TheCh laroonVolume 84, Number 24 Tuesday, December 3, 1974LEVI: University President Edward Levi, who announcedthat he was stepping down.Seek personal opinionson curriculumBy MIKE RUDYThe Committee of the CollegeCouncil is currently solicitingopinions about the controversialcurriculum report from thegoverning committees of theCollegiate divisions and advisorygroups to the divisions and deansThe curriculum committee, ina report submitted to CharlesOxnard, dean of the college, lastMarch recommended acombination of the presentrequirements in the physical andbiological sciences to make onethree quarter course in thenatural sciences.Other recommendationsincluded reform of the “secondquartet" courses, the need for an“integrating educational task" inthe final year and a provision“for the permanent functioningof a curriculum committee" tofurther the task of reforming thecollege curriculum.Oxnard said the goal of thecommittee was “to develop acurriculum in which the generaleducational offerings of theCollege as a whole stand,throughout most of a student’syears, alongside theconcentration offerings for theundergraduate major in eachacademic discipline Thiscompares with the presenttendency toward a structurewhere the liberal componentcomes early and theconcentration later."Oxnard added, “it will takequite a while before any decisionsare reached concerning thereport because it could have avery radical effect on the curriculum. The committee (ofthe college council) hopes tointerview some individuals inorder to gain an immediate viewof the opinions and suggestions ofthe various governing andadvisory groups in the CollegeThe committee of the collegecouncil consists of sevenmembers plus the dean andassociate dean of the collegeMembers of the committee areelected from the College counciland meet approximately everytwo weeks “to discuss andsometimes work on matters thatpertain to the council," accordingto OxnardThe members of the committeeare: Roger Hildebrand. EmileKarafiol, William Meyer. JamesRedfield. Paul Sally. Stuart Taveand Philip Kurland Kurland,William Kenan professor in theCollege and professor in the lawschool, is the spokesman for thecommittee and represents thecommittee to the council,providing information about thecommittee's deliberations.The council itself has generallegislative power regardingadmission requirements,teaching, grading and degrees,as well as the curriculum. Thecouncil consists of fortymembers, half elected by theCollege faculty and halfappointed by the president uponthe recommendation of theprovost after consultation withthe dean of the College and thedeans of the divisions. Thecouncil usually meets once eachquarter, though it has met moreoften than that in the pastInside this issue:Latke-Homentash p. 2Leases p. 3WHPK concert p. 4Literary review pp. 5-12 Levi will step downBy TIM RUDYEdward Levi will retire as theUniversity’s eighth president inSeptember 1976. Levi, who hasserved as the University’s chiefexecutive since November 14,1968 will be 65 in two years, whichis the usual retirement age forfaculty members.Levi’s successor will be chosenby a committee of seven trusteesand seven faculty members. Thechairman of the board oftrustees, Gaylord Donnelley,announced that he has selectedsix other trustees besides himselfto serve on the committee.Donnelley has asked Levi torequest the Committee of theCouncil of the University Senateto elect seven faculty members tothe committee. Levi hascomplied with this request.Upon stepping down aspresident, Levi will spend the1976-77 academic year in Englandas the Arthur Goodhart visitingprofessor in legal science atCambridge University. The trustees have asked Levitwice in the past year to continuein office beyond 1976According to Donnelley, Levi“gave this the most carefulthought and decided it was best toretire at the usual retirementage We asked him to reconsiderand he did and he came to thesame conclusion. I know this hasbeen difficult for him“We think he is the bestUniversity president in thecountry His whole life has beeninvolved with the University ofChicago It is good to have hisassurances now that he willremain a part of it after hisretirement.”A University official noted thatthe selection process for the nextpresident is the same as that usedfor Levi and his predesscrGeorge BeadleEdward Levi was born inChicago on June 26, 1911 Hereceived both his Ph D degree(1932) and his JD degree (1935)from the University. Thefollowing year Levi attendedYale as a Sterling Fellow obtaining a JSD degree in 1938Levi joined the faculty in 1936as an assistant professor of lawIn the war years he served as aspecial assistant to the USAttorney General.In 1950 Levi was appointeddean of the law school. Hecontinued in this post until he wasnamed University provost in1962 Three years later he wasalso named acting dean of theCollege In that position hedirected a study that led to thereorganization of the College’scurriculum into the present fivecollegiate divisionsBesides involvement in severalpublic and professionalactivities, Levi has undertakenlegal writing on the subjects ofbankruptcy, trade regulations,law and economics, and legaleducationLevi was named the Chicagoanof the Year in Education in 1970by the Chicago JuniorAssociation of Commerce andIndustry and was nominated in1973 as an officer in the Frenchlegion of HonorNaude, Sakharov win awardBy MIKE RUDYAndrei Sakharov, dissidentRussian physicist, and theReverend Beyers Naude, formerhead of the Reformed Church ofSouth Africa, will receive theReinhold Niebuhr award thisafternoon in Mandel hallfollowing lectures by HansMorgenthau and ArthurSchlesinger.Immediately following thelectures which begin at 2:00 p m..D.J.R. Bruckner, vice-presidentfor public affairs, will moderate adiscussion of the two speeches.The award, cosponsored by theCenter for Policy Study, thedivinity school and the fund forthe Reinhold Niebuhr award, ispresented to those who exemplifythe spirit of the late Reinhold Niebuhr. Niebuhr was aneminent theologian whocombined political involvementwith theological scholarship.A morning session on the non¬governmental aspects of foreignpolicy and human rights will beheld at 10:00 a m in the Centerfor Continuing EducationGeorge Houser, executivedirector of the Americancommittee on Africa and DonaldMcHenry. director ofhumanitarian policy for theCarnegie endowment forinternational peace, will presentpapers at this session.Sakharov will be presented theaward for his leadership in thestruggle for human rights in theSoviet Union. He came to theforefront of Russian politics asan articulate spokesman for dissenters Accepting the awardfor Sakharov will be PavelLitvinov, a Russian physicist andcollege professor who took anactive part in the fight for civilrights in the Soviet Union beforecoming to the U S earlier thisyear.Naude will receive the awardfor his human rights leadershipin the Republic of South AfricaHe is known for his efforts tochange the South Africanapartheid system Naude hasbeen officially denounced by hischurch and by the South Africangovernment. His ordination wasrevoked and he was tried andconvicted under the suppressionof Communism act for refusing totestify before a secret legislativecommittee. The conviction hassince been appealed andoverturned.Censure court budget rulingAt the student governmentassembly's first meeting since itsupset loss before the studentfaculty administration court onNovember 20, the SG passed amotion centure against the court.41-27, on Monday, November 25.The SG also approved anamended Committee ofRecognized StudentOragnizations (CORSO) budgetreport, which the SFA decisionforced it to reconsiderThe court’s decision vacatedthe original passage on theamended CORSO budget reportbecause of irregular procedure atthe budget meeting of November4Phil Remler introduced themeasure of censure, which arosefrom the alleged irregularity ofprocedure at the SFA hearing ofthe CORSO suitSG vice president Steve Baumpresented a companionresolution, which contaians athree point program for thereform of the court. Theassembly approved theresolution, 45-14.In the reconsideration of the CORSO report, members of theAmateur Wireless Club, theUniversity FeministOrganization (UFO), studentgovernment. and WHPK.requested that the assemblyreapprove the originalamendments to the CORSOreport. The radio club received anadditional S75. SG an additional$3325. and WHPK its full requestfor $7556.94 UFO. however,failed to secure the necessary twothirds majority, as the assemblyrejects its request for $810instead of the recommended $666.33-23AnniversaryExactly 32 years agoyesterday—Dec. 2. 1942—manfirst created on the Universitycampus, a sustained nuclearchain reaction. Children play now-on the monument marking theplace—the heroic bronze figurecreated by the sculptor HenryMoore. It broods beforeRegenstein library where onceStagg Field stood, above thesquash court where the firstchain reaction occurred AcrossEllis Avenue is the Enrico Fermi NInstitute, named in honor of the STATUE: commemorotes theleader of the scientists who site of the first sustainedushered in the atomic age. nuclear chain reaction.tape-recorded for the arch.vesand history "jk&Ks&r&s:M2«jXKliterature, toxicity studies oflatke and homentash. the answer. ot the department ofThe first speaker, Professor microbiology * argued that the ;kith .11(1 Las h o I ()! i tie outcome of Hamlet would havemathematics department been sigmticantly dif'erent hadadvanced the theory that the I’rmees mother ted himhomentash was superior. latkes! To counter Markowitz’sProducing, a previously ' compelling argument, Professor‘ undiscovered’' document from Weisberg of the department ofancient Egypt. Professor Lashof romance languages andrelated the triangular shape of literature served up the thesishomentash t„ the sumw.1 ..I the that Shakespeare had nr,finally.lews in exile, intended to- entitle h,s playHomentash the Prince ofOne area o! .particularly acute 1 )eninai k hut 'found it imu ield>onti over | I entei ed ;n ound the 5 tor some ot hi- hePer lines faninfluence of the latke and you imagine, for instance,“It is Ihomentasli m Sliakespeareian , , .hterature l',-ele-or Mark.™,!/ continued on poge 14By JONATHAN ROTHSTEIN“Literati occasionally cannotcome to terms. But the RedheadJews’ Literati cannot agree onanything at any time” — SholomAleichem.In a manner that would befitthe Redhead Jews’ literati,professors from a wide variety ofdisciplines gathered last Tuesdayto do battle over a question thatannually assumes its placeamong the burning issues of theday: which is superior, the latkeor the homentash?Latkes. or potato pancakes, area traditional Jewish dish thatthird generation American JewsFEATUREsuch as rr \d to associatewith t he i r grandmothers.Homentash are three-corneredpastries containing prune nilmgusually served at the Purtmholiday The shape is -uipposedlvdefied from the three-cornerednat of Hamas, archtypical’ badguy” ot the Purtm storv'! ! t forum for the great debatewas appropriately m ugh theJHth annual Latke H entashSymposium.. This event",sponsored : v Hillel House. nad itsLego omes -i the nud-ntties andhas been held almo- • v earsince. -* r‘The symposium was begun atthe I’m t;m:v ■ >; C'hieago byRabbi Pekarsyk and has sincespread to campuses all over thecountry.” Kabb' Letter ot Hillelexplained. ‘ The symposia are studies of_ thehomentash in ancient history,etc. The object of the speech is todemonstrate b> virture of itsmore ancient and illustriousorigin and/or relativeimportance, that the homentashis superior to the latke. or viceversa. ::v.I approached the symposiumwith a certain amount oftrepidation Knowing that I was along-standing latke partisan Iwas plagued In a sinister forcefrom my subterraneanunconscious, call it a guiltyconscious d you like Could I i a.-tin the role of student journalist,. give a gatr and wib rased <k i ("anto! this auspicious proceedingwithout letting my preference,albeit unknowing, creep in? 1would be drummed from thetanks, a hopeless subjectivist inthe wudst ot a crack’ corp otobjective journalistsMy fears were temporarily',a:laved by the light-heartednature ot the assembled audienceme ‘hive hundred persv1®?They were ad apparently• a I ! VMtl t!»e parnatu.ilo be solely interested in whichi develop the mastamorous approach. I hoped thatI too could ..->ume; - ittitude ofnon- partisanship f soon tound.nowever. that beneath thisveneer of conviviality-lurked thespectre of intense and deep-rooted bias.When 1 was six. I burned mychin on a plate of homentash and . \ i l Ridnu m b e ipanelistspresent iitoo veaiiSii?DEBATE: speakers joust over the relative merits of latke and homentash.oody Committeeial Fund presentswith the William Vaughnand the RoyGutmann Men WHPK PresentsALICENOTLEY Featuring:AndBig John WrencherJimmy Reed, Jr.Melinda Reed5706 S. UniversityMen del HallTickets: $3.00$2.50 for UC StudentsFor more information call 753-3588—_2-Th. Chicago Maroon-Way, December 3, 1974TL ' iNew lease keeps tenant out in coldBy TOM McNAMARAThe new apartment lease formnumber 15, recently presented bythe Chicago real estate board,has been lauded in localnewspapers as a “model” leasecontaining “more tenant rights”.It was described by ihe realtorswho issued it as “the fairest leasein existence.” A closerexamination of the new leaseform reveals that it is heavilyweighted in favor of the landlordand represents little im¬provement over form 12Rwhich it replaces.Cited as a major improvementis the provision detailing tenareas of maintenance for whichthe landlord is responsible. Theprovision requires that thelandlord maintain such amenitiesas hot and cold running water,heat during the winter, and thekeeping of floors, walls, ceilings,and elevators in good repair andsafe condition.Gordon Waldron, staff attorneyof the Mandel Legal Aid Clinic,pointed out that the provisionrequires nothing which is notalready required of the landlordby the building code.Gone from the lease form is theconfession of judgement clausewhereby the tenant is required toplead quilty in advance to alandlord’s charges. Also gone isDay careBy MARIA CRAWFORD SCOTTRelative to otherneighborhoods, Hyde Park has astriking number of day-carecenters. But even in Hyde Parkthey are not meeting thedemands of parents.Day-care centers are neededby lower income families who*cannot afford expensiveprograms. The centers, to beeffective, must be inexpensive.Serious problems arise becauseof this. Many must close down;others manage to survive withdifficulty.One that has survived is theSojourner Truth Child CareCenter. Last summer because ofdelinquent payroll taxes theywere threatened with closing.“It was never our intention notto pay" said chairperson KarenWellish. “In the summer we the requirement that a tenantobtain the written consent of theowner before hammering a nailinto the wall to hang a picture.Added to the new form is the'requirement that the tenant pay apenalty of $5 if the rent is paidafter the fifth of the month and$10 if paid after the tenth. Thispenalty represents a yearly rateof interest of over 100 per cent formost apartments in Hyde Park.The new lease form alsoincludes; a waiver of the tenant’sright to withhold rent (despite thefact that the Illinois SupremeCourt has ruled that a tenant maywithhold payment if his healthand safety were endangered bybuilding code violations); aclause which permits thelandlord to re-rent the apartmentafter “ten days’ physical absenceby tenant with rent being unpaid,or removal of the substantialportion of tenant’s physicalproperty with rent being paid” ifthe landlord believes the tenantwill not return; and a provisionwhich requires the tenant to paythe legal expenses of his landlordif the landlord decides to sue himover a clause in the lease.Waldron and other attorneyshave expressed doubt as towhether the courts would enforcesuch clauses in the lease.Waldron said the new leaseshowed little improvement andalways paid late. But thegovernment became moreefficient and started crackingdown. We never really believedthat they would close us down.”The center managed to riasethe money to pay off their taxdebt, but the money problemsstill continue.Established by a women’scommittee of the Hyde Park-Kenwood CommunityConference, fees were purposelyset extremely low in an attemptto serve as much of thecommunity as possible. Theywere forced to raise prices butare still considerably lower thanmost other centers.The center is completely self-supporting—there is no fundingat all except for foodreimbursement and the space,which has been donated.The center also raises money in he viewed certain clauses asindicating that the realtors hadbecome even “moresophisticated in limiting tenantrights.”Where is a tenant to findThe University of Chicago StaffOrganizing Committee called thefirst fuli membership meeting forthe Distributive Workers ofAmerica (DWA) last Tuesday atthe Blue Gargoyle. Close to 100people, both members and non¬members. attended The turnoutrepresents the results of arecruitment drive initiated overone year ago and which has nowsurpasses the 30 percent markfor eligible workers.Lawyer Judith Lonquist wasthe first speaker of the evening.She reported on the progress ofthe three court actions which theDWA was involved. The 7thCircuit Court library case hasbeen decided in favor of the unionand representative hearings areexpected to be held in the libraryearly next year. These hearingswill determine who can vote inthe union election.There is also an Equalother ways. This Sunday, forexample, they are holding a fund¬raising auction.“Basically it’s a survivalsituation” said Wellish. Theproblem is money, but if ratesare increased, “you always cutsome people off. Some familiescan't afford the jump”.The other problem is support.Although there is a widespreadsupport among those who need it,many people, including thegovernment, consider it anunnecessary luxury.Thus, there are fundingproblems, and the problem oflicensing. Wellish said that thelicense was a formidable hurdle.“Many times they use arbitrarybureaucratic standards. Some, ofcourse, are fair, but many areridiculous standards.”“The city does not make iteasy.” remedies for his complaints? Thebuilding code and other cityordinances offer more protectionto the tenant than the lease issuedby the Chicago real estate board.Complaints and violations of theEmployment OpportunitiesCommission sex discriminationcase in the courts, and a USDepartment of Labor agediscrimination case. Lonquistlater answered questions on thelegal rights of union membersunder the National LaborRelations Board while recruitingnew members from among theirfellow workers. She alsodiscussed what to do whenharassed by supervisorypersonnel.Kaaren McCann, the paid stafforganizer, gave a “State of theUnion’’ speech. Sheenthusiasticly described theunion as being very healthy andurged all present to recruit theirfriends She predicted that in afew months the union ought to beable to double their membershipTo be strong in negotiations theunion needs to win the election bya sizeable majority, McCannstressed“We are a serious group, andwe re doing serious work, and theOn Tuesday, November 19 theJoseph and Helen RegensteinFoundation purchased an 1827first edition of Edgar Allan Poe’spoem “Tamerlane” for $123,000-the highest price ever paid for asingle work by one author.Sidney Huttner, administrativeassistant in special collections atRegenstein library, said, “It ismy impression that the book willbe donated to the library by Mrs.Regenstein. We could have it inthe collection by Christmas ”John Fleming, a New York,collector, made the bid for theRegenstein foundation at an building code should be reportedto the buildings department (744-3420).Those who hailed lease formnumber 15 as a new improvedlease were half right. It is new.fact that you all showed up heretoday indicates you are seriousabout wanting a union. .. There'sno employee on campus whodoesn't know the union exists;this was not true last June ”Sarah Heslip, an ex-secretary-turned-volunteer organizer, (chaired the discussion on theprinciples the union ought tostand behind A contract demandstudy group was creaied to callmeetings and travel around thecampus to hold hearings to seewhat clerical workers wanted tosee their union fighting for.At the meeting it was alsoagreed to hold a Christmas Partyfor members and their families.Other issues on the agenda werepostponed until the next generalmeeting to be held in January, forlack of time. These included ablack employee concerns group,an older employee concernsgroup, the assessment ofvoluntary dues, and the electionof formal officersauction held at Sotheby Parke-Bemet Galleries in New York,Commenting on the price paid for“Tamerlane”, Huttner said, “noone in the book world wasexpecting it to go for such a highprice.”Poe wrote “Tamerlane” in 1821when he was only 14 years old. Itis a long romantic tale about anancient conqueror and wasoriginally published in 1827 inBoston. The first copies of“Tamerlane” did not appearuntil 1859 when one was found inBoston and sold to the Britishmuseum for one shilling.Staff union meetingcenters struggling Tamerlane boughtfor $123,000LETTERS TO THE EDITORNRAAs a member of NRA, 1 wouldlike to reply to some of Mrs.Fermi’s views on gun controlreported in the Nov. 12 Maroon.It seems clear that the right ofordinary citizens to keep andbear arms is guaranteed by thesecond amendment of the bill orrights of the US Constitution. Ifnecessary, it can be argued thatone or more of the commas in theamendment reflect“meaningless” pauses in theordinary (transcribed) rhythmsof spoken 18th century English.Handguns, too, are no lesssporting goods than are longguns: handguns, being moredifficult to aim. are, in fact, moreof a sporting challenge.The second amendment, likethe Constitution itself, waswritten in the realization thatonly a disarmed (part'cularly adisarmed and misinformed)population can be subjectedeasily to totalitarian rule. Enrico Fermi was himself a primarydriving force in the ManhattanEngineering District, the projectwhich produced the world’s firstself-sustaining nuclear fissionreactor here at the University.The Manhattan project was astep sine qua non in the directionof the swife termination of thesecond World War—a waragainst the nonrepresentativeand rapidly-expanding “Axis”powers of the 1930s and 1940s Theatomic bomb, offspring of thisproject, was in effect conceivedby Mr. Fermi—whose widownow, curiously enough, opposespersonal conventional weapons indefense of individual homes.The metaphors here mightdiscover themselves and, like aplague of angry lobsters, escalateand develop backwards into aterroristically simple-mindedspur to nuclear proliferation. Toprevent such retrogression, itonly need be kept in mind thateach individual human being is abiological reality, subject to fears, starvation, suffering, anddeath. Human beings are notnations; nor are theycorporations, governments, orother abstract entities whichmay. metaphorically, be “killed’by apathy, disobedience. orlawful election.Human beings have rights;they can be hurt, and they candie. The simple andnonrepresentative solutions oftotalitarian rule, once spawned intimes of hardhsip, easilyeutrophy at the cost of ignoranthuman lives, as the bodies of themillions dead during the bloodyfirst half of this century canattest.Two hundred years ago. the USConstitution was drawn up inorder to prevent the “rebirth” oftotalitarian rule in the newly-founded United States. This“rebirth” is every-incipient andstill can be forestalled only solong as our individual humancitizens are willing to maintaintheir rights and duties freely as individuals, not as subjects-to-laws.Pace Mrs Fermi, what weneed in Chicago as well as in therest of the United States arecitizens better-instructed in thesafe use of small arms, notcitizens oppressivelyover regulated and deniedpossession of them Nogovernment has the right toassume the rights of individuals,certainly no government withinthe United States.The Second Amendment’s“well regulated militia” is notthe Army, and it is not theNaional Guard It isn't theChicago Police Department,either: It is we, the people, andwe can “establish justice,”“ensure domestic tranquillity.”and “promote the generalwelfare.”as in the Preamble, onlyso long as we. ourselves, arewilling to “provide for thecommon defense.”John Michael WilliamsGraduate StudentTuesday, Dec err GunsWell, let’s talk about guns.First, there’s no truth to thevicious rumor that guns hurtpeople. Ridiculous! we all knowthat no gun can harm a personwithout a criminal to pull thetrigger It’s the crook, not the -gun. that does the killing.Of course, there are those whowill dredge up isolated incidentsof hunters shooting otherhunters...husbands shootingwives...wives shootinghusbands., guns misfiring, gunsexploding, guns going off whilebeing cleaned., guns going offwhen accidentally dropped......Guns jamming., ammunitionexploding when exposed to heator chemical vapors., childrenplaying with guns they did notknow were loaded., adultsplaying with guns they did notknow were loaded .....People shot bycontinues on page 13r 3, 1974-The Chicago Maroon-3John Brim to appearBy HAROLD BRENNERThe growth of Chicago's blackcommunity during the last 25years is an experience that hasirrevocably changed thecharacter of the city. Chicago,one of the nation's leading•ndustrial centers telt the impactof a massive migration of blacksfrom the southern states, theresult ot which was expressed inthe concentration of hundreds otthousands of people intorelatively small areas on thesouth and west sides.The adaption of these recentarrivals to the rough,uncompromising. u r b a nenvironment produced some ofthe most honest, emotional, andpurely American music everrecorded — the Chicago blues.Assured and aggressive, the newmusic reflected the demanding,often brutal, elements of lowerclass life in an American cityduring the postwar years.One of the finest of the bluesmen involved with thedevelopment of the Chicago bluesis John Brim Brim enjoyed aperiod o i o v e r whelmingpopularity in the early nineteenfifties, when he and his bluesband perfected a musical stylethat set the standard for postwarurban blues and exerted a stronginfluence on all subsequent formsoi popular music. A musician formore than thirty years, JohnBrim has not performed in publicini over a decade He will becoming out ot musical retirementthis Thursday, when he willappear in concert at Mandei Hall.Born in H o p k1n s \ i i 1eKentucky, in 1922. Brim taughthimself to play the gui*ar I ylistening to the records of B e iLiiBroonzy and John Lee ‘bonnyBoy Williams in 194- he camenorth, to Indianapolis, wheie hehung around with a crowd thatincluded many ot that city sbetter known bluesmen lieremembers having played withPete Franklin, Shirley Griffiths. Jessie Everett, and ScrapperBlackwell.Brim left Indianapolis forChicago in 1945. Chicago wasoverflowing with outstandingbluesmen. and Brim played withsome of the best, includingHomer Wilson and DouglasMcGregory. whom he had grownup with m Hopkinsville. Heworked the open air market onMaxwell Street playing withJohnny Young, Karl Hooker.Snooky Jryor, a.«d the greatFloyd Jones. He played withJimmy Rogers and MuddyWaters and eventually he metBig Mac eo Merriweather. singer,pianist, and author of the wellk> own 'Worried Life Blues",lie;ore long they were playingtogether regularly, and whenMateos partner, slide guitarist'lampa Red died. John andMacon who complimented eachpn iectiy, teamed up.By the early fifties Brim wascontinued on page 1 4Annie Neal passes on quietlyMrs. Anne Neal, supervisor ofIda Noyes Hall since 1956. died inBillings hospital last Thursday.She fiad been in Billings sinceearly October undergoingtreatment for lupus, a blooddiseaseDuring her years at theUniversity, Mrs. Neal hadresponsibility for the numerousarrangements that surroundedOne person'sBy JOHN VAILAnd Annie's gone. The simplesign on the administrationbuilding stunned me. I stoodsilent and confused in the midstof the bustle of bureaucracy atmidday . No one could tell that thetears were from anything but thecold1 may not have known her aswell as did some others, but therewas this closeness.“Annie, did you know that theystill haven't fixed the pump in thedarkroom9" activities in Ida Noyes. Perhapsthe best known of theseconcerned the Percv-Rockefellerwedding. Although the weddingitself was in Rockefeller Chapel,the reception and other activitieswere held in Ida NoyesMrs. Neal has also been knownon campus for her wassail recipe,used each year at the Ida Noyeswassail party.view of Annie“Why John" she’d reply, warmSouthern mannerisms floating inher pleasantly high-pitchedvoice, "I told the engineers threetimes already! I’ll get on thephone right now and make surethat they get here tomorrow."“Annie, we’d like to get thelibrary for a Sunday nightparty.""Why that’s no trouble, John,no trouble at all. I’ll take care ofeverything.”That’s the way she was.Nothing was ever too muchtrouble. Nothing for a studentcould ever take too much of her She was a friend to manystudents, especially those whomade arrangements for studentorganizations, or who worked inIda Noyes.Mrs. Neal is survived by herhusband. Carey, her daughter.Patricia Robertson, and her sonCarey Jr. The services were heldin Bond Chapel on Mondayevening.Nealtime. She always went to thetrouble of learning a newstudent’s name.When I first heard that she wasill I attached no significance to itAnnie was enduring. She d hehack. It’s hard to believe shewon't.And Annie’s gone. No, shewasn't William Rainey Harperand no, she wasn’t Enrico Fermi.She was just a pleasant, dignifiedhuman being, laboring diligentlyto bring order from chaos andhappiness and warmth tootherwise bleak existences. I. forone. will miss her. BRIM: bluesmon John Brim, who win appear at Mandei HallThursday evening.Art exhibit features birdsCurrently on display in thelobby of the School of SocialService Administration <SSA) isan exhibit of Birds by BarbaraUhl. The Birds are a soft blendingof stuffed cloth with pastelwashes. Some are on canvas inhas relief and some are largestuffed birds arranged in mobilefashion There is also a large wallhanging in felt. They have beendescribed as soft sculpturecollage, or stuffed paintings, butthe artist herself prefers to thinkof them as “anthropomorphicinterpretations of companionsthat all adults experience in theireveryday life.’’The artist received her trainingat Bennington College in Vermont and is currently takingpost-graduate courses with theUniversity cf Michiganextension.She lives in Grand Rapids,Michigan with her family, whereshe is Artist-In-Residence withthe Grand Rapids PublicElementary Schools. This is aprogram sponsored by theNational Endowment for theArts, the Michigan State ArtsCouncil and the Grand RapidsPublic School system.The exhibit, whicy may bevisited from 9:00 through 5:00 onweekdays, will remain at SSAuntil December 15. A price list isavailable at the Reception Desk.Service for Harry KalvenA memorial service for HarryKalven, Jr. will be held at 4 p.m.,Friday, December 6, atRockefeller Memorial Chapel.Kalven, the Harry A. Bigelowprofessor of law at theUniversity, was an authority onthe first amendment and theAmerican jury system. He diedat home on October 29 at the age of 60.Kalven’s principal fields ofteaching were torts andconstitutional law. He was the co¬author of a widely used text ontorts.Kalven was a member of theAmerican Academy of Arts andLetters and was a Guggenheimfellow in 1970.FOR ALL STUDENTS& FACULTY MEMBERSJust present your University ofChicago Identification card.As Students or Faculty Members ofthe University of Chicago you are en¬titled to special money savingdiscount prices on all VolkswagenService Work all Volkswagen Parts,Accessories and any new or usedVolkswagen you buy fromVolkswagen South Shore. •AuthorizedSOUTH SHORE7234 S. Stony tslondenDaiJ£A.M.to9P.M.i Saturday 9 A.M. to 5 P.M.Phone: 288-4900 CHRISTMAS SALEBargains in Second-HandRecords, Clothing, Records,Clothing, Linens, HouseholdGoods.Zoology Building, First FloorFriday, 6 December9t00 AM • 4t00 PMCRAFTS BENEFIT FORUNICEF*at 1315 E. 52nd St.BOYAJIAN'SBAZAARPottery Carvings Purses RugsHangings Jewelry Dresses ToysBlouses Baskets Brooms Dollsand on and on and onCall 288-1609for personal app't.* 20% of sales go to Chicago UNICEF OfficeFri.( Sat., Sun.,Dec. 6,7,8 /tugs, IxruCs. vases.teapots. pCatzs. andceramic sculpture-ancCerpradiate'and graduate-students of die-Art Jupartynentr AnmmfMidunuj Studios6<MrC0®O§83jlcolkMsbcrcme.',leather Qovde,Jewelry, Candles,Collages, WttuHw, ,£u U C students.staff andJncuity4-The Chicago Maroon-Tuesday, December 3, 1974The Chicago Literary ReviewBook Supplement to the Chicago MaroonVolume 3, Number 1 The University of Chicago Tuesday, December 3, 1974Joseph Heller: An InterviewBy Creath ThorneJoseph Heller at age fifty-one seems yearsyounger. When I talked with him this fall afew days before the official publication ofSomething Happened, he was exhilarated bythe very flattering advance reviews he'dseen of the book and its apparent financialsuccess. In no way arrogant or conceited, hetook my questions seriously, talkedthoughtfully about writing. He is noYossarian benumbed by the absurdity of hisworld. In his owr words, his sensibility is“New York. Jewish, urban.” As a writer, heprepares carefully, works slowly, finishesstrongly. He has now written tworemarkable novels, one of which, Catch-22,achieved nearly sacred status in the decadefollowing its publication His whole mannergives the promise of further important booksto come.( reath Thorne: In an interview you oncesaid lhat when you were writing Catch-22 youthought it was going to be the only novel youwould ever write.Joseph Heller: I didn't say. I thought it wasgoing to be, I thought it might be. I knew bythen that I had become a very slow writer Idid have a contract fot its publication beforeit was finished, and since it could haveturned out to be the only book I would everwrite I wanted it to be the best possible, andthat slowed me down even more.Thorne: What I was wondering waswhether your sense of writing as a vocationor your sense ol writing as a disciplinechanged after the immense popularity olCatch-22.Heller: The financial success of the book,especially the financial returns of the motionpicture sales, enabled me to leave thesalaried position I had and devote myself towriting as an entire source of income, notjust as a source of pleasure, which it hadbeen and continues to be It did not changemy sense of writing as a discipline Ifanything, it strengthened what stands I had.I try to be a very severe critic of my owrwork and usually am more severe than mostpeople would be.There’s no hurry in writing for me. Mymethod of work is to do sections. I do asection to my satisfaction, I mail it to myagent, he makes a copy and sends it to myeditor, then each calls me up about thatsection and tells me what he thinks. WithCatch-22 and Something Happened theythought very well of the sections. So I hadthat encouragement My editor knew that Iwas working because he would get 80 to 250pages a year.Thorne: Actual finished copy? Did youhave overall plans of the books in mindbefore you started writine?Heller: Yes. In fact, when I talk to studentswho want to write, I tell them not to startanything until they know how it’s going toend and how it’s going to get to that ending.Thorne: Do you keep the plan of the book invour head or do you make notes?Heller: In Catch-22 I made charts of thedetails. I knew what the overall direction ofCatch-22 would be, but there were 42 or 44characters, and I couldn’t keep track of all ofthem. And I tended to get an overflow ofideas about it. I would w rite them down not toforget them. But with Something Happenedthe action and the activities were lesscomplex, the characters w'ere fewer. I wasable to keep most of that in mv head.Thorne: Do you sit down and write everyday?Pat Cecchini reviews Sonething Happened onpage three. Joseph Heller, author of Catch-22 andCrompton)Heller: No. In a loose wav I try to. If I'mout late or if I’m going on a trip to theUniversity of Chicago I usually won’t for thatday or the day after. When I’m teaching atCity College I write in the mornings, which Iprefer. It’s an everyday thing, but I'm neverguiltridden if I don’t work. I don’t have acompulsion to write, and I never have. I havea wish, an ambition to write, but it's not onethat justifies the word “drive ”Thorne: You mentioned teaching at CityCollege. I wonder what your genera! im¬pression is of the students you have Are youimpressed by their writing9Heller: Of the undergraduates I teach,some show sure definite talent. Some showpotential. And others don’t. It takes awhilebefore I am able to classify them But evenfor those who don’t, if they don't seem todisplay ability at that age for creativewriting, then perhaps they come away fromthe course with a set of standards and someability to judge other people’s writing.I haven’t had a class where I didn't have atleast five people w ho wanted to learn to writeand were willing to work very hard. Andsome have been writing for many years. It’seasy to work with them, to try to acceleratetheir own development as writers and asreaders I try to steer them away fromsubjects they may use which are com¬monplace, trite, and sensational: a first sexexperience, shooting heroin or cocaine, or awhite person being screwed by a blackperson. It’s all been done before.Thorne: Do you see any connection be¬tween the teaching you do and your writing9Heller: None at all I almost see moreconnection between my former writing ofadvertising copy and my writing of Catch-22.There is no connection. The classroomsituation is a classroom situation. It doesn’tslow me down, it doesn’t expedite things.Whereas, when I was working at the officejob I had when I did Catch-22, if 1 put in a Something Happened (Photo: Nancyvery busy day at the office I would be veryanxious to get to my work. If I got sluggish atthe office 1 would not feel like workingThorne: Then the movement of writersinto academic jobs hasn t changedliterature?Heller: I don’t think that has changed itLiterature is going to change anyway. It'sbecoming more and more an elevated andsophisticated type of artistic expression sothat raw content is no longer enough for awork of fiction. Where it was in the thirties,forties, and mid-fifties when books thattalked about screwing as screwing, ormasturbation, or black-white sex relationswere big successes. There the enormity ofthe content itself created a sensation for thebook.In 1949 in The Naked and the Dead Mailercouldn’t use the word “fuck,” he used “fug.”But now, since anything goes, it’s going totake a great deal of skill and insight for aperson to make his work distinguished Thatrequires. I think, a great deal of educatedexperience. So I think that more and moreyou’re going to find very well educatedwriters with graduate degrees. They willhave to have some sort of income becausemost writers don’t make enough moneywriting. The universities are very com¬fortable, congenial, and compatible forthem.I enjoy teaching college. It’s a job I wouldlike to keep It’s interesting It seems worth¬while I would think that here in Chicagosomeone like Saul Bellow ..he still teaches,I believe. Right9Thorne: A few courses.Heller: All right...I think he does it be¬cause he enjoys it. I don’t think he has todepend upon it for income. And I imagine I’min the same position.Thorne: I wanted to ask you about screenplays and articles. Do you consider them asimportant as your novels? Heller: No. Nor is my playwriting asimportant as my novels. I am able to docertain things well and other things not wellI don’t do articles well, unless they’rehumorous articles in the form ofreminiscences I do television scri P»rewrites well and screenplay rewrites ex¬tremely well. I have never taken on a wholescreenplay for myself and wouldn’t w-ant to.It would take too many months, maybe toomany years to do.I've adapted Catch-22 to the stage and I'veadapted one chapter Clevenger's trial, as aone act play The adaptations were fairlyeasy They required technique rather thanoriginal inspiration My play We Bombed inNew Haven required inspiration but thewriting was fairly easy I think so much ofplaywriting is dialogue, and I do dialoguewell. But a novei requires all kinds ofwriting exposition, types of description,sustaining action Techniques that can beused in plays to hide certain weaknessescannot be used with success in a novel Iregard novel writing as very challenging,somewhat forbidding, engrossing work thatreally draws on all m> powers.Also, with the screenplay or televisionscript, you're really a salaried employeewriting something that someone else hascommissioned. It is a question of giving themwhat the\ want. With a play that element isnot so true because you are your own bosswhen you re writing a play But witn a playyou are very much conscious of an audienceand a need to keep that audience from get¬ting bored or being comemptous for even asecond. So to me it is almost something of aperformance something being written withsomebody else's tastes in mind The novel ismuch less soThorne: Have you ever wanted to writeshort stories"Heller: I wrote short stories when 1 was anundergrad That s pretty much how I gotstarted as a writer and where my desire tobecome a writer changed from desire toambition I don't think I would do shortstories again although I might. I don’t havean idea for a new novel and what may cometo me is an idea for a short story.Thorne: Something Happened is so dif¬ferent from Catch-22. For instance, it ismuch more of an internal bookHeller: YeahThorne: And it abandons the broad humorof that first bookHeller: YeahThorne: Do you see yourself as per¬manently turning away from those thingsthat you did with the first book or are yourather exploring different narrativepossibilities?Heller: I didn t want to write a sequel toCatch-22 because I felt 1 > there was no needto and 2) I would be ripping off something ordoing an imitation; imitations are never aseffective or as good or as genuine as theoriginal. Something Happened is an internalbook, almost totally introspective. It doesn’trepresent a change in literary philosophy Igot an idea for a novel that I thought I couldwork with and that would producesomething that was worth reading, that wasworth having in existence. I wrote Catch-22because it was the best idea for a novel that Icould get at that time. Something Happenedwas the best idea I could get for a secondnovel. I don’t know w hat the next will be I donot want it to be about the same things thefirst two areThorne: 1 wanted to ask you about blackhumor because when Catch-22 is taught in litclasses it is usually grouped with thosebooks.(Continued on page 8)TheChicagoLiteraryReview-CN Edwardian MemoriesArnold BennettBy Margaret DrabbleAlfred A. Knopf$10.00My Uncle John: Edward Stephen’s Life ofJ.M. SyngeEdited by Andrew CarpenterOxford University Press$10.00Henry JaniesBy Harry T. MooreViking Press$7.95Reviewed by Jerry W. CarlsonArnold Bennett, Edwardian man-about-town, novelist, editor, dramatist, critic, andfriend of the famous, is now probably best-known as the subject of two literary-footnotes. Bennett's fiction (along with thatof H.G. Wells and John Galsworthy) isVirginia Woolf’s target in her famouspolemical essay “Mr. Bennett and Mrs.Brown." Her argument is that Bennett haswhat she later called a "shopkeeper’s view ofliterature." Similarly, Bennett is the modelfor Ezra Pound’s "Mr. Nixon" (asunfortunate a coincidence as a reputationcould have) in Hugh Selwyn Mauberly. Mr.Nixon advises a young writer:"I never mentioned a man but with theviewOf selling my own works.The tip’s a good one, as for literatureIt gives no man a sinecure."For the two great Modernists, Woolf andPound, Bennett was the Philistine.Unfortunately, their evaluations—howeveruseful they may have been at the time asindirect defenses of their own literarypositions—do not square with the facts ofBennett’s life and art. In 1910, when RogerF rye organized and opened the First Post-Impressionist Exhibit in London, whichintroduced works by such artists as Cezanneand Van Gogh, it was Bennett who spoke outagainst the myopia of his contemporaries."The attitude of the culture of Londontowards the Exhibition." he wrote, "is ofcourse humiliating to any Englishman whohas made any effort to cure himself ofinsularity, in twenty years London will besigning an apology for its guffaw.” It wasalso Bennett who defended Chekov andJoyce, anonymously funded Lawrence, anddid his best to find jobs for T.S. Eliot andRobert Graves.More important, though, is Bennett’swriting. Granted: the plays are of littleinterest and in the large body of fiction thereis much ephemera: such amusing toregrettable novels as The Card and Helen ofthe High Hand. Still, such novels as The OldWive’s Tale, the Clayhanger trilogy, andRiceyman Steps are more than worthy of anymodern reader’s attention. In these worksBennett eschews the bold techniques of hiscontemporaries James, Conrad, and Ford.What he displays instead is a large debt tothe French masters of the previousgeneration. Flaubert and Maupassant. Byapplying their techniques to distinctlyEnglish subject matter (most notably, Henry James at seventy in a portrait by John Singer Sargent.middleclass life in the industrial Midlands)Bennett became the greatest chronicler ofthe quotidian since Defoe. In his handsinsight and beauty are rung out of theutensils and rituals of the "everyday world."No mean feat.It is also no mean feat to collect, digest,and synthesize the facts of a life soproductive as Bennett’s, but, for the mostpart, the young, critically acclaimed Britishnovelist, Margaret Drabble, (The Needle’sEye) has done so with tact, skill and vitalityin her new biography. It is. she admits in theForeword, a biography written "in apartisan spirit, as an act of appreciation...Hewas an exceptionally kind. good, andgenerous man, who trimphed overconsiderable difficulties in his personal life;he was the kind of reliable, sensitive, andtactful person who would make an idealfriend. Perhaps some would call his life dull,as it was not marked by any spectacularscandals, and goodness has always beenthought to be less interesting than vice." Butlike Bennett at his best, Ms. Drabble’sbiography shows that it is what an author canreveal about a subject—not its "inherentinterest”—that counts for involvement andexcitement.Only upon occasion does her enthusiasmget in the way of her purpose. Some passagesseem to need editing while at several pointsthe overall organization of the work faults:we have our expectations teased butfrustrated. So. for example, in the discussionof Bennett’s religious background, we aretold that he once went to a spiritualistmeeting with Roger Frye and W.B. Yeats, yet no where else in the book are his relationswith these men explored. Nonetheless, Ms.Drabble renders an engaging and long-needed account of one of twentieth centuryliterature’s forgotten writers and therestrictions within which he, like his majorcharacters, flourished.If Bennett is a man who wrote much but islittle written about, Synge is a man whowrote little but is much written about. Why,then, after David Greene’s scholarlybiography, do we need another? The answeris that we don’t, but that Edward Stephen’slife of Synge, My Uncle John, (excellentlyexcerpted and edited by Andrew Carpenter)offers extra-biographical pleasures andrewards.Edward Stephens was. as the title implies,Synge’s nephew. FYom Stephen’s birth in1888 until Synge’s death in 1909 they were inalmost daily contact as the Stephens andSynge families occupied houses next door toeach other in the Dublin suburbs. Notsurprisingly, "the public and artistic side ofSynge’s life is,” as Andrew Carpenter pointsout, "hardly illuminated at all by Stephen’stypescript." Furthermore, Stephens takes avery simplistic view of the relationshipbetween biography and literature:biographical incident equals literaryproduct. Ultimately, his account tells usmore about the Edwardian middle-class andProtestant Ireland than it reveals aboutSynge.We are given a largely anecdotalpresentation of the joyful self-confidence andfrightening narrowness of the Protestantruling minority in Ireland. Memorably, there are the moments of leisure: coming home tofind the spoils of a day’s hunting, "theirridescent plumage of a mallard’s necklying on the shining mahogany of the halltable” and bicycling through thecountryside, stopping for water at springsknown only to an occassional cyclist and theitinerant tinkers who wander the roads withtheir carts. More notably, there are the signsof the fixed boundaries of behavior. WhenLucy, a visiting relative, holds the hand ofyoung Edward as she reads an excitingpassage in a novel, Mrs. Synge reacts withindignation and later remarks that it was theact of a "gushing Australian." The parkadjacent to the family homes is a privatereserve for those whose homes overlook it.Fven so, Mrs. Stephens worries aboutallowing her children to play there. Theircompanions might be vulgar and, what isworse, Roman Catholics.Indeed, Irish religious strife could be saidto be the ever unavoidable subject of thisbook. Synge’s grandfather, Reverend Traill,spent his life, as he put it, “waging waragainst popery in its thousand forms ofwickedness.” Synge’s mother and his olderbrother Samuel were little less adamant.Their world was aggressively self-enclosed.Synge, the family’s odd, omniverous reader,later wrote: "Till I was twenty-three I nevermet or at least knew a man or woman whoshared my opinions.” To the end, Synge’smother never understood her son’s playsbecause, to her mind, staging plays "createdtemptations for the people who acted.” In thesame way, she was perplexed by her son’swell-known love for the actress and Catholic,Molly AllgoodSynge, an atheist, loved his family and didhis best to stay on good terms with them. Hesaw no point in fights, so he avoided them.But, as Stephens’s narrative dramatizes,religious strife always surrounded a turn-of-the-century Irishman even if he chose to tryto keep it out of his own life. While Synge wason his deathbed, Moily went to severalpriests seeking to have a Mass offered for hisrecovery. "The priests,” she later reported,"had asked how she was seeking to have aMass offered for a Protestant?”In comparison with the biographies ofBennett and Synge, Harry T Moore's HenryJames is a lightweight: an irony, consideringthat James is generally deemed the"heaviest" of the three writers. In fact,Moore’s brief potpourri of biography andcritical summary is a coffee-table book,nothing more than an introductory pamphletPressed up with many appealingphotographs. However, as an introductionfor the curious but non-literary reader thevolume is adequate.Even taking the book’s humble intentionsinto account, a few of Moore's attempts atsimplification are predictably annoyingParticularly foolish is his brief, stylisticanalysis of the first sentence of The Wings ofthe Dove (p. 93). But, more frequently, he issuccessful in pasting this slight scrapbooktogether with Jamesian anecdotes. Whocannot be interested in a man who said thatmeeting Winston Churchill "brought home tome very forcibly—very vividly—thelimitations by which men of genius obtaintheir ascendancy . ’?Nobody’s PerfectBy Curt Johnson,Carpenter PressReviewed by Curtis JohnsonDown on his luck, Gasserpod PeaseporrSlocum—a comically inept drifter fromChugwater. Wyoming—stops at a house,asks for work, and finds himself madegraphics editor of Flagrante Delicto: TheDirty Word, America’s oldest independentsmall literary magazine. Its editor and otherstaff member, the aging and ailing Ellis D.Schoenbatic, takes him on a continent-wide,mishap-ridden journey into the bizarre worldof literary politics and the air conditionednightmare. During the usually bawdy way,GPS will be collected by police sweeping up ademonstration, witness his ex-wife vomitedon as an act of art, "poison" himself withmarijuana, be mistaken for ' GeorgePlimpton, and replace a goat as a woman’slover.Nobody’s Perfect is a wild,, freewheelingnovel, raking over commercial publishers,English professors, small lit mags, freaks,and officers of the law. Some of those reelingin and out the story are actual people,including Anne Waldman and a "sour-faced”6-The Chicago Maroon-Tuesday, Decemb man in a Chicago bar with the last name ofRoyko. The others, though, do not needactuality to be plausible. (Schoenbatic, forinstance, is trying to break the rule by a self-serving clique over the governmental unithanding out subsidies to literarymagazines...and in the process receive somebadly needed money for his own magazine.He is also a piss-poor writer, and theselections from the 30-year-old novel hebelieves will be published may be thefunniest parody of bad writing done byanyone since Mark Twain). Much of theplausibility comes from the well-presentedevolution in not only how \he charactersactually act, but how they view themselvesand the other characters—which is mostlywhat serious fiction attempts to do. Most ofthe humor and power of Nobody’s Perfectcomes from the Curt Johnson’s simplyletting the characters be themselves. Theresult is the most natural-feeling dialogueand human interaction I’ve read in nearly araccoon’s lifespan.The situations flow naturally butunpredictablv from the personality of thecharacters and their circumstances. There isa particularly hilarious-horrible justice inthe bizarre rendezvous arranged by GPSr 3, 1974 between Schoenbatic and the womanheading the "Coordinating Unit for NationalTitles.” The flow is broke to my mind, onlyby the second appearance of the F'BI agentsand the second-to-last scene; it would seembetter for Schoenbatic to die as aconsequence of alcohol or his "walkabout,” adisease which condemns him to walk onlystraight ahead.Nobody’s Perfect gives the reader a goodlook at the people and operations behind theproduction and determination of what ispresented as contemporary literature. Thoseunfamiliar with this mileau will find theintrigues fascinating, those familiar with itwill nod their heads as they read. Forbeginning writers it is an important book, notonly as a good novel, but as an excellentpresentation of the dangers of selling out andnot selling out.The mediocrity resulting from the self-serving corruption that Schoenbatic fightsagainst has been massively documented byRichard Kostelanetz’s The End of IntelligentWriting. It is convincingly demonstrated bythe "critical evaluations” on the final page ofNobody’s Perfect, in which variousprominent publishers unwittingly makeclear that they do not know a good book when they see oneIf one must be mistaken for a writer, onecould certainly do worse than choose theauthor of Nobody’s Perfect.TheChicago LiteraryReviewThe Chicago Literary Review appearsseveral times each academic year as theliterary supplement of the Chicago Maroon.This issue was edited by Creath Thorne, withhelp from Meredith Anthony, Miles Archer,Shirley Baker, John Boots, Jerry Carlson,Pat Cecchini, Curtis Johnson, PeterMackinlay, Martin Northway, SimonSchuchat, Richard Rand, and Ann Thorne.The entire contents of this supplement arecopyright 1974 by the Chicago Maroon.Mishima: Literature and the SwordThe Life and Death of Yukio MishimaBy Henry Scott-StokesFarrar, Straus, Giroux$10.00Reviewed by Meredith AnthonyA great many literary biographies havebeen given book titles that begin The Life andWork of...; there are very few that claim todeal with The Life and Death. The titlechosen by Henry Scott-Stokes is a key to aview of Yukio Mishima that must be, forsome time to come, the predominant one.Mishima's death, by hara-kiri, was asprofoundly shocking as it was spectacular,and it must as Mishima himself realized,color all critical judgment of his work atleast until that initial shock wears off.Mishima, by his public suicide inNovember 1970, has forced his own aestheticof art and action on his audience. It isderived from the ancient ethic of thesamurai, bunburyodo (a phrase strangelyreminiscent of Oscar Wilde), the dual way ofliterature (Bun) and the sword (Bu). HenryScott-Stokes, who was Tokyo bureau chief forfhe London Times when he met Mishima, isan eminently competent, rational journalist,and. as such, is qualified to write The Lifeand Death of Yukio Mishima as he wouldnever have been for The lift and Work.Scott-Stokes poses the central question ofthe book at the end of his prologue. “Whatvast, immoral courage had enabled Mishimato kill himself in this manner?” In the lastchapter, the “Post-mortem,” he lists severaltheories that are variously supported bypieces of evidence. It is a measure of his objectivity that his own theory comes as asurprise; he does not push it in hispresentation of the case. Listeddispassionately among the others, it is not atheory that convinces one. In fact, the entireexercise, an exploration into the life of a manthrough personal impressions, facts, theopinions of his friends, enemies, andrelatives, and the evidence of his own work,seems more to reveal an awsomecomplexity, a close weaving of themes, thanto conduce to the formation of a singlesufficient theory.Scott - Stokes’ biography/thanatographyderives its intense interest from its subjectrather than from its stylistic merit, althoughthe mere fact that he does not detract fromhis subject is significant, but it also goes be¬yond mere literary voyeurism. The Life andDeath of Yukio Mishima is a puzzle that mustnot be unraveled so much as simply con¬fronted by those who would study his workThe organization of a book about socomplex a subject as Mishima is veryimportant if we are not to get lost among thetangled threads of his life. Scott-Stokes isadmirably efficient and sensitive to hisreader’s needs. The prologue is achronological collection of the entries inScott-Stokes’ journal that dealt withMishima. This gives a perspective andestablishes the identity of our guide toMishima’s career. The journalist’s voice iscandid, incisive, and sometimes bewilderedwhen he is confronted by the less rationalsides of Mishima’s character. It is crucial tohave Scott-Stokes’ character, his bias, hislimitations, and the extent of his personalinvolvement made clear. A reporter of theutmost integrity, he supplies the necessaryinformation at the outset.The first chapter is entitled “The LastDay” and it deals very clinically with thepreparation, execution and immediateresults of Mishima’s suicide. This is, ofcourse, the object of much curiosity and onno account could its telling be postponed untilthe last pages. Scott-Stokes knew that hisbiography, like Mishima’s own works, mustbe read in the light of this event.’Fhe remaining chapters are roughlychronological, dealing with Mishima’s youth,the most important of his voluminousliterary output that included novels, shortstories, plays, and critical and politicalessays (a Japanese edition of the collectedworks was published in 36 volumes after hisdeath), as well as his mature personal,literary, and political life. The “Post¬mortem” returns to the central question:why? After following the threads ofnarcissism, romanticism, sensuality,exhibitionism, pride, politics, and literarygenius, we are at least equipped to ask thequestion more intelligently and with acertain amount of awe.The main events of Mishima’s life were hisearly domination by his grandmother, the physical and moral weakness that kept himfrom serving during the war, hishomosexuality, his prolific literary activity,his old-fashioned arranged marriage thatproduced two children, his travel to Greece,India and America, his belated body buildingcraze, his disappointment over the NobelPrize which went to his old friend andliterary patron Kawabata the year Mishimawi.s predicted to be the recipient, thefoundation«of his private army Tatenokai,and his bizzarre plan to complete a fourvolume novel and commit hara-kiri, a planwhich he carried out to the letter, signing anddating the manuscript of the last segment onthe morning of his last day. Scott-Stokes usesall his journalist’s resources to deal withthese things and he succeeds in all with theconspicuous and predictable exception of theliterature. And although Mishima was apatriot, a lover, and a self-styled samurai, hewas first of all a great writer and if hehimself tried to elevate the other facets of hiscomplex life, we must not lose sight of thatimportant one.Mishima’s literature is entirely opaque toScott-Stokes. The resources and rationalitythat enabled him to penetrate the life are ofno avail for dealing with the work. Scott-Stokes relies heavily on the two purportedlyautobiographical works, the earlyConfessions of a Mask (1949), and Sun andSteel (1968). He also indicates that 'Hie Sea ofFertility, the four volume novel that wasMishima’s monumental last work, containsan important key to the puzzle but, andperhaps it is just as well, he does not attemptto analyse it. He dutifully includes a plotsynopsis of each of the major novels as theyoccur in the narrative but his comments arebrief as he hurries to get hack on firmerground.These last novels form a fittingly complexand compelling monument for a complicatedand brilliant man. His own emphasis on themas his self-conscious last works makes itirresistable to try to break their code.Mishima uses the plot device of a series ofreincarnations which are all observed by oneman. The stories of the four incarnations arebeautifully written even allowing for thelong, dry tracts about politics and Buddhistphilosophy. They are quite obviously rifewith symbolism and Scott-Stokes is perfectlyright to observe that the meanings will bedisputed for a long time. The bare bones ofthe plot, however, are singularly revealingfor our purposes.The four novels cover a period of time thattakes the observer, Honda, from youth to oldage. Honda was a stolid, unimaginativeyoung man and ages graceiessly, butpredictably, into a cold, equable judge, andlater into an obsessed old voyeur. He is thequintessential, perpetual spectator. The fourincarnations he meets in the successivenovels are always young, beautiful andactive but their character becomes gradually more and more debased. The firstwas a lover who lived and died for love, thesecond was a patriot who died for his ideals,the third was a beautiful young womandevoted to homosexual sensuality whoperishes, significantly, from a snake bite,and the fourth is a corrupt and narcissisticboy who is incapable of any love or idealsbeyond himeslf.Honda the eternal watcher witnesses thisdecay which goes on in the reborn, theforever young, as he also experiences hisown physical decay The two halves of thisprocess are strikingly similiar to the dualaesthetic that governed Mishima’s ownthinking; the constant observer is, of course,the writer, Literature, while the young withtheir single-minded pursuits are the activeprinciple, the Sword. The whole inexorableprocess of dual decay is the bunburyodo ethicgone wrong. The horrible cycle of the novelsmust be stopped or completed, cut throughwith a single slash like the Gordian knot, abrilliant stroke that comes in the novel’s lastpages. The entire illusion is shattered in amoment. It makes an effective parallel andhints at an answer to the obsesr.ing question:why’’Mishima the thinker remains hidden fromScott-Stokes but Mishima the man emergesbrilliantly It is a measure of Scott-Stokes’acuity as well as Mishima’s complexity thatthroughout the biography he is compared bythe author and by others to such a variety ofliterary figures: Leonardo da Vinci for his“many and varied talents,” James Joycebecause he too was "unique among his peersin being able to use the classical literarylanguage,” Lord Byron, one of Mishima’sown heroes, for his "romantic ideals,” AndreGide for his “strong narcissistic tendencies”and homosexuality, and even NormanMailer for his “love of self-advertisement.”There are basically six theories currentabout Mishima’s suicide. They are easilyunderstood in their abbreviated forms as theinsanity theory, the aesthetic theory, theexhausted-talent theory, the love-suicide, thepatriotism, and the composite. Scott-Stokesdilates briefly on each and thenpromiscuously chooses the love-suicideversion which has as its supporting evidencethe joint suicide of the young protegee.Morita, with Mishima Scott-Stokes opts forthis theory admitting that it has no more orless evidence in its favor than the othersBut at the very end of this work which, itbecame apparent, was one in which itsauthor had a large but carefully controlledemotional stake. Scott-Stokes hints at a morecompelling, and less rational, seventhexplanation, one that we might label thetranscendent-immortality theory His lastlines are, “Now at the end I remember thatlast note he left on his desk. ‘Human life islimited, but I would like to live forever.’ Thisbook then has been an attempt to describehow he will live — in my memory, at least.”JOSEPHSomethingI lappcncoHELLERSomething HappenedBy Joseph HellerAlfred A. Knopf$10.00Reviewed by Pat CecchiniJoseph Heller’s Something Happened is abigger, more ambitious, and more complexnovel than his Catch-22. Thirteen years in themaking, the book should satisfy those whohave looked forward to a follow-up to that first brilliant effort and offer a challenge thatwill sustain our interests for the next decade.The book is a series of monologues,delivered over a period of several months, byRobert Slocum, sexy, smart and rich, who ishaunted by the certain knowledge that“something must have happened to mesometime....something did happen to mesomewhere that robbed me of confidence andcourage and left me with a fear of discoveryand change and a positive dread ofeverything that may occur.” This Slocum,who has achieved everything that theexecutive syndrome has to offer as rewardsto its conscientious participants, istormented by his awareness of his spiritualdepreciation. He was once a child with all oflife to look forward to. all hope and desire tofulfill and he has become suspicious,alienated, and above all, fearful, of everyoneand every contingency. He wants to know-why he is the way he is, and the book is hisexamination of his past, his present, and hispossible future in search for an answer.In the prologue, suitably entitled “I get thewillies”, he wonders if he suffered achildhood trauma that may have robbed himof courage — perhaps it was the time hecaught his parents screwing, or his father'ssudden death, or the early realization that“whatever I tried to do, there would alwaysbe somebody close by who could do it muchbetter.” None of these is the event whichawakened his fear, however; they aremerely the pat psychological explanationsthat he looks to first in his attempt to tracehis habitual malaise. As we move forward inthe book, we learn that wtnt he is now, andwhat he is becoming, is the sorry result of theaccumulation of all his past experience. His fears — of the dark, of closed doors, ofspeechlessness — are the same ones he hadas a boy, only they come true more oftennow. Something always happens to reinforcethem.Slocum is dispassionate at all times whenhe talks about the disappointments andripoffs of his life and there is the same braveand dark humor here that there was inC’atch-22 — he forces himself to make meanlittle jokes about his brain damaged son,whom he refers to as the "idiot.” forinstance. But cruel comedy cannot work asa foolproof defense against the insults ofexistence, and Slocum’s voice, beneath thejokes, is profoundly disturbing Heller hascreated and maintained a balance amongself-pity, bravado, obsession and insight inSlocum’s speech, and we believe every wordit speaks. Reduced to the perceptions of theonly speaker via the first person device, wesee wi‘s his eyes and think with his mind.Slocum .s obsessive, compulsive, morbid —he thinks he hears voices, he knows he smellsshit, but we trust his voice. In addition tolocking us into the isolation of his character smind, Heller forces us to identify withSlocum in a number of smaller ways: hiswife is never named nor described, and hisjob is never made really clear, we don’tknow exactly what he does for eight hours aday, nor does it matter. What does matter isSlocum's participation in and reaction tothese relationships of family and profession.In Heller’s abstraction, there is recognition:the family is our family, the job,-our job.Slocum divides his monologues into neatchapters, each of which deals with aparticular facet of his life. “The office inwhich I work” is about the job, “MyTuesdoy, daughter’s unhappy” is about hisrelationship with this child. He likes to talkwistfully of someday "putting my affairs inorder” and it’s as if he has each of theseareas of his life departmentalized: he wantsto think like the successful bureaucrat he is.But intruding on these rational examinationsof the present are his memories: the sameones appear and reappear in his mind, eachtime fleshed out for us a bit more, until weknow everything that happened in aparticular situation. This technique ofreturning to past events forces us to shareSlocum ’s obsessions and it builds suspense —we want to know if Slocum ever screwedVirginia in the same way we wanted to knowwhat did happen with Snowden in Caich-22.In addition to being burdened withmemory , Slocum is cursed with prophecy,with devastating visions of the future of hisfamily and friends He believes that his wifewill probably die of cancer someday, that hisdaughter will grow from a surly, disaffectedadolescent into a surly, disaffectedhousewife, and that his beloved older son willhave no future at all On the basis of all theknow ledge he possesses, he can project whatwill happen to himself and others and he canassure himself that something will happen tohis children as it did to him. All the evidenceproclaims knowledge a torment, especiallythe living testimony of Derek, the retardedson: “Only one member of the family is notafraid of any of the others, and that one is anidiot.”Derek is the only one in Sfocim’simmediate family who is given a name. Doesthis mean that he is existing more purely or(Continue^ . . r .^i?)/wvvtiiLwi 3, i 974-The Chicago Maroon-/ 3-TheChicagoLiteraryReviewTheChicagoLiteraryReview-rAmerican GothicHyde PlaceBy Virginia CoffmanArbor House$7.95The House of the BrandersonsBy Raymond RudorffArbor House$7.95The OtherBy Thomas TryonFawcett$1.25Harvest HomeBy Thomas TryonFawcett$1.75The Hawkline Monster: A Gothic Western By Richard BrauttganSimon and Schuster$5.95Reviewed by Martin E. North wayThere is something about horror andmystery novels that keeps drawing us tothem. Certainly it Is not the quality of theirwriting; few of even the best novels of thisgenre would be considered great literature.Yet books of romance, suspense and horrorhave been popular in this country since thegothic novel was introduced here fromEurope more than a hundred years ago.The present interest in subjects such as theoccult, parapsychology, and Eastern religionassures that there will be a wide audience forgothic works for some time.It is known that women are the biggestbuyers of gothic novels—especially thegothic “mysteries** as opposed to the storiesOf sheer horror. Publishers so take it forgranted that these novels are read mostly bywomen that they encourage their maleauthors to adopt feminine pseudonyms.All sorts of hypotheses have been offeredabout the special appeal of the gothics towomen. Obviously the setting—which isusually an old house or estate that evokes asense of fear and •'mystery”—is an im¬portant symbol Perhaps its recurrencerepresents women’s psychological ties to thehome and their desire to "escape” itsdemands It has also been pointed out thatthere is usually a subliminal sexual power ingothic tales: this is particularly the casewith horror stories like Sram Stoker’sDracula and Mary Shelley's Frankenstein.The bread and butter of the gothic trade isthe feminine novel of romance and mystery.The chief character of these books is usuallya woman, and they are frequently written infirst person. Though it is not an essentialelement, there is often the suggestion in theplot of supernatural forces at work Anelement that is essential, however, is theexistence of forces somehow beyond thesubject's understanding and control. 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Ohio568 W. Jackson111 E. HackerMerchandise MartBrunswick Building 111 W. Adams123 W. WashingtonWabash at Lake10 S. Riverside PlazaSears Tower other gothic novels, the story must occur in a“gothic setting”: an old house, an estateScottish moors, or some other place thatseems forbidding.Among the contemporary authors of thisgenre—and most of them are very prolificwriters—are Charlotte Armstrong, MaryStewart. Helen Maclnnes, Dorothy Daniels.Mary Roberts Rir.eharL and Willo DavisRoberts.A fairly typical example of this type otstory is the recently published Hyde Place,by Virginia Coffman. In this story, a youngwoman, Merideth Hyde, returns to herhometown (San Francisco) after the death ofher father to claim her inheritance, whichincludes an old beautiful home and somerather valuable land. Though her mother hadrun off while she was a small child, themother “reappears” to take charge of herdaughter. The mother is dominated by hernew husband, Howard MacPherson, whoeffectively gets Merideth to relinquishcontrol of her estate to him. Merideth har¬bors a suspicion that the woman is not reallyher mother, and that MacPherson is trying todo her in. (Both suspicions turn out to betrue.) With the help of a local columnist, NeilBurnham, who writes under the name of"The Passerby.” Merideth manages toextricate herself from this impossiblesituation.The storv has practically all the elements"required” of a gothic romance—it is set inpost-World War I San Francisco (thus givingit a sort of historical charm i. involves an oldestate, has poisonings and murders, andintroduces a Prince Charming character tohelp save the heroine Unfortunately, it lacksa thoroughly engrossing plotThe lesson: engage new writers oi gothicromances at your own risk Buy in paper¬back, and waste less moneyThe gothic horror encompasses most ofthe same elements but elevates them to moreshattering dimensions, In novels likeDracula, Frankenstein, and Ira Levin’srelatively recent Rosemary’s Baby evil isnot quite so tame as in the Gothic romanc¬es—its scope is wide f though subject tocertain “rules”) and its confrontation ispersonal and frequently results in thedestruction of the hero or heroine,A common theme in these works is that of possession by the devil or one of his supposedagents, like a vampire. Drawing on thedocumentary method of exposition madepopular by Bram Stoker (Dracula),Raymond Rudorff’s The House of theBnniiln suns is an uncommonly good horrorstory within a highly traditionalistic format.One ot the terrific devices oi such books isthat they gradually develop a growing senseof widening evil. The reader becomes con¬vinced that unless the character who per¬sonifies evil is not stopped, civilization willbe doomed. In this book, the body of a highlyregarded and successful Englishbusinessman is gradually possessed by thispirit of a dead magician with whom thebusinessman had forged a long-forgotterpact. Through this possession, the “astraispirits’’ (something like the soul) of themembers of the man’s family are taken overby the same magician. The magician is nocommon occult practitioner, however—hismission is to pervert and destroy mankind.When fhe man has realized the significanceof what has been happening to him, it is toolate to do anything about it: he tries to warnhis wife about what is happening but is notsuccessful. With the home of the Bran¬dersons as a refuge, the magician begins toinfect the rest of mankind,Though the work begins to drag a little inthe middle, it manages to build a sense ofincreasing desperation and hopelessnesswhich does not subside until the conclusion.One of the great attractions of these horrorstories is their wholeness-the feeling thatevil is of one piece, and that everymanifestation is consistent with every otherBased on old legends and stones, the tale ofhorror is written with a whole tradition ofrules and common notions behind it. TheChristian idea of original sin is tied up veryclosely with these notions, and one of thecommon characteristics of these stories isthe power of Christian symbols to confrontevilModernists, who find themselves unable tosuspend skepticism about the reality ofdeviltry and magic, will likely be much moreaffected by less traditional tales oi horrorThomas Tryon, a Yale-educated Americanactor, has emerged recently as one erf the(Continued on page 5}1IIIIIlIIlIIIllII■ i . Department of Music andpresentVERMEER QUARTETDIANE RAGAINS, soprano soloistMozart • Ginastera • BeethovenAlumni AssociationFRIDAY, DECEMBER 6 MANDEL HALL* t’:30 P.M.Adm: $5: UC student, $2.50. All seats reserved. A $1 discount will begiven to UC Alumni and CMS subscribers. Tickets at Concert Office, 5835S. University Ave.; or at Mendel Hall box office on evening of concert.UNDER NEW MANAGEMENTHERMES RESTAURANTSPECIALIZING IN THEGREEK CUISINE5550 SO. SHORE DRIVEYour Host: Gus AleckWHPK PresentsBLUESThursday, December 5th, 8 P.M. with JOHN BRIM and others $3.00 & $2.50 Monde! Hall8-The Chicago AAoroon-Tuesday, December 3, 1974In Another CountryCountry CousinsBy Michael BrownsteinGeorge Braziller$7.95Reviewed by Simon SchuchatAmerican fiction since WWII can bedivided into two separate, self-containedgenerations, each with their own unifyingconcerns and styles. The first, the immediatepost-war generation which appeared in thelate forties, includes such writers as NormanMailer. James Jones, Truman Capote. GoreVidal. William Stryon, and J.L). Salinger.Their books were seriously realistic, or“naturalistic;" they came out of a kind ofclassical tradition that included the greatRussian and French novelists of thenineteenth century; they were unable toescape the shadowy influences of Faulkner,Fitzgerald, and, most importantly, ErnestHemingway. Their dominance ended withthe fifties; perhaps their highwater mark isNorman Mailer’s Advertisements For Myself. The second generation, those writerswho have been called “black humorists” and“fabulists,” such as Barth, Nabokov,Pynchon, Barthleme, Heller, Vonnegut, andCoover, took over from there. Their traditionwas that of the picaresque, the comic, thesatiric (and in some cases, recent Frenchfiction, the “novelle vague.”)Now, it seems a new generation and styleare about to emerge, as this secondgeneration cements its achievement throughbooks such as Chimera and Gravity’sRainbow. For the “something else” nowemerging, Michael Brownstein’s first novel,Country Cousins, will surely be considered asimportant as The Naked and The Dead orThe Sot-weed Factor are considered to be fortheir own eras and style.Country Cousins is the story of one MartinKilfcanky, a strange young man in WinoshaFalls, somewhere in the great midwest,during the late fifties. Martin’s realityalready diverges from his neighbors’ at thebook’s opening, and as the book proceeds, thegap expands until he is no longer tocomprehend or be understood by the other,“real" world and is at the same timecompletely unable to control his ownThe book begins with Martin's plans forbuilding a new house on the farm he shareswith his mother. He intends to build in atotally new way; a sort of “abstractexpressionist" process of assembling thematerials and just building, “purely,"without any preconceptions or blueprints. Onthe spot, in the grow ing dark of a cold Sundayafternoon, he comes up with wtiat is actuallya very interesting, viable and complexdesign for the building, but his inability tomake his helpers understand and carry outhis instructions brings the operation to asorry conclusion; including a dumptruck,front wheels helplessly dangling in the air,cemented into the groundThat's only the beginning. My onlycomplaint is literally that it doesn't go onlong enough, that, in Maileresque terms,Brownstein cheats at the end. The lastchapter, a chillingly brilliant account ofMartin fleeing a band of hunters, nothumans, but nine-toot tall animals, led bv very anthropomorphic foxes, is prefaced byMartin s falling asleep in a truck anddreaming the encounter—but Brownsteincould have, it seems to me, written anotherfifty pages between the preceeding chapterand “Martin’s Dream” in order to modulateinto his climax without it being “only” adream But this is really minor. ReadCountry Cousins; it’s a joy to read, clearlywritten, masterfully conceived andexecuted; hopefully the beginning of a longand glorious career.A merican Goth 1C(Continued from page 4)foremost authors of stories of horror. Hisfirst book, The Other, and Harvest Home areboth excellent. Unlike other writers, he doesnot require the reader to believe inmysticism: it is only necessary to believethat others can believe in it very deeply.Though most novelists have had to rely ongothic settings as those most likely toengender feelings of terror. Conan Doylerecognized the latent power in apparentlypeaceful pastoral settings. At one point in“The Copper Beeches,” Doyle's heroSherlock Holmes remarks to his companionabout the passing English countryside. “Doyou know, Watson, that it is one of the cursesof a mind with a turn like mine that I mustlook at everything with reference to my ownspecial subject. You look at these scatteredhouses, and you are impressed by theirbeauty. I look at them, and the only thoughtwhich comes to me is a feeling of theirisolation and of the impunity with whichcrime may be committed there... Theyalways fill me with a certain horror It is mybelief. Watson, founded upon my experience,that the lowest and vilest alleys in London donot present a more dreadful record of sinthan does the smiling and beautiful coun¬tryside ”The rather unlikely setting for Try on sI looks is the placid Connecticut countrysideHe uses our sophisticated intelligence andknow ledge against ourselves to bring out hissettings' fullest possibilities. The chiefcharacter of The other is a disturbed littleboy whose twin brother (we find out later onin the novel) is dead. We observe the patternof growing schizophrenia and developing insanity, and we believe it.In both books, Tryon introduces us into themind of the chief character, makes us corncto identify with him and share his imagesand perceptions, and then, as the result of awhirling cycle of confusing events, casts usadrift, doubting our belief in all that we hadaccepted as fact. We come back from theexperience in the grip of terror.We see how Niles loneliness and isolation,coupled with the influence of a well-meaningbut superstitious grandmother, results in ahorrible destructiveness. We are not likelyever to forget the image of a helpless infant,dead, suspended in a closed wine cask, thevictim of a deranged child's fantasiesHarvest Home is somewhat longer, andmore complex, but equally well written. Thepeople of Cornwall Coornbe—particularly thewomen—are enough to give anyone secondthoughts about the supposed virtues ofpastoral lifeTryon’s ability is such that we can onlyhope that he has an important enoughmessage to cause him to forsake the field ofhorror stories occasionally for more seriousliterature.It is fortunate that with books such asRichard Brautigan’s The Hawklme Monsterwe can “escape" this escapism every' nowand then: otherwise we might be inclined totake it too seriously. The Hawkline Monsteris a crazy intersection of two genres, theW. .tern and the gothic horror storyToo close a recounting of the plot wouldruin the experience of this delightful fantasy-adventure Quite briefly, two rather ec¬centric gunfighters are called in by theheroine (heroines? > to rid her Victorian-stvlehouse of an evil spirit and perhaps, in theprocess, bring her professor-father whoconjured up the evil spirit in the first place !to life. In the meantime, the professor'sastral spirit is residing in the undignifiedaspect of an elephant-foot umbrella stand.Oh. well.The intersection of the two strangerealities and conflicting symbols of powerproduces a conclusion that is ridiculous and.on second thought, unsatisfying We delightin the story's simplicity and fun. but weremain with a residue of skepticism aboutthe endingUnfortunately, in real life, evil is rarelyquite so easily dispensed withSEMINARY CO-OP BOOKSTORELETS YOU IN ON A SECRET:WORTH LOOKING FOR.Over 7.000 titles in a wide varietyof fields 18.000 books An end-ofyear rebate (ca. 5% )—and order'* privileges-for members> Open 11 00-4:00 M-FBasement of Chicago TheologicalSeminaryCTSI €CDvn 0**«rtt*lXrvjhbftfc.Arthut■ftn/vSC»wft> EXPAND YOURHORIZONSThe results of a recent unbiased survey show that"there are still SEVERAL U C. STUDENTS, FACULTY andSTAFF that have NEVER ever been inside the BOOKCENTER in Harper Court."The reason for this has been diagnosed as "57thstreetitis" a malady that causes some people to limittheir entire Hyde Park existence to an area bounded bythe campus and 57th St.If you are one of the afflicted — Fight Disease —Ex¬pand Your Horizons —Go North This Winter to:THE BOOK CENTER5211 S HarperHarper CourtMl 3-1900Open EVERY day except WednesdayTuesday. December 3. 1974-Th« Chicago Maroon-9 5--TheChicagoLiteraryReviewTheChicagoLiteraryReview--)<0 The Culture ofitLloyd A. FallersInequality: Social StratificationReconsideredBy L A. Fallers,University of Chicago PressReviewed by Robert ThorntonDr. Fallers’ book is a collection ofinsightful essays on the “culture” ofinequality. Inequality is nothing, but thinkingmakes it so; and for Fallers. “thinking is asocial act.”In rejecting what he calls “the tyranny oflinguistics over the social sciences” (paceLevy-Strauss et al.), as well as such hard-science-sounding terms as “socioeconomicstatus,” (which achieves quantifiability byfudging the myriad complexities of socialinequality), Fallers invites criticism fromthose who view sociology (broadly defined)as the science of society. He speaks well tothose of a literary turn of mind. Togetherwith the concrete realities of economics andpolitics, the net of social relations that we Inequalitycall social structure is “one of thefundamental bases for stratification, ...man’s tendency to judge his fellow andhimself as more or less worthy in the light ofsome moral standard”. In the light of thismoral standard, the “objective” inequalitiesof wealth and power become meaningful.The inner dynamics of man’s tendency tojudge his fellow within the context of aparticular culture is a fundamental force inliterature, the expression of a culture. Theessays in this book have a relevancy thatextends beyond sociology or anthropology tothe literary arts and humanities.Today the issues dealt with in Inequalityare especially pressing. Differentiationalong lines of sex, age, descent, occupation,religion, race, and ethnicity appear to behuman universals. What are problematic arethe multiple standards of judgment by which• these categories are evaluated. And thetensions, or solidarities, that such evaluationengenders penetrate to the deepest planes ofhuman experience. The essays arecomparative, paying special attention toSub-Saharan Africa, the Near East (wherethe author has done extensive fieldwork),and India. In his attempts to interpret ortranslate these other cultures of inequality,the author feels he is compelled to confrontthe moral bases of inequality in Westerncultures, the assumptions of which herecognizes as his own, and our own.“The social scientist is, after all, amere mortal who cannot, howevermuch he may try, fully escape fromhis own life experience in his ownsociety. The more deeply hepenetrates the mysteries of anothersociety, the more disturbingly theother society confronts his own withinhimself ... I offer these essays in thehope that others, too, may find inthese a similar confrontation with thpunfamiliar some stimulation tofurther thought about inequality inAmerica.”The essays are divided into two parts. first section, “Ideas and Comparisons”addresses a wide range of questions,including the “trickle effect” whichmaintains the illusion of status mobilitythrough the consumption of status-symbolicgoods, and the historical development of ourown notions of equality. The second section isa case study of an African kingdom, whichwill be of compelling interest mainly to othersocial scientists and Africanists. All of theessays, with the exception of a meaty,thought-provoking introductory chapter,have been published previously, mostlyduring the early sixties. But collectedtogether they are seen to be the unifiedattempt by a mature scholar to understandthe fact of social inequality in broad context.In the first essay, Fallers contends that theterm “stratification”, implying all-encompassing, society-wide layers or“strata”, is of limited usefulness. Althoughthe concepts of “class”, or “stratum”, havesince the 19th century embedded themselvesin Western literature and thought, they andthe images they evoke are of relativelyrecent origin, “crystallized in the lateeighteenth century ideological clashes”. Hetraces the use of the terms and theirmeanings from Marx, who perceived thecrucial historical nature of social inequality,through Max Weber, who “relativized” theMarxian schema by removing the “illusionof historical inevitability”. By refining theconcept, Weber made of it “a much moreeffective tool for empirical study.” WilliamLloyd Warner was responsible for applyingthe notion of a “fundamental structure” ofstratification to the study of Americansociety, and through him such ambiguousterms as “upper middle class” have passedinto the American’s daily vocabulary. Inviewing these men and their theories,together with the phenomena they described,in cultural and historical context, Dr. Fallershas performed a valuable task The essaycovers too much ground to be more thansuggestive, but precisely because it does notpretend to be exhaustive, it is all the morestimulating.In another thoroughly considered essay,“Equality, Modernity, and Democracy inNew States”, Fallers outlines what he sees tobe the fundamental bases of inequality indeveloping nations, and examines theprogress of “modernization” in them which uniquely includes the complex which he calls“the politics of equality.” The form thatmodernization takes in any given instance isdetermined by the peculiarities of the newnation’s own “culture of inequality”, as wellas by the nature of its contact with the West.In emphasizing the historical continuity ofindigenous culture in the politics ofdevelopment, Fallers sets himself apartfrom those who see only the influence ofimperialism and capitalism.Fallers’s work, especially as representedby the “Ideas and Comparisons” essays,allows a rapprochement between the socialsciences and the literary arts. The socialsciences have appeared too “cold” to thosewho have sought an understanding ofexperience in terms of their own culturalframeworks. This understanding is properlyliterature, and achieves its motivation andexpressive potential from the culture ofwhich it is a part. But the sociologicalobjectification of “culture” has allowed us toachieve a cultural relativism ai the sametime that Colonialism, and the possibility of atruly international literature and experiencehave made this relativism both necessaryand possible. Now with an understanding ofother cultures more fully developed by amethod which is necessarily objectifying andalienating, there has come into being a newAfrican literature in English whichexpresses the concerns of Africans whoseexperience is rooted in a different culture.They evaluate themselves and others on thebasis of a different moral standard. Byreplacing the emphasis on moral standards,that is cultural standards, and defining thedifferent bases of inequality in Western andAfrican Societies, Fallers gives us the tools,not simply to evaluate, but to understandAfrican and other non-Western literatures.An understanding of the cultural basis ofstratification must permit, even require, theparticipation of a culture’s literature insociological understanding, as explanation incultural terms and ultimately as thefundamental datum. Conversely, therelativistic understanding of literaturerequires a sociological or “culturological”understanding of the social life which(Continued on page 7)(K? wjexsfl ©opgjoco’OOOSGas^fo®[chumdCto sound you want to hoar.. . wrth tnanda or groovtnateme audio ctrcto will g«vayou that sound experience © ®fo*oooO o • VHannon HardenJVCcome on in' We veDt ticket? tor yourfavorite concert*and theater ticketsGet a Christmas TicketronGift Certificate 15-$25the beet of the beet1'to® CtaGejpGfldpaaudio circle SonyTEACAKAI500 S. RacineCIRCLE COURT SHOPPING CENTERCHICAGO, ILLINOIS 60607 226-1171MASTER CHARGE BANKAMERlCAROLayaway A Convenient Monthly Terms Mon -F ri 10 to 9Sat 10 to 6Sun Noon to 5FREE ROOF TOPPARKINO 500 S. RacineCIRCLE COURT SHOPPING CENTERCHICAGO, ILLINOIS 60607 733-6296MON-SAT: 10-9, SUN: 11-5MASTER CHARGE, BANKAMERICARDCARTE BLANCHE & AMERICAN EXPRESS-’ v•10-The Chicago Maroon-Tuesdav. December 3, 1974ISomething Happened(Continued from page 3)fully than the others? Certainly not, and hispresence in the novel is disturbing becausehe is so obviously a device, a symbol ofsomething. He’s speechless and new andinnocent, but then he’s also a dependentvegetable and a source of frank irritationand disgust to his family. Has Heller droppedhim into the novel to give the lie to Slocum’sconviction that we are worth more when weare new? This child can neither love nor fear,and you’d have to be an idiot not to fear inSlocum’s world.Slocum’s other children are not idiots.They are as sensitive and frightened as he is:when the family gathers together, the fathersees each child as himself during a formerstage of growth. When Slocum dreams aboutlosing his ability to speak, his boy becomesunable to face his public speaking class;when his father has dreams about latenthomosexuality, the boy refuses, out of fear,to participate in the “manly” and character-building sport of rope-climbing. Thecorrelation of father’s fantasies and son’sfears broadens the book somewhat, takes itout of the range of Slocum’s solipsistic visionlearning experiences in by showing us that others do suffer in thesame way.Already, critics are hailing SomethingHappened as a novel for these troubledtimes, a social work that tells us aboutAmerican life now. Well, it may be that.Certainly, Slocum’s whole world is going tohell just as rapidly as he’s convinced he is.The universe is out of control, completely outof hand — people are robbed and raped and"nobody knows why” any more than Slocumknows why he has turned out the way he has.For some reason there’s no real whippedcream anymore, and no homemade icecream. Everything used to be better,cheaper and Heller cautiously invites us tofind the sociological analogy that parallelsSlocum’s spiritual depreciation, and thatexists in the novel at the outermost peripheryof his consciousness.Something Happened is more than astatement of contemporary urban angst andit bears about as much resemblance to theMan-in-the-gray-flannel-suit school of fictionas Catch-22 bears to Mash and others of itsgenre. Its serious consideration of theproblems of growth and knowledge show us aJoseph Heller whose imaginative and intellectualexpanded powers have matured andInequality(Continued from poge 6)motivates it and which it expresses. But onecaution: the Western ideology andexperience, along with the vocabulary thatgoes with it: “class,” "feudal,”“aristocracy,” “elite,” “middle class,”etc., have been widely disseminated “withthe result that the ideas and assumptions notentirely familiar to Western experience maybe expressed in words that sound deceptivelyfamiliar.” This is a crucial problem oftranslation, to which considerable discussionis devoted in an essay “Are AfricanCultivators to be called Peasants?”. In theuse of the term “alienation”, by writers of allsorts we discover another instance of thisproblem of translation.These essays help us to appreciate theinterplay of social and economic forces withthe creative and accommodative force ofideas. Dr. Fallers discusses what Max Weberhas called the "Protestant Ethic”, “spirit ofthis worldly asceticism”, as a culturalyear of study for college studentsIf you desire advanced Judaic/Hebraic and Israelstudy, or intend to pursue a career in Jewish teachingor Jewish communal service, a year of study at the co¬educational Hayim Greenberg College is for you. ■The curriculum includes Hebrew Language, Literature,Bible, History, Education, Philosophy. Sociology Tal¬mud. workshops and field trips. ■ Credits for coursesare offered by leading universities with Judaic orHebraic Departments. ■ Generous scholarships avail¬able.tor information on Haym Greenberg or otner educational programs contactWIO WORLD ZIONIST ORGANIZATIONDepartment of Education & Culture515 Park Avanua, W.Y.C. 10022(212) 752-0600 axl. 384/385 solution to the problems raised when theculture of inequality in Europe becamedominated by the occupational structures ofbureaucracy and private enterprise. It isimportant in our understanding ofconceptions of inequality in the Third Worldthat “nowhere in the new states has such areconciliation been achieved” betweentraditional ideology and the bureaucraticand industrial structures of modernity. Butsuch a reconciliation must take its form fromthe traditional cultures of the new states justas the Protestant Ethic had its historicalroots in the traditional culture of the West.Fallers finds that India, with the inherentpluralism of the Hindu religion has beenamenable to a synthesis of East and West,whi!« Islamic states, with highlyconservative and legalistic religious eliteshave consistently reacted against Westerninfluence and have found little support formodernization in traditional belief.This collection of essays, both humane andliterate, rewards the reader with insight andconcise statement on a highly chargedsubject Inequality must now stand as amemorial to Dr Faller s mature thought ona very complex subjectTHIS WEEK FEATURINGArt BooksChildren’s BooksLimited EditionsGerman Language BooksCookbooksFine Gifts For Christmas75,000 New & Used Books40 to 50% OFF!Books for:The ScholarThe BrowserThe CollectorPOWELL'S BOOKSHOP1503 E. 57th 9 A.M. to 11 P.M. EverydayURBAN PLANNINGRECRUITINGProf. W. Paul Farmer of the University of Wisconsin-Milwaukees Dept, of Urban Planning will be at the CareerCounseling and Placement Office, Room 200, 5706 Universityon December 5, 1974 from 10-12 to meet with any un¬dergraduate seniors interested in hearing about an innovativeprogram leading to a Master's Degree in Urban Planning atUW-Milwaukee.iWere in the marketfor talent.We re in the marker tor talent in all phases ot our rapid expan¬sion We need people who can help us manage tor change Inour communications, day-to-day operations, and planning torthe futureWere the sixth largest international bank in the L.S withassets ot over $2C billion We re large enough to provide a dvnamicframework within which talent can grow, vet small enough totake a personal approachWould vou like to come and join us’ Perhaps vou re the kindot tTilent were hooking tor Lets meet and explore the possibil-mes together Ask vour Placement Director when our repre¬sentatives will next visit vour campus Or write to Director LitManagement Recruitment. Department H 2d Pine Street. NewYork. N V k\VSCkiwiicalIkAn fqu«il i '[■>[> >rtumt\ fmnk>\cr I m/ MTuesday, December 3, 1974-The Chicago Maroon-11 7~THeChicagoLiteraryReviewF00:S>ec£o Briefly Noted:?o'JEux The Complete (irimm's Fairy TalesPantheon$12.95Kabe Kuth's AmericaBy Robert SmithCrowell$10.00America in LegendEdited by Richard M. DorsonPantheon$5 95Reviewed by Miles ArcherThe primary way in which folklore canexert an influence on literature is through atype of evolutionary process. A folktale willoriginate. In an area abounding with wolvesor other wild animals, stories about childrenbeing abducted by these animals may arise.In the setting of the early Americanwilderness, lumberjack tales might be morenatural. Some of the stories survive; someendure over a period of time. A group ofsimilar stories become condensed into one,the telling becomes more standardized, untilthe tale becomes a cornerstone of theculture. Once a tale has penetrated to thiscentral cultural position, it becomes readyfor its final role to be used as a buildingblock for new literary creations.Three recently issued books provide anexcellent opportunity to examine thisevolu onarv change in folklore. To startwith. Pantheon Press is reissuing its editionof The Complete Grimm's Fairy Tales.There are 210 of these tales, including “SnowWhite,” “Hansel and Gretel". “Cinderella",and “Rumpelstiltskin" If you don’t have acopy of Grimm's tales, the book is worthgetting, of course. However, in addition tobeing a fine set of children's stories, thecollection gives us a perfect example of theend result of the process of assimilation offolklore into the surrounding culture.As an example of a previous stage in theevolution of folklore. Robert Smith hasprovided us with a book entitled Babe Ruth'sAmerica. Basically, the book is an attempt togive the reader a feel for the times that Ruthlived in by relating various anecdotes aboutlife in those times. The book ranges from thereaction of the Bostonian culture to D.WGriffith's Birth of a Nation, stories aboutLucky Lindy, with Ruth's career serving as amechanism to hold these anecdotes together.The book is not very well written Itwanders around, the anecdotes only mosttenuously connected as Smith tries to paint awide ranging portrait of the America of thattime. What Smith does succeed in doing,purposely or not. is to leave us with thefeeling that Babe Ruth and his era are slowlyslipping out of reality and into the realm oflegendsThe most complex of the three folklorebooks is Richard Dorson’s America InLegend. It is an ambitious work, trying to bean exhaustive, scholarly study of the an¬thropological and sociological andsociological aspects of American folklorewhile trying to remain accessible and in¬teresting to the general public. Even thespan of the book is ambitious, starting withthe earliest colonial witchcraft tales andfinishing with the most contemporary“druglore.”Dorson has clearly attempted a verydifficult task and, not unexpectedly, the bookfalls a little short. Probably the biggestproblems in the book arise in its attempts tobe popular and academic at the same time,with the book constantly wavering betweenthe two styles. Another problem is thatDorson seems to have attempted to include afew too many folktales in the book, makingthe book seem a little jammed together attimes.Despite these problems, the book succeedsin being worthwhile reading In addition tothe stories, Dorson gives us the opportunityto see them in context, see the settings, theeras from which they grew. Much of theearlier folklore has long since passed intomodern conventions, e.g. pioneer settingsand westerns, and Dorson gives us a chanceto examine them a bit more closely.The last section of America In Legend iseven more of a treat. In this last section,Dorson deals with contemporary folklore,primarily that of the counterculture,providing us with a glimpse at the earlieststages of folklore development. It will beinteresting to look back fifty years from nowto see which of these tales has survived. The Country Music EncyclopediaEdited by Melvin Shestack,Crowell, $12.95Reviewed by Richard RandThis book is not what it purports to be andthat is too bad. Country music lovers coulduse a thoughtful, well-researched book whichwould provide biographical and stylisticinformation about performers as Well asanalytical essays on the various formsincluded within the broad confines of countrymusic. By those standards The CountryMusic Encyclopedia does not succeed.Its greatest fault is imbalance. At any ratethere is no excuse for Kinky Friedmanreceiving more space than Lefty Frizzell orfor Nat Stuckey getting better treatmentthan Moon Mullican. No excuse other thanfashion. For trend appears to be the primaryguideline by which this book was assembled.And when trend failed him Mr. Shestack hasresorted to bias —e g. Ian Tyson (of Ian andSylvia fame) is “country” and John Denveris not. Such a whimsical approach does notmake a very useful encyclopedia. However,the CME is enjoyable if we take it on its ownterms.Those terms are the same ones we apply toIan magazines - how good is the gossip0 arethe pictures nice0 The gossip is great (MerleHaggard once had the cell next door to CarylChessman); the pictures ... well... how aboutLoretta and Mooney Lynn making goo-gooeyes over a pot of beans? Right! This is a fanmagazine between hard covers and as suchit’s a success. Unfortunately $12.95 is a lot ofmoney for a magazine. $7.50. however, willbuy you a subscription to Country .Music-Magazine from which most of the CME wasassembled. Then you'll get new stuff everymonth and you won't have to keep readingthe same stories over and over againLike the majority of C&YV singles, gossip isinteresting only when new If Mr Shestack isa real country fan he ought to have knownthat and have given us either a different bookor no book at all.Structuralism in LiteratureBy Robert ScholesVale University Press$9.50Robert Scholes provides a quick, perhapsinevitably superficial, overview of recentcriticism that seeks to establish a poetics,largely of fiction, based on structuralismBeginning with the linguistic background(Jakobson. Saussurei, Scholes movesquickly to synopses of the thought ofRiffaterre, Andre Jolles, Etienne Sounan,Propp, Todorov, Barthes, Gerard GenetteEstablishing a unity of thought among thesefigures is an onerous task, and Scholes doesnot succeed, bogging down early on in amish-mash of metaphorical systems thatdon’t correlate with each other. Neveranswered is a central question: can onederive a complete poetics if one viewsliterature as merely one function oflanguage. For this reader, the book reacheda hilarious climax when, in the final chapter,Scholes demonstrates the presence ofstructuralist thought in . . . John Fowles’sThe Magus. “Vision, for Fowles, becomesfinally a union between an essentially male,existentialist perspective and an essentiallyfemale, structuralist perception.” Too much.(Thorne)The Meekness of IsaacBy William O’RourkeThomas Y. Crowell$5.95An exceedingly well written short novel, itis a rendering of the experiences of one ofthose of us who did not go away to fight inVietnam Far from being an emotionaloutpouring of wrath against the injustices ofthe war or a purging of guilt-feelings aboutavoiding the draft via deferment, the work issingularly unmelodramatic The charactersexperience, but do not seem to feel fully;perhaps it is because they sense a lack ofcontrol over their lives, and their feelingsand actions become disconnected.Experiences which should be purely joyful,like sex, only serve as releases, illusions offreedom. Many of us still do not know what tothink about what was happening to us duringthe late 1960s; perhaps books like this willeventually help reconnect us with our ownexperiences during those troubled times.(Northway)12-The Chicago Maroon-Tussday, December 3, 1974 Masters of Contemporary Photography (4vols.)Alskog/Crowell$3.95 per volumeIn the first four volumes of this series, thephotographers Paul Fusco, Will McBride,Bert Stern, Mary Ellen Mark, AnnieLeibowitz, and Elliot Erwitt are examinedrather skimpily (each book is under 100pages) through the means of briefbiographies, discussions of their outstandingphotographs, and the more general aspectsof their profession (photojournalism, photo¬essays, advertising photography).Unfortunately, the emphasis of the series isheavily on commercial photography; mostlavishly praised here is Bert Stem, bestknown for his work for Smirnoff Vodka. Thewriting is slick and superficial; in at leastone case, that of Annie Leibowitz, her workand the context of her photogi aphy are badlymisrepresented. In a time when photographyis more and more respected as a genuineform of art, it’s a shame the editors of theseries haven’t concentrated on those withmore of a claim to being “masters ofcontemporary photography.” (Thorne)From the Land and BackBy Curtis K. StadtfeldCharles Scribner’s Sons$2.95Family farming as a way of life has all butdisappeared in the United States. No one isquite sure just how much the lack of acommon rural experience, for so long a partof our heritage, will affect the spirit andquality of American life. Professor Stadtfeld,who grew up on a farm in central Michigan,has provided us a long-sought appreciation offarm life, and some sense of what we will bemissing without it For Stadfeld. thoughurban life has its rewards, “we rememberforever that we were once part of somethingwhole; we struggle to make our children partof our world in the same way, but we do notsucceed, because that life was too full, thesharing too close and too simple, to duplicatenow." (Northwav>The Rolling Stone Guide to High FidelitySoundBy Len FeldmanStraight Arrow$4.95Len Feldman audio equipment specialisttor Rolling Stone, has written a brief, butthorough and straignt-forward, guide to theevaluation of stereo systems Not included isinformation on specific brands of stereocomponents. Feldman is a quadraphonic-enthusiast (he invented one quad system*but pushes it gently According to Feldman,“honest sound" begins at around $450 list forbasic systems and moves rapidly upwards. Ifyou're planning a purchase in thosestrataspheric regions, his book can be a realhelp in avoiding becoming “buried in themire of technical jargon and hard-to-understand specifications.” (Thorne)Whole Earth EpilogEdited by Stewart BrandPenguin Books$4.00Stewart Brand’s Epilog is somewhat betterthan the host of imitations that the WholeEarth Catalog spawned, but is in no way asgood as the WEC. It’s interesting to see thechanges the staff’s gone through: after a bitof rural relocation, most decided SanFrancisco was a better place to live; LloydKahn has discovered that domes invariablyleak; Brand, too, has sold off heavily onBuckminster Fuller and is now bullish onGregory Bateson. The original WEC did sucha good job that most of the Epilog does comeoff as merely an after thought. A new editionof that Last Whole Earth Catalog withupdated “access information’’ is nowavailable from Random House for fivedollars. (Thorne)Universe 5Edited by Terry CarrRandom House$6.95This book is the fifth in a series of volumesof original (i.e., not reprinted from themagazines) science fiction that Terry Carr isediting for Random House. The strongeststory in the collection is F. M Busby’s “IfThis Is Winnetka, You Must Be Judy,” which plays with the hoary idea of time-skipping ininteresting, if traditional, terms. Three ofsf’s more interesting writers, Ursula K. LeGuin, Fritz Leiber, and Gene Wolfe, presentlight, fluffy stories; Hilary Bailey with “TheRamparts” stands out among the newerwriters Carr’s discovered. Terry Carr ispossibly the best editor now working inscience fiction; anyone interested in sfshouldn’t miss these books. (Thorne)Heller Interview(Continued from page 1)lleller: Yeah.Thorne: Do you see yourself as a blackhumorist?lleller: Well, 1 don’t think that I am the oneto be asked that. I do think critics know moreabout literature and individual works ofliterature than the author does And theycertainly know more about genres ofliterature than authors do. How I see myselfis not as important as how others see me. Ifthey do group me with black humorists then Iprobably belong there.I didn’t like the classification when it firstcame up because I would find myself beinggrouped with writers with whom I felt myown work had little in common. I didn't liketheir works as well But I think my judgmentin that area should step aside for thejudgment of other |>eople.Thorne: Do you see black humor as asignificant movement in contemporaryliterature right now'.’lleller: I think the literature of this period,say from '54 or ’55 on. has l>een moreimaginative and more vital, more significantand more intelligent than any in the historyof the world I do think there are more greatAmerican novelists at work today, moregreat American novels being written todaythan ever before It’s uniortunatc that mostot these will go unrecognized They are sogood and hardly any of them are read Thereart* so many of them that the culture can'tabsorb them, the newspapers don’t evenhave enough space to review themBlack humor is one very significantmovement The traditional, realistic novel iscertainly still w ith us and doing well. But wehave today a large number of gifted individual stylists whose works have very littlein common other than the fact that they arewritten by someone who wants to write hisnovel his way. I am thinking of people likemyself, Thomas Pynchon, John Barth, JohnHawkes, Saul Bellow. Philip Roth andperhaps a few dozen others whose namesdon’t come to mind right nowIn the case of John Barth his novels don'teven resemble each other, let alone other-writers. But these writers do seem to have incommon a vein of humor In most cases it’s asignal to the reader that he ought not to takewhat is w’ritten too seriously, that he’sreading nothing more than a novel aboutserious things. Of the people I've named,with maybe Saul Bellow as the exception. Idon’t think we think of ourselves as ex¬pounding the living important truths. I don'tthink there are any important truths that thereader is unfamiliar withThorne: Do vou think that stance is in anyway a reaction to the modernist movement?lleller: No, I don’t think it’s a reaction. It'swhat you might call a retreat from realismor an advance beyond realism. I like toregard a work of literature as a work ofliterature — as a symbolic masquerade forreality. The reality and our writing about thereality are two different things. There’ssomething artificial in writing Writing isdifferent from life A story about life is notthe same as life itself.In John Barth, for example, the writingitself is the subject of the book In my booksthere is literal truth and there is imaginary-truth, and hallucination is dealt with andfantasy is dealt with, interchangably andsimultaneously. It implies a recognition onmy part, an admission on my part, that I’mtelling you a story and not handing you ahunk of experience.The war situation in Catch-22 came frommy own experience, but the war that I amreally dealing with was not World War II butturned out to be the Viet-Nam war. It’s notliteral. In Something Happened what I haveis almost an abstraction of my corporateexperience. I write in abstractions becausethe chances of my writing correlating withthe experiences of somebody else is greaterif the specifics are fewer.i 1LETTERS TOThE EDITORcontinues from poge 3mistake People shot by nervouspeople ..people shot byparanoids.. people shot byschizoids. .— But the point is, it’s thecriminal who shoots |>eople.You might as well try to outlawcold rain, to stop people fromdying of pneumonia, as to banhandguns so that people wouldstop getting shot.Secondly .it’s not easy to get agun in the state o! Illinois. No sir!By George, it’s downright toughto get a gun. especially in the cityof < hie ago Mere in Chicago, youhave to fill out forms,icgister you even have to giveyour right name' Of course,outside the city, it's just as hardYou have to put vour moneydown, tell a tew white lies andyou have yourself a gun—andnobody knows you ve got itHut it you can’t lieconvincingly, by George, you reout of luck And it you can l raisethe lew dozen dollars well, toobad. Charlie. II you’d get a job.you could get a gunFinally, it’s time that theAmerican people stood up to theerosion of their rights. For twohundred years, we've been losingour precious liberties: the rightto own slaves —the right to keepw omen barefoot an dpregnant—the right to work inthe fields and factories for 50* anhour at age 8-the right to poisonourselves and our progeny—andnow they're trying to take awayour right to a concealed weapon'They're trying to remove the onefinal barrier that stands betweenus and the endless hordes of theunderworld! They’re trying toremove the only friend we’ve got!In the words of anotheracademician."Don't let them take it away!"(Tom I^ehrer. "Smut!")Frank Hayes IIIAmnestyExcept for an elitism repeatedtwice, the article on amnesty(Maroon, Nov. 12) deserves an“E" for excellence. My fellowmembers on the steeringcommittee of the Hyde ParkPeace Council have discussedyour article and all agree that itis snobbish to say that "over 80percent of the deserters , hadlittle or no political motivationsfor leaving the military...” Infact, they voted with their feet.Caught up in an obscene andimmoral war, they were unableto be propagandized intobelieving its relevance for them.They acted out the philosophicalimplications of the earlyobservations of the Rev. Dr.Martin Luther King, Jr. Everydeserter had, in his own way,commented on a draft systemthat used the poor in the frontlines of an imperialistic war.The article was very good. However, there is more to sayTherefore we request a follow updiscussion on amnesty for thosewho received less than honorabledischarges in a racist militaryworld and now must face theunemployment and under¬employment usually experiencedby ex-convicts. Since the City ofChicago has an unusually largenumber of people with less thanhonorable discharges and theconcentration center is on theSouth Side, it would be good tohear voices from the Universityof Chicago speaking out for ourwronged brothers. It would alsobe good to comment on theveteran’s status question on theIllinois State Scholarship formwhich asks a inan: what kind ofdischarge?Peace,Arthur C. BryantAnti-abortion1 was very disappointed with BillStygar's letter, which appeared inthe November 5th Maroon Whatdisappoints me most about peoplewho wish to ban abortion, whodefend a child's right to life, istheir inability to take the child'spoint of view.Some adults are not fit to beparents; consequently, somechildren’s lives are not worthliving, from their point of viewHow many Johnny Lindquists haveto die before people understand?How many children have to killthemselves out of frustration? Thespectrum of unhappy children isbroad, ranging from these extremecases to those quiet and sadchildren who grow up to avengetheir unhappiness on someone else.The time has come for those whospeak of children’s rights to bemore generous with the rights theygrant to children Children needmore than food and shelter.Perhaps more than anything elsethey need parents who are willingto learn parenting , parents whowant to be parents Children have aright to be born of people who wantthem. During the five years I’vetaught in Chicago schools I’ve metso many parents who don'* liketheir children and whocommunicate their feelings,consciously or unconsciouslyTheir children are uncomfortablewith themselves and everyoneelse. I am not so naive as toimagine that my concern for themis going to make much differenceThese children want their parents’love, and no one else’s love will bethe same.Adults who recognize that theydon’t want children or should nothave children make an importantadmission. They should be free toact on that recognition, to preventparenthood, whether through birthcontrol or abortion.No one is asking Mr. Stygar tohave his children aborted. But he isbeing asked to let other people decide for themselves whether ornot they will be parents. And he isbeing asked to give children allchildren-the right to be born ofparents who want them.Carol CroninAbortionAs I read the anti-abortionletter in Tuesday’s MAROON, Ifound myself more and moredismayed with each paragraph. Iwas not at all surprised, when Igot to the end of the letter, to findthat a man, Bill Stygar, hadwritten it.Women have fought a long,hard battle for the right to controltheir lives; they are just nowbeginning to h e legallyguarantmf those rights To bedenied them now is taking a largestep backwards to the theory thatwomen should be kept barefootand pregnant.The existence of abortionlegislation and abortion referi*.!services do not in any way forceanyone to have an abortion. Ifyou are morally against abortion,that is vour privilege, and youwon't get an abortion, but whatright do you have to tell me that Imust follow w hat vour consciencedictates?I contend that, especially beinga man. yov can have no con¬ception of how much the lack ofavailable abortion takes thecontrol of a woman’s life out ofher own hands If a man has sexwith someone, he usually lays theburden of contraception on her Ifshe does get pregnant, the mosthe can get saddled with is childsupport, and even that is legallyavoidable. The woman, on theother hand, must carry the child for nine months, inevitably willmiss some school or work even ifshe gives the child up for adop¬tion (which has its own uniqueguilt feelings), and must endurethe shame (for, oddly enough,although almost ail the socialstigmas about premarital sex arcgone, they still remain forchildren out of wedlock).So. you will say. she should usea contraceptive. No con¬traceptive, not even the pill, is 100percent effective Well, then, shehould refrain from premaritalsex. But will the thought that youmight be creating a child throughthat 2 or 3 percent failure ratekeep you from engaging inpremarital sex’* Hardly, if youhave no other moral qualmsabout it Why should it force herto? Why shouldn't she have theright to not hinder herself with anunwanted child? That is, afterall, no more rights than youenjoyBarbara ShaefferRiflesThe lack of reason in therationale of George Belendiukpresident of the U of C rifle club,astounds me. His claim that a gun"is incapable of doing any harmunless it is misused by a person"would seem to invite thelegalization of everything fromheroin to babies’ rattles coatedwith lead-based paint And hespeaks from both sides of hismouth when he warns of thedanger of taking awayconstitutional rights and thenproceeds to advocate "getting theguys hanging around the corner,”one would assume without probably causeIn other words, one is entitled tothe protection of the constitutiononlv if he looks and acts like MrBelendiuk s conception of a law-abiding citizen Unfortunately,some members of Chicp^o’s finestfeel the same way, and this onlyresults in the dismissal of themajority of cases in gun court.Such arguments are reminiscentof those of the National RifleAssociation in opposing theuniversal registration of arms asan abrogation of the "right of thelaw-abiding citizen" to bear armsIt is unfortunate that theirinfluence in Washington is sostrong that efforts to reduce crimethrough legislation are stymiedKenneth SaxPrisonerI am a federal prisoner! I’vebeen incarcerated for a ridiculasisic/ period of almost six yearsnow My release date is in thevery near future During the timeI've been down I ve lost contactwith the people I once knew onthe streets excluding relativesWhat I would like is people tocorrespond with these last fewmonths of confinement Its sort ofscary being released after beinglocked up for so long and notknowing anyone on the streetsI would since-ely (sic ap¬preciate it if you would print thisletter in your school papaer orrun my name and addressstateing < sic) my plea forcorrespndenceThank you’Joe Sadauskas =27200P.O Box 10W)Leavenworth. Kansas Wi048VOLUNTEER BLOOD DONOR PLEDGE CARDBlood Bank, Rm. M134The University of Chicago Hospitals & Clinics950 East 59th Street • Chicago, Illinois 60637'BlOOD type Hh factor|i< known) (if knpwniNameLocal AddressCityOccupation AGE WEiGhtStateBusiness Address City ?tateI can be reached by phone best atThat phone number is Call 947-5579I pledge to donate a unit of bloodif called upon, my medical his¬tory and the state of my healthpermitting.1 LZ can L can t make a donationduring business hoursZipEmployed B*I‘p- Loca> PhoneBusmess Phoneo clock Normal Business HoursNormal Business daysAsk for Parking InformationWritten Signature Da*<?This space 'ordates drawn Sx>al Security Numb*-NOT MUCH BETTER: During the lost week of November 367 units of blood were uc.ed in tran¬sfusions. Only 86 units were donated.INFLATION CETTINCYOU DOWN?Fifbt back withwmm mister .kelly sDEC. 2-IS1028 N. RUSH • 943-2233ADVANCE TICKITS NOW ON SA1E ANDAVAILABLE AT ALL TtCKETfON OUTlfTS U. of C. Karate ClubClass Starts: Jan. 15, 1975Place: Ida Noyes Hall1212 E. 59th St.Time: 6:30-8:30 P.M.Mon. & Wed.Karate DemonstrationJan. 15, 19757:00 P.M.Ida Noyes Hall CALCULATORS'UNLIMITED SELECTION'UNBEATABLE PRICES'Niso AbuafMidwest Cooperative Rep753-0182Hrs MTW 7-00-8 30 P MF 3 00 5 00 P MOr Call When You WishSatisfaction GuaranteedTuesday, December 3, 1974-The Chicago Maroon-13was'"V\:r-P4?r5Sfrii ■continued from page 2Homentash the Danish' ?It remained for an economist.Professor Stigler, to place theissue in its proper read objectiveperspective. Citing the law ofdiminishing margin of utility,professor Stigler noted aninteresting fact.‘if vou offer a latke lover a plate of latkes and a plate ofhomentash, be would probablytake the latke and fling thehomentash in your face If yourepeat this proc ess for the fifth ortwenty-fifth time, he willeventually choose the homentashsimply for variety."The upshot of professorStigter’s remarks was that one cannot assert the superiority oflatke or homentash absolutely,circumstances surrounding one'sconsideration of the question areextremely importantHis remarks embodied thespirit of the symposium, Thecontroversy is irresolvable Afterall if it were amenable to resolution, what would bediscussed next year?Fortunately, the sponsorsprovided a free sampling of latkeand homentash at the conclusionof the symposium, Eachindividual was allowed to decidethe issue for himself. Personally.I found that the latkes were by farsuperior. H4urn/No news is good newsBlues concert Thursday iJcontinued from page 4playing the kind of music that heis associated with today, solidChicago blues. Raw, unpolished,and heavily amplified, this typeof music indicated an intenseawareness of the urbanenvironment. The records thatBrim made back then (especiallythose he recorded for Chess)stand out as some of the finestexamples of the postwar Chicagoblues style. These records arecharacterized by Brim'semotional, expressive vocals,and by the dynamic, explosiveaccompaniment of the musicianshe used on his recording dates.They included harp player LittleWalter Jacobs, who wasprominently featured on all ofBrim's Chess sides, as well asSymposiumscheduled forA day-long symposium oncardiogenic shock open to allcoronary care nurses in andaround Cook, Lake and DuPagecounties will be held at the Centerfor Continuing Education onWednesday, December 4, from8:00 a m. to 3:15 p.m.The latest techniques in the useof cardio-assist devices will bediscussed. New developments intreatment and therapy will bepresented by recognized clinicalauthorities.Sponsors of the symposium arethe Chicago Heart Associationand the University hospitals andclinics.Faculty and guest speakersfrom the University hospitals Robert Jr. Lockwood, FredBelow. Eddie Taylor. JimmyReed, Louis and David Myers,Willie Dixon, and Brim's wife.Grace.As the sixties dawned, thedemand for the kind of music thatBrim was piavmg lessened. Hehad never made a lot of moneyplaying the blues, but he refushedto work for nothing Thissituation, combined with thegeneral lack of interest in Brim’smusic, caused him to stopplaying professionally. A longstretch of musical inactivityfollowed, broken only once in 1971when he released a single on hisown S B. label entitled, "You PutThe Hurt On Me". John iinancedthe record himself, and wasdiscouraged when it did not dowell due to lack of airplay.Brim is extremely seriousheart attacktomorrowinclude Dr. Jafir AlSadir,assistant professor of medicine inthe cardiology section; Dr. C.E.Anagnostoupoulos, associateprofessor of surgery and head ofadult cardiac surgery; AnnBarber, R.N., staff nurse in thecoronary care unit (CCU); KarenGrimes, R.N., assistant headnurse of the CCU; JoannePerner, R.N., instructor incardiac nursing; Dr. LeonResnekov, prefessor of medicine,joint director of cardiology; Dr,Calixto Romero, assistantprofessor of medicine in thecardiology section and director ofCCU; and Diane Uhl. R.N. staffnurse, surgical intensive careunit.The Chicago MaroonJeff Ro‘hmonoging editorsports editorMike Klmgen smith Tim Rudyeditor in chiefPaul Yovovichbusiness monogerassociate editorAnn ThomeMilitant bonneti managercontributing editorstaff Steve Durbinnews editorWom Crawford Stoat*John Voilphoto editorTpm Me NomuraScott Bernard Chip Forrester Sheree Mallory Rochet RosenMike Boianowski Peter Gallonis Mory Mortise Jonathan RoihstemTom 8ronion Clara Hemphill Pool Miller Elizabeth RusloCarol Burn tide Mork Henkovrti Jim Noct.bar Mike SingerPeter Cohn Mary Ann Hudson Tony Ooki Mork SpieglonPeter Ooper Kevin Komrociewiki Anne hiker Oeon valentineJeanne Dutorl Suzanne Kleinphoto staff Jon Rhodes Oove A/elrodTonyOerretf Imdo Gould Ros* tyon Jeff MuschlerEric Buether Chorlie Harvey Suite lyon Rossohe PoznochowskiGory field John iowter Mary Morhse Oovid PieserChip fan ester Jonicetyon ’ Eugene MichaelThe Chicago Maroon is published twice a weekduring the academic year. Advertising and sub¬scriptions are handled by the Business Manager(Paul Yovovich), 1212 E. 59th St., Chicago, III. 60637.Phone 1312) 753-3266.4-The Chicago Maroon-Tuesday, December 3, 1974 about the blues and treats hismusic with all the respect itdeserves His style has notchanged m twenty years. He hasrefused to compromise and hasnever considered playing morepopular types of music althoughhe might have been able to dobetter financially if he had Hestarted out playing what he calls“the old back beat blues” andhas been playing them eversince.His upcoming concert promisesto be quite an event. Brim issinging and playing better thanever His voice has improvedwith age and his guitar playinghas gotten a little smootherwithout losing any of the drivingforce and vitality evident on all ofhis old recordings One armedharmonica player Big JohnWrencher will accompany Johnon the harp, and they sound superb together. The musicalrapport between these twobluesmen (who had never rnetbefore) is tritely astonishing.The band has been rehearsingfor over a month which, withJohn Brim's shouted vocals andsearing guitar licks, and JohnWrencher's aggressive, fullbodied accompaniment on theharp, rival the best of the southside clubs for live blues GuitaristJimmy Reed, Jr., son of Brim’slongtime friend, blues greatJimmy Reed, is leading the band,an outfit composed entirely ofyoung Chicago musicians whocall themselves "One StepBeyond'*. Jimmy Reed'sdaughter, Malinda Reed, a singerwhose voice invites comparisonwith those of Koko Taylor andLucille Spann, will also appearBest of all, Amy "Atomic Mama”O’Neal, who edits Living Bluesmagazine and hosts the finest STIGLER: Economist GeorgeStigler speaks during thelotek-homentash debate.blues radio show in town,"Atomic Mania’s Whang DangDoodle Blues .Show”, will be theemceeWHPK-FM is sponsoring theconcert. If it is successful andenough people turn out, otherblues concerts will follow Evenin Chicago, it is difficult to hearblues, pure and unadulterated,the way John Brim plays them Ifyou are already familiar withwhat John Brim does, then it isunnecessary to suggest that youattend the concert If you are notlamiliar with what John Brimdoes, but would like to discoverwhat the blues is all about, takesome time off from your non-stopall consuming, tenth weekstudying and be at Mandel HallThursday at 8:00 p m It is yourchance to see and hear owe of themost moving and exciting of theChicago bluesmen, and you hadbetter not waste it.CALENDARTuesday^ December 3ON CAMPUSINTERNATIONAL, FOLKDANCING: 8 11p m , t HouseMEETING: lor the Democratic SedPMSt*7 30 p.m . Ida Noyes HailRECITAL: Edward Mondeilo Universityorganist T2 15 p m Rockefeller CnapetLECTURE. "On the Use ot Energy," byStephen berry a: is p.m.. Research In¬stitutes 480AUDITIONS: for "A Plea m Her Ear" byGeorges Feydeau, 7 '0 p.m Mandel HatiOFF CAMPUSDINNER, traditional Japanese ChristmasDmner will toe served at the Museum q!Science and industry, call MU 4 1414HPKCC: Annual meeting of HPKCC, wineand cheese reception at 7:00 p m for $2,00donation. 8 0G pm meeting with adocumentary p»ay. "They Knew how toAAt, .e Histot ’ " 5039 S GreenwoodWednesday/ December 4ON CAMPUSBRIDGE: 7.00: pm, Ida NoyesGAY LIB. 7 30 p m , Ida NoyesCOUNTRY DANCERS: 8 00 p m . IdaNoyes.RECITAL: Rotoeri Lodme, Caroton Recital,12 15 p.m. Rockefeller ChapelHOLIDAY GREENERY: Florist JosephOpyl will demonstrate holidayarrangements at the UC dames club meetingtonight at 7 45 p m . 1349 £ Hyde Park.LECTURE: Eugene Costs on "Christiansand Pagans m the Court of Constarttius It,"8 00 pm Regenstem LibraryLECTURE: Aristide Zoiberg on "BlackPower in Africa The Second Decade," 3.30p m Classics 10LECTURE: Pedro Cuatrecasason "CholeraTown, Ceil Membranes, and the Moduiat.onof Adenylate Cyclase by Hormone Recap-tors", 4 00 pm Cummmgs Life ScienceCenter/Room 101LIBERTARIAN CLUB: 7 30 p.m., IdaNoyes.OFF CAMPUSDICKY BETTS: and the Orark MountainDare Devils. 7 30 pm , Auditorium,SPIDER: through' .Sunday at the QuiffKftiRht,Thursday^ December 5ON CAMPUSTABLE TENNIS: 6 00 p.m., Ida NoyesDBS: Organiration of Black Students, 7 20p m , Ida NoyesGAY LIB: 7 30 p.m., Ida NoyeSISRAELI DANCING: 8 00 p m., Hill«lBLUES FESTIVAL. 8 00 pm., Mandel HaltS3 00LECTURE! Hatvof Cflstensen on "Recognition Sites for Material Transporiand Information Transfer," 3 30 pm.Biltongs HospJaiLECTOR E : H a I v o r Crtstcnsen on"Energization of Amiftb Add Transport inthe Ehrlich Ceil," 10:30 a m , CummingsLite Science Center, Room 101MEETINGS for HI ft students/ faculty,Salvatore Maddt on "PersonalityPsychology," 7 00 pm, Cobb Coffee ShopTHE TRIP, AND THE LANDING directfrom the Body Politic through Sunday, 8 30pm., Reynolds Club Theatre, SI 50.LECTURE- Uwe Nertoch on "Beyond theCold War," 4 00 p.m Rick 104OFF CAMPUSDEEP PURPLE: 8 00 pm., AmphitheatreVAMPIRE FUNERAL GAMES: Macabre atthe Goodman Theatre, 1 30 pmDON'T: go oft campus Ibnlght, to WHPK'sbtues festival, 8.00 p m . Mandel, S3 00Fridayf December 6ON CAMPUSCHRISTIAN FELLOWSHIP: 7 00 pm , IdaNoyes.FOLK DANCERS: 8 00 p.m , Ida Noyes.WASSAIL PARTY: starts at 4 30 p.m., tdaNoyesVERMEER QUARTET CONCERT: 8 30pm Mandel Hall, for into call 752 2412LECTURE: Peretz Ktdorn on "Israel andthe Palestinians,” 8 30 p m HilietLECTURE: Richard Martin on "EventLogic and Linguistic Structure." 4:00 p.m..Classics to.PANEL DISCUSSION: "Health Care:Public vs Private", 3.30 5 00 p m , BiltongsHospital P H7CONCERT: She>ta McKenzie performsInternal tonal Art and Folk Songs, 8 30 pm,Fermi National Accelerator LaboratoryAuditorium, call 840 3027RECEPTION: tor black students byOrganization ot Black American culture,4 00 7 00 pm , Burton Judson law loungeSET: Entertainment by OBAC(Organization of Black American Culture)Workshop, food and liquid refreshment, B Jlaw lounge, 4 7pm. Hosted by DBS andblack students from business schoolOFF CAMPUSINTERPRETERS THEATER: "Look WhatThey've Done to My Song, Ma!" a look atwomen tn literature tonight and tomorrow at8 00pm , Northeastern Illinois U., call 58.14050 ext 521STAMP AUCTION: 7 00 p m , at the PalmerHouse.ROCK: The Marshal Tucker Band the theCharlie Daniels Band. 8,00 pm, Aragonballroom ■ ...'Saturday/ December 7ON CAMPUS 'CSA: Chinese Student Association, 6 00 p.m., Ida Noy#S.LUNCH 100 pm. Cross roads in¬ternational student cente- $t 50DUPLICATE BRIDGE: I 30 p m., I HouseOFF CAMPUSFIDDLER ON THE ROOF: presented by theHyde Park Jewish Community Center AdultT een Theatre tonight and tomorrow at 8 30p m , Imperial Room of the Del Prado Hotel,$7/5,LECTURE; "LaatHfeCaricer Deterrent?"by Paul Hampton, 9 00 p m , at the Collegeot complexes, 105 W Grand Ave , $2 00.OHIO PLAYERS: and Graham CentralStation, 8 00 p m , Ane CrownWISHBONE ASH: 8 00 p m Oak BrookForum.BDNNfE KOLOC: at the Amazingracecoffeehouse, 845 Chicago, EvanstonSunday, December 8ON-CAMPUSSERVICES: preacher Jac{ Oyrud on"Facingthe Future", 11.00a m. RockefellerChapelORATORfO: 3:30pm . Rockefeller Chapel,lor tickets call 7$3-3307,. /HANUKKAH PARTY: "Night of the FustCandle," 7 30 pm , Hiliet.FOLKOANCERS: 8:00 pm, Ida NoyesFILM; "Digging for the History of Man",J 00pm, Breasted HallOFF CAMPUSSKYFARMER: Redwood Landing,Argonmp, at a bent it concert, 1:30 and 4 00pm. Haven Middle School Auditorium.Lincoln and Green bay Rd., $2 50LECTURE: "The Process of Psychotherapyas Symbols in Alchemy" by EdwardEdinger. 7 00 pm, Norris Student CenterNorthwestern University Evanston, call 327m ___Monday/ December 9 *Friday/ December 13ON-CAMPUSE%AM WiWMW- ■LECTURE Syozo Osawa "The Control ofRibosomai Rna Synthesis in Escherichiacoli." Tuesday, 2:30 pm, CLSC room 101LECTURE: Saul Roseman on "Studies on aBader ial Phosphotransfearase System andits relation to carbohydrate transport."Wednesday, 4 00 0 m., CLSC room 101.OFF CAMPUSTRADITIONAL CHRISTMAS DINNERS.Irish on Monday, Lithuanian onTuesday , at the Museum of t-MbfIndustry call MU 41414.FRIDAY THE THIRTEENTH What betterway to go but a real live Black Sabbathconcert, 0 p.m , Amphitheatre.< ternmmmmmIMAROON CLASSIFIED ADSSPACESUBLET: SOSO Lk Shore Dr Spaciout2 bdrm, 2 ba modern fhroout UC minibus, 1C, CTA, at doorstep. Doorman24 hr sec, valet, cleaners, pkg in bidView Ik every rm. Many extrasPerfect faculty/grad 947 9892 att 6New roommate wanted tor HOUSEPrivate room common cookingJ73/ mo Inc. utilities 5450 Dorch 493iilL 1Rm tor student woman 3rd f! of priv.home Very Ig, light, airy. Lt cookingShare bath w/ 1 other *70/ mo. Furn.Must have own phone 684 5075 evesbefore 10 PM or weekendsRoom, bath, and partial board avail.Dec 15 in home nr campus in exchfor some sitting Prefer female CallGrossman 288 5174.11/2 room furnished kitchenette apttor Jan 1st *127 00 month, one person,lease, 5442 Harper Ave Midway 39389CHICAGO BEACH HOTELBEAUTIFUL FURNISHED APARTMENTS Near beach, parks, loop, UCand 1C trams, 11 mins to loop busses,door Modest, daily, weekly, monthlyrales 24 hr desk Complete hotelservices 5100 S Cornell, DO 3 2400Miss Smith,Roommates wanted *48 5/1 monthlyNearby, quiet, complete aptsl athain. Kusatu, Rutherford, Common 6045 Woodlawn (955 3936, 42/2583' or Iv word 922 8411. « 311 SCENESLive in Treoerika's famous buddingNearby turn or unfurn 2. 3, 3 1 2 rmcomplete apts for 1,2 3 people Qu et.51/0 up Free utils Lathan. Kusatu,F'utherforo Common 6046 Wood:awn,42/ 2683 955 V079 or leave word at 922 HEALTY CARE: PUBLIC VS.PRIVATE A panel discussion andopen forum, Friday. Dec. 6, 1974 atBillings Auditorium, PI 17 BillingsHospital. vKosher Co op Members! Meeting atHillel on 12/ 8/ 74 (Sun) at 5:30.The LI BE RAT ARI AN CLUB will meet7:30 PM Wednesday, Dec. 4 in theMemorial Room, Ida Noyes HallU OF C CHRISTIAN FELLOWSHIPmeets Wednesday at 7 30 p.m. for atime of worship, teaching & fellowshipat 5625 University. All are welcomePEOPLE WANTEDWanted An organist or a guitarist fora small mission We have servicesSunday afternoons at 4 PM . Call HU 73158 The Mission of the Divine Word6406 S. Carpenter St Chicago, Illinois60621.Wanted Reader and researchassistant 52 an hour. Flexibleschedule 472 8092 after 6Volunteers wanted 1o work withemotionally disturbed pre schoolchildren Training and supervisionprovided by mental healthprof essionais Minimum commitment 20 school time hrs/ wk Call332 Il6lStudents needed to participate inexperiments in cognition and communication 52 hour Call Ms Stockman. 753 4/34POR TRAITS 4 lor *4 and up MaynardStudios, 1455 E 53 Sf 2nd Floor 6«34083 PEOPLE FOR SALEJOSEPH JARMAN Woodwinds.Composition Breathing Life MusicNow willing to work with a fewstudents who have basic skills andseek depth in Art of Great BlackMusic 241 5324 for appointmentFrench Native Grad Student wouldtutor on campus Call after 4 p m. 3540275CREATIVE WRITING Workshop bywriter columnist, help on thesis, etcMU 413124Paperstyped, carefully. Bob Ringles,5816 Blackstone, 66/ 6262FOR SALEii i Room boarschool boiHours f<nJanuary F ary lor childcare ol 71 light houseworkxible Start Up t,i4/ 6667 Kate Ba/aar 200 antique oak chairs Rushseats $10 *30 1st Unit Church 5650Woodlawn Sat. Dec 7 10 4 BreadBaked goodies Plant cuttings MoreAmazon Parrot with cage 5300. CailRory 752 9815'66 Chevy Impawa SS Only *325 Call752 1728 Auto P/ S Snow TiresWinterizedA nostalgic Christmas Gif* 12 spodeplants depicting the campus of TheUniv. of Chicago Dated 1931 Mint5800 00 312 88/ 8885For sale SR 10 Calculator PriceNegotiable Call 94 / 9306'66 Mustang convertible good condNew fires, transmission Best offerCall 241 766/One small lightweight late model (4yrs old) Royal portable typewriterMay need a cleaning o‘ keys but hasbrand new ribbon 530 or bes* offerCall Murk 241 6/37 aafter midnight orbefore 10 a mMAROON CLASSIFIEDS CANMAKE YOU A BUNDLE!And Weavers,Pottrr-3 a*vi C And lom <\k.Chk,'3twtle.ht cvaiA Woodworker?of Mocrone.CoLLagcv Crockdwork.. /te¬sted 3a'*r cit"Tables jree "to U C StmicntsFee. variable to Staff & focuUujCaU. 3-3591Dacamioer 5 and 6'R^aolds Club North Course A Man ForOthers—A ForeignMissionaryPriestThat s what a Columban Fatheris. He s a man who cares anda man who shares a man whoreaches out to missions m Asiaand Latin America to shara theGood News that Jesus trulycares fot them He t a man whocommits his life totally to othersso they can live their lives asGod intanded Being aCOLUMBAN FATHERis a tougli challenge but if youthink you have what it takes andare a Catholic young man, 17 to26. write today for ourFREE 16-Paga BookletCMColumban FathersI SL Columbans, NE MOMI I am interested in becoming a| Catholic Missionary Priestj Please send me your booklet CALCULATORS STEREOSUnlimited selection at unbeatableprices. Niio Abuaf, Midwest CoopRep 753 0182 Hrs 7 8 p.m.IMMEDIATE! Gracious apartmentright on the lake Cozy fireplace, 2bdrm & den *89 per mo 8, some taxdeducitable expenses Owner wantoffer tor equity. Will deal Co op Boardto Review Call Mrs Vickstrom, 667Kannrrty. Ryan. MontaniAKIDOAmazing Akido that "Other" MartialArt, which blends meditation andaction checking it out is free 6 30 8 30Tues & Thors 3 00 4 00 Sat B«rtletfGymTHEATREOpen Auditions tonight tor FLEAIN HER EAR 7 10. Mandel Hall. 7533581THE TRIP 8. THE LANDING, fromthe Body Politic RC Theatre Dec 5 8,8 30LANGUAGE CLASSCrossroads Student Center will offerclasses in Chinese, Spanish, Germanand French next quarter Classesmeet fr ■ 1 hr each week and aretaught by native speakers *5/qfr Forinfo , call 684 6060RTDE WANTEDRide wanted To Omaha Neb for 2 abfDec 21 Return Dec 28 Will help w thdriving 6, expenses Call Sandy 94/9390Ride needed to Washington. DC areaafter exams Will Share everythingCall Steve 643 484/BUS TO NYCRound trip bus fare 550. less it bus isfull H.tchock Halt has chartered busleaving Dec 13 and rr-tgrrmnq jan 4Call Daniel Seitz a* '53 7233 between9 00 arid 10 00 PM, Won, WL a, Thurs.Fri. Or come to the Hitchcock Loungeat that timeVERSAILLES5254 S. DorchesterWELL MAINTAINEDBUILDINGATTRACTIVE 1 V* AND2Vt ROOM STUDIOSFURNISHED UNFURNISHED$117-$190Based on AvailabilityAll Utilities IncludedAt Campus Bus StopFA 4-0200 Mrs. GroakThe Glenmary Home Misstorv-ers are looking for men andwomen who believe in people.Share yourself with the peopleof the South and Appalachiaas a Priest. Brother or Sister.~l Send free 17" x 22 ' poster,shown abovePlease send informationabout Glenmary HomeMissionersGLENMARY, Room #15Box 46404, Cincinnati,Ohio 45242All CampusWASSAIL 78th A THE LAKEBeautiful 5 rm apt Mod Kitchen Abath 2 bdrm A den. Wd burningfireplace Overlooks Lake Mich AEast So Shore. Low cash price Aassessment only *19 per month CallFrank Calvin SO 8 9039 Kennedy.■ Ryan, Monigaf 8. AssociatesCENTRALSOUTH SHOREFor the professional family Finishedattic for the kids to play Finishedbasement tor the parents to entertain3 bedrooms 8, study Formal dining rmwith priceless golden oak paneling,moldings & buffet. Garage, side driveOnly *31,500 To see, call Frakk CalvinSO 8 9039 Kennedy. Ryan, MonigalJOURNALISTSWriters interested in working for TheChicago Maroon contact the NewsEditor, 753 3265PAN PIZZADELIVERYThe Medici Delivers from 5 10 30 p mweekdays, 5 11 om Saturday, 6677394 Save 60 cents it you pick it upyourself5401 WOODLAWN13 flat stone 8, brick Always fullyrented High mortgage balancedGood investment *127,000 Call MrsVickstrom, 66 / 6666 Kennedy, Ryan,MonigalSTUNNING SPACIOUS2 bedroom, 2 bath apartment in su, rsecure building 500 East End Noextra charge for parking *350 permonth Call Mrs Vickstrom, 6676666 .Kennedy, Ryan, MomgalSTEP TUTORING BOOKS BOMGHTCaeh tor used books PowellsAim si- muxL mrREFRIGERATORRENTALMini frige. Pennies a day. Freedelivery Call Swan Rental 721 4400MILES ARCHERMOVERSReasonable Rates Reliable Service.Experienced Personnel . Call 947 0698or 752 4910 for information.SABBATH DINNERDec 6: 6 p m. sign up at HilletGAY LIBERATIONOFFICE ISOPEN SulTh 8 10 p m IdaNoyes 30) Come or call 7S3 3274.JACKSON PARKHIGHLANDS HOME9 rooms fireplace 3 baths brick gasheat side drive to garage Bright,runny, spacious Near 69th 8. Constance *53,000 firm Call MrsVickstrom 667 6666 Kennedy Ryan,Monigal & AssocISRAELI DANCING"Every Thursday evening 8 p m atHillel. 5715 Woodlawn Both teachingand requestsPERSONALSInterested in help’hq reghberhoedchildren7 Student TutoringElementary Protect needs volunteersto tutor students by weekly in schoolwork or w;th spec a, protects Formore information call Jay Sugarmanat 94/ 8804 or Mary i_Oo Gebxa. 6436266 Dynamic young biack man indesperate situation (penitentiary)seeks love, f.omance. empathy sympathy. anv«j HELP! Thoughcorrespondency int chess, music,sports, writing\ and people Julius7/oore 137 455 &,ox 787, Lucasville,Ohio 45648PREGANCY TESTING10 a m 2 p m Saturdays 515.0Donation St Augustus Church at 55*hanq Woodlwanby THE SOUTHEAST SIDEWOMEN SHEAlTHSERVICESWRITERS WORKSHOP :Pl 2 8377)70 HELPi, report, si professionals forrh me MU 4 3*24WE NEED TYPISTSInteresting jobs for typists v reties andqenerni office workAPPLY ROOM 631 Hyde Pk Bank Bidq1525 E. 53rd ST.Work part or full time Choice of North Shore orDowntown locationELAINE REVELL, INC.Contact Beverly Williams 684-7000 ChicaqosPrestige Temporary Office ServiceDorothy Smith Beauty SalonHY 3-10695841 S. Blackstone Ave.Specializing in Tints,Bleaches, FrostingHair Conditioning.Shapina. SoftManageable Permane¬nts.0|Mi Matey Urafl FrNayEarly Hrag-Lati Ev»»fDead Sitrta?HI* CARCARE DAYSStvdaaHs, F«wH| A StallSeat 10% •• Ur Tmn^i■d •thar ropairs. AtMOORE’SSTANDARD56th and Cottage GroveShis $oltftai| £rasou(6inp a (6ift fflailf alStir North Jlolr -till Eskimos!Handmad* Eskimo Art 11HSoapstone SculptureEskimo WhaiaooT* SculptureEskimo Stonecut PrintsIvory Carvmqs • ScrimshawWarm Eskimo Cloth#*Many Uniquo Gift Ham*AlaskaOF LAKE FOREST777 Bank Lane, N. 72 E. OakLAKE FOREST, ILL CHICAGO, ILL295-1910 943-3393Open Daily and SundayFriday, December 6 6:30 PMIda Moyas - FREECarols - Santa - WassailTuesday, December 3, 1974-The Chicago Maroon-15Fall awards presentedBy MIKE KLINGENSMITHThe formal announcement oftwo all-American selections andthe presentation of a five yearfootball anniversary award toAthletic Director Walter Hasshighlighted the Autumn AthleticAwards banquet Tuesday in IdaNoyes HallFollowing a talk by ColonelJohn "Shorty” Powers, formervoice of NASA s Mission Control,varsity baseball Coach JohnAngelus led off the athleticawards with the presentation ofan All-American award toMaroon outfielder/ pitcher. PaulKowalek Kowalek received thehonor by virtue of being selectedto the first team District IV all-star squadFollowing Coach Angelas,master of ceremonies andPresident of the UndergraduateOrder of the ‘C’ . Mike Kraussintroduced the varsity coacheswho. in turn, presented varsityletters and various other awardsto members of their respectiveteams.Soccer coach. Bill Vend!emphasized that his team playeda tough schedule in compilingtheir 2-10-2 record, and pointed toimproved play at the end of theseason in the PantherTournament as one of the highlights. Named to the all¬tournament team were MaroonsDan Bachman and ArisStylionopoulos. Awardspresented bv Vendl to teammembers as voted on by theirteammates were; best offensiveplayer-Jan Novak, best defensiveplayer—Bob Griffin, mostvaluable player-Bob Griffin, and1975 team captain. A1 Heire. Inaddition, it was announced thatsenior goalie Griffin hadestablished a new Chicago recordfor lowest career goals-againstaverage.Varsity track coach TedHaydon was next and pointed tovictories over Valparaiso andWabash College, and finishingahead of Wheaton in the NationalTournament as highlights of the74 season He mentioned that thiswas the largest squad he had everhad. and that the veteran teamwas augmented by good younrunners Haydon said that thispoints to another good youngrunners. JayVarsity track coach TedHaydon was next and pointed tovictories over Valparaiso andWabash College, and finishingahead of Wheaton in the NationalTournament as highlights of the74 season He mentioned that thiswas the largest squad he hadever had. and that the veteranteam was augmented by good young runners. Haydon said thatthis points to another good seasonnext year, even though the teamloses their top four runners.The best of those runners wassenior Dan Hildbrand, whoHaydon said set so many varsitycourse reconrd that he coundn’tkeep track of them. Dan waspresented with his All-Americanplaque which he won by finishing17th in a field of over 300 in thenational meet at Wfeaton Collegein mid-November.The final award presented byCoach Havdon was for theoutstanding freshman runner,and went to Jim Thvedt.Athletic Director and varsityfootball caoach Walter Hass wasthe next speaker, and he claimedthat Chicago’s 1974 football teamwas the best one since the returnof football in 1969. Theirdisappointing 0-8 record was duein part to better competition andHass said that a better indicatorof this year’s improvement wasthe 18 individual and teamrecords which were set this year.Individually. Hass pointed tofour year players Pat Spurgeonand George Jones saying, "theseguys survived it. and look realwell.” Hass also announced thatSpurgeon has been selected asone of four nominees fromDistrice IV for a post-graduatescholarship from the NCAA inhonor of academic and atheiticexcllence. Jones, coach Hasssaid, was occasion enough for apro scout to attend a Chicagogame this season for the firsttime in five years.Hass concluded by saying,"they've got a lot to be proud of-they stayed in there and pitchedall year long”, and by presentingthe following awards; mostvaluable offensive player-DennisChristen (for the secondconsecutive year), most valuabledefensive player Dick Kovacs,and most valuable player,overall George JonesThe ceremony was concludedon an emotional note whenfootball players Dick Kovacs andJack LeVan presented CoachHass with a plaque from the 1974football team in honor of hisefforts to bring football back tothe Midway, presented on theKOVACS: Cooch Wally Hass presents junior Dick Kovacswith his award as most valuable defensive player. fifth anniversary of its re¬turnCagers open tonightCoach Joe Stampf will unveilhis 1974-75 version of the Chicagobasketball Maroons tonight at7:00 in a contest against IllinoisCollege of Podiatry in theFieldhouseOriginally slated for tonightwas a game against the NationalCollege of Education fromsuburban Evanston, however.National College has sincedetirmined that they will beunable to field a team. (Ed. Note-that never stopped them in thepast) The Maroons havesubstituted the Podiatry gametonight and have scheduled analumni game for January 7thwhen they were to play atEvanstonThe probable starting lineupwill see Eugene Clark at oneforward, senior Tony Barrett atthe other forward, and 6'5” CareyHines at center. The backcourtwill have veteran guards EdWilkerson and Luther Rollins incharge of the offense.Chicago is the favorite intonight’s opener, having defeatedPodiatry by four points in ascrimmage two weeks ago.Chicago, however, will probablebe without the services ofsophomore forward GregRetzinger who missed last week’spractices due to a recurrence of aback injury that he suffered in high school.Others who figure importantlyfor the Maroons tonight includefreshman Stagg Scholar winnerDan Hayes and forward NorvalBrown, who was impressive inChicago’s final scrimmage lastWednesday against ChicagoCircle. In the backcourt, juniortransfer Steve Sims fromLawrence, and freshman SteveShapiro from Highland Parkfigure to see action.Saturday afternoon theMaroons will host Lawrence in a 2:00 game at the fieldhouse.Then a week from Saturday,Chicago will tune up at homeagainst Northwestern College ofWisconsin in preparation fortheir trip to Colorado Springs forthe annual ChristmasTournament with ColoradoCollege, Knox and Grinnell.Chicago placed third in thet o u r n a m e n 11 a s t year,overwhelming Colorado in theconsolation game after droppinga close decision to Knox in theopener.CLARK: Junior forward Eugene Clark shoots over defenderas teammate Tony Barrett prepares to crash the boards.16-The Chicago Maroon-Tuesday, December 3, 1974 COTHRAN: Sophomore Vadis Cothran delivers kill duringvarsity volleyball match, as Laura Silvieus looks on.Women win againWheaton is victimBy JEANNE DUFORTIt took them three games to doit. but the womens volleyballteam defeated Wheaton Tuesdaynight to wrap up their fourth winin the last five outings.The homestanding Maroonsjumped out to a quick 8-3 lead inthe first game as the Wheatonservers failed to find the courtwith any consistency. The shoemoved to the other foot andWheaton took the lead, however,as the Maroons took their turn atserving faults while Wheatonfound some aces. Despiteexcellent floor poay by theChicago squad. Wheaton pulledout a close 15-11 win.Vocal support from the benchand the balcony provided theimpetus for Chicago's comebackin the second game Fine servingby Laura Silvieus and Barb Brinkgave Chicago an 8-0 lead that itwas never to lose. With Maroonfielders digging out Wheaton’sfierce spikes and the Wheatonplayers unable to handleChicago's serves, the secondgame ended in a 15-8 victory forChicago.The third game was virtually arerun of the second, with Silvieusand Brink profviding an earlylead Melinda Ford and VadisCothran combined for severalkills that proved to be thedownfall of a very tough Wheaton squad Final score in that one: 15-6.Coach Patricis Kirby cited theplay of first year students BarbBrink. Beth Gierlowski, andMelinda Ford, observing."Thesefreshmen have made atremendous effort and becomeimportant factors in ourperformance towards the latterpart of the season“We won that match quite simplyon determination-our aggressiveplay intimidated Wheaton,there’s no doubt about that. Inour last few matches we’ve beenusing our depth to our advantageand getting a greater teameffort.”The volleyball team lost somematches it might have won thisyear but that, according to CoachKirby, is typical of a young team.“It takes time for players to learneach other’s capabilities, and youjust can't tell ahead of time how|x‘ople will react in a pressuresituation.”Coach Kirby feels that herteam’s better record over the lasthalf of the season supports herstrong belief that a team mustinvolve itself in official gamesituations in order to improve.There's no doubt that thecurrent Maroons are vastlyimproved over last year 's squadIf they can pick up next yearwhere they've left off. TheMaroons could be a dominantfactor in Chicago area volleyballBROWN: Maroon forward Norval Brown pulls downrebound in one of Chicago s pre season scrimmages.The Chicago Maroon Presents ASpecial Tenth Week Issue Of1 fh <«r€y 1V City J lou tl n QThe Chicago Maroon's Weekly Magaiine of Criticism and the ArtsCRITICIZINGTHECRITICSDrawing by Karen Moline.Editor’s Introduction To This IssueWhen one overhears someone muttering these days about our being in “criticaltimes/4 the likelihood is small that our first thought will be of those (in) famouswomen and men who enlighten and entertain us.This special tenth week issue of The Grey City Journal is an attempt to explorethat unlikely line of thought. Despite the fact that the phrase “critical times” hasobvious and earnest implications for us spectors of bread lines, the WPA, andhaving the dollar worth what it used to be worth, are all frighteningly near—thereis some sort of peculiar aesthetic revival occuring within our city.Chicago’s theater is more dynamic now than even most Chicagoans believe;cinema is benefitting from several superb film groups around the city, and theChicago film festival has artistically come into its own; our symphony is merrilysurfing on its current wave of popularity. The folk and rock music scene seems tohave survived the notorious “discovery by the rest of the world” of a few yearsago. The Art Institute is in the process of constructing a new wing, and we areblossoming major sculpture with a frenetic disregard for the season. Dining outhas become the avocation of the cultural sophisticate.Paralleling this aesthetic vitality has been a searching re-examination andremoval of our critical media. Forums for opinion have been disappearing at analarming rate: the Daily Planet, the Chicagoan, the Today, and now the rumorsabound that the Daily News will follow them within two months. Those fewopinionaters, as one might term critics, who have survived these losses, haveseemed to achieve recognition in direct relation to their luck in surviving. RogerEbert is on the National Society for Film Critics; Robert C. Marsh has a growingnational prominence; and even those caught in the collapse, like RichardChristiansen, persevere in presenting some of their finest critical work.In addition to the few surviving heavyweights who have positions on “thedailies,” there is a growing school of hra«;h and ideological young critics They seemed blessed and cursed with irreverence and irresponsibility, and the com¬bination of what is blessings and what is curses varies greatly depending upon towhom one is talking. The Reader has played a part, and this paper also, inkeeping people in print while the big guys fall. And not particularly surprisingly,these fast moving and fast talking new critics have brought out a new audiencethat reacts to the new critical focuses.Thus, we are presented at this moment with another version of the greatChicago artistic paradox: everything seems to be dying, but there is a vital anddifferent growth flourishing on all sides of the gravestones. This tenth week issueis in response to that paradox; we intended ..well, what we achieved is a briefillumination of some of the currently known critics, from both sides of thejournalistic tracks.dW/l6D==^========^===^—Art Critic HonoredThe editor of The Grey CityJournal is pleased to announce thepresentation of the autumn quarterstaff award to Amy Weinstein. Oneof the two art critics for the paper,Ms. Weinstein was cited in therecommendation to the awardcommittee for “her direct per¬ceptiveness and the ex¬traordinarily evocative quality of her writing, in particular her ar¬ticle on Alexander Calder ”The staff award is presented to astudent staff member for eitherone outstanding contribution, orelse in recognition of a high level ofexcellence over a long period oftime. The award includes a cashpresentation; staff awards will bemade monthly during the rest ofthe academic year.2-TheGreyCityJournal Roger Ebert: Movies and the MassesBy Aaron LipstadtI spoke with Roger Ebert, film critic forthe Chicago Sun-Times, at his desk, whichwas distinguished trom the hundreds ofothers in the large room (devoted, I guessed,to the features section of the paper) by thefact that it enjoyed the relative seclusion of acorner. He spoke at length on the questions Iasked, but seemed guarded, perhaps notwanting to provide fodder for anoverimaginative writer; at times we seemedto be talking on different wavelengths, and atothers he seemed to be more interested in thephotographs than the questions. Whatfollows is the general course of ourconversation. Since the approach I’veassumed is “critics on critics," I will use thisopportunity to compare Ebert’s answerswith my own feelings about film reviewing.I started by asking Ebert about his criticalapproach—who he saw as his audience, andhow he tried to reach them. He called himselfa “generically oriented critic," trying to peghis reviews to the audience that would beinterested in the film, gauging the intent ofthe film. “Let's face it. it does you no good toreview Super Stooges versus the Amazonsfor the Hudson Review, and on the otherhand, readers of the National Enquireraren’t going to care too deeply aboutPersona.” He sees two kinds of readers:those that read his column every day,because they enjoy reading it, say, for itsstyle; and those who are interested in aparticular film, and want to see what he hasto say about it. He returned to this idea of apersonal audience later, the people who readhim for entertainment, as the part of thepaper most interesting to them: “The vastmajority of people who read any moviereview are not people who will ever see thatmovie."Pressing the point of the daily critic as aconsumer guide, versus the critic assomeone who can help enhance the filmgoingexperience for his readership, I elicited thisthree part outline on the role of the critic:“first of all. the film critic for a daily newspaper is writing a consumer’sreport.. .he’s letting the reader know whetherthe movie might be worth his money. In thesecond place, what he’s doing is he’s tryingto perform on the level of somewhat usefulcriticism, what makes a particular moviegood...how it might be the extension of anactor’s career, or the expression of adirector’s style, how and why a scene works.And then of course, the third level would bethe entertainment value. The review shouldbe readable. There should be a sense of theperson there. I think that reviews should bein the first person, that we should have somenotion of who that person is, because there’sno such thing as an objective opinionanyway...You have to write from your ownpoint of view, and hopefully you’ll find anaudience."Problems started to arise when I tried topress on the problems of writing on, newfilms, for an audience that hasn’t seen thefilm—how much can one draw on subtletiesof the film, realizing that these will beforgotten by the time the reader enters thetheater? Or, as I put it at the time, “you’renever sure whether the points you’re makingare more valid for someone who’s seen thefilm, as opposed to someone who’sconsidering seeing it.” Ebert’s surprisingreply was “A lot depends. You have to makea decision every single time, whether or notyou should give away the ending.” He thenproceeded to make distinctions betweenSleuth and Cries and Whispers.I then asked him about the constraints hefelt in working for a daily paper. Ebertseemed to limit his interpretation of“constraints" to those of space, and repliedthat this wasn’t a problem for him. Space isnegotiable, and the paper, according toEbert, is more interested in printing thestory, with the space it requires, than“making the article fit some crazy layoutpattern.” He was also enthusiastic about thefreedom that the daily format gives him: “inthe course of a busy week I’m able to writeabout twice as much as Pauline Kael is able'.o write.” Well, this led to the question of how he felt^viewing films with, let’s say, a baserappeal, e g. Texas Chain Saw Massacre,which I haven’t seen. Ebert was ready withan answer—films like that have to bereviewed for two reasons, “its genre, whichis horror movie, and its ambition, that is tosay, the people making that movie made abetter movie than they had to, becausethey’d rather have been making a differentmovie. ...Frankly, I’m not sure why anyonewould want to go to see it." The connectionhere is hard for me to make, and seems toimply a limitation to Ebert’s “genericapproach’’—how good does a horror film“have to be,” and if it’s made better thanthat, is the effort wasted? That is, are films in the horror genre doomed by their genre, orcan ambition in this genre never result in afilm worth seeing? There are certainlyenough notable horror films to disprove thisnotion.From here we went into a discussion of thereviewer’s response to the critical reputationthat a film may have when it opens inChicago. I pointed out that films often openhere on the wave of publicity, generally aresult of the fact that they have opened on thecoasts previous to their arrival in Chicago,and that the average viewer, having tochoose between a number of films, will firstconsider the ones about which he or she has(continued on page 13)The Students Activties Office PresentsTHE ANNUALALL-CAMPUSWASSAILPARTYTo celebrate the conclusion of the Autumn Quarterand the coming of the holidays in a manner properand benefiting the Yuletide seasonHot spiced wassail prepared from the old Ida Noyes receipeThe lightin'of the Ida Noyes TreeCameo appearance of Santa ClausCarols by the U.C. Brass ChoirSnacksSinging of carols (song sheets provided)Free IDA NOYES HALL DECEMBER 6 FRIDAY 6:30 P.M. students, staff & faculty are all invited2-The Chicago Maroon - Friday, December 6, 1974TH€dTR£■ Terry Curtis Fox: Theater's Auteurist?By Michael VerMeulen» On the outskirts of Chicago dramacriticism for flung from the giant dailieswhich flank the river, lies that contingentknown to PR firms as “press list padding”and to features editors as the “minor”critics.Their ranks include the venerable ClaudiaCassidy, condemned by retirement to liveout the remainder of her life wearing whitegloves to the Body Politic and watching playsshe can't hear much less comprehend.Johanna Steinmetz and Jim Maronek ofWBBMand the Chicago Guide contribute theirEmily Dickinson minds in a T.S. Eliot worldto this list. Few if any “minor” critics everascend from the depths of obscurity topositions of influence, usually anchoreddown by mediocre abilities or publications orboth. But in the past three years, the dramacritic of the give-away READER has beendoing just that. Terry Curtis Fox with hiscurious, sometimes convoluted style hasestablished himself as “the auteur critic ofChicago theater.”Terry Curtis Fox (known to his friends asTerry and his victims as “that little asshole,/ don’t know what he’s trying to prove”) isthe living example that familiarity breedscontempt. He is intimate friends with justabout every Chicago theater heavy; butthere isn't a director or actor in the city whohasn't been pissed with him at one point oranother. One noted playwright, who isco-authoring a play with Fox, points out "theonly reason Terry stays with the READER istheir liberal payment policy—$5 for a gocdreview, $10 for a pan.”The following is the result of a lengthy conversation with Mr. Fox over two rather effective metaphor for Mr. Fox’s earliertasty, but not very filling chef’s salads at the writing style.Drake Hotel. These salads, it was later My Life: A Synopsispointed out to me, could serve as an Before I came to Chicago I had written some pieces for the now defunct Yale FilmBulletin. When I came here and startedwriting regular film reviews for the Maroonthey weren’t even sure that their readershipwas interested in regular film reviews. Andthis was the time of the so-called college filmboom So I more or less began it as a regularthing And when Roger started Grey CityJournal I went in on that After doing somework in New York with Nicholas Ray, theREADER and the Daily Planet began.Myron Meisel was already doing film for theREADER, but they needed someone fordrama The Daily Planet hired me on as filmcritic Later I quit the Planet over my reviewof A Clockwork Orange, which I had writtenon assignment and publisher Chris Chandlersaw fit not to publish I decided then that if Iwas going to be writing for that little moneyit wasn't going to be on spec I did some filmwriting in the READER before Myron left.Now I do a little more Since I had written forthe Maroon 1 knew Roger Ebert and GeneSiskel and they helped me get other free¬lance work in the city. Now I’m an assistanteditor of OLI MagazineF’ilm: You’ve Got To See Between TheLinesThere are two ways to deal with any givenwork One is to deal with that work alone andtry to come to grips with that work in its owncontext And the other is to come to that workwith a certain theoretical framework. Ichoose the later. In Bazan and with film thisis that the frame consists of both the imageand the sound These two must saysomething, and combined they form thebasic unit of understanding In order to judge(continued on page 15)TCF on the ArtistsJACK WALLACE (in Cuckoo'sNest): Whatever Jack Wallacelacks in technical finesse, he makeup with such a strong sense oftheatrical presence that I was everunattentive while he was on stage.JIM SHIFLETT (in DreamTheatre): Shiflett’s acting is verymuch that of a director. There arefacial and vocal modulations, allcorrectly placed but nonecorrectly executed.DAVID MAMET (after the DuckVariations): If Mamet is aplaywright who has not yet found avoice of his own, he is certainly aplaywright with an enormousamount of skill...Audiences neednew playwrights as much asplaywrights need audiences, and ifthat isn’t reason enough to see thisshow, I don’t know what is.DAVID RASCHE (at Second City):Rasche approaches his work as anactor instead of a comic. No matternow feeble his material, Raschemanages to find not only a preciseand consistent character to play,but also manages to project a stylewhich fits both the character andthe skit.THE MAGIC CIRCLE THEATRECOMPANY: Like the worst ofacolytes, the Magic Circle seems tohavetakenSchechner’s( former edi¬tor ot TDK) early worcL as gospeland refused to do any developing oftheir own. Thus, while Schechnerhas progressed to evolving con¬cepts of the theater that do indeed .include words, the Magic Circle isstill stuck in the grunt-and-stripstage of 1969.STUART GORDON (after theOrganic Theater’s Wonderful IceCream Suit): It is not, as somehave suggested, merely a matter ofthe controlled athleticism whichGordon quite properly demands of his actors, nor his superb ability toweld a group of actors into acohesive unit. Rather it is hisconception of a theater as a supermagic show, a place where theactors invite the audience to watchthem take a simple and clearly-defined space and transform itmomentarily into a place wherethe rules cf gravity and logic do notapply.WILLIAM WOODMAN (directingTooth of Crime): We have lost ourchance to see a truly significantplay—it has been botched as badlyas everything else Woodman’sGoodman has touched.GARY HOUSTON (AC/DC):Houston is doing something noother director in this city dares todo. He finds the works of recentstage literature which are mostinteresting to him and proceeds tostage them, ignoring all the good-intentioned dissuasive advice thatcome his way.THE DRAMA SHELTER: Thepeople at the Drama Shelter,where I saw Cheep Theatricks,seem to pe perfectly nice humanbeings. That does not mean theyare capable of performing theaterin public.THE DINGLEFEST THEATRECOMPANY (Guessworks): Thereare those who find the DinglefestTheatre Company charming; 1 amnot among them.ELEVEN: Eleven’s actors bumpinto each other on stage withalarming regularity (aren’t wecute? mugged the thirty-five yearold child), fail to project into thatfar-off first row (who needs to hearus when we can be seen?) and singoff key and off beat (but it’s me!cried Eleven, being outrageous anddivine).Reprinted from the Reader. The Artists on TCFJIM SHIFLETT (director of TheDream Theatre and the Com¬munity Arts Foundation): Terry isa tough critic, not because hemakes constructive and validcriticisms but because he wants tomake reputation as such. Heemulates Claudia Cassidy whoherself has done untold damage toChicago theatre. But he can’t evenbe as good as she. I don’t even thinkhe is a critic. He’s an opportunistmaking a reputation off and atthe expense of a vibrant Chicagotheater movement. He's not afriend of Chicago theater at all.Terry can’t keep his own personalfeelings and prejudices out ofreviews. He can only recommendor damn, but a good critic shouldcriticize, not just be vicious.JACK WALLACE (Chicagoactor, star of One Flew Over TheCuckoo’s Nest and The Sea Hor¬se): He’s the roughest reviewer intown and probably the most in¬telligent. Terry takes the time toread the script. He’s good fortheater. But when ge ones on afuckin’ binge it’s a catastrophe.Some of Dettmer’s and Terry’sreviews have gone beyond thebounds of what a reviewer shouldtalk about like whether the place ishealthy or whether it smells or not.CECiL O’NEAL (president of theVictory Gardens Theater, star ofWARP, director of The MagnoliaClub): I think Terry is a friend ofChicago theater. Though I don’talways agree with his reviews, Ithink he sincerely wants to beinvolved in the development of thetheater, along with his owndevelopment as a writer and critic.When Terry reviews developingtheater, he is reviewing it as acontemporary, in artistic development as well as age.WILLIAM WOODMAN (artisticdirector of the Goodman Theater,director of The Sea): Mr. Wood¬man is unavailable for comment.COLIN STINTON (associatedirector of the Dinglefest TheatreCompany): Fox’s reviews, in myopinion, have consistentlydemonstrated an ineptness andhypocrisy accompanied by a bogusintellectualism that is impressedonly by the blatant. He is con¬tinually sucked in by the forcedprofundity of grunt-and-striptheatre and incapable of intelligentanalysis.GARY HOUSTON (director ofAC/ DC. And They Put Handcuffson The Flowers, and Slag): In hisfavor I might say that if Chicago’stheater folk and theater patronsare still in i primitive stage in thecreation of a congenial en¬vironment for theater, then maybeFox’s pretense to authority onmatters he knows little of, ornothing about, creates intellectualstimulation and enriches the scenein general. Be that as it may, hisreaders increasingly have himpegged: many come to shows I’vedirected on the basis of his pans ofthem. This is partly due to hisinability, as an audience member,to watch a show as other people do.He is more concerned with hisperformance as a critic than withw-hat he's writing about, so heusually spend one-half (sometimesless) of a piece exhibiting what heknows (or thinks he knows) aboutthe background of a play. Perhapsthis is the task of a critic, as op¬posed to the reviewer; but in Fox’scast it is intellectual defensivenessand indulgence of the most cbviouskind.I i ft ft • » ft ft • \\ AVW’ Friday, December 6, 1974 The Chicogo Morooo-3. v* i. ».i.n m> n i m i / f r i * m I* i m m ( 11 i i i t i i i i • . i i it. o: c i .* 1 r * ‘ f t ’ » f f * i t • ' * * i > *’ J : . >’i . 1 » i TheGreyCityJournal-3s5>°5^51 52*7tfgps^^°hv1q9% ^oU« a***\*tVT:8s»§SI po!*o?«*0'^t*«^!J/^£iPS> vj t^>k\0*° iM** ■** M>t'^^g^gSsS0 anSfl ^Q\l ^,a(llt-<',,^'*,»*» T’Tto*° f °*"—*<.»ir r. co"* * *o*° 1u*i'i<'*,'rTTs*--P®***.»»«o*t4|V•7 ft5A<)^\K',.' c*£S**', v.^tfc***,, uV c> '*Ws, ^j.W * •r)ui$@£V* _C\o»»,<L__, no***'#f'ri' |kO0’. _ OO'**•Too- «’*<*•' «»■ '^'I*1^ ,1«»V'®*f 6°°'.. to^gJ«< »'•*. nO^’ ^\\■ffgSr*3fc»\. 'roOV ’a «er '°9 & 'r-**st*afatV.bro**'^^5O***,y^G^s•fSS-sri*- *.,io*g2-" ""^’7*395°^ev \**&*«>\ H ***tS: *2fr~*'n-broV®4 f®^l>«sSS^*Dfc ,70 0**?Ic**b?l*OH't*V,^**. oo'°-’a vW' VbroVesua^s•sSSSSSi »ic^v)gSgy=g; •It**"iu*r u*‘f®*£owvo^r^1 •jsSSSntt»wsn l»»s"SiotoyCO^K.^0»■"•”■.99$,,r.^T-'-■ r„*o*'«\ br®*-l^on'° l*Kt'e*°Uuoa^"^hea^r.o/*\* 1 nrod*o*03®»O’*1'*eo»C^\f8 en<3'n pO^®[..,nQO°.steer'^.^qWr<ja*-.1595°'f f”.. ao'°-br<i rod'°br®5,^o**'-''j - '.JD'.'.'lBBSSHarold Haydon Art's AdvocateBy Amy WeinsteinContemptible sniggers accompany theopinion that critics practice the Art ofRuthless Antagonism. Anyone of thatpredisposition would be gravely disturbedwhen confronted with the life, work andcharacter of Harold Haydon—art reviewerfor the Chicago Sun-Times and director ofthe university;s Midway Studios.Mr. Haydon is a far cry from that stylizedconception of the critic as a frustrated artist,shaking his angry fist at the world. In fact, heis a soft-spoken, gentle man—a teacher, andan artist in his own right. Above all, Mr.Havdon writes art reviews that are positive,thoughtful, and lucid. Functioning amongstartistic, journalistic, and scholastic spheres,he has offered support and assessment toChicago's art community over the years.For decades, promising artists emergedenthusiastically from the Chicago Schools.Finding a lack of local encouragementoutside of the schools, they inevitablyemigrated to pulsating art centers elsewherein the country. Recently, however, theexodus has slowed. Young or previouslyunrecognized artists have resolutelydetermined to stay in Chicago. Their newlyestablished roots have required tender care.Generation of public interest and support hasbeen an essential factor in the success oftheir development.Harold Haydon is concerned with therelation of the artist to the public forum. Hisvast experience as artist and educator, aswell as the care he displays towards thecommunity so long his home, contribute tothe positive nature of his reviews. Hisevaluations of local artistic trends are frank,concise, and explanatory. He does not sellartists to the public—nor does he attackthem. The healthy attitude of the Chicago artworld is of primary consideration in Mr.Haydon's approach to the work of anyindividual.Some biographical information may helpformulate a view of Harold Haydon’s frameof reference. Born April 22, 1909. in FortWilliam, Ontario, Canada, he entered theHyde Park community with his family in1917. Mr. Haydon attended the UniversityHigh School, then continued his education inthe College.He suffered an untarnished college career.Elected to Phi Beta Kappa and the “Order ofthe C” during his junior year (head trackcoach Ted Haydon happens to be hisbrother), he also excelled as an honorsEnglish student. Mr. Haydon was awardedthe Big Ten Conference Medal for excellencein Athletics and Scholarship, in 1930. Thesame year, he received his PhB, and in 1931was awarded his MA in philosophy.Considering art a serious interest. HaroldHaydon studied at the Art Institute during1932-33. He then took the position of artist-in¬residence at Pickering College, in Canada.As an instructor, he extended his concernwith artistic practice, appreciation, andaesthetics into an examination of themethods and means of art education.Mr. Haydon joined the George WilliamsCollege faculty m 1934. Continuing in hisposition there, he began teaching humanities at the University of Chicago in 1944. Thisinitial experience led to his activeparticipation into the founding of the currentbasic humanities program. In 1945, he wasinvited to join the Chicago faculty full-timeas assistant professor of art. At that time,he was honored with the Quantell Award forexcellence in undergraduate teaching. Heserved as Dean of Students in the collegefrom 1957 to 1959. Now Professor of Art andDirector of Midway Studios, Mr. Haydon is inaddition an active participant in manyartistic and scholastic programs outside theuniversity.In the short space of this introduction, itwould be impossible to list all the events andappointments lending to his association withthe university community and with the arts.However, in 1963, Harold Haydon was askedto fill in as art reviewer for the Chicago Sun-Times. He agreed, and has been writing forthe city’s public ever since. The Grey CityJournal thought it would be of interest toquestion Mr. Haydon about his conception ofart criticism in his roles as professionalcritic; as an artist; and as an educatorintimately involved with the university. work, and that argument about the ideasinvolved, as such, would be a questionableactivity?If you can’t translate from one language toanother without losing a great deal, how canyou translate from one medium to another?All you can do is to put up pointers and say.“Look this way,” or, “Look that way.” Youmight discpver something corresponding tothis when you do look, but you cannotconsider the experience.Now, it may be that your language willcontribute to and develop the way in whichpeople look In describing and writing, youshould be as literate as possible andcommunicate with a certain genius. Goodcritics have that poetry. No matter howgood, you should not let your criticismsubstitute for art. Once you do, you becomeinvolved in games. That’s when the artistcan be lost in the shuffle, and the critics havea big battle over his dead body and his deadworks.Then we are talking tf the critic as he dealsin the public realm—where he is read as anevaluator and may significantly influencepublic reaction. inclined not to define principles that do exist.I’d rather have people find them in the workif they can If they are there, they should beimplicit—not consciously produced inreacting to the composition and viewing it.That’s where education comes in—not to tryto organize or to clarify everything in termsof a system or systems of thought, orsystems of principle.Now, that’s an awful confession, becausemost critics have to have basic valuesystems. But this is where the art of it comesin. And also, I think that the consistentfeeling I have is that I would not like to beidentified as a critic. I don’t see any dangerto be regarded as a reviewer or a reporter.That’s why I think that criticism is a sub¬field of the arts.( an a critic participate both in artistic, aswell as evaluative, endeavors?Sometimes a good critic is a participant inthat sense Shaw was a very good critic. Andsome of the great novelists were also verysharp critics—the poets are very goodThen, referring back to your previousremarks, why do you feel that criticism,when considered as an art, will ignore thework of art which it discusses? Supposing thecritic attempts to get at ideas—at truths?That’s alright—that alright, as long as thecenter stage is given to the work of art andnot to critical byplay and theorizing.(an the critic grapple with the workphilosophically, then?Oh, yes. he can grapple any way he wishes,provided he doesn’t get lost in the byways ofcriticism and keeps referring to the artist orthe act—whatever it is that forms the work ofart(Here, we broke the line of somewhatformal questioning for a while, in order totalk casually. During that time, a discussionof the distinctions between review, criticism,and art itself developed. \lr. Haydondistinguished between three levels—that ofinformative review, critical essay, andcreative literary work.)The critical article is a kind of essay. Butin an essay you stop addressing a particularaudience and you are free to explore yourown thoughts and feelings—in a ratherimaginative way, too.Then do we move from a kind ofjournalistic, informative criticism, to a morerhetorical kind of criticism; and finally, toan artistic field?Harold Haydon. Photos by Mike Shields.Exchange should take place between allartists, through their individual means ofexpression—thus the critic’s commentsshould actuate such discussion, and hehimself should participate. Some personsmight disagree with this remark. Would youcare to comment?I realiv think I would disagree. For if youare criticizing music, how can you partakemusically with words? I think the same holdstrue if you are criticizing sculpture, evenadmitting the talk that goes with it now—talkthat didn’t used to exist These are more orless mediums in which all you can do istransform or translate the visual experienceinto words. You can’t create a visualexperience with wordsThen vou believe the perceptible',experience comprises the essence of the Yes. What about the artist and hisaudience? Let’s say the artist wants anaudience, even though some do say “no;”always present is the artist “forhimself/ herself.” But, for many an artist,there is a whole world to talk to—a wholeworld to which one can appeal fcr theenjoyment of the art. and for which one canproduce And ultimately, it can happen thatway, if people know of the work. So that theaudience then, is terriby important.Why cannot the critic as an evaluativewriter, or the musician as a musician, or thepainter as a painter, be effective—not intrying to translate the essence of hiscolleague's work, but in approaching adiscussion of the presented idea in his ownmedium?That is a perceptive point, though I’d be I think this would work—yes, this wouldwork When you expound your own ideas, atsome point you make the transition to thecreative, or the creative philosophy thatconsists of expounding your own maximsthrough literature and poetry Of course, Ican even see this as being of somewhatgreater continuity—this is Dewey an, Isuppose: part of my heritage at thisUniversity and also in art criticism I see thiscontinuity in connections You don’t jumpinto another field—you merge in.Let’s keep a clear notion of what marks awork, too Sometimes I am criticized forbeing concerned with limitations instead ofthinking of possibilities Limitations definescope So that if you were writing daily(continued on page 6)The Ida NoyaslakrryWill be Open Dec. 9-Dec. 1310:00 A.M.-10:00P.M.ANDSat., Dec. 14 from 10:00-1:00 P.MClosed during InterimThe Bakery will reopen on Monday, January 7 andresume its normal schedule: 10:00 A.M.-10:00 P.M.Monday-Saturday SHAPIROS DUEBACK TODAYIda Noyes 2099 A.M.-4:30 P.M.IVuip H Sub mi KgOllice Clued Sai. & Sua. ROCKEFELLERMEMORIAL CHAPELCONVOCATION SUNDAYDecember 8*11 A.M.DR. JARL E. DYRIIDProtester el Psychiatry"FACING THE FUTURE"DECEMBER 6 11 AJW.T0 3P.M. FRIDAY'Do ^four McUcCaXf sSfwjpping in- 'f\e^rurGfs Cfu£11 A.M. TO 3 P.M.Friday, December 6, 1974 - The Chicago Maroon-5 TheGreyCityJournal-56-TheGreyCityJournal MMdRTHaydon(continued from page 5)newspaper journalism, you’d have a specificaudience and a specific time to react.There was a dialogue at one time, not toolong ago, between people who review booksand novels for magazines and have a monthor two to do them—and critics who go to thetheatre, come right out, and by midnight or-12:30, the article goes to the press. Of course,this applies to music critics, too—less so tothe art critics. The argument was that youcan’t produce valid criticism withoutallowing time for reflection. I think thejournalist critics, particularly those with lesstime, felt extended time periods might helpyou find more expressive prose. But theybelieved their initial reactions were as validas those of the critics functioning on relaxedschedules.Then, you are colored also by the peoplefor whom you write For instance, you maybe writing for a miscellaneous public, tocatch their eye and attract them—to aid orteach them.Does the novice reviewer have theopportunity to decide for whom he is going towrite? This really poses a problem. If youhave the luxury of determining to whom youwill direct your writing, first, you can decidehow you are going to approach the artist’swork. Obviously, if you are directed tow ard ageneral audience then you are limited interms of the scope of w hat your criticism canentail. If you move to the essay form,removed from that specific audience, youcan become more personal—more rhetoricaland more philosophic in your approach. Youreally can’t rely upon the general public asyour forum, then.Depending upon the situation, if you are ayoung critic, and you don’t have the journaland the way of getting across, you can stillwrite your article and circulate it And then,you can't be sure w here you might be pickedup You might be picked up by the New YorkTimes Magazine—or a somewhatreflective section of a local newspaper. Youmight end up in a little magazine in somesort of special interest section. But, you havea little freedom there. It alters your mediumand defines it. And to get a job writing artreviews for the Maroon, the Hyde ParkHerald, the Chicago Sun-Tiines, or anyparticular instrument, then at once, you’reunder pressure to conform.This does not mean that you can’t reachbeyond You can hope that eventually youwill be syndicated or that you will draw areadership If you are writing for theMaroon, why can’t you write with thethought that you attract all of Hyde Park,and beyond9One does.Yes. certainly Hyde Park picks youup—you are distributed. Beyond that lies thecity of Chicago And this is not impossible. Ifyou write something, it is bound to be picked up by the presses—they can’t help it—it isnews or it is an idea. And from that point ofview, the young critic never needs to feelisolated. It’s just a matter of hitting the righthandle. And the easiest handle is to attack.The hardest handle is to review.And yet, criticism hasn't anything to dowith attacking, does it? It is a violation ofsoinethingthat should be positive.Discussion and argument certainly canentail disagreement, but disagreement isquite different from attack.Now, often there are victims where there isattack. Usually, some artist who doesn’tdeserve it, gets it in the neck. And confrontedw ith these situations, as a matter of practicalexperience— when I am faced with a work ofart on exhibition by an artist whose works Ican really put down 1 try to ignore him.There is always the temptation to makesomething what it isn’t. You can make it lessthan it really is, and disagree with it. Or, youcan make it more than it really is—you haveto think about your position and support yourargument. At that point, there is thetemptation of exaggeration to avoid.Objectivity cannot possibly exist.No, this is a subjective process. I don’t seehow it can be anything but Otherwise, you’reweighing your measurements. The polls sortof do that Quantitative or social statisticsattempt to get that objectivity—justquantifying how many people are for oragainst something, a law of averages, so tospeak.And artistic discussion cannot functionthat way?No, that is always a problem with yournewcomer, who really likes some solid rocksto stand on. From the point of view ofeducation, you can help him to relate the newexperience to something more commonThen we do have to make a distinction incritical ability between someone who isevaluating as a critic and the ability of thegeneral public. In a sense, the question beingasked is “What makes a critic aprofessional?I'm not sure I know.Well, as a critic...or a reviewer...A pseudo-critic...You might want to bemore than a reviewer or a reporter. Well. Ithink that is a simple question you areasking—namely, a depth of experience. Youmust also have a recent contact withcolleagues. There are some critics whoreally don’t know what the problem is.Consequently, they are in the position ofdeciding results without casualfactors—without knowing difficulties thathave been overcome.By the particular artist in the creation ofhis work?Yes.So then it is a matter of backgroundknowledge, as well? And a critic has a life of perception behindhim. Bernard Bernenson made paintings asa child. Many critics have shared thiscreative experience, though several haven’ttaken themselves seriously, as far as I know.And yet. they have retained tremendoussensitivity. So there must be some factualwork, some sensory or visual experience,and reflection. And it makes sense.Then the critic acts as an educator andevaluator—someone who can reactsensitively and know ledgeably to the work as an experience.That’s right What is a critic? Let’sexamine the questions he asks about acomposition “What is this9” “Where did itcome from?’’“Where is it going9’’“What doesit fit into9” “What is being done?” “Whathas the past been, and what exists today?”So, the critic is able to place the work—toestablish it He knows when he’s dealing withsomething novel and when he’s dealing withsomething that is notTAWAM-\»WCHINESE AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILY1 I A.M. TO 8:30 P.M.SUNDAYS AND HOLIDAYS12 TO 8:30 P.M.CLOSED MONDAYSOrders to take out1318 East 63rd MU 4-1062 JAMESSCHULTZCLEANERSCUSTOM QUALITYCLEANING10% student discount1363 E. 53rd St.752-6933 7hi \ GIVE THE GIFT OF MUSICJrei \QUALITY:Shop O' GUITARS BANJOSV MANDOLINS AUTOHARPS5210 S Harper-'in Harper Cowt Xdulcimers RECORDERS1 ALSO OFFERING:/ BOOKSNOl-tCGCSERVICES ACCESSORIESU. of C. Karate ClubClass Starts: Jan. 15, 1975 ISRAEL AND THEPALESTINIANSA talk by POPULATION AND HUNGERSunday Forum 9:15 a.m.at Brent House5540 WoodlawnDecember 8 Stuart AltmanDept, of BiologyDecember 15 Fred AndersonDept, of Geophys. Sd.ALL WELCOMELUTHERAN CAMPUS MINISTRYBRENT HOUSE THEOLOGICAL FORUMPlace: Ida Noyes Hall1212 E. 59th St.Time: 6:30-8:30 P.M.Mon. & Wed.Karate DemonstrationJan. 15, 19757:00 P.M.Ida Noyes Hall6-The chiCcfgo Marocfn - Friday, December 6, 197*4 PERETZ KIDRONIsraeli Journalist and TranslatorMember of SI ACHFRIDAY DEC. 68:30 P.M.-HILLEL5715 S. WOODLAWNM + * 4 4 * 44» * 4 f +**»*••* ‘ ** * ' *f* ' - ” •»>*■*• < — • - - “THE EMERGENT SPIRIT”Wed. January 15, David TracyWed. January 22, Joseph SittlerWed. January 29 Robert GrantThurs. February 6, Leslie DewartRCCORDSe— ■ —EDDIE HARRIS, Is it in, Atlantic SC 1959.The first cut on this disc, "Funkaroma," setsthe tone for the rest of fhe album. It's alively, bouncy, funkv piece of music,feafuring constanf mbtion and a playfulinteracfion between the instruments. Amelody will jump in, dance around for awhile, fhen jump out to make way foranother time. The beat, kept strong and firmby Billy James (on drums and electricbongos), serves as a backboard that theother players can bounce their music off of.James will set the rhythm, then Harris (onsax and piano) will start a tune, present hiscontribution, then move over for RonaldMuldrow (guitar and guitorgan) who will dothe same for Rufus Reid (electric and stringboss). The abilities of the musicians, combined with their fresh, unselfconscious approach to the music makes this technique quite effective. Every cut is good and some,especially one entitled "It's War," aresuperb. A good, solid album. BHERBIE MANN, London Underground,Atlantic SC 1648. Herbie Mann has madesome good music and some bad music. Thisalbum is mainly bad music, which is too badbecause Mann can play a fine flufe. The mainproblem wifh fhis album is one to whichMann s very susceptible, since his musicconsists of taking popular tunes and "jazzingthem up." Sometimes, when he is inspired,the result is worthwhile. On this album, allthat this comes across as is a lot of slickornamentation. You can listen to the music,but there's nothing particularly new or exciting about these arrangements ofpreviously done songs. It's not quite as badas the Hollyridge Strings doing "The GreatBeatles Hits," but it's not far from it. Maybe it'll sell in the K mart record bins. DJOHNNY HAMMOND, Higher Ground,Kudu 16. This is a jazz album that almosteveryone will like. For those not heavily intothe theoretical side of jazz, this music is easyto follow: there are well formed melodiclines, easily understood harmonic patternsand everything is played with a clean,craftsmanlike virtuosity, with Hammond (onthe organ) and Joe Henderson (on tenor sax)soloing And, despite the fact that it is not"abstract" jazz, the music on this discmanages to go beyond the simply toyingaround with melodies and "jazzing uo" ofpopular tunes that often attempts to pass forjazz. The music is tightly organized andhighly disciplined but, at the same time, isflexible enough to give Hammond andHenderson enough room to open up andexpress themselves A . JOHN COLTRANE, Interstellar Space,Impulse ASD 9277. Trying to describeColtrane's music has always struck me as aridiculous endeavor and here I am writing areview of an album of some of his previouslyunreleased work. I guess the best I can do iskeep it short.The album is a recording of Coltrane withRashied Ali (on drums) in a series of fourpieces entitled "Mars," "Venus," "Jupiter"and "Saturn." The idea, of course, is tocapture the mythological and astrologicalcharacters of these planets in the music.Whether or not the two of them succeed isalmost immaterial. What is important iswhether the music succeeds in beingfascinating music, which, as with almost allof Coltrane's efforts, it does. BBy Miles ArcherLook how muchyou con savewnh Aleghaiy'sDiscount AirTravel Pus.It doesn’t matter it you’re going home tor theweekend or just taking off with a group of friendsAllegheny can save you 2(7r to 33I/V^ off our regularfares anytime vou want to go. Including holidays andholiday weekends.I 'p to 25^ off on weekends.Simply plan to go and return on Saturdays orSundays within 30 days. And it’s goixl anywhere weth m the U S. and Canada. Kasy.Up to 331 Vt off for groups, too.Your group of 10 or more can save up to 2(C oneway up to 331 round trip Just purchase your tickets4X hours in adsance and take ott together tor any cityin our System You can all return separately on roundtrip travel if vou like. And that means you can fly asa group to a central city and then split up NeatFor information and reservations, see your I ravelAgent or call Allegheny at 346-9020 We show youhow you can th tor less, anytime.III Compare and save.Roundtr.p fares R agu lorAllentown $132Binghamton 134Bradford 124Elmira/Coming 118Erie 108Harrisburg 120Ok*.. I. i-wraourgn 90Wilkes-Barre/Scranton 132Williamsport 120 W.rfc.nd Group$97 $8798 8795 8489 7882 7390 8068 6097 8790 8090 80 |>*■ HThe Allegheny Air Systemhas a lot more goingfor you. Ihe HP-IfAdvancedScientific. IheHP-70Hnsi ness.•All HP pocket calculators Save Hewlett PacCards patentedRPN logic system with A Memory Stack Prices eiclude stateand local tair.sA special 5% discount on those 5models applies only to Students, Facultyand Employees of the University ofChicago. The 5% discount is good onlyfrom December 6 through December 28,1974UNIVERSITY OF CHICAGO BOOKSTORE5750 S. ELLIS AVENUECHICAGO, ILLINOIS 60637Hours: Monday thru Fit. 8:00 to 5:00Saturday 9:00 to 1:00icogo. Maroon^HEWLETT-PACKARDThis Christinas give a giltfor a lifetime.1 he HP .IS I lectronic Slide Rule. Ihe HP65 fully Programmable. Ihe HP-HO Financial< rTc ridUO^S .o Seconds MdS 4 Th®GreyCityJournal-78-TheGreyCityJournal *»*»»*» ItlilMIIIHIIUIMIHRGCORD9JOE MEADOWS, Portrait of a Fiddler, OldHomestead OHS 90036. Joe Meadows is themost exciting and most interesting fiddler inbluegrass! He has dexterity, fine intonation,and an inventive mind which does not leadhim astray. But best of all he plays withgreat feeling. Indeed, his music has a greatdeal in common with both French Canadianand Irish fiddling. Actually, I would besurprised if Joe had not explored these twotraditions in depth at one point or another inhis career. Their special sounds are toodistinctive to have been acquired as mereornament.But Joe Meadows is no "freak,” as thisrecord shows so well, he's all bluegrass—justbetter than the rest. He is backed here byLarry Sparks and The Lonesome Ramblers,the group with whom he played earlier thisyear (he is now with Jim and Jesse). Amongthe tunes hereare "Dusty Miller," "Back Upand Push," "Ms. (sic?) Mac Leod's Reel,"and "Orange Blossom Special." The lastnumber was recorded by the Stanley Bros,almost 20 years ago with Joe (then only 18years old) on fiddle. Both recordings focus onthe tune inself; there is no nonsense, noshowing off in lieu of real musicianship. Asyou might expect, though, the newer one ismore confidentIn any case, be you bluegrass fan, fiddle music fan, or violin afficionado, you shouldbuy this record. It bears eloquent witness tothe capacities of the instrument itself.Available from Old Homestead Records, Box100, Brighton, Mich., 48116. A plus.By Richard RandCAPTAIN BEEFHEART AND THEMAGIC BAND, Bluejeans & Moonbeams,Mercury SRMM018.Captain Beefheart is trying to becomenormal, or at least normal enough to sellrecord albums. This new album is his secondon the Mercury rtcord label, and, like itspredecessor, Unconditionally Guaranteed,forsakes the former unique Beefheart stylefor a more accessible but ultimately boringone. The sharpness is gone from therhythmic and melodic synthesizations andalternations. Some of the old trademarks arethere, but the composition of the songs is somuch more straightforward than in the past,that these throwbacks to the old style seemmore to get in the way of the music thananything else.This is not to say that it is a bad album. Itjust lacks the intrigue and inspiration whichhas come to be expected from Beefheart.Although the new band cannot measure up tothe old one (who are rumored to have quitbecause of the last album), it is not a badThe G reuCitu JournalHere is no continuing city, here is no abiding stay,III the wind, ill the time, uncertain the prefit, certain fhe danger.Oh late late late, late is the time, late too late, and rotten the year;Evil the winter, and bitter the sea and grey the sky, grey grev grey.—T.S. Eliot.EDITORGage AndrewsSTAFFMeredith Anthony, Miles Archer, Robert L. Greene, Mark Gruenberg, Toby Hofslund,Gary Kazin, John Kuhns, Alfred Lea, Aaron Lipstadt, Moss Mothers, C.J Myers, JoyPell, Richard Rand, Daniel M. Rosenthal, Mike Shields (photo.), Enoch Soames, AmyWeinstein. Steve Yeager.The Grey City Journal is published every Friday during the academic year, as part ofThe Chicago Maroon. The editor and staff may be reached through the Maroon office(753 3265); and all advertising and subscription requests should be directed to theBusiness Manager, The Chicago Maroon, 1212 E. 59th Street, Chicago, III. 60637. Phone(312) 753 3266Only Continentalgets you a flight, a chalet,a car, and lifts for *264Oni cxi lusi v«- new kinky Mom 11<1111->ki piU k<K|i-s ftMtiiu* luxury tmuishccl < hdlrtstudio < ondoinnmims <i shot! walk horn fliclitis It •> the llltimat** I ift Iiikct1Chit ago Bft-i kfiind()t* p<i« k<i< j« •• koun.l tup |i t ( Oili h .iiiftiir Aitti tax. andlUfftnu) v ivu <- at IVnvtT Aiijxoit• / nights lod(|iiu), 7 days skieu/«-d lental.1 days lift tu kets• I owrst possible- pin i s, imiiK iJuitf p.x kdijt*i oiitimiation• l diijri i hdli-ts available with one to thieetx-d looms foi two to six peooleWe have similai p<n kaijes available atVail. Siiowniass/Aspeii, Keystone, andSteamboat All pines pel peison doubleoi l upani v. with stale and lot al loom and • aitaxes additional, as well as Christmassurcharge Dei ember 20th through January 4thRental-car gas and mileage extia. duvet mustbe 21 or over For more intoimation contai tyoui tiavel agent or Continentalat 686 6500. oi send in the couponCOIN 11MF IN f Al AIRI IINl S (JCORDP(J lio.x 4IH7, INorth Hollywood. ( alit 0160/I want to get in on the ground flooi ol that skichalet package piogram lell me more1INameAddressCity —Phone State ZipMy travel agent is.I r i t M We really move our tail for you.CONTINENTAL AIRLINESti j u . .f L.lI tie Proud Dud with tlie Cioklen lail band, and they play what they are asked toplay well. With two keyboards and extrapercussion, the band has a more texturedsound than the old one, but the loss of ZootHorn Rollo on guitar leaves a big space tofill. The band in fact is quite consistentthroughout the album, but the writing is not.There are some songs such as the beautifullyhypnotic "Observatory Crest" which shine,but unfortunately there are plenty that don't.A big problem is that Beefheart has a quitedistinctive voice, which Is not adaptable toall types of music. His characteristic gutsyrasp was excellent in the context of the gruffstyle of past albums, but becomes annoyingin the soft, romantic type ballad style that isoften attempted here.Most of the music here sounds as if it haspromise, but from a veteran such asBeefheart, we should be able to expectquality beyond the point of just showingpromise. Perhaps the problem lies inBeefheart's commitment. He seems tornbetween trying to retain enough of his paststyle to make the music distinguished, andcompromising his better taste to make themusic more easily accessible. Far too oftenboth he and the band sound out of place inthis music. The essential statement about thealbum is that it could be nice music, but whyis Beefheart doing it?By Gary KazinBADFINGER Wish Your Were Here:Warner Bros BS 2827. It is difficult to avoidmaking comparisons between Badfinger'smusical style and that of the Beatles duringthe period between A Hard Days Night andRevolver. The group seems to haveprogressed slightly from their earlierstylistic identification with the cheerful rockand roll that was so popular in Britain duringthe early 1960's to something that is verymuch like what the Beatles were doing in themiddle 1960's and Ringo Starr still is doingtoday. A comparison of this sort, whichbrings with it the necessity of pointing outthat an imitation without genius behind theoriginal usually fails flat does not truly dojustice to this album.Badfinger's music, especially on thisalbum, is consistently very pleasant andmost enjoyable. There is nothing profound inthe lyrics and, what is even better, there is nopretense of profundity. The album istraditional in its attempt to create a mood with its lyrics and the tone of its musicalperformances and, In the end, goes nofurther than simply providing entertainmentof a generally high quality. There Is not asong on the first side that would be unj>opularif it were to recieve as much attention as thesimilar (but far less elegantly performed)efforts of Ringo receive from radio stations.In conclusion, the four members ofBadfinger are fo be congratulated on athoroughly unpretentious and highlyenjoyable recording. BTHE BEACH BOYS; Smiley Smile andFriends; Brother Records: 2MS 2167. Onecannot help assuming that, with the releaseof this double album, the Beach Boys haveaccepted the end of their short lived revival.The two halves of the album released for thefirst time in 1967 and 1968 respectively, arerepresentative of the death throes of whatwas once one of the best and most successfulAmerican rock & roll bands. Thecontribution that the Beach Boys made tomusic in the early I960's and again in 1966with Good Vibrations, is undeniable, as is thefact that both of these recordings, when theywere first issued were artistic andcommercial flops.Smiley Smile was the final expression ofthe groups idea that their voices in four partharmony were an integral part of their musicrather than simply vehicles for theexpression of the lyrics. Their mostextravagant attempt to demonstrate thisideal, Wind Chimes," serves as an illustra¬tion and an example for all those who wouldtake a basically sound idea and make it absurdthrough exaggeration. The album has two oftheir best late songs: "Good Vibrations" and"Heroes and Villains", along with several♦ hat must be courted among their worstefforts to date.Friends is the album that grew out of theBeach Boys attempts to climb aboard themysticism and introspection bandwagon in1968. It is certainly more tranquil (indeed,almost soporific at times) than anything thatthey had ever done, but tranquility does notnecessarily imply either profundity orser sitivity More importantly, spending timein transcendental mediation does notautomatically make one a musicalspokesman for thaf way of life. Still, there aresome good things on the album, notably "BeThere In The Morning" and "Little Bird." CBy Daniel M. RosenthalCOOKIN’ WITH MAMATHE WINE YOU CAN EAT.Dear Akadama Mama,Did you know you'selling your wine shortmuch more than the winryou can mix it's thewine you can eat I heother night my old ladytook some pineappledessert topping andstirred in some ofyour Akadama Plum andthen poured it over pound cake and chocolate ice cream It tasted so good my teethstill hurt Jm,Dear Jim.Your letter was truly inspirational.Your super idea about eating AkadamaPlum really got our greedy taste budsflying and before the day was over werecipied ourselves into Plum Paradise.Thank you.HTBTF POCTEAP. TGWWTNPF(How to be ttie first person on campus toeat Akadama.Plum, the grape wine with thenatural plum'flavor.)AKADAMA PLUM CAKE1 package yellow cake mix. 1 packagevanilla instant pudding mix. 4 eggs. % cupoil. J4 cup Akadama Plum Combine allingredients, mix or beat 5 minutes thenpour into greased angel food or bundt pan.Bake 45 minutes at 350. Cool 5 minutes theninvert onto plate. Dust with powdered sugar.AKADAMA PLUM GELATIN1 envelope unflavored gelatin. Vi cup coldwater Va cup sugar. 2 tablespoons lemonjuice. 1 cup Akadama Plum. Sprinkle gel¬atine over cold water in a small saucepan. Place over low heat and stirconstantly until gelatin dis¬solves (about 3 minutes).T hen add AkadamaPlum, sugar andlemon juice andchill until firmAKADAMA Pi UM &CINNAMON APPLEGELATINAdd V4 tablespoon ofcinnamon to regular plum gelatin whenyou add ttie Akadama Plum. Then just add1 cup of cooked apples when the gelreaches ttie syrupy stage.AKADAMA PLUM & ORANGE ORPINEAPPLE OR BOTH GELATINAdd some diced orangeor pineapple or both toregular plum gelatinwhen the gel reachessyrupy stage.HOW TO HELP PASSTHE TIME WHILEYOU’RE WAITINGTreat yourself tosome of that openedbottle of AkadamaPlum straight or withrocks or soda or tonicwater or 7UP or cola orginger ale or applejuice or pineapplejuice or whatever.AkadamaI ISTEN TO MAMA. AND PASS THE AKADAMA (HE WINE YOU CAN MIXIMPoR f ED BY SUN I Out IN 11 KNA11ONA1 t OS ANOE 1E S. CA8-The Chciago Maroon - Friday, December 6, 1974Enoch Soames: The “Men” Behind The MythGR€V GdPBy Tophum BeauclerkI had arranged to meet with Mr. Soamesnear a telephone booth in the hallway of aGreat Metropolitan Newspaper. When 1arrived, he was applying the finishingtouches to his costume-I believe that he wasbuckling his wing collar when I first caughtsight of him Mr. Soames suggested that weadjourn to the Pump Koom of theAmbassador East (“it’s so delightfully outof fashion right now”) which we did aftera brief search for his swallow-tail coat(“You wouldn’t think something like thatcould get itself lost in a phone booth’’).Enoch Soames (as we surveyed the PumpKoom): Well, how do you like it? It’s aChicago version of a Hollywood version of a1930's restaurant. We will be able to see itbetter from the bar--and so will you(•rev City Journal: I'm sure we will.We seated ourselves so that we had a fineview of the room, and began the interview )GC'J: \1r.. Soames, you, or perhaps Ishould say “you-all," have succeeded inoffending everyone from aged Ilyde-Parkwidows to springhtly young feminists. Whyhave you seen fit to lie-pardon theexpression-so offensive?The University of Chicago has far tixi much undeserved snobbery, and I simplycan’t resist exacerbating it. The Universityis constantly trying to convince itself that itis a great university-because in its head itknows that it is a great university, but in itsheart it knows that it isn’t.And you think that it lacks...A sense of community. The universityadministration does remarkably little tofoster the sense of community.Perhaps you simply don’t feel this "senseof community" because nobody likes you.Perhaps Hut I really think that it is due toIhe fact that the University was formed as aninstitute of graduate study. Graduatestudents are among the lowest of the low.Aren’t you one of them?Yes indeedeedoo. Ixiok at it like this: thekind of liberal education appropriate tograduate education has been buried in ther uins and decadence of the Ph D. degree Itis, like the J.D. and the M I)., a certificate ofprofessional qualification. Graduate schoolis just as grim as professional school-onecan expect no joy in it No one would attendwere it not necessary to have a Ph.D. degreein order to teach in college The degree isnow primarily a certification of professionaltraining But a liberal education has noconnection to any utility or to any profession-it has value for its own sake, because by itwe learn about knowledge for its own sake:knowledge qua knowledge Education is anOpen for your Christmas parties and our buffet luncheon.11:30 AM-2:30 PMThursday, December 12 - Saturday, January 4For Reservations call 753-3598 or 955-51 51/ /red oj the l j her ill Orthodoxy on (.aw pus?Till'. INTKRCOI.I.KGIATi: STUD1KS 1NSTITUTKprovidesa tik)U(d rn-ui. ai.thrnativh1 lie Intercollegiate Studies Institute is dedicated to furthering thetraditional values inherent in Western civilization: individual liberty,limited government, private enterprise, the rule of law, and the spiritualfoundation necessary to these values. ISI seeks to make available to theinterested student the best scholarship of our common heritage throughthe programs listed below.#THK INTKRCOLLFXiI A 1F RFVIFW—Students and professors areeligible for a free subscription to the quarterly review of scholar¬ship and opinion.#THF A( ADFMIC RFVIFWFR—Also available at no cost is thebiannual review of Ixxiks.#(»RAI)UAIF FFLLOWSHIPS—Recipients of this highly competi¬tive fellowship are awarded a $2000 grant and payment of tuitionat the school of their choice.#LFCTURF IHJRFAU—ISI can arrange at your school and fundlectures or seminars with the nation’s leading thinkers.#SUMMFR SCHOOLS—Scholarships are available for ISI's week-longsummer symposia, held throughout the country.♦CAMPUS RFPRFSFNTATIVFS and FACULTY ASSOCIATFS-Students and professors volunteer to promote ISPs programs oncampus.For more information on these and other services, mail the couponbelow to: Intercollegiate Studies Institute, Inc., 14 S. Bryn Mawr Ave¬nue, Bryn Mawr, Pennsylvania 19010.Mease send information on the ISI program to:NameAddressSchool /it education about education! Robert MaynardHutchins wouldn’t recognize this placeWhat do you think his. or rather your, firstchange would be?I’d put the entire graduate school oracademic probation until they reformec.their education into a true liberal educationThis would be esDeciallv necessary in thereductionist schools of the social scienceswhich claim a superiority to the ontologicaland moral criticism of philosophy to whichthey are not entitled. As a result, theyconduct a kind of research that, as Hutchinswould say, has no place in a UniversityThere is a difference between gatheringinformation and gathering knowledge;between research that compiles data andresearch that develops and extends one’sphilosophical ideas, between research thathas no place in the community of a liberaleducation and research that has such a placeDo you think this University is a hopelesscase?Probably not Hut it’s going down hillQUICKLYWe paused to order another roundof drinks Mr Soames was drinking “Blue*Blazers,’’ which I hadn’t seen anyone drinkin yearsHow do you get them down?I prepare myself with a good Polish dinnerA Polish dinner?Yes A charmingly ugly little place on Milwaukee Ave. It’s surrounded by economybakeries and Mexican taquiterias, andthere’s a fair, young, hair-lipped maidenthere who always undercharges the bill. Notmuch to say for the Eillet a la Krakow, butthe Cheese Blintzes! Ah!Well, food aside, what do you enjoy aboutChicago?Eating That’s it., oh, with occasionaldrinking.What about the architecture?Positively lunar! When we want to amuseourselves we take a walk down Astor Streetto laugh at al! the funny buildings that peopleare paying so much money to live inAnd how do you find the mid-western gothicat the University?I think that the University of Chicago oavsthe same attention to its architecture thatpersons who don’t care about how they dresspay to their blue jeansWell, thank you Mr. Soames. Just onemore question: why do you continue withyour pseudonym?Oh. my own name is rather dull ..Have youever noticed how sociologists believethemselves to fie a great occult eyeball thatexists purely to observe the world9 We adoptthe same attitude towards sociologists.Well, thank you again. Mr. Soames.No, thank you.No, thank you.No. thank sou 1 Ad infinitum )CtllJ63 2060* mnpus i eii'we Or348 6128*.JTrrrcT.., tow Cost Audio-Visual Services o« th# midway1225 fo»*60*t> SiraatCopy Ptep • Typinq • Type Sri • PnntmqOverhead Cels • Slides • filmstrips Mounting » Photoqraphy • Recordmq • fqutpment RentalPosters • Charts • Graphs • Displays • CCTVFc»t t<onomuol S*rv>c*t on Comput Call Von Sands for Sompltt Pr<ondfilimot**rftfcki ! L rtoOuj'L you COulD TjPi /A)Torj 6o£s/OH, c»‘5 TH\SrfPeuftiTLR . a MltDlPi ComPcUlUIs *° ( f ftOLT O \T n*LU?s? youvT COSTN0/TOOCT o*j£ -aCcCAA'cO rReu\x. O\0 VOUKNOVj TttfiT CcVoavS 'Co. wvVV co<v>9\e^e\v^ oVicyV\AN>u oOVJ^U\<Y\f\c\\\(\e ViOOTA CtOUjSchultis Typewriter Co.4906 S. Greenwoodph. 268-0339.*' \ Hdov December 6, \974 r the Chicago Maroon?t tit* j-C/a * ‘ji» > C? v/ fc TheGreyCityJo'smal-910-TheGreyCityJournal ... . j .,, rf*-?< M *' i *;?* *$# ■ rTi vv’ t -Mj-kiiRecoppc— ———TRACY NELSON, Atlantic SD 7310. Tracyhas shifted companies so many times thatit seems she can't help but hit upon the onewhich will make her a star. It's true, she hasthe big voice; it's true, she projects her wholeheart; it's true, that she still has the wrongcombination of songs for her deep, hurtingvoice.She is competing in a vicious market: thefemale singers who write very few of theirown songs, and thus must depend upon theones they find which they feel are suitable totheir style. Sadly, there is also Linda Ron-stadt, Rita Coolidge, Bonnie Raitt, andMaria Muldaur in the same situation, andthere aren't enough songs to go around. So,most of the material here has been recorded—and recently at that — by at least one ofthe other singers, who by virtue of chronological precedence has made the song herown. Not that Tracy is bad, but her versions aren't different enough to blow awaysuch heavy competition. The best efforthere is Dylan's "It Takes A Lot toLaugh, It Takes A Train To Cry," whichcomes off quite nicely. If she ever findsher niche, though, then look out. C .BONNIE RAITT, Streetlight, Warners BS2818. Bonnie Raitt differs from Tracy Nelsonin that she has completely stolen my heart.On her newest Ip, she has eschewed (at theurging of her studio, which is eager for amore commercial than artistic success)her superb bottleneck guitar playing, andthe raucous blues which were her roots.Instead, the focus is upon her singing, witheverything from an orchestra to a rock bandto back her up.Despite my inordinate fondness for herearlier material — I recommend all herearlier Ips, on Warner Bros, records — I amvery taken by this new approach. I don'tlike it better; I like it, as the saying goes,different. Raitt's voice is superblyevocative, ranging from tender to brassy,blues to ballads, and yet always retainingits distinctive traits. The sonqs show itoff perfectly: Joni Mitchell's lonely"That Song About The Midway," JamesTaylor's "Rainy Day Man," andespecially John Prine's "Angel fromMontgomery," which is given a stunningtreatment here. I am not entirelysatisfied with this new direction that she istaking (on records, at least), but Streetlightsis, no less so than her other records, atriumph. AELTON JOHN, Greatest Hits, MCA 2128.Why this record has been made is hard toimagine, since Mr. John continues as aremarkable commercial success and showsno signs of slacking off. Perhaps this in¬ dicates that he is considering terminating hisassociations with this company, and theyhope to bleed the public for a little moremoney ir, his name.As might be evident, I have not got thehighest respect for Mr. John, though I amaware of his rare ability (shared with NeilDiamond, see above review) to write hitsongs. Mr. John takes rock to its mostridiculously serious extreme, offensivelyparodying the entire genre while gleefullyreaping profits from it. The few songs herefrom his first Ip are the highlights, but theyonly serve to emphasize the degree to whichhis fall deprived pop music of one of itstalented baliadeers. C-.THE WHO, Magic Bus/ My Generation,MCA2 4068; THE WHO, Sell Out/ A QuickOne, MCA2 4067. These double recordsre releases of the first four Who albumsare a major contribution to retroactiverecord collection building, especially ifthey are at a bargain price (the review copiesdo not have the price marked upon them, andthus I have no way to know how great is thecause for rejoicing).The Who had been regularly praised andthen ignored until they released Tommysometime around 1970. They were the toughband of the British invasion, suffering from alack of decent promotion which let theRolling Stones (the pretty boys) get awaywith the title. Insurrection was a watchwordwith them: "My Generation" remains one ofthe quintessential protest songs of rockmusic, and The Who Sell Out was one of themost successful of the anti-capitalistparodies. Both of the re-releases are awelcome, and hopefully economical serviceto the record collector, and belong in anydefinitive collection of early rock music. Bplus.TOM WAITS, The Heart of Saturday Night,Asylum 7E 1015. Tom Waits comes from theheart of LA, and has a peculiarly visionaryview of the filth and the grime. He isrecklessly and joyously abandoned to anaffection for the city, and with The Heart ofSaturday Night, he at once becomes themajor voice of urban rock poetry.This is Waits' second Ip; the first containeda stunning song called "Ol' 5.5" which theEagles later did a fine version of, but ingeneral the lyric value of the record faroutshone the musical value. Like JacksonBrowne's latest record, the music was badenough to almost totally obscure the importof the lyrics. Here, Waits has combined aclassic night club blues piano with deftarrangements to evocatively underline thelyrical impact. As things now stand, Waitshas edged Browne out of the vanguard ofmusical poets.Tom Waits "revels in the toughness that has been absent from the American scene sinceJack Kerouac."10-The Chicago Maroon - Friday, December 6, 1974 r » iPete Townsend being quintessentialWaits, it should be emphasized, is adistinctly urban singer. The seamiest side ofLos Angeles is shown to us: railway stations,grungy bars and their resident drunks anddrinkers, all night pizza huts, and especiallycars and diesel trucks. Along with BruceSpringsteen and Bob Dylan (both of whomhave new albums in the works, which shouldbe available by Christmas), he reveals andrevels in the toughness tfiat has been absentfrom the American literary scene since JackKerouac died. The song that caught me mostquickly was "Fumblin' With The Blues,"with the all too true lines "failin' in love issuch a breeze/ But it's standin' up that'shard for me." "San Diego Serenade" is alsoparticularly effective, with its repetitiousstructure that reveal how negations andabsences are the all too painful ways whichforce us to see the truth.Jim Gordon does nice support work ondrums, and Tom Scott does several out¬standing guest spots on tenor sax andclarinet, but the main show is center stage.Waits gives a tough, honest and finally atfecting performance, utilizing a limitedrange for extraordinary effectiveness. Hegives me a brash joy which I treasure. A.CLEO LAINE, A Beautiful Thing, RCACPL1 5059. Cleo Laine has profited greatlyfrom her relationship with RCA records.Since her signing, she has gotten exposure •which had been the only thing keeping herfrom finding a wide and fanatically devotedaudience.She is essentially a show and cabaretsinger, though her voice is strong enough to easily fill a large hall. Her unusually largerange is now a widely known asset, and whenbacked up with a peculiar ability to createinitmacy with her audience no matter whatshe is singing, there is no doubt that heraudience will widen further. A BeautifulThing treats the material in a mannersimilar to her other Ips, which have beenaided by the guidance of her husband JohnDankworth. While any new set of songs fromher is v elcome, there are some here morewelcome than others. "Send in the Clowns"from A Little Night Music is my favorite onthe record, though "I Loves You Porgy" isalso delightful. This is a record to risk thefamous RCA warp in order to try. B.CROSBY, STILLS, NASH AND YOUNG,So Far, Atlantic SD 18100. Even after seeingthem in concert earlier this year, it is hard ;obelieve what an impact these four have hadupon the music of the last few years. This"greatest hits" collection wraps up in onepackage almost half of the songs which Iliked enough to learn to sing along with.Some of the songs have personal memories,some just seemed simply true, others arebittersweet remnants of a period wheremusic and politics had not yet divorced andbegun fighting over children. Since almostall my CSN Y Ips are wearing out by now, thissuccinctly and graciously reawakens myaffections. The handsome cariactures ofeach artist on the cover were done by JoniMitchell, which is a story in itself. A treasuretrove of memories. B plus.By Moss MathersLAST-MINUTE!HEADQUARTERS ^5SI4%„'“M"( i. Friday, December 6. 1974 - The Chicago Maroon-1112-TheGreyCityJournal TH£dTR€>g* 1 . 1 ===== 11 —l.i ■ 5=^=,,Bichard Christiansen: The Performers’ ChoiceBy Meredith AnthonyRecently some friends of ours took animpromptu poll among theatre peopleconcerning the merits owthe big name, dailypaper, drama critics. IAmong all the longharangues and obscene remarks with whichactors, directors and stage crews responded,we noticed that several phrases keptcroppingup when certain names were mentioned.One critic was universally characterizedas “an ass," a descriptive commondenominator that was then variouslyenlarged upon. Another’s work wasrepeatedly referred to as “too easy," withthe additional explanation of “hopelessly outof touch with contemporary drama," or“middle-aged mentality,” or “out cf it." Of athird critic, however, it was frequently said,“He’s not always right but he’s the bestwriter. ” While we felt that it might be kind offun to pay our respects to the donkey or thesenior citizen, we decided to talk to theundisputed winner cf this little popularitycontest. (May I have the envelope please?)Richard Christiansen of the Dailv News.When Richard Christiansen, now critic atlarge, first started to work for the DailyNews his credentials consisted of a BA inEnglish from Carlton College, somegraduate work at Harvard and a stint in thearmy. He soon rose from the ranks of generalassignment reporters. however, toentertainment feature writing. He has sincebeen editor of the Daily News' weeklymagazine Panorama. and of TheChicagoan. He has been at large how¬ever, for some time. Watch for him.We approached Mr. Christiansen withsome trepidation, since his title—Critic-at-large—makes him sound like a ferociousuncaged animal. However, we found himquite tame; indeed a little like Mr. Chips butrather more debonnaire, and perfectlywilling to share some of the secrets of hissuccess. We though it only fair, since weknew what people in the theater thoughtabout him, to ask Mr. Christiansen what hethought about them. He produced the samesort of double-edged comments that they hadmade about him.I really like the people in the theatre.When theatre people are bad. then, becauseof the egos involved, they're worse than mostpeople. They’re more flamboyant...But Ihave a great deal of admiration for thembecause, in a way, they’re the mostvulnerable people in the world. All they haveis themselves and they give it out there everynight.This sensitivity about the personalitv of theartist accounts for the mutual respectbetween this critic and those whose artistryhe must judge. And this lends a seriousnessof tone to his reviews, which are tight,incisive, often witty, but never glib.You have a responsibility to them to give afair and cool-minded judgement of theirwork and not be vindictive or lazy. Theydeserve the best that you have in you—suchobvious things as you don’t sleep in the thirdact or make a nasty wisecrack just for thesake of it. It's not fair to the people involved.Doesn’t he, nevertheless, have troublestaying friends with people he’s criticized?I do. That’s very hard. But you just try to conduct yourself so that nobody can say thatyou did that because you're a capricious or avindictive person You have to have somesolid rationale for your criticism. Then, Ithink, they don’t mind. They may disagreewith you and say, ‘you don’t understand whatwe were trying to do,’ but I think if you cometo it with a point of view that has some basisin reality or common sense, why, they won’tdispute that.But Mr. Christiansen does not addresshimr<ilf primarily to the theatre people:People in the theatre are always saying,‘We like constructive criticism.’ But that’snot really. I don’t think, the primary functionof the critic. His primary function is toaddress himself to the audience, playgoingand just reading. We expressed some surprise at this sincewe had always conceived of a review as partof the dialogue between the performers andone spectator to which other potentialspectators could listen in for theiredification. Mr. Christiansen thinks first ofthe reader.You address yourself to the readingaudience because your func .ion as a writer isto be read... You’re a reporter ofentertainment events as well as a critic ofthem...That’s part of the function of anewspaper, to relay this news to the reader,that this play opened and so-and-so was in it,and so on. And as a critic you try to givesome valid evaluation of how well, in yourjudgement, the performance seems and how good the play is. And then, of course, you dotry to educate, but not in a pretentious senseor in a portentious sense. We do try to givepeople some background on the play and theproduction and so on, so that they’re betterequipped to see it when they finally do go.There are many general types of critics.Some see themselves as judges or minorgods—the pontificating style. Some arefrustrated playwrights or actors—theembittered, ‘those who can, do; those whocan’t review’ approach. We asked Mr.Christiansen if he placed himself in the‘perfect spectator’ catagory.I’d never thought of it that way, I think youhave to be better prepared than mostplaygoers are. That’s part of your obligation.You have to be more aware, more sharplyaware, of what’s going on on the stage. Youhave to know a little more about the playitself because then you’re able to tell thereader a little more, to help him appreciatewhat’s happening. If you’re just someonewho goes to a play and says, T liked it,’ well,you may have perfect taste but that doesn’thelp anybody else very much You try to saymore than just, ‘1 liked it.’ You define what itis, a comedy or a tragedy or a pastorai-comical-tragical-historical. or what. Andthen, how well does it fulfill that definition asa piece of work'* And then, how well is itperformed9 Those are the three generalrules.Does he think he has an influence on hisreadership?One always hopes to enlarge theirperceptions of what they're going to see. Ithink that’s whai a critic's job is partly for;to make it more for them than the experienceof just walking into a theatre and decidingwhether they like it or not. but to help themappreciate what they are seeing more. But itdepends. None of the critics could give a goodcompelling reason for seeing DebbyReynolds in Irene but people went. Theysimply wanted to see Debbv Reynolds inIrene.That information depressed us. We askedif there was no hope, then, for the theatreaudience.There are theatres looking for an audience,and a critic, by what he has to say about aplay, can help a theatre find its particularaudience. Those theatres that benefit mostfrom a good review are those that need popleto be aware that there’s something there thatthey might be interested in, that otherwisethey might not have known aboutAbout the state of the drama in Chicagoright now, Mr. Christiansen said:Awfully active. There are 21 or 22 equitytheatres in Chicago right now And Godknows how many community ones. Of coursethere may be plenty of activity one year andnothing the next because there's lots ofactivity but not many roots. A theatre lasts aseason and then is gone. But right now itseems to be very active and a lot of the workis quite good.We asked, rather impertinently perhaps,where he thought the best work was beingdone the most consistently.You mean whai theatres do you walk intofeeling that something exciting is going tohappen9 There aren’t many like that. I guessStuart Gordon’s Organic Theatre. It doesn’tRichard Christiansen. Photo courtesv of The Daily-News.The Adventures of A<HAIA<LAUSS(pronounced: AH-HI-YA KLAUSS)AlexanderTHE GRAPE From the prestigious vineyards of Aihaia Clauss comes CASTflDANIELIS, the dry, vintage red wine of Greere. This excellent tablewine should he served at room temperature. (continued on page 16)mister _Kelly so#&DEC. 2*151028 M. RUSH •ADVANCE TICKETS NOW ON SALE ANDAVAILABLE AT ALL TICKETRON OUTLETS12-Tha Chicago Maroon - Friday, December 6, 1974* *Mi /. ti;\ n « •>©(continued from page 2)heard. The film that has received morepublicity is more likely to attract thepotential viewer’s attention, but at the sametime, the viewer is likely to have formed anopinion on the basis of this publicity. Myquestion was whether Ebert tried to respondto this advance publicity, to penetrate theprejudices that might have been formed.“No, I try to approach each film with anopen mind...You go and let the experiencehappen to you, and then you write about theexperience that happened...I don’t feel that Ishould give the movie a better review if it gotbad reviews out of town...I think you get thatsort of thing much more in New York, wherethey’re all writing against each other. I’mnot going to read everybody’s review and seeif it got poor reviews...I don’t write inreaction to other critics.”Pressing the point, I asked if a film whichhad gotten unanimous pans, but which hadsome worthwhile elements, was not worthsaving or at least keeping open forconsideration with a few kind words. Eber'.replied that anyone would write that kind ofreview, i.e., any critic would write ‘look, thisis a lousy m^vie that’s been bum rapped, it’sa lot better than you’ve been led to believe.”Alas, it seems to me that there’s some kindot contradicition here. How does he know thefilm has been bum rapped unless he readsother writers, and responds to them? Onehas to take audience expectations intoaccount, which Ebert admitted earlier (inhis reference to the Hudson Review and theNational Enquirer).The way I see it, when publicity hasaroused audience interest in a film, thataudience decides, on the basis of thispublicity, whether or not to see the film(except for certain films which arouse somuch excitement they become “must see”).However, the response is often conditionedby factors completely or partly exogenous tothe film: advertising, critical response, theactors, the director. But while the decision isusually positive or negative—they want to see the film, or not—in fact, the film is “so that if you watched TV and took theusually nowhere near the extremes of class, you could see almost everything thatworthless or satisfying, but somewhere in Bergman ever made.” He also teaches athe middle. As a result, it’s up to the critic to course every spring which examines thetry and buck audience expectations, to make principles of visual composition, and thenthe individual think about why he or she takes one film apart “to look at its visualwants or doesn’t want to see the film in strategy.”question. Thus, Juggernaut may sound like a He’s also written five screenplays, two oftypical disaster at sea story, and be written which have been sold to Russ Meyer: Beyondoff as such. This dismissal has to be re- the Valley of the Dolls, and the upcomingevaluated by the reviewer. “psuedosequel Up the Valiev of the Beyond,Ebert is also active in other areas; one of a “comedy, parody, satire...involving a totalthem is teaching in the University of Chicago galaxy of impossible, exaggerated, wildlyExtension Division, which “keeps me on my satirical characters, who get involved intoes To teach, especially when you’re totally implausible situations, with a strongteaching a worthwhile director, allows you to overtone of people you’re supposed toget very deeply into a film with some other recognize, like the richest man in the world,intelligent people, and really ask difficult the strongest man in the world, this time wequestions.” Last year Ebert combined his have people like Maralyn Reuters, the twointroduction of twenty Bergman films, on time Pulitzer prize winning Rolling Stonechannel 11, with his own course on Bergman, correspondent; Moshe Sabra, the crackEbert (left) discussing film with Lipstadt. Israeli intelligent agent , Guru Perfect Moon, cthe 33 year old fuckup, and they’re all in- 3volved in a plot to gain eternal youth from an 2-evi! demented medical genius of the ThirdReich, Dr. Praetorous, who’s invented away to give people eternal youth throughinjections from the pituitary blands of thebeaver.” Ebert says that the experience ofgoing through the process of making a majorstudio movie is very educational, despite thecritical reception the films may receive. “Ithink my friend Siskel over at the Tribunesaid that Meyer’s mistake was that heworked with a neophyte screenwriter.Thanks a lot, Gene.” Ebert has also workedon unsold scripts with Daily News columnistMike Royko and director Sydney J. Furie.When asked about the general tendenciesin films, Ebert opined that the narrative filmis coming back. “One of the strongest forcesworking on the audience is the desire to betold a story, and there was a lot offragmentation in the late sixties and earlyseventies, which was very interesting in andof itself, but not so much in terms of the massof moviegoers. Film hasn’t become aminority art form.” When questioned onspecifics. Ebert mentioned that popularfilms like Serpico and Chinatown were “alittle daring” (as narratives) to get suchlarge audiences, while, on the other hand,California Split and Amarcord were cited byhim as successes How this demonstrates thereturn of the narrative is beyond me; Splitand Amarcord are among the mostfragmented of current releases, whileSerpico and Chinatown are almost self¬consciously loyal to narrative conventions.How about general trends in the quality ofthe films that are coming out9 “Quality is anintangible. Fellini makes bad movies. Ididn't think that The Clowns was as good asAmarcord. Nobody has made a worsecomedy than All These Women, by BergmanQuality is an intangible ”As we left, Ebert joked that columnist BobGreene would be rushing over to see who hadoeen interviewing him. He told us he’d saywe were from Newsweek. I won’t tell.500 S. RacineCIRCLE COURT SHOPPING CENTERCHICAGO, ILLINOIS 60607 733-6296MON-SAT: 10-9, SUN: 11-5MASTER CHARGE. BANKAMERlCARDCARTE BLANCHE A AMERICAN EXPRESS 0$ Mj®(y fexaw® @iro ®qip ■!f®p0§fo® QtrCi®audio circlethe sound you warn to hearholiday time all the timewith friend* or groovin'alone audio circle will giveyou that sound experience KM © <9?0*oooO °—■ I—■ ■Harmon KerOon/vccom* on in' We veot tickets for yourfavonte concertsand theater ticketsGet a Chnstmas TicketronGift Certificate 1S-SZSMe beet ot me beet‘utafp® CikseoPGO®?®audio circle SonyTEACAKAI500 S. Rack*CIRCLE COURT SHOPPING CENTERCHICAGO, ILLINOIS 80607 226-1171MASTER CHARGE BANKAMERlCARDLayaway A Convenient Monthly Termsf • , /J ■r,:?„|tf,('.l,,i ,V»'' Mon Fri 1C to 9Sal 10 to 6Sun Noon to 5•AOPTOPFriday, December 6. 1974 - the Chicago Maroon-1314-TheGreyCityJournal RECORDSJONI MITCHELL AND THE LAEXPRESS, Miles of Aisles, Asylum AB 202.This two record live-in-concert se* isabsolutely stunning. Tho first Ip is w th ,'omScott and the LA Express, whose musicalaccompaniment is so deft, so apt to thematerial, that hearing the newarrangements for some of these songs is likehearing brand new songs. There are actuallyonly three new songs here, of which "RainyNight House" is by far the best.This set in almost a greatest hits style ofrecord, except that Joni's voice here is muchwarmer and more expressive than it appearson her studio albums. She projects ahumaness, a warmth, that is the absoluteessence of her concert presence. Theexcitement, the banter with the crowd thatgoes on at a concert, is all here, but thestrength comes from the extraordinaryperformance.Ordinarily, I have preferred Joni toaccompany herself solely on guitar, sincerock instrumentation tended to detract fromher material. That position has beenreversed here; the LA Express is so talented,so diversely successful, that I prefer hersongs with their additions. Her classic song"Woodstock" receives a new rollicking bassline which once again reclaims the song fromothers' encroachments; but going througheach song and describing its merits wouldonly add up to the summary that Miles ofAisles is a set of superlative newinterpretations of her many classic songs,and ulso gives us three new ones. Flatout,this is her best Ip, and is a must even if youhave ali the others. A.RINGO STARR, Goodnight Vienna, AppleSW 3417. Ringo has come up with another popmasterpiece (oh, those Beatles, that's threealmost this year). Fitting morecontemporary, punch songs into the Perryproduction mill has resulted in a flirtatious,infectious little trollop of a record.The album's boffo start owes credit to theillustrious John Lennon, and <s the source ofthe focus of the album cover art (from themovie The Day the Earth Stood Still):"Goodnight Vienna" is one of these multi¬interpretable Lennon songs that capnvatesthe listener immediately and delightfullypuzzles him as to his affection for the tune."Occapella," by Allen Toussaint, is awhimsical "cajun" tune; Elton John, HarryNilsson, and the ubiquitous Richard Starkeyall contribute material.The tone of Goodnight Vienna is a peculiarbe bop rock, with the standard ex BeatleBallads thrown in. A light, open, easilyaccessible record, one would be hard put todislike this album. B plus.MARIA MULDAUR, Waitress in a DonutShop, Reprise MS 2194; WENDYWALDMAN, Gypsy Symphony, WarnerBros. BS 2792, DORY PREVIN, WarnerBros. MS 2811; DANA GILLESPIE, Ain'tGonna Play No Second Fiddle, RCA CPL13682; SARAH KERNOCHAN, Beat AroundThe Bush, RCA CPL1 0671.Wendy Waldman and Maria Muldaur havea peculiar relationship, Waldman being oneof the finer new women writers and Muldaurbeing the most distinctive of current singers.Muldaur has had success singing Waldmansongs, and has in turn sung background onWaldman's Ips. Unfortunately, both of thesenew Ips are disappointing.Muldaur's fails because of diffuseeclecticism. She is the sole remaining illogical extension of Dan Hicks and, ofcourse, Jim Kweskin. There are traces of somany musical traditions that it is impossibleto work up any momentum: the whole albumis utterly fragmented, and her efforts toadapt to each song take away the unifier ofher previous Ip — her unique voice. There issimply too much, too poorly focused, topresent any coherent, continuous enjoymentat all.Waldman has the opposite problem. Hersongs are well written,but are obscured byone of the obfuscating production efforts ofthe year. Her tune smithing should beburied, instead of practiced, under thespreading chestnut tree. Such sourtds makethe prospect of transcribing her lyrics a to'kthat is discouraging to undertake, especiallysince I know that even if I like her lyrics (anexcellent possibility), I wouldn't like thesound of the record enough to work through itany more after I finish the review.Gillespie, Kernochan, and Previn allavoided the first two's problems, andachieved varying degrees of success. DoryPrevin seems to finally have expunged muchof the vituperative venom she felt after herdivorce, and has focused her creativeenergies on something other than catharsis.Whatever the results may be in her personallife, I find this Ip (her first for Warner Bros.)to be the first which I could hear to listen torepetitively. Not that this is absolutelycheerful, mind you: lines like "you got nograce/if you got no place/to be/alone" aren'tto be taken lightly. Listen, however, to"Brando": "I'll bet I could have/handledhim/if only we had met." Perhaps the mostironic and sardonic of the songs is "Did Jesushave a baby sister?" The speculation vis avis a female messiah ('saviourette:saviourwoman? save your breath!") rings alittle more than ruefully; Ms. Previn has notlost her punch, she has merely donned thevelvet glove.Sarah Kernochan is an anomaly; despiteher rather oddly feminist militancy, the mostsalient fact I remember from her press biokit is that she was the first woman reporterto ever get into the Yale football team'slocker room (no mention if it has been donesince, or if anyone cares). Two of the morestartling (a very appropriate word) songsdeal with her efforts to convince her lover notto fear her vagina, and the reasonablerequest "can I get on top this time?" There isa peculiar feeling nof of assertion, but ofpredafion, that permeates much of fhe Ip.Musically, on the other hand, it is a clear cutand above any of the above three Ips, beingstrongest with rather calculatedly hard rock.Dana Gillespie has, I confess af fhe oufset,been saved for fhe clean up position in thismulti review because I always save the bestfor last. After an abortive first Ip, shecompletely shifted directions (ignore totallythe pseudo cheesecake photos on the cover)away from frenetic rock and has settled intoa blues based rock that is more thancompetently enjoyable.The biggest change has been in her voice.Her bellows and shrieks from the first Iphave been replaced with a stunninglyaffecting voice that displays traces of BessieSmith, Bonnie Raitt, Grace Slick, and a fewof the other people whom I would name asmy favorite vocalists if I could put my fingeron their names right away. There is a senseof sexuality that alternately sends lightshivers up and down the spine, and inspires a1342 E. S5fh St. 493-6700"28 Y*«r» In Hyd« Parti"SEASON’S GREETINGS!Have a good holiday and remember-we havea complete selection of gifts:CAMERASPROJECTORSSCREENSTAPE RECORDERSCALCULATORS DARK ROOM SUPPLIESTELESCOPESMICROSCOPESBINOCULARS GJMaria Muldaur succumbed to eclecticism.quiet awe. Perhaps it is the way she canthrow away notes into the distance and pullthem back from an entirely differentdirection, all combined with a charmingtenderness that ought to be an astoundingchange from her other singing but is insteadentirely appropriate.Ratings for fhe records: Muldaur, C ;Waldman, C; Previn, just barely under a Bplus; Kernochan, B; Gillespie, A-.NEIL DIAMOND, Serenade, Columbia PC32919. Neil Diamond is one of fhe selectschool of American song writers who haveformulized the technique of creating hit songs. Possessed of a pleasant voice and aknack for tapping the throbbing pulse of hipschmaltz, he has a talent for the singlecatchy line which grabs the attention withoutin anyway tying into the general content ofthe song. As such, they are the perfect AMradio songs; if I had a tape deck, I mighteven play this record on it. Throw in extrapoints for a superb production, and twocheers for the talented musicians (especiallyDavid Paich on keyboards), and you haveabout the very best that muzak can do. C.By Moss Mathers&/*4 There are 347 designsin the Vanity Fairdiamond catalog.(We can save you 50%on all of them.) For more than 50years we've been in the dia¬mond business —importing,designing and manufacturing— selling directly to dealers.Our prices have alwaysbeen among the lowest. Andnow we re offering collegestudents the same great sav¬ingsHow much savings? On anaverage, about 50% less thananybody else’s price And forthe skeptics among you, wegive a money-back guaranteein writing.But why not see for yourselfby visiting our showroom orsending for our free 44-page,full-color catalog.Our diamond showroomsare at 55 East Washington,Chicago. Or . . .send for the proof.I \unitsHiirDiamonds j155 East Washington St..Chicago, Illinois 60602 •Send me the proof; the free Vanity Fair catalog. WI_lIISend me the proof; the free Vanity Fair catalog.| Name0 Address( City—i State .ZipSchool"vWflrITY FAIR DIAMONDS14-The Chicago Maroon - Friday, 6ecefmbef fc; 1974■ *.. » • #i <i>i» m i-t n v m « • CHICAGO • NEW YORK • ANTWERPi i L* M » 4 f J « < I ITH€/ITR€= ■ =FOX MMf f*t’ "M*' !*•«•?*?(continued from page 3)and appreciate a film, one must understandthe relationship of all the various elementsthat go into a film. Which sounds prettyelementary now; but you must realize thateven now most dailies review screenplaysnot movies. When you read these reviews youwill always find that they look for ideasexpressed by people talking rather thanideas expressed thru the image. Unless in thecase of a Bergman or Fellini, who arelesser artists, it’s shoved in their face. It’snot true that American art is a verbal art andthat only Europeans can communicate on ahigher level. That’s a patent falsehood thathas been discarded over the past twentyyears, thank God. It’s surprising now to thinkihat people didn’t realize that VincentMinnelli has a consist and developed artistic-style 'I hat Alfred Hitchcock does, that BlakeEdwards does. Part of it is that one musttrain oneself to think visually and, evenharder, that one must train oneself toremember visually.Film & Theater: The Missing LinkThere is a very important link here and itis expressed in a footnote in Bazan anddeveloped elsewhere; that the invention ofthe cinema freed theater from the need to berealistic. In much the same way that theinvention of photography freed painting fromthe need to be realistic. Now for all intensivepurposes this makes realisti" theaterobsolete Not so much because it can nolonger work, but its function has been takenover by a more efficient form.One looks for different things in theaterthan one does in film One looks for ritualAnd, to be sure, one looks at the blocking andthe visual design But the most importantthing to deal with in theater, is that there is amoment and space between stage andaudience, a distance In realistic, fourth walltheater, that moment isn't recognized. Theimportance of WARP in Chicago was that theaudience was always being drawn in bydevices used on stage. Theater is the realmof magic and ritual Melodrama, magic andritualOne of the ways you look at theater is thruthe imaf^, just as with film But moreimportantly you have this space, the stage,which is unchanging and unchangable Infilm you don’t have that. You have mutablespace. Space which is changed by the eye ofthe lens, space that is changed by the cuttingThe lens is very important. The relationshipl>etween you and an object is determined bywhat lens is put on the camera. This is themajor choice one makes every time one sets up a shot — what lens to use. For the depth ofthe frame depends on that.On stage the space is set. Constant. Allaction takes place within this space and youdeal with thoughts and things only within thisspace. The space can be changed by thevarious people in the past the emergence of adirector’s theater. In film, though the spaceis mutable, the final product is permanentand unchanging Theater by necessity isimpermanent. The primary thrust of theateris the vision of a script which serves as ablueprint And what one experiences in thetheater is a vision of that blueprint. Onereceives a total experience which ifinforming about something, the majorexceptions being Chekov and Pinter Youdiscover that there is only one way to pldyChekov and by in large most of the stagedirections are correct and are the only wayto go Pinter also. The nature of the languageis such that when speaking the lines itbecomes clear just how they ought to bespoken. There are millions of interpretationsof Shakespeare. But not these two.Directing: More Than A Canvas Chair AndA MegaphoneThe director of the film realizes that thereis no way an actor can fuck him up. He is incontrol of what is to be a permanent work.Once a decision has been made that thatprint is the one it becomes permanentrecord The theatrical director must beaware that come opening night he is nolonger in control.The director has the task of providingunified visions of a work. The director has totake the ideas and communicate them to theactors. The director serves the function inrehearsal of subjective eye. He says “you’redoing this, you might try doing this.’’ Andwhen you have good actors, actors who trusttheir director, they will accept his ideas intotheir own performance. It’s very difficultsometimes to sav “well, that actor did thatwrong’’ and know whether that mistake wasthe actor's or traceable back to the director.Ideally, and I feel very strongly about this,the best theater occurs, always occurs,without exception, in ensembles A group ofactors who work together with a director orgroup of directors who have a unified visionof what theater should be. People who worktogether so closely that the separate functionof actor and director disappears.Plays: The Things ThemselvesA problem sometimes surfaces with goingback to the original script rather thandealing merely with the experience of it inproduction. In the case of AC7 DC’ it was cleai t * * »* f nt||t|9ir n ' rTerry Curtis Fox while a student at the University of Chicago, March 1969Photo by David Travis.that the work itself was greater than theexperience of it. And in this case it wasabsolutely essential that I go back to thescript Had the production been more of asuccess I would not have had to do that Butsince reading the Williams script, I amfirmly convinced that the play is one of themost important modern theatrical works.You get back to that same quandry. It isthe role of the critic to say “here I am,average audience, and here is myexperience? Or is it to elucidate what isgoing on? I take the later stance. I have onlyonce said, “don’t go’’ to something. And thatwas Handcuffs and only because of the chalkdust I would not have said that had I not feltthere was a serious threat to health. I wentthere with someone who actually felt illafterwards And I fell ill afterwards I amDirect from the Body PoliticUniversity Theatre presentsTHE TRIPANDTHE LANDING2 comedies by Bill LedererReynolds Club Theatre Dec. 5 - 8 8:30 P.M. SI.50much more interested in trying to analysewhat is going on within a work Now it is alegitimate thing to want to experience, in adifferent form, a work which was too denseto be understood in its original experience. Acritic has a need that an audience does not.The critic has to understand w hat is going onso he can elucidate and educate the audiencewho may not have this understanding Tbccritic has to go back and review literally re¬view. a work. In the case of AC/DC it wasessential that I go to the scriptOther Critics: Who Me?It’s not so much that I have a set of criticalstandards There are two differences whichdistinguish w hat I do from the dailies One isthe difference between criticism and(continued on page 16)'Do VourSfwfJ^CngOreDecember 6FridayII a.m. to 3 p.m. 6 Trailer Loads of the following:Used Desks Galore...$15.00 & UP2 & 5 Drawer Metal Filing Cabinets2 Drawer Wood FilesChairs, Swivels, as wel* as Arm ChairsTables-5 feet, 6 feet, 7 feet"cash and carry"8600 Commercial Ave.Opwi Mon.-Sat. 8*30-5:00RE 4-2111Ihurs. till 9*00 PM. CALCULATORS!UNLIMITED SELECTION!UNBEATABLE PRICES!Niso AbuafMidwest Cooperative Rep753-0182Hrs: MTW 7:00 8:30 P.M.F 3 00 5 00PMOr Coll When You WishSatisfaction GuaranteedFriday, DecemberT'974 - fha Chicago Maroon-15 TheGreyCityJournal-1516-TheGreyCityJournal iR€CORD9iLINDA RONSTADT, Heart Like A Wheel.Capitol ST 11358. Linda is slowly but steadilyfinding her niche, and the recent hop inrecord companies (and then back again) hasnot seemed to deter her at all. Heart Like AWheel is her best Ip, though it presentssignificant changes from past Ips whichmake a direct comparison difficult.My sole reservations about Ms. Ronstadtwere based upon her seemingly perpetualimmaturity: she was always bouncy, perky,and too damned cule both as a face and as asinger. I tended to find a childish whine inher voice when I was not being enraptured byit (the perfect definition of ambivalentfeelings, according to my friend Bill). Sheseemed to be easing herself out of it, but Iwas impatient for a clean break. Thus, I wasalways impressed with her newest record,but always dissatisfied.Heart Like A Wheel comes the closest ofany of her records to meeting my expectations. Her voice is more undercontrol than ever before, and has a new,throaty tone which has lost none of herformer appeal. The production (by PeterAsher) is superb, and the backup singingfeatures Maria Muldaur, Emmylou Harris,and Wendy Waldman. Perhaps the best she'sdone; only time will tell if this achieves aplace equal to her others in my affection. Bp,us' By Gage AndrewsFOGHAT: Rock and Roll Outlaws;Bearsville: BR 6956. Any group that couldwrite a song entitled "Chateau Laffite '59Boogie" is immediately well on its way towinning my heart. Like all decent, selfrespecting white rock blues bands, Foghatcomes complete with a musician who has anHomeric epithet instead of a name.Lonesome Dave is both a good genrerepresentative singer, and an excellent musician and this is as it should be. In fact,everything about this group is as it should beexcept perhaps, their rather disturbingclean cut appearance.There are no songs on the album that areabsolutely outslanding, but, and thiscertainly offers one a great deal ofconsolation, there are no songs on the albumthat are really poor. All of it is good, wellperformed music with good to excellentlyrics and real rock & roll style. The guitarsand bass more than make up for anextremely inconsistent percussionist. RogerEarl shows little imagination and even lessfire in his performances. In a band of thistype his mediocre talents are far from anasset and are, indeed, the groups only majorliability.In short, the album just misses being trulyexcellent and remains a high quality effortby a group with an obvious and inspiringpotential, fi-plus.GOOSE CREEK SYMPHONY: Do YourThing But Don't Touch Mine; Col. KC 32918.This group is, stylistically, somewherebetween the Grateful Dead and the Kinks.Musically they fall quite short of being asgood as either group. They are, however,both talented and entertaining throughout thealbum. Their greatest asset is theirobviously intense enthusiasm (remeniscentof the Kink's Muswell Hillbillies which,though it was not the greatest of artistictriumphs, was certainly one of the mostentertaining albums of 1971).The groups most glaring defect lies in thealbums structure. As a recording it isrepetitive in the extreme. Anyone who listens to the first three songs critically can easilypredict the tone, style, focus and even thecontent of the rest of the songs on the album.Two songs on the first side and two on thesecond side stand out as being considerablebetter than the rest. On the front, "Plan ofthe Lord" and "Saturday Night at theGrange: Medley" and, on the back, "HotDog Daddy" and "Big Black Hoss" areconsistently well performed imaginative andentertaining.The album is extremely amusing in partsand is, in sum, a good effort that is limited byits narrow focus and that might becomeboring if it were to be repeated. C-plus.ELECTRIC LIGHT ORCHESTRA:Eldorado; United Artists UA LA 339-6. Theclaim that one has written a symphonyneither guarantees that what one has writtenis in any way recognizable as such, norconfers immediate musical respectabilityupon the author. Pretension is, frankly bothirritating and unacceptable. This album issimply an extreme attempt at producingsomething that can be immediatelyrecognized as striking and important. Itsfundamental problem is, therefore, that it isunsuccessful to the point of being in bad tasteand boring. Wh,n the "semi classical" earntheir much deserved death and have beenconsigned forever to musical pergatory, theElectric Light Orchestra will have its day.One can easily forsee a tremendouspopularity for the group in the dentist officesand highway restaurants of the 1980's. D-By Daniel M. RosenthalTH£dTR£'(Christiansen) “...a professional is onewhose mediocrity is acceptable. ”Linda Ronstadt has finally overcome being too damned cute. (continued from page 12)have a long history but whenever I go there Iguess I have a feeling that some sense ofimagination, some bit of invention, someexcitment is going to be there. When bobTH€ATR€(Fox) “I hate critics who don’t know what they are talking about...I strongly believe that a critic should get his hands dirty. ”(continued from page 15)reviewing And what appears in theRKADKR is really a cross between the two.Reviewing is merely consumer guide reportsto openings and other happenings. Criticismhopefully tries to educate and delve into.Now the other difference you have is thatnone of the people on the dailies, certainly infilm and it s hard to tell in theater becauselord knows they’ve been at it so long, hasprior interest in what they are writing about.No professional interest or expertise.I hate critics who don't know what they aretalking about The idea of criticizing theaterand not being acquainted with what has beendone by Peter Brook, what has been done byRichard Schechnder, what has been done byStuart Gordon 1 strongly believe that a criticshould-get his hands dirty. I'm afraid oflights, but I will hang lights every once and awhile just to understand what the generalmovements are in your area so you canunderstand what is being done, what is beingattempted. AC/DC’s not obtuse if youunderstand the drift of English theater, whatit's trying to do It's the role of the critic tocommunicate to the general public. He actsas middleman.Power: Ileh! Heh!I look upon my job as an appendage to theart. I do not think about what sway I mayhave at all. I do not think about it. I hate it.It’s nice being a star. It’s nice to have seatsset aside for you. But I hate the idea ofpower. You just have to forget about it.Critics actually have a lot less power thanpeople think. Take Dave Kehr’s review ofScenes From A Marriage. I would havewritten a much different review but come toessentially the same conclusions. It was ahorrible film. It was the film that convincedme that Bergman was not just an obviousdirector, but rather a bad one. To pan ScenesFrom A Marriage when all the dailies havegiven it four stars is good for the box office. My Friends: They Love Me. They Love MeNotIn the case of Stuart (Gordon) and David(Mamet) I met them after I saw their shows.I liked their shows because our mindsworked alike. And because our mindsworked alike we became social friends NowI can't review David's work any morebecause we are involved in the creation ofCops. In fact when we first sat down. Stuart,David, and I. about doing Cops, it was threedays after Bloody Bess had opened And Ithought ‘‘well, this may blow it.” But I didn'tlike it and I had to pan it. There are manyChicago theater people who 1 am friendlywith, after all, the Chicago theater scene isquite small But we are professionals and wedon't let our professional lives interfere withour personal ones. William Woodman, who Ihave perhaps been harder on than anyoneelse in the city, and I still get together atsocial functionsOIL New York & Satisfaction: NotNecessarily In That OrderMy job at Oi l is the best job I can possiblyhave The writing field is very tight. Itdoesn’t hurt because I don’t write anythingsexist at OI L Even the editor, who is an oldplayboy, is concerned that the magazine notbecome sexist. It fluctuates between amagazine that appeals to men and women toa magazine that appeals only to men. I amhappiest when it appeals to both. It doesn’thurt also because my job at OUI permits mywife to pursue her graduate studies. Therewas talk of going to New York. But herfellowship ran up and so I needed a job inChicago so that she could do that. And as aresult it is hard for me to feel like I’m doingevil.The satisfaction in my role at OUI and ascritic fluctuates greatly. It depends on theplays I’m seeing, or the writers and piecesI’m working with. And now there is a newrole for me as a playwright, which I mustadmit I find a great deal of satisfaction in. Iam getting a little bored, quite frankly, withthe criticism; I’ve really said all I have toTo create a controversy is always good for say about the theater. When I first startedthe box office, no matter which side you’re Chicago, theater was new and different fromnpv v 4 anywhere. Now’ it isn’t the same. Every once16-Th« Chicago Maroon - Friday, December 6, 1974 and a while I'm ready to give up theaterentirely and the something nice happens thatmakes me stay. Certain productions amdmoments are what do it for meChicago: What Do You Expect From TheHog Butcher Of The World?It’s easy to make a name in Chicago; that'sa good thing and a bad thing. The essence isthat there isn’t enough going on here. Thefilm scene is terrible. The theater scene ispassable It had a chance to become reallywonderful, but didn't The only way Chicagotheater can be gcod is for it to say “this isgood” not "this is good, for Chicago.” Just asit is an insult for the off-Loop theaters to say"this is good, for off-Loop.” You have to sayit is the best possible.AUTHOR'S NOTE: LAST BUT BY NOMEANS...Terry Curtis Fox reflects the best andworst of Chicago theater. He is, as CecilO'Neal points out. a developing critic writingabout a developing art form. But at the sametime both he and Chicago theater grow notso much out of a personal desire as a cryingneed. Just as a good deal of the scene hecovered. Terry’s early writing leaned towardthe academic and obtuse. He has quiteclearly chosen who will be the beneficiariesof his criticism and who will be the victims ofit. He delights in the magic of language andthe spectacle of confrontation both in his ownwork and the work of others. However,where a David Mamet or a Stuart Gordonmay succeed at these on the the stage, Terrylacks the discipline and technique to displaythem in his own writing. The evloution of hiswork at the READER and the PLANET isstriking. At first, his terminology andstructure left the impression of "who is this,from the University of Chicago, talkingabout the history of the British stage?” Butlife in the real world has tempered andhumanized his craft. Now his reviews have amuch more judicial rather than jaundicedtone. The question that remains is should anyreader be expected to regard the critic asdeveloping, just as the artist he is criticizingand, more importantly, what sort of damageis done when the reader doesn’t see thatoliaiillctiuii. Sicinger ran the Hull House Theatre it waslike that It had a kind of breezy intensity andinvention in it that was always exciting Imean you never worried about the fact thatyou might regret having gone out thatevening—which is what happens too often.How do the other theatres stack up?I think the Goodman has now raised itsstandards so that I’m not quite as wary aboutgoing there as I would have been a couple ofyears ago. And the Ivanhoe Theatre; thereyou always know that George Keathley isgoing to do a solid job. Sometimes the showdoesn't work but at least you know thatthere’s going to be a certain bottom line ofprofessionalism. Somebody once said that aprofessional is one whose mediocrity isacceptable. I think that’s true in the case ofthe Ivanhoe. Sometimes they’re sensational.George Keathley’s Who’s Afraid of VirginiaWoolf? was the best production I’d seen ofthat play And then he’ll do something likeDark at the Top of the Stairs, which is reallynothing much but it’s all right. I mean it’s notgoing to turn you off theatre forever.We wondered if Mr. Christiansen, who hasbeen with the Daily News off and on since1957, could comment on any trends ordistinctive features that characterize thearea's theatre.The Chicago style is the small de¬dicated theatre group. It starts with asmall nucleus of people who work togethervery intensely. The Dinglefest or the MagicCircle are representative...Viola Spolin anilPaul Sills also pioneered in the style that hascome to be khown as the Lincoln Avenuestyle. It’s a definite Chicago tradition. PaulSills is the most original creative spiritbehind today’s theatre here. His influencewas immense. Stuart Gordon would neverhave con.e to Chicago if Paul Sills hadn’t toldhim to come on down, that he’d find him aplace in an old church. And he did.What would Richard Christiansen likemost to see happen in area theatre?I'd like to see a great classic theatre. Notnecessarily one that does only the classics allthe time but one that sets a standard ofquality that everybody else looks up to. Onewhere the standard of production andperformance is so high that one alwaysknows that the people involved know whatthey’re doing, where it’s not a hit or missaffair...a theatre that tries to meet thegreatest challenges that drama can givethem. Right now in Chicago we don’t havethat ...It’s a sense of theatre people workinghard at their craft and at their art, where youreally have a feeling of intensity of artistry.It would cost a lot of money and wouldobviously have to be subsidized...Thecommercial theatre, unless it’s anoccasional fluke, cannot afford to take achance on a risky classic.RCCORD9LEO KOTTKE, Dreams and all that stuff,Capitol ST 11335. Kottke's career hit a fairlylow plateau and sta'.'ed for a while, drivinghis record company's executives frantic withworry. Fortunately, Dreams and all thatstuff proves that he was just joshin' us allalong.This is the finest album Kottke has donesince the funny little one for Takdtna, the onewith the armadillo on the cover. Despiteother occasional flashes of his old freneticbrilliance (in particular on a recent releaseby Takoma of the out takes from that armadillo Ip), he slipped and crooned his waytoward oblivion. Until Dreams.that is.The album is on a uniform level of excellence; it is hard to pick out an extraoutstanding cut, and there are no dregs."Constant Traveler" falls into one of hismost familiar veins — the slashing runswhich taper off into melancholy blues. Fivefiner picking is alive and well, and thebackup musicians, especially Cal Hand ondcbro and steel quitar, offer exactly theunobtrusive support that Kottke mostprofits from. This could be the bestguitar album of the year. A .SUSAN & RICHARD THOMAS, A Burst ofLite, Blue Hour BH3 1017 (may be orderedfrom Blue Hour Production*, PO Box 4585,Milwaukee, Wisconsin 53207, if local recordstores don't stock it). Blue Hour is a small,friendly and very personal company run bythe Thomases, who have managed to maketheir dream of making records come true.The Thomases are indicative of the kind ofperformers that the large record companiesoverlook. Their harmonies are clear andsweet, the guitar lines are beautifully built.Craftsmanship as an art provides thematerial of this record; everything is donecarefully and thoughtfully, and the end resultis like a home made product that isespecially appreciated because of the carethat went into it. A Burst of Life returns to the earlier 60s folk mode, with thoughtful andreverent lyrics. Ignoring their recomen-dations of what was receiving airplay, Irather fell for a song called "The Heart, theDesperado." I wouldn't want to have tosingle anything out as being the best though;the whole album exemplifies the benefitswhich are available from small recordcompanies. B.GENE CLARK, No Other, Asylum 7E 1016.Ex-Byrd Clark has come up with the leastsuccessful of his recent efforts. A large partof the problem is a slick and excessivelyglossy production by Thomas JeffersonKaye, but the whole album is fragmentedand disjointed.Clark’s writing no longer has theretrospective simplicity, or else what wemistake for simplicity in retrospect, of hisearlier efforts. The songs here reek of "beingpoetic," of being written for effect instead ofas a by product of an emotion. The best songhere is his collaboration with Doug Dillard,"Lady of the North." The sheer simplicity ofthe lyrics is a welcome change from theothers' convolutions, and changes the highlytalented accompaniment (the usual studiostandouts - Kunkle, Sklar, Utley, Doerge,Jesse Ed Davis plus Butch Trucks from theAllman Brothers and the fiddling RichardGreene) from a frivolous accessory to aworthwhile occupation. Sadly not up to hisprevious work. C-.JOSE FELICIANO, And the feeling's good,RCA CPLl 0407. i‘ is hard to believe I amactually reviews . a Jose Feliciano recordagain, several y^ars had past since I grewdisgusted with him, and just began ignoringhim. However, the speed with which thereview copy disappeared triggerred mycuriosity, so...And the feeling's good is a very fine soulrock Ip. It is a measure of its quality thatStevie Wonder's beautiful "Golden Lady" ishardly even a standout cut. Feliciano's voice often sounds like Stevie himself, and inother places it has a piercing quality unlikehis former, rather ingratiating snivel. Theonly really dreck song is the theme from"Chico and the Man," which could be donewithout. Otherwise a very fine return. B .LEONARD COHEN, New Skin for the OldCeremony, Columbia KC 33167. My favoriteDustin Hoffman look alike has harnessed hiscraggy voice and disposition for the mosteffective of his efforts since 1968. Despite avocal quality which almost guarantees thatanything he sings will sound depressing, anddespite a predisposition towards writing that kind of song, he actually comes off asbeing refreshing.Cohen (who might benefit from a lyricsheet, in spite of the fact that the verses areclearly spoken) has a blunt directness whichtransforms what in others might beobliqueness, into revealing disclosure. Whilesome of the songs are repetitious, there areothers which unravel naturally; "A SingerMust Die," or "Is This What You Wanted."Easily his best album since "Su/anne" was ahit; I am none the less surprised at yetanother comeback. B plus.By Gage AndrewsIndividual AttentionTo Most Small Cars31?-mi 3-3113foreign car hospital & clinic, inc.*^5424 south kimbark avenue * Chicago 60615Ipc; NUNNTU GUI0ANCI SUOOtStIDTheTrialBilly JackSl«">ngfELORES TAYLOR«TOM LAUGHLIN'HELD OVER! 4th SMASH WEEK!CHICAGOLINCOLN VILLAGE539 9714LUNAAV 3 5660MARQUETTEuk 0 0804STU0I0233 4060 &424 3070UPTOWN561 4110SUBURBANACADEMYWaukeganON 2 3706CORONETf vanstonGR 5 4070DEERBR00KDeerfield272 0212PICKWICKPar* Ridge825 6. 00SHOWPL'.OCrystal l o <edi5 4S5 1005CINEMAMt Prospect392 7070ELK GROVE CINEMAFlk Grove Village593 2255 CROCKERflgmSH 1 1678N0RRI0GENorridge45? 9000TRAOEWINDSHanover Park837 3933WILLOW CREEKPalatine358 1155ADDISON CINEMAAddison543 7482CARROLLDc Kalb815 733 1614f-lENG f llyn5 0780HILLSIDEHillside449 8230OLYMPICCicero01 2 1665TtVCLIAuroraIW 6 6283VILLA PARKVilla Park279 7922 BREMENTmiey Park429 lUOMODEIc'iet7b t,l4 1TIVOLIDowners GroveWO 8 0219HOLIDAYPark forest748 7424LASALLELaSalle8!^ 223 0430T0WNEKankakee815 932 3421CROSSROADS IIMerrillville. Ind219 887 0588DUNES PLAZA IIGary Ind219 938 0700GLENGary. Ind219 887 3123KENNEDYHammond. Ind219 Tl 4 9769PARTHENONHammond. Ind219 Wf ? 0431ZZTZTT KIMBARKLIQUORSWINE MERCHANTSOF THE FINESTIMPORTED ANDDOMESTIC WINESFeaturing our direct imports,bringing better value to youlmi ONLY TRUE WINE SNOT IN HYDE PARK53 RD KIMBARK LIQUORS, INC.12141. 53rd St.53-Klmbark Plaza HY-3-3355i?PRICESFOR ALL STUDENTS& FACULTY MEMBERSJust present your University ofChicago Identification card.As Students or Foculty Members ofthe University of Chicago you are en¬titled to special money savingdiscount prices on all VolkswagenService Work, all Volkswagen Parts,Accessories and any new or usedVolkswogen you buy fromV Ikswagen Soutn Shore. WAlt'-Volkswagen..Dealer VOLKSWAGENSOUTH SHORE7234 S. Stony IsicndOpen Daily 9 A.M to9P.MSole* Pam on a Service DepartmentsOpen Saturday 9 A M. to 5 P.MPhone 288 4900 0*9 Lenses Replaced—Eye ExaminationsContact Lenses—Prescriptions FilledDR. CNARLES SOSMOptometrist1519 E. 55th St.947-9335We con replace most lenses within a few hours in ourown lab.YAM* PM 7 Days A WaakHYDE PARK PIPE AND TOBACCO SHOfe1552 E. 53rd - under 1C tracksAll students get 10% off,ask for' Big Jim''PipesPipe Tobaccos Imported CigarettesCigarsTRY ANAZJ€C MARTINI.Montezuma*Tequila MorrmiMontezuma Tequila2 ports Dry Vermouth 1 parrVanilla extract2 dropsStir with ice Strommro chilled cocktailOCCLOTLTHE JAGUAfV)Symooi I Of fHC 14m r)oyof ->-e Qnc CO! Ai>ec *eek' 1974 80 Proof foqw<io Oonon Dm. Impon Co New Yom New VomFriday, December 6. 1974 - the Chicago Maroon-17hr f ,d r ,\ob{n • r *•* \V .\Vu\'.V .vtT .. TheGreyCityJournal-l718-TheGreyCityJournal H — —CULTURE GULCHThe Quiet Knight is the scene this weekendof the reunion of one of the most talented ofthe country blues oands: Koerner, Ray, andGlover. The remarkable "Spider” JohnKoerner is a guitarist extraordinaire, andTony "Little Son" Glover parlayed his harpplaying talent into a position in the rockliterary scene with Rolling Stone. Stillremembered as one of the firstwonderbands, this reunion will be a one shotonly affair; after this weekend, they all gotheir separate ways again. Don't miss it.(GA)THE TRIP and THE LANDING, twooriginal one act comedies written by BillLederer and directed by Tim Kazurinsky,will appear at the Reynolds Club TheatreDecember 5 - 8, sponsored by UniversityTheatre. These plays come directly from theBody Politic where they had a verysuccessful run. The Reynolds Club Theatre islocated at 57th and University. Curtain timeis 8:30 and admission is $1.50. Call 753-3581for information. (GA)Some of you may know of Norman Lubofffor his pop albums. Some may have seen hisname on movie credits. Well, there isanother side of Norman Luboff whichemerged about 10 years ago: a "legit"classical conductor. This Chicago born andUniversity of Chicago educated conductorbrings his 28-voice chorus to the AuditoriumTheatre Sunday, December 8, for a concertwhich promises to touch allbases—renaissance, romantic, showtunes,folk, and who knows, maybe even a little bit of watered-down rock. The time of thisconcert is 2 o'clock. So for a little pre examrespite, why not give it a try. (TH)WTTW has scheduled what it calls an "all-highlight fortnight" as part of its two weekmembership drive beginning December 6. Inan effort to entice new members(membership costs only $15 for students, andcarries some free gifts too), they areexpanding their regular schedule to includeseveral extraordinary presentations.Especially worth catching are(chronologically): Saturday (Dec. 7) at8 — Dame Judith Anderson stars in thecomedy The Chinese Prime Minister;Monday (Dec. 9) at 8 Von Karajan conductsthe Berlin Philharmonic in Beethoven 5th,and at 9:10, Artur Rubinstein presents hisfirst TV concert playing Brahms Pianoconcerto with the AmsterdamConcertgebruw. Both of these concerts willbe simulcast by WFMT.Tuesday (Dec. 10) at 9 -the Pointer Sistersare featured on Soundstage; Wednesday(Dec. 11) at 8 brings the superb, awardwinning film The Battle of Algiers totelevision for the first time. Friday (Dec. 13)at 8 is a special called "Since the AmericanWay of Death," the latest in the WTTWinvestigation series; and at 10:30 is "An hourwith Joan Baez." Saturday (Dec. 14) has theclassic Charlie Chaplin Fatty Arbuckle filmThe Rounders showing at 6:20 PM.Many of the programs are repeated attimes other than those listed, and manymore, and more diverse, programs andspecials are being offered than can be listedhere. Make sure to buy a TV guide in ordernot to miss some of these superbpresentations; and remember that if youwere a member of WTTW, you would receivelistings of their shows in your freesubscription to the Chicago Guide. Some artists have a way of electrifyingaudiences. Horowitz is one, whether he isplaying Scarlatti or "Stars and StripesForever." Conductor Herbert von Karajan isanother. All he has to do is walk out on stageand the place goes banas.In November, it was Sir Georg Solti'sturn. And no where did that magnitism exertitself more than at the November 18thUniversity Night. A capacity audience gavehim a thunderous ovation before a note wasplayed; the ovation never subsided untilabout five minutes after the TchaikovskyFifth Symphony.There was much to cheer about that night.The often muddy Schoenberg Variations forOrchestra became a cleanly etched/carefully proportioned adventure in textureand sound. The Bach Brandenburg had a lotof snap and only a little indecision. And as forthe Tchaikovsky ....Solti obviously decided that the romanticsymphony contained enough sentiment aswritten by the composer,' because Soltiminimized and sometimes avoided any andall schmaltz. The performance was fast, a bitfrenzied, but exciting. Solti and the ChicagoSymphony Orchestra plan on recording theFifth for London Records, and if it has the zipof this last performance, it will undoubtedlygo down in history as the fastest and one ofthe more electric.The week after all this, Solti returned for one of the most curious concerts this season.If anyone had ever told me Ives' DecorationDay would be the highlight of any ChicagoSymphony concert, I would have called hima real know nothing. However, the Ives withall its folderol and camp was a lot of fun. Therest of the concert was a big yawn. (TH)One of the university's oldest traditions,the Ida Noyes Wassail Party, will becelebrated tonight in Ida Noyes Hall. Locallegend traces the Wassail Party back toDecember, 1916, the first Christmas after thehall opened. Men were not permitted in thebuilding at that time, and the women made aspecial request to the building director thattheir escorts be permitted to join them "in anevening of Christmas revelry, including thesinging of traditional Christmas anthems."Permission was granted, but only on thecondition that the men not be permittedabove the first floor.Recent Wassail parties have featured aconcert of carols by the University BrassEnsemble; cookies and not beverages; avisit by the official UC Santa Calus; thelighting of the tree; and the singing of carols,which tend to be heard throughout theneighborhood. Walter Jeschke, retired"Dean" of Ida Noyes, has returned to do thedecorations, and might succumb to thetemptation to recite one of his special"Christmas poems." The party begins at 6PM.e EYE EXAMINATIONSe CONTACT LENSES (Soft & Hard) ■ Young Designs bye PRESCRIPTIONS FILLEDDR. MORTON R. MASLOV 1 ELIZABETH GORDONOptometrists I Hair DesigneesHyde Park Shopping Center1510E. 55th St. 1 1620 E. 53rd S:363 6363 0 288-2900: STAND BY TO SAVE$42TO LOS ANGELESAnother Continental Discount Fare:You come out ahead because we really move our tail.Believe it oi not. oui LA. Standby Discount Fare on selectedflights is only 5104. And we have Standby Discount service toDenver for $60, saving you 525 off Coach fare.Then there's Might Coach Discount to Los Angeles for $116.or $30 less than Coach.Were also the only airline with Economy Discount servicethroughout oui route system — anothei way to save, just forskipping a meal. Some sample fares:LOS ANGELES $131 SAVE $15DFMVER ORCOLORADO SPRINGS $ 73 SAVE $10ALBUQUERQUE $ 89 SAVE $10KANSAS CITY $ 41 SAVE $ 4SAN FRANCISCO,^PORTLAND OR $131 SAVE $15SEATTLERemember too. a travel agent costs you nothing extra, socall one for the good word on all our Discount Fares. Or call usat 686-6300. At holiday time or any time, we can probably getyou where you live, for less.All fdit-sdir out- wdv dud me 111<1< - 1<u <i 111 >< n t m< iinty mii < ll.il«|» - i <1Ws really move our tail for you.CONTINENTAL AIRLINESThe Proud Bird with the Golden Tail.18-The Chicago Maroon - Friday, December 6, 1974 EYE EXAMINATIONSFASHION EYEWEARCONTACT LENSESDR. KURT ROSENBAUMOptometrist(53 Kimbark Plaza)1200 East 53rd StreetHYdePark 3-8372CARPET CITY6740 STONY ISLAND324-7998Has what you nwd from a<10 uoed 9 ■ 12 lug to •'custom cor pot. Specializing,ln Remnants 4 Mill returnslot a fraction of the originalMost.'Decoration Colors andbualitlos. Additional 10%’Discount with this AdLFREE DEUVERYPIZZAPLATTER1460 E. 53rdMl 3-2800FAST DELIVERYAND PICKUPCARCARE DAYSStedents, Faculty A StaffSave 10% m Cer lane-aptand ether repairs. AtMOORE’SSTANDARD56th and Cottage Grover i j i :) * * r11111iitii.ui nTrrrr> m • m 11 a 1111111111MAROON CLASSIFIED ADS JOURNALISTSWriters interested in working for TheChicago Maroon contact the NewsEditor, 753 32655401 WOODLAWNSPACEM or F, excellent location 5600 Drexel,inexpensive 547 50/ mo & util. 8. sec,deposit, adiacent to athletic field &tennis coo. Is, no pets, start Jan 1st324 0868Room available in a fraternity Malesonly 5180 00/ qtr. 955 9648Luxury large 4 room apartment inprestige high rise building Manyamenities, good security, and parkingfacilities. Full cash equity 58000 Lowmonthly assessment. Call FrankCalvin SOS 9039 or 667 6666 Kennedy,Ryan, Moniqal & AssociatesFEMALE ROOMMATE WANTED torSunporch bedroom in pleasant apt at5306 S Greenwood 667 4678 CheapROOMMATE wanted in 2 bdrm aptVery nice 52 St Rent 185 Call 6438050Take over my apt lease. 2 rms 8.bathrm, 5100/ mo Near Coop Idealfor one person 947 0647From Jan I March 31 4 RM (I bdrm)apt on 1st fl Very close to UC, withwood burning fireplace Comp turnfor com hsk BUS 0079 morn or evesHOW ABOUT LIVING IN A MANSION? To do so contact anyone at 5369047 It's an inexpensive place, whichincludes a TV room, volleyball court,fireplaces, huge kitchen and laundryFive large sunny rooms, modernkitchen, C T bath, Assessments and tax5100 monthly Assume sv.BOO mortgage Call J Edward LaVelle 667 6666Kennedy. Ryan, Momgal & Assoc.Santa suit for rent x3 359i3 1/2 room furnished apt in SouthShore home (72nd & Lake) Privateentrance, near 1C All utilities paid525 00 per wk 221 56762 rooms 3rd floor of private home bestUniversity location Maroon Box 120(304 INH 1212 E 59)Student run house Several roomsavail Bring your friends Two blocksfrom Regenstein 568 (5 heat 493 3721MS CLAUS suit for rent x3 3591Spacious studio apt, lovely view, insecure modern high rise 55 & DorChester, avail Dec 15 241 5558SUBLET 5050 Lk Shore Dr Spacious2 bdrm, 2 ba modern thruout UC minibus, 1C CTA, at doorstep Doorman 24 hr sec, valet, cleaners, pkg in bidView Ik every rm Many extrasP^tect faculty/ grad 947 9892 aft 6New roommate wanted for HOUSEPrivate room common cooking573/ mo inc. utilities 5450 Dorch 4935419Rm for student woman 3rd fl of privhome Very Ig, light, airy Lt. cookingShare bath w/ 1 other 570/ mo. Furn.Must have own phone 684 5076 evesbefore 10 PM or weekendsLive in faculty apt FREE duringXmas vacation and water the plants684 5534I 1/ 2 room furnished kitchenette aptfor Jan 1st 5127 00 month, one person,lease, 5442 Harper Ave Midway 39389CHICAGO BEACH HOTELBEAUTIFUL FURNISHED APARTMENTS Near beach, parks, loop, UCand 1C trains, 11 mins to locp busses,door Modest, daily, weekly, monthlyrates 24 hr desk Complete hotelservices 5100 S Cornell, DO 3 2400Miss SmithRoommates wanted 548 571 monthlyNearby, quiet, complete aptsLatham, Kusatu, Rutherford, Common 6045 Woodlawn (955 3936. 4272583) or Iv word 922 8411, x311Live in Fredenka's famous buildingNearby furn or unfurn 2, 3, 3 1/ 2 rm,complete apts for 1, 2, 3 people Quiet,5120 up Free utils Lathan, Kusatu,Rutherford, Common 6045 Woodlawn,427 2583, 955 9209 or leave word at 9228411 ext 311SCENESBe the life of the party in our Santacostume xl 3591GROWTH/ TRAINING group for gayand bisexual men 540 for 8 wks atChicago counseling center 5711 S.Woodlawn Call 684 1800 ask for RickWeberIsrael & the Palestmes, a talk byPeretz Kidron, Israeli Journalist andtranslator Friday, Dec 6 8 30 PM atHillel 5715 WoodlawnDINNER FOR 2 for Under 510 M ThDinner Specials The COURT HOUSEm Harper CourtHEALTY CARE PUBLIC VSPRIVATE A panel discussion andopen forum Friday, Dec 6, 1974 atBillings Auditorium, P117 BillingsHcspi'/al Couple or single woman to live inspacious room with bath, kitchenprivileges in exchange for 20 hr perweek babysitting with two little girls(mainly eves ) Call 624 8363Wife of student wanted as sitter forfour year old girl tl 30 AM to 3 30 PMMon through Friday 535 per weekCall eves 324 4079Volunteers wanted to work withemotionally disturbed preschoolchildren Training and supervisionprovided by mental healthprofessionals Minimum commitment 20 school time rs/ wk Call332 116)PORTRAITS 4 for 54 and up MaynardStudios, 1459 E 53 St 2nd Floor 6434083Room board & salary for childcare of 2school boys and light houseworkHours fairly flexible. Start Up tilJanuary Reply 947 6667 KatePEOPLE FOR SALEFor experienced piano teacher call947 9746Robert Stone movers 752 3019PAPERS TYPED. CAREFULLYPhone Bob 667 6262 between noon and6Thesis, dissertations, term papers,gen office corres typed on latest IBMcorrective typewriter Ratesreasonable Phone 239 4257CREATIVE WRITING Workshop bywriter columnist, help on thesis, etcMU4 3124Bazaar 200 antique oak chairs Rushseats 510 530 1st Unit Church 5650Woodlawn Sat Dec 7 10 4 BreadBaked goodies Plant cuttings MoreAmazon Parrot with cage 5300 CallRory 752 9815A nostalgic Christmas Gift 12 spodeplates depicting the campus of TheUn.v of Chicago Dated 1931 Mint5800 00 312 887 888566 Mustang convertible good condNew tires, transmiss.on Best offerCall 241 7667FOR SALE65 Olds Vista Cruiser sta wagon Runsfine Good engine, tires Battery, Loudmuffler Weak brakes 585 David 9433721LOUIE S BABER SHOPWill atyla your hair at youwould Ilka It dona.1303 E. 33rd St.FA 4-3878Jackson Park!: Terrace ;• •I APARTMENTS l: MODELS OPEN DAILY I• 10 A.M.-6 P.M. I241-7700: BAIRD & WARNER :: Ratt Offo: Ml $. Hrpff : I Kosher Coop Members! Meeting atHillel on 12/ 8/ 74 (Sun) at 5 30PEOPLE WANTEDWe need a sitter for the city who willalso go the country with us Wouldcons.der living 493 7472Babysitter wanted winter quarterMond Wed 12 5 nr Univ Excell payCall 667 3716 after 5 PMCOOPERATIVESCHOOL #3Is accepting ap¬plications for winter ad¬missions. We are asmall parent-run schoolproviding education forour children. Call731-8837 for information. Apt furniture sale Sat Dec 6 3 005 30 twin bed couches, end tablesDishes, curtains, bargains galore!Leaving country large glass top desk,humidifier, desk, chairs, stereo, hairdryer, iron 667 4607White trestle table, 51' x 29', twoyellow benches, like new, 570/ set.Wool carpeting, cut pile, gold, justcleaned, shows no wear. 13.5’ x 15 5’545 KE6 3248 or 266 2465Welsch Dorgi (Cardigan) AKC pupsSmall intelligent watchdogs Good forapt 274 1947HOLIDAY SHOPPING BARGAINSBids for Kids Auction - Dec 8 2 PM4945 S Dorchester Antiques, newmerchandise, "iunque" original artworks, books Benefit CommunityChild Care Center65 VW bus new engine nice body Mustsell next week 5495 241 6616CALCULATORS STEREOSUnlimited selection at unbeatableprices Niso Abuaf, Midwest Co opRep 753 0182 Hrs 78pmIMMEDIATE' Gracious apartmentright on the lake Cozy fireplace, 2the CENTER CONTINUING EDUCATION<1 K\'xl * *% i< *3 .'Vy i *- INVITES YOU TO DINE AT OURrm i r a nil itv nroT a un amtrunFEATURING: rHUILIIT NtMHUIlHniLunch ond DinnerA wide-.ronqeot foods _ served doily includingCock toil Lounge Saturday and SundayI Wntch for our new improved menu Lunch II 30 2FACILITIES FOR: Dinner 5 30 S’ALSO'Banquets CAFETERIA GEARED TOWedding receptions BREAKFAST (7 30 10) AND LUNCH (1 12 30Groups CLOSES AT 4 00Cocktpil Lounqe 1 1 30 AM 1 1 .P MFREE HORS D OEUVRES .We re right on Campus: Mon thru Thurs 5 6| “ 1307 E. 60th ST. 288-2500 bdrm & den 589 per mo 8. some taxdeductable expenses Owner wantoffer for equity Will deal Coop Boardto Review Call Mrs Vickstrom. 6676666 Kennedy, Ryan, MomgalCONFERENCE ONCAREERS INJEWISH COMMUNALProfessional will discuss career opportunities in the Jewish Communityme Jewish Education, Social Wurk,Cultural Arts, and Synagogue WorkFor more information Call CollegeAge Youth Services 346 6700 X 42!LOSTLost since Oct, crochet sleevelesssweater Grey, green brown horizontalbands ot color Reward Byrne 5405Woodlawn 752 2937 Also I am interested in the study made this termon first impression Please informLost silver bracelet with green stones(1 missing) lost on campus 12 5 Call363 9044 GT sentimental valueFOLKDANCECONTINUESU of C folkdancers continue to meetthrough finals week Every Sungeneral level with teaching, Mondaybegm level with teaching, Fri generallevel no teaching Always Ida Noyes, 8PM Donation 50cART CLASSSAT & SUNInstruction in "descriptive" drawingpr nciples Will begin with some fun 3D projects Keelin at MU4 5696AIKIDOAmazing Aikido that "other MartialArt, which blends meditation andaction Checking it out is free, 6 308 30 Tues & Thurs 3 00 4 00 SatBartlett GymPOT SALEPots, planters, practical peculiarHandmade pieces at homemadeprices Hyde Park Art Center 5236Blackstone Sat \ Sun Dec 7&8 10 4 OFFICE PARTY?Kriss Kringle it in red and whit® x33591REFORM RABINATEEDUCATIONCOMMUNAL SER¬VICERabbi Fred N Remer, Director ofAdmissions Hebrew Union CollegeJewish Institute of Religion, will bevisiting Chicago on Sunday andMonday, Dec 22 23. 1974 The collegeInstitute is the Rabbinical Seminary ofReform Judaism and maintainscampuses m Cincinnati, New York,Los Angeles, and Jerusalem Studentsinterested in meeting Rabbi Reiner onMond , Dec 23 to discuss their interestin the Ravvmate or in the fields ofJewish Education or Jewish Communal Service should contact MrsHotch 782 1477HANUKKAHCandles, Menorot, Dreidels for sale atHillel, 5715 WoodlawnTHEATRETHE TRIP 8. THE LANDING, fromthe Body Pontic RC Theatre Dec 5 8,8 30 51 50LANGUAGE CLASSCrossroads Student Center will otterclasses in Chinese, Spanish, Germanand French next quarter Classesmeet for 1 hr each week and aretaught by native speakers 55/qtr Forinto . call 684 6060RIDE WANTEDRide wanted to Omaha Neb for 2 abtDec 21 Return Dec 28 Will help withdriving 8- expanses Call Sandy 9479390Ride needed to Washington , DC areaafter exams Will Share everythingCall Steve 643 4847PAN PIZZADELIVERYThe Medici Delivers from 5 10 30 p mweekdays, 5 tl p m Saturday, 6677394 Save 60 cents if you pick it upyourselfFitwf £xm Special40c DRAUGHTThursday, December 12Friday, December 13THE HEBREW UNIVERSITYOF JERUSALEM1975/75 PROGRAMSFOR AMERICAN STUDENTS• ONL YEAR PROGRAM tor college sophomores and |Un,ors■ FRESHMAN YEAR o* 4 ,ear program to B A B Sc degrees■ REGULAR STUDIES tor coi'ege trans'er students toward8 A and B Sc degrees• GRADUATE STUDIES Vaster s and Doctoral ;>rograms• SUMMER COURSES given in Engiis*For Apphciticn end Information ,v. rrOffice of Acamrnuc Affa.rjAmerican fnendt of The Hehren Untrert/ryU£est69Si Vor» V v UX2t • ■ it 9888400Meet your friends at... ‘ 13 flat stone 8. brick. Always fullyrented High mortgage balancedGood investment 5127,000 Call MrsVickstrom, 667 6666 Kennedy, Ryan,Monigal.STUNNING SPACIOUS2 bedroom, 2 bath apartment in supersecure building 500 East End Noexira charge for parking 5350 permonth Call Mrs Vickstrom, 667 6666 ,Kennedy, Ryan, MonigalSTEP TUTORINGinterested in helping neighborhoodchildren? Student TutoringElementary Project needs volunteersto tutor students bi weekly in schoolwork or with special projects Formore information call Jay Sugarmanat 947 8804 or Mary Lou Gebka. 6438266BOOKS BOUGHTCash h r used books Powells 1503 E57th St 995 7780REFRIGERATORRENTALMini frige Pennies a day Freedelivery Call Swan Rental 721 4400MILES ARCHERMOVERSReasonable Rates Reliable ServiceExperienced Personnel Call 947 0698or 752 4910 for informationSABBATH DINNERDec 6 6pm sign up at HillelGAY LIBERATIONOF F ICE I S OPEN Su 1 Th 8 10 p m IdaNoyes 30! Come or call 753 3274CREATIVE SABBATH SERVICEEvery Fnday night this tali at Hillel.57)5 S Woodlawn at 7 30 p m. Formore into call Janet at 752 5655PERSONALSPere Noel votre costume est de retoudu nettoyage x3 3 591PREGNANCY TESTING10 am 2 pm Saturdays 515 00Donation St Augustus Church at 55thand Woodlawnby THE SOUTHEAST SIDEWOMEN'S HEALTH SERVICESWRITERS WORKSHOP (PL 2 8377)Writing HELP by professionals forfhesrs. report speech, etc MU 4 312410% DISCOUNTON ANY ITEMWITH THIS AD(Offer good thru December 20)Needlepoint KitsPainted CanvassesTapestry YarnsCrewelCrochet CottonsEmbroidery FlossComplete line of Yarnand Knitting Accessories1633 EAST 55TH STREETCHICAGO. ILLINOIS 60615A<rOKAV GREEK ANDAMERICAN CUISINEFeaturing GYROSOur varied menu has something to please every tasteAmong our AUTHENTIC CREEK SPECIAL TIES are:• Saganaki• Mousaka • Pastichio• Dolmades • Souvlaki• BaklavaWith a complete“Breakfast-Luncn-Dinner”Menu Served Daily 1335 F. 57th St.(corner of 57th & Kenwood)947-8309Mon. & Thurs. 10% Discount with UC IDFriday, December 6, 1974 - The Chicago Maroon-19 TheGreyCityJournal-1920-TheGreyCityJournal FRANCEABBEY portsalut $1691 per lb.BEAU PASTEUR $199BEAUMONT *059BRIE $199BRIE NOUVEAU $009CAM B R E E . . Blend of Camembart and Brie . . *099CREME-DE-PYRENEE $1991 per lb.GOU RM AN DISE Cherry, Walnut or Garlic^ 1 ^ per lb.GRAND REYBINO ALMOND $049. . . w per lb.GRAPE SEED.. Grands $025£m per lb.MORBIERE PORT SALUT $099w per lb.PIPO“CREME . .Creamy Bleu $059per lb.PURE GOAT CHEESE $045per lb.RAMBOL WALNUT *049w per lb.ROQUEFORT . . Society Bee $079per lb.ST. MARCELLIN *099per lb.ST. PAULIN. . PortSalutType $179■ per lb.TOMMEDE SAVOIE $065£m per lb.DENMARKCAYENNE PEPPER *169CHRISTIAN IX . . andCaraway Seeds ... $129■ per lb.DANISH BLUE $149I per lb.ESROM PORT SALUT $149I per lb.GRANDTOST HAVARTI $149MOZARRELLA $169TYBO *169HOLLANDEDAM *1951 per lb.GOUDA $195I per lb.ITALYBEL PAESE $1991 per lb.GORGONZOLA Ripe $1991 per lb.VPARMESAN . . Full4 Yr. Aged *099 CANADABLACK DIAMOND $1991 per lb.CHEDDAR $199USAMONTEREY JACK From California *149I per lb.NEW YORK HERKIMER $159■ per lb.PROVOLONE $145■ per lb.SPREAD CHEDDARS $175, . . . 1 per lb.VERMONT CHEDDAR *1591 per lb.WISCONSIN BLUE *1291 per lb.NORWAYBLUE $145GJETOST GOAT. A Pure Goat $015. . .. £m per lb.NOKKELOST *1591 per lb.TILSITER *1291 per lb.SWITZERLANDEMMENTHALER LargeEye Grade "A" $199Prime 1 per lb.vJ H U Y t H fc. . than Emmenthaler *1991 per lb.RACLETTE FondueENGLAND $199I per lb.ALE CHEDDAR *195CHEDDAR *145STILTON . . Grade A Prime $189SWEDENFONTINA *125JARLSBERG $135■ per lb.GERMANYBIANCO *149DAI II^LI If ACC Flavf)red^amnAUl/nlvAot.. or Salami or Plain $199. . . . ■ per lb.SCHLITZ 6 PackCans *1 29Complete PartyService From2427 East 72nd StreetBA 1-9210 Appetizers to Zinfandel351 East 103rd Street508-1811Dail\:!» iim-IOpm: Sunday : Npm20-Th* Chicago Maroon - Friday, December 6, 1974