The ChicagoLiterary ReviewVol.6, No.? ©The Chicago Maroon 1978 Friday, June 2,1978The University of ChicagoContentsShulman page 4Welty page 7Primavera page 8Signs page 10Queen Victoria\ page 1.8Poetry winnerspage 27PLEASE SENDTHE CHICAGO MAROONTONAMEADDRESSCITY STATE ZIPMAKE CHECKS PAYABLE TOCHICAGO MAROON. 1212 E 59th. Chicago. II 60637□ renewalQ NEW SUBSCRIPTION$9 FOR ONE YEAR(ORDER RECEIVED BY 9-15)$6 FOR TWO QUARTERS(ORDER RECEIVED BY 12-15)S3 FOR ONE QUARTER(ORDER RECEIVED BY 3-15)■OP ACADEMIC YEAR PUBLICATION SCHEDULE RESUMES ON FRIDAY. SEPTEMBER 23 ANDCONTINUES EACH TUESDAY AND FRIDAY UNTIL JUNE2 — The Chicago Literary Review — Friday, June 2, 1978 Great Books| (or summer)page 28Cover by Chris PersansThis year’s final issue of The Maroon is our quarterly tenthweek literary review. Our last issue was well-received; we hope inthis spring issue to have maintained our high standards of writing— and those of this year’s Maroon in general.This issue aims to give exposure to a topic we believe to be ofmuch interest to the University community. Its title is not intend¬ed to suggest either a comprehensive overview or an in-depth ex¬ploration of the subject of women and literature. It is a loose — ifcareful — thematic grouping. Not surprisingly, many of the ar¬ticles reflect personal opinions; the writers were encouraged towork freely.We would like to acknowledge the valuable assistance of NancyCrilly, Mark Golberg, Karen Heller, Claudia Magat, Jeff Makos,Chris Persans, and Michelle Pleskow in the preparation of thisissue. We are also grateful to those faculty and staff members andstudents who, by their encouragement and generous sharing oftime and talent, have made this publication possible. It seems on¬ly appropriate to dedicate this issue to them.We wish all a great summer.Peter Eng, Literary EditorJon Meyersohn, Editor-in-Chief!#■: nWorking It Outco-edited by Sara Ruddick and PamelaDanielsNew York: Pantheon Books, 1977.Reviewed by Ellen ClementsOne of the questions raised by the move¬ment of women into the arts, business, andthe professions is whether or not we aswomen will have any particular influence onthe way the working world operates. Howdifficult will it be to assimilate women intothe way of things (will we go quietly)':Conversely, what particular influence, ifany, will professionalization have on us'These questions are touched upon in thiscollection of essays by women about theirwork. The contributors are scholars withuniversity appointments, freelance writers,graphic artists. They are, for the most part,white, middle class, in their forties, mar¬ried. Their essays discuss problems withworking; some give political analyses ofwomen’s work; some are simplyau'obriographical.The most interesting and irritating essayin the collection is its preface, written bypoet Adrienne Rich. Rich suggests thatwomen find entering professional work dif¬ficult, even harmful, because in order to doso they must leave behind their identities aswomen and learn to speak the alien, malelanguage of professionalism. Rich recom¬mends that women not bend to this tyranny,that they instead strengthen their com¬munal bond. That community, says Rich,can inspire and support authentic women’swork. The values and the cultural heritagespecial to women are too vital to be lost byassimilation into the dominat, male, mainstream.Rich’s sentiments are familiar in therhetoric of current feminism. But to makesuch strong distinctions between the per¬sonalities of men and women — even as afeminist boast — is a bad idea. To ascribespecial virtues to women simply becausethey are women implies that persons areimportantly defined by gender. And isn’tthis a contention which we as feminists havelong argued against:There is little basis for assuming thatwomen share a sexually-determined set ofvalues to the exclusion of “male” values. Acloser look at the woman’s supposedlyspecial identity shows that the virtues at¬tributed to women are just the moral bag¬gage more easily carried by observers ofbusiness and politics — which most of ushave been — than by the participants, whomust compromise principles and catchethics as catch can. These womanly virtuesproperly fall by the wayside as women riseto meet the real conditions in the workingworld. As for the much-sung community ofwomen, it can by no manner of pleading beconjured into public economic, political, orEllen Clements is a recent graduate of theCollege. women at worksocial action. Having no presence in history,nor in present-day politics, this communityis a feminist utopian dream.If there is little evidence for Rich’s ideathat women’s culture is significantly dif¬ferent from mens, then women should havelittle problem professionalizing themselves.The problems they have will be those sharedby every person who tries to mesh dailylabor and private life, or to mould personalconcerns into a public expression.The experiences recounted in Working ItOut suggest that the difficulties thesewomen encountered with work were not, infact, special to them as women. They did nothave a particularly hard time entering theprofessional class, nor did they have todivest themselves of their womanhood to doit. (Here we must remind ourselves thatwith one or two exceptions these women aremembers of the privileged, educated, whitemiddle class.) This is not to say that womenhave no trouble slipping into profes¬sionalism — but then to whom does writing adissertation come naturally' Many of thewomen who contributed to the collection dotell of difficulties finding outlets for per¬sonal energies, talents, and concerns intheir work. But surely these problems arealso experienced by men who try totransform a personal meaning into profes¬sional activity.The experiences recounted by Sara Rud¬dick and Pamela Daniels (also the book’sco-editors) are representative. Both Rud¬dick and Daniels were blessed with talent,supportive families, and universityfellowships. Both had problems breakingthrough to a work of their own. Ruddick gotthrough graduate studies in philosophy atHarvard as a “spectator” rather than an ac¬tive participant. This sense of alienationfrom work was experienced by many of thewomen as they first tried to define theirfields. Real working freedom came to Rud¬dick by integrating the personal and the pro¬fessional: Ruddick took up the study ofVirginia Woolf’s writings for pleasure andfound the pleasure, when she at last allowedit to herself, blossoming into professionalsignificance. Likewise for Daniels: thebreakthrough to creative work came whenshe paused in her successful career as agraduate student in government (also atHarvard) to ask what it was that she herselfwanted to do.Juding from the material in Working ItOut, it would seem that women are quitecapable of integrating themselves into theprofessional world with little besides theusual wear and tear on personal identity,sexual or otherwise. Rich’s fears are un¬founded. Rich over estimates the depth ofsexual identity when she makes it a barrierto women’s participation in the workingworld, and when she cites it as the basis forthe creation of a community — a women’scommunity. The girls just aren’t thatspecial.If women can and do integrate into man’sworld, then Rich’s idea of the value of theculture unique to women implies anotherquestion: should they fRich and other aumirers of the womanlykeep the coolmaes place1507 East 53rd Street 'A ; HIIllustration by Chris PersansThe experiences recounted in Working l£Out suggestthat the difficulties these women encountered withwork were not, in fact, special to them as women. Theydid not have a particularly hard time entering the pro¬fessional class, nor did they have to divest themselvesof their womanhood to do it. (Here we must remindourselves that with one or two exceptions these womenare members of the privileged, educated, white middleclass.)virtues may wish that the old women’sworld were not disappearing as womenleave it — and surely we are losingsomething in losing homey women. In thisregard, the essayists in Working It Out offersome hope According to the essays, most ofthe women are notably moderate in theirdevotion to their jobs. Almost all of themseem to have paid special attention to fin¬ding a balance between time with familyand friends, time alone, and time on the job.In part this may be the result of the schedul¬ing of these women’s lives: most of themhad husbands and children before they hadcareers. But in general, their choice sug¬ gests a concern with things human and per¬sonal not to be overwhelmed by blind ambi¬tion and desire for institutional success. Thelesson that the personal is at least as impor¬tant as the professional is the valuablelesson the writers teach..Whether or not these women can pass thislevelheadedness on to their daughters, rais¬ed in a time when women's aspirations, likemen’s, focus ever more narrowly on theirwork, is questionable To suggest thatwomen should not desire to leave women’swork for this man’s world is perhapsidealistic, and surely futileSpokesmen Bicycle Shop. 5301 Hyde Park Blvd.Selling Quality ImportedBikes.Raliegh, Peugeot, Fuji,Motobecane, WindsorAnd a full inventoryof MOPEDSOpen 10-7 M-F. 10-5 Sat.11-4 Sun684-3737The Chicago Literary Review Friday, June 2, 1978 — 3l -;4’*r>SVjJSAi.An interview with Alix Kates Shulman"In Burning Questions I was trying to paint a muchbroader picture than one of my own life would supplythe paints for: I was trying to create a reflection inZane of the general movement of women over the lastseveral decades, from the 1940's through the '50's andthen the sudden awakening in the 1960's, and now intothe more sober '70's."By Susan MalaskiewiczAlix Kates Shulman grew up in Cleveland,Ohio, where she received her B.A. fromCase-Western Reserve University. Aftermoving to New York, she studied philosophyat Columbia University Graduate Schooland mathematics at New York University.Since the mid-1960 s she has been a radicalfeminist activist. In addition to her twonovels, (Memoirs of an Ex-Prom Queen,Burning Questions), she has written severalbooks for children, books and articles onwomen revolutionaries, short stories, andarticles on feminist, literary, and politicalthemes. She has taught and lectured widely,and currently teaches writing at New YorkUniversity. Susan Malaskiewicz is a first-year student in the College.SM: How much of the novel is drawn fromyour own experience'AKS: Did you read my first novel’“Memoirs of an Ex Prom Queen). That toowas written in the first person, but the maincharacters in the two novels are very dif¬ferent. I was never a prom queen, and I’m anovelist, not some one who sees her life as arebel. They certainly can’t both beautobiographical, though there are aspectsof my own experience that each of those twonovels draw on. Certainly, all the emotionsthere are the ones that I felt. The concern ofa book is, of course, something that isalways of passionate interest to me I thinkthis is true of every novel. Otherwise whyspend the years that it takes if it is notsomething of great concernSM: Are these references more specificones:AKS: When it comes to the actualepisodes of a life, there are a lot of dif¬ferences. If there is something in my lifethat I can draw on to dramatize the thingsthat I’m interested in conveying, then I will.In Burning Questions I was trying to paint amuch broader picture than one my own lifewould supply the paints for: I was trying tocreate a kind of reflection in Zane of thegeneral movement of women over the lastseveral decades, from the 1940’s through the’50’s and then that sudden awakening in the1%0’s, and now into the more sober ’70’s. Onthe other hand, I know the movement veryintimately because I was there, in the late’60’s, when it was born, and I was a memberof Red Stockings and Witch and a lot of dif¬ferent groups, but particularly Red Stock¬ings, one of the earliest and most influentialradical feminist groups. I experienced thatsudden awakening first-hand and I certainlywas an ardent feminist and an activist. Butsay, in Section Two, when Zane rushes toNew York from Indiana to become a beat¬nik, and sees her rebellion as part of thebeat movement. . . I never really made thatbeat scene. I did come to New York fromOhio — I did come from the Midwest, actual¬ly a few years before Zane — and I did go tothose cafes occasionally on Saturday nightsand I had friends who were involved in it,"In Prom Queen,/ was try¬ing to create a portrait of theconstriction that a middle-American, middle class,mid-century white womanlabored under."but when I came to New York I went tograduate school at Columbia and though Iwas very drawn to that whole beat Green¬wich Village scene, I also saw at once howdevastating it would be for me And so,though drawn to it, I was never sucked intoit — I resisted it. But I did feel those feel¬ings. Being drawn to it, I imagined it quiteintensely. And so I was able to recreatethose experiences for my character. Butthey are not from my experience as on myimagination.SM: What are the general similarities anddifference, between your heroines:AKS: Zane is an extreme type In PromQueen I also fastened onto an extreme, aparadigmatic specimen, a distillation of anexperience I was trying to get inside of So inmy first novel, instead of making the maincharacter just a popular Midwestern girl, Imade her a prom queen, in order to better extract all the juices from that kind of ex¬perience. I think that you can find thegeneral in the specific and in the extreme.In Burning Questions I did the same thing.Instead of taking a typical woman goingthrough the changes of those periods, I tooksomeone who would exemplify, epitomize,the essence of those experiences And soZane sees her whole life as that of a rebel. Inthis way, I’m able to tap into a much morewidespread set of feelings that people have,people who perhaps haven’t gone throughthose very experiences that Zane has, butwho have witnessed those movements andfelt those yearnings and perhaps not beenfree to act on them as Zane was.SM: What would you say is the relation¬ship between your concerns in Prom Queenand in Burning Questions /AKS: I was interviewed by Studs Terkeland he supplied me with the right descrip¬tion of the relationship between the two.Burning Questions is not the sequel, but theyare related, and he said that they’re “com¬panion pieces.” I like that. In Prom Queen. Iwas trying to create a portrait of the con¬strictions that a middle-American, middleclass, mid-century white woman laboredunder. I was trying to show all the differentaspects of a woman’s life in which no matterhow much she tried to broaden her life, still,each time she turned the corner, there shewas, in the midst of these constraints. But Iended that book before there was any ink¬ling of feminism, and certainly not in myheroine’s mind *SM: Yes. And in Burning Questions'AKS : In Burning Questions, although I dosketch in those same constraints in the earlyparts of the book, I tried to show the otherside of it — the possibility of change. I put itin a political context and I allow Zane to gothrough the changes that women createdover the last couple of decades. Zane is trap¬ped in the same kind of expectations as myearlier heroine, but Zane consciously wantsto break out of it. I don’t think that thepossibility of breaking out of those con¬straints was available to women withoutsome political consciousness, so I have myheroine towards the end of the book discoverfeminism as an illuminating force in herlife, and it does enable her to change. Therewas an inevitability about my first heroinethat my second heroine strives to break outof.SM: What did you have in mind in writinga book within a book '.AKS: This carries it back to the differencebetween my experience and Zane’s. . . butnot exactly. I’m trying to create a portrait ofa certain 20th Century type, somebody whois central in our culture. And that is therebel. I do that fictionally. I try to recreatethe feelings that led people and Zane in par¬ticular, into those movements. I wanted torecreate that moment in the Sixties whenthose political passions ran so high. As anovelist, I’m concerned with recreating anexperience, but the type of woman that I’mconcerned with dramatizing would neverwrite fiction. If my heroine were to write abook, it would certainly be a non-fictionbook, an autobiography She would be verycareful to put in at the end her bibliographyThat isn’t my bibliography, because myresearch involved a whole lot more than justthe inspirational texts that she lists in theback. To me. it was absolutelv in rharacter with the type that I was trying to create — towrite a book which was a politicalautobiography of herself, and to have itpublished by a small press, and so forth. Itwas necessary by the fiction that I was try¬ing to create to make here a different book.We have different purposes. I can be ironicabout the various subcultures that I’mrecreating: the Midwestern one 1 can besatirical about; the beatnik culture, thatwhole village scene, all those movements;and then, of course, the more sober 1970’s. Ican be satirical, but the kind of heroine thatI’m creating cannot so easily do that. It wasvery important to establish this novelist’sdistance from the worldSM: Why did you write in the first-person '.AKS: I think that the first-person isperfectly suited as a means of conveying thechanging consciousness, to get inside thehead. There are plenty of novelists in con¬tention who say that the third-person nar¬rative would be more suitable for it. Butgiven that I felt that first-person was moreappropriate for my rebel, then she’d have towrite an autobiography. I certainly didn’twant to write a history or anything like that,because I didn’t want to establish a recordas much as to recreate an experience. Thatfiction can do this is its supreme virtue.SM: How did you yourself become in¬terested in the movement’AKS: Initially, when I did a biography ofEmma Goldman. I found her an amazingwoman, and following the trail of EmmaGoldman led me to a whole lot of otherwomen radicals. But actually, most of thebooks that Zane refers to I read after I con¬ceived this novel. One of my purposes was totie in the present with the past. Not only didI want to take Zane from the birth of 1940 allthe way up through the 1970’s in order to tiein the connections among those decades ofher own life, but I also wanted to make theconnections between this phase of radicalfeminist movements in history withprevious ones. I really fear that one of theproblems that our particular society has isthat it doesn’t remember — the past iswiped out. Every generation thinks that it’sthe first one to come alive with certainideas, and that just means that we have togo through the whole thing all over againand make the same old mistakes. The firstfeminist movement was certainly aswidespread as this one, and after aboutthree generations of it they finally got thevote. An immense mass movement. Butthen it was wiped out — it was forgotten.When I was growing up, particularly afterWorld War Two and in the 1950’s, the wordhad rapidly disappeared from the language.There was no notion that women had hadany part in history. I fear that it could hap¬pen again. It is vastly important that we notlet it happen again, and so I hit on this wayof tying Zane’s life with the past, by havingher conceive of herself in the same traditionas those earlier ones. And once I thought ofthat conceipt for my novel, of having herwrite in that tradition of revolutionarymemoirs, to write “My Life as a Rebel,”then I immersed myself in their writings. Iread them all. And before I would writeanything in my own novel, I would think:How would those women view their lives':What did they always put in Where did theystart- W'hat events of their lives were of ut¬ most significance to them’ So that I couldmodel Zane on them, and have Zane chooseprecisely those kinds of experiences in herown history to write about, if she was goingto write an authentic autobiography in thattradition.SM: How do you see this particular move¬ment':AKS: I do see that the feminist movementis part of the general left or radicalmovements for social justice. In a similarway, the first wave of the feminist move¬ment in this country grew directly out of theabolitionist struggle. The very women whobecame the first feminists were aboli¬tionists first. Once you see that injustice, asit applies to any group, it’s very difficult notto see it in a much wider context. One of themisconceptions that I wanted to correct inwriting this book is the current one that seesfeminism as just a bunch of upper-classclimbers out for themselves. I think that’sfalse. This was a movement which was bornin the radical movements for social justice.And the ideals of those early radicalfeminists were for everybody, not just for"One of the conceptions Iwanted to correct in writingthis book is the current onethat views feminism as justa bunch of upper middleclass climbers out forthemselves."themselves. If anything, their flaw was inbeing utopianSM: How does your conception of “dialec¬tics” work in the bookAKS: Again, it was one of the conceits ofthe novel that I hit on that made me feel thatI was going to be able to create this rebel. Ithink of it as both the form and the content ofthe book Dialectic first as being the pro¬gression by which an idea contains the seedsof its opposite, and both sides of a contradic¬tion are worked out in some kind of new syn¬thesis. Very schematically.Formally, in the novel, I tried to use it toset each of the sections apart. The book wasin five sections — which was like writingfive different books, because each one is awhole different setting, a whole differentmood, a whole different time frame and awhole different background By using thesefive. . . the first is followed by the second,almost its opposite, and yet, in many ways itcontains elements of the first. Zane is sort ofa mirror image of herself. . . You could saythat the bohemian scene in New York inPart Two is a mirror image of the BablyonIndiana scene in Part One, because they’reboth extremely conformist; although theconformity they demand is two opposite setsof values. They are almost contradictory,yet what happens after Zane experiencesboth of them is yet a third thing which haselements of each. When she is marriedmother, and so on, through Part Four andPart Five. And so it gave me the form of thenovel. The novel is also dialectical in thesense that it raises questions — the novel iscalled Burning Questions. My novel raisesquestions Zane’s book does not and does notset out to do that.She set out looking for answers. And thenin the last section, Part Five, each chaptergets closer and closer to this back and forthform, till by the end, each paragraph prac¬tically is contradiction of the one before. . .or rather, is in dialectical relationship to theone before At the very end, particularly inthe last chapter, when she has that little vi¬sion about pessimism of intellect and op¬timism of will, those are really dialecticallyopposed. And then there’s the whole dialec¬tical epilogue when she tries to sum upwhere we are now on the one hand, and, onthe other hand the good and the bad.The reader is supposed to be left hopingthat some new, synthesis is awaiting us inthe next chapter which I haven’t written yetbut that’s because it is the dialectical form;it never does come to an end. Then in con¬tent because that was the method of inquiryof the socialists and Zane works herselftoward that politic. It’s a way of again iden¬tifying with those revolutionary women whotalk about dialectic all the time."As a novelist I'm concerned with recreating an experience, but the type of woman that I'm concernedwith dramatizing would never write fiction. If myheroine were to write a book, it would certainly be anon-fiction book, and autobiography."4 — The Chicago Literary Review - Friday, June 2, 1978fIft Revolutionary but not fieryPhoto by Jill KrementzBurning Questions came out at the right time. Sur¬rounded by the silence of ripples, we need to be remind¬ed of the challenging and exciting noises that stonemade when first tossed into the water.Burning Questionsby Alix Kates ShulmanNew York: Alfred A. Knopf, 1978Cloth, 364 pages. $8.95Reviewed by Anne GluskerOften when people try to sum up the ac¬tivity of a group or individual and canpoint to no immediate, tangible results,they conclude that the activity was afailure. But how can you count all thecircles made by a stone when you toss itinto the water'— Elizaveta KovalskaiaThese sentences end Burning Questions. Itis an appropriate ending for a novel aboutthe contemporary women’s movement. Thestone, or at least the first one, has alreadybeen tossed into the water and now ripplesare spreading. No matter how large thoseripples may be — even if they are the size ofwaves — they spread silently. The establish¬ed news media has ensured this silence andthe powers that be like this state of affairs.But it is a misleading silence. Actually,there is actually no such lack of activity.Although immediate, tangible results doexist, the revolution has not been won. Infact, this country seems to be going throughsomething of a right-wing backlash, asevidenced by the attacks on gay rights andthe right to abortion, and the failure of theEqual Rights Amendment to be ratified bythe requisite number of states. Thus,Burning Questions has come out at the righttime. Surrounded by the silence of ripples,we need to be reminded of the challengingand exciting noise that stone made whenfirst tossed into the water.Burning Questions is a historical novel, itssubject the feminist movement. The book isstructured as an autobiography-within-a-"I think that the first personis imperfectly suited as ameans of conveying thechanging consciousness, toget inside the head."novel. The autobiography, “My Lite as ARebel,” is that of Zane, a radical feministand self-styled revolutionary. She describesher childhood in Indiana and then herescape to New York, where she becomespart of the sexist beatnik scene. (JackKerouac is quoted: “We didn’t have a wholelot of heavy abstract thoughts. We were justa bunch of guys who were out trying to getlaid ”) The cliche extends to Zane’s retreatto marriage, motherhood, and middle-classcomfort — albeit in the Village. She is amarginal participant in the anti-war andcivil rights struggles of the 1960’s. Andthen, the Women’s Liberation Movement.This is where the book picks up. This is itsheart, its core. The cliches stopIt is here, describing the birth of the se¬cond wave of feminism, that Shulman hasan original contribution to make. BurningQuestions is the first novel put out by a ma¬jor publishing house to deal with the eventssurrounding the birth and earl\ years of thewomen’s movement. Parts of the book seemto be directly autobiographical Zaneteaches a course entitled “RevolutionaryWomen” at the New School, w here Shulmanhas also taught. Zane belongs to a groupcalled ihe Third Street Circle, which ma\have been modelled on New York RadicalWomen or any of the small groups thatsprang up — first in New York, then aroundthe country — in the late 1960's and whichcollectively formed the foundation of theWomen’s Liberation Movement Thedescription of the movement is infused with This is the first novel put outby a ma jor publishing houseto deal with the events sur¬rounding the birth and earlyyears of the women's move¬ment. sa liveliness and passion that could only havecome from Shulman’s personal participa¬tion.The tale starts with the modest beginningsof the Third Street Circle, moves oh to thephenomenon of consciousness-raising andthe first attempts at recovering the losthistory of women. Some scenes in the novelare merely actual events painted over witha thin and gratuitous veneer of fiction. Ather first Third Street Circle meeting, Zanepicks up two pamphlets — “Dialectics ofHousework” and “The Politics of Sex.”Sexual Politics and The Dialectics of Sexare actual books and “The Politics ofHousework” is an actual article. Thechange in titles seems rather silly.Zane participates in the Miss Americaprotest, another actual event during whichseveral feminists went to Atlantic City todemonstrate against the sexist and time-honored pageant, significant because itbrought the infant movement its first na¬tionwide publicity. Schulman also exploresissues and ideas that were and are verymuch a part of the women’s movement. Onecenters on the famous slogan, “the personalis political”; another is the issue of les¬bianism as an outgrowth of feminism. Shehas this to say about the latter:“As our understanding of the intractabletangle of sex and power and misogynyquicKeneu. as we oegan to see now our lives,our culture, our whole civilization was builton the degradation and rape of women, anew breed of lesbian began to come out.Self-styled political lesbians' who. often asnot. had yet to make love to their firstwoman. . . That newly proclaimed LesbianNation with its nerve and panache had ap¬pealed to all my fanatical yearnings. Whatother life was at once principled andseditious, dissident and moral, and. . .fulfilling”Zane receives her FBI file (realisticrewrites of the real files that the agencykept on the Women’s Liberation Movementand its members), that chronicles the mostpetty details of her life alongside the mostimportant. She introduces the reader to theNew Space Cafe, where women chew overtheir burning questions. She comments onthe apparent acceptance of feminism:“These days it was hard to fathom whohad really changed. On the surface, at least,everyone had: rulers, liberals, andmisogynists alike all claimed to have comearound Those who’d denied us our rights inthe old days by saying we didn’t need themcould now deny us our rights by pretendingwTe already had them. Every morning overcoffee one could read in the Times about thenew equality' and women's takeover of keypositions.' The whole world had gotten intothe act . ”u..uiiuan's intentions in the novel-are ob¬vious from the title Her intentions are goodones, but they stick out at awkward angles,often disrupting the flow of the novel. Allu¬sions to and quotes from revolutionarywomen are jammed into the narrative atevery opportunity. Shulman quotes Mao,rl rotsky Marx and Engles as if theyr wordswere scripture, and Hegel as if the theory ofdialectics were her especial mantra. Zanepretentiously compares herself to revolu¬tionary women such as Alexandra Kollon-tai. Mother Jones. La Pasionaria. AngelicaBalabanoff, and Rosa Luxemburg. The ubi¬quitous quotes and references work only inthe section of the novel that describes the beginnings of the movement In her haste todiscuss the burning questions and presentthe story of a present day revolutionarywoman, Shulman has neglected to smoothsome rough edges.The documentation of these issues andevents makes for good reading; it is also animportant work Rut the book is inferiorThe writing is. at times, laughable. Much ofthe dialogue is incredibly sappy and some ofZane s observations are downright trite < Ifnot worse. “ not one of us could lx* deniedthat sweet lingering taste of achievement,headier than cocaine, more gratifying thanorgasm”) Pompous declarations ( Thisbook is about changing the world at its roots,not isolated moments of poignancy' i riddlethe book and weaken itThe phenomenon of lesbian relationshipsborn of feminist politics must be included inany account of modern feminism ButShulman mars one of the most importantparts of the book with sloppy, overusedlanguage: “In the sudden light our eyes metand held each other’s. But not in the oldway; in an absolutely new way 1 had neverknown before. In that rush of admirationand success something passed between usthat had not passed before There was nomistaking it: desire.”Shulman has shown, particularly inMemoirs of an Ex-Prom Queen that she can write well. The only possible excuse for thisbook is that she felt that this would be theway someone like Zane wrnuld write herautobiography. Perhaps the distance, thedifference, between Burning Questions and“My Life As a Rebel" is meant to indicatethis. The line between what is Zane's andwhat is Shulman s is simply not drawnstrongly enough. What remains is a book,important for the subject of about half itspages, but irreparably damaged by the"The first wave of thefeminist movement in thiscountry grew directly out ofthe abolitionist struggle.The very women whobecame the first feministswere abolitionists first.Once you see that injustice,as it applies to any group,it's very difficult not to see itin a much wider context."Anne Glusker is a first-and last-year stu¬dent in the College.The documentation of these issues and events makesfor good reading; it is also an important work. But thebook is inferior. The writing is, at times, laughable.Much of the dialogue is incredibly sappy and some ofZane's observations are downright trite.The Chicago Literary Review — Friday, June 2,1978 — 5* BRUNOWALTER >Symphony \o. 9 In C MajorColumbia Symphony OrchestraY 34620 Bruno Walter's lovingstereo performance of Schubert's“Great” Symphony is re-issued atlow Odyssey prices.Isaac Stern/Leonard RoseBruno WalterNew York PhilharmonicBrahms/Double ConcertoWagner/Siegfried IdyllSymphony No. 88 in GSymphony No. 104 in O'LondonCleveland OrchestraY 34621 Two legendary perform¬ances—an all-star Brahm’s “DoubleConcerto" and Wagner’s "SiegfriedIdyll’—are conducted by BrunoWalter.BoleroAHwrwIidel GuciosoinfuseY 34636* Two legendary perform¬ances re-released at a budget price.Szell reaffirms his stature as one ofXM 35103i vfctu I'-uim ■ ■ ij mo aidiuic a^the century’s great conductors.SIlSIDVJIJSrSTItIM;UIIUMhiSTKI\(»(HJAUTETBUDAPEST S HUN*;oiAimrRecordsonlyBRUNO WALTERMOZARTREQUIEMTirkHilharmonxIrmgard Seefned. Jennie Tourel.Impold Simimeau. William Warfield.’Columbia;’ ^ are trademarks of CBS Inc. © 1978 CBS Inc.3 RECORD SETVOL. IVSON ATAS NOS. 28-32THE COMPLETEBEETHOVENPIANO SONATASANTO/VKUERTI, VOL. ISONATAS NOS. 1-10,194 20THE COMPLETEBEETHOVENPIANO SONATAS\NTON .KUERTI The Westminster ChoirY 34637* Two rare performancesby the Budapest Quartet availableagain. Legendary quartet playingfrom the "Golden Age.’’Y 34619 Oneof the greatest Mozartconductors of all time, 8runo Walterdirects the "Requiem.” an historicalrecording now available on Odyssey.Y4 34646 A new recording of Bee¬thoven’s complete piano sonatas.Kuerti gives a new meaning to theseworks. Y3 34649 A new recording of Bee¬thoven’s complete piano sonatas.Kuerti gives a new meaning to theseworks.A sale on the complete Odyssey line plus the Record of the Month begins Wednesday, June 7, at noon, at the Student Co-op, in the Reynolds Club basementOpen 9:30 - 6:00 M-F, 10 - 4 Sat Phone 753-3561.BravoBernstein’sBolero!Leonard Bernstein conductsthe Orchestra Notional deFrance in c fiery newinterpretation of Ravel sBolero. It s a classicthat belongs in everyrecord library.Specially priced now asthe Record of the Month.On Columbia Recordsand Tapes.BernsteinOrdMttn -Nationalde Frwct ■ O-rtI6 .I The Chicago Literary Review — Friday, June 2,1978Far from and close to the madding crowdWelty's Mississippi is not the setting for resolution ofmythic and domestic issues, but a well-contained andwell-defined locality in which the everyday affairs ofordinary people are examined and recreated. Alsosoon noticeable is Welty's specifically femininequalities as a writer, qualities commonly associatedwith Southern women of her class and background (inthe words of one critic): "modesty, delicacy, sensitivi¬ty, meticulousness, a certain breathy wondermentabout the small, exquisite sadnesses of life."The Eye of the StorySelected Essays and Reviewsby Eudora WeltyNew York: Random HouseCloth, 355 pages.JlO.OOReviewed by Peter EngWhen Eudora Welty was nine years old,she would ride her bike every day in thesummer heat to her town library, quicklyselect two books to bring home, read themthrough, and return that same day for twoothers. (“The pleasures of reading itself —who doesn’t remember?- were like those ofa Christmas cake, a sweet devouring.”) Butone day the librarian (“the lady in town whowanted to be it”) caught her. “Does yourmother know where you are? You know goodand well the fixed rule of this library.Nobody is going to come running back herewith any book on the same day they took itout. Get both of those things out of here anddon’t come back till tomorrow.”Welty recounts this experience in “ASweet Devouring,” a 1957 piece included inthis selected anthology of her essays andreviews. She tells the story with thecharacteristic easy cadence, but what ismost remarkable is that her reminiscencesread as if they came directly out of her shortstories and novels. To be able to read thefiction in the life is, of course, a glowingtestament to the extent to which Welty hassucceeded in her self-defined literary task. -In another essay included here, “Place inFiction” (1956), she wrote that in its searchfor truth, art finds its clearest voice in fic¬tion. “Why': Because the novel from thestart has been bound up in the local, the‘real,’ the present, the ordinary day-to-dayof human experiences.”Welty has paid frequent homage toWilliam Faulkner in her criticism (“What iswritten in the South from now on is going tobe taken into account by Faulkner’s work,”she wrote in 1965), and one would be hardpressed to argue that the power of Southernfiction was not greatly diminished by theloss of Faulkner and Flannery O’Connor.Although she is too modest to admit it, Wel-ty’s particular success has given pro¬minence and vitality to a distinctive body ofSouthern regional fiction. Her first shortstories appeared in the late 1930’s, and itsoon became apparent that her concernswere quite different from those of Falkneret al. Welty’s Mississippi was not the settingfor resolution of mythic and demonic issues,but a well-contained and well-defined locali¬ty in which the everyday affairs of ordinarypeople were examined and recreated. Alsosoon noticeable were Welty’s specificallyfeminine qualities as a writer, qualitiescommonly associated with Southern womenof her class and background (in the words ofone critic) : “modesty, delicacy, sensitivity,meticulousness, a certain breathy wonder¬ment about the smali, exquisite sadnesses oilife.”Her first novels — The RobberBridegroom (1942), Delta Wedding (1946),and The Ponder Heart (1954) — werecriticized by some as “no more than extend¬ed and obviously attenuated short stories,”but reviewers admitted the ease with whichWelty was able to invoke place and time. Inher own ambivalent way, Diana Trilling,writing about Delta Wedding, confirmedWelty’s distinctive success. “I find it dif¬ficult to determine how much of my distastefor . . . Delta Wedding is dislike of itsliterary manner and how much is resistanceto the culture out of which it grows andwhich it describes so fondly,” Trilling com¬mented in the Nation. But with the 1970publication of the epic Losing Battles,critical opinion became much clearer andmore uniform. Reviewers spoke of thenovelist’s “new authority.” The receptionfor the poetic The Optimist’s Daughter waseven more favorable, and the novel won aPulitzer Prize in 1972.The Optimist’s Daughter was Welty’s firstdirectly autobiographical novel, which isnot surprising, as it was written during thenovelist’s long private ordeal over hermother’s terminal illness For almost 15years, from the mid-1950’s to the late 1960’s,Welty published little, only a few shortstories, a children’s book, and some literarycriticism.Most of the critical pieces on writers andon writing collected In this volume were pro¬ duced during that period, and the readerfamiliar with the novelist’s plight im¬mediately notices their confident profes¬sionalism. If pressed to find intrusions of theprivate ordeal into the pieces, one wouldhave to point to the open passion with whichthey were written.But this is a passion lacking urgency andimbued, rather, with a sense of calm, if ex¬pectant, wonderment. In all the criticism isthat easily recognizable voice, always look¬ing for life in literature, and extollingwriters as creators of that life. For Welty,fiction is a way of bringing pure feeling,housed as it must be in time and place, into astream of constant immediacy. Throughoutthe essays run comments similar to this oneon Jane Austen: “The exuberance of heryouthful characters is one of the unagingdelights of her work. Through all the muffl¬ings of time we can feel the charge of theirvitality, their happiness in doing, dancing,laughing, in being alive.” The process ofwriting itself is active: “The art of makingis the thing that has meaning.” KatherineAnne Porter “is something more seriousthan a perfectionist. She is an achiever... Itis the achieving — in the constant presenttense — of the work that shines in the mind...” All the parallels Welty sees between lifeand literature ultimately derive from herconviction that the novelist is an activerevealer, and that “a work of art is a work:something made, which in the makingfollows an idea that comes out of human lifeand leads back into human life.”The critical essays are all well-writtenand sometimes make useful contributions tothe existing body of criticism. But on thewhole they leave the reader peculiarly un¬satisfied. They lack control and direction,and often have little of substance to say.Part of the problem can probably be tracedto Welty’s constricting conception of thenature of criticism. The story writer, shesays, has a whole world-space to work with.But “since analysis has to travel backward,the path it goes is an ever-narrowing one,whose goal is the vanishing point; beyondwhich only ‘influences’ lie.”The vagueness of these essays is due inlargest measure to the fact that Welty seesfiction as “full of mystery” and sets out toinvoke, rather than to break down, thatmysteriousness. Her concepts of time andplace in fiction, for example, are so diffusethat we do not get much of a sense of anydistinctive roles they may play. Some of herbook reviews are even weaker in concep¬tualization, somewhat glossy, anddisorganized. I think it is the way in whichWelty allows literature to loom so large anduncontrolled in her consciousness thatmakes her an extraordinarily passionatestory-teller and a second-rate literary critic.All this is related, in my mind, to her 1965essay “Must the Novelist Crusade?’ a piecewhich, along with her personalreminiscences of Mississippi life, make themost interesting reading in this collection.Welty was at that time criticized for the lackof a forthright social commitment in herwork. Here was a Southern writer who didnot touch on issues such as racial justice. Inthis essay, she responded by distinguishingthe concerns of the novelist from that of thecrusader: “The novelist works neither tocorrect nor to condone, not at all to comfort,but to make what’s told alive. . . Nothingwas ever learned in a crowd, from a crowd,or by addressing or trying to please a crowd... We can and will cheapen all feeling by let¬ting it go savage or by parading in it.”Writing fiction is an “interior,” personal af¬fair; it produces a private emotionalresonance that would be drowned out in thegreat public clamour. What we need to do,Welty concluded, is “to write with love,” apassion which “flames out of sympathy forthe human condition and goes into all greatwriting.”But what Welty has done in this essay is tonot only create a dangerous separation bet¬ween feeling and conduct, but also to denythat interchange between private and publicthat gives fiction its social meaning. For nomatter how passionate, love (like criticism)can be diffused into so many corners of thisworld that it becomes effete. As Weltyherself admits in another essay: “Real com¬passion is perhaps always in the end unspar¬ing; it must make itself a part of knowing.”Sympathy for the human condition must bepreceded by an understanding of that condi¬ tion, of its most pressing issues. To writewith a cause in mind is in this way the mostpassionate act of all — an attempt to bringthe whole of one’s being to bear on a singleand worthy act of creation.In the end, we must conclude, as does Wei-ty, that “story writing and critical analysisare indeed separate gifts” — and that Weltywas not doubly endowed These two areasare in fact so unbalanced in Welty that thisvolume forces a highly ambivalent reaction.The poetic grace of the prose, everywherereminiscent of the fiction, often veils, andsometimes atones for, the comparative thin¬ness of the analysis. Here is Eudora Weltyon WillaCather: Falkner-Cowley File, where they appear, inuninterrupted sequence, and where, soread, they can move you to tears ”) Theeveryday, from home cooking to a localschool costume pageant, is sketched in anopenly concerned and fresh manner. “IdaM’Toy,” a character portrait of a blacksecond-hand clothes dealer, manages, in anelegantly subtle way, to say somethinguniversal Also worthy of several readingsis the celebrated preface to One Time, OnePlace (1971), Welty’s photo album ofMississippi in the Depression. The pictureswere taken in the 1930’s, and the preface hassomething vital to say about the ultimateconcern of the developing story-teller:Look at the Nebraska of her novels as alandscape she might have addressedherself to as an artist with a pencil or abrush. There is the foreground, with theliving present, its human figures in ac¬tion; and there is the horizon of infinitedistance, where the departed, now invisi¬ble ancients have left only their fainttrack, cliff dwellings all but disappearedinto thin air, pure light. But there is no in¬tervening ground There is no generationpreceding the people now here alive tofill up the gap between, to populate thestretch of emptiness. Nobody we can see.except the very youngest child, has beenborn here. Fathers and mothers travell¬ed here, a few hardy grandparents whokept up will survive the life a little whiletoo, and the rest of the antecedents havebeen left in their graveyards the width ofthe continent behind.The best-conceived and best-writtenpieces in this volume are the “Personal andOccasional Pieces” (Although there is afine review of Joseph Blotner’s Selected Let¬ters of William Falkner. You will im¬mediately catch what Howard Moss meantwhen he hailed The Optimist’s Daughter as“a miracle of compression.” For example:"The letters, the best in Blotner’s book, canstill better be read in Cowley’s own 1966The ChiCc In my own case, a fuller awareness ofwhat I needed to find out about peopleand their lives had to be sought forthrough another way, through writingstories. But away off one day up inTishomingo County, I knew this,anyway: that my wish, indeed my conti¬nuing passion, would be not to point thefinger of judgment but to part a curtain,that invisible shadow that falls betweenpeople, the veil of indifference to eachother’s presence, each other's wonder,each other’s human plightEudora Welty is now 71. She still lives inthe brick house her parents built in Jacksonin the 1920's. She still tends the garden sheand her mother had cultivated for so manyyears Cooking and seeing friends occupyher time when reading and writing do not Inal) these essays, whether good or bad. thislife translates itself into a comfortable in¬timacy with time and place and everydayaffairs The result is a compulsion to believeher every word. For what emerges fromthese pages is a long-nourished and confi¬dent wisdom, self-taught in life and inliterature, and in that unmarked region inwhich these two forms merge into one Andas Flaubert noted, "After a certain pointone no longer makes mistakes about thethines of the soul.”> Literary Review - Friday, June 2,1978 - 7Primavera:By Claudia Magat“ When the endless servitude of woman isbroken, when she lives for and by herself...she too will be a poet! Woman will find someof the unknown! Will her world of ideas dif¬fer from ours? She will find strange, un¬fathomable, repulsive, delicious things; wewill take them, we will understand them. ”Arthur Rimbaud, 1871Rimbaud believed, quite correctly, thatwomen writers would reveal and articulatethoughts and images unknown to men.Women and men at times speak very dif¬ferent languages. We cannot always bridgecertain male/female gaps by conversation,by living and working together, or by sleep¬ing together. Literature, written and readby men and women, emerges as an idealmeans to communicate.This is why I am opposed to the idea ot awomen’s literary and art magazine. Suchmagazines encourage and publish womenwriters who feel that being female reducestheir chances of acceptance by establishedmagazines with male editors. This unfairlyassumes several things: that manuscriptsare published or rejected on the basis ofgender, not because they are good or bad;and that women’s literary magazines arefor women and everything else is for men.Furthermore, these magazines makewomen a special interest group by cateringto women writers and readers. This is ironicin light of the fact that women are 53 percentof the population and are present in largeand increasing numbers as writers andeditors on major magazines.Certainly women have been dis¬criminated against in the literary world,but the solution to this problem is not toisolate themselves any further. Women’sliterary and art magazines erect yetanother barrier between men and women. Amagazine that publishes only women isseparatist and sexist, and therefroepolitical, even if the contents of themagazine do not specifically support thesedoctrines. Art can be political, but when theforum for art is political it undermines amain purpose of art: communication.Primavera is a women’s literary and artmagazine based at the University.vThe staffof 10 women handles Primavera's editing,production, publication and publicity. Menare not permitted on the staff, andPrimavera has never published anything bymen. The magazine was founded in 1974 bymembers of the University FeministOrganization who were irritated by apublicity poster for Wild Onions, at thattime the only literary magazine on campus.The Wild Onions poster depicted a womanwith large onions for breasts.The feminists put up their own funds, gotmoney from Student Government, and thefirst issue came out in January 1975. JanetHeller, an editor of Primavera and one of itsfounding members, commented: “WhatClaudia Magat, a second-year an¬thropology major in the college, will befeatures editor of The Maroon next year. pride andreally excites me is that more and morewomen are taking themselves seriously aswriters.”Primavera’s staff is highly dis¬criminating when selecting manuscriptsfor publication, but the magazine is unusualin that it returns many rejected poems withsuggestions for revision, and always withwords of encouragement. “We are lookingfor poetry about everything — nature,religion, politics — but of course many ofour poems concern experiences peculiar towomen such as menstruation, childnirthand breast cancer,” said Heller.Primavera publishes many poems thatcould have been written only by women.Some of these are funny:My laundry sortedInto two piles; one, to iron,The other, permanent press.I observe the size of the latterand know whyWomen now have timeTo contemplate, and act on,Shooting the President.Some are incredibly painful to read:I love the man lying beside me,I want to tear him apart in his ugly sleep;... I want him helpless, anxious,eyes pleading up to mejust once. I wantthe roles reversedjust once.U:Some speak of personal wisdoms and obser¬vations :The way to get to know a manis to fuck with him.With women you talk,give crystal gifts of wordsthat reflect you, only smaller.And some concern experiences, in this caseabortion.I’ve killed you, babyunscrewed the sundial,flushed cat-turds down the drainto keep the smell out of the parlor.But the poems that are truly outstandingdeal more often with human experiences,frequently love:Enticing is the river.I come to you and ask you,Stop. Stay with me.Let me embrace you.But you roll on and on,I love you, says the river.or desire:Because I am tired this time,I am really tired,Because I am tired and sick with wantingyou.or patterns of our lives: Re-reading my poemsMakes it clearAs no shrink couldThat we repeat ourselves,Stutter on the same emotionCan’t say the same word. and you knowhow much moreof thatwe could use.or:One poem was powerful simply because itwas so beautiful:In this townthe sun wipes its feetbefore entering any roomthe moon bows twicebefore disappearing over the last highhedge...Another poem, written on the death of amother, is striking for its articulation of thesense of loss:I’ll tell you what I wish,I wish she were living...But Primavera publishes its share of sillyand unsophisticated poems:When you think about it(and I do)having girls makes a lot of sense If I don’t do anything very grandat least I’ll fly 747, first class,Go to London, see my folks,Flash my American cash.Primavera’s staff is justifiably proud ofthe magazine’s increasing popularity.Heller said that the journal is “respected,”and this is indicated by a number of smallgrants and awards given the magazine.But there is a big problem withPrimavera: while the artwork (pho¬tographs and drawings) is of consist¬ently high quality, very few of the poemsin each issue are aesthetically and struc¬turally completely good. I found lines thatare exquisitely constructed, images well-translated from perception to paper, andstanzas that are thoughtful and strong. Cer¬tainly every poem cannot be a masterpiece,but a few powerful or beautiful lines sur-LOOKING FOR SOMETHING BETTER?We will have several apartments available forLease in the very near future*2 to 3V* room 1 bedroom apts.Starting at $225.Security and one year Lease required.We have a lot to offer. Come see us.MAYFAIR APARTMENTS, 5496 So. Hyde Park Blvd. Guitor and banjo classes:•Intensive day-time series, 10am-2pm,June 19-30. Eight 4-hour classes, $75.•Summer night-time series, week of June 27-week of Aug. 15. Eight 2-hour classes, $40.THE OLE TOWH SCHOOL909 W. Armitoge, Chicago, 525-7793927 Noyes, Evanston, 864-6664 sL w OX discount on our Entire Stockv /Qof new Yamaha & Takamine guitars\ and new King recordersplus a few good old violins77)6 } with bows & cases._ Sale ends June 17,Fret \\ so come in soon.Shop )J 11-6 Monday thru Sat.WALKING TALL BEDAZZEDFriday June 3. 7-00 & 9:30 Saturday June 4,7:15 & 9:30DOC FILMS COBB HALL8 — The Chicago Literary Review — Friday, June 2,1978Not a prime choicerounded by meaningless or weak words isnot a statement.This is what is so frustrating about muchcontemporary poetry: whether it appears inThe New Yorker or in Primavera General¬ly, modern poets produce one good line orimage and there is little indication thatthese poems are conceived of and pennedwith an eye and ear to the whole.An advantage of small literary magazinesis that their editorial staffs have more timeto consider and revise manuscripts. It isultimately up to these magazines to remainindependent of literary trends and to publish— after editing, if necessary — the very bestpoems they receive. Major magazines can¬not and will not always do this. We shouldexpect and demand more from smallmagazines.For this reason, I am disappointed inPrimavera. Equally disappointing is itsdiscrimination against men. Women writerscan offer something special and wonderfulto the world, but this is impossible if theycontinue to establish and flock to women’smagazines.Oh, oh, you will be sorry for that word!Give back my book and take my kiss in¬stead.Was it my enemy or my friend I heard,“What a big book for such a little head! ’’Come, I will show you my newest hat,And you may watch me purse my mouthand prink!Oh, I shall love you still, and all of that.I never again shall tell you what I think.I shall be sweet and crafty, soft and sly;You will not catch me reading anymore;I shall be called a wife to pattern by;And some day when you knock and pushthe door,Some sane day, not too bright and not toostormy,I shall be gone, and you may whistle for PrimaveraSpring, 1978published annuallyReviewed by Delores MartinezIf the editors of Primavera have beensearching for a motto, the title of the lastselection in this issue could provide aperfect one: “Eloquence.” “Eloquence,”says John Farragut, the story’s protagonist,“has become the new substitute for art.” Ifnothing else, Primavera’s spring issue iseloquent; eloquent, empty, and quite disap¬pointing.How do you criticize a magazine that billsitself as “a unique women’s magazine?There are two ways to approach the task: bylooking at the poetry, prose, and graphicsand discussing them in detail, or by raisingquestions about the editorial standards.Since the sole contributors to Primavera arewomen, the overwhelming feeling afterreading this issue would be that women can¬not write. I refuse to believe that, and so amled to wonder about the magazine’s editorialpolicy.Granted, feminism plagues the womenwriters of the 1970’s in much the same man¬ner that social injustice did every writer inthe 1960’s, but complaining — no matter howeloquent — does not make art. While there isnothing wrong with art from a woman’sperspective, there is more to life than strug¬gling feminists and one-dimensional malecharacters. Many contemporary female, Delores Martinez is a third-year Collegestudent in General Studies in theHumanities. authors tend to forget this fact and give usFear of Flying, which is unlikely to evergrace the Great Books list. Given such anunhappy trend among women writers, theeditors of any literary magazine must bewary; picking the best is always difficult,regardless of sex.Perhaps it is because Primavera con¬ceives of itself as a woman’s magazine thatthe majority of their selections are feminist-oriented or “women’s stories.” Yet while itis easy to see why Cosmopolitan is awoman’s magazine, it is more difficult tounderstand why a literary magazine shouldbe (subtly) advertised as for women only.Good literature should never exclude an au-deince because of their sex and artistic stan¬dards should also be applicable to everyone.If only some standard other than eloquencehad been applied in choosing selections forPrimavera.'The one good note in the issue is thegraphics. Most of the pieces are powerfuland intriguing, especially the photographsand woodcuts. Kokilam Subbiah’sphotographs are, quite easily, the best in theissue. Her subject matter is simple — a cat’seye, a woman’s breast, the view from amicroscope — but compositionallybeautiful. Bettie Becker’s woodcuts and thephotographs of Nancy Hays and Kate Daveyare also quite interesting.The graphics, however, are only a smallpart of the magazine. With so many poems,not every piece could be bad (the law ofaverages must be against it), and a few areeven good Lisel Mueller’s “Heard byMoonlight” is an interesting piece,somewhat reminiscent of T. S. Eliot’s“Wasteland.” Bea Cameron uses the sametheme in her “Eleusinian” poem. “Eleusi-nian” takes the myth of Persephone’s rapeand brings it to a dismal conclusion: the vi¬sion of an empty and wasted earth EdithTurner and Carla S. Schick reflect on the artof poetry in their pieces, “The RebelliousPoet” and “She Painted . . ” Schick usesher words carefully: “She Painted . .” isnot just a verbal portrait of an artist but abrief and canny lesson on how words canalso paint.Brigitte Frase’s three poems, “Holy Pic¬tures,” “Sidling Up to an Ars Poetica” and“Deja Vu,” are the best in the magazine“Holy Pictures” examines the imaginaryworld children create as they sit throughSunday mass. Her wit is sharp; the poem’swords make their point clearly and verge onthe blasphemous without being obscenelyso. “Sidling Up to an Ars Poetica” is an at¬tack on contemporary poetry and a plea forthe proper use of the genre. Frase insiststhat her words “can only move us toward acommon ground/ on painstaking direc¬tions,/ spiraling/ in slow rites and letters tostrangers.” She rejects the poetry thatadopts “conversational tone/ with theirreader ” Here a poet recognizes the valueof words and how they can be used most ef¬fectively. “Deja Vu” shows her talents well.Interspersed among the poems are sevenshort stories. The stories range from theawful to interesting, and one is almost very-good. Norma L. Vazquez’s “MamaRhymes” and Geraldine Stein’s “A Fatherfor my Child” belong in the awful categoryBoth stories are extremely short andburdened with all the problems that short short pieces have. Neither writer makes herimages strong enough to be lasting; everysentence in the stories would have to worktwice as hard as it does to convey meaningVazquez’s portrait of her mother issomewhat trite and the potential conflictsuggested in her relationship to “mama” isnever really developed. Stein’s four-paragraph story pretends to be full of strongimagery but fails miserably The words areall there, but the images created areshallow and stilted.“Solitudes,” “The Wonderful Witch atField’s,” and “What Ophelia Saw” are allpotentially good stories marred only by thefact that their themes are age-old and needspecial treatment to be rendered excitingLiliane Richman’s “The Medal” and Melin¬da Munger’s “Betty Jumper’s Frog CityDiner” are interesting pieces. Both storiesdeal with a woman’s discovery of her innerstrengths and resources Richman’s piece issomewhat difficult to believe. Her descrip¬tions of an unfaithful wife and the gossipingneighbors are almost like newspaper ac¬counts; she tells more than she shows.Munger’s story is quieter, but more power¬ful, marred only by the fact that her malecharacters are almost cardboard cutouts,all cliche and no substanceThe best short story is the last in theissue: “Eloquence.” Harriet Zinnes hasmuch to say about the state of contem¬porary art and writes an almost horiifictale. Although the protagonist is male, thepiece has quite a bit to say about coldliberated women and women artists. Yeteven this piece is flawed: the beginningmoves too slowly and the last sentence tellstoo much — as if the reader were incapableof making the connection alone Yet thestory’s surrealistic vulture with its bloodlyeye is a powerful metaphor for the state ofcontemporary art and for the contemporaryfemale.So few worthwhile pieces in a rather largecollection is unforgivable Not only arethere few good pieces in Primavera. buteven fewer of the selections are of local orUniversity talent It would appear that theeditors had to search far and wide for goodprose and poetry but one wonders what theircriteria were. Perhaps more careful sear¬ching, a look at campus talent, and moreconscientious selection would make the nextPrimavera a true literary issueme.Edna St. Vincent MillayPhoto by Sharon PollackTurtle & Mud Pie SpecialTvrtto pies 2/*10 (reg. 5.59 a piece)Med pies 2/M1 (reg. 5.99 a piece)31 FLAVORS 5220 S. HARPERHAND PACKED ICE CREAM Opan Seven Days A Week TIKKON L’EL SHAVUOTSATURDAY - JUNE 10 - 10:00 P.M. - SUNRISEAll Night Torah Study Sessions *Bible - Midrash * Talmud -Mysticism * LiteratureHILLEL FOUNDATION5715 Woodlawn Ave. £GKGGMINGOf HVDCMRKe House plants • Potse Full range of suppliese Free accurate advice1613 East 53rd StreetMon. * Sat. 11 - 6, Sun. 2 - 4667-0920Summer Sailing Lessons Registration MeetingsUC Sailing Club JUNE 6th & 13thMembers have priority in choice of sections 7:00 P.M.The Chicago Literary Review — Friday, June 2,1978 — 9/Signs:By Bobbye MiddendorfSigns: The Journal of Women in Cultureand Society is one of the most successfulscholarly journals to be started in years. Itis a joint effort, edited by Barnard Englishprofessor Catharine Stimpson, and publish¬ed by the University of Chicago Press.Beginning its fourth year this autumn, Signsis already breaking even. This indication ofits strong standing will no doubt be one ofitems on the agenda when Signs' report tothe Board of University Publications at thePi ess is made at the end of the summer.The history of Signs goes back far beyondits first issue. In January, 1973, TheAmerican Journal of Sociology, alsopublished by the Press, presented a specialissue devoted to women. It was entitled“Changing Women in a Changing Society,and was edited by Joan Huber of the Univer¬sity of Illinois at Champagne-Urbana. Theresponse to the issue was very strong andfavorable. “The time was right. It got peo¬ple thinking,’’ said Stimpson. The volumecontinues to be one of the popular sellers atthe Press, and is still considered a basictextbook for women’s studies.jean Sacks, Assistant Director and Jour¬nals Manager at the Press; recognized theneed for a regular and high quality forumfor the burgeoning field of women’s scholar¬ship, and initiated efforts to put together thepublication. One of the largest problems atthe outset was finding the best person to editthe journal.Although it is a scholarly journal, Signs'format was not limited by a single disciplineor specified group of disciplines. Two ot itspurposes were to publish scholarly researchto be used in women’s studies programs andto represent the range of the scholarly spec¬trum. To these ends, the editor had to besomeone with an academic reputation,dedicated to the notion of “women’sscholarship,” and had to be able to get alongwith the diverse elements in the feministmovement.While canvassing for further advice inMay of 1974, Sacks met Stimpson at a con¬ference at Barnard “After talking with herfor 20 minutes,” recalls Sacks, “I knew Ididn’t want her advice I wanted her." In theautumn of 1975, the first issue of Signs ap¬peared, edited by Stimpson. A later FordFoundation grant lightened Stimpson’steaching load and enabled her to devotemore time to the journal.Signs' format has remained fairly cons¬tant since its inception Each issue containsa short introduction to the essays andthematic groupings included in the par¬ticular volume. They regularly publishspecial issues like “Women and NationalBobbye Middendorf is a third-year Col¬lege student in General Studies in theHumanities. >Development,” “Women and theWorkplace,” or feature several articles onone topic -without devoting the entirepublication to it. The articles are usuallyreports on original research, contemplativeessays, and sometimes a combination of thetwo.One of the most innovative and useful sec¬tions of the journal is the collection ofreports on the status of the “new scholar¬ship” in various filds. Each issue is suppos¬ed to contain reports from different areas;the social sciences, humanities, naturalsciences, and the professions. Recently, thesection based on this area/issue paradigmseems to have broken down; Signs seems tohave discovered the difficulties of such ar¬bitrary divisions of the scholarly world.But what, exactly, is the “women’sscholarship” which Signs reviews': In thefirst editorial, Stimpson elaborated on themeaning of the term. “The phrase ‘the newscholarship about women’ needs to beamplified. Like any decent scholarship, thestudy of women must avoid the luxury ofnarcissism. It must be neither limited norself-reflexive. It is a means to the end of anaccurate understanding of men and women,of sex and gender, of large patterns ofhuman behavior, institutions, ideologies,and art.”Regular features include a letters section,with frequent author response. Bookreviews, although not one of the primaryfoci of the journal at the moment, are alsoincluded. Another innovative feature is “Ar¬chives,” “a section that will consist ofdiverse documents written before 1950 thathave been lost or forgotten.” Many of thesedocuments concern women and their role inthe labor force.Signs had to overcome more than a fewobstacles. That the “Archives” section isstill published after three years indicatesthe historical context of a women’s move¬ment, of which Signs is just one facet.Stimpson acknowledges the importance ofthe social context in which the journal isfunctioning. “The journal would not haveappeared if it were not for intellectualmovements congruent with the new scholar¬ship about women (such as studies of thefamily,) and for great social movements,particularly the New Feminism. The issueswe wish in one sense to address and topublish exist within and because of ahistorical context these movements havehelped construct.”When questioned about an ailing women’smovement, and Signs' future in it, Stimpsonexpressed optimism and pointed out thehistorical persistence of the movement.Given the nature of the mass media’s focuson novelty, it is not surprising that feminismwas shoved into a spotlight in the late 1960’s,and its imminent break-up has now beenpostulated by many ot the formerleaders. Signs' function is to recognize anddeal with this historical continuity. If thewomen’s movement is indeed ebbing, Signs has yet to give any indication of it. The jour¬nal receives 700 manuscripts annually.Not surprisingly, some critics viewwomen’s scholarship as secondary to “real”scholarship, that is, scholarship about menand traditionally male issues. Stimpsonnoted that “A journal is a process overtime.” This might be extended to includewomen’s scholarship in general: “It can, asit grows, extend its attention to include asmany of the vital disciplines,methodologies, and questions as possible.”One of the aims of the publication is to get afuller understanding of both women andmen in various contexts. “The best way tolearn about women in culture and society isto seek a variety of facts and a multiplicityof ideas,” Stimpson said. But a part ofSign’s existence as a necessarily separateentity has to do with added insight gainedthrough a new perspective.Signs must confront the problem of its be¬ing a journal dedicated to the inter¬disciplinary in an academia of specializa¬tions. Stimpson outlined various ways thatthe inter-disciplinary mode could be used inthe journal: “One person, skilled in severaldisciplines, explores one subject, severalpersons, each skilled in one discipline, ex¬plore one subject together; or a group,delegates of several disciplines, publish inmore or less random conjunction with eachother in a single journal. “But MarthaNelson, managing editor of the journal,commenting on the first example, said:“Sometimes that really pulls together, but itis very difficult. When this sort of essay doescome about, however, it can be very ex¬citing.”At the end of the first year, Stimpson ad¬dressed the opposition to their inter¬disciplinary approach: “While we respect the need for specialization and support itsproductive results, we have also discoveredthe grim unwillingness, which taints allmodern intellectual life, to regard anotherarea of inquiry, method or school of thoughtas seriously as one’s own. To have that will¬ingness, that generosity and elasticity, isthe first step to making the private and thepublic connections that define the inter¬disciplinary.”The fact that Signs is interdisciplinary isnot simply an arbitrary editorial decision:“There is a simple relation between the factthat Signs is exploring the scholarship aboutwomen and the fact that it is inter¬disciplinary,” said Stimpson. Since womenhave not been studied from the variousspecialized disciplines, the mechanism forintroducing this study does not exist. Norcan women be studied simply from the pointof view of one discipline: “The subject is toovast to render accurate from onediscipline.”But the success of the journal seems to in¬dicate that there is an audience for this sub¬ject. At the end of the first year, subscriberstotalled nearly 8,000. But after the initialrush, many of the radical feminists andwomen’s groups, realizing that Signs wastruly a scholarly journal rather than aquarterly radical tract, cancelled theirsubscriptions. The publication has nowlevelled off at 7,000 and 7500 subscribers ayear. Irmgard Dotzauer, Associate Jour¬nals Manager at the Press, commented onthe difficulties of marketing an inter¬disciplinary journal like Signs. “The corepeople,” she said, “you get right from thestart.” But now, after three years, they arethinking about who Else ought to be readingSigns. The problem of who their audience ispromises to continue.”MCATORE PREPARE FOR:DAT • LSAT • GMATOCAT • VAT - SAT Our139thYearNMB Ul. III ECFMG FLEX VQENAT*L DENTAL BOARDS * NURSING BOARDSFtciibt* Programs 4 HoursThere IS a difference!!!i MPUNCOOCATlOMAl C£NT€»TEST PREPARATIONSPECIALISTS SINCE 1918WINTER COMPACTSFor Information Please Call2050 W DevonChicago, III. 60645(312) 764 5151SPRING, SUMMER,MOST CLASSES START EIGHT WEEKSPRIOR TO THE EXAM. STARTING SOON:GRE-4 WEEK MCAT-SAT -LSATOTHER CENTERS CALL TOLL FREE: 800 223-1782Canter* In Major US Cities Toronto, Puerto Rico and luiano, S*iti*rtand 110 - The Chicago Literary Review — Friday, June 2,1978 DOROTHY SMITHBEAUTY SALON5841 S. BIACKST0NEHY3-1069Call for appts.7 A.M.-7 P.M.Monday thro Friday,closed SaturdayHair Styling - PermanentsTinting-Facials-Skin Care VERSAILLES5254 S. DorchesterWELL MAINTAINEDBUILDINGAttractive IV2 and2l/t Room StudiosFurnished or Unfurnished$171 to $266Hu»ed on Availahilil\All I lilitic* includedAt (.umpu* Bus Stop324-0200 Mrs.GroakHYDE PARK PIPE AND TOBACCO SHOP1552 E. 53rd - Under IC tracksStudents under 30 get 10% offask for “Big Jim”Mon. - Sat. 9 - 8; Sun. 12-5PipesPipe Tobaccos Imported Cigarettes Cigars The University of ChicagoDepartment of MusicX7/JUUZ/ji, X/X . v a/77 / xmjojcx>;xxxjrju>xoa»cxxx)ocu)JirjcxxjL»u>iAXXXX> uju • >a-K/jXfm 'xxxjoqoquxxxxxxxi kxxxxxxxxxxxxxxxxjoooxx oooooocoy ooouxm ■j xa*x aam xxxxyjcx-ojuc/joouocxA/jLXjocxxxxxxna wxjgoxaSaXxirxtrj.xi.-j xxxxxxxxxxxxxxx/jooooxrx xxxxxxxxxxxxixx < //Trxrxrxxxjoorxx woo.xxxxx/jo’juuuxxxxmx * •AxxxxxxttuauGoaocOOCOOtA/JJOUCXXxxxx/rjcxjooa7JUUXXJQ00CXxxmmxxAXXXXXUDxxxjnouca•JOUUWOOQt YOUNG COMPOSERSCONCERT'jyx/. r a/.'ju Aft.yyxc/.yWOf >GJt t /XO XYXDO.wooa xxx xc-iuoautxrx■j-nXica x KM.yyjojxryx1■TOOOOk it/Ll f * 300X1AjXTX a//"-;rUCXJ.XJv./. '1 irxx'j.t. WITH ENSEMBLE AND SOLOISTSWORKS BY:MARC BARANCHIKDAVID BEAUBIENDANIEL GALAYBRUCE HORSTELIOT MARCUSy/xxty/xrxxxxtxxxxxx//jLOoo> txxoxaxxYV. AtjJX/JXU:x xxjoaoouoax ygonogxl*Miuxztmuixxxaxxxxm/.> jtxXxjuntx SUNDAY... JUNE 4.4=00 PM.MANDEL HALLFREE...THE PUBLIC IS INVITEDSelf, culture, and societySignsSpring, 1978published quarterlyReviewed by Abby Beth ChackAmong the many journals of feministcriticism, Signs has consistently maintain¬ed rigorous standards of excellence. Thediversity of viewpoints and the eloquence ofthe writing are, without doubt, reasons forits eminence in scholarly feminist study.Even more impressive is the obviousdedication of contributors and editors, adedication to the discovery and develop¬ment of a critical methodology that will bean alternative to the predominantly an-throcentric approaches to culture and socie¬ty.This issue of Signs is largely devoted to a study of the various effects of language onwomen. One of the most interesting articleson the subject, “Intonation in a Man’sWorld” by Sally McConnell-Ginet, dealswith the differentiation between male andfemale uses of language. The author con¬tends that many of the “linguistic”stereotypes of women — women as moretalkative, more emotional than men — haveno basis in the inherent structure of thelanguage. While McConnell-Ginet adds thather conclusions are tentative, she succeedsin demonstrating the need for a new ap¬proach to the study of language that takesinto account the ways in which language isused “by and against women.” AsMcConnell-Ginet writes, “Our speech notonly reflects our place in culture and socie¬ty, but also helps to create that place.”Marianne Shapiro also addresses the issue of women and language in her articleon “The Provencial Trobairitz and theLimits of Courtly Love.” Shapiro describesthe difficulties the Torbairitz have en¬countered in adapting the male conventionsof the Provencal lyric for their own use.These women poets are studied as artistswho must express themselves in male-oriented figurative language.“The process of influence” and the“psychological patterns in dealing with atradition” are explored in Joanne FeitDiehl’s analysis of the poetry of EmilyDickinson, Elizabeth Barrett Browning, andChristina Rosetti. The article discusses thevarious ways in which anxiety influenceswomen writers. According to Diehl, thetraditional relationship between the writerand the writer’s Muse is radically alteredwhen the writer is female. This alterationmust be understood if one is to evaluate thework of women poets not only as inheritorsof, but also as innovators in the literarytradition.Comparative studies of the influence oflanguage on women are particularlyfascinating. The problems that beset twobilingual women poets are described in onewell-written article. The article demonstrates how women can fulfill thepotentialities of the poetic and personalself through the use of a different language.Two poems by one of the articles’s authors,Nabaneeta Dev Sen, reveal, quite starkly,the constraints which language imposesupon women. “Now, The Time of Penance”was written in Bengali, and “Winter 1971” inEnglish. Dev Sen explains that when shewrites in Bengali, “I never pick up the firstword that comes to the tip of my tongue —nor the next nor the next. Like a carefulcriminal determined to hide his identity. Ikeep on rejecting the words until the idealcamouflage appears.” But when writing inEnglish, she finds “the namelessness andthe freedom to use language without socialsexual inhibition.”True to its self-proclaimed diversity of ap¬proach, other articles in this issue of Signsrange from an analvsis of sex role games toa study of Georgia O’Keefe’s art criticism. Irecommend this issue to anyone interestedin well-conceived and well-written work onwomen in society and culture.Abby Beth Chack is a graduate student inthe English department.In the first editorial. Signs editor Catherine Stimpsonelaborated on the meaning of the term "woman'sscholarship." "The phrase 'the new scholarship aboutwomen' needs to be amplified. Like any decentscholarship, the study of women must avoid the luxuryof narcissism. It must be neither limited not self-reflexive. It is a means to the end of an accurateunderstanding of men and women, of sex and gender,lar*ge% patterns of human behavior, institutions,an d art."Illustration by Lynn ChuJANE ADDAMSBOOKSTORE5 South WabashRoom 1508Chicago, 60603 782-0708Feminist books,Nonsexist children s books.Wholesome pastry,Coffee, herb tea, cider.Mon./Fri. 10-5; Sat. 10-4ALLCIGARETTESThe best newsstand in the worldalso has 2000 magazines for you!51st and Lake Park Chicago II 60615 (312) 684 5100 55cA PACK GOING TO BE IN THEWASHINGTON, D.C. AREA THISSUMMER? IF SO, READ ON.I am a Business/ Public Policy Student at the U of C who is trying to pull to¬gether a summer activities program in the Washington, DC. area for U of Cstudents who have an interest in public policy and governmental affairs. Such aprogram would consist of various activities (luncheons, dinner, informal get-togethers. etc.) designed to give U of C students an opportunity to meet and talkwith prominent people who are knowledgeable and experienced in the ways ofWashington. If such a program is to happen, however, there must be sufficientinterest on the part of those U of C students who will be in the D C area this sum¬mer. If you would like to participate in such a program, or (better yet), if you'dlike to help organize it, please leave a message at the Center for Public and NonProfit Management (753-4230) or drop me a note (via faculty exchange at theaddress given below) containing your name and D C area telephone numberWilliam SawyerNo. 517 Shoreland Hotel684-8710The Chicago Literary Review — Friday, June 2, 1978 - 11- • XU)'. ,,LCiT i w»Si ■. -i -- \(Tt> vjSi-2 J an t<&&. • .f; .”*£ > /■', ■' •l *»■/.Im-• 3 BEDROOMS• 2 OATHS• FENCED-IN PATIO• CENTRAL HEAT PUMPHEATING AND COOLING• FAMIIY ROOMFrom $75,300 Imagine! A smart, contemporary-styled tri-level in the desirable Hyde Park-Kenwood area for os little as (75.300. Plus heat pump heating and cooling tolower your fuel costs and conserve energy. All concrete and brick construction tosave on wear and maintenance costs.Pork Lane Townhouses give you the dean, simple lines of Y.C. Wong, on a ward¬winning architect. 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Wabash9am - 11pm daily 9-5 Mon.-SatPOWELL’S BOOKSTORES - POWEL Ifl PUT YOUR ARTWORKON THE WALL!After you visit the Art Fair come framethe purchase yourself at the Great Frame-Up.25% off on Frame-Up Picture Gallery itemsif you frame it in our store.The frame it yourself storeNorthwest corner of Blackstone & 53rd St752-20200Store Hours: M-F 12 noon-9 pm; Sat. 10 am-8pm; Sun 12 Noon-8 pmFINALS WEEKSPECIALOffer good June 5th through June 8th, 1978GYROS 1.85A^ORA1335 E. 57th 947-8309*• Chicago Literary Revifc.™ - Friday, Jun* r 197«Sex andStoriesby Doris LessingNew York: Alfred A. Knopf, 1978Cloth, 626 pages. $15.00Reviewed by Brian StonehillIt’s not really fair to consider Doris Less¬ing a “woman writer.” Lessing takesherself seriously as an artist which means,in her case, keeping an eye on the traditionof Flaubert and Joyce as well as that ofVirginia Woolf. She lays claim, to a kind ofartistic androgeny — what Flaubert wasreferring to when he boasted, “MadameBovary c’est moi.” The artist pictureshimself as having risen above the pettydistinctions between male and female, look¬ing down upon the fracas of the sexes withimpartial curiosity. In this new collection ofstories, Lessing attempts to write not onlyas a woman but also as a man — as severalmen, in fact, including married men,middle-aged “rakes,” and an 11-year-oldboy. She also writes of women who are notall like herself: actresses and factory girls,cynical “free women” and girls who dreamof marriage as the end of all strife. Occa¬sionally (as w-hen she writes a story fromthe point of view of a visitor from outerspace), Lessing's claims for the artistic im¬agination seem exaggerated to the point ofsilliness. But in general, as these stories at¬test and as those who know her work tend toagree, Lessing is an exceptionally insightfulwriter, with the talent to back up her ambi¬tions.It’s unfortunate, then, that this bookseems designed to cash in on the currentboom in women writers. There isn’t a singlenew story in it; it’s been assembled fromfour previous Lessing anthologies. Nor is ita complete collection of Lessing’s short fic¬tion to date, since it leaves out, without ex¬planation, her African stories. Lessing’spublishers apparently consider her explora¬tions of matters sexual and political to betimely enough to reprint, but deem herequally passionate studies of race relationsbest forgotten. This is vaguely disturbing.The 35 stories that are here, however, givean impressive sense of the breadth of Less¬ing’s talent. In the first story, “The Habit ofLoving,” a mild-manner English divorce’named George Talbot learns that hisAustralian fiancee', w ho has been separatedfrom him by the Second World War, nolonger wishes to marry him. It’s nobody’sfault, really, and George bears up under hisdisappointment manfully — all too manful¬ly, perhaps, from Lessing’s perspective. Hisfirst instinct is to try to get his ex-wife totake him back, but she knows better than tomake the same mistake twice. So Georgefalls ill and hires an attractive, boyish-looking woman to act as nurse for him. Bob¬by, as she calls herself, is a half-actress; sheperforms in nightclubs, always ac¬companied by a girlish-looking boy sherefers to as “the other half of my act.”Although emotionally she is distinctly chillyand her attitude toward her employer is oneof amused and tolerant contempt, Bobbynonetheless accepts the offer of marriagewhich her little-bov charm elicits fromGeorge. With that acute perceptivenessshared by many of Lessing’s men andwomen. Bobby proceeds to diagnoseGeorge’s problem:“You know what, George? You’ve justgot into the habit of loving.”“What do you mean dear ’”She rolled out of bed and stood beside it,a waif in her white pyjamas, her black hairruffled. She slid her eyes at him and smil¬ed. “You just want something in yourarms, that’s all. What do you do whenyou’re alone'.’ Wrap yourself around apillow'.’ ”On her 40th birthday, Bobby decides thatit’s “time to grow up” and to stop dressinglike a boy, thereby becoming, presumably,a complete woman. The story ends on acarefully muted note, reminiscent of thekind of scrupulous understatement thatBrian Stonehill is a doctoral candidate in theEnglish department, and is on the staff ofChicago Review. politics <Joyce practiced in Dubliners. George is leftsitting at a dish-cluttered table with Bobbyand her sister, perplexed and crestfallenbefore his suddenly dowdy wife. Many NewYorker stories aim at this kind of restraintonly to fall into pointlessness. Lessing’sstories manage to be both restrained andpointed at the same time.The main concerns of this first story —“themes,” as Lessing calls them — appearrepeatedly in almost all the stories in thisvolume. The War, which separated Georgeand his fiancee’ returns frequently, alwaysto put a barrier between people. In the se¬cond story, “The Woman,” two elderly ex¬soldiers who fought in the War, one forEngland and the other for Germany, futilelycompete for the attention of a young hotelwaitress. Two obstacles prevent the menfrom becoming friends: the political anta¬gonism dictated by their respective birth¬places and the sexual competitivenessthat “the woman” inspires. The story sform hints at some connection between thepolitical and the sexual disputes; perhaps, itsilently suggests, the two are analogous.Significantly, the story is set in Switzerland,which, like Lessing’s imagination, claimspolitical neutrality.One of Lessing’s five novellas included inthe collection pursues with greater com¬plexity this same theme of the walls built onpolitical differences. The year is 1951, i.e.,six years after the end of the War. An un¬married English couple, both doctors, bothintelligent, liberal, and committed to amitybetween nations, have decided to holiday instill-occupied Germany. This is understoodto be a particularly courageous and compas¬sionate gesture, since he has lost his wife tothe Nazis and she her lover. The couple isdetermined to seek out friendly Germans,but as often as not they are repulsed byreminders of Nazi cruelty and barbarity.The story climaxes in a “professional visit”the couple pays to the director of an insaneasylum who spends half of each year as apatient in his own hospital. Dr. Kroll em¬bodies the contradictory impressions ofGermany that the couple cannot reconcile:the intelligence, the charm, the fine man¬ners of a civilized man, and the dark, violentinhumanity of an exterminator of“undesirables.” Dr. Kroll paints: bright,cheerful, idyllic pictures when he is sane;and sombre, angry compositions when he is“depressed.” The English couple has the“poor taste” (so the narrator tells us) todelight in the cheerful paintings and toabhor the angry ones. Yielding to theirdisgust, the couple decide to leave both theasylum and Germany, but not before Dr.Kroll presents them with a copy of a singlecanvas painted in both of his moods. Hecalls the painting, as Lessing has called thenovella itself, “The Eye of God inParadise,” for both the painting and thecomposition embrace the contradiction bet¬ween what is Comfortable and what isRight.The theme of World War Two persists tocollection’s last story. “The Temptation ofJack Orkney” (which may allude to theFlaubert novella. The Temptation of SaintAnthony). Orkney reflects thatThe most shocking thing that had happen¬ed to his generation was the event summedup by the phrase ‘•six million Jews.”Lessing herself seems to have been as deep¬ly marked.The sexual themes that are first soundedin “The Habit of Loving” are repeated, in in¬numerable variations, throughout thisvolume. Again and again Lessing presentsus with men and women who need eachother drastically but. alas, in drastically dif¬ferent ways. Most often the men. likeGeorge Talbot, need somebody, any body,while the women, like Talbot’s ex-wife, needsomething less tangible and less easilyreplaced. In The Golden Notebook. Less¬ing’s best-known and widely admired novel,the “free woman” Ella put the problem this-way:And what about us’’ Free, we say, yet thetruth is they get erections when they’rewith a woman they don’t give a damnabout, but we don’t have an orgasm unlesswe love him What’s free about that Photo by Jill KrementzThe silent analogies between sexual and political strifein many of the stories is at its strongest right here forLessing, sex is politics.Elsewhere in that novel Ella informs usthat,Sex is essentially emotional for womenHow many times has that been written'’And yet there’s always a point even withthe most perceptive and intelligent man,when a woman looks at him across a gulf:he hasn’t understood; she suddenly feelsalone; hastens to forget the moment,because if she doesn’t she would have tothink.It's possible, of course, to disagree withthese views, and many have done so; butthen (as Lessing has succeeded in makingme feel) who are men to tell women whatthey feel'’ (Of course women disagreealso.) Beginning with Bobby’s attitudetoward George in “The Habit of Loving,”there is much tolerant contempt for men inthese stories, and Lessing is always carefulto make it seem deserved.Another variation on this sexual theme isfound in “One Off the Short List,” one of themost disturbing stories in the collection It isabout a supposedly reformed rake namedGraham Spence who would like to think ofhimself as a novelist but is in fact only ajournalist. At a party one evening Spencespots a woman across the room and vows tohimself. “Yes. that one." The woman hap¬pened to be a talented and successful stagedesigner; both glamorous and creative, sheis one of Lessing's most appealing women.Spence's opportunity comes, only slightlyimplausibly, when he is asked to interviewthe woman for the BBC. His seduction of heris positively chilling: at every point hishumorless, methodical determinationmeets with civil, comtemptuous toleration,even as he literally forces himself into bedwith her Once there, though, withoutmalice and without even meaning to, thewoman robs him of his triumph He getswhat he wants but not the way he wants it.The point ot this near-rape, as Lessingpresents it — graphically, as they used tosay — is that the rake’s attack is not really“sexual” in the recognized sense of thatterm. The victim herself is sharp enough tosee this; as she points out to Spence, “Youdon’t even find me attractive.” He doesn’teven deny it, so intent is he on subjugatingher. The silent analogy between sexual and political strife in many of the stories is at itsstrongest right here: for Lessing, sex ispolitics.Lessing’s stories are more thematic thantheir Flaubertian and Joycean modelsbecause, unlike Joyce and Flaubert, Less¬ing has something to say. This is sometimesviewed as a flaw in her work, an excessivedidacticism; one critic, for example, wrotethat “she has sometimes sacrificed hergreat skill and talent to her moral and socialconcerns.” And it is somewhat disconcer¬ting to find that Lessing herself can reducethe “essence” of a novel such as The GoldenNotebook to a single sentence: “.. Theessence of the book, the organization of it.says implicitly and explicitly, that we mustnot divide things off. must not compartmen¬talise.”But these stories, like The GoldenNotebook, are much richer than such a sim¬ple “explanation” suggests. Yes. they domake the point that the sexual barriers weerect among ourselves are pernicious andunjust, and that the political and the racialbarriers, like those based upon age or socialclass, lead to frustration and animosity. Butat her best. Lessing prefers to make herpoints in the subtle, formal ways that manyreaders, these days, find attractivePerhaps one of her most effective techni¬ques is the set of silent analogies her storiesgradually elaborate.Fortunately, however. Lessing's fiction isnot nearly so solemn as this makes hersound Several of the stories in this book aregenuinely funny. My favorite among these isa jaunty self-conscious piece call “How IFinally Lost My Heart.” which starts snap-pily:It would be easy to say that 1 picked up aknife, slit open my side, took my heart out,and threw it away; but unfortunately itwasn't as easy as that Not that I. likeeveryone else, had not often wanted to doit No. it happened differently, and not as 1expectedTen years after The Golden Notebook waspublished, Lessing felt obliged to remindher readers (in a new Introduction) that“this novel was not a trumpet for Women'sLiberation ” She may be obliged to do thesame thing 10 years hence for these StoriesThe Chicago Literary Review — Friday, June 2.1978 — 15AN OPEN LETTER TO T]AND STAFF OF THE UNAND ALL READERSWe, the undersigned - whether heterosexual, homosexual or bisipreference, merit full civil rights under federal, state and local law. We deplore trepeals of anti-discrimination legislation in Miami, St. Paul, Wichita and Eugene.and wish to enter this consideration upon the public record.Abraham, AbigailAbrams, LannieAdler, JamesAdler, TonyAgarwal, K. L.Ahlstrand, CarolAlderdice, EdAlers, Nei!Alevy, JonathanAllen, Donna L.Allen, Susan J.Allison, JohnAierpin, J. L.Altamirano, ManuelAltmann, StuartAnderson, DavidAppleton, LynnArchinow, Lisa J.Arnold, Douglas N.Arnold, NickArnold, StevanAronoff, Arnie L.Asch, Evelyn D.Ashin, MarkAskin, SteveAssoian, RichardAusubel, WarrenBaldacchino-Dolan, Mary E.Bales, DorianBalk, LeoF.Baralt, J.Barbour, JohnBarnacle, SuzanneBarnard, RichardBarry, MichaelBartlett, David L.Basak, SoumenBateman, George R.Bauder, james C.Bauer, markBaumiller, TomaszBeckett, Candace H.Bedinghaus, AnneBedrick, JeffreyBehling, RonaldBekermener, ManuelaBell, CatherineBen-Asher, EdnaBenedict, LauraBergen, JamesBernstein, markBernstein, Rochelle M.Bernstein, RonaldBerringer, JohnBichelweir, PeterBiernacki, RichardBilgrami, A.Birnbaum, DavidBistrow, VanBitsky, jasonBlack, CurtisBlakely, Barbara L.Blix, David S.Block, BruceBochnovlc, BarbaraBodeau, Deborah J. Boos, WilliamBorders, jamesBor sen, GloriaBouchard, LarryBoyle, J. DavidBraam, JoannBrady, Sheila A.Braude, AnnBreen, WalterBregar, JanetBrennan, DawnBrenner, AnneBrightman, Robt.Brody, MichaelBrown, Andrew W.Brown, Cliff A.Brown, DougBrown, Frank BurchBrowner, StephanieBrowning, Don S.Browning, MargotBruhl, CharleneBuchanan, LindaBuckley, Thos.Bullock, ElizabethBump, DanielBunge, MarciaBurch Brown, FrankBurford, GraceBurgess, Bruce H.Burgess, Herbert R.Burke, James B.Burns, Laura E.Burns, NancyBurns, RandallBurns, RobButler, Steven C.Calabi, PrassedeCaldwell, AnneCamacho, RicCampbell, Cameron J.Caprera, DavidCarbine, Michael E.Carl, RobertCarpati, CharlesCaruso, Jeffrey L.Celia, John L.Cervero, RonaldChadd, EdChamberlin, Douglas V.Chang, Ernest S.Chapman, RoyChar, AndrewCharette, MarcCharme, StuartChase, DavidChauncey, Thomas R.Chavez, Corina R.Cheney, RobertCheng, Kathy H.Cher, David E.Cherian, P. K.Chuck, AbbyCifelli, RichardCioffi, DonnaClaffey, Cyrus Clarke, DavidCleveland, NancyCloran, MartinCohen, RonCohen, Shelly F.Coleman, Kei mit B.Coley, LissyColombo, JoeColvin, JohnComaroff, J. L.Conley, IreneConner, MaryjaneCook, Martin L.Cooley, James R.Cormie, L. F.Corrigan, JohnCost, Carol JaneCostello, KenCouper, MonroeCox, DarleneCox, Martin G.Cripe, LarryCroft, Wm.Crump, Eric H.Cunningham, Jr., Robert D.Cuzzilfo, Laura A.Damper, DianneDamuth, JohnDaniels, Peter T.Dansak, Steven J.Davidman, LynnDavis, J. R.Davis, Sara E.DeFord, R. BradleyDelany, CarolDerstine, Pamela L.Dessonville, LorenDiakovmis, KanellaDiBiase, AriaDick, RobertDickler, LisaDillon, Jennifer S.Dingman, Marguerite E.Dmowska, PatDoane, Jeffrey E.Dodd, KristopherDonelson, LewisDowning, CharlesDoyle, CarolDoyle, Shelley S.Drain, Robin A.Dreydoppel, OttoDuca, Frederick J.DuFort, Jeanne M.Duncan, SandyDunn, MichaelDunning, NicholasDwyer, PattiDykers, PatriciaEdwards, KathleenEhmann, PresEhrlich, PaulaEl-Nahal, GalalEliade, MirceaElmendorf, Anthony D.Epstein, Philip Erdheim, GayleErhart, MaryEskilson, ChrisFarber, JosephFarber, Rosann A.Fechner, Janet L.Feder, Juliana H.Fefferman, RobertFelts, BenFernandez-lnde, RicardoFerguson, Kathy E.Fischer, ThomasFisher, LindaFisher, MartinFistler, Allison C.Fitzgerald, HenryFitzPatrick, MichaelFlynn, JimFogelson, Raymond D.Foglesong, RichardFoley, Wm. TrentFong, Brenda M.Fong, Susan M.Ford, DanForman, EllenFoster, Robin B.Fournier, RaymondFox, MichelleFoy, RosemarieFrank, RussellFranko, P.Freely, KathyFreeman, R.Friedman, BarryFrisch, HannahFritz, NormaFujisawa, BessFunzi, IreneFurst, LaurenFvoelich, BarbaraGaine, CammyGallagher, John A.Galloway, MollieGappa, BobGarbin, Gregg S.Garcia, AdrianGarland, SusanGarth, Dorris E.Garwood, Nancy C.Gawthrop, JanetGeoranis, ChristineGhitelman, ElisseGhosh, SoumitraGierlowski, E. H.Gilbert, MelvinGilbert, RoryGilkey, LangdonGilkey, SonjaGivan, GregoryGividen, JudithGlass, SusanGoepel, KathyGoering, Wynn M.Golberg, Mark ElliottGolberg, RobertGoldman, Daniel Goldman, MegGoldstein, RichardGolin, JohnGolladay, Steven D.Gonzalez, IvanGoodhue, Lucy C.C.Goodman, JonathanGoodnight, Charles J.Gordon, JoyGorman, MichaelGraham, DavidGrant, GailGreenfield, LarryGuberman Kennedy, KarenGuerin, MarieGullo, JonnGundling, Ernes!Gunter, CarlGurahian, JennyGyorgy, JohnHaak, Robert D.Haberman, David L.Habermas, KarlHakken, JamesHall, Carole ToyHalperin, MarkHannan, Clare C.Hanrahan, SarahHanson, DavidHarrington, PatriciaHarwell, Janis L.Hasbrouck, Edward JohnHaskett, JonathanHaskin, SunnyHaugan, EricHazinski, Sandra D.Hecht, JeffHecimovich, JamesHecker, Susan R.Heim, ValerieHeinrikson, RobertHeisler, Ida LorraineHelmling, A.Helwege, JeanHemmendinger, LisaM.Hempill, JohnHenderson, GordonHenking, Susan E.Hennessey, TimHennon, MichaelHerrmann, DianeHerstein, I. N.Hesse, Joanne E.Hickman, MignonHicks, LauraHill, JamesHill, SusanHines, JeromeHinkle, Bruce M.Hodgson, Pamela D.Hoebong, JohnHoeppner, Clare M.Hogan, MarghrettaHolber, W.Holliday, AndreaHoltzman, Joseph Hoober, MercedesHordis, JonathanHouser, Karen L.Howard, Martin B.Howe, Suzanne K.Howell, StanHughes, MarkHutchinson, S.Ikazaki, SusanIrving, NedJackevicius, SusanneJerome, WendyJohnson, Gordon T.Johnson, John G.Johnson, LindseyJones, Benjamin B.Joyce, Rita M.Joyce, TerrenceKalkowski, KimKalogeras, JojoKane, IvanKaray, DianeKasavich, Mary AnneKaspin, Deborah D.Kass, RobertKatz, Abbie H.Katzman, TheodoreKatznelson, L.Kaufman, JudithKaumsky, Clifford J.Kay, MarkKaye, Marilyn J.Keefe, Katharine L.Keefer, Linda M.Keenan, GeoffKeller, LynnKeller, PhilKemper, StevenKennedy, Karen GubermanKerbis, JulianKerley, BarbaraKern, David F.Kerpan, MichaelKiedos, MariaKiester, A.R.Kinahan, Mary O'ConnellKing, DonnaKinnamon, MichaelKinney, RonKlapholz, SueKlein, KeithKlein, Richard G.Kobasa, Stephen V.Koenig, MarkKohanski, Ronald A.Koopman, AnnKoppelman, AndrewKosin, RobertKovacz, LazioKreuzer, KenKuchnunan, J.Kuhn, NicholasKunkel, KathrynKupferberg, JoshLahiff, Ann M.Laimins, L.A.rHE FACULTY, STUDENTSNIVERSITY OF CHICAGOIS OF THE MAROONbisexual - agree that all persons, without regard to sexual orientation or affectionale the actions of anti-gay groups in denying homosexual persons such rights, i.e. thene. We consider these actions to be a tragic denial of human dignity and equality,Landon, Dennis L. Meehan, Peter J.Landon, Lana Hartman Meil, EdLangerman, Andrew Melton, RobertLanza, Michael L. Menchaca, Martha G.Latter, Susan Mercer, KenLavin, Carl Merilatt, Daniel S.Laycock, H. Douglas Merry, Wm.Leas, Mary E. Mertin, Clay A.Leavitt, John Metcalf, Stanley M.Lee, Cynthia Metzger, DanLehr, Rachel Meyer, AnnetteLenhoff, Neal Meyer, Kent A.Lerner, Barry Meyer, William H.Less, Julie A. Meyers, Loren C.Levenson, Carl A. Michaels, DavidLevin, Paul Michaud, StevenLevine, Jacob Mikulich, SharonLevine, Joseph N. Mikus, Margaret D.Lewert, Robert N. Miles, AnnLewis, J.A. Miller, David P.Lewis, James W. Miller, KarenLienhard, Lori Miller, MargoLillian, Rebecca Miller, Stuart W.Lin, Alan Millott, JulieLinsky, Leonard Miser, Dennis K.Livingston, Peggy Mitchell, Sharon L.Ljubiljuovic, Zoran Mlinarski, LouLocker, Hilla Molnar, JudyLockett, Sue Morone, JimLoevy, Steven Morris, AnnLoudenback, Brad Morrow, Valerie R.Lovett, Jerome A. Mouly, CatherineLudwig, Julie Robinson Muder, DouglasLyman, Richard C. Murawski, DarlyneLynch, Aaron Murray, Michael R.Lynch, Patrick Murrell, Karen L.Lynn, Janet Nagaraja, R.MacGowan, Roberta Nagle, DrewMaclsaac, Helen Naisbitt, NanetteMackem, Susan Nakamura, StevenMackie, Kevin Nelke, LauraMaddox, Donald D. Nelson, VickiMagat, Claudia Nessman, AlanMalament, David Newburn, JudMallows, Susan Ng, JudithMandel, Eric Nichols, NancyManor, Marguerite Nieder, MatthewMarks, Jason Nielsen, DianneMarriott, McKim Noble, David S.Martin, Thomas Northcott, KennethMartin, Tony Nose, Joseph K.Matson, Kris Novak, BruceMaulden, Jane Nutting, CherylMcCarthy, John Nystrom, Harvey J.McCarthy, Marie O'Connell, Mark M.McCauley, David O'Connor, AdamMcCauley, Drindee Oleson, MegMcCoy, Gwendolyn Olster, DavidMcDonald, John Orzech, CharlesMcGuire, Steven Panelas, ThomasMcIntyre, Michael W. Panem, SandraMcKay, Barbara Pangerl, SusiMcLemore, W. Mark Paradis, GeorgesMcMillan, James G. Parsons, E. SpencerMeade, Rich Pascal, Aida P.Medo, Patricia Patrick, Mary W. Paul, Jermey Saltzman, LynnPech, Nancy Sandhusen, J. EricPeete, Nadine Sandler, HannaPelc, M. Satel, Sally L.Pellman, David Satterthwaite, M.A.Pensak, Michael Saute, Robert B.Pergams, Oliver R.W. Saxon, BrucwPerlin, Mike Scanned,Sharon R.Pesch, Dorothy Schaefer, IdaPeters, Margaret Schaefer, Paul M.Petko, Lawrence Schechter, EricPhalen, David N. Schick, CarlaPhilips, Catherine Schlauch, Chris R.Phillips, Steven Schlegel, KatyPhipps, J. Stuart B. Schmidt, David P.Plain, Russell Schmidt, SandraPlaner, Sylvia Schneider, David M.Platzman, Kathleen Schram, WilliamPoethig, Kathryn Schroeder, StevePoland, Lynn M. Schubert, Donald C.Pollack, Sharon Schudson, MichaelPool, Adam Schulkind, Laura R.Porter, Andrew R. Schulman, AdamPosner, David B. Schulman, SarahPostlethwaite, Diana Schulte, GailPotter, Rosamond Schusky, ReadPowell, Valencia Breckenridge Schutt, ChristinePrendergast, K.M. Schwalm, PatriciaPrice, G. Schwartz, CarlaPrice III, James R. Sears, Stanley F.Pritchard, Elsa L. Sechler, Gregory A.Quartner, Doug Seiner, Charles A.Rabkin, Erica Seshu, RajRadinsky, Leonard Severson, LauraRaineri, Tina Shaeffer, BarbaraRath, James W. Shaffer, BradleyRead, James Shallman, MortRenner, Tim Shapiro, James A.Reuter, Ree Shapiro, Jonina☆ Reynolds, John Shark, John G.Riccardi, J. Lee Shear, Alan J.Rice, Doug Sheppard, NancyRichesin, L. Dale Sherman, JanerRichter, Ward R. Sherman, StuartRicks III, Henry C. Sherwood, JudyRiddle, Craig Shoelson, StevenRiemenschneider, J.S. Shott, SusanRitner Jr., Robert K. Siegel, PeterRobinson, Earle Silberger, AnneRobinson, Wayne Silver, JanetRogers, Fannie Silverman, JoshuaRosen, Seth Simon, GregoryRosenthal, Amy Singer, StevenRoter, Alan Skinner, SidneyRothenberg, Mel Skufca, DianeRoyston, C.W. Smith, Esther K.Royston, Clifton W. Smith, Jonathan Z.Rubin, Capers Smith, Margaret A.Rudden, Kate D. Smith, RemaRupprecht, Erna Lynne Smith, Roy HerndonRutkowski, Rick Smith, SusanRyan, Julie Eileen Smither, Catherine LRyder, Stuart Smyrski, MargaretSachs, William L. Smyth, Douglas A.Sacks, James Soni, PoonamSahlins, Marshall Sonoda, Sandra S. Sorrells Jr., Lonnie L. Urton, PaulineSossi, Michael S. Van Valen, LeighStander, Ellen K. Zant, Gary VanStarenko, Michael Vaughn,Susan K.Starr, Susan Velte, Margaret J.Starzl, Deborah Versau-Chamberlin, Julia A.Staton, Scott Vigilante, SilStead, Meredith Von Bischoffshaus, GustavoSteele, Caroline Von Drehle, LisaStein, Jonathan H. Voss, DonStein, Rhona Wade, Michael J,.Stephenson, Jane Wagner, CareyStephenson,Jerry Wallenstein, David J.Stinson, Stephen Waleson, AntheaStocking Jr., George W. Walker, Suzanne L.Stowe Jr., John P. Wallace, Anna MaryStrafes, Helen Walter, Cynthia A.Strickert, Dianne L. Walter, Miriam ZelditchStrong, John S. Wattles, MiriamStubblefield, Beauregard Webster, Lydia F.Sturman, John D. Wedrychowski, LouiseSugrue, Michael Weimer, EricSulcer, David Weinstein, RandySullivan, Sean M.P. . Weir, EllenSummers, Janet 1. Weitz, WolfgangSummers, Karen Wells, ChristinaSwanson, Carol Wells, JohnSwanson, Conrad T. Westcott, Charles R.Swanson, James M. Westley, JohnSwearingen, Jacquelyn Weston, Kathleen M.Swierczek, Cheryl Wexer, DarrylSymmes, Brian Whitaker, LouiseTaaffe, Mary Tigner White, Vicki L.Taber, Douglas Paul Whittemore, ThomasTait, W.W. Wildman, KathleenTanenbaum, Seth Will, CathyTaylor, Dorothy M. Will, Patrick T.Taylor, George Williams, Debra L.Teixeira, Ruy N. Williamson, A.H.Templeton, Jeanne Williamson, JoanneTerrell, John Wilson Jr., Hugh F.Theisen, Angeline Wilson, KinseyThieme, Jeanne Winamon, BobbieThomas, Kathi Wisniewski, VeronicaThompson, Marjorie Wissoker, Kenneth A.Til left, Jackie Wizowaty, SuziTiwari, Sanjay Wogstad, ErikTomada, Mike Wolford, TomTong, Benton Wood, Lisa W.Tosc, Nadine Wood, NancyToth, Claire E. Woodruff, PhillipTownes, Emilie M. Wool, Ira G.Tracy, David Worley, MichaelTragessen, Robert Woyt, AndreaTrainor, Helen C. Wyman, SaraTraube, Richard L. Wyman, WalterTreistman, Peter Yeland, MaxTrowbridge, Julie Yelin, MaxTsang, Lap Yntema, George B.Tuma, Jane Youngquist, E . TorstenTurk, Cynthia Zajchowski, Deboi ahTurk, Susan Gwen Zamb, TimTurner, Terence S. Zerbs, CharlotteTuttle, Russel H. Zito, AngelaUhteg, LawrenceC.Urton, John W Zorn, Werner PaulQueen Victoria revisitedBy Elizabeth Helsinger and William VeederThe following is a chapter, “Queen Vic¬toria, ” from The Woman Question: Societyand Literature in England and America,1837-1883, by Elizabeth Helsinger, RobinSheets, and William Veeder. The WomanQuestion is a history with selected readingsfrom the Victorian public debate overwoman's nature, rights, and social andliterary roles. Helsinger and Veeder areassistant and associate professors in theEnglish department. Reprinted with per¬mission of the authors.There are few better ways to correct ournotion of what “Victorian” means than bycorrecting our notion of who Victoria wasRecent biographies of the Queen have notaltered her popular image as archetypicWife-Mother, the heavy angel of the house.In correcting this image we must notdestroy it entirely. Only by resisting thetemptation to replace one inadequate ex¬treme with another can we understand whyVictoria, for all her simplicities, isrepresentative of the conflictive era namedafter her.Most conflicting elements of the Victorianera and of Victoria’s personality pervadedher youth. Inheriting the passionate (not tosay licentious) blood of the Hanoverians.Victoria also imbibed from her milieu thatpenchant for prudery which is called “Vic¬torian” and was in fact pervasive twodecades before 1837. Victoria’s early yearsaffected profoundly her later relationshipwith Albert — and with herself as a woman.Her father, the Duke of Kent, died when Vic¬toria was three. She subsequently soughtFather-figures with an intensity which canonly be called passionate. First, her uncleLeopold; then Melbourne, and Wellington.When King William IV died in 1837, the suc¬cession passed to a shy young woman whofelt socially and intellectually inadequate.Queen Victoria wrote years later to herdaughter, Vicky, thatI had had no scope for my very violentfeelings of affection — had no brothersand sisters to live with — never had had afather — from my unfortunate cir¬cumstances was not on a comfortable orat all intimate or confidential footing with my mother (so different from youand me) — much as I love her now — anddid not know what a happy domestic lifewas! All this is the complete contrast toyour happy childhood and home. Conse¬quently I owe everything to dearestPapa. He was my father, my protector,my guide and adviser in all andeverything, my mother (I might almostsay) as well as my husband I supposeno-one ever was so completely alteredand changed in every way as I was bydearest Papa's blessed influence.The intensity of this marriage and its am¬bivalences (“mother” Albert will bediscussed later) indicate why the popularimage of the Queen must be modified but notdestroyed. She represents her era so ade¬quately because the conflicting elements ofher personality characterize the afe itself.Victoria sustains both orthodox reverencefor the Wife-Mother and unconventionalreservations about that ideal.First, Victorian orthodoxy.IWhen Albert accepted her proposal ofmarriage in 1839. Victoria expressed her joyin most conventional terms.Oh! to feel I was, and am, loved bysuch an Angel as Albert was too greatdelight to describe! he is perfection;perfection in every way — in beauty — ineverything! I told him I was quite un¬worthy of him and kissed his dear hand— he said he would be very happy “dasLeben mit dir zu zubringen” (to sharelife with you) and was so kind and seem¬ed so happy, that I really felt it was thehappiest brightest moment in my life,which made up for all I had suffered andendured. Oh! how I adore and love him, Icannot say!! how I will strive to makehim feel as little as possible the greatsacrifice he has made; I told him it was agreat sacrifice, — which he wouldn’tallow. . . I feel the happiest of human be¬ings.Victoria delighted in calling Albert her lordand master; she was the one who insistedThe Queen was very Victorian in her feelings that awife belonged so completely to her husband that herlife ended in some senses with his. upon retaining the word “obey” in the mar-raige service. After the ceremony Victoriacontinued to react most conventionally.Like the heroine of a melodrama.I had such a sick headache that I couldeat nothing, and was obliged to lie down. .for the remainder of the evening on thesofa; but ill or not, I never, never spentsuch an evening!! My dearest dearestdear Albert sat on a footstool by my side,and his excessive love and affection gaveme feelings of heavenly love and hap¬piness I never could have hoped to havefelt before! He clasped me in his arms,and we kissed each other again andagain! His beauty, his sweetness andgentleness — really how can 1 ever bethankful enough to have such a Hus¬band!...to be called by names oftenderness, I have never yet heard usedto me before — was bliss beyond belief!Oh! this was the happiest day of my life!- May God help me to do my duty as 1ought and be worthy of such blessings!Two weeks later her desires remainedeminently proper. “God knows how greatmy wish is to make this beloved being happyand contented.” After four years and fourchildren, Victoria portrayed her bliss in atableau which had occurred and wouldrecur obsessively in the literature and art ofthe age.The children again with us, & such apleasure & interest! Bertie & Alice arethe greatest friends & always playingtogether. — Later we both read to eachother. When I read, I sit on a sofa, in themiddle of the room, with a small tablebefore it, on which stand a lamp &candlestick, Albert sitting in a low arm¬chair, on the opposite side of the tablewith another small table in front of himon which he usually stands his book. Oh!if I could only exactly describe our dearhappy life together!In 1849 the intensity and orthodoxy of herbliss continued. “How happy we are here!And never do I enjoy myself more, or morepeacefully than when I can be so much withmy beloved Albert & follow himeverywhere!” When she later acknolwedg-ed to Vicky that Albert “completely alteredand changed me in every way,” Victoriawas in fact attesting to the propriety of hermarriage. To make the beloved into a“perfect lady” was a basic dream and driveof the Victorian male. Firmly if carefully,Albert reeducated Victoria in householdmanagement, in art appreciation, in handl¬ing the artisan class. He also contributed in¬calculably to the one aspect of her life whichdistinguished Victoria from every otherwoman in England — her role as monarch ofEurope’s vastest empire. Victoria’s or¬thodox belief that “we women are not madefor governing” was supported byMelbourne, who applauded her engage¬ment “You will be much more comfortable,for a woman cannot stand alone for any timein whatever position she may be.” Victoriawas indeed fortunate in her spouse. Thoughnot without some evident reservation, shecould say by 1852Albert grows daily fonder and fonder ofpolitics and business, and is so wonder¬fully fit for both — such perspicacity andsuch courage — and I grow daily todislike them both more and more.Albert becomes really a terrible manof business; I think it takes a little offfrom the gentleness of his character, andmakes him so preoccupied. I grieve overall this, as I cannot enjoy these things,much as I interest myself in generalEuropean politics; but I am every daymore convinced that we women, if we areto be good women, feminine andamiable and domestic, are not fitted toreign; at least it is contre gre that theydrive themselves to the work which it en¬tails.However, this cannot now be helped,and it is the duty of every one to fulfil allthat they are called upon to do, inwhatever situation they may be! With Albert assisting her as Monarch andWife-Mother, Victoria achieved a domesticsituation which she consciously opposed tothe licentiousness of the court and which herera and our own have considered the ideal ofmid-century domesticity. (Not only did Mrs.Ellis dedicate to Queen Victoria the enor¬mously popular The Wives of England, but aBritish matron supposedly exclaimed afterseeing Sarah Bernhardt’s Cleopatra, “Howdifferent, how very different from the homelife of our own dear Queen.”) In 1860 Vic¬toria could say of her twenty wedded yearsWhere could I point to another womanwho after 20 years of such marital felici¬ty still possesses it My dearly lovedAlbert shows me not only as much affec¬tion and kindness as ever, but as mucnVictoria sustains both or¬thodox reverence for theWife-Mother and unconven¬tional reservations aboutthat ideal.love and tenderness as on the first day ofour marriage. How can I ever repay himfor it'How be sufficiently thankful to Godfor His goodness'.’And I must also countas a blessing the love of our many goodchildren! For this truly rejoices thehearts of parents who only desire theirchildren’s welfare.These are portentous words, both because ofVictoria’s estimate of marriage generally(which will be taken up soon) and because ofAlbert’s death six months later. AlthoughVictoria’s mourning was protracted enoughto warrant the contemporary and moderncharges of self-indulgence, she was lessidiosyncratic, more representative and con¬ventional, than people today recognize. TheQueen was very Victorian in her feeling thata wife belonged so completely to her hus¬band that her life ended in some senses withhis. Moreover, Victoria’s was an era whichcontenanced and indeed revelled in spec-tucalr grief — as the protracted deathbedscenes of literature and the ubiquitous adsfor funeral attire attest. In the profusenessof her emotions and in the conventional ex¬pression of them, Victoria was respondingas a Good Widow should.I do not even know if it is one day orseven weeks since I lost him, my hero,my glorious and exceptionally great hus¬band, at the peak of his power andvigour, in the very prime of life! My lifeand thoughts depended entirely on him;my own ambition was to please him, tobe worthy of him! The burdens, worriesand difficulties of my position, whichnever had an attraction for me, weremade bearable through his goodness, hiswisdom and his guidance. .My only comfort is the hope that 1 maysoon be a le to follow him and then beunited with him forever!...1 still listen in the hope that he may yetcome in. his door may open and hisangelic form will and must return, as sooften before, from his shooting. I could gomad from the disire and longing! . . . Myonly desire' is to continue as He, mybeloved Angel, would have wished — andyet... I would almost rather sit and weepand live only with Him in spirit and takeno interest in the things of this earth, for Ibelieve that I am going further awayfrom him and do not always see things soclearly as I used to! But I suppose that'isGod’s will and one must acquiesce in thatalso...My political and queenly tasks are thehardest for me. . . More than ever do Ilong to lead a private life tending thepoor and sick; I only do wearisomethings with the thought that it is good inhis eyes, and when I know and feel that Ican promote good, maintain order, pre¬vent evil and advance the generalwelfare; then 1 am prepared to continueso long as my weak and shattered nerves!• — The Chicago Literary Review — Friday, June 2,1978Oi ■,endure...With so orthodox an attitude towardwoman’s duties, Victoria is not surprising inher opposition to Woman’s Rights. Shewrote in 1870 to Sir Theodore Martin who shehad chosen as Albert’s biographer:‘The Queen is most anxious to enlistevery one who can speak or write to joinin checking this mad, wicked folly of“Woman’s Rights,” with all its attendamhorrors, on which her poor feeble sex isbent, forgetting every sense of womanlyfeeling and propriety. Lady — ought toget a good whipping.‘It is a subject which makes the Queenso furious that she cannot containherself. God created men and women dif¬ferent — then let them remain each intheir own position. Tennyson has somebeautiful lines on the difference of menand women in The Princess. Womanwould become the most hateful, heathen,and disgusting of human beings were sheallowed to unsex herself; and wherewould be the protection which man wasintended to give the weaker sex ‘'TheQueen is sure that Mrs. Martin agreeswith her.’Earlier the same year, Prime MinisterGladstone (as orthodox as Martin on thissubject) received a terser but no lessdefinite letter when he sent the Queen apamphlet “in resolute defense of the oldsocial ideas of Christendom on that great(woman’s rights) subject.” “The Queenthanks Mr. Gladstone for his 2 letters & forthe pamphlet which is sure to meet with hersmypathy as she has the strongest aversionfor the socalled & most erroneous ‘Rights ofWoman.’” Victoria was particularly ada¬mant against women entering the medicalprofession, as she indicated to Gladstone inMay of 1870.. . . The circumstances respecting theBill to give women the same position asmen with respect to Parliamentary fran¬chise gives her an opportunity to observethat she had for some time past wished tocall Mr. Gladstone’s attention to the mad& utterly demoralizing movement of thepresent day to place women in the sameposition as to professions — as men; — &amongst others, in the Medical Line. . .she is most anxious that it should beknown how she not only disapproves butabhors the attempts to destroy all pro¬priety & womanly feeling which will in¬evitably be the result of what has beenproposed. The Queen is a woman herself& knows what an anomaly her ownposition is: — but that can be reconciledwith reason & propriety tho’ it is a ter¬ribly difficult & trying one. But to tearaway all the barriers which surround awoman, & to propose that they shouldstudy with men — things which could notbe named before them certainly not ina mixed audience would be to in¬troduce a total disregard of what must beconsidered as belonging to the rules &principles of morality.The Queen feels so strongly upon thisdangerous & unchristian & unnatural cry& movement of “woman’s rights.” — inwhich she knows Mr. Gladstone agrees,(as he sent her that excellent Pamphletby a Lady) that she is most anxious thatMr. Gladstone & others should take somesteps to check this alarming danger & tomake whatever use they can of hername...Let woman be what God intended; ahelpmate for a man — but with totallydifferent duties & vocations.The Queen is glad that the Govt willsupport Mr. Bouverie’s motion — but shefeels the danger as regards the subjectshe attended to to be so very serious thatshe is determined for the salvation of theyoung women of this country — & theirrescue from immorality to do every thingshe can to put a check to it. — She wishesMr. Glastone would send for & see SirWm Jenner who can tell him what an awful idea this is — of allowing younggirls & young men to enter the dissectingroom together...The only reason why the Queen wouldpause before she gives her entire ap¬proval of Miss Kortwright’s pamphlet —is because she rather praises that MaryWalker who is a very objectionablewoman...IIFor all her orthodoxy, Victoria cannot bereduced to unqualified conventionally. Hersubjects made no such reduction. H. G.Wells said laterI do not think it is on record anywhere,but it is plain to me from what I haveheard my mother say, that amongschoolmistresses and such like women atany rate, there was a stir of emancipa¬tion associated with the cliam of thePrincess Victoria ... to succeed KingWilliam IV. There was a movementagainst that young lady based on her sexand this had provoked in reaction a waveof feminine partisanship throughout thecountry.As Queen. Victoria continued to contributeto the “stir of emancipation” which swelledthroughout her long reign. Not only did themonarch’s very sex encourage women bentupon achievement, but Victoria herself tookan active role in liberating womankind fromat least one traditional source of pain. In1853 she agreed to anesthesia duringchildbirht. According to Elizabeth LongfordIn the early days of 1847 Dr Snow hadwritten defensively:‘where the pain is not greater than thepatient is willing to bear cheerfully,there is no occasion to use chloroform;but when the patient is anxious to bespared the pain, I can see no valid objec¬tion to the use of this agent even in themost favourable cases.’Queen Victoria was emphatically oneof the most favourable cases’, as sheherself constantly boasted Yet she wasnot amused at the idea of continuing to‘bear cheerfully pain which might beeliminated.’Childbirth pains were traditionally con¬sidered a divinely-ordained consequence ofEve’s sin. Only six years after clerics hadfulminated against the first English ex¬periments with chloroform, the EnglishQueen sided with womankind and defied the divine command that “in sorrow shalt thoubring forth children.” Even regardingWoman’s Rights, Victoria was not entirelysingleminded. She enjoyed, for example, thegrounds upon which a deputation of womendemanded the vote. “Men were seldom fitfor the work.” Victoria’s delight here is par-ticulalry important because it reflects aprivate attitude which runs counter to herpublic image — a fierce ambivalencetoward the very type of man-woman rela¬tion that she had experienced with Albertand had helped canonize throughout herreign. Victoria is representative of her erabecause her sincere commitment to or¬ more liberty than an unmarried one; inone sense of the word she has, — but whatI meant was — in a physical point of view— and if you have hereafter (as I hadconstantly for the first 2 years of mymarriage) — aches — and sufferings andmiseries and plagues — which you muststruggle against — and enjoyments etc.to give up — constant precautions totake, you will feel the yoke of a marriedwoman! Without that — certainly it is un¬bounded happiness — if one has a hus¬band one worships! It is a foretaste ofheaven. And you have a husband whoadores you, and is, I perceive, ready toLike her epoch, and like us all, Victoria experiencedcontradictions which*she could not reconcile. When aclergyman suggested with impeccable orthodoxy thatVictoria consider herself the Bride of Christ afterAlbert's death, she replied, "That's what I call twad¬dle." Like all too many Victorians, Queen Victoriacould neither feel completely soothed by conventionalconsolations not imagine new ones.Not only did the monarch's very sex encourage womenbent on achievement, but Victoria herself took an ac¬tive role on in liberating womankind from at least onetraditional source of pain. In 1853 she agreed toanesthesia during childbirth. thodoxy does not preclude other emotionswhich were anathema to orthodoxy andwere, in fact, the stuff of the feministarguments that she excoriatedOne of these untoward emotions surfacedearly in her reign. When Albert reappearedat the English court in 1839 after a threeyear absence, Victoria confided to her deardiary, “It was with some emotion that Ibeheld Albert — who was beautiful.” Thefrankness of her sexual attraction is as farfrom the ideal of genteel prudery as it is trueto the inevitable facts of sexual relations inany era.Albert is really quite charming, and soexcessively handsome such beautifulblue eyes, an exquisite nose, and such apretty mouth with delicate mustachiosand slight but very slight whiskers; abeautiful figure, broad in the shouldersand a fine waist; my heart is quite going.. It is quite a pleasure to look at himwhen he gallops and w alzes; he does it sobeautifully and holds himself so w'ell withthat beautiful figure of his. He looks sohandsome — he has such beautiful blueeyes, a delicate nose, a beautiful mouthwith a small mustache and very slightwhiskers. His figure is fine: broad at theshoulders and slender at the waist. . . 1have to keep a tight hold on my heart.Especially since Victoria’s marriage to thisravashing man proved so happy, her subse¬quent reservations about sexual relationsare surprising and complicated Writing in1858 to just-married Vicky, Victoria touchedupon various “feminist” issues.Now to reply to your observation thatyou find a married woman has much meet every wish and desire of vour’s. Ihad 9 times for 8 months to bear withthose above-named enemies and realmisery (besides many duties) and I ownit tried me sorely; one feels so pinneddown — one’s wings clipped — in fact, atthe best (and few were or are better thanI was) only half oneself — particularlythe first and second time This I call the“shadow side” as much as being tornaway from one’s loved home, parentsand brothers and sisters. And therefore— I think our sex a most unenviable oneShocking to the subjects who acceptedVictoria’s popular image would surely havebeen her attitude — here and throughout the1858-1862 letters to Vicky — toward pregnan¬cy and babies.I can not tell you how happy I am thatyou are not in an unenviable position Inever can rejoice by hearing that a pooryoung thing is pulled down by this trialThough I quite admit the comfort andblessing good and amiable children are- though they are also an awful plagueand anxiety for which they show one solittle gratitude very often! What mademe so miserable was — to have the twofirst years of my married life utterlyspolt by this occupation! I could enjoynothing — not travel about or go aboutwith dear Papa and if I had waited ayear, as I hope you will, it would havebeen very different.Besides its inconvenience, pregnancy in¬troduced “animal” aspects which Victoria,Continued•«v3-rStudents^East Side Watering Hole(take C Bus to our front door)•JAZZ JUKE BOX•PIN BALL•OLD STYLE ON TAP•PITCHER OF BEER $2.50OPEN TIL 2 AM DAILY, SATURDAYS 3 AM1750 E. 55th ST. FLEA MARKETSaturday, June 3, 10:00 am - 1:00 pm Ida Noyes Parking Lot(in case of rain: Ida Noyes Hall) Featuring the world’s greatest selectionof fleas, not to mention furniture, kitchen equipment, and other relevantimpedimentaFENIO1550 East 55th Street at Lake Parkin the Co-op Shopping CenterCelebrate graduation with yourfamily at Kaffenio's. Select froma menu that includes cuisinefrom around the world and trulyunique vegetarian dishes. Com¬plete your meal with a lush fruitdrink or choose from our array ofcontinental desserts.HOURS:11:30a.m. toMidnightor latermtmmm irc .vrbiv-* wok/sfi vi**-*u -,.v...hiti■■Tm~ ■If ' - Queen Victoriadespite her passionate nature could not ac¬cept unequivocally.What you say of the pride of giving lifeto an immortal soul is very fine, dear, butI own I cannot enter into that; I thinkmuch more of our being like a cow or adog at such moments; when our poornature becomes so very animal andunecstatic I positively think those ladieswho are always enceinte quitedisgusting; it is more like a rabbit orguinea-pig than anything else and reallyit is not very nice. There is Lady Kildarewho has two a year one in January andone in December — and always is so,whenever one sees her! And there is noend to the jokes about her!Nor did the products of pregnancy pleaseVictoria more than the process. “1 hated thethought of having children and have noadoration for very little babies . . .1 am noadmirer of babies generally." Her disaffec¬tion here had atleast two sources.Abstractedly, I have no tendre for ;■them till they have become a littlehuman; an ugly baby is a very nasty ob¬ject — and the prettiest is fcightftd whenundressed. — till about four months* in ■%Short as long as they have their bigbody and tittle limbs and that terriblefrogJdoe action. But from four months,they become prettier and prettier. And! .repeat it — your child would delight meat any age.Besides her evolutionary shudder here, Vic¬toria also knew that babies could separate awoman from her husband, could cause atension — which orthodoxy rarely if everacknowledged — between Wife and Mother.I know vou will not forget, dear, yourpromise not to indulge in “baby wor¬ ship’* or to neglect your other greaterduties in becoming a nurse... as my dearchild is a little disorderly in regulatingher time, I fear you might lose a greatdeal of it, if you overdid the passion forthe nursery. No lady, and still less aPrincess, is fit for her husband or herposition, if she does that. . . Let merepeat once more, dear, that it is verybad for any person to have them veryfast — and that tho poor children sufferfor it, even more, not to speak of the ruinit is to the looks of a young woman —which she must not neglect for her hus¬band’s sake, particularly when she is aPrincess and obliged to appear.And so, without minimizing Victoria’sgreat love for her children and grand¬children (especially after they had reachedsix months), her reservations aboutpregnancy and progeny echo the reserva¬tions of mothers throughout the epoch. Vic¬toria’s protest against the uncontrolledrepetition of preghancy was inevitablyshared by a largely silent multitude ofHHfttfulr Victorian women who were not“feminirts” and did not want to destroyHome and Family. When unconventionalfeefijhfS about these institutions wereVdteted, not be committed revolutionariesbteby Queen Victoria herself, we see dearitifeAnother, and still more ^uprising, reser¬vation appears when Victoria writes toVicky about the conjugal relation itself.There is great happiness and greatblessedness is devoting oneself toanother who is worthy of one’s affection;still men are very selfish and thewoman’s devotion is always one of sub¬mission which makes our poor sex sovery unenviable. This you will feelhereafter — I know; though it cannot beGetThe Great Ratesof Budget!50 Free miles perday on all cars*14.95 a dayminimum priceTwo locations to serve you:5508 Lake Park493-79008642 *374-0700 We feature Lincoln -Mercury cars'■ ’ r > ’ •our carsare^clean, well maintainedlate model cars.rent a carNow ... for Sears customers: Budget Rent a Car operates authorizedSears Rent a Car Distribution Centers at most Budget locations.Locally call:si AHS not BUCK AND CO 374-1121 or 493-1774A Budget System Licensee otherwise as God has willed it so.The fact that Victoria can add immediatelyafterwards - “You know, my dearest, thatI never admit any other wife can be «s hap¬py as 1 am ... for I maintain Papa is unlikeanyone who lives or will live” — indicateshow divided she and her era are.Men ought to have an adoration forone, and indeed to do everything to makeup, for what after all they alone are thecause of! I must say it is a bad arrange¬ment, but we must calmly, patiently bearit, and feel that we can’t help it andtherefore we must forget it, and the morewe retain our pure, modest feelings, theeasier it is to get over it all afterwards. Iam very much like a girl in all these feel¬ings, but since I have had a grown-upmarried daughter, and young marriedrelations I have been obliged to hear andtalk of things and details which I hate —but which are unavoidable. . . thatdespising our poor degraded sex — (forwhat else is it as we poor creatures areborn for man’s pleasure and amusement,and destined to go through endless suf¬ferings and trials? is a little in all clevermen’s natures; dear Papa even Is notquite exempt though he would net admitit — but be laughs and sneers constantlyat many of them and at our unavoidable, .. • children, and would rather have none —just as I was as a girl and when I firstmarried — so I am very anxious sheshould know as little about the inevitablemiseries as possible; so don’t forget,dear.In light of her recognition of life’s“shadow side,” Victoria’s words aboutAlbert as “mother” become clearer. Not on¬ly was Albert far superior to the predatoryBad Husband, he surpassed the conventtkmal Good Husband, the “protector. .guide and adviser.” Albert was “father”and even “mother.” Making him into an an¬drogynous combination of all domestic rolesallowed Victoria to create what she hadalways lacked — Home. Home-making was,of course, the ideal of the Wife-Mother. AndVictoria personified that ideal for her era.But she created Home, not by locating thedomestic virtues in herself, but by findingthem in Albert. Lacking every aspect ofHome in her past, and recognizing thepredatory potential of male passion, Vic¬toria created protective domesticity bycreating a husband-mother. Such an¬drogyny was, needless to say, absent ironthe conventional ideal of Home and from thepopular image of Victoria's marriage. Ex*amptes of it appear Htrougiout this volume— Drysd ale’s tnetephor for human oneness,scriptural debates over Che nature of dmCod who “created-them in His image, manVictoria is representative of her era because hersincere commitment to orthodoxy does not precludeother emotions which were anathema to orthodoxy andwere, in fact the stuff of the feminist arguments thatshe excoriated.inconveniences, etc. though he hates thewant of affection, of due attention to andprotection of them, says that the men ;who leave all home affairs — and theeducation of their children to their wives— forget their first duties.Some of the reservations which Victoriavoices in her letters to Vicky partake of aquite conventional self-pity — “our poor, ill-used sex” — and other partake of an equallyconventional female chauvinism. “Wewomen are born to suffer and bear it somuch more easily (than men do) . . .woman’s love exceeds what man’s, I think,can ever be.” The Queen did nonethelessfeel toward the institution of marriage anambivalence which became increasinglycharacteristic of her eraAll marriage is such a lottery — thehappiness is always an exchange —though it may be a very happy one — stillthe poor woman is bodily and morally thehusband’s slave. That always sticks inmy throat When I think of a merry, hap¬py, free young girl — and look at the ail¬ing, aching state a young wife generallyis doomed to — which you can’t deny isthe penalty of marriage.Yes, dearest, it is an awful moment tohave to give one’s innocent child up to aman, be he ever so kind and good — andto think of all that she must go through! Ican’t say what 1 suffered, what 1 felt —what struggles I had to go through —(indeed ( have not quite got over it yet)and that last night when we took you toyour room ..and you cried so much, ( saidto Papa as we came hack “after isHke Uktog a poor lamb to be saertftbed”.Yeu tMtir&bow — what I meant,know thht Ood has willed it so and fhpffct';these a& thris trials which we poor womfenmust go through; no father, no man canfeel this! Papa never would enter into itall! As in fact he seldom can in my veryviolent feelings It really makes me shud¬der when I look around at all your sweet,happy, unconscious sisters — and thinkthat I must give them up too — one byone!! Our dear Alice, has seen and heardmore (of course not what no one ever canknow before they marry’ and before theyhave had children) then you did, fromyour marriage — and quite enough togive her a horror rather of marryingLet me caution you, dear child, again,to say as little as you can on these sub¬jects before Alice (who has alreadyheard much more than you ever did) forshe has the greatest horror of having and woman ." Androgyny in fact haunted op¬ponents of the woman’s movement. Theycaricatured advocates of sexual equality asflatchested women and highvoiced men, andwarned that equality would unsex bothsexes. No one opposed role shifting morethan the Queen (so remote was sexual inver¬sion from her mind that the court could notdiscover how to inform her about lesbianlove). And yet Victoria, again reprei-en-tative of her era, sensed sufficiently the in¬adequacy of conventional stereotyping ihatshe repeatedly celebrated Albert as theangel of her house. “He managed ourhousehold and home; in short, he was thelife and soul of everything!” Albert was in¬deed “mother "Recognizing the complexities of marriageand particularly its predatory aspects. Vic¬toria found herself praising what other Vic¬torians for various reasons were also reex¬amining — the values of the single life. Shedid not go so far as to celebrate the Old Maidor to advocate careers as an alternative tomarriage, but the Queen here again ex¬pressed to Vicky feelings at variance withorthodoxy — at variance this time with theorthodox belief that marriage (no matterhow flaying) was woman’s highest state.I think unmarried people are veryoften very happy — certainly rapre sothan married people who don't live hap¬pily together of which there are so manyinstances. . . I think people really marryfar too much; it is such a lottery after ail,and for a poor woman a very doubtfulhappinessWhen Victoria refers to “my own (wed¬ded* happiness * a happiness few if anyenjoy L” her last words are not paren-thettcol Experience had taught her. as ifhad taught her era, that the ideal which Vic¬toria's marriage embodied was rarelyachieved in Victorian homes The Queenthus recognized at least some of what manycontemporary writers insisted upon. Thatshe never made public her reservationsabout marriage, that she stood ever morestaunchly against Women’s Rights and forkhe Home, should not make us too criticalj^ike her epoch, and like us all, Victoria ex¬perienced contradictions which she couldnot reconcile When a clergyman suggestedwith impeccable orthodoxy that Victoriaconsider herself the Bride of Christ afterAlbert’s death, she replied, “That is what 1call twaddle ” Like all too many Victorians,Queen Victoria could neither feel complete¬ly soothed by conventional consolations norimagine new onesTho rhirann l iterarv Review Fridav, Junp ?. 197R - ?!rSwivel Arm DeskChairs $20( BRAND J EQUIPMENT&SUPPLY CO.8600 Commercial Ave.Open Mon.-Sat. 8:30-5:00RE 4-2111r.'Soet'*?—SPECIALDISCOUNT PRICESfor all STUDENTS andFACULTY MEMBERS1 •*/ Just present your University ofChicago Identification Card.As Students or Faculty Membersof the University of Chicago you areentitled to special money—savingon Volkswagen &Chevrolet Parts, Accessories and anynew or used Volkswagen orChevrolet you buy from VolkswagenSouth Shore or Merit Chevrolet Inc.SALES A SERVICEALL AT ONE GREAT LOCATIONk f ■p1ERCHEVROLf :Tm VOLKSWAGENSOUTH SHORE72nd & Stony IslandPhone: 684-0400Open Daily 9-9, Saf 9-5Parfj open Sat. 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Weimagined Teller to be the prototype,only laughing on the way down tohis private bomb-shelter,"JOURNAL OF IRREPRODUCIBLE RESULTSP.O. Box 234Chicago Height*, Illinois 00411 U.S.A. 1 year's subscription <4 issues)U.S. - $3 70Foreign - $4 45Send payment with order a / t l * V )is SALES withservice is our lV BUSINESSREPAIR specialists nt' on IBM. SCM,Olympia & others §f Free EstimateAsk about our >>. RENTAL withoption to buy nn New & RebuiltTypewriters A< CalculatorsDictators <Adders 4-VU. of C. Bookstore $V 5750 S. 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Don’t blow it!This summer the movie to see will beNATICIfAX.LAMPftNVANIMAL IWUtI -dThe Chicago Uterary Review — Friday, June2,1978 — 23ssiigSit I I Ip 1 I* f "ftf* ** • 17 tT v Wr i * **m* :) v Gy wYour personal broker■. :.. ■ : ' :. . 'mm493-0666■■V,<T‘*» ;BIGSELECTIONTO CHOOSEFROM a 10 yr old brick garage Free-standing three story high residence nr f>0thGreenwood, $160,000.HAPPY BOOKS Books, like people don't like to he scrunched Living room 20 x15 has wall space galore plus large picture window overlooking park bmuseum. Nr 57th at an affordable $17,000, one bedroom co-op.formal dining room, 3 bedrooms. 3 full baths Handsome English Tudor cornerbldg Move in cmndition. 4 blocks from SS Drive, on 70th PI Garage inch$31,500 conventional."Service fit for a kingillsIlliStii;jfX1- : WANTED: Visiting Professor & wife, would like to sub lease for one year at' : ". . . ■' ■' 'FOR RENT summer months spacious six <6i rooms in East View Park.:®,VfcH0dkS'lake at 54th 500 Der lo, a 3,... "Turn your dollars into better quarters."OWNERS - NO CHARGE OR OBLIGATION to discuss current market valueof your property. Call today We can be your "HOUSE/SOlD" wordWOMCM i4MD LIT€MTUft€Doris Lessing, Stories (Knopf, $8.95); >Susan Sontag. Illness As Metaphor (Farrar Strauss Giroux: $5.95) 7 X *•'- .Diana Trilling, We Must March My Darlings (Harcourt Brace,$3.95)Ruth Rose. ed. The Maimie Paper (Feminist Press. $6.95)Joan Didion. A Book of Common Prayer (Pocket, $1.95)Margaret Atwood, Selected Poems (Touchstone, $4.95)Jessica Mitford. A Fine Old Conflict (Knopf, $10.00)Zora Neale Hurston, Their Eyes Were Watching God (Illinois$3.95)Colette, The Innocent Libertine Farrar Strauss Giroux, $3.95)Maxine Hong Kingston, The Woman Warrior (Vintage, $2.45)Toni Morrison, Sula (Bantam. $1.50)Renata Adler, Speedboat (Popular Library, $1.95)tion aide during Freshman Orientation. September24 to October 1, 1978 should apply at the office ofthe Dean of Students in the College. Room 251,Harper Memorial Library.Your application must include:1) Name2) Current Address3) Summer Address4) An essay of no more than one type written pagedescribing what you as an orientation aide can doto help the entering freshman and what informationis worth knowing about the College and Chicago.Annual sale continues through June 10, with our entire inventory offered at 20% off list price.SEMINARY CO-OPERATIVE BOOKSTORE, INC5757 S. University AvenueMon. Fri.,9:30 4:00;Sat., 11:00-4:00752-43814 JO I-}• ; y-X; ' . ‘24 — The Chicago Literary Reyieyy Friday, June 2,1978vr»; ^r--~ y’■> SK.'; /•.-.iSiiSgiasmm Poetry of our climateThe Twelve-Spoked Wheel Flashingby Marge PiercyNew York: Alfred A. Knopf, 1978.Paper, 130 pages. $3.95.Beginning With 0by Olga BroumasNew Haven: Yale University Press, 1977Paper, 74 pages, $2.95.Reviewed by Marcia ZdunReading Marge Piercy’s new book ofpoetry is like going into a shop of objets depoesie, run by proprietor Piercy. Althoughthe shop is crowded, the display is orderly:the organizing metaphor, the twelve-spokedwheel, is cyclical-temporal, a natural unit oftime. This prevents the (critical) beholderfrom imposing a commercial (i.e.,abstract) ordering principle alien to thehand-made objects.The setting clarifies the nature of the ob¬jects on display. They are homemade. Pier¬cy takes her subjects frequently from theCape Cod land she lives on: she writes of theproduce she grows, soil, sea, the process ofcultivation. Other poems deal with longingfor home and household, when the poet istravelling and encountering curdledhospitality (“Have some cold tofu, Don’tmind the mold”) on the poetry-reading cir¬cuit, or else experiencing...nothing:several hours’ worth. If 1 were home, howthe bakery fragrance of the day would fillmy head...how the little needs of the moment wouldsettle, mosquitoes on my arms,...how my cats would twine at my legs,how my bed would crouch at evening like avelvet shoe...The domesticity shines at the poet’s centeras a touchstone. It is portable; it can also beincarnated in objects which can be given tofriends, and then the domesticity stamps theartifact as homemade. The closing image ofthe book s final poem is typical:...I bring you...a gift of grape conserve to melt on yourtongue, red and winey, the summer sunwithin like soft jewels passing and strongand sweet.In such images, Piercy’s intention andmethod are clear. The inspiration is provid¬ed by the natural energy contained withinthe products of the earth. While the intentionmay appear agricultural, Piercy is not run¬ning a produce stand. It is a shop, on a shelfof which is that jar of grape conserve. Thelight emanating from it is vestigial sunlight,yet as with any product, it has passedthrough an artificer’s hands, here an artisanwho has not hesitated to add hand-painteddesigns to the container — which brings meto method.The poetry is simile-and metaphor-laden.I find myself using my mind’s eye often, orcolor stands out. The object becomes so con¬cretely defined that it sits there on the shelf,the energy of its origins trammeled. The ar¬tifact interposes itself between the beholderand the real object whose grace it attemptsto articulate. Concrete detail enhances thedoubtless intended sensual appeal of thepoetry, but there is lacking a movement ofthe studied object revealing itself, and, inthe orderly unfolding, convincing the ap-prehender of the truth of its revelation. In¬stead, significance seems predetermined,sometimes announced in a first line, whichthen makes the line seem disjunct from therest of the poem. This is the mark of artifice,the problem with which the self-consciouswriter must wrestle.When Piercy is unsuccessful, I have tooclear a sense of the organization of the verseby a kind of additive development sug¬gesting prose organization (she is also anovelist), but differing from prose material¬ly. Words in themselves and images are thebuilding blocks of her poetry: “sleek slick”could surprise, but doesn’t; “that dance/ isMarcia Zdun recently received an M.A.from the English department, and will teachhumanities at Shimer College next fall. one of equals,/bone by wish” does. Imagesare so compact that they sometimes do notneed subsequent ones to complete an ar¬ticulation. Then the poems begin to strikeme as image lists.When the controlling consciousness ismore transparent — and some subjects lendthemselves to this more than others — thepoem does not complete itself until its finalline. In “At the Core,” images of quiet ac¬tivity pass to silence pass to sleep pass towords in dreams pass to understanding ofwaking solid self, active and silent. Thepoem closes, its images coming together:Yet when I grasp myself I find the coarseblack hair and warm slowly heaving flankof silence digging with strong nailed feetits burrow in the tongueless earth.This surprises, perhaps partly becausePiercy is herself surprised, or manages toproject a consciousness coming to seesomething as the result of a process.Because a reflective process is the poem’ssubject, its extension through the poemmakes the poem coherent while its revela¬tion unfolds.My appreciation of proprietor Piercy andher products is qualified. I admire her ambi¬tion and her clear perceptions. I feel I couldadmire her as someone who has seen thesethings, yet what I see is her act of seeing,her artifice, rather than what she sees in theway she sees it. She does not reproduce herpoint of view, for she has concentrated onthe reproduction of objects. I am forced tobe a customer in her shop.These qualifications may be more ap¬parent through contrast. Olga Broumas’“Beginning with 0” was the 1977 winner ofthe Yale Series of Younger Poets competi¬tion. While it is not hot off the presses,nonetheless it is hot. The comparison to Sap¬pho is inevitable: Broumas is Greek-born,and writes erotic lesbian poetry.If Piercy runs a shop filled with her pro¬ducts, Broumas invites us to view the pro¬duction process so that we may understandthe significance of the act of producing. Sheis concerned with finding a woman’slanguage as a means of legitimately havinga woman’s experience. Writing poetry per¬mits her to establish this language that cangive categories by which we can interpretour experience. Because this is so am¬bitious, the poetry is made moreremarkable in its success. All the tricks ofthe poetic trade are exploited in a seeminglyeffortless way, and played down becausethey are the means to a goal which is notmerely an idea, but a continual creative ef¬fort. Thus we never arrive at a fixed point,i.e., a meaning. Instead we are engaged inlearning a process by which we can impartour women’s meaning by giving names thatdo justice to what we name and alsoestablish a correct relationship to thosethings we name: we originate.How does this work‘.The opening poem,“Sometimes, as a child,” exhibits a clearview of the poet’s method:...you’d divefrom the float, the pier, the stonepromontory, through water so startledit held the shape of your plunge, and therein the arrested heat of the afternoonwithout thought, effortlessas a mantra turningyou’d turnin the paused wake of your dive, enterthe suck of the parted waters, you’demergeclean caesarean, flinginglive rivulets from your hair, your ownbreath arrested. Something immaculate, achancecrucial junction, time, light, waterhad occurred...That an ungainly word like “caesarean”can be made poetic is remarkable The worddepends on its neighbor for a pleasingsound, and gains strength from its positionas the climax of the process articulatedprior to its usage. Its functional rightnessconvinces us of the truth of the idea sug¬gested The arrangement of language in apoetic form is used as a tool to convince “Immaculate,” another less than obviouspoetic choice, works the same way. Whilethe word summarizes and comments, itopens the poem out by stirring a host ofassociations that attend immaculate con¬ception, (a paradoxical notion if ever therewas one). It also allows the poet to movefrom the particulars of scene to reflect onlarger implications. This careful arrange¬ment induces the epiphany being described;use of the second person draws us in. Beingso moved, I am more readily convinced ofthe possibility she proposes. On the surfaceis the deceptively effortless, seemingdesultory image, yet it expresses somethingstartling. Broumas says it herself:I am a woman committed toa politicsof transliteration, the methodologyof a mindstunned at the suddenly possibleshifts of meaning ...Equally apparent in Broumas’s work isher delight in working with potent tools,“...the same/rare concert of light andspine/resonates in my bones...” is a mixedmetaphor that takes skill and daring tomake successful. Like technology, a man’slanguage is alien. Both realms can bebroken into; that which we can put to usebecomes ours. To the daring belong thesweet spoils of pride and delight in the pro¬per proprietary relationship.As Broumas refashions language to herown purposes, so also does she revisethemes. The opening section of her bookcontains 12 poems, reflective descriptions ofwomen of Greek mythology and religion.Aphrodite, traditional embodiment of thebeauty that has often proved instrumentalin the reduction of woman to object, is givenback her ancient identity of the god who con¬sumes her consort after orgiastic ritualmating. This poem depends on the repetitionof a single word, “stone,” the significance ofThe New Women of Wonderedited and with an introduction by PamelaSargentNew York: Random House, a Vintage book363 pages, paper. $1.95.Reviewed by Michael DabertinSome people, myself included, do not en¬joy science fiction. In my case that isbecause I find that so much of it fails as fic¬tion. It suffers from flat characterization,comic book dialogue, and a lack of percep¬tive descriptions. Of course, the appeal ofscience fiction has always lain in its ideas —different civilizations, different planets, thescientific developments of the future andtheir effects on a future world — and theability of these ideas to send our imagina¬tions soaring But so often the good ideasand the clever inversions of earthly life aremired in cliched writing.Pamela Sargent, herself a science fictionwriter, acknowledges this problem in her in¬troduction to this collection of science fic¬tion stories by women. Sargent deplores thelack of innovative writing and diversity inscience fiction, but sees hope in the increas¬ed number of women writers. A major flaw,she says, is that “most science fiction to thisday lias remained conservative in itssociological extrapolations.” Translatedfrom jargon that means that science fic¬tion’s male authors have limited femalecharacters to traditional roles Most likelybecause that is what science fiction’spredominantly male readership has come toenjoy. Women, by providing new view¬points, will perhaps move the genre awayfrom its comfortable conventions Sargentalso encourages science fiction authors toaddress feminist issues, so as to bring themto the reader’s attention 1 have some doubtsabout that practice Much of recent fictiondrips with social consciousness, and the pro¬selytizing more often than not just gets inthe wayMichael Dabertin is a fourth-year politicalscience student in the College which becomes more unequivocal with eachoccurrence:The one with the stone cupsand the stone face, and the grindingstone settledbetween her knees...The insistent tone established by the repeti¬tion makes the meaning by force. Here isforceful use of language, forceful content.The final section of the book containsrevised views of fairy tale female figures“Sleeping Beauty” describes lesbianawakening. The concluding poem, “SnowWhite,” a hymn to mother, argues the ideaof generational continuity through thefemale line by playing with the symbol thepoet has assigned for women (articulated in“Artemis” as “beginning with 0, the O-/mega, horseshoe, the cave of sounds...” -she revises O’s nullity and makes it theessential female form as expressed sym¬bolically) :4If the circlebe unbroken...“Snow White” ends with “Receive/ me,Mother ” When I felt like weeping inRegenstein, I knew that I had lost my head,or at least some portion of it had been takenoff, following Dickinson’s dictum.For Broumas to entitle her work “Beginn¬ing with O” is a bold stroke that at onceunifies the work and announces the goal.For her as a poet, language constitutes ameans toward woman’s self-definition. In asymbolic sense, this is also self-creation,achieved through the imaginative act ofcreating poetry. In her first work, this“woman committed to the politics oftransliteration” has produced completelywoman-identified, woman-defined poetry.Here is a woman poet setting standards forwomen’s poetry “Beginning with O” is avery important book.Many of the stories in The Mew Women ofWonder do touch upon feminist issues. Acouple of them are concerned with the ideaof intelligent women trapped by tedioushousework. On the other hand. “Songs ofWar” by Kit Reed, is the story of a group ofwomen who join forces for a war againstmen Many of the male characters arefeminist stereotypes: unfeeling, enviousand. especially, lustful. “When It Changed”,by Joanna Russ, tells of a future earthwhere there have been no men for the past600 years The women are able to reproducewithout men, and have been getting alongjust fine. The men return, of course, andwant — what else — sex.Most of the stories, though, contain thetraditional sci fi stuff: space colonies, ex¬traterrestrials, thick Martian accents, pur¬ple slime addicts, pools of ammonia water,creatures with wings and paisley skin.There is also plenty of warfare, withwarlords shooting and zapping each other,and some outer-space beatings and in¬terplanetary tortures. War is a frequenttheme in science fiction, probably because itsimplifies matters so. But although wemight derive some excitement from it, wecannot feel that we are reading abouthuman beings. .(Granted, sometimesthey’re not supposed to be human.) Thecharacters are cut-outs juggled about toreach a clever climax or make an in¬teresting point; and we wind up back in therealm of boys playing with war gamesOne of the problems with this book is thatthese are science fiction stories. and themedium of the short story itself limits plotand character development The science fic¬tion writer is at a disadvantage because hemust make a fantasy world plausible in afew pages And because the world hecreates is fantastical, we are made keenlyaware of the fact that we are reading fictionSargent is right: whai is needed are somenew approaches But I don’t think that simp¬ly increasing the number of women writersis what is going to make science fiction amore respected fictional medium The onlymajor difference between these stories andthose by men is that women wrote these,which means that women get to playwarlord and do some of the zapping foronceSpace cadetessesThe Chicago Literary Review — Friday, June 2, 1978 — 25Thank you, RichardThe Maroon would like to pay special tribute to the writer we feel hasbeen the most insightful, consistent and informative in his work this year.Rather than award a Writer of the Year Prize, The Maroon now citesfourth-year College student Richard Biernacki for his extraordinary con¬tribution to the paper.Biernacki, a Phi Beta Kappa member and political science student, hadnever written for The Maroon before this year. Last fall, he came into theMaroon office and asked to be assigned a story. After an initial effort pro¬ved successful, Biernacki was given the task of outlining the extent ofUniversity investments in corporations active in South Africa.What began as a reporter’s assignment in October quickly burgeonedinto The Maroon’s most in-depth and professional news series in recentmemory. From countless hours on the telephone and behind a typewriter,constant interviews and requests for information, and correspondenceswith University and corporation officials, Biernacki disclosed the full pic¬ture of both University investments and behind-the-scenes University“explanations” for those policies. Biernacki successfully opened updiscussion of a subject that concerned among members of the Universitycommunity, spearheading student demands that the school at least con¬sider divesting its $65 million in holdings in those corporations.The Maroon thanks Biernacki for his professional work, work thatshould indicate to all the positive impact one student’s efforts can have.Biernacki has proved himself a fair-minded reporter, a fine writer, andan intelligent analyst of a complicated issue._ /Wang dang doodle at MidwayCalendarFRIDAYGeophysical Sciences Colloquium:“Wind Microclimate AroundBuildings,” H. Nagib, IIT, 1:30 pm.Hinds Auditorium. Center For Mid¬dle Eastern Studies: Arabic Circle -‘‘Perspectives in Medical An¬thropology: An Illustration from anEgyptian Village,” Suhair Mursi,MSU, 3:30 pm, Pick 218. DOC Films:“Walking Tall,” 7 and 9:30 pm,Cobb Hall.SATURDAYResource Center: Recycle glass,cans and paper, 54th PI and Green-wood, 10-4 pm. ChangeRinging: Handbells, 10-11 am, towerbells 11-1 pm, Mitchell Tower.Crossroads: Saturday night dinner,6 pm, 5621 S. Blackstone. StudentActivities: Flea Market, 10 am, IdaNoyes Parking lot. DOC Films:“Bedazzled,” 7:15 and 9:30, CobbHall.SUNDAYRockefeller Chapel: Service of HolyCommunion, 9 am: UniversityReligious Service, 11 am RockefellerChapel. Crossroads: bridge, 3 pm,5621 S. Blackstone Brent House:supper, 6 pm, 5540 S. Woodlawn, UCFolkdancers: general level, 8 pm,Ida Noyes. Music Department: Young Com¬posers’ Concert, 4 pm, Mandel Hall.FREE.MONDAYDepartment of Chemistry:“Vibrational Energy Flow in SmallMolecules,” George Flynn, Colum¬bia, 4 pm, Kent 103. Ki AikidoSociety: Meeting, 6 pm, Field HouseUC Folkdancers: beginners, 8 pm,Ida Noyes. Chess Club: meeting, 7pm, Ida Noyes.University Feminist Organi¬zation: Women’s Rap Group, 7:30pm, Blue Gargoyle.THURSDAYDepartment of Chemistry: “ProteinMobility and Enzyme Activity,”David Phillips, Oxford, 4 pm, Kent103. Judo Club: meeting, 6 pm,Bartlett gym. Ki-AikidoSociety: meeting, 6 pm, FieldHouse. Table Tennis Club: meeting,7:30 pm, Ida Noyes. Chicago Coun¬cil for American-SovietFriendship: “Implications of Con¬tinued Cooperation between US andUSSR for Cancer Research,” YuriSoloviev, Moscow, Dr. Ultmann andDr. Berlin, 7:30 pm, Palmer House,parlor F, 6th floor, FREE.FRIDAYMidway Studios: Opening Party forCisley Celmer - “Academic Art,” 7pm.; live music by Radio Free Il¬linois and THE Little WILLIEAnderson Blues Band, 8 pm, 6016 In-gleside. On Friday, June 9, Midway Studios will bethe site of a combination opening receptionfor Cisley Celmer’s B.F.A. show and end-of-the-year party for everyone at the Universi¬ty. Music will be provided by Little WillieAnderson’s blues band and Radio Free Il¬linois.Little Willie plays harmonica in the“Chicago” style developed by Little WalterJacobs during the early and mid-1950’s. Lit¬tle Willie has been active on the Chicagoscene for the past 25 years and has workedwith some of the city’s finest bluesmen, in¬cluding Muddy Waters, Robert Jr.Lockwood, and Luther Tucker. His current band includes guitarist and Jimmy LeeRobinson.Radio Free Illinois is a rock band compos¬ed of University students. Their music willbe familiar to those who have been at cam¬pus dorm parties or at last Saturday’s“toast with jam.”Celmer’s oil drawings, color slides andcollage will be on display at Midway Studiosfrom June 4 to 12. The opening receptionbegins at 7:00 pm next Friday, with music at8:00 pm. It is open to the public and free ofcharge. The event is co-sponsored byArtgroup and Midway Studios with partialfunding provided by CORSO and MidwayStudios.Celebrate these memorabledays with family and friends instyle - at the Windermere.Our traditional elegance, comfort and warmth willcomplement your graduation or Father’s Day festivitiesTHE CLASSIC ROOMBreakfast and Lunch7 am - 3 pm Monday - Saturday8 am - 2 pm SundaysTHE DINING ROOM5 pm - 9 pm Monday - Saturday12 noon - 8 pm SundayPRIVATE DINING FACILITIESAvailable for graduation parties, engagements, weddings and other func¬tions. This coupon entitles you to a decanterof wine for the entire month of June -compliments of the Windermere.Hotel WindermereFifty-sixth Street at Jackson Park 324-600026 -7 The Chicago Literary Review - Friday, 4yn« 2,1978University poetry competition winnersBonnie Birstwistle is a second-year graduate student in the English department.The following poems won this year’s JohnBillings Fiske Poetry Prizes.Five Poem CycleNo strings. Just furniturelistens. In his hands, playswhat only he can hear.We cannot even seewhat he would strum.Les cordes a boyau mortsinsomnie Toreille d'hommeincombe au tombepersonne ne comprendrequ'il tambourine-Bonnie BirtwistleCactus Totem PoleFanny Blum berg, 1958The animation is no illusion.The ceiling, the walls, the floorare working at anglesto get themselves free.Blue woodwork bandagingthe corners, white glazed bordersholding down the warm floor boards,like nurses restraining hysterics.Three wicker chairs, a love seat,the puppy will soon have chewed free,and Lillian the Kitten has trimmed the papyrus writing its shapeon the window so beautifully,the books in their places are cowering,reading their line upon lineagainst the silence of the cases,the loud growth of plants, warehousesof functional development, motion,furniture as evolution of the willow.Our senses struggle to let this room live,perceive these shells as rehabitatedphantom mollusks that crawlthe still wasting floor, up the wall,into the minds of plants,whatever they hear with, pots, roots,wet dirt where the room recyclesconverts to living this debris, this humusstraining together so powerfully,Fanny's manic impression of cactus,a totem that tru/npets like angels,cdks the silence so eloquently.Madame Routine Rocking the Cradle %Vincent Van Gogh, 1889The wallpaper, wiley servant,a dotlike frenetic design, performsthe duties of a butler, greets the visitor,begs him be at home, while she sits,still life posing as portraiture,implacable as a chair. Her only care,how her baby does not stir.Bedroom at AriesVincent Van Gogh, 1888The green-stained floor pulling up brownthrough the bed, the positioned chairs,their frayed straw seats, sketches ajar,but the mirror so straight beside /the slant of a towel drying,the window open for the purpose,the blue walls, peeling to white,the red and gold of the bed, ’so warm, uncovering white,the floor, again like nature, first green,then dun, s'evanouit, the white of absence,Someone is missing from the furnished chamber.He is awake, his eyes husking the scene,broad sunshine baring the flawstoward a bright, colorless abstraction.He does not himself crossthe sight-point of the empty mirror,yet what he has not found radiantis, every stick of it, painted light. Odilon Redonunderstoodthe headwhere one liveswithoutthe living room:a profile.* The Old GuitaristPablo Picasso, 1903EvocationOdilon Redon, 1905 1920illustration by Lynn ChuGhazal DanteThe tundra uncomfortable in its thawwaits impatiently for the next ice ageA field mouse on the back stair,yesterday it was a stone caromingoff the garden wall, tomorrowa step will splinter in its placeThe predicament of the careless grunnionlaying its eggs under an unforgiving sunThere is expectation in all movementevent the breath is measuredfor its infirmityThe condemned man waiting for the hand to knockwithout the animal's freedomto chew off his paw at the trapLet me shed the parables, I am no prophetonly a ship heavy with too much ballastYour growth is measured nowyou are your own father, your own motherface to faceI have cut a hole in the ice and waitfor the seal to skin himself, the sea turtleto crawl into my empty kettleWhat self is buried in the soulit sticks in your throatagainst all protest Kneedeep in high tide, no time to choosebetween r unning back to shoreor stepping off the continental shelf) Peter EllsworthPeter Ellsworth is a second-year graduate student in mecommittee on the History of Culture Guido, a stunted sideshow freakdreamed he was Dante, passing the bleakflayed spirits commandingly. Tall in hisflameshis lips withheld an elated powerhe wouldn't let mix with dead breath. At theendof a yawn he'd let slip the crowd appearedin the rosecolored tent, wondering beforehis figure throned between shelves of startledstillborns in bottles, arranged with crepe-paper.c Marc DeFrancesMarc DeFrances is a first-year graduate student in theEnglish department.Other award winnersFrances Strotz won the Academy of American PoetsPrize. Edward Helbig won the Perrin H Lowrey Prizesfor creative writing Adam Schulman and John Clay wonthe David Blair McLaughlin Prizes for prose writing AndGregory River, Michael Haederle, Rosanne Sunday andRichard Brown won the Menn Founcation Prizes fororiginal literary worksThe Chicago Literary Review — Friday, June 2,1978 — 27The Maroon asked various members ofthe University community to recommendbooks for summer reading. Here follows aselection: Great books (forsummer)Robert Wadsworth, bibliographer for'English, librarianship and humanities:Caught in the Web of Words: James Murrayand the Oxford English Dictionary byElizabeth Murray.The Motor-Flight Through France by EdithWharton.Portraits of Places by Henry James.Lorna Straus, dean of students in the Col-* lege:The Discovery of the Inca by HiramBingham. “The exhibit on which this bookwas based was at the Field Museum.”Anna Karenina and iThe Pallisers. “The television series on?these two should have whetted your appetitefor the texts.”Steven Feldman, graduate student in theDivinity School:The Five Seasons by Roger Angell.Riley Davis, Director of Student Ac¬tivities:On Becoming A Person by Carl Rogers. “Iread it when I was college-age and it had atremendous impact on my life.”Working by Studs Terkel.Margot Rubinstein, former student in theCollege:The Magus by John Fowles < old edition).Red Harvest by Dashiel Hammet.Loose Change by Sara Davidson.Good Times, Bad Times by JamesKirkwood.Light in August by William Faulkner. Fred Brooks, director of College admis¬sions:The Denial of Death by Ernest Becker.The Gates of the Forest by Elie Weisel.Small is Beautiful by E. F. Schumacher.Karen Heller, fourth-year college historystudent and (former) features editor of theMaroon:Decline and Fall by Evelyn WaughEmma by Jane AustenJoseph Williams, associate chairman ofthe English department:Diaries of Joseph GoebbelsDragons of Eden by Carl SaganGordon Crovitz, second-year College stu¬dent and editor of The Chicago Journal:“Start off by rereading Anthony Burgessand reading Nixon’s memoirs. Then comeback to reality by reading science-fiction byStanislaw Lem.”Gerhard Casper, professor in the lawschool:Young Henry of Na varre andHenry, King of France “A two-volumebook, the greatest political novel of alltimes, and nobody knows about it.”D. J. R. Bruckner, Vice-president forpublic affairs:The Oysters of Locmariaquer andRome and a Villa by Eleanor Clark (Mrs.Robert Penrr Warren). “Both splendidbooks; make it an Eleanor Clark summer.”Robert Streeter. Professor of English :The Value of the Individual by Karl Wein-traub (This was suggested by many.-Ed.)Natural Shocks by Richard Stern (so wasthis)Dance to the Music of Time by AnthonyPowell. Twelve short volumes. Edward Buckbee. assistant professor inRomance languages and literatures:Essays of Montaigne. ‘Excellent for a totalevaluation of the human personality.”Trees by Andreas Feininger. “Extraor¬dinary total description of trees.” David Schramm, associate professor ofastrophysics:The First Three Minutes by Steve Weinberg.“It’s about the origin of the universe.”Unidentified College student:The Fury (available at neighborhood super¬markets).Volume II of the Vegetarian Epicure.C. Ranlet Lincoln, dean of the ExtensionDivision:The Value of the Individual by Karl Wein-traub.Alice in Wonderland by Lewis Carroll. "Ifyou haven’t read this by now, you ought to,and if you have you should read it again.”Richard Taub, associate professor andChairman of the Public Affairs Program:The Visible Hand by Alfred Chandler.“Because large corporations play such animportant role in our lives.”Our Mutual Friend by Charles Dickens.Mihaly Csikszentmihalyi, associate pro¬fessor of behavioral sciences:J. R. R. Tolkien series andCarlos Castenada series. “Both beautifulbooks and you can learn a lot while enjoying♦hem.”Jon Meyersohn, fourth-year English ma¬jor in the college and (former) editor of TheMaroon:James Thurber or the demonicside of Roald Dahl.The Martin Beck mysteries. (By Swedishdetective novelists Per Wahloo and Maj.Sjowall.) “They’re the best.”William Veeder, associate professor ofEnglish:One Hundred Years of Solitude by GabrielGarcia Marquez.The Voyeur by Alain Robbe-Grillet. Raven McDavid, retired professor in theEnglish department and director of theNorth American Linguistic Atlas:The American Language by H. L. Mencken.The best-known book on the AmericanLanguage.Caught in the Web of Words by Elizabeth K.M. Murray.Emmet Larkin, professor of history:The Younger Pitt by John Ehrman. “Thebest political biography since Disraeli. ”Lytton Strachey by Michael Holroyd. “In¬side view of Bloomsbury.”Claudia Magat, second-year anthropologymajor in the college and associate editor ofThe Maroon:The Age of Innocence by Edith WhartonThe Berlin Stories by Christopher Isher-wood.Thomas Mapp, director of MidwayStudios and associate professor in the Com¬mittee on Art and Design:Art and Illusion by E. H. Gombrich.The Magic Mountain by Thomas Mann.John T. Wilson, president of the Universi¬ty:Watergate and the Constitution by PhilipKurland.The Value of the Individual by Karl Wein-traub.Life on the Run by Bill Bradley. “He is avery intelligent basketball player whowrites well.”Josephine Morello, professor of biologyand microbiology:Shotgun by James Clavell.The Thorn Birds by Colleen McCullough.Arnold Ravin, professor for biology andmicrobiology:The Life of the Mind by Hannah Arendt.Natural Shocks by Richard Stern.The Modern Rise of Population by ThomasMcKeonNancy Crilly, third-year college Englishmajor and associate editor of The Maroon:Let Us Now Praise Famous Men by JamesAgee.Quo Vadimus, essays by E. B White.Michael Frank, Harper Fellow:The Tragic Sense of Life by Miguel deUnamono. “Other writers have defined thetragic vision and its necessity as well, butfew have done so with the lucidity, graceand simple humanity of Unamono Herecognizes that the tragic sense is not onlyinevitable but beautiful, a sense withoutwhich lives would be seriously diminished.His parochial religious concerns, thoughtechnically immaterial to the argument,rooted in actual human experience and pro¬vide warmth missing in more mechanicallyprecise arguments.”Ten Ever-Lovin Blue-Eved Years With Pogoby Walt Kelly (or any other collection ofPogo comic strips.) “Imagine.:! Walt Disneywith the political and social wit of a GarryTrudeau, the control of his medium of aBorghese or Nabokov, and the emphatic im¬agination of a Charles Schultz, and you havesome idea of what Walt Keliv was like.Pogo. though somewhat inconsistent, was,at its frequent best, by far the greatest com¬ic strip I have ever known Walt Kelly sdeJth was a great loss.”Catch-22 by Joseph Heller. “Time was wheneverybody had read this novel, but thereseems to be a new everybody these days. Itmay well be the funniest great book that wehave.”Easley Blackwood, chairman of the musicdepartment:The Supreme Court and United StatesHistory by Charles Warren.The History of the United States During Jef¬ferson and Madison by Henry Adams.Sherry Stone, counselor. Career Counsel¬ing and Placement:All the Lord Peter Wimsey “things” byDorothy SayersRe-read Lord of the Rings by Tolkien “Thatshould keep vou out of trouble.” Pat Moriarty, first-year linguistics majorin the College:War and Peace by Leo Tolstoy.From Under the Rubble, Essays edited byAlexander Solzhenitsyn. Jean McClelland. Librarian at Harper:Simirillion by J. R. R. TolkienPilgrim at Tinker Creek by Annie Dillard.“A beautiful piece of writing.” Any ofShaw’s Dlavs.HjJohn Wilson: Life on the Run (Photo by Gwen Catos)Photos by Sharon PollackE. Spencer Parsons, dean of RockefellerChapel and associate professor in theDivinity School:Tim by Colleen McCullough.Moral Problems in Medicine by Gorovitz.Clayton Koelb, associate professor of Ger¬manic languages and literature:Wilhelm Meister by Goethe (“the charmingtranslation by Thomas Carlyle”). “Longand discursive, good for summer.”The Sotweed Factor by John Barth.Abby Katz, graduate of the College andassistant at Court Theater:Dombey and Son by Charles Dickens. “It’lltake all summer.”Norton Ginsburg. professor of geography:The Drama of the Oceans by ElizabethBorghese.Jeff Makos, next year’s editor of the GreyCity Journal.“Read War and Peace, anything byJames Agee, or Greil Marcus’ “MysteryTrain: Images of America in Rock and Roll.Otherwise, finish your incomplete.”Mark Golberg, third-year College stu¬dent: “For those with finished incompletes,Culture and Practical Reason by MarshallSahlins and Grove Press’ The IllustratedStory of 0. The best of both worlds.STATIONServing Hyde Park since 1941; 19 years on LakePark, 9 years in Piccadily HoleI (on Hyde Park Boule¬vard) and now located in THE FLAMINGO HOTEL onthe Lake at 5500 So. Shore Drive.Lunches and Dinners served daily(except Mondays)Lunch from 11:30 a.m. to 4:30 p.m.Dinner from 5:00 p.m. to 12:00 p.m.Complete Lunch and Dinner MenusOur bar is open from 11:30 a.m. until2:00 a.m.Dine in easy eleganceFor reservations or informationcall: BU 8-9241 or PL 2-3800The Chicago Literary Review — Friday. June ?. I97fi 79FLAMINGO APTS5500 S. Shore DriveStudio and One BedrmApts.. Fare. & UnfurnShort & Lon}! Term RentalsParking, pool, restaurant,drycleaning, valet, deli.24 hr. switchboard, U of Cshuttle bus V* blk. away.Full carpeting & drapes inchSpecial University RatesAvail.752-3800 •Contact Lenses (Soft i Hard)•Prescriptions FilledDR. MORTON R. MASLOVOPTOMETRISTSHyde Parle Shopping Center1510 E. 55th363-6363 CLASSIFIED ADSSPACEYoung Designs byELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd St288 2900 Chinesi-americanRESTAURANTSpecializing InCANTONESE ANDAMERICAN DISHESOPEN DAILY11 A.M. TO 8:30 PM.SUNDAYS AND HOLIDAYS12 TO 8:30 P.M.Orders to take Out1318 East 63rd MU 4-1062\ IslBipl **PACKING 1 DAY SERVICECRATING Household ''■roodsMachinery Flee ironiesExhibits & DisplaysSHIPPING pree 30 Pay Storage595-2553 |f INTERCONTINENTAL CRATING C0RP’ r 801 Golf lane Bensenvil'p, !LROCKEFELLER MEMORIAL CHAPEL5850 South Woodlawn AvenueCONVOCATION SUNDAYJUNE 49 A.M.SERVICE OF HOLY COMMUNIONCelebrant: Donald Judson;Co-sponsored by the Episcopal Church Council11 A.M.UNIVERSITY RELIGIOUS SERVICEBRIAN A. GERRISHProfessor, Historical Theology,The Divinity School"STRANGERS ON EARTH”FAMILYFREE SCHOOL“a school that works 'Open classroom forchildren age 5-10288-5117 493-91081448 East 53rd St.We admit ttudenis of any rare, color, national or ethnic o in pin. Sublet June-Sept 3 bdrm apt 54th &Harper $360 incl heat 753-3249 ext 3135or 3325 leave messageHOUSE WANTED TO RENT 3 seniormedical students desire 3-4 br house inHyde Park-Kenwood occupy about 15July Impeccable references 684-6528Looking for apt or tenant? Come toStudent Government Houseing Serviceafternoons or call 753-327322 yr old male seeks place to live nextyear. Need a roommate call Mark753 2249 rm 3101.4 rms-near UC, trans, shoppingFurnished-June 15-Sept 1 or 15 241-7493For Sept: Studio or 1 bedrm wtd nearcampus 467-0113 days or 642 2493 eves.Female roommate wanted for coedEast Hyde Park apt. Sublet with falloption. 241-7589Non smoking roommates for friendlynewly renovated apartment, 53rd &Maryland $100 plus heat & util 493-9497Summer sublet w/poss fall opt 3 bdrm& sun porch large sunny apt on 52nd &Greenwood $300/mo neootiable752 02662 rooms for summer sublet on 57th &Kenwood S150/mo 947-8498.Late summer sublet 7/22 to 9/20 5rooms balcony 53rd and Harper $175241 6878Sublet now through Aug large, sunny,furnished room in nice 2 bdrm aptclose to campus 57 and Drexel $185/mo241 5457 keep trying 8:30 am, midnightOKRoommate wanted - 55th / Cornell 7/1thru Sept. Poss fall opt $90/mo 493-2822esp eves.Sublet apt June 17-Aug 312 4 rms, 2bdrms, $160/mo 54th & Woodlawn,363-0579 after 3:30 pm.Share sunny 2 bedroom apt 24th ft,central-air, nice view of lake.$125/month includes utility. Larry753 8378 or 924-5105.Sublet Aug 1 to Sept 15 large 2 br apttwo blocks from campus. $330/mo(negotiable) 667-7759MADISON PARK sublet, July andAug. one bdrm call 324-8054Grad stud and wife seek 1-2 bdrm aptfret w/fireplace soon, phone collect:(219)872 8452SUMMER SUBLET 2-3 bdrm apt,semi furnished, avail mid or late June.Call 947-6131 days.1 bdrm vie 54 & Harper for 6/15S200/mo 324 6691 or 2197623248Roommate wanted for 6 room apt at 54& Woodlawn $87 per month plusutilities. Call 324 3863.Summer sublet: 1 bdrm apt near coop.$165 8. util. 752 7389SUMMER SUBLET 2 bedrooms of 3bedroom apt Fantastic lake view onLake Shore Drive June-Sept. pricenegotiable Call 324-7536 after 6 pm.ContactLenses9900 hard lenses *17900 soft lenses *Package Price Includes:• necessary care kits• 6 months follow-up care• insertion 8 removalinstructionSpecializing*r, '..ongthe "difficult”.• Professional exam. Ifneeded, additionalPETERSONOPTICAL CO .CONTACT LENS DIVISIONFitting contact lenses since 1957Three Locations• Water Tower Place - 9th Floor845 N. Michigan• Medical Bldg.3333 W. Peterson• Skokie Medical OfficePhones 463-5355-SPECIAL PRICE-LIMITED OFFERVo5-3v7®Regular p „c ior hard lenses$200, lor soli lenses $300 One bedroom apt available 7/1 fall op-tion $145 667 1391Summer Sublet 2 bedrooms of a 3bedroom apt with a fantastic lake viewavail June Sept.At t price you can af¬ford. Call 324 7536Male grad student sends smokesignals for roommate to share 2 bdrmapt 5 min walk to UC and 10 min walklo library. Call John 752-40225405 S. Woodlawp 2Vz rm turn 643-2760or 667-574a6 Mrs Greene1 bedroom in 4 bdrm apt inexpensive,beautiful location. 58th & Kerwood6/10 9/15 Jeff 324 8866 Marc, 684 2946,Lou 324 4818.Sublet in University owned, onebedroom apartment at Madison Park.Mid-june to Mid-Aug. $178/month. callWest's 285-30712 roommates wanted for summer, 1 forfall. 58 8. Kenwood 241-5021ROOM 8. BOARD in exchange forchild care. 58th 8i Blackstone femalepref. 955 5757 eves 8, wkend.1 open for sum 1 blk from Reg, turn,$95/mo. Call 753-2261 rms 421 or 435,Vincent.Share spacious modern apt with 2 UCgrads; own bedroom, central air,minibus, campus bus, 1C, 23rd ftoverlooking lake. $93 8, electricity,eves 268 6052Summer sublet 1 bedroom near univ18th floor-air cond, $300 ph 684-3686Sublet: 1 bdroom in cool, airy base¬ment apt near co-op rent negotiablecall 752-1242Rooms available in home of professor.Kitchen and laundry room privleges.55th 8, Harper Ave call 567 3409 or567 3400, or evenings 324-3484.Wanted: Student to live in. Room andboard in return for part time childcare. Children, 7,10,.12. Own room andbath in large Hyde Park apt. Ref req643-3792For Sale! Lovely 5 rm coop apt incIr/dr, stdy 8. mod kit. Very des bldg.Exc maint, loc pking avail. Lowassmt. S Shore Or Garden plots avail.$19,900. Call: days 947-6411, eves734-4168Woman grad student or employedwanted to share apt with same. Availmid, late June. 947-6131 days. Fall option possible.Summer sublet sunny large 1 bedroom3V2 rooms apartment 5425 S Woodlawn6/20-9/20 $195/mo. Call 324-4329Summer sublet now till Sept large,sunny, furnished room in 2 bedroomapt 57th and Drexel $125/month241-5457 call before 9am, evenings orafter midnight.3 bedrooms for SUMMER SUBLET inlarge furnished apt from June-Aug orSept. Cool. Close: 3 blocks from campus. 643 3035Palacial South Shore apt available.For info 684-6377Woman over 30 seeks working womanor fern student to share lovely 2 bdrmapt 493-2040Wanted: Summer Sublet, dates flexi¬ble. Need at least 1 bdrm Call PaulLindsay after 28 May at 840-3266SPACERoommate needed to share 2 bdrmfurnished apt with me and 2 cats onEllis and Hyde Pk Blvd rent$112.50/mo for more informationplease call Melinda 493-0632 night,955 3200 day.Roommate needed in three bedroomapartment at 53rd and Wdlwn.Available 6/1, rent $75/mo Phone324 7859Furnished one bedroom apt, 6/15/78 to8/31/78, $285 per month, call 753 3661l bedroom furnished apt sublet 15 Juneto 1 Sept $260 negot call eves 363 3620Female to summer sublet 56 & Univer¬sity own bdrm 8, Ivng rm, $133 mo.Mary 753-3774Summer sublet Junel5-Oct 1 2bedrooms in 7 room apt 54th andGreenwood $80/mo, $90/mo call Brenda 324 5696Wanted: Studio or one-bedroom apt.starting fall quarter. Would like to ar¬range now. Location between 55th and59th Streets, Harper to Woodlawn.288 1082, anytime Early morning ordinnertime best Up lo $160, incl. utils.PEOPLE WANTED “Pre school teacher wanted: full or parttime experience and/or degree re .quired 684 6363Easy Money! Cat sitter wanted inHyde Park-your apt or mine, for occa¬sional week or weekend, spring andsummer. Call 955 9213 Interested in serving as a subject forpsycholinguistlc experiments, Dept ofBehavioral Sciences? Pay is $2/hr. Toregister, call 753-4718Color Blind People wanted for visionexperiments. Sessions arranged to fityour schedule. $2.50 per hour. Call947 6039Wanted: A person with skills in editinga publishable thesis. Please call Dr.Porter 268-5038 between 9:30 am and 5pm, M-FWanted: Ghost writer to work on anexciting "Spy" autobiography. Call288-5045. M-F between 10 am and 4:30pm.Need part time assistance ir. dental of¬fice exp pref, but willtrain qualifiedperson, loc Hyde Park Bank bldg. Ittyping necessare hrs 2-6 M,T,Th,F, Vjday Sat morn. Phone M13-90672 females wanted to share apt at 5711Kimbark 1 rm avail 6/10, the other 8/1.$90 call Minna at 721-8767 or 667-7611Wanted: experienced sailor to crewour competitive offshore racing yacht.E P Choen 363-6700Secretary-Receptionist needed. 27hours per week. Permanent position.Opportunity to work in academic sett-ng, varied student contact. Call Nan-cy, 3 2950Wanted: Manuscript typists torpublications unit. Must type 55 wpm.Part time and full time, school yearand summer. $3.62 an hour. Call PatMorse 753-2518Wanted: Normal males for hormonalstudy-with pay. call Dr HarveySchneir 947 5534Summer Work Ecology ActivistsCitizens for a Better Environment. Il¬linois' largest and most aggressive en¬vironmental organizaton will be hiring20-30 college students for salaried positions involving canvassing, fund rais¬ing, and public education. All trainingprovided. ^Opportunities to moverapidly into management positions.Further advancement for those seeking long term full time employment inissue oriented campaigns. For inter¬view, call: Citizens for a Better En¬vironment, 59 E. Van Buren, Chicago(312)939 1985.PEOPLE FOR SALEFor experienced piano teacher of alllevels call 947-9746Thesis, dissertations, term papers, in¬cl foreign language gen corres. LatestIBM corrective Sel II typewriter. Reasrates. Mrs Ross 239-4257 bet 11 am and5pm.Artwork-Illustration of all kinds, lettering, hand addressing tor invitations, etc Noel Price 493-2399Researchers-F ree lance artistspecializes in just tye type of graphicwork your need. Noel Price, 493-2399TUTOR: Exper teacher, UC MA willtutor in high school English & socialsciences, now thru summer experw/Lab Sch, HP resident. Low rates536-2318Typing, writing, editing done by col¬lege grad MA in journalism termpapers, theses low briefs,manuscripts, letters, resumes. IBMpica fast, accurate, reasonable. OldTown 787-3715E xperienced baby sitter with excellentreferences available for full or parttime baby sitting on or near campuscall evenings 288 7605SCENESAll day summer program for 6,7,8 yrolds and preschoolers, swim, fieldtrips, sports, art, dancing, lunch incl. Sohourner Truth 4945 Dorchester 7am-6pm 538 8325Few spaces avail in summer session atUnitarian preschool center, 5650Woodlawn. 2’/2-6Vz yr olds, skilledstaff, organized program. June 19 July28. 324 4100Modern Dance Classes. Grahambackground, body alignment, expressive movement, telephone WendyHoffman, 924 4523, for further information.FOR SALE1974 Honda Civic for sale good condition call 643 4259'70 VW bug excellent mechanical condition, no rust on body asking $750955 1821'70 Peugeot wagon AM/FM runs$400/offer 667 0350Secretary/display case $75, sofa bed$50, 19" TV $25, Ig file $25, 9x12 rug,desks, chairs, much more must go byJune 25 Call 7pm 10pm, 538 2980FOUNDLadies bulova watch white face on themidway, Friday, May 26. Call 947 6256,days if this is yours. LOSTLadies Bulova watch burnt orangeface. Lost on campus on Friday after¬noon, May 19. Please call SusanLeehey, days 947-6256; nights 684-1436.Reward.WANTEDWanted: 5 tickets to the June 10 com¬mencement willing to pay.. Call Mark684 0383.LOSTIf you have information concerningwhereabouts of black Samsonite brief¬case taken 5/16 from Bookstore, contact 599 0975. Reward.VW CAMPER1971 fine condition AM/FM radio, leav¬ing country must sell. $1700.667-5688.LEAVINGCOUNTRYHouse sale odds and ends plants etc.Sat. 9 to5.1402 E. 54 St.SPACE WANTEDRecently divorced male, productionmanager. AM/MA; willing to shareexpenses of apartment, condo, housewith male or female for 1-2 years.Must have own bedroom and leaseagreement. Prefer another professional, no students. Occupancy on JulyI. Contact Bill Wilson, 875-2190,8:30 4:45p.m.SECRETARIALHELP WANTEDResearch Professor wants part timesecretary. Need excellent typingskills. 9 5 call 753-2347 after 6 call538 1976 Good salary.RIDE WANTEDTo Boston June 6-9 will share all expenses 667 5380 Linda evenings.KUNG-FUThe term Kung-Fu in the Chinese hasnothing to do with martial arts. Themeaning is closer to "the cultivation ofpatience, persistence and hard work toachieve a goal". The goal of the UCTai Chi Club in teaching NorthernShaolin Kung-Fu is to build beautifulbodies, strong minds and high spirits.Of course, the vehicle is Kung-Fu aswe know it. A long fisted, high-kicking,low sitting, fast moving, dance likeform of self defense. We will haveclass every Sunday at 4945 S. DorChester (enter on 50th) at 6:30. Pleasecome to an introductory session andsee if Kung Fu is right for you. We en¬courage and endeavor to answer allquestions. Whether you practice KungFuor not, have a good summer!TAI CHI CH'UANThe UC Tai Chi Club will continue tomeet every Sunday throughout thesummer at 4945 S. Dorchester (enteron 50th) at 7 :30 PM and every Wednesday at the Blue Gargoyle, 5655 S.University also at 7:30. The summer isan especially good time to start TaiChi. It is easier to warm up and 10stretch out. Tai Chi Ch'uan is a soft,slow, balletic system of exercising. Westudy the spiritual, mental,therapeutic, philosophical andphysical aspects of Tai Chi. We applythe practical realities to thetheoretical possibilities to make TaiChi a rational and efficient method ofself defense. It works! Please come toan introductory session and ex¬perience Tai Chi for yourself. We encourage and endeavor to answer allquestions. Whether you practice TaiChi or not, have a good summer!DO YOU OWE “BOOKS TOMIKE FRANK?Would the student who borrowed fivebooks, on the American Novel, pleasecall me, M.F.COUPLESTo: Annie and Ed, Larry and Cathy,Jon and Ellen: I wish you all the verybest. A&E, L&C: Don't worry, this isnot in lieu of a wedding present.—PeterROWHOUSE CALLSRowhouse reunion is today. All youslobs better be there But leave theroaches homeSHAPIRO PAINTINGS ARE OVERDUEReturn to Ida Noyes 210 M-Fri. 9:00-4:3030 — The Chicago Literary Review - Friday, June 2,1978WOMEN'SSELF-DEFENSEFirst it should be noted that women'sself-defense is really no different fromany other kind of self-defense. Whatsets this technique apart from othersis the varous apparent physicalqualities of a woman and her socialand psychological training whichleads to certain problems that must beovercome. It Is common knowledgethat most men are generally strongerthan most women and are able todefeat them many times on a purelyphysical level. Our philosophy’ says"Psychologically, you must realizethat physical superiority in itselfguarantees nothing. On a more .basiclevel, you must learn the techniqueswhich enable you to control a faster,more powerful force with a conser¬vative, etficient motion. Women's self-defense is not to strive for a confronta¬tion of powers. It must incorporate theyielding principle with the thrustingpossibility. A new women's self-defense program will begin June 4 andJune 11 and run the duration of thesummer under the auspices of the UCTai Chi Club every Sunday at 5:00p.m.at 49«5 S. Dorchester (enter on 50th).The program is experimental, flexibleand open to the free interchange ofideas. Have a good summer.CLRI am grateful to all those I worked withthis year. It meant a lot to me and'almost everything to the review. Lookforward to seeing you next year.—PeterHOUSE SITTERWANTED .Female house & dog sitter June 16 - Ju¬ly 8. Room to rent July 8-Aug 31 profhome, kitch priv, air cond., near cam¬pus, tel 324 4481.CHAOSAbbe, can we quit now?—J. and K.THE CHILDCARELINELike children? Need a job? Child caretask force needs people to fill parentchild care requests 288 8391,92.FLEAMARKETSat., June 3, Ida Noyes, Parking lot. Ifrain, inside.RAP GROUPA Women's Rap Group will meet everyMonday at 7 30 p.m. on the 3rd floor ofthe Blue Gargoyle For more info752 56S5MEDICICONTINENTALBREAKFASTcome to the Medici Sunday morningsfrom 9 30 01 and enjoy Sunday papers,fresh orange juice, homemadesweetrolls. fresh fruit, homemadeyogurt and coffee All you can eat for$2 SOFURNITURE SALEArt deco bureau, couches, chairs.Everything must go. Good stuff, greatdeals. Call Peter, 752 7273.FLAMINGOON THE LAKEStudio, 1 bdrm. apts. fur., unfur short,long term rentals parking, pool, rest.,trans 5500 S. Shore Dr. 752 3800BOOKS BOUGHTBooks bought sold everyday,everynight, 9 a m. 11 p.m, Powells,1501 E. S7th St.Sublet now through Aug large, sunny,furnished room in nice 2 bdrm aptclose to campus 57 and Drexel $185/mo241 5457 keep trying 8 30 am, midnightOK ^Roommaie wanted 55th / Cornell 7/1thru Sept Poss fall opt $90/mo 493 2822espeves.Sublet apt June 17-Aug 312 4 rms, 2bdrms, 1160/mo 54th 8. Woodlawn,363 0579 after 3:30 pm .Share sunny 2 bedroom apt 24th fl,central air, nice view of lakeS125/month includes utility Larry753 8378. or 924-5105.Sublet Aug 1 to Sept 15 large 2 br apttwo blocks from campus. $330/mo(negotiable) 667-7759MADISON PARK sublet, July andAug, one bdrm call 324 8054Grad stud and wife seek 1-2 bdrm aptfret w/fireplace soon phone collect:(219)872 8452SUMMER SUBLET 23 bdrm apt,semi furnished, avail mid or late JuneCali 947 6131 days KtNwrav. mtuom* tMM mm wwfwRffi)Directory of ValuesWe Know Hyde ParkReal Estate Inside Out1 bdrm vie 54 ft Harper for 6/15$200/mo 324-6691 or 2197613246Roommate wanted for 6 room apt at 54ft Woodlawn $87 per month plusutilities. Call 324 1863.Summer sublet: I bdrm apt near coop.1165 ft util, 752 7389One bedroom apt available 7/1 foil option $145 667 1391Summer Sublet 2 bedrooms of a 3bedroom apt with a fantastic lake viewavail June-Sept.At a price you can af-ford Call 324 7536 •Male grad student sends smbkesignals for roommate to share 2 bdrmapt 5 min walk to UC and 10 min walkto library. Call John 752-4022S405 S. Woodlawn 2V* rm turn 643-2760or 667-5746 Mrs GreeneI bedroom in 4 bdrm apt inexpensive,beautiful location. 58th ft Kenwood6/10 9/15 Jeff 324 8866 Marc, 684 *946,Lou 324 4818.Sublet in University owned, onebedroom apartment af Madison Park.Mid-june to Mid-Aug. $178/month. callWest's 285 3071FOR SALEPontiac Ventura 1972 exc. cond. call752-0374 after 7p.m. ' ‘'69 VW BUG bod, ex. maint., 77500 mi.$850 684 1575. ’ ’Moving sale - good furniture at lowprices. Sofas, dining sets chairsibedroom sets 373 0354. ,DALI: original hand-signed 5-colordry point print: cyrano and roxanne.$745 $1000 Beautifully framed. $400call 549 2004.Bike equip I new, 1 used Hutchinsonbutyl superspring sew-up $5 & $3 2new narrow rim hi pressure clinchers27x1 14*4x1 (25 630), $7. .2 new IRCsuper light tubes (schrader), $4. CallHoward, 288 6568 before 10 p.m.Hiking shoes-Eddie Bauer size 9 wide.Worn once. $15 call Howrd at 288 6568 •before 10 p.. ‘VW superbut '72 ex cond am-fm radio,sunroof, new brakes, 49,000 mi. $1450or best offer evenings 667 5380.Large antique oak sideboard, usuableas dresser. $50 or best offer. CallMarge or Carole 247-619371 Plymouth Satellite, 6 cyl, PS, PB,auto, good mechanical condition. $600.643 4825.1971 VW Squareback new brakes newdie hard battery new radial snow tiresneeds major engine overhaul $350 catl753 4634 days. 493-9632 eve ft wkends.Two studio Couches, one black, oneblu-green $20. chair $10. tables $S.363 5660.1972 BMW 2002 40,000 miles. Call538 7417 eves 6 92 BR condo in E . Hyde Pk, 493 3822PASSPORT PHOTOS MODELCAMERA,1344 E. 55th St.MUST SELL. Twin bed, desk chair,shag rug, broiler oven, dishes, call667 1331 until 11 p.m.PERSONNALSWriters' Workshop (PLaza2-8377)Small girls bike wanted to buy (16" or20") 947 8931 eves ft wkends. jPREGNANCY TESTS SATURDAYS10-1 Augustana Church, 5500 S.Woodlawn Bring 1st morning urinesample $1.50 donation. SouthsideWomen's Health. 324 6794.Pregnant? Troubled? Call 233 030510am lpm m l or mon ft fours 7 9pmlifesaving help, test ref.One person's trasfi is another person'streasure at the Flea Market Sat June3, Ida Noyes Parking Lot.PRO TYPINGSERVICEFast Accurate Typing In My HomeResumes, Manuscripts, Thesis, TapeSandra Jones. 483 0162.SECRETARY(TRAINEE)EDITORIALAssist editorial staff of vocationaleducation publisher Opportunity totrain as technical textbook editor Applicant must demonstrate ability tothink, organize and type AmericanTechnical Society, 5608 Stony IslandAve (An Equal OpportunityEmployer.)CHILDCARE3 yrs up Reasonable rates Campuslocation. 288 5355.LITERARYMAGAZINE , ■ •Primavera is on sale in most HydePark stores and Bob's Newsstand Weneed women to join the editorial staff.Call 7S2 5655 if you can help out WANTED TO BUYNeed several tickets for June 10 convocation. Will gladly buy tickets notneeded. 173 0354.RIDE NEEDEDRide to and from university to I06foand Indianapolis Blvd. Hrs 8 to 4:30please call 3-3075.RECORDS WANTEDWe pay cash for used Records, alltypes, 33 RPM only.-Second HandTunes 1701 E SSth684 3375 or 262 1593FOLK DANCINGJoin us at Ida Noyes Hall for international folkdancing each Sunday andMonday at 8 pm Mon beginners, Sungeneral level, with teaching bothnights.RIDESStudent Government will operate aDial-A Ride Service every quarter 8-10week. Call us for ride or forpassengers, to share costs. Call753 3273 afternoons or leave messageon Answer phone.WANTED TO BUYNeed tickets for June 10 Convocation.Sell your extra tickets to me Call324 8623.INQUIRYINQUIRY, a new journal ofundergraduate essays, is nowavailable at Reynolds club box office,Harper, Ida Noyes, and divisional offices in Gates Blake. Free. SPACEDo you want your own apt. but can'tafford it? Leasing half of an apt. (3rooms) to stable, congenial, andmature individual who values privacy.$150 per mo. ft utilities, dep. Nonsmoker Prof, school sfudent, grad OfStaff. 493 9493. .Woman wanted for Ig coed 4 br apt.convenient, good security, cooktogether, veg suppers. $75 month.684 4743.POSTAGE METERJOCKEYCharge mail room CFSC 12-15 hours-week during academic year. Full timesummer if desired. Required typingaccuracy, attention to detail, handlingboxed of publications. Preferundergraduate with two plus • yearsbefore graduation. Call isable Garcia,CFSC. 753 2518.RESEARCHINTERVIEWSUniversity of Chicago Media StudyFull time or evening and weekends 10weeks June August. One year college.Adacemic itnerest $375 hour plustravel Call Isabel Garcia, CFSC,753 2518BABYSITTINGIn exchange for large room in HydePark house near campus. Call evenings 288 5143BABYSITTERMature Experienced Mother wifi carefor 2 4 old in home weekdays, somewkends & evngs Reasonable rates call HOUSING AT58TH & HARPER6 rm. IV* bath condo w/indiv.HAVAC, new kitchens ftbaths, 100 percent newwriting, etc.The "definitive Hyde ParkRehab" for years to come. Tosee, call 667-6666.SOME THINGS IN LIFE...are worth waiting for.Southwold Condominium isone of them. Large, 3 ft 4bedrm. apts. near 48th ft Ken¬wood. We're not ready for ourformal opening yet. But if youare looking for an outstan¬ding condominium—we'd likeyou to have an opportunity tosee something special thatwill be available in 60 days.Call 667 6666. CUSTOM BUILT HOMELocated in residentialJackson Pk Highlands—justa few minutes from U. of C.Marvelous skylit artist'sstudio w/sliding doors to roof¬top garden. Delightfulmaster bedrm suite, largetarn. rm. attached garage arebut a few of the outstandingfeatures of his unique home.Priced at $135,000. For moreinfor call KRM at 667-6666.COOP LESS THAN200 A MONTH2 bedrms., 1 bath, modernkitchen, one car garage.Overlooking beautifulJackson Pk. bldg, in ex¬cellent condition. Call quick¬ly—this one's going fast!$28,500. Call FrankGoldschmidt at 667-6666THE BARCLAYSpacious 1 bedrm. apt.overlooking the lake. Formaldining rm. ft extra large liv¬ing rm, bedrm. ft bath.Modern kitchen w/Amanaside by-side refrig/freezer.$33,000. To see, call AveryWilliams at 667 6666. (res.684 7347)."F" TOWNHOUSENewly refurbished 55th St.townhouse ready tor im¬mediate possession. Welllocated for schools, shoppingft transportation. 3 bedrms.,2 baths, enclosed garden-patio. To see, call EleanorCoe at 667-6666.PRICE REDUCED!Efficiency coop apt. at 49th ftDrexel Blvd. Congenialtenants in well-maintaineddesirably located bldg Only$6,000. To see, call AveryWilliams at 667-6666. (res.684 7347).MINT CONDITIONTOWNHOUSEBeautifully maintainedmodern 2 bedrm. townhouseLiv. rm, formal din. rm.Loads of closets, finishedbasement, good publictransportation. To see, callEleanor Coe at 667-6666DORCHESTER COURTThere are only a few units leftin this newly converted bldg1 ft 2 bedrms w/completelynew kitchen ft bath. Frontgate w/intercom systemprovides a new concept insecurity and privacy. Formore info please call KRMat 667 6666. Furniture bySCAN.PRIVATE PARKOutstanding 10 room condohome overlooking MadisonPark 4 extra large bedrms.,3 baths, 2 huge sun porches,woodburning fireplc. Many,many features in this elegant3400 sq ft. con do. For moreinfo call KRMat 667 6666SUN BATHE IN YOUROWN BACKYARDThe huge backyard is just oneof many assests of this 3bedrm, 2 bath, modern kit¬chen, finished oak floorcondo and priced right in themid 50's. For more info callCarol Gittler at 667 6666.LOCATION + PRICEGOOD BUY!You can't equal this oneanywhere! 3 bedrm. condohome w/modern kitchen, 2full baths. Ray SchoolDistrict. Natural oak floors,woodburning fireplc. Possession at closing. Reducedto$54,500. To see, call Mrs.Haines at 667-6666.8 BRIGHT ROOMSOVERLOOKING CITYEnjoy the view of the loop ftlake. Beach facilities, gamerooms, off-street parking.Gracious living in this wellestablished old coop apt. at S.Shore Dr. ft 73rd St. Only$25,000 For more info pleasecall 667-6666BEAUTIFUL INSIDERehabbed 8 room frameduplex. Nice small backyard. Lots of potential.$61,000. For more informa¬tion, call KRM at 667 6666.56TH ft BLACKSTONEDelightfully spacious ftbright bedrm. ft study, 2 bathcondo w/sun rm. 2nd floorlocation. Side-by-side liv. rm.w/formal din. rm., hardwoodfloors, vaulted ceilings, lead¬ed glass. Priced for immedsale at $53,500. To see, callMrs. Haines at 667-6666OWN A HOME INKENWOODConstruction has begun on in¬novative Y.C. Wong designedtownhouses. 3 bedrms., 2baths, private garden, park¬ing Ready for fall occupancy. Model ft floor plans foryour inspection. From$75,000 Call 667 6666FOR BARGAIN HUNTERSThis spacious 4 room coopapt. w/closets ft cabinetsgalore will accomodate asingle or a couple. Located onDrexel Blvd. ft 49th St. in abeautifully mantained courtbldg Only $11,000 To see callAvery Williams at 667-6666(res 684 7347.)HD1461 East 5Tth Street Chicago Illinois 60637667-6666Daily 9 to 5 Sat 9 to I, Or call 667 6666 AnytimeCall us for a free no obligation estimate of value ofyour home condominium or co opThe Chicago Literary Review — Friday, June 2,1978 — 31Spin-lt PresentsA3 DAY■- Store-Wide Sale32 — The Chicago Literary Review — Friday, June 2, 1978