The University in the novel, p,Richard Stern interview, n. li^ 7 rMaroon poetry competition,u- -■Wk n■jk p»TH€ CHICAGOLIITCRdlRVVol. 6, No. l The University of Chicago ©The Chicago Maroon 1978 Friday, March 10,1978Parke■4a? m jtnheuser (Jtusri\. —Mtural/ /liQht \ \PAPER AIRPLANE CONTEST%Win a Cessna AirplanePlus Free Flying LessonsNatural presents this up-in-the-air contest justfor the fun of it. Here's all you do: Fold, Crimp,Lick and Tape this ad or other paper into any¬thing that flies in accordance with the OfficialRules. Then, send it to us.The Grand Prize is a Cessna 152 II Airplane plus freeflying lessons (Up to 40 hours). Our runner up prize of afree flying lesson will be awarded to all finalists.And. the first 5000 entries will receive an officialcontest patch. Get flying, you could win.Greatest DistanceWins The CessnaSpecial Awards To Most Original. MostAttractive. And Maximum Time AloftAt The National Fly-Off100 finalists will be chosen on the basis of farthestdistance flown. From these finalists, the GrandPrize Winner will be selected at a National Fly-Off judged by a panel of experts to be named later.Bonus Awards: At the National Fly-Off all finalistswill also be judged in such categories as mostoriginal design, most attractive and duration offlight. These category winners will receivespecial recognition awards.Quick. Get your entries in today. Then relax,take a “Natural Break”, we’ll notify youif you’re a winner.To Enter Complete The FollowingAnd Mail (See Rule #1 for contest address)Your Name.AddressCity . State . .Zip.. jMfusn Auvh _MturalTo learn more about learning to fly, call tollfree 800-447-4700 (In Illinois call 8*10-322-4400and ask for the Cessna Take-Off operator. Construct a fixed wing paper airplane which sustainssolely by use of aerodynamic forces, with a totallength and wing span of no more than 00", clearly print yourname and address on a visible part of it. and mail (please wrapsecurely) in a folded, ready to fly condition to: \The Anheuser-Busch Natural Light 'Paper Airplane Contest \P.O. Box \Blair. Nebraska 68009 \2. Winners will be selected solely on the basis of farthest straight linedistance achieved between point of launch and point of nose impact.There will be only one launch per entry. Kilter as often as you wish,but each entry must be mailed separately.T All entries must be received by May 15. 1978.4. Paper airplanes may have ailerons, rudders, elevators or tabs, butwe will make no adjustments to them. The only acceptable materialsto be used in construction are paper and cellophane tape.5. All airplanes will be launched by hand only. If there are any specialinstructions regarding launching such as the angle of attack and force• hard, medium or soft) of launch, please print then; clearly on a visibleportion of your paper airplane, and the judges will attempt to follow them.6. Preliminary judging to select the farthest flying 100 paper airplaneswill be conducted in an indoor location by theD.L. BLAIR CORPORATION, an independent judging organization.he top 100 farthest flying airplanes (the Finalists) will be flownagain indoors to select the farthest flying paper airplane using thesame criteria as stated above. Selection of a winner will be made by adistinguished panel of judges who will lie named later, under thedirection of the D.L. BLAIR CORPORATION.8. Bonus prizes of Special Recognition Awards w ill be awarded tofinalists in the follow ing categories:A. Most original designB. Duration of flight •maximum time aloft IC. Most attractive (overall appearance of design, and color ofpaper airplane)Selection of bonus prize w inners w ill be made by a distinguishedpanel of judges, under the direction of the I ).L. BLAIR C( )R P( )RATI( ).\9. In the event of ties, duplicaU prizes w ill be awarded. DECISIONOF THE JUDGES IS FINAL.10.Contest is open to residents of the contiguous 48 ContinentalUnited Stale> who are of legal age for the purchase and consumption of alcoholic beverages in the State of their residence, exceptemployees and (heir families of Anheuser-Busch. Inc., their affibates, agents, w holesalers, retailers and the D.L. BLAIRCORPORATION. This offer i-. void w herever prohibited by lawWinners will be notified by mail. All Federal, State and local lawsand regulations apply. All entries become the property ofAnheuser-Busch. Inc., and will not be returned.11 For a list of the top 100 winners, send a stamped self addressedenvelope to: “Paper Airplane Winner's List," P.O Box 9027.Blair, Nebraska 08009. Do not send this request with your entryC - jjv%' .ot ri'jjFj'i. wni - w/bl/ >3*'j;/Do/lPark, the University,and the novel<7/te University of Chi cafeA selectedbibliographyBy Albert TannlerWhenever I am asked about novels set inHyde Park or at the University, I think ofAugust Wilhelm Schlegel’s succinct ex¬planation as to why he omitted discussingcertain types of literature in his “Lectureson Dramatic Art and Literature” (1808):“We might read ourseives to death withfarces.” Works of fiction about universitiesand university communities represent, un¬doubtedly, a peculiar literary genre —many would say a minor one. In this regardHyde Park and the University of Chicagofare rather well. One can, after all, citeauthors such as Theodore Dreiser, RobertHerrick, Edna Ferber, Sherwood Anderson,James T. Farrell, Philip Roth, James Pur¬dy, and Saul Bellow. These writers are thebest known today, yet I am aware of about50 titles of “Hyde Park/University” novels— as well as numerous short stories — andcan assume, with some certainty, that theseare by no means the sum of what has beenwritten.What follows is a select bibliography ofsome of the novels which have the Universi¬ty or the neighborhood as their setting. Twotypes of books will be omitted: those whichcontain only fleeting references (the merefact that one of Ross McDonald’s murdererswas graduated from the College is in¬teresting but that is not sufficient to qualifyfor our list) and books by Hvde Park authorswhich are ostensibly about some otherplace. The fans therefore, of Robert MorssLovett, Edith Rickert, and Maude PhelpsHutchins will find nothing here for them.Hyde ParkNovels set in Hyde Park are almost in¬evitably University novels as well. ThereAlbert M. Tannler is on the staff of thedepartment of special collections, JosephRegenstein Library. are a few exceptions however. “Tides”(1926) by Ada and Julian Street features theWorld’s Columbian Exposition of 1893.Floyd Dell’s “The Briary-Bush” (1921) andSherwood Anderson’s “Dark Laughter”(1925) focus on the then flourishing 57thStreet artist’s colony. The circle of HydePark artist Gertrude Abercrombie, as wellas an assortment of rather seedyneighborhood types, appear in James Pur¬dy’s “Eustace Chishom and the Works”(1967).The UniversityIt is always appropriate to begin withsomething obscure, although the earliest ti¬tle is not really a novel but rather apedagogical exercise in fictional form:Felix Klein’s “La decouverte du VieuxMonde par un Etudiant de Chicago” (1906).This curiosity aside, University novels tendto present the institution either as a settingor background — in some cases for only partof the action — or as the primary subject.As their titles suggest, Maude RadfordWarren’s “Main Road” (1913). EliaPealtie’s “The Precipice” (1914), MarjorieCooke’s “Threshold” (1918), Newton’sFuessle’s “Flail” (1919), Mary Bradley’s“Wine of Astonishment” (1919), SterlingNorth’s “Seven Against the Years” (1939),Thomas Roger’s “The Pursuit of Hap¬piness” (1968), and Susan FrombergSchaeffer’s “Falling” (1973) are novelswhich assess, in part, the University’s im¬pact on individual maturation. Other novelsin which the University plays a persistent ifnot necessarily primary role are EdnaFerber’s “The Girls” (1921), W. L. River’s“Death of a Young Man” (1927), which pur¬ports to be the diary of a terminally-illlHyde Park resident and University alum¬nus, several novels by James T. Farrell —for example, “My Days of Anger” (1943)and the “The Silence of History” (1963) —and Saul Bellow’s “The Adventures of AugieMarch ” (1953) and “Herzog” (1964).Theodore Dreiser’s fictional portrait ofChicago industrialist Chrles Yerkes in “TheTitan” (1914) should also be mentionedhere, containing as it does a cameo ap¬pearance by William Rainey Harper.Novels which attempt to recreatesomething of the quality of life at the University and in which, as it were, AlmaMater is the central character, usuallygenerate the greatest interest. Here one ex¬pects to find the roman a clef — a bit ofgossip, a hint of scandal. If the University isnamed, and the architecture Gothic, thewriter is usually moved by affection; if thename is changed, and the architectureeither grotesque-Gothic or “collegiateGeorgian,” the writer is usually motivatedby revenge. Susan Glaspell’s “Glory of theConquered” (1909) tells the story of a facul¬ty wife who carries on her husband’s scien¬tific research after he loses his eyesight. ZoeFisk Flanigan’s anonymously published“Grey Towers” (1923) is the subject of aseparate review as is Robert Herrick’s“Chimes” (1926). The most affectionateprotraits of the University appear in “ThisWas Life” and “Winds over the Campus”(both published in 1936) written by Englishprofessor James Weber Linn. Marjorie HillAllee’s “The Great Tradition” (1937),although written for teenagers, is of interestfor its portrayal of five women graduatestudents and for its discussion of racial pro¬blems. Georg Mann’s “The DollarDiploma” (1960) concerns itself with fundraising at the University. (It shares theprize for invective with Mrs. Flanigan’sDook). Philip Roth’s “Letting Go” (1962) isdiscussed in a separate review. H E. F.Donohue’s “The Higher Animals” (1965)concerns a young University graduate andHyde Park bookseller and his various HydePark and University friends and foes.Mystery, Crime, and MadnessTwo faculty members have writtenmystery stories set at the University. EdgarJ. Goodspeed’s “The Curse in the Colophon”(1935) couples nefarious doings and ancientmanuscripts. English professor W’alterBlair co-authored, under the pseudonym ofPortimer Post, “Candidate for Murder”(1936) in which a genial English professorsolves a murder in the faculty club. MeyerLevin’s “Compulsion” (1956) retells theLeopold-Loeb kidnapping and murder ofBobby Franks. The title of Bette Howland’s“W-3” (1974) says it all.Those who desire to supplement their ex¬perience of Hyde Park and the Universitywith massive doses of fiction should find this list more than sufficient for their needs.Personally, I find a reviewer’s commentabout Susan Glaspell’s 1909 novel applicableto many of the others: “There is much thatis morbid in Miss Glaspell’s first novel. . .and something that is fine.” Whatever theliterary merits of many of these books,whatever the author’s point of view or hid¬den agenda, they are all works which at¬tempt to catch something of the essence ofthis place and communicate it to others.Surely you remember the unguarded mo¬ment when you — whether student, faculty,staff, or neighbor — said: “When I write mynovel...”Robert HerrickA bell forHyde ParkBy Michael DabertinChimesby Robert Herrick;MacMillan. 1926Robert Herrick (1868-1938), considereda major American novelist of the periodextending from the late 1890's to World WarI, served as professor of English andrhetoric at the University from 1893 to 1923.Virtually all of Herrick’s fiction isautobiographical. Friends and acquain¬tances often appear as characters in hisnovels, and Herrick often angered them bywhat they felt were breaches of confidence.One such friend. Robert Morss Lovett,himself an English professor at theUniversity, arranged in 1923 for Herrick towrite a serialized novel about university lifefor “The Forum” magazine. Herrickassured Lovett that the book would notsimply be a fictionalized account of hisyears at the University, but rather, about“the pleasant walks of Academe.” When thenovel, “Chimes,” first appeared in serialform in 1925, Lovett realized that Herrickhad broken their agreementBy the time “Chimes” appeared in bookform in 1926. University alumni and most ofHerrick’s associates were angered by whatwere simply his memoirs of the University’hinly veiled as fiction. Most of the:haracters in the book are easily identifiedis prominent University personalities, andhe picture it paints of “Eureka University”the U of C), in the fast-growing metropolis)f Eureka, is not a pleasant one.Perhaps Herrick’s attitude toward theJniversity would have been kinder had the.ituation of his resignation in 1923 beennore congenial. Herrick was havingilimony problems that were bound toContinued onp.4The Chicago Maroon — Friday, March 10.1978 — 3'Continued from p. 3receive unpleasant puohcuy \- wa> :n<->custom of the University at that time hesubmitted his resignation, not really expecting it to be accepted But shortly afterhe submitted it to President Dew itt Burton,the resignation was accepted by theUniversity Board of Trustees, much toHerrick’s surprise. And because he hadretired oerore'tht 'ajuiuv. agt he \va-noteligible for a .pension despite 30 years ai theUniversity; nor did the University awardhim one later, as Herrick felt it should Hisconsequent hitterne— 'nwJWl the l niversityis well reflected in “Chimes”.“Chimes” is the story of BeamanClavercin’s ^Herrick's years at EurekaUniversity, from the time ot his arrival inthe 1890's to the early 1920’$. Eureka is abooming town whose vitality outstrips itsgrowth The University occupies a swampy,prairie filled area with jerry-built housingfor the huge fair near it. The ColumbianExposition’s "Midway.” now the Midway).Herrick always had mixed emotions aboutChicago He came here because he felt itwould be less Cte&terec mm the campusesof the east and would provide the materialfor the realistic fiction he noped to write.But while Chicago was the setting for manyof his stories and novels, as his position Inthe University improved. Herrick graduallyarranged to be away most of the time.Whereas Herrick, on his first visit to thecity, was struck by “the godforsaken land¬scape and rivers of mud.” Clavercin in“Chimes” muses:That was the city of Eureka, a jumble ofefforts and makeshifts, to which auniversity was now being addedInstead of John D. Rockefeller, thefounder of Eureka University is “the oldlumberman and wood pulp millionaire."James S. Larson. His portrait hangs in thepresident’s office opposite a sketch of whatthe unfinished campus was eventually tolook like: “a crowded, pinnacled jumble ofGothic buildings.”President Alonzo Harris (William RaineyHarper) is the man upon whose shouldersall responsibility rests. A short, chubby manbursting with energy, his outer office isconstantly crowded' with help seekersHarris is too harried to be meticulous abouthis dress:His ne\* biack frock coat was plentifullysprinkled with dust and dandruff, anddown the black ministerial waistcoatthere was a stain, possibly from coffee-drip...He surprises Claverato at their firstmeeting by calmly cleaning his nails with apenknife as he talks.Although the University alumni wereangered by Herrick's description of theirfirst president, Harris actually appears asan honest and likeable man, Herrick'sdepiction of Harris' determination to workunceasingly despite his knowledge of hisimpending death is poignant.“Chimes' focuses on the faculty ofEureka, which is depicted in the early yearsas being understaffed, overworked andoften underpaid. Clavercin and some of theother young instructors spend many of theirevenings talking and drinking atFlesheimers beer garden,(Laubesheimer’s on Lake Avenue). Theyalso dilute their boredom by investing in allsorts of dubious stocks and money schemesand, like Herrick and his colleagues,promptly loose their shirts.The members of the faculty shown in themost favorable light are Norman Beckwith{Lovett). a man who refuses to compromisehis socialist principles with the businesssense of Eureka; and Edith Crandall(Herrick’s cousin. Alic-- r •-■-•man Palmer),a kind and dedicated dean of women, whodies early ir. to'- is toher memory that the chimes on the Eurekacampus are dedicated (take a look at thebronze plaque in the entrance to theU t he.i Totter Themusic from thes* ch;m^ tfe? ip sections offr-Clavercin and his friend- are resentfullycalled the "Harvard Bunch b> some of thefaculty for what the', regard asBut,-is the Harvard Bunch"the qualityP®•' •dergraduate in /■upspia.> ’ S' commerce faculties or to Harns’s plan todemocrat)/ > the aimers;:) A good deal ofthe oook is devoted to debates about what auniversity and a university education shouldbe. especially how they are to be reconciledwith the modem industrial and businessgrowth of Eureka At one point an ex-facultymember who ha.- mtered ‘he business worldchides his m-mer colleagues for concerningtoemselves wito 'hingS 'hat do not affect -people’s daily lives. Education, he says, is:ike anv other commodity, and professorsarc 'rieaUsL' .. ho won t accept toe un¬popularity of their ideas of education in themarketplace While Clavercin despairs thatperhaps the real university is simply anillusion. •'...a dream of something that did notexist in America or \i it had once existedfaintly in the older colleges of the Easthad been choked by the rapid growth ofnational wealth.The University’s willingness to cater tothe needs of ousiness leads to Herrick’svitriolic description of its second president,Doolittle (Harry Pratt JudsonK Doolittletries to run the university like an efficientmachine;. ardent about nothing, industrious,methodical, believing in a smug orderlyworld run by people like himself, whowere neither brilliant nor erratic’, butkept their accounts in order and neveroffended those in potter.Doolittle envisions a business school whichthe traditionalists, like Clavercin, regardwith disdain.Clavercin. like Herrick, dislikes theroutine of academia — the paperwork andthe testing He has a special distaste for thegraduate oral exams, which are a farce thatenable students to receive their coveteddegrees and professors to impress theircolleagues with their expertise. The only-time Clavercin s committee chooses to denya degree to a Miss Smith, he is appointed toinform her. only to have her collapse intohysterical sobbing.While his inner mind knew that she wasno worse informed in these mannersthan Miss Jones, her successfulpredecessor.Because "Chimes” is the story of thefaculty at Eureka, the students are seldommentioned Herrick himself was at firstrepelled by the student body at theUniversity and in a letter to Lovett referredto them as, "the unwashed.” Later, afterseeing other campuses and revisiting theEastern schools, he came to feel that theywere a special group, earnest and talented.Although Herrick befriended a number ofhis older students, he was remembered by-most to be the epitome of the cold, aloofprofessor who insisted on classroomdecorum and informed his students thattheir acquaintance did not extend beyondthe classroom. And it was he who, so thestory goes, was so disturbed by the presenceof a'giri m a wheelchair in the front row ofhis class that he finally asked her to wheelherself to the back of the room.In “Chimes,” the students are foreverjostling the professors in the crowded hallsof Founder’s <Cobb; Hall. In the classroomClavercin finds the presence of womenunsettling:The women took by prescriptive rightall the front benches in the room, whilethe minority of men slunk into the rear,as if asahmed of exposing their crudermentality before women in mass.Athletes are forever getting by withoutworking at Eureka, while most of thestudents regard it as....a sort of superior day school whereone pe::: •••: rites of knowledgefor a few hours each day and the muchmore elaborate r;u-~ ol -.port and socie¬ty the resto: ’-.Of’.me. with some sort of.good job' at the end of the vista. ..While Clavercin is concerned over theSt-war students fasteij for fraternity life.tleg booze and sexual freedom, he goeson to note that behind the facade offraternity life But the Chicago undergraduate of 1923, far fromdaunted by all this neglect seems to have taken the op¬portunity presented to make whoopee. Judging fromthe pages of the Daily Maroon, the campus was a fer¬ment of social activity. "School Spirit" loomed as alarge issue in the Maroon's editorial column: would thenew University Yeti be ready for the Princeton game,so that Chicago might present "the complete develop¬ment of a roaring, unified bunch of loyalundergradua tes?"...was the great mass of the studentbody, hungry and eager, poor ratherthan rich, seeking life.Chimes” also reminds us that footballwas once considered an important part ofthe University, something Herrick con¬sidered an odd preoccupation. On autumnw eekends 57th Street was crowded with fanswalking from the I. C. station to the game.And those of us who frequent Regensteinmight note that it stands on the former siteof the huge stadium. Of this Herrick writes;The cheers, .greeted the professors’ears as they emerged from theirseminar rooms or the library towardstwilight. The many windowed walls ofthe biological laboratories which of¬fered excellent box seats for the showgoing on across the way were filled bystudents and laboratory assistants.While the student body receives littleattention in “Chimes,” Hyde-Parkersreceive none; probably because, apart fromthe faculty. Herrick tended to socialize withthe wealthy citizens of -Chicago whopatronized the University, Clavercin placesthe blame for his closed circle of friends onhis wife’s desire to “chase after society,”and Herrick’s wife was also very muchconcerned with the social level of theirfriends.If “Chimes” gives us an incompletepicfure 'if Herriejpl years at the University,it is perhaps because he could never com¬pletely immerse himself in the place.Although he could have taught elsewhere,he chose instead to stay for three decades,but he mk had misgivings about it. Thenovel which does have some interestingdescriptions of the campus and shouldprovide | good game of "who’s who1'” forthose who like University lore, is a usefulcontrast to., more nostalgic accounts of; wavesand whoopeeBy Ellen ClementsGrey Towersby Zoe Fisk FlaniganCovici - McGee. 1923Sooner or later — and like as not at justabout this point in late winter —- we all findoccasion to bemoan the more pinchediy inteiiectual aspects of life on the Quads. Onetime too many the next guy n line quotesKant while trying to make a point about theweather, or footnotes his how-do-you-dowith chapter and verse bibliography. Onegray winter’s day one too many mole-eyed,feeble colleagues, straining along under theweight of life’s larger questions, spills hissoup on the next one over. And imomentarily forgetting to count or blessings > wewonder — to which corner of the globe havegrace and youthful spontaneity fled?The reader of “Grey Towers: A CampusNovel” finds that concern over theContinuedAt their after-school soireesthe young Faculty Modernsamuse themselves, various¬ly, by coveting each other'sspouses, coveting Joan,"posing" in front offireplaces, or drapingthemselves over divans andquoting bad verse on Lifeand Love. vlifelessness in the life on the Quads has longbeen a fixture at the U of C - but with a dif¬ference. From “Grey Towers” we get theidea that in the early ’20’s the Universitywas a place where undergraduates enjoyeda thriving social life, if only they could sur¬vive an academic fare which was dry asdust and consisted mainly of the memoriza¬tion of “Facts! Facts! Facts!”“Grey Towers” tells the story of a large,lakeside, Midwestern university and of thebloodless passions and stale teachingmethods which roled its quadrangles.Published in Chicago, in 1923. anonymously,it was immediately recognized as an unflat¬tering portrait of the University of Chicago.The young woman who declined to put hername on the book's cover was Zoe FiskFlanigan, former undergraduate andgraduate student at the University, and in¬structor in the English department from1917 until 1921, when she was fired.The novel centers on young Joan Bur¬roughs (in whom we recognize Mrs.Flanigan) who returns to Grey Towers, heralma mater, as a graduate student and in¬structor in the English department. Andwhat a sorry state of affairs greets her! Col¬lege administrators are mainly occupiedwith trying to cut class size by flunkingstudents. Faculty members, when not com¬pletely absorbed in some arcane andtiresome research, are bludgeoning theirstudents with rules and facts derived fromtextbooks written by department heads orsending out “low grade notices.” At theirafter-school soirees these young FacultyModerns amuse themselves, variously, bycoveting each other’s spouses, covetingJoan, “posing” in front of fireplaces, ordraping themselves over divans and quotingbad verse on Life and Love. Joan’s fellowgraduate students, especially the women,are dull-eyed drudges, deprived of theirspark of humanity by the demands ofResearch. And the undergraduates arebored, pink-cheeked, and frisky.While the novel travels endlessly throughMrs. Flaingan’s stock scenes of debauch,classroom boredom, and departmentalstupidity, Joan takes up the role of educa¬tional evangelist and finds occasion to makebrave speeches — usually in the presence ofa large, captive, faculty audience — on theway to teach undergraduates. She stands offa series of attacks by passion-crazed pro¬fessors, watches her sister’s marriagecrumple on account of her brother-in-law’sphilandering with “The Jade Girl,” mournsthe death of her grandmother (introducedinto the story especially to remind Joan tohold marriage and religion in properesteem), finds a beau, and plans the IdealUniversitv.“Grey Towers” poison-penned attack ruf¬fled many feathers on the Quads. TheMaroon’s one-sentence review deigned onlyto note that the book’s “binding is quite ug¬ly.” Edith Foster Flint, professor of Englishand one of the novel’s special targets, allow¬ed that although “one wouldn’t mind beingsatirized in a good novel, to be protrayed insuch a poor thing, really — it ishumiliating.” And quipped Ellsworth Faris,professor of sociology and one of the villiansof “Grey Towers” (accused in particular ofleading the young ladies astray), “It’s allthe fault of the English department. Theyshouldn’t employ such chinless sirens. Whatcan we poor weak men do?”But the fact that “Grey Towers” caused astir unfortunately had more to do with theunflattering portraits Mrs. Flanigan haddrawn so directly and undisguisedly fromlife, than with the educational critique sheleveled at the University. Mrs. Flanigan ac¬cused the University of neglectingundergraduate education, and in this shewas supported by the facts.It had been the belief of the University’sfounding genius and first president, WilliamHarper, that the University’s “first work isgraduate work ” Although he believed thatundergraduate education ought to have aplace at Chicago. Harper did not have timebefore his death in 1906 to define just whatthat place might be.Under Harper s successor, Harry PrattJudson. the position of the Collegedeteriorated further. Judson, whose specialconcern seems to have been balancing theEllen Clements is a recent graduate of theCollege From "GreyTowers" we get the idea that in the early'20's the University was a place where undergraduatesenjoyed a thriving social life, if only they could survivethe academic fare which was dry as dust and consistedmainly of the memorization of "Facts! Facts! Facts!"Hanging on at the UniversityBy Greg MizeraUniversity budget and raising money formore buildings, spoke resentfully of the Col¬lege’s “tendency to siphon off funds frommore advanced work to the great embar¬rassment” of the University’s research ac¬tivities. D. A. Robertson, professor ofEnglish and assistant to President Judsonexpressed the pragmatic, vocation-orientedview of many in stating that the purpose ofundergraduate education “is to providetraining for efficiency in labor. . . which isdeveloped for the purpose of securing. . .pecuniary rewards” and recommended cur¬ricula “such as will prepare the individualfor his peculiar labor or leisure.”Such sentiments as these were scarcelycalculated to foster the “liberal” Collegeeducation which the administrations ofErnest Burton, Max Mason, and RobertHutchins made their goal. The College wastolerated by much of the University com¬munity on the grounds that it providedfaculty an opportunity to select promisinggraduate students out of the College mass orbrought in revenue from tuition and the giftsof College alumni (who were loyal and tend¬ed to be wealthier than the grad schoolalums).Such attitudes had material consequencesfor the College. During the post-war yearsthe College was crowded: of a total 13,357students on the Quadrangles in 1923-1924, ap¬proximately 3,600 were undergraduates. Agood part of the College teaching wassloughed off on teaching assistants like Mrs.Flanigan. The annual turnover among these100 or so T.A.’s was nearly 40 percent. In all,it was not a situation conducive to consisten¬cy or quality in education.But the Chicago undergraduate of 1923,far from daunted by all this neglect, seemsto have taken the opportunity it presented tomake whoopee. Judging from the pages ofthe Daily Maroon, the campus was a fer¬ment of social activity. “School Spirit”loomed as a large issue in Maroon editorialcolumns: Would the new University Yell beready in time for the Princeton game, sothat Chicago might present “the completedevelopment of a roaring, unified bunch ofloyal undergraduates?” Women’s clubs andmen’s fraternities were the backbone ofcampus society and center of attention. TheAlumni magazine reported in November of1923, that the “campus is agog over a rathertroublesome pledge-tampering case.. . now* before the Interfraternity council for deci¬sion.” Maroon ads hawked ladies’ hats,fashionable men’s overcoats and praised“slinkeristic dress.” Too many restaurantsand dance halls to count — both north andsouth of the Midway — offered their ser¬vices to students: 65 cents for a completedinner at the University Inn, 61st and Ellis,or “Dance all night” on Fridays, UniversityNight at the Golden Lily, 55th and CottageGrove.Reforms that were being planned even as“Grey Towers” came tumbling off thepresses in 1923 soon remade the College inthe pattern of liberal education as we arefamiliar with it today. Packed classes andgraduate instructors, learning by memo yand a large mass of students satisfied osqueak by with C’s, all disappeared. Buithen so did fraternity “smokers,” theWashington Prom, and football, all in shortorder. The Chicago undergraduate was atsome point in this process transformed fromthe academic hack and social gad-about ofthe 20’s into the sober and somber young stu¬dent of the ’70’s.The plans for liberal education at theUniversity of Chicago, first sketched underPresident Burton, and put into practiceunder Robert Hutchins put an end to the in¬tellectual alienation of undergraduateswhich Mrs. Flaingan described. In fact theeducation at the “Hutchins College” as itcame to be known, was so broadly and am¬bitiously defined it seemed that it almostpromised to reveal the secrets of right livingthemselves to the diligent scholar. Whetheras a result of the seductiveness of thisburied promise, or of attempts by Universi¬ty administration to find students fitted tothe Chicago liberal education, the nature ofthe student body and of campus life chang¬ed.That the alienation of youth, or intellec¬tuals. or youthful intellectuals is anecessary part of higher education inAmerica remains to be shown “GreyTowers” stands as literary evidence thatthe University of Chicago, carrying forw arda great research tradition, has ex¬perimented with more than one varietyalready. Letting Goby Philip RothRandom House, 1962.Thumbing through a volume of HenryJames, Gabe Wallach, the wealthy youngprotagonist of Philip Roth’s “Letting Go.”comes across a letter from his late motherplaced there some years ago. Reading herwords, he begins to realize how patheticallydependent on her he has remained. Thisepisode signals a long series of difficultiescentering around Wallach’s inability toescape a web of complex and painful rela¬tionships. From his childhood home inBrooklyn to Chicago, where he teachesEnglish in the College, he is haunted byrelatives, friends, and lovers whom he can¬not “let go.”Hyde Park provides the setting for a cou¬ple of Gabe’s most important en¬tanglements. He lives on 53rd Street forseveral months with a divorced part-timestudent, Martha Reganhart. with whom hedrags out a long-dead affair. Meanwhile, hebecomes involved in the problems of Pauland Libby Herz, Gabe’s closest colleagueand his nervously sensitive wife. They wanta child to bolster their shaky marriage butLibby is unable to bear one. Gabe is movedoy a self-destructive sense of obligation toarrange a shady adoption deal which nearlybrings disaster to everyone.The Herzes finally do get their child, andwith her, a degree of happiness. But Marthadecides to marry a lawyer after rejectingGabe’s last-ditch effort to hang on. AndGabe, with a deeper understanding of hisown weaknesses, leaves Chicago for ateaching position overseas where he canunravel the knotted threads of his past.The Hyde Park Roth describes is one heknew as a graduate student and instructorhere in the mid-1950’s. An ambitious, ifsomewhat ruthless urban renewal programwas just then beginning to relieve theneighborhood of the blight that had plaguedmost of the South Side during post-waryears. At the time Roth strolled theQuadrangles one could count no fewer than23 taverns on a two-block stretch of 55thStreet Crowded tenements and one of thehighest crime rates in the city were drivingHyde Parkers and University membersaway in search of clean, safe living condi¬tions.Understandably. Roth's novel displays lit¬tle nostalgic reverence for the days ofNichols and May, the Compass Players, andMidwestern bohemia Edna Auerbach, oneof Gabe s colleagues is raped and seriouslybeaten on South Maryland Ave As forphysical appearances. Martha's ugly littlehouse is just a small part of the drabnessthat hangs over the entire community. Bleak, grimy buildings and lifeless streetssurround the campus. Only at the lakefront,where Gabe goes when he is depressed, isthere any escape from this gray monotony.Despite those who claim that the samedescription could appiy today, Hyde Parkwas very different then. Some of the placesRoth’s characters lived in and around areremembered only by long-time residents.Hildreth’s (in real life the Stinewavdrugstore) has been replaced by the Agorarestaurant. The Hawaiian House (theTropical Hut), where Martha waited tables,has moved to the far South Side and many ofthe old frame houses she passes on the wayhome from work have been replaced bymodern units.Of course, the familiar University land¬marks are prominent — Billings Hospital.Goodspeed, and Cobb (then, as now, thecenter of undergraduate teaching). Butclassrooms and students are pushed into thebackground. It is at faculty meetings atcocktail parties, and over drinks at the QuadClub that the reader is introduced to Univer¬sity life.Roth has a gift for satire and his acidicpen cannot help but pick out the foibles ofthe intellectual set.Among his targets is Sam McDougall,an absurdly meticulous grammarian anda recognized authority on the history of thesemicolon. Equally ridiculous is WalkerFriedland, a self-conscious “glamour boy”given to leaping atop desks while discussing“Moby Dick.” Then there is perennial quizkid Bill Lake, who went from grade school toprofessorship without leaving campus.Best (or worst) of all is the chairman ofthe Humanities II staff. John Spigliano.Anyone with a bit of experience in academiawill recognize him as one of “that greathorde of young anagramists and manure-spreaders who...lay siege to the minds of theyoung, revealing to them Zoroaster in SamClemens and the hidden phallus in the linesof our most timid lady poets.” From behindhis unlighted pipe he lectures everybody hemeets on the importance of “form andstructure” in writing He conscientiouslypublishes 12 articles a year in the hope ofwinning quick promotion and. according toGabe, would probably swab the latrines inCobb Hall if it brought him closer to his goal.Aspiring novelist Herz is also on the staffbut he finds himself out of place In the faceof Spigliano’s insistence on disciplinedessays. Paul takes up the cause of aestheticquality. A bitter feud inevitably snapes upbetween the “creative writer” (a termSpigliano uses derogatorily) and the chair¬man. At a staff meeting Spigliano remindsPaul that they are not concerned withteaching students how to write lively essays.Paul sets off a brief exchange by asking: “What are we trying to teach then?’ 'We'renot educating their souls,’ said John towhich Paul replied loudly. ‘ Why not ? ” Themeeting ends with bad feelings on bothsides. Shortly afterward, spigliano petitionsthe dean to dismiss Herz.Science majors who now complain abouthaving to take a year of humanities mightbe interested to know that each of these fic¬tional instructors teaches required coursesin freshman composition and second-levelhumanities. Though President Hutchins wasgone, many of his ideas regarding liberaleducation were still held as sacredFreshman composition, to this day a stapleof college curricula elsewhere, was man-datorv for all students unless they placedout of u. And everyone without exceptiontook three years of humanities (HumanitiesI. II. and III) before receiving a degreeGabe puts up with the hassles and preten¬sions of academic life for two years. He ismainlv bored by the whole business.‘Sometimes.’ he tells Paul. T wonderwhy 1 don’t go downtown and get a jobpushing toothpaste for five times thesalary. But in the end it’s not a bad life ”With that lukewarm recommendationGabe and his creator sum up their impres¬sions of Hyde Park and the University.Greg Mizera is a second-year English ma¬jor in the college.The Chicago Maroon — Friday, Match 10.1978,— B\T7\—Innovative, important, controversial, wide-ranging —that sour style of publishing at Chicago — America s leadingUniversity press in terms of titles in print, scholarlyf' distinction in both books and journals,worldwide distribution, and volumeof sales.WilliamWilson Protestant andRoman CatholicEthicsf decliningsignificanceatrace Prospects for RapprochementJames M. GustafsonThis exciting book beats with animportant subject delicately yetfirmly in the manner we have cometo expect from its author. One is con¬tinually impressed by the scope andprecision of Gustafsons learningand the clarity with which he summa¬rizes even complicated arguments.He is a worthy heir of H RichardNiebuhr —Paul Elmen. This is anobjective investigation and an im¬portant contribution to religiouscommonality Scholarly, but not be¬yond the general reader.'—Publish¬ers Weekl y $12 ,50lUiuiuciriOruiiamnimOH22$xxOH22AOOBlacks andChanging American InstitutionsA clear-sighted analysis of changing pat¬terns of discrimination which contendsthat, tor the first time, class has becomemore important than race in determiningblack access to privilege and power. Wilsonexamines the complex economic and politicalchanges that have created this growing divi¬sion among blacks and new hardship for theunderclass “Wilson s analysis of the problem ofthe black lower class is one of the best I've seenit is a good and valuable work in defining lustwhere the problem is—and where it isn't?^Nathan Giazer.$12.50 •• •. The Work Ethic in Industrial America1850-1920Daniel T. RodgersA sparkling account of what happenedto the belief in honest toil as the core ofthe moral life when that belief collidedwith the facts of industrialization andwage-slavery. '‘If it is an ironic tale'.'writes Rodgers, "it is not because themechanical servants ran amok but be¬cause in it one can watch an ethosdestroy itself.* S 15.00Thomas S. Kuhn HFourteen seminal essays which trace the evolutionof ideas behind Kuhns classic \mrk. The Structureot Scientific Revolutions, the book that Sciencecalled: "a landmark in intellectual history which hasattracted attention far beyond its immediate field'.'S18.5GI he Structure of Sr iontifi< Revolutions ' * *'S2.95 paper V • .jg. ~.i fy.Two books from UC professorsThe right relationto Tolstoy An individual perspectiveon individualityTolstoy’s Major FictionBy Edward WasiolekChicago: the University of Chicago Press,1978255 pages. Cloth $12.00 (such as cruelty or self-sacrifice), he ismost free and stands in the “center” where“life beats full.”This right relation to life, as described byWasiolek. is fascinatingly paradoxical. He The Value of the IndividualSelf and Circumstance in AutobiographyBy Karl J. WeintraubChicago: The University of Chicago PressReviewed by Eric Von der PortenModern man, according to Karl J. Wein¬traub, sees himself as “a unique individuali¬ty, whose life task is to be true to his veryown personality.” This individuality is adistinctly modem conception, says Wein¬traub, and “there may indeed be a discer-nable history of the gradual formation ofthis modern self-conception.” he tracingof this history is the task Weintraub set forhimself in writing “The Value of the In¬dividual.”Over the 15 years that the ideas for hisbook have been in formation, Weintraub hasdeveloped a unique persepctive of theWestern world. Weintraub believes that it isimportant to understand the history ofman’s self-conception but he also arguesthat “changing forms of self-conception area useful indicator of changing cultural con¬figurations.” Ultimately, then, the study ofthe history of self-conceptions is necessaryto a meaningful understanding of thehistorical transformations in the West.Weintraub sees the emergence of in¬dividuality as “the gradual fusion of twoideas: the idea of genuine historicaldevelopment and the idea of individuality asa value.” Individuality, in other words,found its fullest expression when man cameto see himself as a creature shaped byhistory and capable of shaping history andas an individual who cherishes the inherentvalue of his uniqueness.These two strains are presented mostclearly in autobiography, says Weintraub,Eric Von der Porten is a third-yearpolitical science major in the College and anassociate editor of The Maroon. because it is in those works that individuals“undertook the difficult task of presentingtheir ideas about themselves.” Thus Wein¬traub has structured “The Value of the In¬dividual” as a topical and chronologicalanalysis of the autobiographical works of 16historical figures.The book begins with an analysis of self¬conception in the ancient world. But thisfirst chapter actually serves as a prefaceexplaining Weintraub’s choice of St.Augustine’s “Confessions” as the beginningof his central argument.According to Weintraub, “During themillenium from 800 B.C. until 200 A.D., theconditions of ancient life neither stimulatednor promoted the growth ofautobiography.” He says, “Some ancientswrote of great deeds done (res gestae)-,some wrote on memorable events they hadwitnessed (memoir)-, some reported whyand how they sought to become wise men(philosopher’s Lives); but none opened uptheir souls in the inwardness of genuineautobiography.”Weintraub sees Augustine’s intense,critical self-analysis in the “Confessions”not only as a literary landmark but also as alandmark in the history of human develop¬ment. He views Augustine’s ability to placea value on himself apart from his value as amember of society as the first inkling thatthe idea of individuality began to emerge inWestern society.But the “Confessions” represents only astarting point. Weintraub says that“Although (Augustine) certainly was con¬scious of personal idiosyncracy, he did notsee it as anything of value in itself or deserv¬ing of cultivation. Quite to the contrary theindications are that he saw in the story ofone Christian soul, the one he could knowbest, the typical story of all Christians.”Also, the idea of man as a creature interac-Weintraub top.8Reviewed by Anita Campitelli InvesterEdward Wasiolek has written this book asa defense of Tolstoy’s major fiction. Herefutes the charges of nihilism, fatalism,and so on, which critics have leveled againstthese works. The defense takes the form ofexplication: each of the book’s chapters isdevoted to a study of a Tolstoy work.Through this explication, Wasiolekdiscredits the charges by demonstratingwhat the works actually are.Wasiolek conceives the series of worksfrom Childhood to Resurrection as stages ofTolstoy's quost for some particular rightrelation to the world, some objective truth.This “mysterious x,” as Wasiolek calls it,largely unarticulated until War and Peace,is the substructure upon which the fiction isbuilt.With Natasha of War and Peace, the“mysterious x” of existence is most clearlydefined. Wasiolek describes it as a “center”where “life beats full.” In the “center” arethose such as Natasha who embody the rightrelation to life. They are joined, at leastbriefly, by those who experience the rightrelation to life during their best moments,such as Prince Andrey. Surrounding this“center” are concentric circles describingthe revolutions of other characters nearer toor farther from the magical “center.”The right relation to life is self-absorption.During those moments when a character ismost purely occupied with himself, he ismost firmly in the “center.” When he relin¬quishes the controls he attempts to imposeupon the world (such as cynicism or faith)or those he attempts to impose on othersAnita Campitelli Ivester is a graduate ofNew College in Sarasota, Florida. She is astudent of comparative literature, and ispresently employed in the Dean of StudentsOffice at the School of Social ServiceAdministration. illustrates it with Platon Karataev of “Warand Peace,” who does not know his age, whoforgets his friends when they are not presentbefore him, who shows Pierre how to live.Platon lives completely for the moment, notby a conscious effort to make the most oflife, but from humility. The final register ofthe effect he has on Pierre is that when°laton is executed, Pierre does not grieve.To further illustrate his analysis of the“mysterious x,” Wasiolek gives examplesof how those who do not stand in the“center” err: the landlady’s faith inPolikushka is the cause of his destruction;the self-sacrifice of Nekhludov is actually anattempt to possess Maslova. His examplesare well-chosen; his argument is per¬suasive.Many readers approach the works withpre-conceived ideas of Tolstoy’s Christiani¬ty which they struggle to align somehowwith the destructive effects of Christian vir¬tue (such as Polikushka’s landlady’s) in theworks. Wasiolek demonstrates how inap¬propriate this struggle is. In fact, Wasiolekillustrates that many critics have foundfault with Tolstoy’s work precisely becauseof their prejudices which prevented themfrom realizing how far away from conven¬tional ideologies Tolstoy went in his searchfor the truth. Critical myopia is understan¬dable, however, because the ideas offreedom through humility, communitythrough self-absorption, and so on, arestartling to readers expecting more conven¬tional formulas.Wasiolek considers “War and Peace” aturning point. After “War and Peace”Tolstoy seemed not to be searching for thetruth, but to be testing the truth that he haddiscovered. The works became darker,more brooding. The “Death of Ivan Ilych”and “Anna Karenina” are among theseWasiolek to p.8The Chicago Maroon — Friday. March 10,1978 — 7. . .... mmm! :itWeintraub from p.7 flict between the idea of the vita activa andthat of the vita contempliva plays a role inmany of the works Weintraub discussesting with history is present in Augustine’sautobiographic self-analysis but, “ForAugustine, becoming a true self meant be¬ing able in many ways to shed the influenceof external accident or coincidence.' ”The remainder of the book traces thehistorical development of the Western ideaof individuality from its initial form as ex¬pressed in the “Confessions.” Weintraubdeals with the works of Abelard. Petrarch,Celini, Cardano, Montaigne, and Rousseau,but he also selects specific movements inWestern culture which made particular con¬tributions to the history of individuality.Weintraub therefore includes chapters onChristian mysticism, Puritanism, and thedevelopment of modern historicism.The book concludes with an analysis ofGoethe's “Dichtung und Wahrheit.” ToWeintraub, “Geothe’s autobiography is im¬portant as a work in which the diverseelements which must unite to produce thenotion of individuality converge. ’ ’The interrelated ideas of personal valueand historical development (present in dif¬fering degrees and forms in all of theautobiographic material Weintraub con¬siders ) are shown to have reached maturityin “Dichtung und Wahrheit.” During hislife, Goethe came to see himself as an in¬dividual, a product of the particular cir¬cumstances of his life and society, and so¬meone to be valued because of his own uni¬que character.Weintraub ends his essay with an analysisof Goethe because, he says, Goethe’s lifemarks the “threshold” of the period whenindividuality became a dominant theme inWestern society. It is left to someone else toanalyze the further development of this con¬cept and its historical impact.“The Value of the Individual” is verymuch an “essay.” Weintraub does not ex¬plain in detail the social and cultural cir¬cumstances which led to the emergence ofindividuality nor does he attempt to definethe historical significance of various stagesin this process. Weintraub has no preten¬tions about “proof” of his thesis; he simplysuggests a reasonable pattern of develop¬ment.Some readers may i eel betrayed becausethis “essay” includes a great deal ofbiographic information on each of theauthors discussed as well as extensive gloss¬ing of the autobiographic material itself.But without this information, the book couldnot effectively work«By including so much detail of eachauthor’s life, Weintraub makes the ideas inthe book more readily accessible to readerswho are unfamiliar with the works He alsosuccessfully enables his readers to unders¬tand the ways in which each author thoughtabout himself and his world. This latter ac¬complishment allows the reader to almostsubconsciously compare his modern con¬ceptions with those of the authors Becauseof the contrasts this approach creates, theidea of a pattern of development is conveyedto the reader much more effectively than ifWeintraub had limited himself to astraightforward academic argument.In “The Value of the Individual” Wein¬traub takes an original approach to an un¬conventional subject. The result is a mostvaluable book. But its value does not lie sole¬ly in the treatment of its declared subject;rather, throughout the book Weintraubraises other related issues and provokestheir further exploration.For example, secularization of society isimportant to the idea of individuality, par¬ticularly as it pertains to man’s attitudestoward the temporal world and to his con¬ceived self-reliance. Also, the perpetual con- Weintraub does not offer thoroughanalysis nor final resolutions of many ofthese questions and issues. Rather, theyserve to complement the central discussionand, in doing so, add f?r«>atly to the richnessof the book.Some readers will disagree with Wein-traub’s treatment of his subject and with hisconclusions, but few will deny that “TheValue of the Individual” will stimulatemuch new thought and discussion aboutman’s evolving nature and about the crucialrole of the evolution in history.Addendum; An unfortunate aspect of thebook Is that Weintraub’s footnotes areburied at the back of the book when theyshould be more accessable to the reader.Karl J. Weintraub is Thomas E. DonnelleyDistinguished Service Professor in thehistory department, dean of the human•ties division, and chairman of the Com¬mittee on the History of Culture.Wasiolek from p.7later works.In "Anna Karenina.” Wasiolek sees a tortured Tolstoy < who in his diary describeathe writing of the novel as “repulsive ’) try¬ing to deal with a world In which the magic“center” seems to have no place. Anna iswrong and lost, but a great threat toTolstoy’s world. So Tolstoy created Levin,and the novel of Levin stands beside thenovel of “Anna Karenina” as an affirmationof the right relation to life.Wasiolek shows how Tolstoy’s aversion tosex affected some of the works, such as “An¬na Karenina” and “Resurrection.” Death,however, is the concern in “Master andMan" and "Ivan Ilych." Tolstoydemonstrated in these two works that lifeentails acceptance of the reality of deathand disease, that self-immersion in the sen¬suous world is emptiness if not accompaniedby recognition of the passing nature of allthings. Wasiolek explains the ending of“Master and Man” as a grand sort of irony;Tolstoy's point was not that Christian self-sacrifice transformed a roed^cre man intoa noble one. but that sheer cold and terrorforced the master to cling in his lastmoments to the most important thing left tohim in the bleak snow: another man.In Wasiolek’s eyes. “Resurrection” wasTolstoy’s synthesis of the truth underlyinghis earlier works. This truth has been soughtafter, discovered, articulated, then doubtedand obscured, but with “Resurrection”Tolstoy reaffirmed his faith in his rightrelation to life Wasiolek demonstrates thatTolstoy’s quest did not end in disillusion¬ment and despair, as “Anna Karenina” hadthreatened, but that Tolstoy remained op¬timistic about man, and offered hope forresurrection.Many readers are sure to find “Tolsoy’sMajor Fiction” pleasurable and instructivereading. To the explications are appended achronicle of Tolstoy’s life and works, in¬cluding an interesting sampling of criticalcomments on the works from their publica¬tion to the present.Edward Wasiolek is Avalon FoundationDistinguished Service Professor of Slavicand Comparative Literature and chair¬man of the Committee on ComparativeStudies in LiteratureALLCIGARETTESThe best newsstand in the worlda|s<a has ipOO magazines for you!11 606151312)684 5100 RespectfullyRequests The SameConsideration YouMight Give. . .ExxonMedicineBefore You DecideWhat You Want ToDo With Your LifeYou’re undoubtedly at apoint where you are seriouslyconsidering what you should dowith your life—after college,Do, include the Catholicpriesthood in your options “Atleast, check out what thisspecialized work for Godinvolves.You can do so on a test-it.no-risk, live-in basis-—in theCrosier Residency Program.Here's a way to help youmake up your mind—at yourown pace—about whether theCrosier priesthood is for you—while continuing your education.(The Crosiers, known formally as theOrder of the Holy Cross, one of theoldest religious orders of men m theCatholic Church, date hack to the1200’s.)As a Crosier resident, you’lllive in an unrestrictedatmosphere conducive tomaking the most importantdecision of your life. 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Featuring very lowassmts. Good security &parking Only $48,500. To seecall Nadine Hild at 667 6666(res. 752 5384).Qm m ran m SM win667-6666Da*fy 9 to5 Sat 9 to t, Qr caff 667 6666 Anytimeyour home condominium nr en-isaI'N.ftjtThe houses where Jean Block livesBy Claudia Magat“Isn’t it a marvelous view? When I firstmoved in I couldn’t stop looking out the win¬dow.”Jean Block, author of the forthcomingbook, “Hyde Park Houses: An InformalHistory,” reappeared at her kitchen door¬way with tea and cookies. “Have a cookie,”she said, “they’re so good for you.”Wintered Hyde Park from Jean Block’sliving room is distracting: ice-bound LakeMichigan, now gray, now blue; the Museumof Science and Industry, composed, amidslush; and beyond blocks of roof-tops, asnowv expanse of the Midwav.It is appropriate that Jean Block shouldcommand this view. She grew up in HydePark and has lived here for most of her life.Jean Block Photo by Clark Thompson Through the years, Hyde Park hasundergone tremendous architectural andsocial changes, primarily during the 1950‘sand ’60’s urban renewal. Block has a strongaffection for old and new Hyde Park, and itis this affection above all that prompted herto start working on “Hyde Park Houses”three years ago.“Hyde Park Houses,” which will bepublished next year by the University ofChicago Press, explains how domestic ar¬chitecture reflects the community’seconomic and social development between1856 and 1910. Because Hyde Park’s originalresidential areas are intact, Block was ableto do much of her research simply by walk¬ing and driving around the neighborhood.“The mansions on Kenwood show that thestreet was upper-class; you see the smallerhouses around St. Thomas Apostle Churchon Kimbark, which was a poor section; andthen there are professors’ medium-sizehouses around the University.“There were so many things I noticed,”Block continued, “like the absence of rowhouses. In contrast to the North Side. HydePark has a large number of free-standinghouses.”In addition to observing Hyde Parkhouses, Block spent a good deal of time atRegenstein Library, the Art Institute, andthe Chicago Historical Society, looking atold architects’ hournals, city directories,and maps.“Have you ever read local histories?”Block asked, “they’re boring, aren’t they!”The only “local history” I’ve read was putout by the Ladies Village ImprovementSociety of East Hampton, N.Y., and yes, itwas boring.But because the years 1856-1910 weremarked by two exciting events that had pro¬found effects on Hyde Park’s development.Block’s book could not possibly be dull.The World Columbian Exposition, held inJackson Park in 1893, and the founding ofthe University of Chicago, in 1892, set off abuilding boom in Hyde Park. Until this time,the South Side was relatively inaccessible todowntown Chicago. In preparation for theExposition, public transportation startedserving the area ; the El was extended andthe IC tracks were raised."Urban renewal was approached from so many dif¬ferent angles it could not fail to be carefully plannedand executedBut Block said that in retrospect shesees some mistakes. ' 4Mt! IP1 f*$!!»>*“# 5iin*-5;*s*^£s4857 S. Greenwood; 1896 sPhotos courtesy of Jean BlockAfter the South Side opened up to the restof Chicago, Hyde Park became a large andfinancially stable community. Theneighborhood’s commercial success waslargely due to the IC tracks, which were us¬ed by the Chicago-New Orleans line. Riderscould board a Louisiana-bound train at 59thStreet, and Hyde Park was a stopover. TheWindermere and Shoreland Hotels werebuilt during the 1920’s to accommodatevisitors. The trains and hotels provided ex¬cellent job opportunities. strong ties to the University) handled legaland governmental aspects of Hyde Park ur¬ban renewal, such as crime control.“Everybody was involved,” Block said.“Urban renewal was approached from somany differnt angles it could not fail to becarefully planned and executed.” But Blocksaid that in retrospect she sees somemistakes.“We took away too much low-rent space.,and small businesses were driven away. Inthe late '50’s, the shopping center was con-The World Columbian Exposition, held in JacksonPark in 1893, and the founding of the University ofChicago, in 1892set off a building boom in Hyde Park.But the 1930's and ‘40’s saw a massiveresidential move to the far suburbs. HydePark mansions were vacated by families,and turned into boarding houses.“By the 1950’s, Hyde Park was followingChicago's trend of neighborhood breakdownand abandonment,” said Block. “But thenlocal residents got together, we decided notto run away.”Three strong community groups emergedduring the urban renewal years. The HydePark-Kenwood Community Conference pro¬moted neighborhood cleanliness and stabili¬ty; the Women’s Open House Committee en¬couraged single-family residences: and theSouth East Chicago Commission (which had sidered the wave of the future, and the im¬portance of locally-operated businesses wasnot fully realized.” Block noted that smallstores are coming back to 53rd Street andthat the conversion of the Shoreland Hotel toa dormitory has revived business in thatareaHyde Park is still recovering from thewounds of urban renewal, but the communi¬ty’s houses have a long and undisturbedhistory. Jean Block's book will be importantand enjoyable reading for those who are in¬trigued by the interaction between architec¬ture and neighborhood development and foranyone who has ever been dazzled by aHvde Park house.5714 S. Dorchester; 18604815 S. Woodlawn; 1910•S', -■mi' A'*: Neighborhood .by Andrew M. GreeleyNew York The Seabury PressIllustrated, 171 pages. Cloth. $10.95Reviewed by Peter EngTo a large extent, ‘ Neighborhood” (andthe neighborhood) is the physical andphilosophical synthesis of Andrew Greeley'smost distinctive contributions to socialscience scholarship in the past two decadesAs much as any contemporary sociologist,Greeley has given academic respectabilityto the study of local ethnic culture inAmerica: ethnicity as discussed in this bookis intimately associated with the concept ofneighborhood. More significantly, he is themost prolific popularizer of “Catholic socialtheory” toddy. This theory Was given pas'sionate expression in his “No Bigger ThanNecessary” (1977), in which Greeley warn*ed that our political-economic system hasbecome too big and impersonal, that it ig¬nored the “dense, organic network” of in¬timate relationships that bind peopletogether in family and neighborhood.Many members of the University com¬munity will not consider “Neighborhood” ascholarly work. There are no graphs, littledata, few explanatory footnotes, no intricatesociological analyses. Moreover, there are alot of pictures. The defense of theneighborhood rests on 'ObnCeptiOhs of manand society so simple that our high-poweredpolitical philosophers could easily take itapart over breakfast. But those with or¬dinary sentiments and common sense — theaudience to which this book is adressed —cannot take it apart quite as easily.Nor would they want to. “Neighborhood*works primarily at the level of disposition:Greeley wants the reader to value theneighborhood. Greeley writes that this bookis intended for those who have lived in aneighborhood or who still carry around withthem a notion, however vague, that theneighborhood might well be a good place tolive. “Neighborhood” is the type of scholar¬ship that is perhaps a little irritating to ustoday. It is a scholarship that works on aprimary level of appeal, which asserts thatpersonal experience does matter.As always, Greeley is direct and honestabout his intentions. The modern hostility toneighborhoods, he argues, is rooted in apowerful “picture” that the neighborhoodpresents a obstacle to progress in modernsociety. Hence, an argument for theneighborhood must open the reader’s mindup to other conceptions, other “pictures,”“Neighborhood” makes use of 22 pages ofphotographic montage to buttress the text,which is itself a blend of personal reflec¬tion and sociological argument. The aim isthe reader’s total disposition toward theneighborhood: “I want to use images frommy own past and present to stir up imagesfrom the reader’s past and present. I wantto appeal not only to the reader’s intellectbut also to his emotions and to the imagerythat lurks in his i m a gi n a lion.”That this methodology succeeds is no insmall part due the the personal, personablestyle in which this book is written. Theneighborhood meant, and still means,something to Greeley the individual, tfistask is to show us what that something waslip is now Hence, we are first taken on atour, covering sights both past and present,of the two Chicago neighborhoods in whichthe author grew up: St. Angela’s and Bever¬ly What the neighborhoods mean to himnow is obvious from the photographschildren strolling lazily down a tree-linedfgpet. the local general store, kids of allraces at the playground and coming out ofschool; the huge, stately church; the slopingbrick houses. formative influences in my life. My politics,my religion, my cultural tastes, and myliterary efforts simply would not be in anymeaningful sense at all had it not been forthose neighborhoods.” This evaluation is notrooted in sentimental nostalgia. As thememories of St, Angela’s resurge. Greeleydoes not forget the heartaches of the Warand the Depression.From the very beginning, then, the book’ssuccess or failure hinges to some extent onwhether the reader’s own experienceswere are similar enough for the emotionalargument to take hold But I was notbrought up in anything resembling aneighborhood, nor have 1 ever seriouslycommitted myself to the notion of its essen¬tial goodness. Yet the book makes me veryconscious and regretful of something I havelost and which Greeley' evidently has gain¬ed. This is mainly because the sociologicalargument, particularly the sections onethnicity and the neighborhood, is especial¬ly convincing.The neighborhoods began as communalsettlements for immigrants in America. Ac¬cording to the melting-pot model, ethnicenclaves gradually dissolved, and rightlyso. as the larger society was modernized.This conception — another one of the power¬ful “pictures” with which Greeley grapplesin the book — is popular among the intellec¬tual elite because it is rooted in a strongWestern scholarly tradition. The empiricalevidence, Greeley points out, more thanmoderates this “picture”: “Doubtlessethnic concentrations in certain com¬munities have diminished since 1510, butthey have not diminished nearly as much asthe assimilationist model would have usbelieve. And they have not diminished at allin the last several decades.”“Neighborhood.” and the neighborhood,celebrates what the ethnics, arrivingdestitute in the New World, have wroughtwith their bare hands. “What did these im¬migrants give to the city? Everything. Theygave all they had and built all that isChicago.” You can see their achievementfor yourself in Chicago, the immigrant city.Greeley’s tour takes us through the colorfulstreets of Bridgeport, the imposing chur¬ches of Stanislowowo, the hurried sights ofMaxwell Street.The tours make it clear that the ethnicculture has not proven a hindrance to theimmigrants’ contributions to the largersociety. Far from it, Greeley retorts, andhere he presents his most thought-provokinginsight in the book — ethnicity is not anostalgic reversion to the Old World. Formost immigrants, the old country evokessad and bitter memories of starvation,political and religious persecution, and anaggravating immobility. Ethnicity is,rather, “a way of becoming American,” away of negotiating the demands andpossibilities of American society with a firmbasis of personal and cultural security.Perhaps the greatest testament to theethnics’ adjustment to the larger society isthe startling “ethnic miracle”: “In thethree decades since the end of the SecondWorld War, an extraordinary economic andsocial phenomenon has occurred: theethnics have made it. The Italians are nowthe third richest religio-ethnic group inAmerican society — second only to Jewsilld Irish Catholics and the Poles earnalmost $1,000 a year more than the averagewhite American in metropolitan areas of the; v"The current reformist emphasis on cor¬recting the “alienation” and the “socialdisorganization” of urban society is a grossneglect of the positive contributions of theethnic neighborhood to modem society.Greeley contends that social legislationshould be geared toward respect for theculture and family structure of the poorrather than toward the fulfillment of somevague sociological dream.Greeley’s philosophicalneighborhood, written in amanner, will seem trite li||many readers. Butmon sense - that is, ifbasic issue by injectgical analysesattacksimply, the By Norman Royal"Neighborhood" is the type of scholarship that isperhaps a little irritating to us today, it is a scholarshipthat works on a primary level of appeal, which assertsthat personal experience does matter.this: people are nat cooperative. Proximity in living spaceenhances this sociability and cooperation, inpart simply because it is easier to be friend¬ly than hostile to other people in close,everyday relationships. Despite ourpreconceptions, the neighborhood isespecially important today because in¬dustrialization and modernization havebroadened the possibilities and deepenedthe richness of these relationships.The wonder of this book’s methodology isthat even if you were to reject the abovearguments as trite and superficial, theoverall argument can still work. Howeverimpassioned in tone, “Neighborhood”presents a conscientious, careful argument.Even in parts of the more theoreticalchapters, Greeley takes pains to avoid thehazard of arguing beyond the availableevidence as unearthed in statistical studies,opinion polls, and sociological analysis. But,in writing the book for a particular au¬dience, he has freed “Neighborhood” of theclutteer of figures, charts, and footnotes. Infact, Greeley points out several times thatmany of his conclusions are necessarily par¬tial and tentative because the liberal pre¬judice against the neighborhood has blockedmore extensive research on the subject.If you are already well-disposed towardthe neighborhood, the chapter on “TheEnemies of Neighborhoods” will be themost useful. Greeley presents a clearanalysis of the various interests —bureaucratic planners, real estate markets,mortgage companies, et cetera — whichprofit from the destruction of theneighborhood. The unfortunate thing is that,in this chapter especially, Greeley distortsthe picture with too many exaggerations.The most damaging exaggeration isGreeley’s assessment of the degree to whichbureaucrats, sociologists, and city plannersare responsible for the destruction of theneighborhood. Neighborhood destructionprobably arises more from the carelessnessor miscalculations of this elite rather thanthrough their conscious pursuit ofsociological dreams. More significantly, somuch of the blame is heaped upon this elitethat a fundamental problem ofneighborhood preservation is obscured:way in which the carelessnessneighborhood natives infelite thinks of the neight the policies that they implement.For a book addressed to those with lean¬ings toward the neighbhorhood,“Neighborhood” offers very few sugges¬tions as to what the average reader can doabout the neighborhood crisis.Neighborhoods need increased and moremeaningful local organization. Those whodefend the neighborhood have a case to pro¬ve, and it can be proved only on this level.The difficult question, however, is howmuch flexibility and mobilization potentialthe neighborhood still has after the entren¬chment of strait-jacketing urban andwelfare policies. Each individualneighborhood, or course, will have toanswer that question for itself. In any case.Greeley himself admits that, “solutions willonly begin to be applied when neighborhoodpeople themselves are powerful enough anddetermined enough to force them on a reluc¬tant body of thinkers, planners, program¬mers, and administrators.”“Neighborhood” could have been morecarefully written. The arguments are oftenrepetitious, (misleading) glib, and exag¬gerated. The tone is sometimes irritatinglyself-righteous. Given even a loose inter¬pretation of the book’s intent — to disposepeople to value the neighborhood — thesethings are hardly necessary. But thearguments — emotional, philosophical, andsocilogical — are well organized and blend¬ed. The self-righteous tone is sometimesrousing, and always gives the book a witty,honest, and refreshingly personal flavor.(Of one Margaret Mead statement, Greeleywrites: “It sounds great, but when you stopto think about what it means, you realize itmeans nothing.”) - ~I am far from convinced that theneighborhood provides, as Greeley claims,the necessary basis upon which individualhuman achievement and contribution tosociety will find their greatest expression. Ithink that another sensitive observer couldwrite a book, similar to “Neighborhood,”which would humanistically defend thesprawling, atomized city against the badreputation that it Has Suffered in recentdecades. But again, “Neighborhood” mademe very conscious of something that I mayhave lost. It helped me to think of thesestreets as more than just bareconcrete ' « - •Hi• * •»♦ V • *V.. .V.V.V.Y.■'■liltInterview with Andrew GreeleyAndrew M. Greeley is director of theCenter for the Study of American Pluralismat the University-affiliated National OpinionResearch Center (NORC). A priest and wellknown social scientist, he has authored-60-odd books, numerous magazine articles,and writes a syndicated column for 40religious and 50 secular papers. FatherGreeley received his MA in 1961 and his PhDin 1962 from the University and served aslecturer in the sociology department from1963 to 1970. Peter Eng is a third-yearpolitical science major in the College andco-editor of The Chicago Literary Review.This interview was conducted on Feb. 24,1978. in Greeley’s office at NORC.PE: In light ot the great bulk of your otheractivities — research, talks, religiousresponsibilities — how do you find time towrite as much as you do ?AMG: I never know how to answer thatquestion. I suspect, though, that it’s somekind of either genetic or cultural in¬heritance. My father was a writer, my sisterwrites, her children write. We all havealways written easily...it isn’t a burden forus. It either has something to do with ourvery early childhood experiences orsomething to do with brain cells.PE: The enormous output of your writingis especially prominent in many people’seyes. Many critics suggest that the merebulk makes it shallow.AMG: There seems to be the feeling insome quarters that quantity is incompatiblewith quality. People focus on that — asthough that makes the case. I usually startout by saying that that’s pretty hard onMozart and on Agatha Christie. Because aperson has written a lot, it has to be shallowor superficial. And it is unnecessary to ex¬amine the substance of what is said, to showwhy it is so shallow or superficial. I don’tthink that’s a very scholarly attitude. Myscholarly articles are passed by anonymousreview panels that don’t know who I am andcan’t cite that problem of too much quanti¬ty...and they get passed.PE: Another major criticism has beendirected against your “loudmouth Irishpriest” style of writing. One critic has sug¬gested that, even if you have only good in¬tentions, the danger of this style is thatmany readers are going to get a wrong im¬pression of what you ’re trying to say.AMG: There is a different literary styleinvolved in writing a column and, say, writing a technical report. The kind ofrhetoric appropriate for a monograph that,one is doing on a technical subject wouldmake the world’s dullest column. Similarly,the rhetoric and the rhetorical style used inthe column would make an irresponsibletechnical report. I believe that one shouldshape *the rhetoric to the circumstances.The purposes in writing a column — anypurpose at all in writing a column, otherthan entertainment — is to stimulate peopleto think, to challenge them, to stir them up.And I use the rhetoric that’s appropriate forthe column. If people want to judge myscholarly work by the things that I do in thecolumn, I can’t stop them, but I don’t thinkthat’s intellectually honest.“The American Catholic” is a scholarlymonograph and “Neighborhood” is apopular apology for neighborhoods, andagain. I would say that the rhetoric ap¬propriate for the one is not appropriate forthe other. You don’t write an apology for theneighborhood — in the sense that that bookis an apology — in the scholarly style.“Neighborhood” is a highly personal ac¬count, almost a journal. It’s a text to ac¬company personal pictures. I think that’sfine for a book like “Neighborhood”; I cer¬tainly wouldn’t do it in a monograph that’sgoing to be published by Basic Books. I justdon’t know who someone is not permitted toadjust his literary style to the subject mat¬ter.If all I wrote were scholarly monographs,I would have much less trouble. But one onlyhas one life, and the spirit — however onechooses to describe the spirit — moves oneto do a lot of different things. I think that it’sa sin against grace to resist the spirit.PE: Do you look upon your writing as partof your religious life work ?AMG: Not in any explicit sense. Writing issomething that I do, but I don’t know if Iwould give it a particularly religious mark.It’s part of my life. Religion is part of mylife. I suppose they influence my life. But Idon’t look upon it as a special vocation.PE: So you look upon them as separate —the columns that you write for the religiousnewspapers and the columns you write forthe secular ones.AMG: I would separate the books that I doon religion and the books that I do on socialscience. Obviously you can’t divide the per¬sonality up into different compartments.But I do have different interests — likeevery human being — and these interestsneed not completely overlap with one another.PE: The religious and the secular blendvery well in your books. Much of your socialscience writing is written from the perspec¬tive of what you call “Catholic socialtheory. ” I wonder, though, if in day-to-daylife — as regards time or otherwise — thereis ever a conflict between these twoconcerns."...one only has one life, andthe spirit-however onechooses to describe thespirit-moves one to do a lotof different things. I thinkthat it's a sin against graceresist the spirit."AMG: Well, I probably work more like aProtestant than a Catholic, (laughter) Ihave very high need achievements, which isa Protestant more than a Catholic trait, ifyou believe the literature. I’ve never foundany conflict between scholarship andreligion in daily life or otherwise. Maybe Iought to experience conflict. But I don’t.And because I think there’s a long, longtradition of religion and scholarship beingcompatible, I’m not even surprised that 1don’t find the conflict.PE: What was it like being a student herein the early sixties ?AMG: Oh, it was fun. It was the time whenJohn Kennedy was President and Pope Johnwas Pope. There was marvelous good feel¬ing.PE: What about specifically here at theUniversity. ..in terms of administration...AMG: I don’t even remember who waspresident then, so I have no notion about theadministration. Just that I found graduateschool here enjoyable, challenging And Iliked the work that I was doing, the skillsthat I was learning. I found the Universityenvironment quite friendly.PE: Has it changed since then ?AMG: Well, I think that a lot of the bloomhas worn off for everybody. Pope John diedand President Kennedy was assassinated. Itbecame clear that a lot of the problems —religious, political, and social — that wethought were going to go away in that era ofgood feeling at the end of the sixties didn'tgo away. A lot of the old conflicts still rodeon. There’s a lot less optimism, hopefulness,in the...in any university environment.PE: You were ordained before you work¬ed on your degrees. Did that have noticeableeffects on your attitudes toward theUniversity?AMG; One of the things was that I wasolder than my classmates. I was in my thir¬ties when I came here for graduate school. Ihad already worked out many of the con¬flicts in life that people have to work out inthose times. I knew who I was and what 1wanted to do...I was no longer distracted bythose problems. And I had worked for sixyears in a parish and in a neighborhood, andI continued to work there nights. So I had astable base on which to operate. Both thosethings made graduate school easier. Coleman and Art Stinchcombe. which cer¬tainly makes it one of the best departmentsin the country. I think in that respect theUniversity is better academically than itwas.PE: You ve written that you never intend¬ed to be an academic. How did you treatthose years from 1963 to 1970, when you werea lecturer in the sociology department ?AMG: To say that I didn’t intend to be anacademic is surely the case, but that doesn’tmean that I’m unhappy to find that I havebecome a sort of academic. NORC is a sortof academic institution and I’m a sort ofNORC-nik. I don’t mind being anacademic...Some of my best friends areacademics. I wouldn’t want my sister tomarry an academic, but then — my sister isan academic. So I have nothing againstacademics. I wouldn’t even mind living nextdoor to an academic, (laughter;PE: But you’ve taken issue with many ofthe values expressed by members of thefaculty at the University.AMG: I have a lot of value conflicts withCatholics too, but I’m not about to leave theChurch because I have value conflicts withthe leadership. The University is apluralistic community. There are people inthe University environment whom I think Iwould agree with 98 percent of the time. Andthere are people whom I (laughter) woulddisagree with 98 percent of the time. Idisagree with some of the positions, yes. butthat by no means makes me an adversary ofthe University as such. I mean, there maybe people here who even thinkneighborhoods are important.PE: How would you rate Hyde Park as aneighborhood?"There is no university thathas its roots as deep in theneighborhood as theUniversity of Chicago has inHyde Park. And that's oneof the big advantages of theUniversity. There really is afaculty community aroundhere-physically."AMG: It's a neighborhood like allneighborhoods. It’s highly particularistic,self-centered, fascinating, carrying on a lifeof its own. I think that that’s the importantthing to note here — that Hyde Park is aneighborhood and that it * has all thecharacteristics of a neighborhood Both thenarrowness that comes from being aneighborhood and the depth which comesfrom social support. In some ways it is dif¬ferent from the ways in which, say, Beverly,is a neighborhood, but there’s a lot more incommon than (laughter) most Hvde-Parkers would like to acknowledge.PE: In explaining “Catholic socialtheory” in “The American Catholic”, youargue that the neighborhood is immenselyvaluable because human nature is iil-suiiedto dislocations. It’s obvious that many HydePark University members are verv tran¬sient residents. What kind of effect'do you"I think that a lot of the bloom has worn off foreverybody. Pope John died and President Kennedywas assassinated. It became clear that a lot of theproblems-religious, political, and social-that wethought were going to go away in that era of goodfeeling at the end of the sixties didn't go away. The oldconflicts still rode on. There's a lot less optimism,hopefulness, in the...in any university environment."PE: Was the quality of the academics atthe University high when you were a studenthere9 Would you say that it has declined?AMG: I would think that the quality of thesociology department has improved sincethe early sixties. 1 can’t testify for otherdepartments or for other universities — Idon’t know them that well. The sociologydepartment has since then added both Jim»WL'_ ( think that has on the neighborhood?AMG: I’m not sure it's all that transient.An awful lot of people have been here sincethey were in the nursery school and are nowfull professors. Well, first of all, I think thatHyde Park is special. There is no universitythat has its roots as deep in theContinued onp. 12neighborhood as the University of Chicagohas in Hyde Park. And that’s one of the bigadvantages of the University. There reallyis a faculty community around here —physically. I think its much less transientthan most, especially now, when academicmobility isn’t what it used to be. I would betthat the average number of years peoplelived in Hyde Park is quite high. It may notbe as stable as some neighborhoods in the ci¬ty, but I think it’s more stable than a lot ofthem.PE: So the University's contribution tothat stability has been positive?AMG: If it weren’t for the University,Hyde Park would simply not be aneighborhood now. There was a time in thepast when there were other forces at workwhich made Hyde Park a neighborhood.There was an Irish community here not longago; there was a Jewish community whichwas not really University-oriented; therewas a Protestant sort of well-to-do com¬munity at the Kenwood end of things. Thoseare pretty well gone now.PE: Don't you think, though, that there isa color barrier which makes it difficult fortrue neighboring to exist here ?AMG: I don't know.PE: Or maybe it’s just academics versusnon-academics.AMG: Well, it’s academics versus non¬academics. and middle class versus work¬ing class. I would think that those barriersare more important than racial ones, but Imight be wrong.PE: How would you assess the state ofreligion in Hyde Park?AMG: It’s peculiar becauscil's a religious¬ly obsessed neighborhood. One probably has•ff® I UMHtimi•Contact Unto* (Soft i Hard)•Preaeriytiaiw filledlit MORTON R. MASLOVOPTOMETRISTSHyde Pari Shopping Center1510 E. 55th363-6363 more divinity schools and theological facul¬ty in this neighborhood than in any otherplace in the country. We’re literallycrawling with theologians here. Six, seven,eight divinity school faculties. So in thatrespect, there’s an awful lot of religiousthinking going on. How much religion is go¬ing on...(laughter . ...is another matter.PE: How much religion is going on ?AMG: Well. I guess it all depends on howyou choose to define religion. I don’t thinkthere’s ail that much church-going, but Ithink there’s an awful lot of people aroundconcerned about the meaning of life, if youdefine that as religion.PE: Is that how you define religion ?AMG: Yes. Religion is the ultimate con¬cern, according to Paul Tillich. It’s thatcultural system which purports to giveultimate explanations, according to CliffordGeertz. It is, as Geertz has also said, themodest dogma that God is not mad; there issome kina of purpose in human existence.Religion is other things too, but that’s whatit is basically.PE: What is your schedule like on ana verage work day ?AMG: It’s pretty crazy. There’s no fixedschedule. There are phones to answer, mailto answer, proposals to get ready, computerprograms to be run...and the time blurs. Idon’t live a rigid schedule.PE: What do you do outside working atNORC, writing, lecturing and being apriest? You must do other things with yourtime.AMG: I must? (Laughter) I water-ski andI sail. My ideal vacation is one which, firstof all, goes on for several months. One sitson the beach and reads mystery stories,ELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd St.288-2900 THE CAROLAN$480 S. CornellYES...we have large studioapartments available.YES...rental includes utilities.YES.,.we would appreciate theopportunity tpaccommodate you.niREALTOR' MARIAM REALTY, INC.684-5400 science fiction, novels, poetry, andperiodically plunges into the water to cooloff. Then there’s steak and good red wine forsupper — which someone else cooks.PE: Is that your utopia ?AMG: No, just vacation.PE: What is your utopia ?AMG: A place where you don’t have towork. ever.(laughter)There's an awful lot ofreligious thinking going on.How much religion is goingon...is another matter."PE: What books can we expect from youin the months ahead?AMG: I’ve been doing some work withpoetry and fiction. A book of short storiesand poems which will be published next fall.It’s called "Women I’ve Met and Other Fan¬tasies: Songs and Tales.”PE: What about more scholarly work ?AMG : Our basic research right now is onalcoholism, and ethnicity and alcoholism.We will write a monograph or other accountof the results.PE: Would you go into more detail as towhat that project is all about?AMG: If there is one thing in Americansociety that clearly is related to ethnicity,it’s people’s drinking behavior. I don’t thinkanyone would question that there are dif¬ferences between the Irish and the Jews intheir drinking behavior, for example, Itseemed to us that these sorts of obvious andmassive differences in drinking subcultureswould be an excellent opportunity to studythe fact and the dynamics of American sub¬cultural diversity. Basically, we askedourselves: do these subcultural differencespersist across generational lines? Andsecondly: what are the dynamics by which agroup passes on its drinking norms, values,habits, to the next generation? It’s a study offour American ethnic groups — Swedes,Italians, Jews, and Irish Catholics — eachone of which has a very distinctive drinkingsubculture, and a study of the dynamics bywhich these groups transmit their drinking behaviors to their children. I think that if thestudy has been highly successful, we can ex¬plain all the differences in drinkingbehavior between the Irish and the Jews,mostly in terms of family influences. We’venot only located and specified the sub¬cultural diversities, but I think we’veaccounted for them.PE: One frequent criticism of your workon American Catholicism is that you tend toextrapolate too much from bare data. Thatwas the focus, I think, of the criticism ofyour conclusion that it was the birth controlstand of the papacy that caused „ iremendous decline in...'AMG: That’s a b.va'rc criticism. One col¬lets data precisel; -.use one hopes bythe use of the data to describe the popula¬tion. You don’t claim to know all the feelingsof all the people in the population. But youdo claim to discover their attitudes and theirbehaviors in certain areas. I would assertcontinuously that we can indeed account forall of the decline in Catholic religious prac¬tice, all of it, in terms of the reaction to thebirth control encyclical. And I think that ifpeople want to refute that, they should dealwith the mathematical models we used, andnot with vague philosophical commentsabout surveys not getting at people’s realfeelings. Nothing gets at people’s real feel¬ings...in that sense of the word. How do youknow what people really feel unless youhave some psychic abilities to read theirminds? So far as you can judge by the waythey answer the questions, how theiranswers correlate one with another, thebirth control issue was decisive for them.PE: Judging from all this, the University-Hyde Park community must be a good en¬vironment for all your work.AMG: I’m not sure that I work in theUniversity-Hyde Park environment. I’m notpart of the University faculty, and prettymuch on the margins of the University com¬munity. NORC is a great place for our kindof social research, probably the best in theworld. But much of my work outside ofNORC gets done at Grand Beach. Michigan.I’m something of an outcast there, too. cometo think of it. Maybe being a pariah is whatcreates the good environment!LINDA LOVELACE LETS LOOSE!Get a hold on yourself — It's the StarringAJ Linda Lovelacethe most popular throat,m the wonfl’To mingle. intrmately with pornI stars, movie stars,‘swingers senators..and sheiks?AQy;t.T$0*l*Thursday. March 30. , No one under 18 admittedi.bOadm. uc ID Required6:30,8:10,9:50, 11:30Presented by Upper Chamberlin HousemsLmsmtssUNIVERSITY STUDYInterested in earning university creditswhile exploring a new land in all itsaspects? Why not consider a summer,semester, year, or degree program atone of Israel’s seven leadinguniversities Relitpous studies,humanities, the sodal sciences and ahost of other courses are offered ineither English or Hebrew with specialemphasis on helping you get a graspof Israel Whether it be in Jerusalem,Haifa. Tel Aviv or the Negev, a studyprogram at an Israeli university willgive you a new feeling about Israeland yourself as well. Write for abrochure giving information about aUthe universities and the programs theyofferConnell for Advancementof Study Programat laraeli Univcreitlee. Am 12SIS P«fc Avanue. New Yotfc.New YorV 10022. <212; 751-007012 — Thg Chicago Maroon r- Frwlay, March 10,1978 aaand fascinating experiences you wili eversee in a movie theater.ft is q one-nighr-only previewAnd q once-in-o-iifetime morion picture.before anyone else in the world, you con feelA FRANK YABLANS PRESENTATIONA BRIAN DePALMA FILMTHE FURYKIRK DOUGLAS JOHN CASSAVETES CARRIE SNODGRES5 CHARLES DURNING AMY IRVING ANDREW STEVENSProduced by FRANK YABLANS Directed by BRIAN DePALMA Executive Producer RON PREISSMANScreenploy by JOHN FARRIS flosed upon his novel Music JOHN WILLIAMS13 BKCTBifTrn**. Soundtrock Album on ARISTA RECORDS G TAPESK ©«>7#20*aKTU«Y(O* COtOf*OYC*lU« *. ,CHECK YOUR LOCAL NEWSPAPER FOR THEATRE LISTING. -I.U" - ■T.»1’ !,W! ■■■■■.■«" ,:u;. , j„ ..... ■ mmm mChicago Review: beatBy Chris BrownA ramshackle house on Kenwood Ave. isthe home of one of America’s foremostliterary magazines, the Chicago Review.Now over 30 years old. the student-runquarterly has published some of the bestknown writers and poets in America, in¬cluding William Carlos Williams, TennesseeWilliams, Saul Bellow and Joyce CarolOates.The Chicago Review, with a circulation of2700. is published entirely by students, aboutone third graduate, one third undergraduateand one third ex-students and hangers-on.Though there is a faculty laison committee,it is consulted only when a problem arises.About a third of the $25,000 budget comesfrom University subsidies. The Review receives about 10,000 manuscripts a year,which are then divided among the threestaffs: fiction, non-fiction, and poetry. Eachstaff recommends to the editorial boardmanuscripts worthy of publication, aboutthree times more than can be published, andfinal selection is made by the editors.Founded on campus in 1946, many of theReview’s first pieces were from con¬tributors from the Chicago area or theUniversity. In the first years the formatchanged often, with typeface, length, andpaper in constant flux. (One volume evenappeared as a tabloid.) The first issues in¬cluded poetry by Tennessee Williams, ar¬ticles by James Farrell, and the first-published pieces of fiction and criticism byPhilip Roth and Susan Sontag.In 1954, editorial policy changed and the to borshtReview became more aggressive, seekingarticles by “non-literary” writers, in addi¬tion to the usual fare of fiction and poetry.This policy established the Review as a ma¬jor literary magazine; it published authorssuch as Arthur Schlesinger, ArnoldToynbee. Erik Erikson, Nat Hentoff, AniasNin, Walt Kelly, Bernard Berenson.Richard McKeon. Leo Straus and BrunoBettelheim. During this period the Reviewstill didn’t pay authors and was entirelyedited by students.The late 1950’s saw another change ineditorial policy, as the Review beganpublishing more newer writers, and fewer“name” ones. Issues devoted to ZenBudhism, beatnik writers in San Francisco,and groups associated with Black MountainCollege in North Carolina appeared. It soonbecame a forum for work by AllenGinsburg. Robert Duncan. Charles Olson,Robert Creeley, Kenneth Patchen, JohnCiardi, Lawrence Ferlinghetti. Donald Halland other beat writers.The Review’s interest in the beat move¬ment sparked a nationwide controversywhen it tried to published Chapter Two ofWilliam Burroughs’ “The Naked Lunch”which depicted drug addiction. The Reviewwas taken to court on obscenity charges andthat controversial issue was suppressed bythe University administration. A large partof the editorial staff then quit to found a newquarterly. The Big Table, which publishedthe censored material. The Big Table had noUniversity affiliation.The 1960’s brought the reemergence ofnon-fiction. The readership was more in¬tellectual and the Review published manyessays by phenomenological critics and ex¬istentialists. Also published was much thephilosophical criticism popular in academicjournals in the late 1960’s and early '70’s.Appearing in the pages of the Review waswork by Leslie Fiedler, James Wright. Han¬nah Arendt, Simone W’eil. Harold Bloom,and Hans Holtzhuzen. During this time, theReview, politicized by Vietnam, devoted anentire issue to the war. The Chicago Review of the late 1970’s hasevolved again. Though still sympathetic tosocial commentary, gone is the stridency ofthe 1960’s. There is more concern with fic¬tion and poetry as the Review once againemphasizes creative writing. The Review isalso becoming interested in foreignliterature. The next issue will be devoted topost-war German literature in translation,with many articles appearing in English forthe first time. Among the writers publishedin this decade are Adrienne Rich. JohnHawkes, W.S. Merwin. and Jorge LuisBorges.The two new editors. Cheryl Glickfieldand Mitchell Marks, plan to preserve theReview’s essential tone, with some minorchanges in format. The Speaker Series, inconjunction with the Moody Committee, willcontinue to bring poets to campus to readtheir work. The most recent speaker wasRobert Pinsky. In the next months theReview hopes to receive a grant in order tobring lesser-known poets to the University.Chris Brown is a second-year student inthe College and a Maroon reporter.Photos by Keith Get2‘DeviLs -hjrcMPRichard Fr.uicr, DavuiJohnson.Karen iv 11 C. Horn t)mnctFK1 PMTVLu io - Bono ChAiti oim^Voluntary Donation JANE ADDAMSBOOKSTORE5 Sou*h WabasSRoom 1508Chicaqo 60603 782 0708Feminist books.Nonsexist children’s books.Wholesome pastry.Coffee, herb tea, cider.Mon./Fri. 10-5: Sat. 10-4THE TWELVE CHAIRSCOBB 7:30 & 8:30FRIDAY, MARCH 10The Chicago Maroon — Fridav March 10.1978 — 13TENTH WEEK FRICy\VDISCO PLUS*MARCH 10 9pm—1amUC ID REQUIRED IDA NOYES CLOISTER CLUBDON'T FORGET, THE PUB IS OPEN FOR MEMBERS. IBBUNDER NEW MANAGEMENTCelebrates its GRAND RE¬OPENING SUNDAY MARCH 18th with its newFrame-Us Picture Gallery. Works by a different localartist will be featured each month along with signedgraphics, consignment art and others.Applications now being accepted for artist of themonth. Painters, lithographers, photographers, etc.are encouraged to apply. All show works will be up forsale.The frame it yourself storeNorthwest comer of Blackstone & 53rd St.752-20200Store Hours: M-F 1 2 noon-9 pm; Sat. 10 am-8pm: Sun 1 2 Noon-8 pmEven though you’llbe away for spring break,you can still vote inthe March 21 primaryYou can cast your ballot anytime-before March 21at City Hall. For information or rides to City Hall,call Currie campaign headquarters, 667-7707, noonto 10 p.m.Barbara Flynn Currie1459 East 53rd StreetChicago, Illinois 60615667-770714 — The Chicago Maroon — Friday, March 10,4978- *. ,M ^ '.Vi* 4 d. Nonesuch RecordSalestill in progress.The founding lawyersLaw on the MidwayThe Founding of the University of ChicagoLaw SchoolBy Frank L. EllsworthChicago: University of Chicago Press191 pages.Reviewed by William A. ThomasRah! rah! U rah! Who are we?Law School! Law School! U of C!Football yell, ca. 1902High ideals and sound planningprecede the creation of most worthwhileinstitutions. The challenge accepted byFrank Ellsworth was to recreate thepersonal, institutional, and socialevents surrounding the founding of theUniversity of Chicago Law School. Thiswas no easy undertaking. WilliamRainey Harper desired a law school ofnational ranking from the time hebecame the University’s first president,but his dream was not realized until1902, when the account in this book ends.Thus, the catchy title is somewhatmisleading, and prospective readerswould do well to consider the subtitle asthe true title.Ellsworth begins his historicalanalysis with a remarkably succinctand readable introduction that outlinesthe sorry state of legal education in theUnited States in the mid-19th Century.Serving apprenticeships withestablished lawyers and “reading law”under a minimum of supervision wasconsidered adequate preparation for thepractice of law. Education then em¬phasized the nuts and bolts rather thanthe design, the “how” rather than the“why.”Formal legal education first came toChicago when the original University ofChicago was founded in 1856. Its lawdepartment also became the lawdepartment of Northwestern University in 1873 under the name Union College ofLaw of the Chicago University ana theNorthwestern University. However, itremained a proprietary institutiontroubled by internal dissent and withonly loose intellectual ties to its parentuniversities.The original University of Chicagoclosed in 1891, beset by debts and facingforeclosure, and the law school becamethe Northwestern University LawSchool. The alumni of the originalUniversity of Chicago eventually wererecognized as alumni of the newUniversity of Chicago, but the law-graduates became alumni of Nor¬thwestern University Law School inaccordance with an earlier agreementbetween the universities.The coupling of Harper’s intellectualtreasury with Rockefeller’s monetaryone succeeded in opening the newUniversity of Chicago in 1891. Financiallimitations forced him to delay theactive pursuit of creating a law school,but the time was not wasted, as personsfamiliar with Harper’s abilities andtemperament would guess. For morethan a decade, he prepared himself, hisfaculty, his benefactors, and others forthe new addition to the University.Harper’s conversations during the1890’s with faculty members at otheruniversities, leading members of thebar, and trusted associates at theUniversity (primarily Ernst Freund ofthe political science faculty) modifiedhis notions about just what a law schoolshould be.In the end, Harper was convinced thata law school should be a graduateprofessional school. He would settle fornothing less than a national law schoolwith a three-year curriculum taught byfull-time faculty members to full-timestudents. These notions are taken forgranted today at nearly all law schools,but they certainly were not at the timehe and his advisors presented them toothers. Perhaps the most significant — at thetime radical — innovation was Harper’sinsistence that legal education consistnot only of classes in “pure law” butalso of ones that circumscribe “thewhole field of man as a social being.”This goal even today is unmatched byall too many law schools that frequentlyare little more than diploma mills,regardless of their name.Also, unlike other professional scuoolsof the time — and disturbingly true ofthe present — the physical and in¬tellectual isolationism so characteristicelsewhere was not to be sought for thenew law school. Unlike the originalUniversity of Chicago, where the lawdepartment was located in the Loop, 34blocks north of the campus on CottageGrove, the law school was to be on thecampus, and the faculty was to be en-couraged to participate inmultidisciplinary aspects of campuslife.The first dean of the new school washired in April 1902, just six monthsbefore its announced opening on Oc¬tober 1, 1902. During those months,Harper raided the faculties of Harvard,Northwestern, Michigan, and Stanfordto assemble what soon became knownas the most prestigious faculty of law inthe United States. To accomplish thisavowedly elitist goal. “Harper paidhandsomely.” Indeed, the startingsalary at Chicago equaled the top salaryat Harvard ($5500 a year).To prepare law students for a varietyof careers in addition to practicing law,the law faculty organized a library inexcess of 18,000 volumes in less than sixmonths, with a special $50,000 grantfrom Rockefeller. As Ellsworth’s ac¬count of this endeavor makes clear,bureaucracy in academe — and at¬tempts to skirt it — are by no meansnew phenomena.The initial class of 76 men and twowomen started their studies in a tem¬porary classroom with makeshift desksin October 1902 The Dermanent LawSchool Building (now Business Eastiwas completed in 1904 as one of thefinest facilities of any existing law school.Thus ended an arduous yetstimulating task of establishing aninstitution of reknown. It is safe to saythat nc other law school in the UnitedStates received as much intellectualattention during its formative years.The objectivity with which Ellsworthassesses the aspirations of the lawschool founders would have to give wayto subjectivity, should anyone attemptto publish a companion volume abouthow the founders would view the schooltoday.Certainly the law faculty is at least asinvolved with other campus activities —academic and otherwise — as the lawfaculty at any other major university.Likewise, it is widely recognized as anadvocate of preparing students for the“whole field of man as a social being,”although one might argue the definitionof that phrase. But no knowledgeableperson could argue whether the lawschool is among the very best that existstoday.The prose at times reads as a paean toHarper and reads between the lines atall times as a tribute to the University’sforesight in maintaining archives ofsuch high standing. The text is com¬plemented by 18 photographs of leadingindividuals and early campus scenes,including for some reason the in¬tersection of 57th Street and the IllinoisCentral tracks. For a book so repletewith names, dates, and other facts,some errors are almost inevitable:Frederick Olmsted was a landscapearchitect and did not design the LawSchool Building; some questions ariseabout captions of two of thephotographs. Mentioning these minorpoints is a way of congratulating theauthor for his overall thoroughness andcareful attention to detail. The bookconcludes with complete footnotes, abroad bibliography, and a subject in¬dex.William A. Thomas is a researchattorney at the American Bar Foun¬dation. His only connection with the lawschool is payment of occasional libraryfines.final ‘tokens'A master'sBreathing TokensOne Hundred and Eighteen previouslyunpublished poems by Carl Sandburg.Edited by Margaret SandburgNew York: Harcourt, Brace, andJovanovich174 pages, Cloth, $8.95.Reviewed by Nancy CrillyWhen I was 17 I boarded the train with acopy of Carl Sandburg’s “Chicago Poems”.(All the coaches shall be scrap and rust andall the men and women laughing in thediners and the sleepers shall pass to ashes.)I stayed up most of that night looking outinto the back yards of Pennsylvania andOhio (Night from a railroad car window. Itis a great, dark, soft thing broken acrosswith slashes of light), and trying to imagineChicago (the thought came to her that if shewas going to die she might as well diestruggling for a clutch of romance amongthe streets of Chicago...By night theskyscraper looms in the smoke and the starsarid has a soul...).When Carl Sandburg was 17, he leftGalesburg, Illinois to “Take to The Road, tosee rivers and mountains, every daymeeting strangers to whom (he) was onemore young stranger”. He wanted to be awriter and if he couldn’t be a writer, hewould be a hobo. In 1904, at the age of 22. bvway of Kansas and New York, Sandburgarrived at Union Station.He joined the Social Democrats and sold10-cent copies of his pamphlet “You andYour Job” to shopgirls and packing houseworkers. Upton Sinclair was researchingpacking houses with a grant from the SocialDemocrats in preparation for “TheJungle”, and Lincoln Steffens was writing“The Shame of the Cities”. With the arrivalof Theodore Dreiser, Sherwood Anderson,Edgar Lee Masters, Ben Hecht. and LloydLewis during the first decade of the centrv.Nancy Crilly is a third-year Englishmajor in the College and associate editor ofThe Maroon. Chicago was becoming a center for a newliterary movement and a new journalism.Sandburg was part of it all, writing pam¬phlets, reporting for Victor Lansky’s DailyNews and writing prodigious amounts ofunpublished poetry. Then, in 1915, HarrietMonroe, editor of the fledgling Poetrymagazine, published the Chicago Poem'sand launched Sandburg’s career. The in¬fluential Dial magazine criticized the poemsas “gross, simpleminded and sentimental,”but there was a large audience for the smalltown view of the city, the first generationinterpretation of democracy.In January. Carl Sandburg would havebeen 100, and his daughter Margaretprefaces the newly released poems in“Breathing Tokens” with: “Here he isagain, the old idealist, fighter, philosopher,dreamer, and poet, still with something tosay.” The poems span Sandburg’s life,capturing the young idealist, fighter, poet.et. al.. and following him to old age. Theyare the tokens of the garrulously angrypolitico, the local romantic and the lyricpoet. This volume is reminiscent of hisearlier published works, but still has“something to say.”Be a high class bum, if you can;Other people work for you...All you do is eat, sleep, tell the chauf¬feur, thebutler the valet, the cook, when andwhat; ride,shoot, gamble, play polo, fly, yacht,meet with thetrustees and the other directors orchoose anylittle international chippie you choose;marry first one, then anothe, till youhave had eightwives, its a life; ou go to Paris. MonteCarlo, oryou can shoot yourself or step out ofa window and let'em pick up the corpusdelecti in black silk pajamas; its been done.Moving where a horse-tooth crops newgrass,Blur this night, blur the white fog walls.The railroad trains cross and plungeThe headlights fix lost b-iyonets in thewhite wallsThe white fog opens, the fog walls close.The moan of the six-eight wheels on thespikes and railsIs the grind of a cello bow on a low downstring.Hush, grey stars: Hush, oh treetopsHeaven is a valley of cool timberThis anachronistic moral indignation mayestrange some readers, but Sandburg wasno mere haranguer. This volume isredeemed by lyric poems such as “Heavenis a valley of Cool Timber ”Hush, mouths of mist; whisper it:Say it with goat-crooked anklesThe inevitable question arising from thepublication of works long after a poet’sdeath is why they weren’t published auringhis lifetime. A few of the poems in thisvolume don’t merit publication. Some wereperhaps too personal, such as “You and ASickle Moon,” presumably written to hisyoung wife in 1917:The lips of you are with me tonightAnd the arms of you are a circle of whiteThe dream of it burnsAnd I want you and the starsI want vou and a sickle moon The finger tips of youFive hundred miles awayMake a wireless crying flash.I know a search that’s uselessI know a code that I don’t hunt forI know a face that’s goneBack home the hills talk to meHere the hills are strangersThe lips of you are a ghostThe arms of you are a ghostThe red andwhite is empty airOmahaUltimately. “Breathing Tokens” will be.as Sandburg’s poetry has always been, apopular success and a critical* problem.Critics will priase the enthusiasm of thepoetry, overlook the lyricism, and cite thecrippled rhythms and angry politics as thefailing peculiarities of an American poet.But whether critics like Sandburg or not isalmost incidental to the fact the Sandburgwas inexorably an important man inAmerican literature and life. He was afellow poet (in age if not talent) petitioningto have Ezra Pound released from aWashington DC mental asylum; a folksinger for Eugene Debs who w as confined toanother asylum; and a tireless biographerof Lincoln, working for 20 years colling odddetails, finally weeping at having to recordthe assassination. He was the son of im¬migrants. amazed at a big city, finding evilin industrial labor practices and excessivewealth, and lyricism in the plains states.And while “Breathing Tokens”is a finebook in its own right, inevitably, Sandburgwill be remembered by third-grade childrenreading their first haiku (“Fog”) and youngstrangers coming to Chicago.But mostly he should be remembered bythe people of Chicago. Because, more thanthe politics or the weather, which WaterTower Place and the congregations ofbusiness suits slouched in the Palmer Houselobby cannot eradicate or ameliorate, thereis something still enormously raw aboutChicago. (Riding the el north at night, blueelectricity flashing from the tracks, andglimpsing, barely ten feet away, a womanand a man leaning their heads on theirhands over a kitchen table). Sandburg’sversion of Chicago is as true today as it wasnaive in 1915.MU .U I vlll ,( »)|| J ' 11 J J .1 i i I l.W v.. t fThe Chicago Maroon — Friday. March 10,1978 — 15An interview with Richard SternBy Bonnie Birtwistle and James SchifferAuthor of 10 books, including the novels“Golk” (1960), “In Any Case” (1962),“Other Men’s Daughters” (1973), and thejust-published “Natural Shocks” (1978),Richard Stern has been a teacher ofcreative writing and literature at theUniversity since 1954. Bonnie Birtwistle andJames Schiffer, Ph D. candidates in theEnglish department, have worked closelywith Mr. Stern Over the past few years. Thefollowing interview was conducted Feb. 9,1978, in Stern’s office on the fourth floor ofWieboldt Hall.JS: In your most recent novel, “NaturalShocks, ”your potagonist, Wursup, is a jour¬nalist who has achieved a certain amount offame, largely on the basis of one best seller.Do you sometimes wish for that kind of suc¬cess?RS: Probably less than is healthy for me.I have had moments of that fatal hunger,but surprisingly few. The thing is that a lotof my friends are celebrities, not justliterary ones. I’ve been able to observe themand have a kind of extra pleasure seeingwhat happens to them because of celebrity— special smiles, celerity of response,unearned antipathy. For Wursup, I was alsoable to extrapolate from my own limited ex¬perience as a small — very small — star.BB: Could the question be, whether onecan become immortal by being the subjectof journalism 7RS: I think that the difference betweencelebrity and solid glory is one of the book’stopics. That is, lots of the characters talkabout it, and their lives are affected by it. Ithink of it now as a sort of musical theme.JS: It seems to me that you have nevercompromised your writing for the purposeof embracing the widest possible audience:yet, at the same time you have avoided thetaint of coterie-ism. That is, you do make aneffort to be accessible.RE: Well, since I am the audience for mywork. I don’t worry too much about it.Listen, I wish my book were distributed inthe A&P. I wish millions of people would likeit. One nice thing that happened with “OtherMen’s Daughters” was that I had a newrange of readers. Not millions, unfortunate¬ly. The book isn’t all that simple-minded.Nor does it mean I’m going to go back to ... The original editor of “Natural Shocks”wanted me to “Other Men’s Daughter”-ify“Natural Shocks.” Absurd. My whole lifehas been planned so that I could make a liv¬ing at the university, so that I don’t have tolive on my writing. I mean. I’d be cancellingout everything I’ve lived for for 30 years.You write as well as you can, you amuse andplease yourself and form what feelsbeautiful and deep to you. I’m sure everygood writer thinks that way. But I was juston the coast and met Irving Wallace andMrs. Wallace and a bunch of nice screen¬writers. I enjoyed it enormously. But thementality is different. The Wallaces have alittle General Motors operation up in thehills of Hollywood, and they turn out thesefantastic books. They’re sociologists in away, mass phychologists. They’re very good "Twenty-five years ago I had a differend kind ofenergy, / was tougher, meaner. I hope it wasn't amalevolent meanness, only a kind of ferocious curiosi¬ty, an intense impatience. I have less of that."at it. But they have as much connection toliterature as Colonel Sanders, his chickens(laughter) . . . that’s another successfulmass operation. Mrs. Wallace told me she’djust written a 43-page outline for two bookswhich she sold for $900,000. She said, “Now Ihave to write the fucking books.” (laughter)“God,” she said, “What am 1 gonna do?Maybe I’ll get a ghost-writer.” I enjoyed ittremendously. She’s very interesting, andnot stupid.JS: Have you changed much from theyoung writer, let’s say graduate student,you were 20 years ago ?RS: It’s hard to say, though writers leavedeposits of their old selves. I should be ableto say, “Here I was and here I am.” It is sur¬prising and sometimes interesting to see thesort of thing I was doing 25 years ago. As forpersonal change, sure. I had a different kindof energy, I was tougher, meaner, I hope itwasn’t malevolent meanness, only a kind offerocious curiosity, an intense impatience. Ihave less of that. But it’s awkward to con¬template, let alone talk about oneself thatway.BB: How often do you write poetry ?RS: I did a lot of poetry at Chapel Hill. Iwas there in my teens and thought of myselfas much a poet as a prose writer. I had twofriends who became very good poets, DonJustice and Edgar Bowers. It was clear Iwasn’t in their class, but they treated me asa fellow poet, and I went on for years writingsome poetry. But I made a decision. Or aninternal decision was made by my smalltalent. So I’ve written only one or two poemsa year since then. I love poetry, I loveteaching poetry, I love reading it. The littlepoetry I write is totally different from myfiction. It’s more conspicuously formal, as ifI’m tying up some loose ends, shaving some stray hair from my expressive life.BB: How do you perceive your role as ateacher of creative writing, and how are youable to combine that role with your role asan artist?RS: Well, I don’t know that I can combineit with an artist’s role. I have a kind of morn¬ing life and an afternoon life. The morninglife is insular, then I have lunch, and then Icome to my teaching life. As far as teachingcreative writing goes. I’m just a kind of ex¬perienced reader, or listener, someonewho’s been writing and .. . and been aroundwriters .. . most of my life. I’ve been touch¬ed or troubled by some of the difficulties ofwriting, and by now, I’m on to some of theproblems younger writers have. One thing Ican do is save young writers a little time.Another thing is to form an environment inwhich people who really care about writingget together and support each other; or atleast support the art we care about.JS: Do you derive much from yourwriting classes?RS: It varies from class to class. Someare very rich for me. They’ve been happytimes. It’s especially nice to see a class ofodd students becoming a group of writers. Itdoesn’t happen often, but it almost alwayshappens in the course of one poem or storv.Everybody in the class feels it; everybodytakes an enormous pleasure in it. I can en¬joy a triumphant student poem or story asmuch as one of my own. In that way it’smarvelous. Then there’s a class that justdoesn’t work, and going to it again andagain is like getting kicked in the stomachover and over.BB: Another thing you do as a teacher ofwriting is help your students test therealities of being writers. At one time I wasfeeling miserable about free-lance work."The 1960's was an unforgettable time. I don't say itwas a good time. I don't say it was a bad time, but itwas a rich time. It had to do with a national life. Imyself went to bed night after night hating Johnson,hating Nixon, hating the war, my mind filled withassassinations and all sorts of public wildness."You said to me, you used an image from anovel, now I can't remember who the authorwas ... in this novel there is a kind ofwriters' Purgatorio — a large pond, and onthe surface of the pond are many kinds ofhats. As penance, a writer comes up underone of the hats and wears it for a while(laughter).. . before slipping again into themire.RS: (laughter) O my. I’d forgotten com¬pletely.BB: The metaphor delighted me at thetime and has always hardened me in theface of the writer’s task. How do you viewyour life as a writer, as it is interfaced withyour life as an individual, as a man with afamily and with a whole extended communi¬ty of friends and collegaues?RS: Of course, that’s enormously com¬plicated. First, there’s the financial bit.How does one make a living so that one canwrite seriously?' It’s tough. Every writerhas faced it. (There are some rich writers,and they have different kinds of problems.)Then I think the writer has an importantsocial junction as he has certain functions ina university. A writer-professor should askhimself, “Look, am I doing any good at thisuniversity, or am I just a decoration? Or acourt jester?” If you don’t function wellwhere you are, try and shift. Elementary. Ido think that the arts are crucial to a gooduniversity.JS: In one of your essays in The Books inFred Hampton’s Apartment you discuss thetradition of the autobiographical novel, andyou that would mean Proust and Joyce. Doyou find that you have any relation to thistradition? Are you an autobiographicalwriter?RS: I did a review of the early Proust andJoyce books, “Jean Santeuil” and Stephen"Proust's book is the onethat has meant most to mein my life. It's the longestnovel ever and for me itnever flagged. So obviously,that's at the top. Tolstoryshares the throne. This isjust fiction of course. Butthere are thousands ofsplendid, even perfectworks of all sizes andtypes."Hero in 1956 and started thinking more andmore about this autobiographical matter.The parasitism on oneself and one’s family .. . that’s obviously there, but for me it’srefined somewhat by the notion that onedoesn’t have a given self upon which onepreys. One’s always becoming. So thateach fiction represents a special exertion ofself-creation. One has made a child out ofone’s old self. Of course, one’s real childrenmay not see it this way. They see versions ofthemselves which are puzzling, inaccurate,annoying. Of course, there are more andless autobiographical works. In the firstpart of my writing life, I was seldomautobiographical. And now again, I’d like tofind some little tale out there, just do somepretty little thing like making a vase or asonata, way out there. You know, take on anassignment... though an inner one ... likea truck driver who has to carry 10,000pounds of wire cable from Cleveland toTopeka.JS: Could this in part explain your“technical negative capability.” that is,your tendency to give your protagonistscallings totally ditferent from your own ? Isa protective mechanism working there ?RS: Absolutely. That’s one of the ways of_ distancing, just as you change the color ofthe hair, the size and number of children.You use a different profession. This not onlyopens up a technical vocabulary which isprobably rich in metaphor and unforcedsymbolism, it can even suggest story linesand characters. For me it’s a precious thingto do. It may be a form of evasion.JS Well, I wasn’t suggesting that.RS: No, I don’t think so, but some peoplemight say, “Look, be straight. Don’t hide.’’Stanislaus Joyce wanted his brother to callthe book “Portrait of the Artist by Himself.”In French it has that title. (Pause) "Philip Roth and SaulBellow are my closestliterary friends today."JS: What was it like at Chicago whenPhilip Roth taught here ' Were you closefriends then?RS: Well, I didn’t know Roth all that wellwhen we were here, though I was maybe thefirst or third reader of “Goodbye Colum¬bus” in manuscript. And he asked me to useone of his stories in my writing class. I got tobe very friendly with him 12 or 15 years ago.It’s been a fine friendship. We can talk aboutfiction together in a terrific way, and ofcourse, we’re very good personal friends.He and Saul Bellow are my closest literaryfriends today. I’ve been very lucky thatway. Arthur Heiserman, to whom my book’sdedicated, was my other close literaryfriend; .he was another wonderful readerand a lovely person. JS: Were you and Roth both instructorsat that time?RS: Right, He was getting a Ph.D. andwas an instructor, and I was an instructor,teaching the writing courses. There was agood group of us. In my first writing classthere were the poets Starbuck and Ray.Tom Rogers and Austen Wright werearound. We had a very lively group, and inthose days there was money to bring invisiting writers. We had Lowell and Bellowand Mailer and Ellison and Heilman andFlannery O’Connor and John Berryman.Many others.BB: Did you work with Susan Fromberg-Schaeffer when she was here?RS: I think I probably knew ner, but Idon’t think she ever studied with me, no.Bob Coover was a student of mine, but not awriting student. We’re no underdevelopedcountry when it comes to writers.JS: Any reflections back on the late ’60’shere at Chicago ?RS: Well, one became very conscious ofthe University as an institution. A lot of peo¬ple around here learned all kinds of things directly, feelingly, that they’d been talkingabout in other ways. My own contributionwas very odd, although the provost of theUniversity said something very interestingto me the other day. He said the thing hebest remembered from those days was asatiric poem I published in The Maroon thatso antagonized the poor woman at whom itwas directed that I’ve regretted it since.Everyone observed something different.The point then was that everybody express¬ed himself: people came out of their labs, orout of their writing seminars, and just putdown more or less what they felt. Peoplewould say, “I remember this in Germany,”or “I remember this or that or the otherthing, and this is what the University meansto me.” Mimeograph machines were turn¬ing out all sorts of fascinating things, andthe students too were having thismarvelous, fascinating time which led to allkinds of formations and deformations (someof which are still being hunted by theF B I.). It was an unforgettable time. I don’tInterview to 19The discipline of adversityNatural Shocksby Richard Stern260 pp. New York:Coward, McCann & GeoghaganCloth, $8.95Reviewed by Brian StonehillRichard Stern was wise to make the heroof his new novel a journalist with somethingof a heart. For one thing, the life of a suc¬cessful 1970’s journalist offers all thevariety and glamor that a novelist couldwish for: jet-swift travel to foreign lands, asteady parade of beddable women, andpinching-proximity to the seat of power.Frederick Wursup. the central character of“Natural Shocks,” is permitted to enjoymore tnan enough of these “perks” of hisprofession to earn Stem’s novel a popularsuccess.But Wursup is right as a journalist forother, deeper reasons. Journalism, as Sternpresents it, stands at the crossroads of thegreat conflicting forces in Western culturetoday. Wursup’s sensibility — aggressivecuriosity tempered, to a degree, byimaginative sympathy — puts him in touchwith the full significance of his situation. Atthe same time his equally distinctlimitations keep him from coping with thatsituation with anything like heroic ease.Stern is thus able to use Wursup to pose —and to pose compellingly — questions thathave challenged serious thinkers sincePlato and Aristotle. “Natural Shocks” is asexy, entertaining novel that also managesto be about as profound as contemporaryfiction can be. The books is, to understate it,well worth reading.We are living in “the gossip era,” as oneof the novel’s characters puts it. Invasion ofprivacy is now’ a key issue, though onlypartially in the usual sense of reporterssnooping into other’s affairs. The real threatis in being bombarded by other people’snews. The pressure of the public life upon allof us is enormous. Broadcast bynewspapers, magazines, radio andtelevision, the ceaseless litany of publicevents and of private-events-made-publicreverberates in our daily conversation. Weend up acquiring an appetite for more andmore public gossip. As another of Stern'scharacters puts it, “The garbage of otherlives is so delightful. And one’s own, solousy.”Journalists, such as Fred Wursup. earnfame and wealth — “I’m loaded,” says Fred— by feeding and sustaining the Westernhunger for news. Wursup, more than a bit ofa scholar, compares his own profession tothe Arabic “Hadlth”:...They used to collect every scrap ofnews about sacred figures; now wecollect it about anyone we can. Newsreplaces gospel. There’s no center ofinterest. Just everything personal aboutanyone to whom anything happens isabsorbing.The effect of this constant barrage of public gossip is to seriously threaten theintegrity of private personality. The“delightful garbage of other lives”inevitably distracts us from knowledge ofour own; and that, as we know, is bad newsfrom Socratic and other points of view. Butthe dangers are graver than loss of self-knowledge, for we’re encouraged by ournews-ridden atmosphere to regard otherindividuals, including our own friends, asmerely walking sources and subjects ofgossip. As one of “Natural Shocks’ ” morepensive characters ask, “Were humanbeings only their histories?”Of course, Richard Stern is not the first tosee personality threatened by the crush ofpublic life. In an essay titled “A World TooMuch with Us,” for example, published twoyears ago in Critical Inquiry, Saul Bellowwrote that “Each of us stands in the middleof things exposed to the great public noise.”This is not to detract from Stern'soriginality; rather, it is to suggest that his"Writing is so mysteriousand complicated a process,you can never tell whythings are coming into yourhead or into your pen. It'ssuch a strange thing. Eventhough you're governing it,somehow or other there'sthis Imp-of-the-typewriterthat does the writing."novel lies squarely in the tradition of fictionthat is concerned with the condition ofcontemporary life. Hamlet’s “thousandnatural shocks that flesh is heir to” requireconstant updating. Stern's themes areneither trivial nor trite, and his perceptionsare confirmed by other serious thinkers.In “Natural Shocks” the demands ofpublic and private life conflict dramaticallyevery time Fred Wursup writes an article.As a journalist he is compelled to set asideconventional decency and respect in askingpeople blunt, intrusive questions about theirpersonal lives. At the same time, however,he sees what he is doing, and suffers ac¬cordingly in his better feelings:Wursup’s next question was the sorthe usually hated asking, but the act ofinterviewing simplified, even brutalizedhim. He became his readers, becamethe machinery of the medium: thepresses needed ink, the air neededsound waves. Readers needed thediversion of other people’s troubles....So many years he’d intrudedmeanly into other lives. Journalistspraised his roughness, his technique. It was only insensitivity, rudeness. Blickwanted to talk, had probably alwayswanted to talk, but to a friend. Sym¬pathy wasn’t friendship. And in Wursup.it was just a come-on. It went with thenote-book. Forget it, Wursup was aboutto say. Don’t answer. Why should youanswer me ? Forgive my nosiness.But Blick was answering.Wursup’s assignment — the project thatoccupies him throughout “Natural Shocks”— is to “do a piece on dying.” MichaelSchilp, a cynical magazine editor, is con¬vinced that death is, for his readers, all therage.For two years now, these death bookshave been storming in. An avalanche.It’s the new topic...Do it right, there’snothing more diverting. One way oranother. The blues send people throughthe ceiling. Last quartets, last plays,last words. Irresistable.The last gasp, you might say, is le derniercri. But like the rest of us. Wursup requiresmore than a mere assignment to get him tothink seriously about death. Suddenly, realdeath — not imagined or theorized — strikesnear, for the first of several times in thenovel, and Wursup accepts the assignment.He begins a course of researching, wit¬nessing, and contemplating death thatproves to be as disturbing and compellingfor the reader as it is for Wursup himself.To be. or not to be — that is still thequestion Suicides — including that of hisown aged father — fall across Wursup’spath right and left, inviting yet defying hiscomprehension. Wursup has earned hissuccess as a journalist by exposing the“essences” of people's souls on the pages ofLife and other magazines — and yet he is atan utter loss to account for it when thesesame souls choose not life but death. WhenWursup does come across a would-besuicide’s account of her own behavior (toldto a reporter, of course), the effect is only toaccentuate the very encroachment of Dublicupon private life at the center of the novel:“ T couldn't overcome the shock of Alien¬ee's death.’ said the nobildonna. her armcovered with blood. .” “Natural Shocks”abounds in effective, even edifyingreminders of death's immanence in life Thenovel’s subtitle might have been Death’sfamous boast, “Even in Arcady am I.” Oneis reminded of Bellow's Henderson the RainKing, obliged to walk about with a corpseupon his back. The effect here is much thesame, though the methods chosen are morerealistic. “The notion.” as Stern hasdescribed it elsewhere, “is that death iswritten into the contract of individualityitself.”The novel's main “story” — which 1 havenot discussed before now because, while it isundeniably what makes the novel work, isNatural Shocks to 19THE PINK PANTHER STRIKES AGAIN / BlakeEdwardsSaturday, March 11th 7:15 and 9:30 p.m.VERSAILLES5251 S. DorchesterWELL miVTtIVEDWILIINGAttractive 1 Vi and2l/z Room StudiosurnUluil or I iifiimi-lu'il#171 (o #253HhmmI oil \'<iil<il)ilil>All I lilifio in<-liiff<‘<i\l Campus Hus SlopFA 1-0200 Mr*, tiroakOOROTHT SMITHBEAUTY SALON5841 S. 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A revueDirectedMarch 10,11,12 / 17,18,19 af8 30PMThe New Theatre, 57th and University Avenue$3 general admission / $2 for students and senior citizensCall 753-3581 for information and reservationsCAPA vouchers welcome except Saturdayby Nick Rudall18 — The Chicago Maroon — Friday, March 10,1978Interview from 17say it was a good time. I don’t say it was abad time, but it was a rich time, it had to dowith national life. I myself went to bed nightafter night hating Johnson, hating Nixon,hating the war, my mind filled withassassinations and all sorts of publicwildness. I hated the war so much. So muchof my brain was in that, and I did take, youknow, a limited part in various gatheringsand groupings, trying to find out what to do,how to work it out.BB: Did you write about the’60’s at thattime, or do you have a tendency to go backin memory now and write about it ?RS: At various points of high feeling,especially feeling that was very upsetting, Ifelt that if I could possibly note down asprecisely as I could some of what was hap¬pening, it would be 1) partly therapeutic,partially relief, and 2) it mighi be valuable.As far as writing the books goes, it may,they may, lean on some of those notes, butwriting is so mysterious and complicated aprocess, you can never tell why things arecoming into your head or into your pen. It’ssuch a strange thing. Even though you’regoverning it, somehow or other there’s thisImp-of-the-typewriter that does the writing.So it may be that an experience from yearsago, a phrase, a rhythm, may come into it.You don’t know where it comes from. I can’ttalk about the process in an orderly way, butthe actuality is disorderly. At least, it hasn’tbeen figured out yet.JS: Do you have any affinity for theChicago school of criticism ?RS: When I first came here, I read andwas interested in it. I’ve been a friend ofmost of the critics. Mr. Crane was retired,but I used to eat with him a lot and he wasenormously fond of a review I did ofCozzen’s “By Love Possessed.” He said hedidn’t like the book, but it was worth writingbecause of this review. I seemed to him theideal Chicago school review. But though Iread some criticism and even do some, it’smostly at arm’s length. Much of it makesme nervous. Some of it is very exciting — Ilove much of Hugh Kenner’s work, andAuerbach’s and some of Edmund Wilson’s ..but much recent criticism makes me suspicious and uncomfortable.JS: I think one thing that reminds me ofthe Chicago critics is your insistence uponthe validity of a wide variety of literarykinds, even though your own fiction is of aspecific kind.RS: I think this is the key in deciding tobecome a teacher of writers, though therehave been those like Yvor Winters who havemore or less formed their students in theirown image. Many writers do not want toteach writing because they can’t stand theway their students write, and rewrite theirstories. You try to open yourself as much aspossible and enjoy what you can. That’s allit amounts to.JS: At the same time, though, wouldn’tyou say, like Aristotle, that you subscribe toa hierarchy of genres. I remember you saidof one of my stories, a farce, “It’s not “Warand Peace.” but on the other hand. . .”(laughter) 1 wonder if you could state whatyour hierarchy of genres might be for thenovel?RS: That’s an interesting thing that Ihaven’t thought much about. I suppose youcould take a book that you absolutely love,and it goes on and on page after page, takingin more and more, and you keep loving it, itdoesn’t dry up and doesn't bore. Well, youhave to say, “You can’t get any better thanthat.” Proust’s book is the one that hasmeant most to me in my life. It’s the longestnovel ever and for me it never flagged. Soobviously, that’s at the top. Tolstoy sharesthe throne. This is just fiction of course. Butthere are thousands of splendid, evenperfect works of all sizes and types. Anotherhierarchy demeans the present. I hate thefeeling that work done now shouldn’t havethe same sort of scrutiny as “legitimatedclassics.” Sometimes you find more recep¬tivity for your own books among geologists,legal scholars and doctors than in literaturedepartments. Of course it varies from per¬son to person and book to book. Professionalliterary people have investments in whatyou call the hierarchies. There are moreways to be blind than there are to see. Butgood literary sight is rare. Who’s to say? Aperfect little poem is a perfect little poem.Is it going to get to literary heaven so muchless faster than “The Divine Comedy?”Then there’s that famous desert island. Which books do you take there? Well, itdepends on how much you have to do to sur¬vive there. I’d think “The Divine Comedy,”Shakespeare, Tolstoy, and Proust would begreat survival material. But you might dobetter with Quevedo and Kate Douglas Wig-gen.Natural Shocks from 17not what finally makes the novel valuable —concerns the love that Fred Wursup comesto feel for a beautiful young girl dying of amelanoma. The chapter in which Wursup,researching his article, first meets Cicia inthe hospital and engages her in a warm butcautious conversation is one of the mostwinning scenes in the book. And yet thisnovel, which otherwise pays such frequenthomage to the itch of sex, is careful to keepits one true human contact free of lust’staint. Significantly, this unexpecteddelicacy of feeling is not the least of thenovel’s charms.Wursup’s quest, as he prepares to writehis article, is ultimately a spiritual one.True, we are all born in the same way, yetall die differently; but this seeming puzzleturns out to be only a diversion from thecrucial, basic question. What is this thingcalled soul? What difference does it make?The struggle between public life and privatethought is a struggle over the soul; life anddeath themselves contend for the samemysterious prize. *s a man of his times, ofcourse. Wursup is made uneasy by thewhole notion of soul:Wursup believed in nothing im¬materially based, but might there besome quarkish particulate foamingbetween grosser substances? Esquirereported that a Swede had discoveredthe weight of the soul; he’d put the bedsof terminal patients on scales andweighed them before and after the lastheart-beat. Average weight loss:twenty-one grams.“Natural Shocks” is not. of course, adissertation on life and death, nor asociological analysis of the demands ofpublic life upon the individual. It isa work of fiction that eneages the reader’s emotions as fully as it chal¬lenges,, his intellect. Fred’s ex-wifeSusannah, whose struggles parallel andintertwine with his own; his mistressSookie, beautiful and independent but asimpervious as Sancho Panza to thequestions that beset her lover; fading,charming Cicia; and the circles of friendsand associates in which they live and workare all drawn with insight and affection.Wursup himself is solid and convincing asan intellectual who enjoys exceptionalworldly success while still struggling tocome to terms with the sources of thatsuccess within himself. Yet the outcome ofthe novel suggests that journalists per seare, like those misguided scientistsweighing corpses, finally incapable of ap¬prehending the human spirit — what it isthat makes people vulnerable or indifferent,in love or in despair. It is left to the reader toinfer that only the artist or novelist — and inparticular such a novelist as has written“Natural Shocks” — is capable of per¬forming that task for us; only theimaginative writer may be. as Proust put it,an explorer of the invisible. By asking theright questions and pursuing the right im¬plications, Richard Stern has written anastonishingly ambitious look.Traditionally, no one is considered a heroin his home town; all heroes are. by usage ifnot by definition, out-of-towners. For all ourboosterism, Chicago’s great minds andsouls are probably less revered here thananywhere else. In out-of-town places thatcount, however, serious notice is beingtaken of Richard Stern. Some months ago hewas called (in Esquire»the most underratedwriter in the country. Now, even the NewYork Review of Books is spreading the wordthat it’s time to take Richard Sternseriously. Chicago, as “Natural Shocks”makes clear, has another treasure tooverlook.“Natural Shocks” is dedicated to a latemember of our faculty. For those of us whoknew Arthur Heiserman. it is not at all hardto see Stern’s novel as itself an act of love.Brian Stonehill is a graduate student inEnglish and an editor of Chicago Review.University of Chicago Bookstore5750 So. Ellis Ave.The General Book Department announces abooksale from March 10 to March 24. Youstand to profit from it. We are offeringextraordinary savings up to 70%.These are quality books on every subject,including a large group of medical and businessbooks. Come in early for the best selection.The Chicago Maroon — Friday, March 10,1978 — 19Photo by Ann Simmons-MyersChe Hntoersitg of ChicagoTHE DEPARTMENT OF ARTandTHE VISITING COMMITTEE FOR THE VISUAL ARTSannouncePotent S Tfaufen 'fttimvUat ^ectwie ScuteonIssues in the Twentieth Century:Art in Europe and America, 1900-1930WednesdayMarch 8 "Seeing, Sending and Surrounding," Professor Charles F. Stuckey,Johns Hopkins University.April 12 "'Cubism Reconsidered,17 Professor Leo Steinberg, The University ofPennsylvania.April 19 "Popolar Sources of Elitist Imagery in Early Twentieth Century Art,"Professor Donald B. Kuspit, The University of North Carolina atChapel Hill.May 3 "American Art in the Debris of Consumption," Professor John W.McCoubrey, The University of Pennsylvania.May 17 "The New York Skyline in the 1920's: Reality and Fantasy," ProfessorWilliam H. Jordy, Brown University.All lectures will be held at 4:00 p.m. inSocial Science Room 122 • 1126 East 59th StreetA reception at tha Cochrane-Woods Art Confer, 5540 S. Greenwood,will follow each lecture. Public invited. One writer’s viewSince 1953 a group called the South SideCreative Writers' Workshop has met everyTuesday night at 5744 S. Harper. Theworkshop was founded by Marjorie Petersin 1947 and met. originally, at the ParkwayCommunity House. Among those attendingin the earlier days were Gwendolyn Brooksand Harry Mark Petrakis. More recently,several members of the workshop have beenpublished including Percy Parker whosemystery novel, “Good Girls Don’t GetMurdered. ” was published in 1974. Since thedeath of Marjorie Peters in 1975, theworkshop has been conducted by PierreLong, one of the only literary agents inChicago. For further information about theworkshop, call PL2-8377.By Michael BeresWe meet at eight o’clock in the livingroom of a house that will be one hundredyears old in 1980. The sulphur lights onHarper give the evening beyond the frontwindows a pinkish glow as if theneighborhood were a scene set at the bottomof a lighted aquarium. In winter I can hearcars in low gear searching for parkingplaces. During warmer weather the slamm¬ing of screen doors announces the twilightsequestering of children within their homes.There are no children in this house. Groupsof chairs and a sofa face the windows.Pierre Long sits next to a grand piano infront of the group and leads the criticismafter he has read each manuscript.The procedure is probably the same asmany writers’ workshops. A manuscript isread, then each person gives an opinion.Some give detailed critiques; other simplysay whether or not they liked the piece. Ibelieve our workshop is unique, however, inthat we criticize technique. And through thissharing of criticism, all of the writers, notonly the one being criticized, learn a greatdeal. The workshop provides — perhaps tothe dismay of Emily Dickenson — an au¬dience. But we are not a “mutual admira¬tion society.” The instant feedback, whethernegative or positive, is concrete. I thought I noticed a shift in viewpoint inthe middle. The viewpoint character wouldnot be aware of creases in his own forehead.That part where her eyes wanderedacross the room is called a body disjunction.Let's keep the eyeballs in their sockets.I didn t see any faces or anything aboutthe characters to help me remember them.All / know is that the butler had on a darksuit.There are too many value judgments. Justtell what the character is thinking, what hesees, and we ’ll know how he feels.The conflict comes too late in the story. Ithink it should start with that wild scene inthe funeral parlor. The rest can be donethrough flashbacks.I heard a few laughs during that dialogand I think it was because the author forgotthat the characters were naked — I thinkthey would talk differently under those cir¬cumstances.Of course there can never be permanentrules in writing. But the critics act as sur¬rogates for the contemporary readingpublic.Beginning writers sometimes find it dif¬ficult to get used to criticism. The ad¬vantage, though, is to receive commentsfrom someone else besides a spouse or aparent whose only comment might be, “Ilike it.” My own method of handlingcriticism is to remember that if my criticsreally hated the piece or if it really boredthem, they would not talk about it at all.Sometimes, while a story of mine is beingread, I make note of a particular phrase thatlooked so plausible when rolled up the plat-ten, but, when read aloud, sounds terrible.My own errors become obvious and,hopefully, will be caught in an earlier draftnext time.Aside from the value of the criticism, theworkshop provides some of the anticipationthat all writers need. Although publicationis the ultimate reward, the boost of knowingthat, within a matter of days, I will get aresponse to something I’ve written keepsme going, keeps me on my self-imposedschedule.Michael Beres is a writer of short storiesand novels living in Chicago.MINDEL’S HOUSE A■• a newAmerican operaby J ose ph Re iserdirected by Fri+zie Sahlinslibretto by Deborah HomanMARCH 10-12, 17-19, ZY-2bFri.l Seit.-S'SOp.m. Sun.* 3*00DANCE CENTER OF COLUMBIA COLLEGE4-730 N. Sheridan. Inf a.: 2717804Students and senior citizenssupported in Part by the Illinois Arts Council'SmA year off--to workBy Abbe Fletman“Ideally, nearly every writer of fiction orprose hopes that they’re not writing to anacademic audience. They hope that they’rewriting to a wider audience.So said Elizabeth Helsinger, an associateprofessor of English. Helsinger is takingthis year off from teaching to devote herselfto writing two critical works, acollaborative book on women and society inthe Victorian era and one on art and socialcritic John Ruskin. Although some of theproblems she faces are unique, Helsingerhas many of the difficulties of youngscholars working on their first book.Her major obstacle is time. “I find it hardto actually do writing when I’m teaching--atleast unless I have a light quarter,” saidHelsinger. ‘‘A year off is almost necessary,though it’s not always possible.”Until this year, Helsmger’s did most of theresearch for her book when she wasn’tteaching or when she taught only onecourse. But these periods were few and farbetween. ‘‘Last time I had three months,”said Helsinger, “I essentially did theresearch for three big chapters. When Icould get back to it, it took me severalmonths to return to the point where I coulddo the writing.‘‘Before I can actually write out my ideas,enough time has passed that I’ve read a lotof new things and my perspective haschanged at some point, so tne disadvantageof it is that it takes a very long time to ac¬tually get something written,” she said.Helsinger is so frustrated with doing ‘‘bitsand pieces” of research, she is resolved tofinish both projects before she returns toteaching in the fall.The Ruskin project began as an outline fora dissertation. Her file of outlines now spans10 years.Helsinger was surprised at the extent towhich the book changed over the 10 years.“The shifts are small, yet over the course ofa 10 year period, it’s just an enormouschange.” As an untenured junior faculty member,Helsinger must contend with the constantpressure to publish. “It’s no secret thatpublication is necessary,” said Helsinger.“A book is necessary. And not only a book,but obviously, a good book.”Because more universities are demandingthat their faculty members publish,publishing houses are becoming moreselective about what they print. “It’s noteasy these days to get critical writingpublished,” said Helsinger. To worsenmatters, publishing houses are aware thatcritical works are rarely big money¬makers.Helsinger’s collaborative effort withassociate professor of English WilliamVeeder and a University of Cincinnatiprofessor, Robin Sheets is “more or lessdone.” It is entitled, “The Woman Question:Society and Literature in England andAmerica, 1837-93,” and will be published byHoughton Mifflin Publishing Company.Helsinger plans to approach most majoruniversity presses on the Ruskin book.Unlike novelists, scholars must havecompleted manuscripts in their handsbefore they take it to a publisher.Helsinger enjoys critical writing because“you get more involved in working oncertain things that you do in a class becausein a class something comes up and it can bevery exciting, but you’ve got to let it go andgo on.” Helsinger enjoys teaching, butadmitted that, “Critical writing andteaching sometimes do pull in oppositedirections even though at other times, in awav, they’re feeding into each other.The scholar’s dream and one solution tothe teaching-research dilemma seems to beto allow faculty members to teach forseveral years and then take a year off to dothe writing.“Even after you’re done the research andworked through the ideas,” said Helsinger,“there’s still the process of writing.”Helsinger spends from 9 am. to 2:45 pmevery day in her study in RegensteinLibrary. “It’s a tiny little room with aboutenough space for a desk, a wall ofGetThe Great Ratesof Budget!Two locationsto serve you:5508 Lake Park493-79008642 So. 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ANO co 374-1121 or 493-1774A Budget System Licensee. bookshelves and a typing table, but thereare no telephones and you can be assuredthat you won’t be disturbed,” she said.Because Helsinger has two young children,and her husband is in school, she must behome by 3 pm each day.Helsinger denied that professors in theEnglish department are really frustratedpoets and fiction writers: “The line betweencreative writing and critical writing is infact not nearly so sharp.” “I would guess that at some point,” shecontinued, “people who are in love withworks as much as those of us in the Englishdepartment are did think about andprobably tried writing, but it might havebeen an awfully long time ago and of coursethere are some that do write fiction andAbbe Fletman is a second year politicalscience student in the College and newseditor of The Maroon.the amazing newr MG-Iloudspeakerit fits anywhere youwould like superb soundThe new Magneplanar MG-I tsa smaller version of rhefamous MG-II speaker. Irsprice is appreciably less,The large bi-polar radiating areacreares rhe illusion of a live performanceIt's neither a cone type or elecrrosrancspeaker. Ir consists of a large area(planar) permanent magnetic field witha very thin film diaphram stretchedover it.Borely thick enough for a decentdressing screen - just thick enough forsuperb sound.priced under S500 per pair.& Victor's Stereo8 E Ene Chicago. Ill 60611 312-642-63495701 W Dempster Morton Grove. Ill 60053 312-966-5590J.*>iMtx/'K in IOTOThe Poetry CenterpresentsPHILIP LEVINEFRIDAY, MARCH 17,8PMArts Club of Chicago109 East Ontario Streetadmission $3.00-MCA Members $2.50This program is partially funded by a grant from theIllinois Arts Council 5% (.mocrsitu of ChirogoROCKEFELLER MEMORIAL CHAPEL5850 SOUTH WOODLAWN AVENUE • CHICAGO, ILLINOISJ. 0. ffiacfjin B ,MinorRICHARD VIKSTROM, DirectorTHE ROCKEFELLER CHAPEL CHOIRAND ORCHESTRASUSAN NALBACH LUTZ and JANICE HUTSON, SopranosPHYLLIS UNOSAWA, Contralto DALE TERBEEK, Counter-tenorALONZO CROOK, Tenor WILLIAM DIANA, BaritoneSunday • March 19/ 1978 • 4:00 p.m.Tickets: Reserved $6.00 • Chancel Seating $5.50General Admission $5.00 • Students $2.50Available at: Mandel Hall Box Office, 5706 S. University AvenueCooley’s Corner, 5211 S. Harper AvenueMail Orders to: Chapel Music Office, Rockefeller Memorial Chapel5850 South Woodlawn Avenue, Chicago, Illinois 60637Pleese make checks payable to The University of Chicago and enclose a stamped, self-addressed envelopeTHE UNIVERSITY OF CHICAGO EXTENSIONPRESENTS:Joan Morris, Mezzo SopranoandWilliam Bolcom, pianoPerforming songs of vaudeville andthe American musical stage by:Bishop, Ives, Berlin, Cole & Johnson,Joplin, Blake, Gershwin, Hupfeld, Porter,Lieber & StollerMARCH 11,1978 at 8:30 p.m.MANDEL HALLFor ticket information call: 753-3137Single tickets: s750, Student with Valid ID: s400 William J. Wilson will autographcopies of his new book. TheDeclining Significance of Race.on Tuesday, March 14th. from2:30 to 4:30 at theUniversity of Chicago Bookstore5750 S. Ellis Avenuellefreshments will he served1Book reviewsIn man’s own image Discreet charmSplendid Lives $iu,000 in local currency, sets them afirebvPeneloDeGiliatt and cries “Have them! they’re my father’sand he can’t use them because of th*» tax.”Reviewed by Sarah Schulman Some islanders watch, some leave, somefight over the burning bills. “The whitepatriarchs, hearing of the event said he hadPenelope Giliatt is well acquainted with been made wanton by the absence of aher subject. A familiar name around the father. As though many people on the island“New Yorker” and other East coast so much as knew who their father was.”publications, her original screenplay for There are political villains in “Fleeced”“Sundav Bloody Sunday” deals with the in- but the tale is not about them. Tom is a childtricacies of bourgeois romance. Writing for of this power but he is not a villain. Giliatt isand about the sometimes charming, occa- writing about isolation — no blind and facilesionally disturbing absurdities and fears of statements are made here dividing thethe bourgeoisie, she expresses a sense of world into Mrs Rockefeller and Mrs.sympathy for their plight. Her new collec- Rockefeller’s maid She is sensitive to thetion of short stories, “Splendid Lives”, reaf- struggles of a class whose humanity hasfirms this affection for their alienations and been ignored in contemporary writing. Butparticular struggles. she does this without excusing or dismissingA 92-year-old bishop meets a young their actions.American divorcee at an anti-Rhodesia ral- Giliatt’s keen observations are not limitedly and invites her home for dinner to admire to European society. She also offers herher ankles. As they walk towards his stable perceptions of the vast and fascinatingin the evening to watch an eccentric wasteland (apologies to Mr. Minnow) ofracehorse, she explains her divorce: “...on preservatives and media-Americana. Anholiday in the West Indies we bought a very aging and God-like radio announcer givesgood landscape from a young local advice over the air to a loyal and dependentpainter.. .then my husband asked the painter following. Alienated by the microphone andif a bank could be put into the composition, fear of death, Rossiter delivers conversa-and the painter gave him a look and painted tions that are Dure America. One caller isin a bank ” Horse-like, the bishop then car- worried that “right now there are 200,000ries her home over the mud. There is no ex- young Communists in psychiatry. That’splanation for this peculiar encounter, but where the violence is coming from. Theythe hints are obvious enough. Here are two don’t believe in the almighty but they wantpeople, essentially powerless, but with a last to change people’s beliefs. A person’s mindremaining gasp of consciousness, trying to isn’t something to tamper with. Americansalleviate the pain of their isolation (be it are frustrated with their violent thoughtspolitical alienation or just plain loneliness). and contented with their values." Rossiter’sThe question of political alienation is role is to keep America in mobile homes,more acutely expressed in the story “Fleec- “I’ve had enough of lawns. Cement’s moreed.” Tom is being raised on a racially op- aesthetic.”pressed island by his tutor Lionel, a “man Rossiter is alone. Tom is alone. The Earlwho seemed born to wear black." His father is alone. Each one preaches his own gospelis kept away by tax laws which take priority of destruction as a hopeless reaction toover familial responsibility. Although isolation. They are trapped by the limita-Father and Lionel often discuss business by tions that their class and social perspectivephone, Tom is excluded from any paternal impose! “One gathers one’s mind to a pointrelationship. As a result, Tom withdraws and the other things pass one by.”Who Should Play God?by Ted Howard and Jeremy RifkinNew York: Dell264 pages. Paper. $1.95Reviewed by Gregory Pope“God created man in his own image; inthe image of God he created him...and Godsaw all that he had made and it was verygood” (Genesis 1:27-31). But will it be“good” when man plays God and createshimself” No, assert the authors of “WhoShould Play God?”, arguing that the re¬cent development of a powerful biologicaltechnology creates the probability of thehorrible transformation and degradation ofthe human species. To prevent the unethicalexploitation of the new biologicaltechnology, the authors argue that a masspolitical reaction against technocraticvalues is necessary.What Ted Howard and Jeremy Rifkinlabel “The Biological Revolution” began in1953 when James Watson and Francis Crickdiscovered the double helix structure ofDNA, the genetic code of life. This fun¬damental breakthrough has opened the wayto an intensive application of chemistry andphysics to understanding the minute worldof chemical processes within the cell. Back¬ed by massive federal and corporate fun¬ding, progress has been rapid in thebiochemists’ and biophysicists’ endeavor tounderstand the processes of life. In 1957, Ar¬thur Kornberg discovered how DNA repor-duces itself; in 1961 the DNA “code” wascracked; and in 1976 a MIT scientist syn¬thesized a two hundred sequence humangene using only the four basic nucleotides.The new technique with the most far-reaching implications, however, is recombi¬nant DNA, discovered in 1973. RecombinantDNA is a chemical procedure which allowsstrands of DNA to be split and then patchedtogether again. For example, sections of thegenetic code of a mouse can be incorporatedinto the DNA of a human cell, creating ahybrid man-mouse cell. Although not feasi¬ble at present, some biologists have ad¬vocated the eventual creation of chimeras toperform tasks for which present humansare ill-suited. The genes of monkeys couldbe incorporated into astronauts, they argue,resulting in a stooped hybrid with prehensiletail and long arms admirably adapted tospace travel.The most significant implication ofrecombinant DNA does not lie in the ratherfanciful chimeras, though. Most important¬ly, recombinant DNA will allow genesurgery. Defective genes could be replacedor missing genes supplied. For instance, inthe near future genes may be introduced in¬to diabetics to allow them to manufacturetheir own insulin. Or, in a less optimisticvein, genes rendering men passive to thedictates of a totalitarian state could bespread in the gene pool. When the techni¬ques of recombinant DNA and the artificialsynthesis of genes are combined, man maybe made into virtually anything.The biological revolution does not consistonly in chemical techniques. Some moremundane biological procedures are alreadybeing used widely to direct human evolu¬tion. Approximately one million Americansnow alive are the product of artificial in¬semination, which can be used as a powerfultool of genetic selection. Further, geneticscreening and planning are now common.Soon babies may be grown outside thewomb, making biological modificationspossible during gestation. Clearly thehuman body is no longer inviolate; man isfast gaining and using the knowledge toshape his biological nature.But should the development and im¬plementation of biological techniques tomodify the human gene pool be continued0Who should decide what form man is to takein the future!' Who should play God0Howard and Rifkin argue that the organiza¬tions which will introduce the new biologicaltechniques into our lives are dominated byGreg Pope is a third-year economics ma¬jor in the college.“ -g * ■■ “ "**-• '-'H “ monetary and technocratic, not humanistic,values. Hence, they assert, these organiza¬tions are likely to modify the human race inan undesirable fashion. The newtechnologies are being developed in part bythe drug and medical industries, whichstand to reap enormous profits from themarketing of the new procedures. In thepast these organizations have not allowedethical considerations to impede theircalculus of profit. A 1962 Senate report con¬cluded that half the drugs then availablehad no scientifically proven value.Moreover, many drugs which are marketedare actually harmful. A 1974 study finds thatadverse reactions to drugs kill more victimsthan does breast cancer. Howard and Rifkinalso enumerate many immoralities of theAMA and this association’s close financiallinks with the drug industry. With this trackrecord, Howard and Rifkin ask, isn’t themarketing by the drug and medical in¬dustries of the new biology more likely tocreate a mass of biological horrors than aworld free from disease and deformity?Neither should government be entrustedwith the awesome powers of the newbiology. Many government regulatory andscientific agencies are dominated by scien¬tists and bureaucrats with strong personaland financial ties to corporations whichstand to profit from the policies of the agen¬cies. The military, which in the past has con¬ducted LSD experiments on unwitting sub¬jects and has sprayed American cities withbacterial agents to test biological warfare,is ominously becoming interested in themilitary applications of genetic engineer¬ing.Scientists are not fit to play God either.Once science was considered a panacea, butmany people now realize that the productsof science may do more harm than good andthat the motives of scientists are often farfrom pure. Many leading scientists in thegenetic engineering field are deeply im¬plicated financially in the corporate struc¬ture of this country. In fact, a group ofleading biologists have formed a corpora¬tion named “Cetus” to exploit the financialopportunities created by the newtechnologies which they are developing.Furthermore, many prominent scientistsover the years, most recently Nobellaureate William Shockley, have been in¬timately associated with the eugenics move¬ment, which proposes to eliminate what itconsiders “bad” genes from the humangene pool. But these “bad” genes have toooften been those of ethnic minorities orsocial deviants. It is Howard & Rifkin’s con¬tention, then, that scientists entertain“technocratic” values which would have allit m.mm • men conform to a single engineer’sblueprint.In short, the authors argue that AldousHuxley’s vision of a “brave new world”,where man’s dignity and freedom issacrificed to technological and bureaucraticvalues, is fast becoming fact. An extraor¬dinarily potent new technology is beingdeveloped It could be used for good, butsince the new technology is controlled by acorporate-governmental-scientific jugger¬naut, headed by a few men interested in pro¬fit or their personal vision of the future ofmankind, the probability is that the mass ofmen will be exploited, that their interestswill be ignored. Irreversible change maysoon take place in human biology, changewhich present ethical theories cannot labelgood or bad.The juggernaut must be stopped. Howardand Rifkin argue, before the diversity ofmankind is lost to the corporate and scien¬tific blueprint for the future. The scientist inhis laboratory is not immune to thepossibilities of financial rew ard for his work and he cannot control the use that is made ofhis discoveries. Hence. Howard and Rifkinassert, his freedom of inquiry must belimited for the social good: work on geneticengineering should end.Both veterans of populist, left-wingpolitics, Howard and Rifkin propose to cur¬tail genetic engineering research by meansof a mass political movement against alldehumanizing forces in society. This is theweakest part of their argument. Probablyan attempt to mobilize the scientific com¬munity and intellectuals in general againstthe dangers of the new biology would be amore realistic and effective response.While at times sloppily written and super¬ficially researched, and though the authors’case is overstated, “Who Should PlayGod°” is an informative and fascinatingbook about a subject that is becoming in¬creasingly important. It is one of the few re¬cent books offering a thorough discussion ofthe biological revolution and its implica¬tions. I\ % ■%* % % •* ^ %. * * ft. % % ft t • «»— - LOCAL AUTHORS MAKE GOOD.James Gustafson. PROTESTANT AND ROMANCATHOLIC ETHICS (Chicago) $12.50Richard Stern. NATURAL SHOCKS(CoicarfL McCann) SR A)5Bernard McGinn, ed. THREE TREATISES ON MAN(Cistercian) $13.95(autographed err pies of tlie above three lilies are available)Philip Kurland. WATERGATE AND THECONSTITUTION (Chicago) SI2.50Mircea Eliade. THE FORBIDDEN FOREST(Notre Dame) $18.95Sidney Monas, translator. OSIP MANDELSTAM.SELECTED ESSAYS (Texas) $15.95Edward Wasiolek. TOLSTOY'S MAJOR FICTION(Ch icago I $12.00W illiam Julius W ilson. THE DECLININGSIGNIFICANCE OF RACE (Chicago) $12.50Vera Bach Weisbord. A RADICAL LIFE(Indiana! $15.00Dan Sabbath and Mandel Hall. END PRODUCT(Urizen) $10.00(u p have rut autographed copies of this last title, although u einvite the authors to remedy that... in pseudonymous fashion)loaSwglTSDifgl /Sw@bdoq©■«Like the Mercedes 280 E, the Peugeot 604 SL has four-wheelindependent suspension, a resonsive six-cylinder engine (ours is aV-6). power steering (ours is rack and pinion), a unitized bodyheld together with thousands of welds, power windows, fullyreclining front bucket seats, tinted glass, and meticulous atten¬tion to detail.The Peugeuot 604 has alsobeen engineered for asuperior level ofcomfort. Withoversized shockabsorbers, large coilsprings, a floating differential, andseats that are actually tuned to the suspension system.But comfort isn’t the only thing that sets the 604 apart from theMercedes. There’s also the price. Which starts at about$11.000.* And which may be its most comforting feature of all.Inc.Sales / Lessing / Parts / Service2347 So. 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WORLD ZIONIST ORGANIZATION\A/7f) WZO Department of Education t Culturevv/-w I 515 Park Avenue. NYC 10022(212) 752 0600 ext 385/386 73.R\ Name_ _AddressCityState -\ /, State— ZipIntroducinga distinguishedIcelandic bird whohas the answerto all those confusingair feres to Europe.The bird you see here is knownas a A small, thoughtfulresident of Iceland. One of thefirst things young Puffinslearn to do is fly Icelandic.Beginning April l 1978.Icelandic will fly any youth(Ifriffin or person) between12-23 years old roundtripfrom New York to loixem-bourg for just $400. $430from Chicago. Returntickets are gr k xl fora fuD year. Faressubjetl tochange But there’smire toIcelandic than justlow fares.You'll get a greatdinner and excel¬lent service onyour tnp. AndIcelandic will setyou down right nthe midde ofKurope. whereyou’ll be just hoursaway by tram fromKurope's mostfamous landmarks.So take a travel tipfrom Iceland’s favoritebird. l-i-am to flv leelandx .See your travel agent. ()r writeDept. #C'.T52.lcrlancbc Airlines. P. ().Box 105. West Hempstead. NY 11552.Call 8l X (-555-12121< r ti 41 freenumber in vour area$275roundtnp 14-45 day AI’F.X fare from \.Y*$400roundtnp youth fare. (i<hxJ to age 2.1.Icelandic to Europe.from i Un dv!" must he rfxtwd 1.»davs pnof lodrpiilurf vd|mk1 fair Miihiri Mdn% <4 rcNrnatH *n \dd$l >c.* h fc* Inwiui ttffcrmfc nobodyasked!He was in his twenties.So was she.Both were Catholic, unmarried,prayerful, creative.Both cared about peopleand cared for them.How come he never thoughtof the priesthood?How come she never thoughtof being a nun?"No one ever asked me7they said.Is this your story?No one ever asked you?Well, we're asking.— Mail Coupon Today!Please send information on:□ Diocesan Priests □ Religious PriestsBrothers □ Nuns □ Lay MinistriesI| NameAddressCity State ZIPVOCATIONS COMMITTEE/SUPREME COUNCILKIIIGHTS of COLIimBUS |u r*r neemNew Haven. CT 06507 SINGLES INTERACTIONThe Singles Club of the First UnitarianChurch. 1174 E. 57th. meets Sunday evening.March 12 & 19 for “Singles Interaction,”a program format which has become enor¬mously popular among Unitarian Churchesthroughout the country.Singles Interaction is a relaxed, informalway to make a new friend, and a welcomerelief from the “swinging singles” scene.Program starts 7:30. Donation $2.50. For moreinformation call 955-0936.THE SWISS ALPSThe Eiger to the Matterhorn on foot Two and three-weekback packing expeditions amongst the jagged peaks andbreath-taking wild flowers of Switzerland. Mountaineeringinstruction and guided ascent of the Matterhorn & othermajor peaks also availableBROCHURE: Earth Journeys. Inc.Dept. C3400 Peachtree Rd.Atlanta. Ga. 30326404-231-0073SCUBACLASSESBasic & AdvancedYMC A & PAD!CERTIFICATIONBASIC: 1 1 weeks, beginning MondayMar-ch 27 Bar*leM Gym Trophy Room,7 D.m. Complete instruction in use ofScuba. PREREQUISITES: Good Swimmingability. Swim Suit needed for firs* class.CEE $62 00 payable in Barfle*t 105ADVANCED: 12 open wafer dives begin¬ning Thurs. March 30, BarMett Trophyroom 7 p.m. Instruction in advancedtechniques of Scuba, PREREQUISITES:Certified Scuba Diver wi*h a* least 15loqged open wa*erdives. FEE: $62 00payable in Bartlett 105.*Bo*h crosses ooen to students, faculty,alumni and staff af Univ. of CHfcaga.Tho PHiponn Vf o i*nAn ik Hi men nrResults of The Maroon poetry competitionThe response to The Maroon poetrycompetition was overwhelming. Wereceived scores of entries from around theChicago area and the winners printed belowwere selected from some 300 poems. Wewish to thank all those who submitted poetryand only regret that we could not publishmore of them.The Chicago Alderman Maria Asuncion The GardenA feath,er cushion, not a man;The Party Politician,The democratic aldermanHe takes the bent position.His Daley work is never done,He is a special pleader,He bares his bottom to the one,Who is the Party Leader.The kick he gets upon his bum,Will cause him no discomfort.It represents a tidy sum,That winds up in his pocket.When times are bad, he's not depressed,Or ever in a panic.With optimism he's obsessed,Because he's aidermanic.And when he dies, or goes to jail,And leaves his happy life,He knows the party without fail,Will then elect his wife.In Heaven, he's not at a loss,The Party Politician.For God's no different than the Boss;He takes the bent position.Allan Noel Herzog Maria Asuncion is down on her kneesher wool skirt brushing against the concretebrown wrinkled handsfinger black beads—like mirrors face to facethe beads tumble downrow on roweach holding the lightof dark eye's shinethat once as a childMarisun spilled out freelyover lashes and hot cheeksnow gathered and guardedin the cold hall of wet stone.No husband demands her,no pull from a child,no call from the skinground between knee bone and slabs;the aged incantationshave captured her eyesand beads of grey water dry on her browand her body sways slightlyas the chanting strengthens and peaksThe screambreaks the string of the beads in her fingerswhich roll into the dust in the cornersforgottenand her hands closed in prayer against herblack apronflung apart, cross the airto accept what strikesblinding white through the wallto her palms, open cupsof brown wrinkles and blood,they are piercedA Gift Pat HarringtonI buy your present andkeep on lookingwandering searchingrejecting everything hunting alwaysfor what? suddenly saddenedI turn awayunderstanding what I seek;this gift cannot be boughtor givenOnce I watched a bubble thatcontained a universe,drifting in silent majestyupon the water lightstriking from behind reflected outwardin pinpoints of brilliancecolored firesburning my mind with images of starslight eons awayA poet can offer onlyafterimagesbut could I give you what I wishit would be such a visiona touch, a taste, a sound someinsignificant objectthat would pierce your mind and soulwith beauty.Maureen McConaghyUntitledThe rain pours downdrowning out ourIllicit footprintsin the slushy snow of the citywashing awayfrom your skin and hairmy perfume.Maureen McConaghy Gethsemane: and I bled words on the grassuntil the color pleased you(should I take these fragmentsshould I call them relics?)"I don't care what works for you.Don't pretend. I don't want to pretend anymore."Alright.Never knew a woman didn't understandthis: take her out and show her deathin creeping March when winter collapsesinto itself — the cube meltsto a square thesquare into a line theline into apoint withonly depth;out thought dig out their own abyssin the name of fathers who areafraid— this class createsits own gravediggers:"What are you doing?Why is my daughter smiling?"and then the cry is natural...("perhaps we should be climbing vinesbudding cause, and coiled around a tree?")with the tendril-clung organsat the bottom of rocksthe equality growsthe paradox;with the child folded intothe ocean's creasesthe antithesis growsthe thesis;with the misshapen handscraping at the earth's ceilingthe intellect growsthe feeling;in the trinity of benevolent bread:we're given this day- yesterday now tomorrowto clasp our handson each other's chests (this is the churchthis is the steeple)and couple our vague-praying fingers.Frank L. RuscianoPalm SpringsThere are proud claims that this moment is remarkable,as harsh and foreign as a blizzard that pushessmall school children across the icy roadthrowing travellers off their coursehardening habitspreventing radical designs.Our grandfather has moved away to a fantasy landwhere he no longer has to dance across the frozen tileor bother about his tips and toes and a businessnow sold and withered to a body that does not breathe.His brash humor has been conquered and melted into mush.He tries to forget the oak home, the strange finds;like the night he caught the dark driver playingwith the small maid on grandma's tablelaughing at such things with his small sondismissal seemed senseless (today's old boys would have shuddered),but this was somewhere elsein the glorious days of his favor and grace.Elsa Parnell26 — The Chicago Maroon — Friday, March 10,1978Kilmainham ReverieiSix decades backMy father saw the light.His mother had aMurderous time of it.Proud woman,Before she had doneShe had taken theSheet's edgeIn between her teethTo keep herselfFrom screaming.IISix decades isn't much,My father says:"As long as it takesTime to wink his eye."But the First War nowBelongs to the museums,Or fields where glided cannonEye the grassAnd statues rankedOn pedestals combineTo keep the deadFrom rising.Ill The Finding of Philip of MacedonAn ancient Greek grave that may contain the long-soughtremains of King Philip II of Macedon has been uncovered.So they dug you up, old conqueror,Up at last,Broke in on your airless rest. 1 +1 equals 2: An Electrical EquationWe are like twoirrascibleold ladieswho, sitting on a green park benchcommunicate more through silencethan words.You have been my comfortsometimes.You take jabs/here and there/butthey don't mean much.I have the skin of an iguana now.Toughened from yearsof delicate tortureinnuendoand looks that murderhope.That is the vestigeof another timewhen we were like electric sparkswhich produce pain and energy at the same timeand only when touchedtogether.I was alive with hurt and anger.Is distance the priceof peace?They say there will never be another onelike you.They're glad for it.I search for you in all women.Hoping to find you—perfected.A snake without venom, hissing harmlessly.A bee that stings painlessly.This spring in DublinThe old debate resumes,Our fractious past unfoldsOnce more before us.We plot !'< like a roadmap,Trace the arteriesTravelled by our deadFrom Cork and ConnemaraUp to Dublin.The men who rose at Easter,Runs the talk,Fathered a peopleOr killed one,Touched their children's lipsWith the bloodOf children inborn.Yet even Pearse ranOut of words at last.One morning in the spring heRose from sleep toStand between gray walls.Mouth dry, blindfold tight,And hear his pulse tickJust before the guns.-1976Frank KinahanKnowing God Where Wallace IsNo one praised your essence in each word,Holding up each poem in your light.No one expected you to match the truthFrom idol metaforms of might.But you had an aptitude of being,Dying to uncover, unfound sights;Finding dirty treasures worth redeeming,Under man's sole, a city of lights.To whom should you look for recognitionOr comfort from your disconcerting lines?All poets lie in spirituous sedition;Every man is dumb to your designs.What I see, Wallace, was flickeringParadise imperfect in a mind.What you see, sees itself,For No one knows a poet of your kind. The cruelties of the grave—Decay, wormswarm-Endured, long gone,Your white bones havingRepulsed them,Your neat bones restedDeep within the earth,Your shield of plated bronzeBeside you,A laurel wreath of goldAtop your ribcage.No more the gathering ofBrown dust in the lungs,The worrying pauseBeside a foreign road,Ways of the known world,No more the watchful eyeOn Alexander.You were far from theCries of the dying.Then the shovels found you,The door swung back,The sun put his foot in.You were murdered once,Worldslayer.Who was it did you in?Ink AdventurerThere were seven suns on the sky this morning.The Archer Yi can no longer strike them down,his bow and arrows turned to butterfly dustwhen the cranes flew south and forgot to come back.The fields have dried to a crisp gray.The river hisses and twists its course,dies before reaching rice paddies.My mother will sell me for a cabbage.But I am a swordswoman.I ride over inkwashed mountains.With my spear I fish the suns for dinnerand warm millet wine over a fire of maple branches.Nelly Leon As I sift through the years,weighing the pleasureof stimulating tormentagainst the mediocrity of fond affections,I see that my favorite memories liein a colored snapshotdated 1970.You and I at 12in flannel nighties.Nancy E. GaleCamera ObscuraOne four-month dayYou swam into my visionLess quick than other planetsSeen cool and silent on transparent fieldsSlow to followMy eyebeams twistedin extended sweepsTrying to look around youTanglingSnarling in your wakeForcing my restrainton some part of me in towtill swinging quicklysurfacingI found myself before youdripping, shivering, stumbling toand stammering your shoreI saw you out thereGod's truth I didn't mean tobut thenI was intently lookingSilentSweptAshoreand moving with the time beneath my feetA week entrancedand more passedslow motion inneundoone calculated grab atthe camera face now dimminghand meets surfacefar awayand II missyour touchJohn Aldo R. A. SchmidtThe Chicago Maroon — Fridav. March 10.1978 — 27IOOKSTORES-POWELL THE FIRSTNUDIEMUSICAL”IS:"SIDESPLITTING”-WABC TV”MELBROOKSIAN’— Playboy"ZANY”— Newsday"FUNNY”— WOP"WACKY”— Cut"HILARIOUS'— L A Times"BAWDY"— NY Daily News"FUNKY”— NY Post"RAUNCHY”— Cue"LAFF RIOT"—Houston Chronicle"NAUGHTY”— NY Daily News^V\WDV Wll LA#STARTS TODAYat a theatrenear you! A V / 1THE BEST PLAY OF 1977 RETURNS TO CHICAGO!Court Theatre presents the original Goodman Stage 2 Production ofSIZWE BANSI IS DEADBy Athol Fugard, John Kani, Winston Ntshonadirected by Gregory Mosherstarring Lionel Smith and Meschach TaylorThe same production that won 3 Jefferson awardsat Goodman Stage 2:—Best Production—Best Actor—Best DirectorONE WEEK ONLY MARCH 14-19Mandel Hall, 57th and University, University of Chicago.Tues.-Fri. at 8, Sat. at 7 & 10, Sun. at 3 & 8.Tickets $5.50, $6.50 on Friday and Saturday.Discussions with actors after the Tuesday, Wednesday & Thursday performances.TICKETS OH SALE AT MAHDEL BOX OFFICECall Goodman Theatre for information: 443-3800The {^Goodmanexciting theatre in ChicagoPOWELL’S BOOKSTORES - POWELL’S BOOKSTORES - POWELL’S BOOKSTORES.! POWELL’S BOOKSTORE“Beware of the man of one book”Issac D israeli Curiosities of Literature150,000 titles, cloth & paperAll subjects, including sciences &languages and still eagerlybuying more.POWELL’S BOOKSTORE1501 East 57th Street955-77809 am -11 pm everydayCASH FOR BOOKS POWELL’S BOOKWAREHOUSE200,000 scholarly titlesLinguistics, Scandanavian, ClassicsFrench, Italian & Art.NOW REORGANIZED - New MaterialPLUS MEDICAL - TECHNICAL GERMANPOWELL’S BOOK WAREHOUSE1020 S. Wabash, 8th floor341-07489-5 Mon.-Sat.(take IC to Roosevelt, walk 2 blocks) flPOWELL’S BOOKSTORES - POWELL’S BOOKSTORES - POWELL’S BOOKSTOR28 — The Chicago Maroon — Friday, March 10,1978 > r*» n » #*» • * *> « « • • 4 • • • BOOKSTORES-POWELLCalendarFridayDepartment Of Economics:Regis tr at ion-in-residence degree stu¬dents, 8:30-12, 1-5 pm. Social Sciences 429;Workship - “Concepts of Efficiency in PublicEnterprise with Some Latin American Ap¬plications, ’’ 3:30 pm, Social Sciences 402;Workshop - “income and Wealth in Utah1850-1900: An Interim Report on NewEvidence," Ciayne Pope and Larry Wimmer,3:30 p.m.. Social Sciences 106.Center tor Middle Eastern Studies:Faculty-student luncheon. 12:15 pm.Ida Noyes; “A Sumposium on SufiBrotherhoods in Modern History," 9 am-5:15pm. Regenstein Library: Sherry hour 4:30pm. Kellj' 413.Geophysical Sciences Colloauium: “TheGlobal Climate System." Abraham Oort 1:30pm. Hinds Auditorium.International Relations Club: Presentationand discussion of the Panama Canal Treaties;speakers include Senator Adiai Stevenson IIIand William Maiiiiard, 2 pm, Center for Con¬tinuing Education. Tickets are necessary andcan be obtained at Pick 516.Spartacist League Forum: Smash Govern¬ment Taft-Hartley Strikebreaking! Speaker -Paul Collins, 7:30 pm, 5615 S. Woodlawn.ArtsUC Brass Society: Horn quartet Concert, 8pm, Bond Chapel.Court Theatre: “Review of Love," 8:30 pm,Reynolds Club New Theatre.Debate Society: Film Showing - “The TwelveChairs,” 7:30 and 9:30 pm, Cobb.Student Activities: "Disco Plub," featuringUC Jazz Band, 9 pm, Ida Noyes.SaturdayChange ringing: Handbells, 10-11 am. tower bells, llam-1 pm, Mitchell Tower RingingRoom.Resource Center: Recycle glass, cans, andpaper at 54th Place and Greenwood 10-4.Crossroads: Saturday Night Dinners, 6 pm,Slideshow of Argentina. 7:15 pm, 5621 S.Blackstone.ArtsDOC Film: "The Pink Panther StrikesAgain." 7:15 and 9:30 pm, Cobb Hall.Court Theatre: "Review of Love,” 8:30 pm,Reynolds Club New TheatreUC Extension - Arts on theMidway: “Liedermeister Series.” Joan Mor¬ris, soprano, 8:30 pm, Mandel HallSundayRockefeller Chapel: Service of Holy Commu¬nion, 9 am, University Religious Service, 11am. Rockefeller ChapelCrossroads: Bridge, 3 pm. 5621 S Blackstone.Brent House: Supper. 6 pm. Meditation, 7:15nm. Brent House.UC Folkdancers: International Folkdancing,general level, 8:00-11:30, Ida Noyes.MondayResourceCenter: Free bundled Newspaperpickup at addresses between 55th and 59th,Woodlawn and the IC Tracks, starting at 8am.Department of Chemistry: “Niobium andTantalum Matallocyclopentane Complexesand their Role in Selective Catalytic OlefinDimerization Reactions, 4 pm, Kent 103 -Prof. Richard Schrock. MIT.The Divinity School: “The Book of Enochand the Origins of Apocalyptic: New Light onthe Third Century," Michael Stone. 4:30 pm,Swift Common Room.Department of Microbiology and the TrainingProgram in Infectious Diseases with TheCommittee on Immunology: "Adaptive Dif¬ferentiation of Murine Lymphocytes: Im¬plications for Mechanisms of Cell-CellRecognition," David Katz, 4:30 pm, Cum¬mings 101. Ki-Aikido: meeting, bpm, Field House.Chess Club, meeting. 7 pm, Ida NoyesUC Folkdancers- International Folkdancing,beginners, 8-11:30 pm, Ida Noyes.Women’s Rap Group: meeting, 7:30 pm, BlueGargoyle.TuesdaywHistory and Philosophy of Science:Student-faculty lunch and discussiongroup. 12:30 pm, Classics 21, all interestedwelcome.Episcopal Council: Evensong, 4:30 pm, Bon'ChapelInternational House Folkdancing: Teachingand refreshments, 7:30 pm, I-House.Science Fiction Club: meeting. 8 pm. IdaNoyes Hall.Hyde Park Historical Society: PublicMeeting - “Hyde Park-Kenwood HistoricDistrict," plus a brief report on the status ofproposals to designate parts of the com-muunity as Chicago historic districts. 8 pm,International House.WednesdayCrossroads: English class for foreign women.2 pm, 5621 S. Blackstone.Committee on Cognition andCommunication: "Auditory Space Percep¬tion," Robert Butler, 4 pm, Beecher 102.Duplicate Bridge: meeting. 7 pm. Ida Noyes,new players welcome.Tai Chi Chuan Club: meeting, 7:30 pm, BlueGargoyle.Badminton Club: meeting, 7:30 pm. IdaNoyes Gym.Country Dancers: Meeting. 8 pm. Ida Noyes.ThursdayChange Ringing: 12-1 pm. location announc¬ed at Saturday meeting.Episcopal Council: Eucharist, 12 noon. BomChapel.Judo Club: Workout. 6 pm. Bartlett Gym,beginners welcome. Ki-Aikido Club: meeting. 6 pm. Field HouseTable Tennis Club: meeting, 7pm. IdaNoyes.Debate Club: meeting. 7 pm, Ida Noyes.OTHER UPCOMING EVENTSMarch 22 - Biochemistry Seminar: “TheRegulation and Functions of Lome Trans¬glutaminase Ractions. H. G Williams-Ashman, 4 pm, Cummings.March 28 - ASHUM Program: “Uses ofEpidemiology, “Merwyn Susser, 7:30 pmHarper 130; Southeast Asia Seminar - “Th<Artist in Time of Change," F Sionii Jose,pubiisner and Editor, Solidarity Magazineand novelist, 4 pm, Foster Hall Lounge.March 29 - Ryerson Lecture: "AnswersWithout Questions and Questions WithoutAnswers," Albert Dorfman, 4:30 pm. LawSchool Auditorium;Oriental Institute LectureSeries: “Hattushili 1: Portrait of a HittiteRuler in tne Old Kingdom," Har-y Hoffner.Jr., 8 pm. Breasted Hail of Orein-.at Institute.March 24 - Center for Middle EasternStudies: “Onthoiogy and Mysticism in theWorks of Ibn ‘Arab; of Murcia." Roger Ar-naldex, 4 pm Pick 218.CorrectionIn a March 10 article on the 24th DistrictState Representative race. The Maroon in¬correctly identified history professor NeilHarris as a supporter of Carol MoselvBraun. The Maroon regrets the error.The Maroon's winter Chicago Liter anReview was edited by Peter Eng and JonMeyersohn. with the assistance of NancyCriily and Karen Heller. Cover by ChrisPersans.YOUR FUTUREWILL SOUND!LIKE THISHHailed internationally as one ofThe greatest keyboards players inthe world YA/evv Musical Express),Vangelis has also been described as a“singular artist with a unique view ofmusic in a field where mediocrity isrampant." [Melody Maker)Composed, arranged, and per¬formed in its entirety by Vangelishimself, Spiral takes electronicinterpretation to a new summit ofmusicality. Connect with Vangelisand experience the soundthe future today. Symphonic rock at itsheight—tasteful, excitingand panoramic in scope—Melody MakerofftC/1Records Includes: SPIRAL • BALLAD - DERVISH D.TO THE UNKNOWN MAN -3-3AVAILABLE ATSPIN IT RECORDS1444 E. 57 ST.ROCKEFELLER memorial chapel5850 South Woodlawn AvenueCONVOCATION SUNDAYMARCH 129 AMA SERVICE OF HOLY COMMUNIONCo-SDonsored by the Episcopal Church CouncilCelebrant: Donald Judson11AMUNIVERSITY RELIGIOUS SERVICELEWIS S MUDGEDean of McCormick Theological Seminary"THESE. MY BROTHERS AND SISTERS"Used Desks, Chairs,Files, Drawing TablesEQUIPMENT&SUPPLY CO.8600 Commercial Ave.Open Mon.-Sat. 8:30-5:00RE 4-2111C BRAND ]BROWN UNIVERSITY MASTER OF ARTS IN TEACHINGApplications now being accepted foradmission and financial aid inSECONDARY ENGLISH & SOCIAL STUDIES1977 PLACEMENT RECORD 95%Address inquiries io The Graduate SchoolBrown University Providence Rl 02912CLASSIFIED ADS RECORDS WANTED PASSOVERSPACELooking for Studio or one-bedroomstarting March 15 or shortlythereafter Location 55th to 59thStreets between Cornell andWoodlawn. Up to $160, includingutilities. Peter, 288 1082.London - 2 bedroom furnished flatavailable now through mid-June andafter Labor Day. $260/month.Royston, 4074 Grove, Western Springs,IL 60558. 246 1762ROOMS FOR RENT, turn, or unfurn.share hskp facilities $75-5100 Call363-1143 Mon. Thurs.Lge. 1 bedrm. apt. overlooking lake,HP hirise, pool, exc. tran. UC, loop,sublease to 7/1; opt ext., will giveturn. Call Dan 7 a m. 4 30 375 5067,eve 363 4348.House wanted to rent. 3 4th yr. medicalstudents need 3 4 bedrm. house inHyde Park area. Occupy about 15 July78. Impeccable ref. 684 6528.Roommate wanted to share large apt.near 53rd & Woodlawn with two, malegrad students. Available 3/7, 324 7859.$76/month.Very large room for woman student onthird floor of private home. Light cooking facilities Share bath with oneother In East Hyde Pk. on campus busroute $95/mo. 684 5076 eves before 9or weekendsSublef avail, immediately near Univ.V'7 room studio $174/month. $50reward. Tel. 752 5788 'Free Room & Board in exchange forbabysitting. Call 493-0270,3 bedrm condo., Ik, vw bai., pool, nrUC Cornell VII, 21 fl., 752 7615Roommate wanted for 35th floorapartment, Regents Park. Ownbedroom, spectacular view Call after7, 564 4296.Spring qtr sublet 1 bedroom, clean,sunny, spacious Close to campus$210. Utilities included 363 5582Room for Rent in 5 room apt., Springquarter, poss. summer option. 53rdand Woodlawn. 324-5696.A furnished house two bedrms., twobathrooms in Ogden Dunes, Indiana onLake Michigan Freq. trains to theUniversity Call Judy Stiles,219-762 7735.Share house with professor and 3 gradstudents. Harper near 55th. Kitchenprivileges Utilities includedCooperative food arrangement. $100per mo. Lady preferred. Call 9-10 p m324 3484 Help fight machine politics. BarbaraFlynn Currie, independentDemocratic candidate for staterepresentative, needs volunteers towork on election day, March 21. CallCurrie campaign headquarters,667-7707, noon to 10 p.m. daily.Hip young campaign looking forsimilar minded people — either sex.Work on election day March 21 forBarbara Flynn Currie, independentDemocratic candidate for staterepresentative, Call 667-7707 noon to 10p.m.Tenure Denied! Replacement babysitter wanted, energetic sitter for 3 yr.old. Approx. 25 hrs. per week At myhome near campus. Flexibility andcar preferred. Call evenings. 493 1066.Part time collection person to work onphones, flexible hours. Call RonHeilbraun at 493-3754.Camp Agawak for girls, Monocqua,Wisconsin is accepting resumes forsummer positions. 6704 N. Talman,Chicago, IL 60645 312-761 1838Secretary for responsible position inpublications office in Hyde Park Paycommensurate with experience. Shorthand and foregin languagepreferable. Call 947 9418WORK IN JAPAN! Teach Englishconversation. No experience, degreeor Japanese required. Send long,stamped, self addressed envelope fordetails. Japan 302, 411 W. Center, Centralia, WA 98531.PEOPLE FOR SALETyping Service/538 6066 aft. 5:30 &weekends. Tape transcription, reas.rates, pick-up and delivery.Artwork-Illustration of all kinds, lettering, hand addressing for invitations, etc. Noel Price, 493-2399.Researchers-Free lance artistspecializes in just the type of graphicwork you need Noel Price 493-2399.SCENESPEOPLE WANTEDOverseas Jobs Summer/year round.Europe, S. America, Australia, Asia,etc All fields, $500 $1200 monthly, expenses paid, sightseeing Free information. Write: BHP Co., Box 4490,Dept. 11, Berkeley, CA 94704Wanted; Mature person for receptionist and general office position. 1-5pm daily; call 288 3500CHILD CARE : Full-time for 4 mo. oldin my .Hyde Park home Wilt considerdropoff Good salary References.955 8397Teacher Aid for Sojourner Truth ChildCare Center 50th & Dorchesterweekdays 7:30 a m. 10:00 a m. Callms. Sinaiko 538 8325, $2.65/hr.COMMUNICATIONS CLERKUniversity affiliated researchorganization needs communicationsclerk to handle Call Director switchboard Light typing and clericalwork, as assigned Excellent benefits.Call 753-H80, Ms. Harris.An Equal Opportunity EmployerSURVEY EDITORRESPONSIBLE PERSONS for jobdemanding high accuracy, concentration, attention to complex details, andlegible handwriting; edit survey questionnaries for the Health InsuranceSurvey. No prior experiencenecessary. High School education,some college preferred. Full fime forapproximately 4 months. $3.75/hr. Callfor appointment 753-1180 (NORC) AnEqual opportunity Employer.Female models wanted to pose nudefor established/published free lancephotographer $30-$50/hr guaranteed(More if work published). No experience necessary If concerned thisisn't legit, feel free to bring a friend toinitial interview Send photo & resumeto Wiliam Hoff. 2470 N Clark, Chicago60614One part time one ’/* time teacher forparent run alternative school Openclassroom exp pref $7200^8000 fulltime; send resume: Phoenix School,5600 S Woodlawn Chicago 60637 NoPhone calls pleaseGroup Counselor Wanted Energeticworker to put in 20 hours, 5 days perweek for 8 & 9 yr old boys inafterschool program at Hyde ParkNeighborhood Club Call Mrs Smith at643-4062Handyman Janitor Wanted: ForSocial Service Agency, Someknowledge of carpentry, electrical andplumbing 8 30 a m - 12 30 p.m. CallMrs Bell at 643 4pa2.Harper Square Child Care Crs. full daychild development program forchildren 2M» kdtgn Call 538 4041 Cooking classes. Chinese & Interna¬tional. Full participation, day & evening classes limited to 6 students each.Wendy Gerick. KE8-1324.A POETRY MAGAZINE (W/ART) isgoing explicitly WITH ART. Andgraduates too submit poetry, art andshort prose by fourth week for the Spring Issue - our mailbox is in Ida NoyesHall contact Neil Alers 753-2249 formore infoInternational foikdancing at Ida NoyesHall every Sunday (general level) andMonday (beginners) from 8-11:30.Come join us U of C FolkdancersPre-orgasmic women's group form¬ing. Two female MA's. Call eveningsand weekends 338-2163.FOR SALENIKON SPECIALS Al LENSES24m f2 8 $210.3028m f2.8 $232.7028mf3.5 $179.4085m f2.0 $209.7043 86 f3.5 $217 0080 200m f4.5 $490.00FM body $239.74F2A $400.00MODEL CAMERA 1342 E 55th St.ELECTRIC BLANKET king size Blue520 Kent 947-1872.STORAGE SHED for sale, measuresJ0'x7'x6'. "Chromalloy." Disassembled Only missing minor hardware.Unused $50 or best offer Call 538 4041daysVox: Acoustic/electric 12 string finetone zn fitted hardshell case. $175o n o Ph. 955-9351.PERSONALSWRITER'S WORKSHOP (PL 2 8377)Kathy Moran from Manown - Terraalta native would like to meet youPam 752-1000 x 1210Attention Knight of the WoefulCountenance Has senility set in atthirty? - The HOC.SQUIRE If you're nof careful, shemight get her MRS degree. Their motto is: They chase us until we catchthem.PREGNANT’ Troubled’ Call 233 030510 a m. - 1 p.m. M-F or Mon & Thurs.7 9 p.m. Lifesaving help Test ref.PREGNANCY TESTING SATUR-DAYS 10-1 Augustana Church, 5500 S.Woodlawn Bring 1st morning urinesample $1.50 donation SouthsideWomen's Health 324 6794.DATING SERVICE 274 6940 Low costOver 1400 members.PIZZA PLATTER1460 E. 53rd St.OUR SPECIALTYPixza Also Italian FoodsPick Up OnlyMl 3-2800 We pay cash for used Records, alltypes, 33 rpm only. Second HandTunes, 1701 E. 55th St. 684 3375 or262 1593.FOUNDSmall hlack and brown dog. veryfriendly. Found on Midway, 3/8.RUMMAGE SALEDONATIONSNEEDEDHyde Park Coop school nees usuablecastoffs for rummage sale. Call947 8834 or 365 1630 for free pick-ups April 22 29. First Seder FRIDAY,APRIL 21. Hillel will again place peopie for the Sedarim and serve lunchesand dinners throughout Ihe holiday. Ifyou are on Hillel's mailing, yourPassover mailing will reach you thefirst week of Spring quarter. If you arenot, please contact Hillel office NOW5715 Woodlawn, 752-1127.WANTED:POSTER PERSONTo Post posters for HILLEL Once aweek posting. $35.00 per quarter Call:Mrs. Rosen, Hillel, 752-1127. 5715Woodlawn.PURIMWED. EVE.MARCH 22 AMIGOSTimes of ServicesNOORTHODOX SERVICESOnly Conservative - 7:30 p.m. Readingof Megillat Eslher followed by MusicalPurim Shpiel. HAMENTASHEN ANDWINE WILL BE served. Children andFamilies Welcome. Hillel House. Interested in spending a month thissummer in Latin America vaccinatingchildren? No requirements and train¬ing is provided (does not interfere withschool). Amigos de las Americas isopen to anyone over 16. For informa¬tion call Stephanie 955-4022 beforeMarch 25.TO THE EDITOROnly eighteen issues left. Hang inthere.a / t i s V { }13 SALES withservice is our IV BUSINESSREPAIR specialists n4- on IBM.SCM.Olympia & others §r Free EstimateAsk about our >>. RENTAL withoption to buy nn New & RebuiltTypewriters A< CalculatorsDictators <UJ AddersUU. of C. BookstoreV 5750 S. Ellis Ave.753-3303 YY MASTER CHARGE OD6 BANKAMERICARD Vo U C * " H ■f LOSTCalculator: HP 21 near James FrankResearch Institute. 753 8218MarvelousViews InAll Directionsfrom this elegant twobedroom two bath apart¬ment on the 25th floor at5000 East End.The living and closet spaceis very impressive. Thenewly designed kitchen isenormous, as are the livingand dining rooms.An incredibly good value at$38,000.Urban Search337-2400AU. TOGFTMEPA* One Loca+ionTO SAVE YOU MOPE?specwTDISCOUNT PRICESfor all STUDENTS andFACULTY MEMBERSJust present your University ofChicago Identification Card.As Students or Faculty Membersof the University of Chicago youare entitled to special money sav¬ing Discounts on Volkswagen &Chevrolet Parts, Accessories andony new or used Volkswagen orChevrolet you buy from Volks¬wagen South Shore or MeritChevrolet Inc.SALES & SERVICEALL AT ONEGREAT LOCATIONCHEVROLETm VOLKSWAGEN.ky SOUTH SHORE7234 Stony IslandPhone: 684-0400Open Daffy M P.M./ Sat »-S P.M.Pits Opew Saturday iff 12 Noon WalkTo TheUniversityfrom this unusual threebedroom charmer at 56thand University. Woodburn¬ing fireplace. Interestingarchitectural detail. Verycongenial neighbors. Andvery low monthlymaintenance costs.Urban Search337-2400NEW LISTINGSClose ToHeaven AtThe Powhattan4950 Chicago BeachA smashing, enormousapartment on the 18th floorin one of Hyde park's mostoutstanding doormanbuildings.All of the beautifulrooms—the three bedroomand den, the living roomand the dining room—offerbreathtaking view of thelake. The floors are parquetand elegant. The marblefireplace is woodburningand it works.Closet space has to beseen to be believed. So doesthe Olympic/Size swimm¬ing pool, the ball room, andthe marvelous Art Deco,touches with which thebuilding abounds.Urban Search337-2400WonderfulFor TwoOr Three57th & KenwoodA perfectly charming twobedroom plus bricksun/study at the Keep, 57thand Kenwood.This Third floor cornerapartment is flooded withsun. It has beautiful naturalwood work and floor, a newkitchen, and a terrific laundry center. One smallerbedroom is perfect for achild, and the masterbedroom in a spacious 16 x11. The sun-study hasnatural brick walls.Photography room, woodworking shops and bicycleroom in the basement ofthis excellent Building.Urban Search337-2400AttentionWood Freaks:A One AtThe Mews1368 E. 57thAn absolute delight withbeautifully preservednatural woodwork, in¬cluding a beamed ceiling inliving room and diningroom.Four dazzelingly lightrooms plus a heated sunporch and petite balcony.Woodburning fireplace ofcourse and a modern kit¬chen.Urban Search337-2400 Angel'sAerieOn Campus56th & KenwoodA superb two-bedroomhome. Living room haswoodburning fireplace andbuilt in bookcases. Lovelyseparate dining room. Twovery spacious bedrooms.Only 14 apartments in thischarming old elevatorbuilding.Low monthly costs...andthe apartment ismoderately-priced for avery quick sale.Urban Search337-2400Buy OfThe Week!The Promontory5530 South Shore$270.00 per month will buyyou gracious and secure liv¬ing—and a very sound in¬vestment.This apartment has a hugeliving room and two good-size bedrooms. There aretwo modern, tiled baths.The all electric kitchen is inexcellent condition.Urban Search337-2400Fireplace,Sun,Location,Charm....this three bedroom at theInns Of Court has it all.The living room, with itsrich oak floors and handsome woodburningfireplace and charmingwindows, is spectacular.The master bedroom is alsoan exceptionally large andgracious room.Charming new kitchen.Two baths. And two otherlovely bedrooms, for beds,or for desks and booksBeautifully designedsquare traffic patterneliminates long halls andwasted space. No dark corner to be found in this reallygreat apartment. And wallsand floors are in perfectcondition throughout.Urban Search337-2400A HouseThat KeckBuilt At58th & HarperThis elegant three levelhouse was built only fiveyears ago and offers thebest in modern design. Andit of course sits on a verydesirable family block.A handsome woodburningfireplace is the focal pointof the living room. Thereare three bedrooms and abath on both the first andthe third levels.There is a family room aswell as a laundry-sewingroom. And careful attentionto design and insulation hasresulted in ANNUALheating bills of an astoun-dingly low $350.00. Gasheat, central air.Urban Search337-240030 — The Chicago Maroon — Friday, March 10,1978LeBag is back!Out of the water closetSoon we can expect William McNeill's "Poops and Peo¬ple;" Morris Philipson, one would assume, will not befar behind with the "Introduction to the DungianEsthetic;" no revolution would be complete without areactionary work like Milton Friedman's"Crapitalism and Freedom;" in fiction, we'll haveSaul Bellow's revised edition of "Humbolt's Gift"(Humboldt reappears as a dog); and Bette Howland's"W-C."By Lukacs LeBagEnd Product : The First Tabooby Dan Sabbath and Mandel Hall.287 pp. New York: Urizen Books(distributed byE.P. Dutton), $10.This is a work of the greatest importance;it will surely energize and revitalize our con¬sciousness as few books have ever done It isthat rarest of works: one that literallystands the world on its head — and thensticks that head up the rectum for apurgative exploration of our deepest natureAnd what they find! "The answer, dearBrutus, lies not in the stars” — it lies in ourshit."End Product” is the most excitingachievement of the 20th Century, for it finally joins together the intellectual forces ofthe Marxian and Freudian revolutions, andsucceeds where such great thinkers as Nor¬man 0. Brown and Herbert Marcuse havefailed. Hyde Parkers Sabbath and Hall havefound what was right under Karl Marx’snose: that alienation begins when we findourselves separated from the fruits of ourvery first labors — which is, of course, ourca-ca. The authors’ investigation and ex¬position shows the American Way of Toilet-Training to be the most devastating indict¬ment of the capitalist system extant — moreso than slavery, the Vietnam War, the ex¬ecution of Julius and Ethel Rosenberg, orthe existence of Suzanne Somers. It is alsoabundantly clear that excrement must takea higher place on tne revolutionary agendaif socialism is ever to get its shit together.(They didn’t pronounce his name "MousieDung’’ for nothing, you know.)Our inability to deal with ordure lies at thebase of our psychical problems as well.The book’s subtitle, "The First Taboo,”indicates that psychiatry has missed thescow, as it were. To paraphrase HarlanEllison, "sex ain’t nothin’ but shit misspell¬ed” (or "pschitt”, if you spell it like CharlesMingus). Mute testimony to this fact comesfrom my great friend Serge Murdock.Serge, a ramblin’ guy if there ever was one,had a rare relationship with a woman: onethat would have brought a smile to the faceof Dr. Rueben or Dr. Rubin. It may havebeen that he said "tomayto” and she said"tomahto,” but they empathized with eachother and soon rhapsodized with each otheras well. They were a model for the well-adusted couple of the ’70’s: great friends,and better lovers. They were about to sharethe secrets of their happiness on the PhilDonahue Show one morning when it happen¬ed. Serge was enjoying a good plop whenKristin casually came into the bathroom totweeze her eyebrows. Through the mirror,she noticed him finish his labors, cleanhimself up with a piece of White Cloud, thenflush. Her stare turned from curiousity todisbelief; she turned to him, wild-eyed, andscreamed: "Do you mean to tell me that you don’t flush BEFORE you wipe? Didn’t youever learn to flush first, then wipe? You’resick!!!!!!”She couldn’t be reasoned with, cajoled, orseduced. She became a stranger to him andsoon ran off with her IBM Service Represen¬tative, leaving Serge to stare at the WhiteCloud and the toilet lever. Serge Murdockcould have been helped if all the members ofthe so-called "Helping Professions” hadn’tbeen so obsessed with mere sex therapy. Hisgratitude, and that of millions of others whohave been wasting their time and energy onanalysis, est, rolfing, and hot tubs should goto Dan Sabbath and Mandel Hall, as they ap¬ply the first, heavy, laxative dose of intellec¬tual treatment to our potentially fataldisregard to our fecal attitudes.One of the great problems that faces Mrs.Gray as she enters the Presidency of theUniversity of Chicago is the lack of a focusfor the university community. "End Pro¬duct brings us a most fertile field of study, "anthroscatology” — which shows all signsof being the fabled "lost science of man”(that Albion K. Small misplaced in the se¬cond floor men’s room of Cobb Hall in 1907).We can lead a social, intellectual, and moralrevolution, and bring the world’s people“out of the water-closet.” Our great mindswill drop their piddling labors and concen¬trate on works of true significance * Soon wecan expect William McNeill’s "Poops andPeoples”; Morris Philipson, one wouldassume, will not be far behind with the "In¬troduction to Dungian Esthetics”; norevolution would be complete without areactionary work like Milton Friedman’s"Crapitalism and Freedom”; PhilipKurland will elucidate the true meaning of"Watergate” from the gospel of Sabbathand Hall; in fiction, we’ll have Saul Bellow’srevised edition of "Humboldt's Gift” (Hum¬boldt reappears as a dog) and BetteHowland’s "W-C.” In time, the standardHyde Park salutation, “Howya doin’?”/Pretty shitty” will become aclarion call for the world.Hyde Park’s reputation of being theasshole of academe will become a term ofgreat endearment. In a few years, the BigEvent on NBC will do a remake of LooseChange, which will be based on livingthrough the Fecal Revolution of the 1970’s inChicago: the title of the remake is obvious.And we can succeed where the Californiansof the 1960’s failed! I witnessed a graphic ex¬ample of the bankruptcy of the revolu¬tionary tentative of Tom Hayden, GraceSlick, Germaine Greer, Mario Savio, andJerry Garcia at a recent dinner partv. I wasseated at a table with several retired hippies— all graduates of the University of Califor¬nia, San Diego, all of whom had studied withMarcuse, been friends with Angela Davis,and lived out their college years stoned,placarded, and tumescent. On theirreminiscences went, as I (who had been con¬signed at that time to many cold nights in areserve room with Descartes).listened, andfelt no small pang of envy for those who hadbeen involved in such an exciting era. But,as the evening went on, the conversationturned to more contemporary concerns andmy frown turned to a warm, glowing smirk.My companions are now students at acelebrated medical school in the East: theywere discussing their psychiatry class, andthe reign of terror that was being inflictedby the instructor. As they described him. inawed, sometimes reverential terms, I cameto recognize to whom they were paying suchtribute: an uptight, quintessential Universi¬ty of Chicago-Robert Maynard Hutchins-eraautodidact, probably “ConsciousnessMinus-Three” in Charlie Reich’s book. Thisguy had these disciples of mellow liberationby the balls, so to speak. A long way fromtripping in the sun with your lady and RichieHavens...So what a great opportunity "End Pro¬duct” presents. Where the campus-based ef¬fort to change the ways of America and theworld during the 1960’s failed, the Universi¬ty of Chicago, by learning well the lessons ofits sons Dan Sabbath and Mandel Hall, willredeem the lost decade of the 1970’s.The publishers promote "End Product”as "the ultimate bathroom book.” And thatit is. for each page provides laughs ealore.titillation. and dazzling insight; moreover,the totality of the oeuvre is enough to propelan entire movement. My father used to say,disdainfully, that “The University ofChicago may be the seat of knowledge, butfew people ever sit on it.” Thanks to DanSabbath and Mandel Hall, we can all sit onthat seat and truly get our ass in gear.Lukacs LeBag is a social critic now livingin New Ha ven.•Although Richard McKean deservessome credit for far-sightedness by beginning theIntroduction to Aristotle with the "PosteriorAnalysis”ST. PAT PUNKS OUTA ttn:KEN woo},HYDE PARK,tu«cLAB SCHOOLSTUDENTSNO AGELIMITNo l-Ite ©CEEC.Ke*AN1978 toi&tf-rri—x—< \ "\ r~ FUvJICA /1Z-1List 39995YOUR PRICE 22995•Compact lightweight design•Full aperture metering•Automatic Exposure with LED shutter speed indicationand LSI circuitry•A f/1.8 55mm Fujinon LensmacK wrri®fd1342 E. 55th Street 930-6 00 /Hon.-Sat. 493-6700STOELISTEN.AND LOVE.MASTERPIECES FOR ALL TIME.GREAT ARTISTS ON COLUMBIAAND ODYSSEY RECORDSHOROWITZBERNSTEINBOULEZBERMANCARLOSGOULDBIGGS STOKOWSKIms<,Ki \i ik\\s< KirilovsIOKOW III MK\N VllOWI.rilll ll\KMOM((>K( III SIK \Rimsky-Korsakov: Flight Of The BumblebeeDebussy: Clair De LuneNovacek: Perpetuum MobileTchaikovsky: HumoresqueChopin: Prelude In D Minor, and more Andre KostelanetzConducts The Music OfAlan HovhanessThe Rubaiyat Of Omar KhayyamNarrated By Douglas Fairbanks. Jr.World PremiereSunrise Meditation On Orpheus.And God Created Great Whales,fantasy On Japanese Woodprints, Moating World PERAHIASCOTTOSERKINVON STADESTERNWILLIAMSZUKERMANIN HIS FIRST JAZZ RECORDING! JEAN PIERRE RAMPAL, FlutistSUITE FOR FLUTEAND JAZZ PIANOCLAUDE BOLLING,Pianist/ComposerMARCEL SABIANt. DRUMSMAX HEDIGUER. STRING BASS LAZAR BERMANpiano! SCHUMANN SONATASNo. I in F-Sharp Minor OP. 11No. 2 in < i-Minor ()P. 22 TRANS-ELECTRONiC MUSIC PRODUCTIONS, INC.SWITCHED-ON BACHVIRTUOSO ELECTRONIC PERFORMANCES OFBACH FAVORITESWALTER CARLOS PERFORMINGON THE MOOG SYNTHESIZER *4 A Special Low Price ftGREATEST HITS OF1 1720 0/PACHELBELiCanon** MOl RF.T: ROMttAl'Theme From Masterpiece Theatre iALBINONI: ADV.H) vJrv B\( H: AIR Fort het, StringHANDEL:/a SARABANDFFromSuite No. 11 ■.*••• Theme From Barra Landoru VPhilharmonia Virtuosifjr ot New York* K* Richard Kapp %COMM CTORs'* *' ;NOW MARCH 10 THRU MARCH 19 SPIN-IT RECORDS BRINGS YOUTHE ENTIRE COLUMBIA AND ODYSSEY CLASSICAL CATALOGON SALEMFC.LIST 398 MFC.LIST 798SPIN-IT RECORDS1447 E. 57th St.684-1505OPEN MON.-SAT. 10:30 - 8 SlIN. 12-632 — The Chicago Maroon — Friday, March 10,1978