideas or even the creativeness necessaryto do the job; rather, it is giving thelocal school board and the local officialsthe wherewithal! to put into effect someof the ideas that are already floatingaround in the schools. ..I suggest that in the school area is amuch heavier commitment to the innercity school systems from the federal gov¬ernment than we’ve ever had before. Afterten years in the state legislature, I amready to say to you that if it’s wishfulthinking that’s not about to come intoexistence in this generation, that stategovernment will provide the kind of crass approach we need if we’re going to makethe inner city school system work.. .I’mall for local control. I think that the bestplace to make a decision is with oneselfif one can. But the notion that thosecontrols work with problems that don’tlend themselves to local controls is anidea that’s about as new as 1400.. .Asmy opponent is quite fond of saying, andas other Republicans are fond of saying,what we’ve got to do is stop coddlingthese people. If we would only let themalone they would raise themselves. Well,that’s nonsense. The fact of the matteris that since the thirties — since thetime this country was founded — we havehad serious welfare problems. From timeto time the formal problem has changedand from time to time the solution oughtto change. I would suggest there are prob¬lems with the way we are administeringthe welfare program in this country. Butthe answer is not to take away all assist¬ance from children who are dependent,the answer is not to take away all as¬sistance from the aged, the answer is notto take away all assistance from the blind;vjv# vjw wjv* Jlyjg %/e a>e/cc/ne Aezir**&**AMERICAN RADIO ANDTELEVISION LABORATORY1300 E. 53rd Ml 3-9111- TELEFUNKEN & ZENITH -- NEW & USED -Sales and Service on all hi-fi equipment and T.V.’s.FREE TECHNICAL ADVICETape Recorders — Phonos — AmplifiersNeedles and Cartridges — Tubes — Batteries10% discount to students with ID cardsELECTRIC TYPEWRITER OFFERGREAT NEW180 BBS 250Regular list pripe $2.50ww • Full 12*’carriage with Auto Return• All repeat functions• Students and Faculty onlyFOR INFORMATION CALL 928-7829♦This offer good only through J & R Office Machines,authorized distributor office typewriterdivisiontopWiUie’s 3L*er SL•‘FLOWERS FOR ALL OCCASIONS”1308 EAST 53rd STREET MI 3-4020 PIZZAPLATTERPizza, Fried ChickenItalian FoodsCompare the Price!1460 E. 53rd Ml 3-2800WE DELIVERTHEBOOKNOOKSpecial OrdersModern LibraryFull Line New DirectionsMost Paperback Lines10% Student Discount1540 E. 55th ST. MI3-75I ISame Day 5 Hr. CleaningNo Extra ChargeCustom Quality Cleaning10% Student Discount1363 E. 53rd. 752-6933THE STUDENT CO-OPOn Saturdays, conveniently opens when others close.Come on down from 12-6. (Mon.-Fri. 9-10) rather, I would suggest that there oughtto be new ways of achieving the solutionsto these problems. I would like us tolook at the guaranteed annual incomeand the negative income tax. . .I suggest that instead of talking aboutless government programs I would liketo talk about more effective governmentprograms. One of these would be to tryto reach to the pluralistic approaches tothe problem of poverty. My opponent madefun of me at our last debate because Iexperiments with the Blackstone Rangers.I must confess that I did, and I do. That’sthe kind of approach we need for theproblems of the ghettoes.. .1 think that theworst action the last Congress of the Uni¬ted States took was the passing of the so-called Green Amendment, which chan¬nelled all of the poverty funds and all ofthe poverty programs through city gov¬ernment. . .Finally, I suggest that, if we’relooking for areas of disagreement betweenmy opponent and me, that I support the Supreme Court of the United States, I sup¬port its decisions, not because I’m talkingto a law school audience, but becausethose decisions which are attacked sowidely are in fact an effort to make theBill of Rights a more meaningful docu¬ment and that effort can never cease.I think it’s incumbent on all people, law¬yers and non-lawyers alike, to defend thatCourt against unwarranted attacks. Butmore than that, I think it’s incumbenton all of us, especially those of us who arelawyers or law students, to start inter¬preting that Court to the non-lawyers, andI keep trying to interpret it to my opponent. . .1 think that the problems of law andorder, as I said, are much more difficult.They deal with such problems — and find¬ing the answers to such problems — aspoverty and the gap between the “haves”and the “have nots.” And they deal withmaking our police force more effective.And that.s not by defending them whenContinued on Page SevenAatr ca/tinp am/%1541 C. J4yJe Par} &U. PJ 2-9255 IappointmentsJU Jf* Jfe JQ* yf* JJy yfl# JfU Jp* JJw jp# jp* jp# Jp# JJy jp» Jp» %Jp< yp# jp# Work in EuropeAmerican Student InformationService has arranged jobs,tours & studying in Europe forover a decade. Choose fromthousands of good paying jobsin 15 countries, study at a fa¬mous university, take a GrandTour, transatlantic transporta¬tion, travel independently. Allpermits, etc. arranged thru thislow cost & recommended pro¬gram. On the spot help fromASIS offices while in Europe.For educational fun-filled &profitable experience of a life¬time send $ 2 for.handbook(overseas handling, airmail re¬ply & applications included)listing jobs, tours, study &crammed with other valuableinfo, to: Dept. M, ASIS, 22 ave.de la Liberte, LuxembourgCity, Grand Duchy of Lux.CP0 Shirtsreduced to ^8^Complete selection ofboots, overshoes, insu¬lated ski wear, hoodedcoats, long underwear,Corduroys, “Levis,"etc., etc.UNIVERSAL ARMYS10REPL 2-47441364 E. 63rd. St. 1. You sure are my kind offolksinger, Fran.“Oh, a lonely minstrelI’m meant to be.. 2. Y’think maybe you and mecould, uh, possibly...“A-singin’ my songto humanity...”3. I’ve alwaysadmired you.“Forever to roamis my destiny...” 4. And I was hoping thatperhaps, somehow, thefeeling might be mutual.“Without any need forcompany...”/'leqHoUU GUI Pool <Maii AtutetcTOYOTA TEST DRIVE ONE - YOU’LL BE SWITCHEDALL MODELS - IMMEDIATE DELIVERYBOB NELSON MOTORS 7722 Stoay Island 374-4555 5. But I guess you’re just toowrapped up with your music.“Alone, yes, aloneconstantly...” 6. It could have been beautiful,because 1 just got one ofthe great jobs Equitable isoffering college peoplethese days. Real good pay,challenging work, andpromotions that come asfast as I can earn them.Like to hear my versioiof “Lead Me Downthe Aisle, Lyle”?For details about careers at Equitable, see your Placement Officer,or write: Lionel M. Stevens, Manager, College Employment.theIequitableThe Equitable Life Assurance Society of the United States1285 Avenue of the Americas, New York, New York 10019An Equal Opportunity Employer, M/F © Equitable 1968October 25, 1968 The Chicago MaroonPines and Lipsch Disagree Over Phrase MeaningContinued from Page One“That is Lipsch’s interpretation of thatphrase,” Pines retorted, “and we wouldlike to begin improvements in SG rightaway.”Further obstacles await the reform move¬ment if the proposed amendment does notgo on the ballot until the spring. Students backing the petition have cited two fac¬tors which could prevent the adoption ofthe amendment:• Apathetic attitude of many studentstowards SG elections.• Quiet but growing feeling amongmany students that SG is 'worthless andshould be abolished.James Speaks on Black ContributionsC.L.R. James, internationally-known fig¬ure in West Indian and African politics andauthor of “The Black Jacobins,” will speakon “Contributions of New World Blacks toWorld Civilization, “in Social Sciences 122,Tuesday at 8 pm.The lecture, sponsored jointly by the di¬vision of humanities and the department ofhistory, is the fourth in a series dealingwith Afro-American humanities.The lecture series was begun as a re¬sponse to a petition formulated last Aprilby the Committee for a Responsible Uni¬versity. The petition, presented to the ad¬ministration, included demands for reformin areas of housing, enrollment, and facili¬ties as well as curriculum.Specific curriculum demands were forinstitution of courses in the social science and humanities divisions mi Black Ameri¬can history and culture. A committeeheaded by Professor James Bruce, assist¬ant professor in the department of Ger¬manic language and literature, is studyingthe possibility of establishing such coursesand developed the idea for the lectureseries.The series will include lectures by anddiscussions with John A. Williams, author,and Charles Keil, musicologist, and adance performance by the Ghana DanceEnsemble which recently performed at theOlympics in Mexico.All lectures and discussions are open tothe university community and are withoutticket and without charge. There will be anadmission price for the dance performance.Sheaffer’s big deal gets you through29 term papers, 3 book reports,17exams,52 quizzes and 6 months of homework.Sorry about that. Sheaffer’s big deal means you canwrite twice as long. Because youget the long-writing Sheaffer dollarballpoint plus an extra long-writing49C refill free. All for just a dollar.How much do you think you canwrite? QUCACCCD®The world's longest writing dollar ballpoint pen. OniZ/"\l I dll; sfQoSptcIALIk ;®m/ Tl Furthermore, some SG representativeswho are backing the proposal have pointedout that the issue may polarize the Col¬lege into two factions: those who believethat SG should be a political organizationdevoted to the larger issues of our times,as it is now under SPAC — Student Po¬litical Action Committee, and those who be-that SG should be a service organizationmeeting the immediate needs of studentson campus and representing the studentsbefore the administratiMi. Such a polariza¬ tion, along with possible disinterest in theamendment on the part of graduate stu¬dents, could further complicate a futurecampaign in support of the amendment.However, Mitch Pines states that “thispetition is not aimed to prevent SG fromtaking on larger issues.” He stated thatthe amendment will not limit the functionof the assemblies. Instead, he said thatit will bring the representatives at theassemblies closer to the students.STUDENTS,WORKERS,DON’T LETTHEM p TTA DTR 0 VE 1R0 u TN R 11Z s ;«E si#t!YOU UP REMEMBER THAT ONCEYOU COULDN T REMEMBERREFLECT UPON THE TIMEWHEN YOU WILL FORGETAND SEE THE WEALTH OFTODAYTheses, term papers[Typed, edited to specifications.Also tables and charts.11 yrs. exp.MANUSCRIPTS UNLIMITED664-5858866 No. Wabash Ave.HOW MUCH YOU MAYSAVE ON YOUR CARINSURANCE WITHSTATE FARMFrank Spinelli1369 E. 53rd. ST.955-3133STATE FARMMutual Automobile Insurance CompanyHome Office: Bloomington, IllinoisA Kiep YqTr mi-understanding comesFASTEP WITHCLIFF S NOTES’OVER 175 TITLES $1 EACHAT YOUR BOOKSELLERLINCOLN. NEBRASKA <~g50tL J 4^Who says the lawis always right?Draft cards are burning. Riotsignite our cities. “Protest!" is thecry of the day. The fast-grow¬ing attitude is: If you think thelaw is wrong—break it!What’s your stand? Is this anational outrage... or is the old“patriotism” obsolete?Our country was founded onrebellion—on the right to pro¬test. But can open defiance bedefended?Many dissenters justify theirstand on the issue of personalcreed. “The Vietnam war is im¬moral!” is their cry. This dualloyalty to state and convictionshas been a dilemma for centuries.But how often are men governedby emotion or human opinion—instead of spiritual fads?What are these facts? Ourbooklet “The Christian and HisCountry” discusses the currentferment from a Christian pointof view. It offers yardsticks formeasuring unquestioned loyalty—and valid dissension.lt remindscitizens how especially in anelection year they can—in factMUST—act to create laws withinwhich they can live. Send for it!WHY NOTFIND OUTFORYOURSELF?LUTHERAN LAYMEN'S LEAGUE. Dipt. 3 72185 Hampton Avenue, St. Louis, Missouri 83139Please send-without cost or obligation-a copy of the booklet: THE CHRISTIANAND HIS COUNTRY.ADDRESS.CITYSTATE .///> CODE_We're the people who broadcastThe Lutheran Hour—each Sunday.Wider publicotion of the above message made possibltthrough the fraternal benevolence program ofAid Association for Lutherans, Appleton, Wisconsin.°*&tr *. ».« v *» *• . A »*Mikva and Ireland Debate for Congress SeatContinued from Page Fivethey’re wrong or or by giving them thetools to do better than to do right. Oneof the answers would be to get them outof the areas where we now spend somuch police time, or we have been spend¬ing so much police time, where they cant’be effective and get them into the areawhich is causing the problem, that is,with a concern about personal security. ..I think we have to give the police a lotbetter training than they get. I think wehave to give the police a lot better jobthan it is — one of the suggestions I made,as my opponent pointed out, was socialsecurity.. .Let me just say one word aboutforeign affairs. Here, too, my opponentand I disagree. He thinks me an extremistbecause I suggest that there’s a big hunkof the world, approximately one-sixth of it,as I recall, known as China that we oughtto admit exists. Therefore, I thknk weought to recognize it, admit it to theUnited Nations, not because I love them,not because I think any of you oughtto love them, but because I think thatany country that has the kind of nuclearpotential that they have, that has the kindof population that they have, that has thekind of ground area that they have, can¬not be pretended out of existence by evena bright Secretary of State. We disagreeon what we ought to do in Vietnam. Ithink we ought to stop the bombing ofNorth Vietnam because I think it is areasonable risk to take for the cause ofpeace. We’ve taken so many unreasonablerisks in the cause of war. I think we oughtto strengthen and increase our foreign aidprogram, not because I suggest that everybit of our foreign aid history has beengreat, but because I suggest that it is stillthe one peaceful solution to solving thegap between those nations that do nothave and those nations that do have. Andthe best way of building allies in thistroubled world is to give the other coun¬tries a stake to lost as well as a meansto help themselves. I think more thanthat reaching for a solution and an in¬crease and improvement in our foreignaid program is the only alternative toincreased reliance in our military. . .Thosewho want to march in with the Marines at the drop of a hat are also those whowalk around with a security blanket andtalk about dominos and other childishgames that I don’t think we can copewith in the twentieth century in the atom¬ic age...I would like to ask both candidates whatthey think of Mayor Daley’s police.IRELAND:.. .1 think that there were mi¬nor incidents in which I could certainlybe critical of some things whichhappened. I think there is some evidencea man in Old Town may have been beat¬en up for no reason, but as far as thegeneral handling of the demonstrators —•I think it was generally a satisfactoryperformance. The police were forced tohandle a situation in which a number ofpeople has come to the City of Chicagowith a direct intention of disrupting publicorder. I think it might have been better,in a completely opposite direction frommy opponent, if we had been able to usethe National Guard more quickly.. .Butoverall, I think that the situration in Chi¬cago is symbolic of a problem that some¬how the police have regarded as theboogieman in this country, by a reason-bly large segment of people who arerevolting against any kind of, against theoublic, order — people who are going tomake the issue of Vietnam an issue fromwhich they think they have the right todisrupt the order of American cities. AndI have been very strong in my support ofthe police because I feel that this particulartype of demonstration goes well beyondthe limits of free speech. It goes intothe invasion of the rights of otherpeople...MIKVA: I disagree. We even disagreeabout what we disagree about. I issueda three-page statement on the Friday fol¬lowing the Convention and stated my ob¬jections to the way the police had handledthe situation. My objections were mainlyto the planning. I have cited what weresome of the provocations, as my opponentis wont to misquote me on, and maybethere are trivial differences, maybe thereare important ones. I said it was pro¬vocative to have every, and I underlinedevery. Chicago policeman wear a riot hel-BULLETIN OF EVENTSFriday, October 25FOOTBALL: Varsity Football game, Wheaton, 3:00pm, Wheaton College.DOC FILMS: "La Strada," Cobb Hall, 7:15 and 9:15,75c.LECTURE: "Islam and Modem Algeria," ProfessorIbrahim Abo Loghod, Northwestern University,International House home room, 7:30 pm.FOLK DANCING: International folk dancing, Ida NoyesTheater, 7:30-11:30 pm.SPEAKERS PROGRAM: Eldridge Cleaver, Ida Noyes,8:30 pm.CONCERT: Easley Blackwood, pianist, Mandel Hall,8:30 pm. Ives, Sonata No. 2 and Boulez, Sec¬ond Sonata.DANCE: Revitalize Your Body Dance, Harmony GritsBlues Band, Pierce Tower Cafeteria, 9:30 pm.Men-SOc, Women-free.Satuurday, October 26CRICKET MATCH: Salisbury University of ChicagoCricket Club vs. the Winnetka Cricket Club,Skokie Playfield, Hibbard and Pine Streets,11:30 am.DOC FILMS: "Dr. Strangelove," Mandel Hall, 7:15and 9:15 pm. 75c.SOCCER: Varsity Soccer game, Elsah, 3:00 pm, Prln-cipia College.CROSS COUNTRY: Varsity cross country, Allendale,Michigan, 3:00 pm. Grand Valley State andUniversity of Detroit.Sunday, October 27RELIGIOUS SERVICE: University religious service.Reformation Sunday, Rockefeller MemorialChapel, 11 am. Preacher: The Reverend E.Spencer Parsons, Dean of the Chapel, "Be¬tween Pilate and Judas." ADDRESS': "The Young, the Black and the Poor," byHoward B. Radest, Executive Director of theAmerican Ethical Union, Room 801, Fine Arts,10:45 am.CAMPAIGN: Canvass for William G. Clark for USSenator. Meet at Chapel House, 11:30 am.Return 4 pm.CHESS MATCH: Chicago 'A' vs Chicago 'B', Ida Noyes3rd floor, 3 pm.CROSS COUNTRY: Varsity Cross Country, WashingtonPark, 2 pm, University of Chicago Track ClubOpen 5 Mile kun.FILM: "Knife in the Water" directed by Roman Po¬lanski, Cobb Hall, 7:00 and 9:00 pm.REFORMATION FESTIVAL: Twenty-third Annual Ref¬ormation Festival, a folk and multi-mediaservice on "Law and Order," Philip Hefner,Professor of Theology, Lutheran School ofTheology, Rockefeller Chapel, 7:30 pm.MEETING: First meeting of the year for all PoliticalScience Majors, East Lounge, Ida Noyes Hall,7:30 pm.TALK: "The Elections and What's Next for the Move¬ment," Tom Hayden. Ida Noyes Theater, 9 pm.Contribution, $1, students 75c.Monday, October 28RECRUITING VISIT: Harvard University GraduateSchool of Education. Call ext. 3282 for appoint¬ments.DISCUSSION: Panel Discussion on Civil Disobedience,Professor of Law Geoffrey Harzard, StaughtonLynd, A. L. Lincoln, Danny Boggs. GerhardCasper, moderator. Law School Auditorium,7:30 pm.MEETING: Undergraduate Computer Club, Eckhart133, 7:30 pm.REVUE: "A Plague on Both Your Houses," SecondCity, Mandel Hall, 8:30 pm. Tickets: UC stu¬dents $2, others $2.50.whatever is new in hairstyling . . .PERMANENTS# TINTING • CUTTINGWAVINGrandeLlBeauty anil Cosmetic SalonAIR CONDITIONED— Open Evenings by Appointment —15700 HARPER AVENUE FAirfax -4-2007MORGAN’S CERTIFIED SUPER MARTOpen to Midnight Seven Days a Weekfor your Convenience1516 E. 53rd. ST. ANDERSON’SQiiif BULKOSERVICE STATIONHIGHEST QUALITY GASOLINEAT LOWEST PRICESFEATURING THEBULKO PANTRYA complete Grocery StoreOPEN 24 HOURS57th & COTTAGE GROVE met.. .1 said it was provocative to displaymachine guns.. .1 did think it was provoc¬ative to have the National Guardsmenmarch into town and down the streetswith fixed bayonets.. .1 think it was pro¬vocative to arrest the Chairman of a StateDelegation for inserting the wrong cardsinto the machine.. .1 said it was provoc¬ative to plan for a hundred thousand dem¬onstrators and then not change those planswhen the numbers were two thousand in¬stead.I think that the biggest problem that Isaw in the way that the police handledthe demonstrators, was that they did notdistinguish between those demonstratorswho were contemptuous of the Constitution,who in fact came to town to tear thetown apart, and those demonstrators whosought to exercise rights guaranteed by theConstitution and whose rights must beprotected no matter how great the provo¬cation of it.How do the candidates feel abontmarijuana?IRELAND: I don’t know whether Mr.Mikva’s going to back me up on this,but I am a classical liberal. I should say that marijuana — there’s no reason forit remaining illegal. As far as the otherdrugs are concerned, I think that we needsome reforms. I’m not willing to goso far as to say, legalize other narcotics,although I’m leaning in that direction.MIKVA: I would like to see us moveaway from treating narcotics, and addic¬tion generally, as a crime. This doesn’twork in preventing it from happening...Two kinds of crimes emanate from theuse of all kinds of narcotics. One is theeffect on the person himself — a crimeagainst the user. The other is the inciden¬tal crimes, the consequential crimes, thatare caused by the need for the drug. Atleast the second type of problem is theone that affects the rest of society soadversely, can be controlled.. .Now as faras marijuana is concerned, all the med¬ical testimony I’ve read, though I confessthis is not one of my-specialties, has ledme to conclude that a pretty good casecan be made that it’s about as dangerousas tobacco, even better. . .1 would be morethan delighted for the stopping of treatingmarijuana as a narcotic, but that doesn’ttell you much because if it’s not a nar¬cotic, it shouldn’t be labeled a narcotic.are yourcontact lensesmore work thanthqy’re worth?If you’re tired of usingtwo or more separate so¬lutions to take care ofyour contact lenses, wehave the solution. It’sLensine the all-purposelens solution for com¬plete contact lens care-preparing, cleaning, andsoaking. ■ Just a drop ortwoof Lensine before youinsert your contacts coatsand lubricates the lenssurface making it smooth¬er and non-irritating.Cleaning your contactswith Lensine retards thebuildup of foreign de¬posits on the lenses. ■Lensine is sterile, self-sanitizing, and antisep¬tic making it ideal forstorage of your lensesbetween wearing periods.And you get a removablestorage case on the bot¬tom of every bottle, a Lensine exclusive forproper lens hygiene. ■ Ithas been demonstratedthat improper storagebetween wearings mayresult in the growth ofbacteria on the lenses.This isa sure causeofeyeirritation and could seri¬ously endanger vision. Bacteria cannot grow inLensine.wCaringfor con¬tact lenses can beascon-venient as wearing themwith Lensine, from theMurine Company, Inc.Th4’Chte»fb Maroon 7Odttor 25, 1*68IRATES: For University students,faculty, and staff: 50 cents perline, 40 cents per repeat line.For non-University clientele:75 cents per line, 60 cents perrepeat line. Count 28 charactersand spaces per line.TO PLACE AO: Come or mailwith payment to The ChicagoMaroon Business Office, Room304 of Ida Noyes Hall, 1212 E.59th St., Chicago, III. 60637.No ads will be taken over thephone.DEADLINES: ALL CLASSIFIEDADS FOR TUESDAY MUST BEIN BY FRIDAY. ALL CLASSI¬FIED ADS FOR FRIDAY MUSTBE IN BY WEDNESDAY. NOEXCEPTIONS. TEN A.M. TO1:30 P.M. DAILYFOR FURTHER INFORMATION:Phone Midway 3-080& Ext. 3266.TRYOUTSOpen casting for Genet's The Bal¬cony-produced 1st half Winter Qtr.Sat./Sun Oct. 26, 27-1-3:30. RCLounge. HOUSE FOR SALE8211 Crandon. Exceptionally well-built house. Fine Neighborhood.Ideal for University family. Custombuilt. 8 large rooms. 3 good-sizedbedrooms, IVi baths, full basement,gas heat. 2 natural fireplaces, 2-car garage. $29,500 by owner. ES 5-6938.FOR RENTNEARBY, economical, newly dec.unfurn. apts, 2 and 3Vi rms. $77.50up. Free gas and elec. Clean. Quiet.Williams, 6043 Woodlawn.ASPEN COLORADOSkiing Aspen this winter? Beautiful2 bedroom apt. for rent by week orlonger. Sleeps 6 or 7. Maid service,free TV and telephone. Close to skilift. Also available at other times ofyear. Rates vary by season. Forfurther information call Ml 3-8000,X3186 or evngs HY3-7465, Mr. Weil.74th St. & Exchange Ave. 2 bedr.heated in new bldg, near I.C. CallSO 8-0444.3 room 10 month sublet. $150/mo.Fridays & Saturdays 9 P.M.—Bluegrass and country music by theLAKE COUNTRY mSTRING BAND 1LTi ‘ t *Harper Theatre Coffee House5238 S. Harper Students $1.25, others $1.75ROOMMATES WANTEDMale to share 2 bdrm. apt withsame. E. Hyde Pk. $115/mo. for 1person; $80 for 2, $65 for 3 Callbefore 3:30 P.M. 955-7550.3 Female roommates needed toshare large apt. 5 min. walk toquad. Own rm. $40/mo. per person667-4639.Female wanted to share fully fur¬nished apt. at 53rd & Greenwoodwith 22 year old female high schoolteacher Own bedroom. $65/mo. 955-1383 after 6.2nd, 3rd, 4th yr. women: Tired ofwhere you're living and want (orare willing) to keep kosher? Movein with me at Blackstone. Beg. Win.Qt. Sharon 684-6046. PEOPLE WANTEDRegistered Nurses—All Shifts Pedia¬tric Hospital for children with longillnesses. Multi-Disciplinary services.Associated with a University pro¬gram Excellent salary and person¬nel policies La Rabida Sanitarium.Mrs. Scannell, DO 3-6700.A girl who has the courage to savorbright pain if it comes, and if ifdoesn't, giggle. Call 316 Boucher.TUTOR wanted for Akkadian les¬sons. 487-6212.Waitress for Mad Hatter. 53rd 8.Hyde Park. Pleasant surroundings.10:30-4:00, 5 or 6 days/wk. Drop inor call 955-2229.CELEBRATING THE 451ST ANNIVERSARY OF THE REFORMATION(1517 - 1968)23rd Annual Lutheran Reformation FestivalRockefeller Memorial ChapelUniversity of Chicago59th Street at Woodlawn AvenueSUNDAY OCTOBER 27 7 30 P.M.A MULTI-MEDlyy'ROCK" SERVICE ONPreacher: The Rev. Prof. Philip Hefner, Ph.D.Professor of Systematic TheologyLutheran School of Theology at ChicagoPro/ector: Mr. Paul SchreivogelLutheran youth leader, author, producer of filnfesti va Is.Priest: The Rev. Wayne Saffen, leading the congrega¬tion in an original ‘service on 'Law andOrder" in the Lutheran tradition and in contra¬diction against current political hacks andfalse prophets.NOT FOR THE SQUEAMISH N n°■o £So?a o-tfS a.5 ° cr3- a. ;*c?lt 5 §X X 3o o 00r?Q < Part-time bartender. Willing totrain. See Dave at the Court Housein Harper Court.Male student to teach gym in smallelem. school on campus 10-25 hrs/wk. Salary open. Call Bob Herman,Ml 3-7300, Ext. 61.MISC. WANTEDTV set in good condition. Peggy,285-8239 after 6 P.M.Wanted: soft, warm cuddly babykittens. Contact Mona Conner, BU8-6610, Ext. 1222.Cheap second-hand girl's bikewanted Call 667-5809.FOR SALESTEREO COMPONENTS. This weekonly Acoustic Research Turntable& Speakers 20% off. MUSICRAFT.Campus rep. Bob 324-3005.Austin Healy '55 convt. Wire wheelsradio, gd cond. $675 or offer. 487-6212.'62 Volkswagen 1500, FM Radio, newtires, excellent shape. FA 4-8200,Rm. 364.Full-size bed: mattress, box springsframe. Good condition. Orig. $110—yours for $20. BA 1-1068 or 374-1389 after 4.Refrigerator $25 or offer 493-6147.'62 Buick Sky lark 2 dr. HT Radio,bucket seats, 4 speed trans. Powersteering. $495. 493-8161, eves.,weekends.Portable stereo—$25-$30. Call Joe538-1829 after 6 P.M.PEOPLE FOR SALEStudent girl from France seeks |obto live in. Would babysit or tutorin the morning. MU 4-6100, ext. 5145Ask for Joe during weekdays.Are you a ''Musical Joke?" Needhelp with basic theory, sight sing¬ing, ear training? Call 955-2047.Reasonable rates.May I do your typing? 363-1104.Minette's Custom Salon. Alterations,Dressmaking. 1711Va E. 55th, 493-9713Cello lessons. Ronald Wilson, East¬man student. 536-3521.Term Papers, Theses Typed. IBMelec. 40c/page. Mrs. Cohen 338-5242evngs.CHIRSTMAS CHARTERFly Chicago-London roundtrip for$240. Call Ext. 3272, 1-5 P.M. week¬days for details. RECON—a nationwide computerizedSUMMER and permanent |ob serv¬ice—and it's free to you! Forms in202 Reynolds Club and Stud. Act.Office, 2nd floor, INH. uc/nsa.AN EVENING OF ZEMIROT ANDFOLKSONGS. Hillel House, tonight,8:30. THE MOVIE EVENT OF THEQUARTER — Kubrick's DR.STRANGELOVE — screenplay bycute Terry Southern. With Sellersand George C. Scott — doc films,Mandel Hall, Saturday night.Snoopy for President.PERSONALSCLEAVER couldn't make it tonight.Mourn (or rejoice) with HarmonyGrits Blues Band at Pierce Cafe¬teria TONIGHT 9:30 to 1 A.M.General Jack D. Ripper says:"Stanley Kubrick is a prevertedCommie bastard—and that goesdouble for Terry Southern." Findout for yourself at Dr. STRANGE¬LOVE, Saturday in Mandel.DIRTY OLD MEN NEED LOVETOO!Congeniality wafting its way thruthe BS atmosphere. Israeli Folk Dancing now meetsat Ida Noyes on Thursdays at7:30 P.M.Jazz Musicians and people Inter¬ested in FOTA program on |azzcontact J. Gordon 752-1335.New Univ. Conference presents:The Critical University #1. HearTOM HAYDEN on "The Electionsand what's next for the Movement."Ida Noyes Sun. 10/27, 9 P.M. Contr.$1.00, students 75c.bi ba of Georgetown U.African & Indian clothesbedspreads — sandals, etc.22 East Elm 10%discountFuck-a-chuck lives (right girls).SECOND CITY—8:30 Monday.All black kittens—free. Call Bobat 493-6527.Ah-ha Allen Woll! Guess again!Enlightened authoresses—call HY 3-4516 and ask for Alan.Is there intelligent life on earth?First Meeting of Year!! Under¬graduate Political Science Associa¬tion. Sunday, Oct. 27, 7:30, EastLounge, INH. Free refreshments.All Political Science majors wel¬come.BLUE GARGOYLE'S Friday folksinging on Saturday this week. 9P.M.Vote Humphrey and dump Daley.^Mad HatterRestaurant & Cafe“ON THE OTHER SIDE OF THE TRACKS”Enjoy your food listening to classical music — OurMenu is exquisite and reasonable • Steakburgers*French Pancakes • Hoppel Popple • Homecookeddinners • Fabulous Vala’s Ice Cream, Sodas, Pas¬tries and Coffee •1656 E. 53rd STREET 955-2229 "Dear Dean:I hope this finds you ingood health.We require a stringer on thecampus, who would give us coverageof Jewish news that broke duringthe college year.We pay, but hardly adequately.The rate is lc a word, but wherethe story indicates additional efforton the part of the stringer, wethrow in a bonus of $2.50, $5.00or $10.00.Would you please check forus to see if someone in one of yourclasses would like to take on thischore. Thanks in advance.Gabriel CohenThe Jewish Post & Opinion611 North ParkIndianapolis, Indiana"Meet Kharis on All Hallows' Eve:see THE MUMMY'S HAND atBreasted Hall, Oct. 31 at 7:00,8:30 8, 10.FUNGUS.TONIGHT—Revitalize your bodywith Harmony Grits Blues Bandat Pierce Cafeteria. 9:30 to 1.FREE WOMEN FREE. 50c men50c.In Buffalo, N.Y., there are tendirectors on the local draft board.Four of them are funeral directors.Isn't that a conflict of interest?Ochikochiochikochi to utsukinuta kanaA bowel-freezing night;The sound of the oar striking thewave. — Tears.Lonely,I left my hut;Gazing around.Everywhere the sameAutumn evening.SECOND CITY — At Mandel Hall— Monday 8:30 P.M. Get ticketstoday.Free Black Kittens.Full Guaranty.Call 363-5644.YOGA—meditate, relax. Hatha.Sri Nerode, DO 3-0155.REVITALIZATION Dance Tonight—Pierce Cafeteria—9:30 to 1 A.M.Men, 50c; Women, free. Ban SDS — not firearms.Jay—Ribbit, Ribbit—Mary.Meal Contract People—you cantrade your institutional rations fordinner at the Bandersnatch. Getdetails from BS or desk at dorm.WHAT? A FREE summer andpermanent |ob service? Sure. Ap¬plications: in 202 Reynolds and 209Ida Noyes, uc/nsa.Enlightened authors: Call 684-7037and ask for Susan.A hand job is better than no |obat all.Mandel Hall - Monday, SECONDCITY.Support Cannibalism, Eat Me.PLANT-IN SUNDAY (SPAKPeter Sellers plays three roles inDR. STRANGELOVE — at docfilms — MANDELL HALL — Satur¬day.The BLUE GARGOYLE Is closedtoday, Friday. The Gargoyle willbe open as usual tomorrow andthereafter.I'm #3, I don't try at all.A representative of the HARVARDUNIVERSITY GRADUATE SCHOOLOF EDUCATION will be at the Of¬fice of Career Counseling andPlacement on Monday morning,Oct. 28. Students who are inter¬ested in programs relating educa¬tion to disciplinary studies in his¬tory, philos., politics, soc., orpsych., or those interested In theM.A.T. Program and urban education are invited to make appts.Call Ext. 3282 or come to ReynoldsClub Room 202.Shish-ka-bob washed down withpomegranate soda at Ahmad's.The New York Times reports thatColumbia received large financialcontributions after It called In po¬lice to clear out student protesterslast spring. University officialsthink an increase in gifts fromsympathetic supporters will at leastoffset any withheld by angry alum¬ni. "What you lose on peanuts,you make on popcorn," says trusteeBenjamin J. Buttenwelser.be trapped by Hyde Park’sfirst and finest BoutiqueTHE MOUSE TRAPjewelry, hip clothing, craftswe custom-make clothes atincredibly reasonable prices1453 E. Hyde Park Blvd.363-9215People who steal flags from Tent-Ins are evil finks. Call 324-1632to return.See Dick run, run Dick run.Free-Women-Free — Harmony GritsBlues Band at Pierce Cafeteria.Tonight 9:30 to 1 A.M. 50c-Men-50cAfter all, sex is fun.Monday night — SECOND CITY.DRIVE CAREFULLY, DR. BARNARD IS WAITING.LECTURE: Islam and Modern Al¬geria. Prof. I. Abu Lughod, North¬western U. International House,Home Room. Friday, Oct. 25, 7:30P.M. Sponsored by the MUSLIMSTUDENT'S ASSOC.jablonski: god again, it is writ¬ten ... "and they shall beat theirFrisbees into plowshares." there isstill time, please.Hire the handicapped, they've funto watch.Hire the morally handicapped.What if they gave a war and no¬body came?Congratulations Mitch. From thegirls in Eleanor "We Miss You."WRITER'S WORKSHOP—PL 2-8377.Subscribe T<Hall To: THE SM, PANTHERB/eck Cemmeeity(LACK PANTHER PATTY POt SELF DEFENSEP.O. Sox 8641 Eaeryvlllc BranchOakland, California, 94608 Mews ServicePUftUSMCO WEEKLYFOR:ENTER MY SUBSCRIPTION FOR THE*8LACK PANTHER*(—I 3 Months; 6 I(sees $ 1.50O 6 Months; 12 I»u« $ 3.00L~] One ytAH, 24 Issues $ 3.50 Check he orkoaes and nailCHECK nrHOWCTORM*I WANT TO JOIN THE BLACK PANTHER PARTY FORSELF-DEFENSE“□*3 .00 if you have it; CJ.SOi if you dontl>0NAn[^HEA& ISjHY CONTRIBUTION TO THE B.P.P.S DHeme.BMMrtmCityThe Chicago Maroon October 25, 1963A Wrath Of GrapesTHE CHOICE THAT American voters are being askedto make at the polls this November may in the long runbe less important than the choice American housewivesface at their local food markets. This is the height of thegrape season and the third fall of the California farmworkers’ struggle against that state’s big agriculturalcomplex. The workers’ success now depends entirelyupon consumer support of a nation-wide fresh grape boy¬cott. Nothing less than the future of America’s farmlaborers and migrants in the fields and in the urban ghet-toes to which they flee—is at stake.The problem is urgent. Nearly 2 million men, women,and children do backbreaking seasonal labor under sub¬standard conditions for low wages and low benefits. Fur¬ther, they have recourse to no protective legislation. So¬cial security laws, unemployment laws, and child laborlaws do not apply to the “factories in the fields.” A billto amend the National Labor Relations Act has beenblocked in Congressional committees.The current protest began in September, 1965, whenworkers around Delano, California, united behind CesarChavez and struck thirty-five major growers. “Now wewill suffer, the plan of Delano declartd, “for the pur¬pose of ending the poverty, the misery, and the injusticewith the hope that our children will not be exploited aswe have been.”The first two years of the struggle were reminiscentin many ways of the brutal labor disputes of the thirties.Only with the ardent support of labor, church, student,and civil rights groups was the United Farm WorkersOrganizing Committee finally able to crack the com¬bined resistance of the wine-grape growers and localpublic authorities. At present, contracts have been, orare being, negotiated between the farmworkers’ unionand all major California wine producers. They providesickness leave, paid vacations, and a special benefit fund.Most basic of all, they insure the workers’ right to bar¬gain collective y.The major tattle is yet to be won, however. Until theCiumarra Vineyards Corporation of Bakersfield, Califor¬nia—the largest table-grape grower in the world—agreesto recognize the workers’ union, the Delano strikers can¬not rest. As the strikers say: “Once we get this fish, theof family holdings totaling over 12,000 acres of land,with a value of $25 million. The annual sales total forGiumarra products is upwards of $12,000,000, plus eam-' «• h'-v- J*Strikers Stop a Busload of Scabs/Farm Workers Solidarity with Cesar Chavez’s Fast ings from investments in land, oil, farm equipment andsupply, the Bank of America, and over a quarter-milliondollars in governmtnt farm price supports .c*.' not plant¬ing cotton. When first approached by union representa-atives with signed pledge cards from 3;4 of his 2,500employees, Giumarra refused to acknowledge workers’support for the union. Even when all his workers left thefields in July of 1967, Giumarra refused to recognizethat thert was a legal strike. Taking advantage of aloophole in the immigration laws, Giumarra bused inMexican “green-carders” from the border to pick the’67 crop. Informational picket lines around the fieldswere often physically attacked by hired “goons” whilelaw enforcement officials looked the other way. More¬over, extremely restrictive injunctions were gainedthrough the local courts, all but ending local unionefforts.Frustrated by these tactics, the farm workers cameout with their only remaining weapon to pressure Gium¬arra into collective bargaining—a consumer boycott oftable grapes. First the boycott included only Giumarragrapes. Later, all California y^es were added to theblack list when it transpired that Giumarra was “bor¬rowing” other growers’ shipping labels. For almost ayear now, farm workers teams have moved into majormarket areas across the country, urging co-operationwith “La Huelga” (“The Strike”). In New York, Chicago,Wsahington, D.C., Montreal, and Toronto chain storeshave been asked to cancel their grape orders for theyear. Some have removed their grapes and ended theirsales with little pressure: others have co-operated afterpicketing. The mayors of New York, Detroit, and Cleve¬land have announced officially that their city agencieswill end purchases of Giumarra products. Mayor Daleyhas yet to declare his stand.Even candidates for national and local offices havetaken sides on the issue. Predictably, the Reagan-Raf¬ferty duo has supported the cause of the “poor farm r”(the friendly Giumarras). They have proposed that medomino theory holds for from labor organizing: graptstoday, tomorrow tomatoes, lettuce, arrrots, etc. Nixonhas declared that: “I will continue to eat Californiagrapes and drink the product of these grapes wheneverI can.” Strangely enough, even as Nixon claims thefreedom to buy grapes whenever he pleases, he accusesContinued on page 5Af.dC f ficcisM *r!Tfellini; LA STRADA Doc FilmsFri. , Oct. 257:15 & 9:15Cobb Hall $1MUSICRAFT SPECIALBuild a Kit and Save !DYNACO DISCOUNTS Easiest to Build Longest GuaranteeReg. NOWPAS-3x Stereo Preamp kit:Assembled: $70.00$110.00 $59.45$87.95PAT-4 Solid State Preamp kit:Assembled: $105.00$135.00 $80.98$110.45STEREO 70 70 Watt PowerAmplifier kit:Assembled: $99.95$129.95 $84.95$105.95STEREO 120 120 Watt PowerAmplifier kit:Assembled: $170.00$199.95 $143.95$169.95SCA 35 Stereo ControlAmplifier 35 Watts kit:Assembled: $99.95$140.00 $84.95$111.95ON CAMPUS CALL BOB TABOR 324-300548 E. Oak St.-DE 7-4150 MtuiOiaft 2035 W. 95!r, SI.-779-6500 Tony Bennett Oct. 4-19 • Ed Ames Oct. 21-Nov. 2Now 60% to 80% offon top-name entertainmentat world-famous Empire Roomin the Waldorf-AstoriaTHE STUDENT STAND-BY PUN(HOW IT WORKS)Telephone (212) 355-3000 on the day you'd liketo see the show. If available, your reservationswill be instantly confirmed at the special studentrate of just $2 per person, (limited to ages 18thru 25 and you must bring your student I.D. orairline discount card with you)Special Student Room Rates, Too!Singles *12 / Doubles *9.50 per personTriples *8 per personUaPark Ave. between 49th & 50th Sts.New York, New York 10022(212) 355-3000Information on Rooms? Stars? Call the above number!Remember their great revue last sprinp? They're back now with an allnew, critically acclaimed revue:A PLAGUE ON BOTH YOUR HOUSES”SECOND CITYMonday, Oct. 288:30 P.M.Mandel Hall57th & UniversityTICKETS: UC Students: $2.00General Public: $2.50Available every day at MandelHall corridor, 10 A.M. to 4 P.M.Also Student Activities Office,and BJ, Pierce & WoodwardCafeterias at Dinner Time. Broaden your Epicurean HorizonsMurat Somay’sEfendiatop the Hyde Park Bank BuildingTurkish DelicaciesKilich Shish SwordfishShish KebabKoride Shish ShrimpLule KebabPatli/an Kami Yarik'Stuffed eggplant''Fun CocktailsComplete Wine CellarCAN’T AFFORD NEW FURNITURE ?TRY THECATHOLIC SALVAGE IUREAUTRUCKLOADS ARRIVING DAILY3514 S. MICHIGAN 10 I. 41st STREET 1525 East 53rd Street 955-5151Koga Gift ShopDistinctive Gift Items FromThe Orientand Around The World1462 E. 53rd St.MU 4-6856 tMf !Dependable Serviceon your Foreign CarHyde Park Auto Service • 7646 S. Stony Island • 734-6393The Grey City Journalfcnu,’. ;I,j i'f ! I- >1 I | It :ci,v| 1)1 'I Vt 1 i T I'l >1MU T'JdTibO • n v < • > -i .1 ' / • iArtMy Heart Belongs To DadaDADA’S ANTI-ART philosophy translates as un-art inthe current exhibition “Dada, Surrealism and Their Her¬itage.” In keeping with an unartistic spirit, the arrange¬ment is essentially unimaginative and static.It is indicative of the Art Institute’s painterly approachthat only three pieces of free standing sculpture are dis¬played to be walked around. Even so, the pieces by Ol¬denburg and Tinguely are dwarfed by juxta-position withDali’s “Rainy Taxi,” which is restricted to a ‘stay onthe red carpet’ side view. All the other sculptures areplaced on counter tops and you find yourself peekingaround corner slats to see the Duchamp Readymades orGiacometti’s “The Invisible Object.”Unlike the New York show, the Chicago emphasis isnot on theory but on personalities and pieces. It is sup¬posedly a visual obviousness which artists and art worksare considered more important. But the subtleties withwhich the hierarchy is undercut are even more interest¬ing. De Chirico is important as all of his paintings arehung together. However these are in the anteroom.He wasn’t of such consequence as to make it into themain exhibition hall.Max Ernst is considered most significant as there area dozen of his paintings in one cove. This continuity,however, is disrupted by a Richter and a Duchamp dis¬played in the same area. But Ernst still wins by havingsome of his other works slice the visual unity of otherartists.Jean Arp is given a center platform for all ofhis sculptures and is tenuously undercut by a platformof torso sculptures across the way, which is .he only the¬matic arrangement in the entire exhibit. Miro, Tanguy,Dali and Magritte are the other contenders of and forconsequence but more interesting is the attitude towardsMan Ray. He could have been classified as an artist ofweight as his photographs are displayed on their ownwall near the center of the main hall. Unfortunately, theyare all unidentified and unlabeled.The individual inanities are even better. There is KurtSchwitters displayed at knee-level, Exquisite Corpsedrawings without explanations, horizontal display ofDuchamp’s RotoRelief which is printed on both sides.Daniel Spoerri’s “Marcel Duchamp’s Dinner” is thefrozen remains of the cutlery, dishes and napkins of aDuchamp meal. This was mounted on wood and becamean art picture by hanging it on the wall. But this essenceis entirely disregarded and Spoerri’s work is displayedhorizontally on the counter.In a surrealist manner, this negates the protest criesof the students who disrupted the opening Thursday.They shouted that Surrealism is dead and should be takenoff the walls. Given the show as a whole, the Art Insti¬tute agrees that Surrealism is dead. Given the displayof Spoerri, the Art Institute has taken ii oil the walls.Perhaps the better Dada comment was made by Duch¬amp a few weeks ago. He died.DIANE RADYCKI MusicGobbi Sparks Lyrics FalstaffTHE LYRIC OPERA production of Verdi’s Falstaff isthe second which Chicagoans have had available withinthe last year. It was during our (opera-less) 1967-68 sea¬son that an offshoot of Sarah Caldwell’s Boston OperaGroup came to town with a very creditable production ofthe work. Comparisons, then, are as inevitable as theyare provocative. The visitors’ problem was the usual oneof a touring company—how to make a full-sized effectwith a minimum of paraphernalia on the stage and witha reduced orchestra in the pit. Happily, the disciplineand imagination of this particular road company gaveus a Fa’staff which was thoroughly satisfying from ev¬ery point of view. Its very simplicity provided an oppor¬tunity, in terms of staging and design, to illuminatedramatic points (i.e., the Gaston-Alphonse routine atthe end of Ford’s interview with Falstaff) that couldget lost in weightier productions. The Zeffirelli produc¬tion currently on view at the Lyric is by no means thehorrible example of overstaging that some of its criticshave alleged on occasions. The sets are not onlyat.iaciixe Dut right in te?ms of mood (note the ram-sha°H« H"i' a 'H wV>o”e ^ai^aff br^°ds over his misfor¬tunes; and an evocation of Herns Oak that breathes outah ine aeejj nuea p.euiness of the early Romantic flir¬tation with the supernatural). But sometimes there isjust too much on the stage: people sitting at the ex¬treme right of the theater must have difficulty seeingFord and Falstaff’s joint exit, and Mistress Quickly’sfirst “Reverenza” is similarly blocked from view. Thedecor for the finsl scene is beguiling, but somewherealong the line irrelevant considerations pop into mind(like, “how much money if Ford laying out for thismasquerade?”).Fortunately, this sort of distraction is at a minimumin thi* Falstaff. and there is the not inconsiderate corn-sensation of a firm dramatic hand in control of the pro¬ceedings. Doubling as director, Tito Gobbi has imbuedthe cast with his own economical, yet highly effectiveuse of movement. The.result is the most consistentlywell acted production so far this season, a far cry fromthe posturing in Norma and the hassle with the textthat is said to be the case in the company’s Tosca. IHomage A Marcel DuchampAssemble pictures A through Fcrumple up into ball, rolldown staircase.would prefer a bit less fluttering and more purposefulbusiness from the Merry Wives, though perhaps Mr.Gobbi is less to be faulted than the ladies themselves.But these are fly-specks which do not seriously weighagainst the merits of this handsome production.I can think of no Verdi opera (except La Traviata)where the success of the whole depends so greatly onthe title role. This means that the Lyric’s Falstaff isTito Gobbi’s show, all the more since has staged it.And well he deserves the spotlight—he is amazing. Hereis a voice that almost contradicts the requirements ofthe role: Falstaff’s voice should be sleek and rich (in¬deed, both Geraint Evans and Peter Glossop, among theyounger performers of the role, have a distinctly dark,almost bass coloration), Mr. Gobbi s is lean and hard.He is also at an age delicately referred to as“veteran”and it shows—some of his effects in the high-lying musicof Act I (on display in his ten-year-old recording of theopera) are no longer within his grasp. Still, he is noth¬ing if not shrewd and one of his most remarkableachievements is to make his weaknesses work for him—that crooning pianissimo of his is actually quite beaut-ful in the context of the mournful passages at the be¬ginning of the third act, and he husbands his resourcesup to the big moments with such skill that one cannotbut respect him on purely vocal grounds. His charac¬terization, it can be said without exaggeration, is magis¬terial: no straining for effect here, no bellowing, nooveremphasis, but a richly humorous and touching rea¬lization of the old fool.The other characters are subsidiary—not that theyhaven’t plenty of music to sing, but their main dutiesare with the ensemble and they seldom dominate thestage. The concerted sections of Falstaff are notoriouslydifficult: the tricky rhythms and split-second timing ofFord’s entrance are almost always jumbled in thetheater, as they were Monday night. Elsewhere, how¬ever, musicianship was of a very high order; the or¬chestra played very well and Nino Sanzogno’s tempihad all the gusto one could ask for. Among the excel¬lent supporting cast I might mention the charming pairof lovers (Ottavio Garaventa and' Lydia Marimpietri);October 25, 1968 a wonderfully disrtputable-looking Pistol from a bassnamed Paolo Washington; and a very funny (and mer¬cifully unexaggerated) Mistress Quickly by Oralia Do-Ford: his voice, better focused now than it was a fewyears ago at the Met, is a fine, lyrical instrument andhis performance, already finely controlled, would bene¬fit by toning down of an over-dithery Jealously-mono-logue. He takes Ford’s feelings seriously, though, andwith more thought and experience the tentative mo¬ments in his interpretation should sort themselves out.Stefania Malagu and Raina Kabaivanska do what theyhave to do very capably, although the latter’s voicesounds curiously unsettled—pitch-shy in the upperreaches and not completely equalized near the bottom.Hopefully, she will do something about it before it be¬comes too serious.Falstaff will be given five more times (October 26and 30; November 1, 4 and 8). Since the ticket situa¬tion is somewhat better for this opera than for the bread-and-butter repertory, I would urge anyone who is seri¬ously interested in seeing Falstaff not to waste anytime. Even if the entire project were not as good asit is, no one with an abiding love of opera should passup the opportunity of seeing Tito Gobbi in this role atleast once.William Murnanel«»u« * )<>t> (JIW *J<» I *The Grey City Journal 3"A GREAT MOVIE...A film of such extraordinaryand understated brilliance thatit advances the possibilities offilm a step • 1 —Renata Adler, N.Y. Time*" 'Les Carabineers7 is a chillingfable...it is about minds thatsee history as garbage;about the way the worldlooks when insight and thesense of consequence havebeen lobotomized; aboutbeing a tool. Brecht oftenwrote of the same things."—Penelope Gilliatt, New Yorker Magazine"A perfect metaphor withwhich to deflate war...youwiil never forget it."-jo*ePh Morgenstem,NewsweekIS1 MATTER OF...Sun Life Insurance is a sureway to financial independencefor you and your family.As a local Sun Life representa¬tive, may I call upon you at yourconvenience?Ralph J. Wood, Jr., CLUOne North LaSalle Street,Chicago 60602FRanklin 2-2390 - 798-0470Office Hours 9 to 5 Mondays,others by appt.SUN LIFE ASSURANCE COMPANY OF CANADAA MUTUAL COMPANY WHPK-FM 88.3First on your dialUniversity of Chicago student-operated radioWEEKDAYS AT A GLANCE7.00-10:30 a.m. Happy Wake-UpService (News at 8)3:00 K&B (News at 6)6:05 Rock (News at 8:45)9:00 Community Viewpoint9:45 Campus news & events9:55 Comprehensive Critic10:00 Classical (News at 12)12:05 Jazz until 2:30SATURDAY 26Noon The Flea Market(News at 3 & 6)9:45 Campus news & events9:55 Comprehensive Critic:Records: VWilliams, 3rdSymphony. Elgar: Enigma10:00L.Classical until 2:30SUNDAY 2 7Noon Conversations at Chi¬cago. James Bruce andCharles Long discussAfro-American Culture”12:30 Hellhound: Country Blues3:00 News3:05 Sunday Soul Session6:00 News6:05 African Hi-Life & Calypso8:00 Sweet Sound of Soft Soul9:45 Campus news & events9:55 Comprehensive Critic:Johnston: Three Sym¬phonies, Loop College10:00 The Om Point12:1)0 Joint SessionMONDAY 287:00 Millard Howar’s HappyWake-Up Service ForAmericans (News at 8)3:00 South Side Soul6:00 News6:05 Andy’s Monday Blues8:45 News: Evening Report9:00 Community .Viewpoint:Alderman Despres9:45 Campus news & events9:55 Comprehensive Critic:Easley Blackwood recital10:00 Classical (News at 12)12:05 One Foot in the Gutter:featuring Ornette Coleman TUESDAY 297:00 Happy Wake-Up Service(News at 8)3:00 South Side Soul6:00 News6:05 Third World Raspberry8:45 News: Evening Report9:00 Community Viewpoint9:45 Campus news 8i events9:55 Comprehensive Critic:film review10:00 Classical (News at 12)12:05 Jazz until 2:30WEDNESDAY 307:00 Cynics Corner, until10:30 a.m. (News at 8)3)00 South Side Soul6:00 News6:05 Blues Feeling8:45 News: Evening Report9:00 Community Viewpoint9:45 Campus news & events9:55 Comprehensive Critic:student art works10:00 Classical (News at 12)12:05 Jazz-MannTHURSDAY 317:00 Happy Wake-Up Serviceuntil 10:30 (News at 8)3:00 South Side Soul6:00 News6:05 The Left Fork8:45 News: Evening Report9:00 Community Viewpoint9:45 Campus news & events9:55 Comprehensive Critic:drama review10:00 Classical (News at 12)12:05 JazzFRIDAY 17:00-10:30 a.m. Dr. Feelgood’sHappy Sound TherapyClinic (News at 8)3:00 South Side Soul6:00 News6:05 The Underground8:45 News: Evening Report9:00 Community Viewpoint9:45 Campus news & events9:55 Comprehensive Critic:Chicago Symphony concert10:00 Classical (News at 12)12:05 Seven Steps to HeavenCut out this program guide andpaste your radio under it.j=@ANCfcOPEN MEETING-Discussion of Year’s Activities-Sign up for acting, directing, staging, etc.-Refreshments will be served7:30 P.M. Oct. 295615 University Ave. nArtori ii i Nn;m %m h3 PERFORMANCES NIGHTLY THRU DAWN FOLLOWING LAST REGULAR FEAtURTHURSDAYTHf AMERICANIZATIONOf KMIIY 0<fefc«r 24 October 31Seller* Kubr.ck Hollow#** Treo*LOLITA RASPUTIN AN0 THE RffTILISFRIDAYOctober 11THf LOVED ONE October IITHE (OUfCTOR October 2SAAichoel Com.TNI WRONG 101 l,.n Ala. go*.,GfORGY GltlSATURDAYOctober 12Slonley K*r.<h »OR STRANGflOVE October 19Oeon MartinTHE AMBUSHERS October 26Dudley Moore Pe»er CookBEDAZZLED November 2Jame* CoburnIN llltf HINTPUIS ‘Tilt Playboy Soriol'—tv.f, N.ghi a New Chapter—Mm Wayn. ,n 'Th. Sign Of Th» (ogle1204 N DIAMBOWN • PHONl 944 3434ONE WILDPERFORMANCEONLYFRI.g NOV. Ig 4:30 P.M. AUDITORIUMTHEATRECLANCY BROS. &TOMMY MAKEMTICKETS: $4.00. S5.00. S4.00. S3 00 922-2110Mall Order* ta Andltoriiim Theatre. Coegres* near Michi¬gan, Chicago. Ticket* at loi Office: alto Ticket Central.212 N. Michigan A all Ward. Field* and Crawford Store*.BfXQCDieiLfjifer'ty cut*iCcffcA^touse1450 E 57™STREET Hycie Park's Oldest q.n3Most DistinguishesCoffeehouseDir.—Stanley Kubrick (“2001”)With—Peter SellersGeorge C. ScottRip TornSat., Oct. 26MANDEL HALL7:15 & 9:15One Dollar doc films darktheatre Ienjoy ourspecial studentrateatal1/ Y timesfor college studentspresenting i.d. cardsat our box office• different double featuredaily• open 7:30 a.m. —lateshow 3 a.m.• Sunday film guild• every wed. and fri. isladies day—all gals 50clittle gal lery for galsonly• dark parking—1 doorsouth4 hrs. 95c after 5 p.m.• write for your freemonthly programThe Grey City Journal October 25, 1968Continued from page 3those exercising the same consumer freedom by boy¬cotting grapes of “acting in restraint of trade.” HubertHumphrey has backed the boycott and said: “I call uponMr. Nixon to join with me in urging the growers and theworkers to get into sincere negotiations and the boycottcan come to an end.” McCarthy has stated: “A victoryin (the farm workers’) strike will bring both dignity andincome so vital to workers whose living and workingconditions are the shame of our nation.” Here in Illinois,the farm workers have found a vocal friend in AttorneyGeneral William Clark: “For all who care to listen, Iwant to make it clear that I support the Grape Boycott.It is a boycott not for favors, but for fairness.” Just lastweek, Clark brought suit against the Giumarra Corpora¬tion for false advertising in the use of other growers’labels.The growers have indeed begun to feel the pressure.Though the grape crop of 1968 has been reported thelargest in 20 years, official tallies show that grapesales have been off 40% from last year in the fivelargest markets in the country. Growers have claimeda loss of $2 million, reacting, in the words of a unionofficial, “. . .with monotonous squeaks, like mice withtails caught in a trap.” A number of growers haveencouraged the formation of the Agricultural WorkersFreedom to Work Association, which opposes the “Hu-elga.” Its leader, Mr. Jose Mindoza, has been sent ona nation-wide speaking tour to disclaim the Union’sappeals. The Chicago Tribune and like-minded groupshave hailed Mr. Mendoza as the spokesmen of theworkers, ignoring the fact that he began as a laborcontractor, not as a laborer. Finally, in West Coastcities, peaceful union pickets around supermarkets havebeen attacked by fists and bullets aimed at intimidat¬ing the boycott teams. But the boycott continues...Without question, this is the crucial season for theCalifornia grape industry and the farm workers. Nation¬al awareness of the farm workers’ plight will hope¬fully promote legislation in the next Congressional ses¬sion to provide equal protection for all laborers. De¬scribing workers’ conditions, John Steinbeck wrote inThe Grapes of Wrath:“There is a crime here that goes beyond denunci¬ationThere is a sorrow here that weeping cannot sym¬bolizeThere is a failure here that topples all our suc¬cesses.”Thirty years of “successes" since Steinbeck’s bookhave improved the material lot of most industrial labor¬ers. This year, the “forgettenest Americans” of thefields get their chance. FilmsEVERYTHING IN Les Carabiniers seems to leadtowards generalization. We begin with the wonderfulquotation by Juan-Luis Borges about simplicity lead¬ing towards worn metaphors (something Borges and byextension Godard definitely sanction). As soon as thelone credit card disappears from the screen we followa road that leads out of the city (any city?) to a de¬serted shack in an unbelieveably ugly wasteland (agarbage dump?). Here we find Ulsses, Michelange,Cleopatra, and Venus. At times in the firm we are toldthat Ulsses and Michelange are brothers and that Cle¬opatra and Venus are their wives; at other times thatMichelange and Venus are the children of Ulysses andCleopatra. But if this is universality then it is all un¬important and what is important is the aarrival of twosoldiers (or riflemen as the title would have it) whocoerce the two men to go off to war (mainly with thepromise that they can commit any and all types of il¬legal behavior). So it wou’d seem that Les Carabiniersis about that most general of all topics, war.I don’t think so. Not that wrar is not important in thisfilm. War permeates it because was permeates thelives of the characters Godard deals with here. An¬drew Sarris recently argued that a realistic Westernwould show a stretch of barren desert for about an hour,show a man riding a mule for about ten minutes, andthen have another hour of uninhabited desert. Godard insomewhat more cinematic fashion has given s a real¬istic war film — that is a film of ugliness and banality.But he has told it all from the point of two men; that israther than two hours of a desert interrupted by a loneman, two hours of a lone man riding (across) the de- / . T r 1 jsert. C ulture VultureFaulkner has taught us that a work of art about a“simple” mind can be extremely complex. Godard be¬lieves in Faulkner (he alludes to the highly underpraisedWild Palms constantly) but in Les Carabiniers he con¬fuses us all by giving us a work about two simple mindsthat is indeed simple. Godard is forever trying to reducethings to essences and here he attempts to reduce hu¬manity to its lowest limits. What is fantastic is that wefind these four people, who are consistently victimizedand are very happy only when the can victimize other,endearing. The absolute height of the film is reachedwhen the two men return home with all the treasures ofthe world — and for twelve minutes proceed to showthem to us — a large suitcase full of picture postcards.In a world where war is the norm and where people areexpressed through the metaphor of war then, as Godardshows us, Modigliani and Lola Montes become redcedto pornograph.Les Carabiniers is Godard at his almost best, whichuntil Pierrot le Feu is shown here, is the best we cansee. Godard at his almost best is far liner than practi¬cally anyone elsee filming. The film, made in 1963 butshown commercially in Chicago for the first time now,is at the Three Penny, certainly the best movie housein town. They’re even trying hard to get the lenses nec¬essary to show this film in the proper aspect ratio, some¬thing theatres like the Plyaboy and the Esquire seemnever to do.Godard Wholly Anti-War1 WWlit® I ; §|1 V ’ yOctober 25, 1968 ' COMES HALLOWEEN and the culture-vulture hoversmenacingly over the city, defying it with an eerie cawof “trick or treat to come up with a bag of lusciousedibles or risk a carload of smashed pumpkins on thefront steps of the Civic Center. But wait, gentle culturelovers, before you rush out in search of rotten fruit. Seewhat kind old lady Chicago is giving out in the way ofmellifluous sweets.MUSIC:Easley Blackwood, famed composer and professorof music at Chicago, will give a piano recital tonight at8:30 in Mandel Hall. The program, which includes sona¬tas by Ives and Boulez, promises to be interesting, par¬ticularly to those of us who have been waiting aroundsince the cancellation of Blackwood’s lecture-demon¬stration scheduled in last spring’s ill-fated Liberal ArtsConftrence.Arthur Grumiaux, Belgian violinist, is soloist withthe Chicago Symphony tonight and tomorrow in a per¬formance of Berg’s violin concerto, Shostakovich’s Sym¬phony No. 5’ and George Crumb’s (I kid you not) “Ech¬oes of Time and the River” which won a Pulitzer Prizein performance at the University of Chicago in 1967. 2Friday and 8:30 Saturday at Orchestra Hall.Country Joe & The Fish are at Orchestra Hall to¬night at 8:30 (let’s hope they don’t run into Grumiauxcoming out the back door), and are worth the seeing ifyou don’t mind missing Liberace at the AuditoriumTheatre.It’s an excellent week for Indian music. SitaristDebu Chaudhuri, professor of music at Delhi Universityand a leading performer for All India Radio, and tablaplayer Taram will give a concert Saturday at 7 in Her¬man Hall at IIT. Phone 225-9600, ext. 461 for ticket in¬formation. On Monday, Uday Shankar and Co. performIndian classical music, 8:30 at the Auditorium Theatre.The Suzuki Children, ten miniature Japanese vio¬linists agtd 5 to 16, persent a rare, Not-To-Be-Missedtreat for all culture scavengers hungry enough to flyout to the Skokie Junior High School the eve of all Hal¬lows’ Eve (Wednesday, if you’re too weak to work thatout) at 8:45. There’s also a workshop with the kids at9:30 Thursday morning, in case you were planning oncounting Halloween a religious holiday and cuttingclasses. Call 446-3822 for ticket information.The Village School of Folk Music is presenting itsSixth anniversary concert with the Gand Family Singers,Sally Miller, and the Village School Singers Sunday at2, 3, and 4, gratis, 631 Deerfield Rd. in Deerfield. TheLake Country String Band continues at the Harper Thea¬ter Coffee House 9:30 and 11 Fridays and Saturdays, andthey’regreat. Made up mostly of UC people, they makeall kinds of wild music and funny chatter.And, finally, The Chicago Public Library, Randolphand Michigan, is in the midst of its noon-hour concertseries, Saturdays at 12:15. Just get off the IC and you’rethere (a special for you vultures with broken wings),The Carey City Journal * : f * 5FOTA 69FESTIVAL OF THE ARTSMEETING TUESDAYOCTOBER 298:00 P.M.Reynolds Club Lounge'PERFECT’ - MAROONPARAMOUNT PICTURES pmf.1.■A SHE FILMTWFrancoZeffireluPnadurttoa ofRomeo^juuetNo ordinarylove story....TECHNICOLOR* / A PARAMOUNT PICTUREFOR FEATURE TIMES CALI 944-2966CARNEGIE HYDE PARKSTARTSFRI.OCT.25THE MIRISCH CORPORATIONaInspectorClouseaus- COLOR by DeLuxe PANAVISION*UNIVERSITY THEATRETRYOUTSOpen Casting ALL ROLESTHE BALCONYby Jean GenetSat Sun Oct 26, 27directed byRichard Rubinfrom | to 3:30 pmReynolds Club Lounge i PizzaHY 3-8282Italian 8c AmericanDishes SandwichesDelivery ServiceOPEN 7 DAYSCarry-OutsM5^^^i£j|eParJ^}lvdTAKTAM-YMtCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILYI I A.M. TO 9 P.M.SUNDAYS AND HOLIDAYS12 TO 9 P.M.Orders to take out1318 East 63rd MU4-IQ62Jimmy’sand the University RoomRESERVED EXCLUSIVELY FORUNIVERSITY CLIENTELE■ FIFTH-PIJFJIH & WOODLAWN..Ttie Grey City Journal CINEMAChicago Ave. at MichiganEBERT SUN-Titnes****Should win Academy AwardLESNER NEWS“A Treasure"TERRY TRIBUNE"Film is a Smash”MARSTERS AMERICAN"Everyone Should See It"JUDITH CRIST N.B.C.TV TODAY SHOW"I Love This Movie"* ^.THEMkJ*T\NO°LVStudent rate every $ 4 50day but Sat. y |DR. AARON ZIMBLEROptometristeye examinationscontact lensesin theNew Hyde ParkShopping Center1510 E. 55th St.DO 3-6866Student Membership$12.50Special otter to students ataccredited colleges and universitiesto become members at the reducedrate ot $12.50 with full privileges.Privileges include 4 free Museumpublications, 25-50% discount onMuseum books, reproductions andslides, reduced subscription rateson art magazines, monthly MembersNewsletters, and unlimited freeadmissions.Department of MembershipThe Museum of Modern Art11 West 53 StreetNew York, N.Y, 10019Student Membership: $12.50Extra pass for husband or wife: $2.50Make checks payable to The Museumof Modern Art. Piease enclose axerox or photostat copy of a currentschool ID or bursar's receipt.Name (please print)AddressCity, State, ZipCollege Or university THE UNIVERSITY OFCHICAGO BOOKSTOREWe ore quite pleased to announce thatwe now carry in stock every titlepublished by the University of ChicagoPress. The following is a selectionfrom the more than two thousandtitles on the U of C Press list:Albert: FUNDAMENTAL CONCEPTS OF HIGHER ALGEBRABoorstin: GENIUS OF AMERICAN POLITICSBooth: RHETORIC OF FICTIONCastillo: UNIVERSITY OF CHICAGO SPANISH DICTIONARYCrane: THE IDEA OF THE HUMANITIESFranklin: RECONSTRUCTION AFTER THE CIVIL WARGrene: GREEK TRAGEDIESHavighust: METROPOUTANISMJanowitz: COMMUNITY PRESS IN AN URBAN SETTINGJones: EVOLUTION OF THE ATHEROSCLEROTIC PLAQUELeVine: DREAMS AND DEEDSLevi: INTRODUCTION TO LEGAL REASONINGKantor: SOUNDINGS AT TELL FAKJARIYAHKitagawa: HISTORY OF RELIGIONSKurland: SUPREME COURTS REVIEWLach: ASIA IN THE MAKING OF EUROPELattimore: GREEK LYRICSMcNeill: RISE OF THE WESTPerlman: PERSONARosenheim: WHAT HAPPENS IN LITERATURETax: THE DRAFTWeinberg: LIMITS OF SYMBOLISMWeintraub: VISIONS OF CULTURETHE UNIVERSITY OFCHICAGO BOOKSTORE5802 South Ellis Ave.October 25, 1968Culture Vultureand it doesn’t cost a thingEars sated with sweets? Just open your eyes.FILMSYou won’t laugh so hard until you see What’s NewPussycat again. The purity of the maiden and thegreat chase and the happily forever after are all herein a deliciously frothy knick-knack.Incidently, what has happened to Michael Caine?He started out with great promise in Zulu (a surpris¬ingly good cast-of-thousands type flick); fulfilled hispromise in such movies as The Ipcress File, Funeral inBerlin. Hurry Sundown, & now after a disappointingBillion Dollar Brain (hardly Caine’s fault, though, hewas committed to the series) he falls flat on his photo¬genic face, as well as on his fingertips, in Deadfall, adreadfull second -story -man -comes to a tragic end non¬thriller. As I asked, what happened to Michael Caine?I fear he has gone the way of Clint Eastwood (moreabout him in the future.) (But I digress.At the Clark this weekend, Steve McQueen takes thespotlight. Six of his films are being shown, most notablyThe Great Escape and Nevada Smith.If you’ve been able to avoid seeing The Great Escapethe last twenty times it has been on the late show, con¬gratulations. Now you can see it without commercials.But don’t miss it this time around. It may be a longtime coming to an accessible theater again. It is Mc¬Queen's best film, showing his unique style to great ad¬vantage in a situation where a sense of humor as wellas an indomitable will is essential to survival. He con¬vincingly portrays a WWII POW camp escape artistwho possesses both of these qualities. Some very finemotorcycle scrambling is shown, with McQueen doinghis own stunts.Nevada Smith is a Grade B Western which is aworthy precursor of those greatest of all Westerns—theman with no name series. McQueen plays the role of ayoung boy who grows to manhood through a mission ofvengeance. The plot is worn, but the treatment is re¬freshing. The lad is realistically taught the laws of sur¬vival by Jonas Cord, a travelling gunsmith (excellentlyportrayed by that ubiquitous, best of Grade B Westerns’supporting actor, Brian Keith). One of the most excitingfight sequences filmed takes plact when McQueen takeson an accomplished knife-fighter and wins. The battleis staged in the dark around cattle pens. The action isvisceral in a manner very satisfying to those (like my¬self) who need their violence raw and believable. Cath¬arsis is obtained vicariously when actors get slaughteredwith realism. And style.But I digress.Also at the Clark, on Monday (long weekend, what?),Eric Soya's Seventeen. If you can stomach the greasylittle snot who has the male lead, (he becomes moretolerable as the film progresses) a pleasant evening isto be had watching the frightened virgin of the openngscenes develop into the self-confident make-artist who isable, with aplomb, to put away a fellow passenger onthe long train ride home.More seriously, it seems appropriate to review Rac-Metro Goldwyn MjyprpresentsA Mildred FreedAlder,; ProductionPeter UstinovMaggie SmithKarl Malden. A perfectlydelightfulcouple...outwit acomputert of millions!It?ssHot Millions5*1CO StarringBob NewhartMetrocolorDepartment of MusicTHE CONTEMPORARY CHAMBER PLAYERS OF UCPresentEASLEY BLACKWOOD pianistSecond Sonata BoulexSonata No. 2 (“Concord, Mass.”) IvesFRIDAY, OCT. 25HANDEL HALL 8:30 P.M.Admission free hel, Rachel (directed by Paul Newman) after talkingabout McQueen’s films. I .used to think that McQueenwas a poor imitation of Newman’s incomparable actingstyle. I’ve grown out of that mistaken attitude, but Istill feel that there is more depth, more intelligence inNewman than in McQueen.Don’t bother to take into account that this is New¬man’s first attempt at direction. He has mastered hiscraft almost without effort, it seems. He directs with asmuch style as he acts. He takes old techniques andmakes them come alive. For example, the grainy day¬dream has become almost a hack method of characterdevelopment. Newman uses this technique with greatskill, giving us intimate glimpses into the mind of Ra¬chel, the spinster (almost) schoolteacher.Newman also uses relatively untried techniques togood effect. For instance, now and then he will projectthe music from one scene onto the preceeding scene,lending continuity to the action.Rachel, Rachel is about a thirtyish smalltown womanwho has reached a turning point. Either she gets laid(and starts taking for once in her life) or else she con¬tinues irrevocably tied to her mother’s cloying needs.With the fortunate arrival of an old high schoolfriend, Rachel managed to get seduced. After her mindsettles down from the shock of realizing that she isn’t inlove, she gets a better grip on her life. She doesn’tchange drastically, just a little bit, just enough to makesome difference to her and to the viewer.The movie ends as it should—with questions still un¬answered, problems still unresolved. Rachel movesaway, but she doesn’t leave everything behind—she takesher mother, but on a very different basis. Rachel, Rachelis a very satisfying movie because it? doesn’t pose earth-shaking questions. It is an ordinary story sensitivelybrought to life.If the Academy Awards had any significance, onewould go to Joanne Woodward for her performance asRachel. She is nothing less than magnificent.HAWKS, HAWKS, AND HAWKS-Doc Films is show¬ing a series of twelve films of Howard Hawks, which isto say that they are showing twelve of the greatestmovies ever made, and the audiences are tiny. Thereare no better films being shown this year in Chicago, oncampus and off. This Tuesday is Gentlemen PreferBlondes and Thursday is one of the absolute master¬pieces of the cinema — Only Angels Have Wings.If you haven’t been to any of the Hawks series yet, findone of the people who have seen the films. Hawks has aprofound sense of character unmatched by any otherman in the 20th century, vision, a complete mastery oftechnique, and a superb sense of entertainment. Whatelse can one possibly ask of an artist?"Xlift /S2,(VOLVO)PLAYBOYTHE AT E R Y1204 N DEARBORN . PHONE 944 3434 Volvos last an averageof 11 years in Sweden.They average about aday and a half in our showroom.I In* Im*>I n*;i«>n f«>i lm\ iii*i a \olvo i> Invanx* it la-ls so Joiij;.hxartlx limv Ioii*r wr Jon I iriiaraMloc, I>i11 \v«* do know that over1)~y' ■ oi all lit** \olvos ii*»isfi*rr<i in ihr l uilrd Stairs in the IasiI l v**ars are -lill oh the mail.Tile l»e-l reason for ini\ in*: a \olvo now. i> because we havea lew in slork. \ml I rankly, we «|on t expert to have themaround too Ion*:.\\ hirli In ini:- up an interesting paradox ahont Volvos. ()nrriistomen* like to iiu\ them l»ee*»i»se ihey laM. We like to -ellthrill hrrail-r ||ie\ doll*!.VOLVO SALES &SERVICE CENTER, INC.7720 STONY ISLAND AVE.CHICAGO, ILL. 60649 RE 1-3800 Friday, Doc Films presents La Strada, a classicfilm by the master Italian director Federico Fellini. Sat-erday is Dr. Strangelove or (“How I learned tostop worrying and love the Bomb”). A brilliant satire byStanley Kubrick, with Peter Sellers playing three, count’em, three roles. Supported by Sterling Hayden, KeenanWynn (as Colonel “Bat” Guano), and Slim Pickens.You don’tetobe„ to drinkioeLouismiL£ \JKBEBmIVJust hip.Roman Polanski Directs(ROSEMARY’S BABY)KNIFE IN THE WATERRemember The Time Change (CST)!Sunday, October 24, Cobb Hall 7:00 l 9:00, $1, CEE, LTD.■ - » — October *5, 1068 The Grey City JournalThe Yellow-Billed Wordpickerdoesn’t write words.It helps you remember them. THE GENTLEMAN'S SHIRTGLADDEN YOUR HEARTH... or den, or bar, or dorm...with this eye-catching THROW RUGThe Anheuser-Busch "A A Eagle" does colorful wondersin sparking up any room—anywhere. It's a beautiful 28" x 36'deep pile Acrilan rug, durable, easy to clean. Deep red,brown and gold on white.Check or money order for $12.75 (includes postage) noCOD’s. Money-back guarantee if not completely satisfied!Offer void where prohibited by law.ROBERT BASKOWITZ ENTERPRISES8227 Maryland Avenue • Clayton, Missouri 63105ACCUTRON“425" Witetproof,* sweepsecond hand,applied romannumeral dial.$135.00Or gain.We ll give you that guarantee when you buy an Accutron' timepiece It'll be accurate to within a minute a month.! An average oftwo seconds a day Other watches have their own notions about howlong a day should last. Sometimes they shorten it to 23 hours and 56minutes Or make it last longer than the usual 24 hours Accutrondoesn t believe in making time Or losing it. Just keeping itACCUTRON* by BULOVA W It goes hm m m m.xCollegiately~ Correct...For Fall 1968: Sero offers a choice of twoof America’s most celebrated campus collarmodels — the Purist® button-down and thenew, distinctive Bristol. Deftly tailored —with trimly tapered body lines — in a hostof handsome solid colourings, stripings andchecks, many exclusive with Sero. Bothmodels come in fine-combed 100% cotton ordurable press.AVAILABLE ATMurray Smikler516 N. Michigan Ave.Chicago, Illinois<T Copyri|M by Sero of Now Hmn. fnc 1964rdpicker is a marking penames,-gleans words, andlighlights them all in bright yellow. You don’tuse it to write down the words you have toremember. You use it to write over them.The Yellow-Billed Wordpicker.t reminds you how smart you should be.And for 49c, you shouldn’t have to bereminded to buy one.CAMPAIGN BUTTONS FORTHE ALIENATEDEach button is large, colorful, and appropriatelydesigned. Great fund-raisers for Frats.HUBERT SMOKES MURIEL’SPURGE MORAL CONSTIPATIONGENE LIVESSave your SOUL—Don’t go to the POLLI wouldn’t buy a used car from either one1 for 250, 5 for $1,00, 10 or more 150 each.Myers, P.0. Box 125, Dept. W, Yorktown Heights,New York 10598JESSELSON’SSERVING HYDE PARK FOR OVER 30 YEARSWITH THE VERY BEST AND FRESHESTFISH AND SEAFOODPL 2-2870, PL 2-8190, DO 3-9186 1340 E. 53rd FOR THE CONVENIENCE AND NEEDSOF THE UNIVERSITYRENT A CARDAILY - WEEKLY - MONTHLY;VWS AUTO. • VALIANTS • MUSTANGS • CHEVY II!AS LOW AS $5.95 PER DAYINCLUDES GAS, OIL, 8c INSURANCEHYDE PARK CAR WASH1330 E. 53rd ST. Ml 3-1715 JoriTv’IT TP2IOjA*/j u 'O 0 oMStudent discount '—1422 East 53rcl El. Pitot-.-. ('IvJStudents & FacultyUse this ad for10% DISCOUNTon all Dry Cleaning! atPUBLIC CLEANERS, INC.r 1380 E. 53rd., 1310 E. 53rd St., 1457 E. 51st.>» While you are there, pick up your per-’ manent 10% Courtesy DISCOUNT CARO.>fl US 2 .(LflJUULfl JUUUUUt JUUUULftJUULfi JUUUUUt A SLSLSL* The leaders-Cohn-Bendit andthe others-speakout on The FrenchStudent RevoltIn the first book on the subject, DanielCohn-Bendit, Jean-Pierre Duteuil,Alain Geismar, and Jacques Sauvageotexplain why, and how, the revolt spreadso rapidly—and almost engulfed all ofFrance in a social revolution. With aForeword by Herve Bourges, and aninterview between Cohn-Bendit andJean-Paul Sartre. $3.95; paper $1.50HILL & WANG141 Fifth Ave., New York 10010HELP KEEP OURSTREETS BEAUTIFUL/rrr\"WORSHIP THE LORD IN THE BEAUTY OFHOLINESS.” Psalm 29:2South Shore Bible Church, 7159 S. Cornell Ave.,Chicago, III. invites you toThe Grey City Journalr.nripy. r&r.v»0 IMPORTS, INC.2235 S. MICHIGAN326-2550 MAKE YOURNEXT CAROctober 25, 1968j jh TOchrirCgflfp ;.V>>f«» fM?' ' •*:■:t,, The Chicago Literary ReviewI -•■' - '- \ ‘'. i • •/.-.••••. * -v> ' ? '.•'■■ • -. < >;': Tv. -s ••• ' ' % -.■ ii- * .•■’■'■ «Vol. 6, No. 1 The Nation's Most Widely Circulated Student Publication October-NovemberThe Dong With A Luminous Nose19th Century British Minor Poets, editedwith an introduction by W. H. Auden.New York: Deiacorte Press, 1966. $6.00,383 pp. (Notes by George R. Creeger)by LINDA PETERSThese are the generalizations. Anythingthat can be collected can be anthologized.No anthology is perfect, for no anthologyis complete; and no anthology perfectlysatisfies everyone, for only its maker findsin it all of his favorites: anthologies at¬test to the amplitude of the universe, bothby the unending variety of things to collectand by the unending variety of ways tocollect them. To begin upon these grounds,then, leads nowhere. Rather, consider:how have the bounds of the anthology beendrawn: are they natural or gerryman¬dered? What does the sampling indicateabout the whole to which it refers? Howdoes the construction of the anthology re¬flect the intelligence of its maker?Verse collections seem a natural thingfor a poet to make, either for love or formoney. This one, made by W.H. Audensamples the verse of some eighty minorBritish poets of the nineteenth century.Immediately the bogy of defining limitsarises: where to begin and end the cen¬tury, for human beings have an inconve¬nient way of ignoring century bounds intheir births and deaths. Auden nods to thecritics who care about such things by con¬sidering this question of centuries first inhis introduction to the volume. To be ofthe nineteenth century, he determines, apoet must have been born after 1770 andhave published his first poems before 1900.The limits seem appropriate: the oldestpoets are thirty in 1800. But such divisionsalways assert the independence of menfrom the schemes of historians. If Words¬worth had been bom a year earlier, hecould not be considered as either majoror minor poet of the nineteenth century.Auden is not a man to take lightly hispowers. To assert the arbitrary, personalnature of his judgment, he notes that A.E.Housman must, under his rules, be con¬sidered a nineteenth century minor poet,even though some might class him amongthe major poets of the twentieth.Such limits of date are, in a long run,untenable, though convenient. Realizingthis, Auden surmounts the temptation tomake “century” seem a natural categoryfor poetry and emphasizes instead the con¬tinuity from nineteenth to twentieth cen¬tury. Readers of modern verse are con¬tinually made aware of their direction toward the imagists, toward Eliot, towardfree verse experimentation. Therefore Au¬den closes the volume on a note of ex¬pectancy:Though the crushed jewels droopand fadeThe Artist’s labors will not cease,And of the ruins shall be madeSome yet more lovely masterpiece.These lines of George William Russell, thelast of “Continuity,” fall after many pagesof melancholic verse, grieving the passageof time, the passage of Beauty, the eventof death. So placed, they elegantly faceus into the wastelands of Eliot, Yeats, andAuden, the attempts to escape. In thisway, Auden carefully sets his bounds andthen oversteps them.Yet still remains the difficult labor tocut major from minor, easy for Auden.With Odyssean arrogance he lays downthe five conditions of majority:1. The major poet must write a lot.2. His poems must show a widerange in subject matter andtreatment.3. He must exhibit an unmistakableoriginality of vision and style.4. He must be a master of versetechnique.5. In the case of all poets, we dis¬tinguish between their juveniliaand their mature work but, inthe case of the major poet, theprocess of maturing continuesuntil he dies so that, if con¬fronted by two poems of his ofequal merit but written at dif¬ferent times, the reader canimmediately say which waswritten first. In the case of aminor poet, on the other hand,however excellent the twopoems may be, the reader can¬not settle their chronology onthe basis of the poems them¬selves.If a poet cannot fill at least three and ahalf of these conditions, he may be con¬sidered minor. The checklist is sensible.It avoids controversy, yet there is slightirritation in his devious disregard for thequestions of merit and influence. Overthis collection lurks the presence of thatyounger Auden who thumbed his nose atthe critics by placing the selections in hisCollected Poems in alphabetical ratherthan chronological order.Justly or unjustly Blake. Wordsworth,Coleridge, Byron, Shelley, Keats, Tenny¬son, Browning, Arnold, Swinburne, Hop¬ kins, Yeats, and Kipling are excluded asmajor; from those remaining, eighty arerepresented. Auden, an old campaignerfor the respectability of song, satire, andhumorous verse, has included many ofthese here. The result is an educative,fun-to-read volume.It is impossible to read through thisanthology without a chuckle or two.Charles Stuart Calverly amused his con¬temporaries with parodies of terrible po¬etry, as in these lines from “Morning”:’Tis the hour when white-horsedDayChases Night her mares away,When the gates of Dawn (theysay)Phoebus opes.And I gather that the QueenMay be uniformly seenShould the weather be sereneOn the slopes.Thomas Beddoes, usually remembered forhis poignant lyrics and few fine lines ofblank verse, becomes fixed in the mindas the poet of “The Oviparous Tailor,” aquasi-serious parody of sixteenth centuryprimitive ballads. If the reader, however,gags on the preciousness of literary paro¬dy, he will delight in the open-air wit ofW.S. Gilbert, to whom Auden restores themantle of poet, or of Thomas Hood or Ed¬ward Lear. Older generations of criticsscorned these men as not really seriouspoets. This anthology urges their rehabil¬itation. Fortunately, current tastes seemless adverse to recognizing such a one asLear’s “Dong with a Luminous Nose” asone of the immortal characters of fiction.When awful darkness and silencereignOver the great Gromboolian plain.Through the long, long wintrynights;—When the angry breakers roarAs they beat on the rocky shore;—When storm clouds brood onthe towering heightsOf the Hills of the Chankly Bore:—Then through the vast and gloomydark,There moves what seems a fieryspark,A lovely spark with silveryraysPiercing the coal-black night,—A meteor strange and bright: —Hither and thither the visionstrays,A single and lurid light.Slowly it wanders,—pauses— creeps,—Anon it sparkles, —flashes andleaps;And ever as onward it gleaminggoesA light on the Bong-tree stems itthrows.And those who watch at that mid-✓ night hourFrom Hall or Terrace or loftyTower,Cry, as the wild light passesalong—“The Dong! — The Dong!The wandering Deng throughthe forest goes!The Dong! — The Dong!The Dong with a luminousnose!”Furthermore, there is good representa¬tion from that now penumbral art form,narrative verse. Subjects range over theexpected universe of possibilities. Theonly sizeable omission in the sampling oc¬curs in the categories of sentiment andlove-poem, which were much produced. Icannot say, however, that I find the ex¬clusion damaging, for these forms are us¬ually too well represented.Auden has instead chosen to emphasizethe “century’s strengths,” showing it inits maturity and liveliness. Usually, a poetchooses to write about something that in¬terests him. Therefore when certain sub¬jects persist in the verse of contemporar¬ies, generalizations about the Weltan¬schauung of a period may be dared. Itmust, however, be remembered that, whenworking from just the productions of art¬ists, such generalizations are valid onlyfor that group. This is especially true dur¬ing the nineteenth century when intellec¬tuals and artists were drawing together,away from the rest of society.As we read through the chronology ofverse in this volume, a pattern begins toemerge. During the first third of the cen¬tury the Keatsian conflict between actualsocial conditions and imaginative beautydominated the consciousness of poets. Fre¬quently, the dilemma resulted in stingingsatire of the exploiting classes, of com¬placency and faked liberalism. Self-in¬terest, the profit motive, and the churchreceived the lashes of disgruntled poets.As the century advanced the same con¬flict still absorbed the attention, but itwas felt with less and less precision. Nolonger did most poets attack specific so¬cial conditions, for historical eventsContinued on Page 61 v li1 11 i! • Cheyne Walk, Chelseawhere 19thcenturyartists andwritersmetand lived.SdUl nedoioO• •' y*’- tjfcs#Texts & ContextsThrough The Vanishing Point, by Mar¬shall McLuhan and Harley Parker;Harper & Row, $7.50,War and Peace in Jhe Global Village,by Marshall McLuhan and QuentinFiore; Bantam Books, $1.45.A Year From Monday, by John Cage;Wesleyan University Press, $7.92.by DAVID LLOYD-JONESSome old Greek once said that you couldnever step into the same river twice,and since high technology companies havetaken to running ads in Harpers for thelast few years this has been a fashionablesort of thing to meditate about. Since theworld has always been changing (“Thereare more scientists alive now than in allprevious history,” one can imagine New¬ton saying. . .) there have always beenpeople commenting on the fact, thoughperhaps never with the streak of hysteriathat has been thought chic recently.Now Marshall McLuhan, the NormanMailer of literary exegesis, has been plug¬ging a set of metaphors for big changes.The literate, linear, Newtonian mind andsociety, he says, structure themselves inuisual space, which is to say space that isordered, can be cut and shaped by wallsand is arbitratily controllable, like whatwe see. When our minds are wired into alot of things happening in different placesin different ways at different speedsthrough different modes, he says, we op¬erate in acoustic space, which is like whatwe hear: funny shaped, uncontrollable di¬rectly, of varying resonance. The bigthing going on right now, McLuhan says,is that the world is tuning out of visualspace and tuning into acoustic or auditoryspace. McLuhan also invented hot, whichis impressive but superficial like a brand¬ing iron, and cool, which is sensual andenveloping like the mountain lakes in aSalem commercial, as well as a wholelot of other cute words that are well es¬tablished on the American cocktail partycircuit.Through The Vanishing Point is a bookof poetry, pictures and marginal commentintended to defend this aural-visual meta¬phor before the tiresome English lit typeswho have always seemed to hateMcLuhan’s guts. It might be a good ideato give the book to anyone who pedantsaround about the influence of Romanticsor Pre-Raphaelites; McLuhan probablysees his role in social change as under¬mining their hallowed truths and self-con¬fidence. But it’s unlikely that one morewitty book will settle all the cognitivequestions involved in whether or not Mc¬Luhan’s ideas about sensory balance haveany meaning. In time perhaps the clin¬ical psychologists will help out here.War and Peace in the Global Village,on the other hand, is worth while for thegeneral reader, at least if he hasn’t cot¬toned onto the McLuhan metaphor yet.Of course a lot of people take it for grant¬ed that the human race is radically in¬terconnected and interdependent becauseof such things as atom bombs, telephones,Hollywood movies fuelling third world rev¬olutions, vitamin pills, weird steel alloysthat can only be made with trace ele¬ments from all over the globe, transocean¬ic jets introducing the Atlantic River,and all that stuff. These people, most ofwhom were growing up while these thingswere being invented, may very well havethe intellectual models to enable them tohandle all this, in which case they don’tneed McLuhan to give them abstrusemetaphors for what they already findcommonplace.What the book says is that each newtechnology changes the sensory balanceof society, and society has to find a“new image” of itself to readjust. War,seen by McLuhan as very high intensityinformation exchange, is one way of find¬ing a new image. While this may notmake much sense to a kid who got anarm shot off at Khe Sanh, it does makesome sense, and it lets McLuhan pick upsome points with SDS by putting war on a continuum with education as informa¬tion exchanges designed to try to makesomebody else conform to bne’s imageof his role. In passing the book makesthe usual number of cute, and some¬times piercing and accurate, commentson wars past and the images they wereforming.Like everything McLuhan does, this isfine stuff and very useful as far as itgoes. The view of war as informationexchange, for instance, supplies an in¬tellectual context within which we cansee Herman Kahn as unjustly vilified fortrying to study what all our national pos¬turings are saying. At the same time itmust be said that McLuhan is eitherhalf blind or chickenshit, because he nev¬er follows his analytical nose to the pointof seeing anything as immediate and ugly.Now:“Some people say the use of forceis how we change the social course;The use of force, you surely know,is how we keep the status quo,”is an accurate statement of where mostwar comes from. It is all very well tosay that wars come from the image-dissonances between the world that isand the world struggling to be, but a lotof the messages programmed into societyas it is are hate, malice and greed, assurely as the message in the structureof DNA is heredity. And there would bemessages of hate and war even if therewere no profound changes going on insociety, no “new image” being sought.In Vietnam it may be correct to say thatthe Vietnamese decided to kick out theFrench, the Japanese, The British, theFrench again and the Americans becausethey had a new image of themselves asable to run their own country. But whatthis sort of talk ignores is that thecolonial administration which bled “Indo¬china” for eighty years was as mucha war of the French against the Viet¬namese as the actual fighting that gotstarted once the Viet Minh started op¬erating in 1935..There are wars, and there are warswhere people fight back. The first havebeen permanent in human history, andhave generally escaped the eye of peoplein comfortable universities; the secondare neatly explained by McLuhan’sanalysis. Where McLuhan fails, probablyby not being McLuhanesque enough, JohnCage in A Year From Monday really getson the case. A leading composer famousfor putting shrieks and squeals on tape in¬to the concert hall, Cage seems to havededicated the rest of his life to spreadingsimple political, ecological and social com¬mon sense. “Once one gets interested inworld improvement, there is no stopping,”he comments in the introduction to oneof his pieces. A Year From Monday is hissecond book in the campaign. Like Silencepublished a couple of years ago, it isa collection of anecdotes, happeningscripts, lectures and essays, largely con¬cerned with music and the dance — atleast ostensibly. Both Cage’s books aresheer delight to read, because the manis honest, elfin, and technically and pol¬itically acute, but they are neverthelesspolitical in that they are radically sub¬versive of practically everything in sight.If there is a single recognizable doctrinein the writing, it is that most of the gov¬ernment that matters to people is goingon unnoticed, internationally and anar-chically, and as we realize how this pro¬cess is working- we can start ignoringthe Humphreys and Nixons who pretendto be in the government business. Butthis is not central to the book, nor isanything else. Cage has used many of thechance methods he developed in musicto guide his writing, and the result ispoetry, whimsical diaries and lectures tobe read starting at any point and in anyorder. Hardly what one is used to inmanifestoes.For anyone who wonders what theHaight-Ashbury was about when it was atits best, A Year From Monday is a pre¬cise political text. And for anyone elseit is both in forum and content a bitof “new image” that doesn’t need a warfought over itself.David Lloy'd-Jones is Coordinator of TheInterculturai School. We Won't Go: Personal Accounts of WarObjectors, Collected by Alice Lynd,Beacon Press, $5.95.by DAVID KEENETwo years ago, when a group of stu¬dents was meeting in the living room ofthe Staughton Lynds, one girl who had afriend in prison asked, “What good does itdo to let them put you away like that?”Alice Lynd, the wife of former Yale pro¬fessor Staughton Lynd, recalls: “When Irealized that hardly anyone else in theroom had ever heard of her friend, Ithought, what a waste! Someone shouldwrite a book about the unknown men whohad tried to answer with their lives thequestions about effectiveness and personalsacrifice being asked by many individualsand little groups.”We Won’t Go is Mrs. Lynd’s attempt tofill that public gap. Included in the collect¬ion are personal statements from two doz¬en objectors and resisters, ranging fromsuch widely known personalities as DavidMitchell, Capt. Dale E. Noyd, MuhammadAli and the Fort Hood Three to the lesshighly publicized names and cases of GeneFast, Malcolm Dundas and Robert Luftig.The contributions were drawn from per¬sonal memoirs, letters to friends, tape re¬cordings, letters to draft boards, “officialC.O.” statements (Form 150) and a set ofdirected questions supplied to focus onspecific concerns. Not included are select¬ions from objectors who engaged in com¬bat in Vietnam, deserters who have leftthe country, and dropouts, whom Mrs.Lynd considers “not deliberately takingany principled position.” Also not includedare those who were “badly hurt by whatthey did, have retreated and do not wantto talk about it.”The personal statements and accountsstand on their own and represent a spec¬trum ranging from traditional religiouspacifism to organized political resistance.Reflecting her own perspective, increas¬ing female participation in direct actionin many areas and the mutuality of suffer¬ing for those not really “left behind,” Mrs.Lynd has included noteworthy selectionsfrom three wives of imprisoned objectors—one who shared with her husband a his¬tory of protest, another who looks backwith a sense of regret and a third who re¬sents having her own identity submergedas “Mrs. Conscientious Objector.”We Won’t Go can be appreciated on itsemotional level alone, as revealing the in¬ner personalities, struggles, experiencesand hindsights of those who object and re¬sist. But Mrs. Lynd has compiled it withmore in mind. It is intended as a guide¬book to action, a guidebook which attemptsto link intellectual and personal ideals withthe hard realities encountered by thosewho have already chosen some form ofopposition.It additionally reflects the current con¬cerns of an author who is engaged in con¬tinuing draft counselling. In some of thecases, it is clear that adequate counsellingcould have prevented many tragic person¬al consequences. In others, however, theproblems must emerge and re-emerge onlyon the gut level of those who participate.Some acknowledge that they would notmake the same decisions again, - havingembarked on their earlier courses with in¬sufficient planning and romantic visions ofrevolutionary action, only to find that “lifein prison is lonely, painful and trying.”Most, however, have absolutely no regrets,finding their decision to object or resist asthe most important event and anchor intheir lives—the source of continued person¬al, ethical, social and political activity.Having exposed a variety of courses, in¬dividuals and retrospective analyses, Mrs.Lynd and the contributors leave their rea¬ders “to sift out their thoughts and makechoices on the basis of their own convict¬ions.” For those who decide to adhere tothe title, Mrs. Lynd encloses the SupremeCourt decision on U.S. v. Seeger, an anno¬tated guide to SS Form 150, documents re¬lating to international war crimes and aguide to organizations which might be ofhelp.Mr. Keene is a graduate student in TheDivinity School of the University of Ohio. The Chicago Literary ReviewCreator Spiritus Richard L. SnowdenEditor Jeff SchnitzerCo-Editor Rick HackAssoc. Editors Gary HoustonJim KeoughArt Editor Bob GriessPaperback Editor Jeanne SaferManaging Secretary Barbara BlairBusiness Manager Barry EpsteinAssoc. Managing Editor . .Shirley ThornberPre-Review Editor Sara HellerAss't. Managing Editors ....Jeremy BangsGuidi WeissJulie SlottRona KeoughRoberta GallowayCynthia LyonsCampus EditorsAlbion College Thomas TerpBard College Bob HallBarat College Mary SextonBrandeis U David PittU. of California (Irvine) . .John F. MonsenU. of California (Riverside) . .Joe PlummerCal. Tech David LewinCarleton College Cy SchellyCarnegie-Mellon U Dave KamonsChicago St. College Milt LillieU. of Colorado (Denver) ....Leslie MinorConcordia College Herb GeislerElmhurst College John BizerGoucher College Karen SandlerU. of Illinois (Urbana) Elise CasselU. of Illinois (Chicago) ..Fred ArmentroutIII. Institute of Tech Steve SavageKalamazoo College Liz LindemanLoyola U Stephanie JaguchiU. of Maryland Mary HurlbutU. of Michigan Dan OkrentMichigan St. U Dave GilbertMiles College Deloris McQueenU. of Minnesota Paul GruchowU. of Mo. (Kansas City) Tony MurphyMontana St. U Diane TravisMundelein College ....Kathleen CumminsCollege of New Rochelle . .Madelaine BlaisSt. U. of N.Y. (Stony Brook) Wayne BlodgettNorth Park College Ted LodaOakland U Norman HarperU. of Pennsylvania Stephen MarmonPrinceton U A. Michael ThomasRice U Dennis BahlerU. of Rochester Elizabeth HayShimer College Andy ZahalySouthwestern U. (Tennessee) ...Bill CaseySouthwestern U. (Texas) . .Charles NeufferTemple Buell College ....Susan PoyneerTowsen State College . .Michael VogelmanU. of Utah Ed DitterlineValparaiso U Bruce BittingVanderbilt U Mark McCrackinMary Washington College(U. of Va.) Susan WagnerWashington College Thackray DoddsWashington U Renee WinterWayne State U Harry ClarkeWebster College Mary PetersenWilson College Linda DavisU. of Wise. (Madison) ...Donna BlackwellU. of Wise. (Milwaukee) ...John SeversonCollege of Wooster Richard MorganCity EditorsNew York Sue GoldbergWashington Tom MillerSan Francisco Patrick GormanLondon Roger NichollsGlasgow David Lloyd-JonesChief editorial offices: 1212 E. 59th St.,Chicago, Illinois, 60637. Phone: Ml 3-0800exts. 3276, 3277. Subscriptions: $5.00 peryear. Copyright 1968 by The ChicagoLiterary Review. All rights reserved.The Chicago Literary Review is distributed by theChicago Maroon the Albion Pleiad, the Bard Observer,the Barat Heurist, the Brandeis Justice, the Califoinia Institute of Technology California Tech, theCarleton Carletonian, the Carnegie-Mellon Tartan,the University of Colorado (Denver) Fourth Estate,the Concordia Spectator, the Elmhurst Elm Bark,the Goucher Goucher Weekly, the University of Illi¬nois (Urbana) Daily mini, the I IT Technology News,the Kalamazoo Index, the University of MichiganMichigan Daily, the University of Missouri (KansasCity) University News, the Mundelein Skyscraper,the College of New Rochelle Tattler, the State Universify of New York (Stony Brook) Statesman, theNorth Park College North Park News, the OaklandObserver, the University of Pennsylvania Daily Pennsylvanian, the Princeton Daily Princetonian, the R'ceThresher, the Rochester Campus Times, the ShimerExcalibur, Southwestern (Tennessee) Sou'wester, nSouthwestern (Texas) Megaphone, the Temple-BuenWestern Graphic, the Towson State Tower Lignt,the Valparaiso Torch, the Vanderbilt Hustler, > ’Washington Elm, the Mary Washington College Bullet,the Washington University Student Life, Webster <-oilege Web, Wilson College Billboard, University otWisconsin (Madison) Daily Cardinal, College oWooster Voice, and by Miles College Milean.Reprint rights have been granted to the Universityof California (Irvine) New University, the Universityof California (Riverside) Highlander, the ChicagoState College Tempo, the University of Illinois U-ncago) Commuter mini, the Loyola News, the ur"nversify of Maryland Diamondback, the MichiS®State News, the Minnesota Daily, the Montana staUniversity Exponent, the State University of n<?*York (Stony Brook) Statesman, the Daily .Chronicle, the Wayne State South End, the Univsity of Wisconsin (Milwaukee) UWM Post.12 **h»'*6hlpag*»lit»wacy' ReviewThe Man in the Glass BoothA play by Robert Shawby HAROLD ACKERMANDirected by Harold Pinter Play In The Glass BoothThe title of the play, The Man in theGlass Booth, refers to the bullet-proof en¬closure designed to insure the safety ofNazi war criminals on trial in Israelicourtrooms—a minor irony in itself. Theman is Arthur Goldman, alias Adolf Doriff,alias Arthur Goldman.Goldman is a German Jew, whose deadwife (he tells us so many times that weare almost tempted to believe him) wasan American. He is a real-estate magnatefantastically wealthy. The first scene re¬veals a view from his office window ofNew York which is one of the finest setsto be seen in a good while; and we are ledto believe that Goldman owns nearly allthe buildings we can see.As apparent as his wealth is his Jewish¬ness. He is totally Jewified. Everything hesays and does—his whole life style—is soJewish that, once again, we are almosttempted to believe it. He is a wonderfullydrawn character. He has completely as¬similated Germanness, Jewishness, royal¬ty (from wealth), and Manhattan. Hecould be the first Jewish Pope, or at leastthe crowned king of Israel-in-exile in NewYork.Goldman is monarchic. He is unilateral.He is in turn, and all at once, an irascibleNapoleon, a benevolent despot, a wiseSolomon, and always brooding under¬neath, just sometimes surfacing, thestcrmy Fuehrer. In truth, Donald Plea-sance, as Goldman, has created a remark¬able character. It is all there and in per¬fect balance. But this is only where wemeet the character. It does not end here.Through the first act we witness the in¬creasing paranoia of a king in an emptycastle, his voice echoing hollowly in themarble hallways. Goldman, with terror,with ironic acceptance, with contemptuousdisregard, feels his life has not long torun. As much as we seem to know aboutGoldman, there is clearly some secret weare not yet in on. When young CharlieCohn, Goldman’s assistant, peers into hissafe (his scul?) and finds only a table,a stool, and some chocolate bars, wemust feel there is something more tolearn about the man. It is only at the endof the act, when Rosie Rosen (whomGoldman has expected) takes him pris¬oner in his office, that we learn Goldmanis really Adolf Dcrff, a Nazi S.S. colonel.He will be taken to Israel to stand trialfor war crimes.In act two, which is basically the trial,Goldman-Dorff admits openly to all the at¬ rocities we remember so well. In the moststirring moment of the play, however, af¬ter a long homage to Hitler, he says to theIsraelis, “If he had chosen you. . .you toowould have followed.” For me, this wasthe only real moment of dramatic truththe play held. It is a fascinating notion.Twist number two follows immediately.A woman in the court who knew Dorff ex¬poses Goldman as an imposter. She hadseen Dorff die. Goldman is really Gold¬man, a survivor, a favorite of Dorff’s atthe concentration camp. Dorff used to talkto him and bring him bars of chocolate.There was a family resemblance. So Gold¬man is once again Goldman. The name in¬trigues me. He is a gold man (his money).He is gilt plated (his juke box alternatessacred music and Dean Martin). And he isguilt ridden (to complete the elaborate,and perhaps self-indulgent pun).What is his guilt? He is a Jew who sur¬ vived, a favorite, perhaps a cousin of themurderer. He is a man in a glass booth—a soul bared for all to see. What is his ab¬solution? A confession of deeds he neverperformed. Having a German speak as noGerman has ever spoken in a witness box.An apology for his own survival. What ishis legacy? Palaces (he always calls hisbuildings palaces and his wife, a queen).He leaves them to Charlie Cohn, his $400a week Jew. Charlie Cohn, his “yes man.”He is not even a “yes man,” for Goldmanhas taken away his manhood. He is only a“yes.” Lawrence Pressman must be avery good actor. His “yes” was gracefullydespicable.Deprived of the guilt he tried to assume,Goldman does to Charlie on a small scalewhat Dorff did en masse. He robbed himof his pride, his manhood, and his identityas a human being. And Charlie, like theJews in Germany who made out their own shipping lists, is a willing accomplice tohis own eradication.Robert Shaw’s script is sophisticated,tightly written, and often very funny, butnever irresistible. Harold Pinter’s direc¬tion is smart, notwithstanding a self-indulgent opening and some unmistakable“Pinter-pauses.”The settings are excellent. The actorsare fine. The direction is strong. I justdon’t buy the play as a relevant dramaticexperience. A man who never existedacting within the framework of a situ¬ation which did somehow doesn’t add up.We get one momentary insight into thesituation but this is an inefficient useof the two hours we spend in gettingto know the man.Mr. Ackerman is a graduate student ma¬joring in speech and theatre at HunterCollege.Tom-Tom andThe Pump House Gang, Tom Wolfe.New York: Farrar, Straus & Giroux.$5.95.The Electric Kool-Aid Acid Test, TomWolfe. New York: Farrar, Straus &Giroux. $5.95.by LILLY GRENZTom Wolfe keeps a devoted, amused,fanatical eye on American culture. Ul¬trahip, supereducated — as Kurt Vonne-gut puts it, Tom Wolfe “has a Ph.D. inAmerican Studies from Yale and knowseverything” — he is a high-brow gossipcolumnist whose beat is the “stratu-sphere” of esoteric subcultures. “Typingalong like a maniac,” he records hisanecdotes in the eccentric, flamboyant,explosive idiom that has recently earnedhim the dubious title “Dr. Pop.” Wolfe’sperceptions are not profound; but his witdisguises his banality.In his first book, The Kandy-KoloredTangerine-Flake Streamline Baby (1965),he had just discovered Pop Society andreported the symbols and types of thenew life style of America in the manicstyle that inaugurated the pop-aestheticin the literary world. His recent twopublications, The Pump House Gang (15essays on culture) and The Electric Kool-Aid Acid Test (about Ken Kesey and theMerry Pranksters), are still concernedwith “new culture makers.” but now heis more empathetic and more intriguedwith the implications of the new life style.The new era, Wolfe declares, is enjoy-mg. Yes, some serious people are stillplaying the Calamity Game (war, poverty, ie Bhang Ganginsurrection, alienation) but most peopleare tired of it. Volts of euphoria aregalvanizing our culture into a happinessexplosion. If we want to be serious,let us discuss the real apocalyptic futureand things truly scary: ego extension, thepolitics of pleasure, the self-realizationracket, the pharmacology of Overjoy.Having thus been inaugurated into thepleasure era, I read his books eager topartake of the widespread phenomenon ofjoy I had somehow failed to observe in ourtimes. After 725 pages I wonder: has Wolfebeen putting us on? His proclamationmust have been sheer cynicism; Wolfecannot have misjudged his own writing soprofoundly!The characters in The Pump HouseGang, as well as Ken Kesey and theMerry Pranksters, are ostensibly exam¬ples of “happy winners,” in the life gameswhere everybody wins. But Wolfe assumesthat winning is tantamount to experienc¬ing pleasure. What his enthusiastic affir¬mation of pleasure denies is that peopleoften imprison themselves in the rewardsof their games. As Babbs, one of thePranksters, says, “Everybody, everybodyeverywhere, has his own movie going,his own scenario, and everybody is act¬ing his movie out like mad, only mostpeople don’t know that is what they’retrapped by, their little script.” Wolfeprovides us with excellent examples. Forsurfers (“The Pump House Gang”) TheLife ends at 25 and abstractions likemysteriose lend them a sense of fale immunity to age and death. Status seek¬ers (“The Mid-Atlantic Man,” “The HairBoys,” “Bob and Spike,” and “The Life& Hard Times of a Teenage LondonSociety Girl”) are frustrated, patheticpersonae who either win by losing or wina shallow victory. (The ego extensions ofthe celebrities are caricatures: Hugh Hef¬ner, insulated from the world on his Vkfoot circular, rotating bed leading a“damned full life” manipulating the sur¬rounding gadgetry prepared to replay“God knows what” on the $40,000 video¬tape console aimed at his bed; CarolDoda whose breasts on the installmentplan have dehumanized her — she isthem: Natalie Wood in the WildensteinGallery adulating over the Old Masters,as embarrassingly nouveau riche as hercamera-snapping admirers are gauche.Even in Wolfe’s intellectually provoca¬tive essay on Marshall McLuhan wherehe entertains the possibility of McLuhan’simportance by recalling parallels betweenMcLuhan and Freud, Wolfe cannot resistad hominem jabs at McLuhan as “mono¬maniac and master.”There are the minipleasures of thestraight world and there is The Exper¬ience. The Electric Kool-Aid Acid Testis Wolfe’s metaphor for an attempt toreach that ultimate frontier. (“What doyou do with yourself,” Wolfe asks in “TheAuthor’s Story,” “when you have the time,money and freedom to extend your ego inalmost any direction?”) The Pranksterswent out on a scary frontier “beyond ca¬tastrophe, and it was strange out there, .inEdge City.” Acid: superawareness, super¬sensuality. You can “truly see into people for the first time ... the experience . . .the barrier between the I and not-I dis¬appearing . . . that feeling! . . . And, youcouldn’t put it into words . . ” Charis¬matic Kesey, surrounded by admiring fol¬lowers, armed with Owsley’s acid, beginsan experiment in extension of group ego.The Chief makes certain everyone knowshe is the non-leader (e.g., placing tapeover his mouth) so that here is no doubt ofthe name of the game: Christ and his dis¬ciples. Their mission is to dilate conscious¬ness, to expand the edge . . . FURTHER,as the Day-Glo sign on their bus an¬nounces. But apparently one can’t live longin Edge City. Either one gets out like San¬dy who went back to broadcasting in NewYork; one goes over the edge like theBeauty Witch who went mad or like NeilCassady who, some say, died of too muchspeed along a railroad track in Mexico;or one quietly retreats like Kesey him¬self to contemplate The Experience.Tht Wolfe wrote about a life-style thatis already dead and about a man who isprobably less than admirable, does not,however, detract from the appeal of thisbook. One does not read Wolfe for contentor authenticity. Dwight Macdonald, whodoes not like Wolfe’s writing, calls Wolfe’sstyle “para-journalism...a bastard form,having it both ways, exploiting the factualauthority of journalism and the atmos¬pheric license of fiction. Entertainmentrather than information is the aim of itsproducers, and the hope of its consumers.”True. Although, life is not always a plea- jsure, reading Tom Wolfe, fortunately, is. IMiss Grenz is a graduate student at San 1Francisco State College.Octaber-November The Chicago- Literary ReviewThe Sly and SinisterFares of WarMy Silent War by Kim Philby, GrovePress, $5.95.by ROBERT SALASINMy Silent War by Russian Colonel KimPhilby, former head of the Russian Divi¬sion of The British Secret InformationService and chief liason man between theBritish SIS and the American FBI andCIA, is one of those books, which, liketheir authors, are so damnably interestingprecisely because their carefully plannedsurfaces present nothing at all of note tothe reader. Superficially it is a bland littlebook by a bland little man who just hap¬pened to be one of the most effective spiesin the world’s third oldest profession.Who is Kim Philby? Let us reconstructhim on the premise that he is, well, somesort of good guy. Take the infant CheGuevara (out of the manger, as it were),make him son of someone who lost him¬self somewhere in the dream world of T., E. Lawrence and who lives in his desertsas a practising Moslem (“Which is just notdone, you know”); raise him in the greenand pleasant fields of Eton and Cam¬bridge; give him a political indoctrinationin the Cambridge 1930 equivalent of SDS;send him to Spain as a correspondent ofThe Times (covering Franco’s side of thewar); let him join British SIS at the begin¬nings of World War II; and let him scram-b’e up through the intelligence services tothe top of the bureaucratic heap. Makehim a member of the Russian IntelligenceForce since 1933.Who is Kim Philby? He is no JamesBond. Former fellow spy Malcolm Mugge-ridge suggests only that he may havedrunk a little too much and lived a littletoo well for his SIS salary. His dossierlists no Eastern Vices, no eccentricities.Unlike Guy Burgess (another Russian pen¬etration into SIS), Philby was no homosex¬ual. He lacked both the opportunity andthe inclination to flirt with voluptuous MissPennyworth; but he was happily marriednot just once, but twice, and was apparent¬ly neither outstandingly good nor bad inbed. He did not carry miniature acetylenetorches about in the heel of his shoe, normutter into his pen cryptic commentary onChannel D. Philby quite rightly character¬izes himself as presenting absolutely no¬thing out of the ordinary: a good man, oneof us, of the right school and old, if unusu¬al, family. Precisely for this reason was heso unbelievably successful.His work seems almost as unexciting.The actual process of spying for the Rus¬sians must have been relatively simpleonce he was ensconced within SIS offices,and, at the end of the War, he was asmuch a bureaucrat in the Russian Intelli¬gence as in the British. Most of the bookis built around a complex series of inter¬necine battles between departments withinSIS itself and between the mutually mis¬trustful SIS, CIA (characterized by its firsthead as “a bunch of amateur bums.”) andthe FBI. Rather like Machiavelli’s Historyof Florence, the parties and the alliancesare endless. Memos fly like grapeshot, pa¬perclips zing through the air, departmentheads and appropriations topple and fallinto the dustbin of history. The emphasisis not unusual; when he wanted a list ofall British operatives in the Soviet Union(or anywhere else for that matter), hetook out the file and looked. No blastingone’s way through all those funny lookingguns; the guns are all American, Philbyis a bureaucrat, and he has a pass.If for no other reason, the book justifiesitself for its professional commentary onthe FBI and its holy of holies, J. EdgarHoover.If there was ever a bubble repu¬tation, it is his . . . (The F.B.I.’srecord of accomplishment) ismore conspicuous for failure thansuccess. . .Hoover is a great poli¬tician. His blanket methods andruthless authoritarianism are thewrong weapons for the subtleworld of intelligence. But they havetheir uses. There are few people inthe world without skeletons in their cupboards which they would preferto remain decently forgotten.. .Themere existence of the huge FBI fil¬ing system has deterred manyfrom attacking Hoover’s totalitari¬an empire.Philby has a peculiarly cold sense of hu¬mor. After helping in a plan to drop Al¬banian emigre partisans behind the IronCurtain to return Albania to the West,(contemplate the dropping of partisanemigres into Iowa to return it to the Eastand you will fully appreciate the humor ofthe situation), he writes, “The moralwould seem to be it is better to cut one’slosses than to give hostages to fate.” Letus pause for this contagious mirth to sub¬side, and continue.The book is a masterpiece of hidingone’s personality; almost an autobiogra¬phy without a subject. Philby seems tohave done no worse with his associates.Malcolm Muggeridge could only conclude:“With a father who adopted Mohammed¬anism, why shouldn’t the son be a Com¬munist?” Another fellow agent, GrahamGreene (dig that now) couldn’t seem tothink of any reasons for Philby’s extra¬curricular activity at all. Greene thoughthe was a pretty nice guy, all things con¬sidered.It is easy enough for the reviewer to de¬velop a profound dislike of this, for lack ofa better word, traitor. One has to remindoneself that even if his body temperatureis something under 10 degrees Centigrade,he, like Guevara to press the point, wasrisking his life for, ahem, the Cause,ahem, of protecting the International’shome and birthplace, the, ahem, GloriousSoviet Union. The actions speak for them-Continued on Page 8The New Face of War, Malcolm W.Brown, Bobbs-Merrill, 1968 (rev. ed.)$6.50by HAROLD HENDERSONBooks about Vietnam and the war thesedays seem to fall into three categories:the academic or semi-academic works oflarge-scale analysis, such as Kahin andLewis’ The United States in Vietnam; thestraightforward eyeball reporting magnifi¬cently mastered by Jonathan Schell (TheVillage of Ben Sue); and a third type ofwhich Malcolm Browne’s The New Faceof War is a good example: the “reporter’sbook”, combining (in more or less con¬fused fashion) major theses, large-scalepolitical and social analysis, and brutallypertinent first-hand anecdotes. The totaleffect is often unfortunate — a rather di¬luted Schell interspersed with a less thanscholarly Kahin — especially when putforth in staccato paragraphs and nonde¬script AP prose (the author spent fiveyears in Vietnam, roughly 1962-67, as anAssociated Press correspondent). General¬ities for Browne don’t often grow naturallyout of particulars—they turn up, odd andhard to manage, in the midst of a chapteror at the book’s end. His chapter organi¬zation seems largely arbitrary, and coher¬ent discussion of one point is likely to beinterrupted by another point or an anec¬dote, and taken up later.But his basic thesis is fairly straight¬forward, and does succeed in penetratingthe disorganization: for various reasons,“our side” is basically incompetent in thiswar. This same point keeps recurring—indiscussions of both sides’ destructive“gadgetry”, the air war, terrorism, am¬bushes, propaganda, conviction and fight¬ing spirit, “national character”, socialstratification, etc. In virtually every as¬pect the Americans and South Vietnameseturn out to be maladapted to the situationin such a way as to make it all but impos¬sible for them to win. Viet Cong weaponsand traps are ingeniously contrived frommaterials at hand, and stolen weapons aremaintained with the care born of scarcity:while American gadgets, designed in theStates, are adapted to Vietnamese condi¬tions only with considerable embarrass¬ment and difficulty if at all, and a lost ordamaged weapon can be replaced withoutmuch fuss. Viet Cong propaganda is car¬ried on in close and constant contact be¬ tween an “agitprop” team and a village;Americans and South Vietnamese tend torely on mass leafleting, movies, or othermechanically simple forms of communi¬cation with minimal effort and minimaleffect at the personal level. Such com¬parisons could go on for pages; in moreor less disjointed form, they are the stuffof Browne’s book.As a reporter, Browne is not one to raisemore fundamental questions, historicalquestions, moral questions. Given hiswealth of concrete knowledge, this is un¬fortunate; but within the limits of thetechnical question, “Why aren’t we win¬ning?” he makes his point fairly welLIn particular, he is not one to be taken inor kept silent by the official public-rela¬tions nonsense so common in Americandealings with the war.And on occasion, Browne comes up withreally striking instances of eyeball-report¬ing: the practice of Viet Cong men andwomen “of going into battle with a pieceof cable or wire knotted around one leg.”to make it “easier for one’s comrades tohaul off the corpse, if one is killed”; thenarrative of the Viet Cong agitprop teamwinning over a hamlet; the former politi¬cal Buddhist prisoners who as a result ofgovernment torture under Diem are nowhighly disturbed mental patients: “MajorGeneral Nguyen Khanh, one of the mili¬tary permiers who followed the Diem regime, visited these patients more than oneyear later. They screamed and went ber¬serk. Khanh was told by embarrassed hos¬pital attendants that the patients alwaysreacted that way at the sight of a militaryuniform.”But even a fairly good “reporter’s book”is terribly cumbersome: it’s very hard tobe selective, hard to keep all the details,analyses, anecdotes from disintegrating in¬to a passive series of passing grotesquerie— unrelated atrocities, the more obscenefor having neither past nor future, like thesevered head that graces the book’s cov¬er. Mercifully, the book is indexed; buteven so, I find it difficult to recommendin good conscience to busy students —who, if they can be convinced to readanything at all outside of class, are morelikely to enjoy and benefit from either ofthe other two genres mentioned above.But for their parents? On the otherhand, the book has a certain merit forthe non-academic mass of over-30“straight people”, those who retain atleast a latent inclination to “stand up forAmerica.” It is both concrete (Schell)and far-ranging (Kahin), which qualitiesmake it easy to read, if hard to graspas a whole. Browne’s restraint in phras¬ing points that would infuriate many oth¬er writers (Viet Cong superiority, US-ARVN atrocities the air war) mayinsinuate him into living rooms and mindsnot otherwise reachable: “To hear onlythat moaning sound (of complex electricalgear in a jet cockpit), like the sighing ofwind around the corner of a house, whenbomb blasts are erupting and huts dis¬integrating just below, or when napalmsplashes so close below as to scorch theplane’s paint, is a phenomenon pilots call‘cockpit isolation.’ Outside there is thedin and horror of jet-age war; inside thereis the calm and quiet of a computer room.The pilots are glad to be spared the soundsthey create. I have sometimes wonderedwhether it might not be better for someAir Force officers to be better acquaintedwith the ugly cacophony of warfare.”In many ways, Browne’s book is pecu¬ liarly and awfully American — in itsvirtues and vices, its disjointed topicality,its neglect of larger, non-technical ques¬tions over and above “Who’s winning andwhy?” But these very limitations maymake him the ideal entering wedge ofdissent into the great American mind—which, like him, is inclined to questionthe war only because we are losing, andnot because we intervened in the firstplace. If books like his disturb enoughpeople, they may create the groundworkfor more fundamental and searchingcritiques.And yet Browne deviates from this good-American pattern in one very striking way— his last page reveals a startingly forth¬right conclusion: “I no longer feel thatAmerica is capable of mastering this kindof war, at least in our country’s presentstate of mind ... the word ‘isolationism’has a peculiarly attractive ring.” Oneneed hardly stress the novelty of such a“defeatist” admission by an American;whether that novelty will become policyis yet to be seen. But one might, in anycase, wish that this country’s future exec¬utors of policy were as dependably de¬cent in limited ways as Mr. Browne.Mr. Henderson is a student at CarletonCollege. —The Silent Weapons: The Realities ofChemical Warfare, Robin Clarke, Dav¬id McKay Co., $4.95.by RON HAMMERLEShortly before Hubert Humphrey got hisfirst whiff of rising tear gas this summer,two back page stories appeared in majornewspapers relating incidents surroundingthe long controversial subject of chemicaland biological warfare. One reported thesuccess of pressures by a group of Wash¬ington scientists and teachers in havingthe government remove an estimatedstockpile of 100 billion lethal doses of nervegas from the Rocky Mountain Arsenal,near population centers in the Denver areaThe other cited U S. and U.S.S.R. opposi¬tion to a British move in Geneva to banproduction and use of bacteriological weap¬ons. (Since 1925, the U.S. has refused toratify the Geneva Protocol banning inter¬national use of asphyxiating, poisonous orother gases and bacteriological methods ofwarfare.)The minor publicity surrounding the twostories is but the peak of a major scientif¬ic, political and ethical debate that hasbeen going on for years, particularly inthe scientific community. With studentanti-war leaders uncovering widespreadchemical and biological (CB) war researchin the universities and increased alarmover U.S. CB warfare policies in Vietnam,it was inevitable that some books shouldfollow to bring the public up to date onthe story.One of several recent efforts in the fieldis The Silent Weapons, by British ScienceJournal editor Robin Clarke.Yet ethical and moral issues form hismost prominent theme. Of particular inter¬est for the immediate reader is the cur¬rent battle in the scientific market place.The Deputy Director of an agency engagedin CB warfare research is quoted discuss¬ing an earlier dilemma in recruiting sci¬entific talent for his program of publichealth in reverse.Biologists who used to find it diffi¬cult to get a $5000 grant are now be¬ing showered with funds as a resultof the $1 billion National Institutesof Health programs and NASA’sspace biology program. We are com¬peting for the same people who areworking, for example, on cancer re¬search.After several decades of relatively littledevelopment, a CB weapons revolutiontook place in the late ’50s. With details ofthis and Vietnam experiments, scientificorganizations began to escalate their polit¬ical and ethical concerns. Many such ef¬forts Clarke relates, while making it clearhowever, that the scientific community is“split down the middle” on the issues,with “one half vigorously defending chem¬ical and biological weapons and the otherhalf attacking them with more fervor thanhas perhaps ever been applied by scien¬tists to any political or military problem.”Mr. Hammerle is a graduate student at theDivinity School of the University of Chica¬go., ■ ■ .. .. •.4 The Chicago Literary Review October-November * * •» •Penguin Modern Poets 11, $.95,9- — -*■■**- • ■ -•* *■“■> *m * * 'Wt .by WENDY R1CKERTPenguin Books give one few clues as towhat to expect from its eleventh selectionof three modem poets. A statement onthe outside of the paperback assures usthat the volume contains “representative”work of each poet. But no preface intro¬duces us to their lives or literary histories.Penguin Modern Poets presents the poetryof D. M. Black, Peter Redgrove, and D.M. Thomas, and quite fairly, as it stands.Black conjures up hosts of dwarves.Redgrove dwells on ghosts. And Thomaspermits space travelers, aliens, and an¬droids to dominate his poems’ land- andspacescapes.D. M. Black begins bis selection withpoems concerning various “judges,” iden¬tified for us by their colors. These andthe dwarves which recur throughout hispoems indicate Black’s way of moldinghis presence in an environment throughthe power of his imagination. How thisworks for him is demonstrated in theselines from “Leith Docks”:Here Iwalked carefully, some feet fromthe edge, lookingup into the lofty cranes. Andfroze at the familiar voice of thebluejudge saluting me. Weset for ajauntyfling, cum-parum-parumparapum,and otherjudges joined, thered the green theviolet theorange, and wedanced formally there in thevarying dark. Solemnlines and grave evolutions.Dawn di¬luted the subtle dark, fadedmy glowing judges. Set me walkingpalely under the tall cranes.Black’s generation of vibrant parts of selfin these judges is reminiscent of WallaceStevens’ use of creative energy as dis¬played in the final lines of Black’s “ARabbit as King of the Ghosts”:You sit with your head like a carv¬ing in spaceAnd the little green cat is a bug inthe grass.Black’s forging of self is however not asrelaxed and quick to take direction as isStevens’. At times it takes on the nature ofa difficult quest, as in his fourteen page“Without Equipment.” In fact, he showshimself to be quite jostled about in theselines of Part I:For those of my compilation itsometimes seems that naturewill take a quite casual flippancyand thenterribly clip it out: will set meastride a woolly collie for example,among the giggling nursery and hebounds and I am astride atoy plane rushing to animpossible take-off over a vastdrop — falling formiles over a well-watered landscape.One proceeds with Black into a bewilder¬ing world of mechanical plants and thedwarves who must tend them. This sur¬realistic combination of factory and fairy¬tale atmospheres is amazingly effective —it insinuates both threat and curse.But when in Part II Black is transportedto a medieval setting all good things seempossible once again. Here the dwarves are“dwarfs” and we can respect them as theyare gathered in a bed of nasturtium for apoetry reading. It is difficult to followBlack’s version of the dwarfian tongue, butclearly the dwarf’s poem “ ‘My Lov andI’ ” is also of a quest:0 eggoeso-oes ozeoze in vat sprilliand dinscape. Youwerethere, brezzence not to be zeenagainst vividrock-walls, zhadow notvisible vlung glowingzhools — tong — ganyong — 0Gride mush I vahlo!fr. V* t ViVrU Strange9 SimperingVoices of CultureBut however gride he does vahlo, he neverquite happens upon his lov in a concretesense and explains to the confused humanvisitor:I would de¬scribe how although she was nothere orthere shewas — 0 — e-nough, in thelayered manifold.We can watch Black as he learns fromthe dwarfs, experiences, and emergestriumphantly in the end with equipment:five juggling balls. And we know thatD. M. Black has just shown us what avital talent juggling can be to the humanimagination today.Let us now face the imagination of D. M.Thomas, as we must sooner or later inthis review. Thomas bombards thereader with confusing expressions such asquite“the Vardian Commonwealth,” “Lem¬nos omikrcm colony,” and “MnesmosyneTapes.” The sounds of these space termsand the strange situations produced by lifeon other planets seem to be the sole basesfor many of Thomas’ poems.At his best Thomas strives to setoff the human reaction within the sceneshe creates such as in these lines from“Elegy for an Android”:Bion and Theocritusseeing your straight limbs,classic grace of feature and golddazzling curls would haveunhitched their pipes butchancing to see thetiny emblem ‘made inU.S.A.’ in the whorl of yournavel would haveshuddered and walkedon. Yet I loved you,Vanessa, passing the love ofwomen.Peter Redgrove’s ghosts must be takenvery differently from Black’s dwarves orThomas’ space creatures, because they arecharacteristic of the evanescence of lifewhich the poet realizes and strains againstin his work. Redgrove does this most suc¬cessfully in “The Widower.” The widowerflounders time and again in insubstantial¬ity, as in these lines:All lies, and here the lies comeagain.The dead, and the inventions of thedead,...The spreading, the too-great ma¬jority,Whose heads hang from memoriesand nausea,Who stroll about vomiting, shakingand gaping with it,Who goggle in terror of their condi¬tion, who retire at dawnTo almost inaudible thin quarrelsup and down the graveyardstrataWho lurk with invisible thin whineslike gnats in daytimeBut who billow through the deeplanes at duskLike a mist of bleached portraits,who do not exist,Who walk like a shivering laundryof shifted humanityAnd who stink....But Redgrove pulls the widower to thesurface through a Creeley-like testing outof the parts of the mind as evidenced by these lines:Now somebody melts.. .but think¬ing of death got them this wayThat’s what you’re saying, in theseenvirons,These parts of the mind, any mind,these fancies,Thinking of horrors created themhorrors.Love frightens them, so let’s fright¬en them.It frightens me. You are a shapelywhite.Oh, I droop with admiration. No,no, I spring!And finally:Two is a round reality. Dead is anonsense.But a real one. And one of us isdead.The strength of Peter Redgrove and thepower of D. M. Black are well worth thisPenguin Modern Poets 11. Their poetry isvital, honest, and, with the aid of dwarfsand ghosts, very definitely real.Miss Rickert is a second year student inthe college of the University of Chicagoand is majoring in English.The Exagggerations of Peter Prince, TheNovel by Steve Katz, Holt, Rinehart, &Winston, $6.95.by JEHOSHA PROSTHESISHow can a novelist tell us much abouthis art when: a) his “message” or point isat best diffuse and b), the machine of hisnovel is a gimmicky “Let’s let the readerin on the construction, man”? AuthorKatz tries to expose the stages of storyelaboration very explicitly and to coaxthe audience into reading from an author¬ial viewpoint. Perhaps he thinks this willbe exciting or that it will bring the readerinto closer proximity with the springs ofcreation, or “the dying ember” of the writ¬er’s mind. Katz is erratically amusing andtragically evocative, but his self-consciousmethod is not unique and it does not, tomy thinking, eliminate irritating artifice.Although the novel resembles a patch-work quilt more than an art work whichshows unity or at least consistent vibrancy,Katz nevertheless writes very well muchof the time. His bald humor is gusty whenhe covers a page of his novel with the com¬ing and going of a destroyer at high sea inconsecutive photographs, stamped with“NOT TO BE TAKEN AWAY FROM THEREADING ROOM”; or when he maintainsthe noise of a fan in the room where theprotagonist is reading a story by coveringthe left margin or the text itself with z’s.And he finely narrates mysteries that can’tbe resolved and, less finely, periods ofboredom and waiting.His novel consists of many dips and halfstarts into the life and travels of the pro¬tagonist Peter Prince, who is commentedon by himself, the author, and two minorcharacters, Philip Farrel and Linda Law¬rence. Peter Prince plods, mostly mentally,through successive unsatisfying love af¬fairs, pointed social situations, and periodsof self-examination. Narrative order andcontinuity mean nothing to the author,though they did to his self-consciously com¬menting and digressing precursors. Thiswouldn’t matter if Katz had a maturewriter’s will or ideological command. Un¬fortunately, Katz is too often cute, im¬patient, and unwilling to go beyond ahackneyed do-nothing nihilism that onlyrises from its lethargy well into the text,and soon sags again as Katz’s triumphantstatement that he has finished his booktakes control: his last sentence is, “I amthe author of Peter Prince.”The one thing noteworthy about Katz’sgyrations is his talented penchant for nar¬rating two or three stories in separate col¬umns on the same page. (The largest sec¬tion of such writing in this novel waspublished in Chicago Review, Vol. 18, No.’s5 and 6.) In these passages Katz’s prosetends to contract or expand from its cus¬ tomarily well-bodied rhythm, though thestories sometimes gain in speed, suspense,and multiplicity of meaning. This formgives plenty of freedom to the reader (itmust be said that Katz is usually gracious)without descending into an equivalent ofthe Sequent inanities of John Cage.Even the shape of the book is unusualand the dust jacket features the same faceon both front andb ack (minus, incidental¬ly, a photograph of the author). The price,however, is too high for such a stew, eventhough the author is a competent prosepoet who curls his language into sentencesor smashes it into units that should pleasethose who care about language and dis¬please the academic watchdogs who policeour morphology and syntax. So wait forthe paperback, pay 95 cents, and take alook.Mr. Prosthesis is a fourth-year student inPetroleum Arts at the University of Tulsa.Electric MudCadet Concept 314S(Chess Recording Corporation), $4.95.by ANDY POLONHave you ever had that awful sinkingfeeling when one of your idols has soldout? Well, Muddy Waters, one of the all-time blues greats, has finally done itfolks. He’s recorded an album so incred¬ibly commercial that it should have beentitled “Electric Shit”. This album, com¬plete with a giant centerfold of Muddyposing as Guru and an eight page photobooklet of Muddy at his hairdresser’s hashim saddled with a combination soul andpsychedelic band, and together they grindout eight awful tunes, mostly “up-to-date”versions of some of Muddy’s classic bluesfrom the 1950’s.The band has a competent soul rhythmsection, a piano and organ, all ofwhich are used on every track. But withthem is a psychedelic lead guitar whichplays almost non-stop from the start ofside one to the end of side two. Sort oflike the Iron Butterfly Sound replacingMuddy’s beautiful bottleneck guitar play-ing(which is absent on this album).The arrangements of the tunescon sistprincipally of snatches stolen from souland rock hits. For example, the openingof “Hootchie Kootchie Man” on this al¬bum is copied from Hendrix’s “Foxey La¬dy” intro. Another track, “Harper’s FreePress,” is sort of a cross between Sonnyand Cher’s “The Beat Goes On” (samplelyric: “The Hippies sing a flower song/while draft card burning is going on”) andthe Vandellas’ “Nowhere to Run.” Occa¬sionally, horns are used, as the sopranosax in “She’s All Right.” The horn vamphere is Oriental styled—you know, that ac¬id rock sound. A flute is added on thistune, but at the end of the cut the flute andbass suddenly stop and go into the Temp¬tations’ “My Girl” vamp. This is the waythe arrangements are thought out.The guitar player is unbelievably taste¬less throughout. He wah-wahs through“Hootchie Kootchie Man,” and on “SameThing,” the album’s only blues track, hegoes on endlessly. The only tune thatmakes it is Muddy’s attempt at “Let’sSpend the Night Together.” The bandlays down a heavy vamp reminiscent ofthe beat from “Sunshine of Your Love,”and, with Muddy’s fine singing, this soulversion of the Rolling Stones’ tune almostworks. But since Muddy’s voice, theorgan, and the guitar are all heavilyechoed on this track (as on all theothers), the overall sound really is elec¬tric mud.Charles Stepney is the man to blamefor the arrangements since the othermusicians are not listed. If you want tohear some great blues, buy Chess’ Bestof Muddy Waters or Muddy Waters atNewport. But skip this new album. Theonly type of acid this psychedelic blunderwill remind you of is the kind thatcauses indigestion.Mr. Polon is a fourth year student inElectropaleontology at the University ofChicago.tVwtk . > October-November The Chicago liteary Review 5 IGROVES OF APATHIAThe Addison Tradition, John Morressy,Doubieday, $4.95.by DEB BURNHAMThe small college is dying, they say.Financial problems make up the reasonsmost often recited by the experts, but tojudge from John Morressy’s account, thesmall school has already buried its souland can do nothing but keep the body ac¬ceptable. There is some subtle horror inthe novel’s picture of a second-rate, stifl-ingly conservative school—rather like acorpse with a pleasant smile, heavy make¬up, and vacant eyes.Both the strengths and the weaknessesof Morressy’s account of a student protestlie in his habit of overstatement. Had hebeen able to fabricate a more credibleplot, his message would be much moreconvincing. It is hard to believe that anyDean of Students, outside of fundamental¬ist church schools, would get away withordering a bearded student to shave, thenexpelling the student editor who wrote amild satire on the incident. The generalreader will probably take the entire bookas overstatement. This is unfortunate, be¬cause Morressy’s exaggeration is far lessheavy-handed when he draws a picture ofthe sort of campus where the administra¬tion dispenses the rights of speech andthought, and student government leaderssupport this sort of action by issuing a“mandate for prudence.”Addison College, the scene of this displayof administrative paranoia, is committedto preserving its insulat'on by “avoidinganything that really counts.” The students,full of “a kind of bovine tranquility” donot really want much of anything, least ofall an education. The faculty’s most clear¬ly articulated desires are designed to maketf.im more secure in their narrow and ner-vGua professionalism. Both students andfaculty are committed to the mystique of“going through the proper channels.” Thedisturbing thing about this mystique isnot so much the rather lazy dedication topropriety, or even the incredible fear thatit masks, but the appalling ignorance ofjust whom this propriety serves. It expres¬ses a smooth politeness born not of genu¬ine courtesy and respect, but of bureau¬cratic convenience. The Addison faculty avoided the chance to take a stand on thequestion of an unfair expulsion, explainingthat even so obvious an injustice was nota “central issue.” (One thinks immediatelyof college faculties who have hesitated totake a stand on the draft because such apolitical issue was not of immediate con¬cern. )Into this atmosphere of insulation comesMatthew Grennan, English instructor, de¬termined to stick to his research and pub¬lishing rather than become entangled instudent activities and faculty politics. Heis dragged reluctantly into the latter andfinds himself unable to avoid sympatheticinvolvement with student problems.Stylistically the novel is full of some¬times appealing, sometimes irritating clev¬erness, as if the author himself once wrotefor a college humor rag and never quitelost the touch. His cleverness is most ef¬fective when he is dispensing the wisdomof his own experience:Grennan had learned slowly and re¬luctantly and at the price of excruci¬ating disillusionment, that liter¬ature did not make bad things good. . .It simply provided a wealth ofbackground material for articula¬ting his impotent outrage at life.There is an odd but not disturbing gap be¬tween the full and sympathetic portrayalof Matt Grennan and the cardboard par¬odies of the students, teachers, and ad¬ministrators. Part of the gap is filled whenGrennan’s increasing sympathy for his col¬league’s problems (if not for their tactics)allows him to at least sympathize withtheir willingness to settle for the good-enough. Thus he senses their plight—theyare so emmeshed in their own attitudesthat they have fallen into “a kind of moralsomnambulism in which one knows all theproper terms but somehow cannot stir.”Grennan is honest enough to express hisindignation at their failure to act but willavoid betraying himself by doing what hemust as a teacher and as a man.The book itself is only mildly important.Those on the inside will appreciate thetruth in essence, if not in detail, in Mor¬ressy’s portraits of a philistine and pro¬vincial Board of Trustees, a pompous andunimaginative administration, and an op¬portunistic faculty. Most accurate anddepressing of all is the sketch of the Addi¬ son student body: three thousand well-dressed, satisfied reflections of the trus¬tees, deans and professors who controltheir lives. Peering angrily from the ho¬mogeneous mass of Addison products is atiny handful of malcontents and (compara¬tive) activists. Grennan sides with themon the censorship issue but soon discov¬ers that even their concern and involve¬ment are limited to issues that affectthem directly. As he senses this essentialpettiness, his own protective selfishnessbegins to fall away. The emergence of thereal, whole Matt Grennan is completewhen he discovers that his colleagues, forall their talk of academic freedom, aretoo naive and too selfish to avoid beingtrapped by the very powers that they pre¬tend to disdain.Morressy does a good job of settingforth the subtle and indispensible lessonsof his experiences in academic politics.Like Grennan he is dedicated first of allto the finest and most human educationpossible: “Why the hell can’t teachersteach the important things?” Related tothis is a realistic but passionate plea thatteachers open their eyes and apprehendthe realities and responsibilities of aca¬demic life with their minds and their guts.Grennan, after a good many strugglesof his own, finally emerges as a man ofreal integrity. He is a good teacher, butwhat singles him out is the personal pow¬er derived from his union of moral andethical awareness—usually expressedtongue-in-cheek—and his sense of politi¬cal realities. He stays at Addison becausehe feels he must yet realize that therewill come a time when he will have toleave to keep his integrity. If one grad¬uates—or rather emerges—from the col¬lective womb of the Addison Colleges ofAmerica with anything resembling thevalues and priorities that Grennan repre¬sents, it is in spite of and not because ofthe powers that shape the education of¬fered. The Grennans make the scene lessbleak, and we need more like him. Onehates to see them get screwed, but byliving the sort of life that makes adminis¬trators want to screw them, they mayhelp save American education.Miss Burnham is a third year student inEnglish and history at the College ofWooster.THE SOFT-BOILED DICKThe Instant Enemy, Ross Macdonald.Alfred A. Knopf, $3.95.by TERENCE C. WOLFEIn 1944 Raymond Chandler wrote an es¬say that has become the classic statementon the “hard-boiled detective” story. Called“The Simple Art of Murder,” it describedthe process by which Dashiell Hammett“Took murder out of the Venetian vase anddropped it into the alley.” This insistenceon realism linked with an ability and de¬sire to describe the society in which thesewriters lived (Chandler again: “a world inwhich gangsters can rule a nation and al¬most rule a city”) is a large, part of thereason that Hammett and Chandler roseso far above the genre in which theywrote. Finally, of course, the reason thatthey are two of the major American writ¬ers of fiction lies in their extraordinaryability. Hammett wrote the best dialoguein American fiction and Chandler some ofthe best prose.Together they inspired a tradition thathas resulted in quite a few uninspired imi¬tations, a few talented second-rateworks, anu one writer who has been ableto transform their genre into somethingrelevant to his own time. His name isRoss Macdonald.Macdonald’s first work The Three Roadsis a ‘Ttremely successful attempt at a“psychological thriller.” It is the story ofBret Taylor, a returned naval officer whois suffering from a severe mental lapseand the attempts of his woman to savehim if not his memory. The book is thebasis for half of what became a dual pre¬occupation for the rest of Macdonald’swork. In The Three Roads we find a fas¬ cination with the effects of the past and aninvolvement with the middle class that be¬came important in Los Angeles after theSecond World War.Macdonald’s second novel The Blue City(1949) was a paean to Chandler and quiteunlike the first. It involves a fairly obnox¬ious hero coming into a tepid city andsomehow trying to evolve a workable po¬sition for himself within its boundaries. Ifthe novel is not a complete success it is be¬cause it seems a bit overdone and becauseMacdonald’s hero in this case is not reallythe man for the job. Nevertheless, he isthe beginning of the Macdonald hero, aman who comes closer to fulfilling Chand¬ler’s vision of a modern knight in tarnishedarmour than did Phillip Marlowe himself.The most recent work in the Macdonaldcanon, The Instant Enemy, is surelyamong the most successful fusions of thetwo strains and stands alongside The ZebraStriped Hearse and The Chill as a book socompletely realized that it must be consid¬ered a masterpiece.The hero of The Invisible Enemy is LewArcher named after the partner of Ham¬mett’s Sam Spade killed at the start ofThe Maltese Faison, a private detectivewho operates alone in Los Angeles andwho once had been a cop. Archer is muchlike many of the characters in the book:he is alone; he is part of the post-warmiddle class (albeit at the bottom) andwhile he is able to see the precariousnessof his clients’ lives we cannot believe hisis any less so; he is desperately in searchof a moral order and a place in a societyhe mistrusts and which mistrusts him.This duality is one of Macdonald’sstrongest assets. Archer is cast in the role of both observer and participator;he is at once a critic and an actor. He is acop who takes cases because (usually) helikes one of the people.—It need not be hisclient; in the Instant Enemy it is theboy he is hunting, but it is this emotionalinvolvement with people that is Archer’smotivation, his answer to Hammett’s Op’sblind professionalism and Marlowe’s sheermanipulativeness.The action of The Instant Enemy is pre¬cipitated by Archer’s search for SandySebastian, a 17-year old runaway girl.Archer does not really understand kids(as I believe is also true with Macdonald)but he recognizes his prejudice and, see¬ing things this way, we are presentedwith another of the unresolved conflictsthat are the center of this work. Nearlyall the characters here are searching forsome sort of order, for a means that willpermit them to live at ease with eachother and with the world. Good and badare not easily defined here; the worstsingle action is performed by the manwho seems most good and is done forapparently the best of motives. Archeris a hero because above all others he hasrecognized his position and conflict andthus has the greatest ability to survive.We do not believe that Archer believesthat his search shall be fulfilled. But ashe does believe that his search has anend and is thus not existential, so doeshe believe, in a very unsentimental man¬ner, that perhaps one of these kids hekeeps encountering, whose lives and soulshe attempts to help remain intact, maybe able to complete what he has started.Mr. Wolfe is a third year student atBerkeley. seemed to negate the hope of a radicalchange that would align society with thepoets’ ideals. Despairing, the poets escaped into imaginative worlds. Rossettifinds only self and woodspurge in a pro¬foundly personal sorrow. William Morris,despite his socialism, mourns the loss of agolden age of virtue and craftsmanship.Death and the passing of time over¬whelmed the poet’s consciousness andseemed to remove all reason for living, allvalue from life.Auden chose from the vastness of nine¬teenth century verse much that is in¬teresting, both for its content and for itsmetrical schemes. The “Romantics” wonfrom the eighteenth century a new poeticfreedom, and their heirs were not care¬less to experiment lavishly within the newrange of verse forms now accepted forserious verse. The nineteenth centurypoets, too, display great prosodic virtuosi¬ty. This may well be attributed to theirclassical educations, which demanded ofthem much time spent in translation or incomposing verses in Latin or Greek. Theresult of these two factors, new verse free¬dom and a training in translation, is apoetry of fine metrical quality: rarelydoes it stumble, limp, or turn into prose,as does much of contemporary verse. Butdiction is mostly clumsy. Until the worksat the end of the century, I am rarelystruck by the clearness of meaning, thesharpness of imagery. Precision fades withcarelessness into generalizations or thea¬trics, words seem to be chosen only on acriterion of rhyme of rhythm.The metrical schemes show skill, but thelanguage does not resound in the imagina¬tion with an accuracy of image. ThomasHood, for example, made a “NocturnalSketch,” but when we read—Anon Night comes with her wings,brings thingsSuch as, with his poetic tongue,Young sung;The gas up-blazes with its brightwhite light,And paralytic watchmen prowl,howl, growl,About the streets and take up Pall-Mall Sal,Who, hasting to her nightly jobs,robs fobs.—it’s not Night, but the final three wordsin a line that occupy the consciousness.Poets like Palmer and Hood sometimesshowed more interest in prosodic experi¬mentation and virtuosity than in imagina¬tive precision. Lewis Carroll for one, feltthat this interest, and the elitism engen¬dered by it, was endangering Poetry: in“Poeta Fit, Non Nascitur” he took somesolid jabs at his poetic colleagues:“For first you write a sentence,And then you chop it small;Then mix the bits, and sort themoutJust as they chance to fall.The order of the phrases makesNo difference at all.* * *“Next when you are describingA shape, or sound, or tint;Don’t state the matter plainly,But put it in a hint:And learn to look at all thingsWith a sort of mental squint.”“For instance, if I wished sir,Of mutton-pies to tell,Should I say ‘dreams of fleecyflocksPent in a wheaten cell’?”“Why yes,” the old man said,“that phraseWould answer very well.”A reaction did set in. Diction, imagery,and symbol did become important in En¬gland. And with this reaction we headedinto the twentieth century with an em¬phasis on the perfect word, the compellingimage, and a confusion of iamb and tro¬chee.Miss Keister is a fourth-year student inEnglish at Bryn Mawr College.6 The Chicago Literary Review October-November‘J9*Tf fPoor Mao9IPs Always NowDeath of the Dollar, William F. Ricken-backer, Arlington House, $4.95.by LAWRENCE MARSHDeath of the Dollar could have beena good book if Mr. Rickenbacker had notbeen burdened with two limitations. Firstof all, he is not an economist. Secondly,Mr. Rickenbacker is a doctrinaire con¬servative determined to find a bureau¬cratic bugaboo behind every economicproblem confronting the nation. In thiscase, he has cornered the wrong party,the U. S. monetary authorities, and al¬lowed the real villain, U. S. foreign policy,to escape.Mr. Rickenbacker contends that ourchronic balance of payments deficit is aresult of runaway spending, monetary mis¬management, and a policy of “inflation-for-inflation’s sake” by the U. S. gov¬ernment. Worse yet, he views the so-calleddebauching of the currency and the re¬strictions on private gold holdings as thespearhead for totalitarianism. AlthoughI sympathize with his concern for individ¬ual liberty, such feelings cannot take theplace of rigorous economic analysis.Lacking concrete analysis, Mr. Ricken¬backer relies on quotes. Quotes, quotes, and more quotes, one of which runs forsix pages. He does deserve credit, how¬ever, for his perspicuous review of theinstitutional framework of the FederalReserve System, the International Mon¬etary Fund, and the Foreign ExchangeMarket.The basic fallacy in Mr. Rickenbacker’sreasoning comes to light in his chapter onthe International Monetary Fund. He can¬not understand, he declares, why aftertwenty years of deficits, no one even sug¬gests that the United States might havea “fundamental disequilibrium” in its bal¬ance of trade. It is here .that Mr. Ricken¬backer fails to distinguish between balanceof payments and balance of trade.The balance of payments includes allitems which give rise to current monetaryclaims between the United States and therest of the world. The balance of tradeis limited to commodity movements andis essentially commodity exports minuscommodity imports.Thus, although the United States hasexperienced twenty years of deficits inits balance of payments, it has had at thesame time an almost continuous surplusin its balance of trade. In other words,the United States is not pricing itself outGold Xo,Quaker Oats SiRevolutionary Immortality, Robert JayLifton, Random House, $4.95, simultan¬eous Vintage, $1.95.by MILTON C. BUTLEREveryone who has been puzzled, repulsedfrightened, excited, or generally fascinatedby the weird socio-political turmoil with¬in Red China known as the Cultural Revo¬lution should read this book. Of themyriad of explanations of this unique phe¬nomenon proposed by various WesternChina-watchers, the most frequent havebeen vague statements that there wassome sort of power struggle in progressand that the general chaos was a mani¬festation of it, or similarly vague conten¬tions that Mao Tse-tung was seriously illor dead. Though both positions may havemerit, after reading Dr. Lifton’s book bothseem pitifully inadequate by themselves.In Revolutionary Immortality he adopts a“psycho-historical” viewpoint, that is, onethrough which he relates China’s tumultu¬ous history to certain human psychologi¬cal needs evidenced by Mao and manyother Chinese throughout this upheaval,and the result of his approach is the mostintelligent and reasonable appraisal of thesituation that I’ve read.With physical death inevitable, all peo¬ple feel the need for a sense of the histori¬cal continuity of their lives, a linkbetween their own existence and thoseevents which have occurred before themand will occur after their deaths, or asLifton terms it, a sense of “symbolic im¬mortality.” Mao Tse-tung will soon beseventy-five years old. In an interviewwith Edgar Snow, an American, in Janu¬ary of 1965, he reportedly said that he was“getting ready to see God very soon.”Aside from the religious implications ofthe statement, this death-anticipation is,in Lifton’s estimation, the primary sourceof the Cultural Revolution.' Later in theinterview Mao began to reminisce abouthis earlier revolutionary activities, dwell¬ing upon the deaths of his two brothers,his first wife, and, during the Korean War,his son. What emerged was a psychologi¬cal pattern common among the survivorsof the Hiroshima atomic bomb whom Lif¬ton interviewed for his earlier book,Death in Life: the guilt feelings associatedwith having survived events which causedthe deaths of many others.Mao’s life has been completely devotedto the Chinese Communist Revolution. Thus, as he now approaches the end of hislife, his entire present and past existenceacquires meaning to him only in terms ofthis Revolution, and his single foremostfear lies in the possibility of its demise.As prime mover and survivor of the Rev¬olution for which many of his associatesdied, his guilt compounds his desperateinsecurity. He fears something more thanbiological death: desymbolization, the de¬struction of the specific set of symbolswhich alone give meaning to his life andthose of the thousands who died during thecourse of the Revolution.He has definite grounds for his fear. Ashe reported to Snow in the interview,“those in China now under the age oftwenty have never fought a war and neverseen an imperialist or known Capitalismin power.” He fears that due to the lackof real experience of these forces againstwhich his Revolution was instigated, suc¬ceeding generations might soften in theirrevolutionary fervor, permit its principlesto be compromised, permit it to slowlydwindle and die.The Cultural Revolution which he cre¬ated to prevent this embodies part of Trot¬sky’s concept of “permanent revolution.”Mao was attempting to involve the youngactively in the fight against the traditionalcapitalist and imperialist foes by definingany and all Western influences as “revi¬sionist” and calling upon the Red Guardto exert their power to destroy such in¬fluences in the name of “purity,” or Mao¬ism. This explains the fervor and enthusi¬asm exhibited by the Red Guard: they,too, were given symbolic immortalitythrough the Cultural Revolution, the op¬portunity (hardly a strong enough word)to relate their lives to the past and future.The abundance of verbal death-defianceto be found in the slogans and quotationsthey flaunted reflects these feelings of im¬mortality and omnipotence: “What is thegreatest force? The greatest force is thatof the union of the popular masses. Whatshould we fear?.. . We should not fear thedead. We should not fear the bureaucrats.We should not fear the militarists. Weshould not fear the capitalists.”Dr. Lifton points out that the Chineseculture has traditionally placed a highvalue upon words and writings. Through¬out China’s history the skills of readingand writing have been privileges attain¬able by a relatively small number of peo¬ple in the upper classes. In this context, *-v . \ • Jof world markets with inflationary poli¬cies as Mr. Rickenbacker contends, andit is not in any sort of “disequilibrium.”The real problem which Mr. Ricken¬backer does his best to ignore has beena result of essentially two factors. Thefirst is a severe capital shortage in West¬ern Europe after the war coupled with thecontinued underdevelopment of Europeancapital markets relative to those of theUnited States. The second is U. S. foreignpolicy from the Marshall Plan to Vietnamthat year after year has drained the Uni¬ted States of billions and billions ofdollars.Regardless of what might be said forthe U. S. foreign policy from a military,political, or sociological point of view,from an economic point of view it hasbeen disastrous. But Mr. Rickenbackerbrushes aside any such thoughts with thecomment, “. . .a country should be ableto afford the kind of military structurethe worship of the book, The Quotations ofChairman Mao, is not as strange as itfirst appears to most Westerners. There ishistorical precedent in the worship of thewritings of Confucius. Mao simply utilizeda deeply entrenched cultural pattern tohis own ends in a contemporary situation.It is the over-zealous worship of thatbook, oddly enough, which has producedone of the major failures of the CulturalRevolution, according to Dr. Lifton. Thetotality of its worship led to the officialline that the road to moral and technologi¬cal success was the diligent study of thethought of Mao, a doctrine defined in thebook as “psychism,” the attempt toachieve control over one’s external en¬vironment through internal, “psychologi¬cal manipulations.” With the national goalof industrial advancement and the simul¬taneous emphasis on the study of Mao asa means to such advancement, a certainenthusiasm was achieved, but one whichcould not replace technological training.What resulted was a spree of frenzied anderratic production of a variety of com¬modities, mostly crude “pig” iron, withno standards of quality and no regularityof production. Many factories closed, andeconomic chaos resulted.R. J. Lifton’s two previous books arevery closely related to the present one:Thought Reform and the Psychology ofTotalism: A Study of “Brainwashing” inChina, and Death in Life, a much longerbook than Revolutionary Immortality inwhich many of the concepts in the newbook are introduced. He is “widely ac¬knowledged as an authority on contem¬porary psychological patterns in EastAsia,” according to the book jacket, and Ihave no reason to doubt it. For the strict¬ly amateur China-watcher, such as myself,the book may prove difficult occasionallyfrom unexplained references to certainperiods in China’s history, and more thanonce its clarity is impaired by laboriouspsychological coinages. But otherwise thebook is quite intriguing. It gave me a realfeeling of what was happening behind therather awesome and fear-invoking officialnewsreels and releases. The author’s com¬ments on the social and political ramifi¬cations of China’s newly acquired nuclearcapabilities are particularly interesting,and he has made some somewhat comfort¬ing, albeit exceedingly cautious, predic¬tions concerning the type of policy shiftforseeable in the aftermath of theturbulence.Mr. Butler is a first-year student inphilosophy in the college of the Universityof Chicago.v>Oetobe*-N6^niker u * *V » * \'its military officers recommend.” (Theitalics are Mr. Rickenbacker’s.)What seems most incredible in Death ofthe Dollar is Mr. Rickenbacker’s almostfanatical fascination with gold. He spendsan entire irrelevant chapter on its beauty,lustre, history, and physical properties.Did you know, for example, that “Thegold content of the average meteorite isabout 700 times higher than the goldcontent of the earth’s surface”?Finally Mr. Rickenbacker settles downto his own area of expertise-investmentsurvival. Besides being a senior editorof National Review, Mr. Rickenbacker isa Wall Street research analyst, and anindependent investment advisor. Thuswhen he suggests investing in Quaker Oatsand African gold mines, I’m sure he mustknow what he is talking about.After his elaborate instructions onhoarding, from rare books and violins toconvertible securities and gold stocks, Mr.Rickenbacker has the nerve to say, “Sav¬ing silver coins or buying a foreign goldmining stock does not amount to ‘bettingagainst the Government’ or engaging insimilar unpatriotic gestures.” All I cansay is that that is exactly what it doesamount to. Nevertheless, Mr. Rickenback¬er assures us that he and his elite willbe perfectly willing to take over and re¬build the country after its inevitabledownfall.Mr. Marsh is a graduate student in Ec¬onomics at Michigan State University.PainlessClichesVision and Image James JohnsonSweeney, Simon and Schuster, $4.95.by JEREMY DUPERTUIS BANGSVision and Image is the seventeenth vol¬ume in the series Credo Perspectivesedited by Ruth Nanda Anshen. The goalsof the series are set forth in her long in¬troduction. The series assumes that manhas reached a “turning point in conscious¬ness” making the twentieth century anunprecedented period radically differentfrom preceding eras, because with almostunlimited choices for good and evil, manmust develop wisdom to direct his massiveintervention in the evolutionary process.The series is an attempt to change pre¬vailing inherited conceptions of the natureof knowledge, work, creative achieve¬ments, of man as inquirer and creator,and of the culture which results fromthese activities. The series presents thethought of many contributors, amongwhom are Erich Fromm, William 0. Doug¬las, Popes Paul VI and John XXIII, FredHoyle, Paul Tillich, and Martin Buber, inthe hope of “drawing from every categoryof work a conviction that nonmaterial val¬ues can be discovered in positive, affirma¬tive, visible things.”James Johnson Sweeney, author; critic;organizer of exhibitions (Picasso, Miro,Calder, the U.S. Pavilion at the 1952 Ven¬ice Biennale); Director of the Museum ofFine Arts, Houston, Texas; and memberof the board of editors of Credo Perspec¬tives, fails to come near reaching thegoals of the series. Instead of attemptingto examine profoundly what aims separatepresent art from past art, Sweeney set¬tles for far less. Vision and Image is justanother layman’s guide to modern art. Itis better than some (in having no repro¬ductions, it has no bad reproductions);worse than others (there is no real dis¬cussion of any particular artist’s particu¬lar works); and as its own contributionhas a rare civility (the pontificating isnever strident).If one accepts the idea that radicalchange is transforming all areas of humancreativity, as is asserted in the introduc¬tion, then one must consider inadequateSweeney’s statement that the differencebetween past art and present art is thatthe past artist tried to record the“external world” in contrast to the pre¬sent artist who creates a world “out ofhis inner self.” Charles Baudelaire, afterContinued on Page 8agW-Literary1"* ovfew d 7Really.Father?Structures of Christian Priesthood, Jean-Paul Audet, The Macmillan Company,$4.95.by GEORGE RISDENThe concern of this work is with thestructures of the Church’s pastoral serv¬ice, primarily, the service of the work andof the Eucharist. This is one of the manyworks today which speaks about the prob¬lem of the celibate clergy, and the authorturns to the early Church, using some veryvague references, to point up the fact thatfrom the beginnings of the Church, stylesof life were estimated in terms of pastoralservice rather than in terms of any valuethey might possess in themselves. Demo¬graphic growth and the growing process ofurbanization force us to decide what lifestyle can best serve the pastoral needs ofthe Church: celibacy or marriage.Until the last decades of the third cen¬tury, marriage seems to have been thedominant life style of those engaged inpastoral service. The prevalence of mar¬riage, however, began to wane through thecenturies until the first and second Later-an Councils (1123 and 1139) declared themarriage of any cleric in major ordersto be null and void. It seems that the peo¬ple of those times came to think of any¬thing sex-related as impure and thus dia¬metrically opposed to the notion of thesacramenta, of which thep riest was thedispensor. This is the appearance of thepervading distinction between sacred andsecular which still plagues us today.Audet then goes on to explain that tocarry out adequately the command of Je¬sus to go forth and teach all nations, thedisciples had to be free. To preach theirmessage efficiently, they had to be free,mobile, and detached from anything thatwould hold them down to one place. Oneleft home at that time because the serviceof the word demanded it. The life of con¬tinence was not, however, forced upon thedisciples. “He who is able to receive this,let him receive it.” (Mt. 19:11-12) St. Paulspeaks about this in I Corinthians: “I wishthat all were as I myself am. But eachhas his own special gift from God, one ofone kind and one of another.”Later in history, the need and presenceof the itinerant preacher disappeared. Theministers of the word began to work fromhomes in a situation that would insuresome stability. What I believe Audet is try¬ing to push is that in the early centuriesof the Church, the life style of the clergywas based on the form-follows-functionprinciple, tnat is, the type of ministry be¬ing performed and the manner in whichthis was done dictated the life style of theministers. Perhaps today, when the bulkof ministry is not performed by itinerants,and when those who would travel aboutpreaching could easily do it without leav¬ing all their possessions behind, a new lifestyle could easily be employed by the cler¬gy, the choice of marriage or celibacy be¬ing their own. as it is with other men.Mr. Risden is a senior majoring in philoso¬phy at Loyola University. To Catch The PoetSweeneyContinued from Page 7all, said essentially the same thing inpraising Delacroix over Ingres in his com¬ments on the Salon of 1846. The usualway to counter this argument is to saythat Baudelaire was “ahead of his time.”In point of fact Baudelaire was a part ofhis time because he existed then and notnow. His conception of outer and innerworlds, shared with the people he op¬posed, is one of the prevailing inheritedconceptions which the introduction saysCredo Perspectives is attempting tochange for our time. Sweeney approachesthe real difference that separates presentart from past art when he says that “re¬lationships have become more importantthan the things which they relate.”“Things” is, however, an ambiguous word.By failing to discuss present art’s em¬phasis on relations between actualizedvalues Sweeney veers away from thesubject leaving the impression that, forhim, “things” are simply objects onemight put in a still life or elements ofmaterial to be combined in a composition.What Vision and Image does provide isa painless introduction to the major clichesof current art criticism in the UnitedStates.1. The artist in the United States, Swee¬ney asserts, has a peculiar advantage overthe artist in Europe. While present art inEurope is abandoning the conventions ofpast art in Europe, present art in theUnited States is abandoning the conven¬tions of all art in Europe, past and present.2. The communication in art and in par¬ticular paintings can be explained with theword “metaphor.” Sweeney discussesmodern poetry at some length to supportthis particular bromide. It all sounds rath¬er nice, until one comes to the point ofapplying the term “metaphor” to a par¬ticular picture. This Sweeney avoids; andhe provides no suggestion of how it is tobe done with any meaning (except to adda phrase like “as in art” every time EzraPound or T. S. Eliot is quoted aboutpoetry.) Art critics have been glossingover this issue for a long time. Sir Her¬bert Read mixed poetry and painting asfar back as 1925 when he said that a cer¬tain painting had “rhythmic cesurae.”3. “Play is the base of every truly cre¬ative art expression.” Too bad for Mi-chaelangelo.4. “The true artist employs the pictoriallanguage of his day to convey his mes¬sage.” Here Sweeney’s failure to discussparticular artists and works issues in tau¬tology. For it is the pictorial languageused by the “true artist” of any periodwhich determines the pictorial languagebelonging to that period.It is the artist who comes first. In notdiscussing particular artists and worksSweeney has denied the reader insight in¬to the process of art criticism. He hasalso kept his discussion in the categoryof the abstract universal, which, as theintroduction acknowledges, is a far lowercategory than the personal.Mr. Bangs exhibits in the United Statesand Great Britain.PhilbyContinued from Page 4selves. If he chose the Soviet Union, it wasbecause he did not wish to end as a“querulous outcast.” He was aware of Sta¬lin and he made his choice. “Advanceswhich, 30 years ago, I hoped to see in mylifetime, may have to wait a generationor two. But as I look over Moscow frommy study window, I see the solid founda¬tions of the future I glimpsed in Cam¬bridge.”In his own words, and they may be themost revealing words in the book, hestayed the course.Mr. Salasin is a fourth year student of So¬ciology at the University of Oregon andwas recently reconstructed by the Czecho¬slovakian Communist Party. T. S. Eliot: The Man and His Work, De-lacorte Press, 400 pages, $6.50.By BARBARA BLAIR“The Man and His Work” is a phraseused too often in writings about public fig¬ures—so often, in fact, that its very soundseems to announce a pompous panegyric.This book, however, fulfills the meanings,not the connotations ,of the phrase by thediversity and depth of the collection ofcritical and personal essays. It was puttogether by Allen Tate, at the request ofthe editor of The Sewanee Review. Twen¬ty-six critics, writers, and editors were re¬quested to write about Eliot. Those whohad known him personally gave accountsof their meetings, their impressions of him,and his effects on them. Those who hadstudied him gave critical appraisals of hiswork, or offered illuminating studies ofsome aspect of his writing.The personal studies range from anecdo¬tal snippets by I.A. Richards and H.S. Da¬vies to moving reminiscences by RobertGiroux and Frank Morley.Sir Herbert Read, late British critic,head of the Institute of Contemporary Artand art expert by virtue of his years ofwork at London’s Victoria and Albert Mu¬seum, writes at length also. As a contem¬porary of Eliot his narrative account oftheir early friendship is very good. His oc¬casional excursions into quasi-psychoanal-ytical criticism of Eliot’s work and of theirideological differences in later life haveno validity and, were they not presented insuch an unfriendly way, would be forgiv¬able excesses in an essay containing manyinteresting remarks.The critical essays include a number ofdifferent biases, of which a few might beas unfavorable ,and as many theories abEliot as there are essays about his work.Three notable essays are John Crowe Ran¬som’s “Gerontion,” “T.S. Eliot: Thinkerand Artist” by Cleanth Brooks, and “T.S.Eliot’s Images of Awareness,” by LeonardUnger. Ransom’s essay is well worth theprice of the book. It deals with Gerontiononly, examining the poem gradually byword and by line, discussing meaning,rhythm, word choice, sound and referentMemoirs of a Banknote by J. PacoD'Arcos Translated from the Portugueseby Robert Lyle, Henry Regnery Com¬pany.by WARREN E. WILDEAn object cannot be human and passiveat the same time. But that is exactly howJ. Paco D’Arcos tries to make his femalebanknote, all five hundred escudos worthof her, function. She is, by her own admis¬sion, “wholly passive,” and yet her involve¬ment from within the pockets of those whopossess her is always more than passive.She judges; she sympathizes. She loves andshe hates. That is the tension of Memoirs ofa Banknote, and unfortunately it is a ten¬sion that removes the reader far from theplights of human condition that the noveltries to portray.First, of course, there is the grievous er¬ror of sympathetic contact. Only the mostfanciful reader could find pleasure inidentifying with a living banknote, withfears and desires, tucked away in pocketafter pocket,- observing the affairs of men.Moreover, as appealing as this idea is,D’Arcos fails to make his banknote meta¬morphose; this is no nutcracker come tolife, no handsome prince turned ugly frog,no cockroach with a human mind andspirit. Any of these devices, as old as Cin¬derella, would work better than the nar¬rative of a banknote that always remainsa banknote and yet somehow talks to usfrom the dark pockets that it inhabits.Point of view is the next most obviousfault of this novel. This particular bank¬note, always folded inside someone’s wal¬let next to his beating heart or fat buttockscould not possibly see all the life it does.Yet from that thin, almost dimensionlessform comes a very wide perspective. Sad¬ly enough, however, the perspective re¬mains unconvincing, even distant. Howev- as a unity, an approach of which Eliotmight certainly have approved. Theappraisal is presented with precision andgrace, perhaps because it is the recastingof Ransom’s view of Eliot, a change ofearlier positions about his work, a reeval¬uation of the poet, thought out with morerigor than Ransom’s earlier views.The workings of anartist-writer-critic circle in a center of cul¬ture are revealed explicitly in several es¬says. The concision which article lengthdemands and the compelling sense of lossat the poet’s death add to the merit ofmany of the pieces included in the book.Reading the collection inspires one to readall of Eliot; reading Eliot prompts curios¬ity about him and the desire to haveknown him. The curiosity is partly satis¬fied by this excellent commemorative edi¬tion; the desire, partly quieted, mayemerge at greater depth. The short pieceby Ezra Pound is by far the most movingand compelling:FOR T. S. E,His was the true Dantescan voice—not honoured enough, and deservingmore than I ever gave him.I had hoped to see him in Venicethis year for the Dante commemora¬tion at the Giorgio Cini Foundation—instead: Westminster Abbey. But,later, on his own hearth, a flametended, a presence felt.Recollections? let some thesis-wri¬ter have the satisfaction of “discov¬ering” whether it was in 1920 or ’21that I went from Excideuil to meeta rucksacked Eliot. Days of walking—conversation? literary? le papierFayard was then the burning topic.Who is there now for me to share ajoke with?Am I to write “about” the poetThomas Stearns Eliot? or my friend“the Possum?” Let him rest inpeace. I can only repeat, but withthe urgency of 50 years ago: READMiss Blair is a senior majoring in Englishdialects at Sarum University.er hard the reader tries, he cannot bringhimself into sympathetic relation with abanknote, of whatever value. And that lackcarries itself to almost shameful non-in¬volvement with the characters of the novel.The character sketches themselves, if toldfrom another point of view or even objec¬tively by an omniscient observer, could beinteresting and compelling. We enter thelives of souls whose entire existence de¬pends upon this particular banknote. Wewitness a prostitute fighting tosupport her son; a mortician who loseshis son and therefore comes to know ofdeath as more than just a business; a sadold Jewess being brutally transported tothe gas chambers of the Nazi concentra¬tion camps; an aging English teacher,starving to death, trying to maintain somesemblance of dignity; a sensitive youngpoet who commits suicide because the onewoman he has loved has thrown him asideas of no value. The people would seem real,their stories compelling, if it were not forthe unbelievable voice of the banknote giv¬ing expression to their personal tragedies.In this novel, point of view makes all thedifference, and it miserably fails. I wouldrather read of red shoes that come aliveand carry a lonely ballerina to her death,of toy soldiers that march before wide-eyed children, of a great, ugly beast-thatwhen kissed by a beautiful princess turnsto a handsome prince, or of a gilded statueof a prince whose lead heart breaks forlove of a small, kind-hearted swallow. Be¬fore Mr. D’Arcos attempts such an under¬taking again, I would suggest that he readsome fairy tales.Warren E. Wilde is Chairman of the De¬partment of English at Los Altos HighSchool, Los Altos, California, and is work¬ing toward his Master’s Degree at SanFrancisco State College.Money Talks ...and Talks8* The C h.W^flA^Literj vipw Octob^Npven^,,