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PEASP600-1-INSTANT-PASSPORTPHOTOSAftGuNtaSfoetM1519 EAST 53rd STREETPHONE: 752-303018—The Chicago Literary Review—Friday March 13, 1981 —TUCSDdY, MARCH 317,30 P.M. im hoycs tun parlor9TUDGNTGOVONMGNTM€€TINGjTTTfTfTTT?TTTTTTfTTTTTTTTTTTT»»TTfTTTTTTT»»TTTTTT»TTTTTTMarx and the Preppies:What the Left Can LearnFrom the Virtuosos of EnnuiBy Richard Kaye"Fancy a man ever being in lowspirits...Life is too short for such be-tises...Existence is a pleasure, and thegreatest. The world cannot rob us of that,and if it is better to live than to die, it isbetter to live in a good humor than a badone...The sun shines on all; every mancan go to sleep; if you cannot ride a finehorse, it is something to look upon one; ifyou cannot have a fine dinner, there issome amusement in a crust of bread andGruyere. Feel slightly, think little, neverplan, never brood. Everything dependsupon the circulation; take care of it.Take the world as you find it, enjoy ev¬erything. Vive la bagatelle!"—Count Alcibiades de Mirabel inHenrietta Temple by Benjamin DisraeliLooking, acting, and ultimately beingPrep is not restricted to an elite minoritylucky enough to attend prestigious pri¬vate schools just because an ancestor ortwo happened to arrive here on the May¬flower. You dpn't even have to be a registered Republican. In a true democracyeveryone can be upper class and live inConnecticut. It's onl> fair.The Official Preppy HandbookIt seems clear by now that The OfficialPreppy Handbook (Workman Publish¬ing, $3.95), currently a national best-sell¬er and its editor a hot figure on the lec¬ture-talk show circuit, is more than aguidebook, a collection of upper-class,WASP manners and rules of conduct.Part parody, part cultural document,part manifesto, The Official PreppyHandbook suggests something much big¬ger than just one more swank campustrend. While not exactly the start of newclass warfare, it is of course no accidentthat the prep style is having its heydaynow that conservative chic is back, andRonald Reagan and George Bush firmlyin the White^ House. There's a lot of evi¬dence to tie The rise of prep style to thecountry's latest affair with reactionarypolitics, not only in the Handbook itself,but in the way all good progressives andradicals are reacting, knee-jerk fashionana with great disgust, to the prep per¬sonae. For in the return of prep we havenot only what may be the first move in along battle, but we have the stirrings ofnew, upper-class consciousness. In thestyle of prep, we have the closest we'regoing to get to an American aristocracy.The preppie phenomenon, as onelearns after reading Handbook chapterson every topic "Making an Entrance:The Debutante Scene" to "The Politics ofMonogramming: When Your Own Ini¬tials Will Do", is distinctly American.Deprived of traditional aristocracy of theEuropean variety, the preppy has discovered the burning necessity of "rein¬venting the European class along newlines,” according to Lawrence Richetteand John Nierenberg in a recent articleon "The Preppie Mystique". "The fami¬lies of the gilded age created a society,whose clearest legacy was Newport. Thenew world of the upper classes whoachieved power after the Civil War hadonly one standard; the pursuit of materi¬al pleasure." Now, with the world eco¬nomic crisis and domestic matters whatthey are, the upper classes are feelingpressure in a way they haven't before,and to an extent they would rather notadmit. The Preppie Handbook is simplythe preppie phenomenon in literaryform, nicely packaged, with a disturbingly "democratic" introduction whichargues that anyone can join the ranks ofthe upper classes if only he or she adaptsits style.Before we get to the matter of how rad¬icals and progressives should react to thelatest assertion of prep, it is worth notingthat Miss (dare one call a preppie woman "Ms"?) Birnbach has done preppies agrave disservice by asserting that any¬body can become a preppy. In her book,and in her speaking trips around thecountry, she claims that the primarypoint of the Handbook is to prove thatanyone can join the ranks of preppies,simply by faithfully following the adviceof the Handbook on important preppietastes and traits. This is nonsense, andLisa Birnbach and any authentic preppymust know this. It may be an excellentploy for selling the book, out openingprep up to the masses has absolutelynothing to do with prep, which is primari¬ly Eastern, upper-class, privileged, "un¬democratic" almost by definition. More¬over, not everyone can afford Foxcroft orAndover; some of us would have prob¬lems stocking more than two Shetlandsweaters. But there's another reason forBirnbach wanting to spread prep beyondits proper confines. She is Jewish, and ifone were to go by the stricter rules ofprep — and why not? Why blur distinc¬tions? — she would probably be disquali¬fied. Can you picture Birnbach showingup at dinner party at Martha's Vineyardand mentioning "Mummy's" Hadassahmeeting or "Daddy's" marvelous gener¬osity at brother Marvin's bar mitzvah inTel Aviv? She'd be shown to the door by aservant in a matter of minutes. It's notthat prep is anti-semetic (although thechapter on "The Prep Pantheon" in theHandbook informs us that Isabella Stew¬art Gardner's association with Jewishconnoisseurs was "unconscionable"),but that it's essentially un-Jewish. Birn¬bach is simply a poseur, a parvenu inpreppy-land. One might call her a Jewishprincess with slightly higher aspira¬tions.But whatever the more intricate quali¬fications of the preppy, it's unfortunatethat its emergence has only been metwith predictable contempt from leftistquarters. Obviously, no true leftistwould be caught dead at New York'sposh Peck and Peck, and it would benothing short of cruelty to force a progressive into a pair of Brooks Brotherloafers. But a true Marxist analysiswould view the latest affirmation of preppower as evidence of the preppy's aware¬ness of an upcoming threat, of the Ameri¬can ruling class's realization that theremay be a fight up ahead. The "hostilitypercolating just under the surface of thepreppy", to quote Richette again, may bethe preppy's veiled unease at a futurewhich is not as certain as it might havebeen in a better, more placid day. AMarxist might accurately view thepreppy as an individual who knows hisNpriviliged status is threatened in late-capitalist society, where Marx predictedthat "all that is solid melts in the air". Toquote a line from a hero in the PreppyHandbook's "Pantheon", F. Scott Fitz¬gerald, "The change came a long wayback — but it didn't show, not at first.The manner remains intact some timeafter the morale has cracked " Clearly,no preppie is entirely unaware of his orher threatened position in a world perpet¬ually leaning towards revolution (howsignificant that, according to Birnbach,preppies are fascinated by youngdeath).What is crucial to leftist struggle isthat leftists not simply recoil from theemergence of prep style, but that theycounter it with a distinct style as elabo¬rate, as self-assured, as that which preppies have so firmly established. Exactlywhat that style might be is difficult toknow as of yet. Most likely, a sense of anew leftist style can only come after agood deal of struggle within the variousprogressive movements. It may turn outto be next to impossible to have leftists asseemingly unconnected as anti-nuke activists, feminists, anti draft people, andgay liberationists, to name a few, forginga common style together, but it is nevertheless necessary, particularly since lef T HE COCKTAIL PARLYil i fnUtlll II tons. Of\prrtnl hrwh iuur\i ur\m h» rnituln hurl—/list thr funk frw (ISflHtl a n/l IIhi/l !h, / ht nntnrs ,, ... . , Want to hhnr .(mil \(* hard to , t t )mi irnl/\. . Inis f m tin/>' ,«nils m tin h.Il I lllltlOtllll subnun ki t fini/l( nil mr nt Will thru hr/>,„/»/»■’> "H mx f,n"h!fm ml "I || jtni tlt/ jh,^l"'">u , :hunk, nnx.iinI flunk ht\ 4,,,/ nur v hiHiltist politics of the Eighties will certainlybe a politics of coalititions. Furthermore,it might be wise, in the many discussionson this new style of leftism, to have gayactivists in the forefront, style and a keenaesthetic sense being this group's tradi¬tional and rightful forte.But before any worthwhile progressivestyle emerges, however, radicals willhave to overcome what has become adeeply ingrained leftist aversion to sty¬listic invention, decoration, and concernwith costume. With the exception of thehippies and flower children of the Sixties,recent radicals have either ignored theimportance of costume in pursuing radi¬cal aims, or else have chosen to wearsimple imitation, working class gear. In¬dividuals with revolutionary ambitionsdid not always act this way. As KarlMarx himself observed in The Eight¬eenth Brumaire of Louis Bonaparte, theRevolution in France from 1789 to 1814"draped itself alternately as the RomanRepublic and the Roman Empire." Thatis, French revolutionaries discoveredthat they could not fully act without don¬ning a distinct revolutionary style, and sodecided to retrieve one from what theyknew of the Roman Empire. Marxistcritic Harold Rosenberg found this to bepotent and fascinating process. In hisessay, "The Resurrected Romans", Ro¬senberg argued that the Roman cos¬tume of the French revolutionaries arenot "a mere mental reflection":In falsifying the bourgeois reali¬ty, the assumed Roman identityhumanizes it through action andthus brings it into being. It is notthat the French revolutionistswere "really" businessmen posingas Romans, in the manner of Bos¬ton patriots dressed up as Indians.It is rather that members of aneconomic category could cnangeinto citizens of an historical com¬munity only in donning this cos¬tume. Without this self-conceal¬ment and "mistake" thebourgeoisie could not have madetheir historical appearance andtheir revolution.It is not that modern progressives shouldfollow the lead of the bourgeois revolu¬tionaries and march around in Romanuniform (although I know of more than afew tiresome socialist meetings whichwould benefit from just that kind of entertainment), but that today's leftistsshould view costume as more than irrelevent and superficial attire, as more thana decadent distraction.Of course, for progressives to at allcompete with the enormity of the preppy phenomenon they will have to developmore than a distinct style in fashion.After all, the preppy finds his or her em¬bodiment in everything from an educa¬tion at Andover to books like The Collect¬ed Stories of John Cheever. I wouldsuggest that leftists attempt to cultivatethose specific areas which the preppy isobviously weak in. Take the area of sex.According to The Official Preppy Hand¬book, sex is of minor significance to thepreppy. It produces a curious discom¬fort, a certain unease. We are told that"as a group, preppy women are not thatsexy" and are not all that interested insex. This fear of sex, and the generallydownright boring preppy concept of rec¬reation, keeps the preppy from any his¬torical relation to a figure he otherwiseresembles, the European dandy so won¬derfully described in Disreali's novel andso evident in the cultural life of nineteenth-century Europe. For the Ameri¬can preppy is terrified by true decadence, primarily seeking it inmundane domestic sports like alcoho¬lism. If only Leftists would conquer theirtraditionally prurient view of sex ascounter revolutionary, aristocratic, andsomehow decadent in its "sapping" ofthe revolutionary spirit, this could be asuperb strategic gain!If progressives were to incorporate anew sense of joy and excitement in sex¬ual adventurism and experimentation,preppies might be highly vulnerable in away they seldom are. In the meantime,I eftists of all persuasions should arise tothe challenge presented by Americanprep. Whatever the costume we decideon — colored patterns to affront theirmuted shades, dark glasses to challengetheir sun lit faces — we must offer astriking alternative to what may becomethe ruling garb of our dark times: cordu¬roys, shetlands, L.L. Bean snoes. And weshould be grateful to the preppie; for sostylishly and persuasively identifyingthemselves as the enemy.The Chicago Literary Review—Friday March 13, 1981—19First-Person AmericaAnn BanksAlfred A. Knopf $12.95By Faye Isserow LandesIf the Federal Writers' Project werestill in existence, it undoubtedly would beone of the first New Deal programsscrapped by Ronald Reagan and hiscronies. Organized in the depths of theDepression, the Project paid writers 20dollars a week to interview members ofthe working class around the country.While the project would certainly not liveup to the standards of cost-benefit analy¬sis it did help a number of younger writ¬ers, notably Ralph Ellison, Zora NealeHurston, Richard Wright, Nelson Algrenand John Cheever, get started in their ca¬reers. First-Person America is a set of 80interviews culled by Ann Banks from theover 10,000 compiled by the project; it isa lasting and moving record of the voicesof an America that no longer exists.First-Person America contains inter¬views with tobacco, stockyard and gran¬ite workers, as well as jazzmen, ped¬dlers, smugglers, union organizers andfrontiersmen. Rather than discussing theproblems of the Depression, most of the subjects use the interviews as an oppor¬tunity to look back on their lives. Manyrelate their vivid memories of a muchearlier era. In one of the book's moststriking passages, a peddler recalls theChicago fire:I jumped out of bed and pulled onmy pants. Everybody in the housewas trying to save as much as pos¬sible. I tied my Qlothes in a sheet.With my clothes under my arm andmy pack on my back, I left thehouse with the rest of the family.Everybody was running north.People were carrying all kinds ofcrazy things. A woman was carry¬ing a pot of soup, which was spill¬ing all over her dress. People werecarrying cats, dogs, and goats. Inthe great excitement people savedworthless things and left behindgood things. I saw a woman carry¬ing a big frame in which wasframed her wedding veil andwreath. She said it would havebeen bad luck to leave it behind.Many of the other inteviews also focus onChicago. A Chicago prostitute looks backon her life, stockyard workers discusstheir brave attempts to form a union, and jazzmen describe the legendary jazzclubs of the twenties and thirties. Themost striking aspect of these interviews,and indeed all the interviews in First-Person America is their focus on the indi¬vidual, whose voice is consistently that ofan honest, struggling, hard worker,whose hopes may have been disappoint¬ed by the Depression but who still leads arich and full life. Each individual voice iscrystal clear, jumping out from the pageand bringing to life what may have been,until now, merely stale history.Much of the burden of conveying thesevoices fell upon the writers themselves,who of course worked without tape re¬corders. While many were professionalor even famous writers, others weremerely unemployed secretaries or sodajerks in need of a job. The different inter¬viewers used various methods — someinterviewed friends, others strangers,some preserved dialect while otherstranslated the subjects' speech into Stan¬dard English, and some attempted totranscribe interviews word for wordwhile others paraphrased. Yet all the in¬terviewers, whatever their backgroundand whatever their method, managed topreserve, across time, a rich sense of thespoken voices of their subjects.It is Ann Banks who was left with theremainder of the task — turning the in¬terviews, long abandoned in a ware¬house, into a book. Her achievement issimply startling. In addition to mountingthe gargantuan effort of sifting throughall the interviews, she has done an excel¬lent job of packaging the book. Her introduction, a succint, readable discussion ofthe history of the Project and its ances¬tors, their lasting merit as sources offolklore and history, and her own meth¬ods in going about compiling First-Per¬son America, stands as a worthwhile essay in its own right.Recognizing that the interviews andthe interviewees speak for themselves,Banks presents the interviews as theyare, without interjecting commentary.She does include illuminating introductory essays for the book's individualchapters, which are divided according tothe subjects' occupations, as well as abrief sentence or two before each inter¬view, explaining the circumstances sur¬rounding it's collection — sometimequoting the interviewer, if Banks wasable to track him down.The interviews, which originallyranged in length from one to fifty pagesof typescript, are heavily edited for thesake of clarity and space. Although I re¬alize that publishing them uneditedwould have made the book overlong, al¬most every interview left me wishing formore, wanting to hear more about itssubject whose occupation may have atfirst sounded mundane, but who, throughthe interview, was transformed into a re¬markably live individual. In my wish toread more, I would echo the sentimentsexpressed by the widow of a Vermontgranite worker: "I don't mind talkingabout him. I think he should be in a book.If I could write, I'd put him in a book my¬self. A whole book about him."First-Person America has one otheroverwhelming virtue. It is one of themost visually appealing books I havecome across in recent years, and thecare reflected in its design parallels andcomplements the care Banks took incompiling the entire book. As a final, andeminently worthwhile touch, the text issupplemented by thirty-nine poignantphotographs taken by Farm Security Ad¬ministration photographers, includingWalker Evans, Dorothea Lange, and BenShahn.This Slimmer,CornellWhat better place to be than far aboveCayuga's waters as you improve your writingskills, work with computers, participate in alinguistics institute, or take a course inconceptual drawing? Nowhere else can youlearn in the company of so diverse a groupof faculty and students in such a uniquelyattractive setting of hills, lakes, gorges, andwaterfalls.At Cornell, you can fulfill requirements, ac¬celerate your degree program, or simply takeadvantage of the opportunity to study thoseintriguing subjects that you've always put off.Request an Announcementand see for yourself all thereasons why Cornell is thekV place you should be thissummer. Tuition is $125per credit or less.Cornell University SummerSession. B1 3 Ives Hall,Ithaca, New York 14850 Just present your University ofChicago Identification Card. Asstudents, Faculty Members or Ad¬ministrative Staff you are entitledto special money-saving DIS¬COUNTS on Chevrolet Parts. Ac¬cessories and any new or usedChevrolet you buy from RubyChevrolet. 72nd & Stony IslandOpen Evenings andSunday684-0400GMKrrp that Greal G M hrrUngUlth CLSUMLCM HartsSPECIAL DISCOUNT PRICESfor all STUDENTS, STAFF,and FACULTY MEMBERSvnM72nd & Sti©Open Ever Just Present your University ofChicago Identification Card. Asstudents, Faculty Members orAdministrative Staff you are en¬titled to special money-savingDISCOUNTS on Chevrolet Parts.Accessories and any new or usedChevrolet you.Chevrolet. Parts OpenSat.'til noonbuy72nd & Stony IslandOpen Evenings andSunday684-0400 2 Miles-5 MinutesAway FromThe UNIVERSITY20—The Chicago Literary Review—Friday March 13, 1981Czech LaughterThe Book of Laughter and forgettingMilan KunderaAlfred A. Knopf$10.95By Paul AusickIn 1620, the Hapsburg armies crushedthe Bohemian Protestants at the Battleof the White Mountain and ruled theCzechs for the next three hundred years.Not long after White Mountain, Catholicpriests invaded the homes of peasantsand began burning all books in the Czechlanguage.The language and literature of Bohe¬mia had begun making a comebackwhen, in 1981, the Hapsburg governmentcrumbled and the provisional govern¬ment of Thomas Masaryk came topower. Until the Nazi occupation of 1936,the Czechs enjoyed a burst of creative en¬ergy as remarkable for its brevity as forits brilliance.Three writers especially stood out:Karek Capek, Jaroslav Hasek, andFranz Kafka. Kafka, writing in German,gave the world an unforgettable body ofwork; Hasek created one of the greatcharacters of modern literature in hisThe Good Soldier Svefk; and Capek, inhis play R.U.R., introduced the wordrobot into the international language.Kundera is conscious of this traditionand conscious, even more, of his place init. The Book of Laughter and Forgettingbegins with an anecdote of the Commu¬nist takeover of 1948. Kundera tells of aphotograph of the Communist leader Kle-ment Gottwald addressing a huge crowdof Czechs in Prague. Next to him standsdementis, a party member, who has re¬moved his hat and placed it on Got-twald's head. Four years later, demen¬tis is hanged for treason and his image isairbrushed out of the photograph."Where dementis once stood, there is only bare palace wall. All that remains ofdementis is the cap on Gottwald'shead."In passing, it is valuable to note herethat Kundera was debarred from theCzech Communist Party in 1948, immedi¬ately after the takekover. He left Praguein 1975 to live in Paris and in 1979, uponthe French publication of this novel, hisCzech citizenship was revoked.This complex, extraordinary novel, atonce real and literal, metaphoric andsurreal, charts a perilous course alongwhat Kundera chooses to call the"border." In a chapter titled, appropria¬tely, "The Border," Kundera tell us, "Ittakes so little, so infinitely little, for aperson to cross the border beyond whicheverything loses meaning: love, convic¬tions, faith, history. Human life — andherein lies its secret — takes place in theimmediate proximity of that border,even in direct contact with it; it is notmiles away, but a fraction of an Inch."The other six chapters in the book ex¬plore different aspects of that fraction ofan inch. The first chapter, "Lost Let¬ters," sets a recurring theme: "thatstruggle of man against power is thestruggle of memory against forgetting."In the story, Mirek, a man who waskicked out of the party and now wagesthat struggle, tries to retrieve sometwenty-five year old love letters fromZdena, a former lover and still ardentCommunist. She absolutely refuses hisrequest to return the letters. And whilethis makes him angry, he is angrier stillfor ever having loved her — because sheis ugly. "But that couldn't make any dif¬ference. He hadn't slept with her formore than twenty years. It made a bigdifference. Even from so far awayZdena's big nose cast a shadow over hislife."He hates it that she is part of his past.He can't abide her having welcomed the Russian invasion of 1968 and he despisesthe blind acceptances she has for theParty; but most of all, he hates her bignose. The echo of Svejk here is unmistak¬able: When Svejk's landlady tells himthat Ferdinand has been shot, he asks be¬nignly, "Which Ferdinand? I know twoFerdinands. One of them does jobs forthe chemist, and one day he drank a bottie of hair oil by mistake; and thenthere's Ferdinand Kokoska who goesaround collecting manure. They wouldn'tbe any great loss, either of 'em."Hasek's good soldier and Mirek ques¬tion the value of history itself and indeedsugges' that trying to rationalize a chainof events might be simply stupid.From Mirek, Kundera takes us to a dif¬ferent fraction of an inch along hisborder in another story called "Lost Let¬ters" and the second of two stories called"The Angels." The central character inthese two stories (the only two whichhave common characters) is a womannamed Tamina. She and her husband leftPrague illegally and settled in an uniden¬tifying city in western Europe. After herhusband dies, she takes a job as a bar maid and is distinguished by her seem¬ingly endless capacity for listening tocustomers. Like Mirek, she too is tryingto recover a written record (journals shekept during the eleven years of her mar¬riage before she left Czechoslovakia).What Tamina hopes to regain is herprivate life and with it the silence sheneeds to help locate the beauty in life.These elude her, however, when she isunable to arrange for anyone to return toPrague to rescue the journals from hermother-in-law. In "The Angels," Taminais taken to an island populated by chil¬dren. At first the children ignore her,then begin to care for her, and finallyrape her. In an effort to escape, she triesto swim away and drowns.Tamina has crossed that borderbeyond which everything ioses meaning.The border crossing is a result of whatKundera calls meaning. The bordercrossing is a result of what Kundera callslitost; that is, "a state of torment causedby a sudden insight into one's own miser-continued on page 22cHaocr nr^jufi€ ChxlitLe inmax xzn H3zatt<j Cobb Hall Friday March 137:30 & 10 pm S 1.50'^ourt Studio Announceso/>cn A.;icyce j.idersCourt Theatre5706 UniversityMor./lSaU-5Mar /p,gun,/_5Into Call,Please prepare a 1min. piece for No Exit audit on YALERUSSIAN CHORUSIn ConcertMarch 13 7:30 P.M.Goodspeed Hall FreePresented by SAO & Music Dept rrCLEfUWHAT DO BETTY BOOR, BENNY GOODMAN,THE ORIGINAL DIXIELAND JAZZ BAND, ALJOLSON, AND GEORGE GERSHWIN HAVE INCOMMON? - THE INFLUENCE OF KLEZMERMUSIC — Eastern European jazz and cabaret musicbrought to the US., at the turn of the century where itthrived and has since become part of American jazz folkand popular music.Concerts: SAT. APR. 4 - 2:00 PM AND 8:30 PM(Mandel Hall) General Admission: $7.00Students Senior Citizens $4 50Dance: SUN. 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Elaborate navigation andelectronic systems are being developed.The navigators who operate these systemsare carefully selected and trained. They mustbe able to do battle at supersonic speeds andoutwit a potential adversary. They must beable to pinpoint their location over a vastocean. They are part of a team rich in tradi¬tion and standing on the threshold of an ex¬citing future.This is your opportunity to be a part of thatfuture. Talk to an Air Force recruiter. Findout more about your opportunities as an AirForce navigator. The experience can changeyour life./i'JlTi i t'JT'S,A great way o* MeContact: SSgt. B.J. Nielander7435 Indianapolis Blvd.Hammond Indiana 46324(312)374-4297 (219) *44-255*22—The Chicago Literary Review—Friday Marchl3, 1981 Young Designs byELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd st.288-2900We Buy and SellUsed Records4T1701 E. 55th St.684-3375TEST PREPARATION FORliv Scnmi Aomiuioi TestGram itt Mamsemeit Aom TestGaaouate Record EumhuhoiMedical Couth Aim641-2185 Aim Test Jttiitestw r Heaneycontinued from page 15a joyful face/to look at the moon."In "Whatever You Say Say Noting"(North), you say:The liberal papist note sounds hol¬lowWhen amplified and mixed in withthe bangsThat shake all hearts and windowsday and night.(It's tempting here to rhyme on 'la¬bour pangs'And diagnose a rebirth in ourplightBut that would be to ignore othersymptoms.Last night you didn't need a stetho¬scopeTo hear the eructation of OrangedrumsAllergic equally to Pearse andPope.)But, you do rhyme "bangs” and"labour pangs", and you also speak ofthe "fish dart" of Robert Lowell's eyes"risking, 'I'll pray for you'." ("Elegy,"Field Work). Do you think it's the poet'sjob to struggle to find, and then conveysome kind of hope to the audience, or isthere enough hope implicit in the act ofcomposition itself?SH: I think it depends on the nature ofthe poet. I am, for one reason orother unknown to myself, benign inmy nature. I don't think Kinsella isa cynic, by the way. I think he has apretty tragic vision of things...he's amajor modern poet. He practices allkinds of tests upon the more hopefuland benign aspects of life. He teststhings to see if they're just dis¬guises, arid that's one of the functions of a writer. I tend to trustthings but...suspect them a little. Ihope that doesn't sound like just acontradiction.Kinsella writes of say, the love re¬lationship in terms of ordeal, re¬newal and so on, but he writes of it asa heroic commitment too. The des¬tiny of the individual in the love rela¬tionship is to hold it within his tragicheroism. It's a pretty grim vision oflove, but it seems to me to be true,especially if it's a conjugal relation¬ship. You come together, you form,and you break — you come togetheragain, you form, and you break. It'sprobably a deeply Irish Catholic vi¬sion. My intellectual self can re¬spond to that, but I am a much moretorpid and instinctual being thanKinsella.There's a sense in which one got atease to some extent with one's ownparochial distresses, because onecould see they were the equivalentof other distresses elsewhere. Andsecondly, one got at ease with thearchaic elements of one's own imag-^.ery or one's own life. We found whenwe came to America, to this twen¬tieth-century technological civiliza¬tion, that some of the significantpoets were repining to get back outand into the fields, and live in thewoods, and so forth. So, there wasjust some confidence or confirma¬tion I felt.JM: What poems or books are you work¬ing on now? And, formally, where isyour poetry heading? I tend togroup North and Field Work, interms of the richness and density ofthe line, which seem to me a realbreak — at least stylistically — withthe earlier books. Is your new worka continuation of that or somethingnew?SH: Well, I have never programmed thething at all, neither from poem to poem, nor from book to book. It isslightly programmatic in FieldWork, in that I decided to write iniambic line, to break what I thoughtwas a habit. I really like that short,free-verse line that starts in Winter¬ing Out and then is tightened up andmade much more tense in North.But a line and a life (laughs quiet¬ly) are actually quite close together.When I was writing (those tenselines) in North, I was very tense my¬self, and searching. I'd left Belfast,and the act of writing — whateverthe satisfactions of that act — is notunrelated to the way you're living.Now, I came through a kind of, as Isay, intense, twisted-up, ambivalenttesting-time in '72 to '75. And then Ifelt that l had come through tosomething that I didn't really wantto do, so the line changed. I deli¬berately, as it were, tried this typeof writing, you know?North had been this searching intomythological imagery; it had beenreaching down into the roots of lan¬guage. It had been, in a curiousway, a very literary kind of book,because it was engendered out oflanguage and out of archaic sym¬bols...JM: Wasn't it also political in the senseof saying, 'Look, there's this wholeother experience that we can alsoharken back to, this whole traditionof the Northern world...'SH: Oh, yes...JM: '...separate from colonialism andthe English experience...'SH: Of course, yes. I definitely supposethat you could call that political allright. But I wanted to write out ofsome social part of myself. Maybethat was a mistake. Maybe it can'tbe done.I wanted a line and a mode wherethe daily elements of my experiencecould be rendered into whatever po¬etry is — where the technique of thepoem would be to fortify, if you like,the ordinary into an art form.I don't know if that happened ornot, but if I could give you an exam¬ple of this...When l was writingsome of those 'Bog Body' poems inNorth, it was one evening in May of'73 or '74, out there in the country.This was a beautiful evening, andthe cuckoo was calling from the hill¬sides, and the corncrake was in thelong grass...I had seen deer playing earlier inthe day; there was a rabbit playingout in the field. And there was allthat May rhapsody in the air, youknow? And I was sitting in the roomsmoking. Suddenly these two iam¬bic lines came (which became theopening of "Glanmore Sonnet III",—JM): "This evening the cuckooand the corncrake/(So much, toomuch) consorted at twilight.I thought, how melodious andsweet. But I thought also, at thetime, that it's too sweet, too orna¬mental, it's too plain beautiful. It isan affront to the ugliness that per¬tains in life. And I rebuked thatpleasure-seeking element that isalso in poetry, and I continued withthose, rather more inward, twistedthings.Kunderacontinued from page 21able self." That insight is most often thatone has forgotten, has denied some partof one's private past. The laughter onehears punctuates the misery of forget¬ting. And the two always appear to¬gether; indeed, they are inseparable.Kundera's novel is truly a wonderfulbook. It is loaded with wit, understanding, and thought. One last example is ajoke offhandedly told to Mirek: "Right inthe middle of Prague, WenceslausSquare, there's this guy throwing up.And this other guy comes along, takes alook at him, shakes his head, and says, 'Iknow just what you mean."character of such diverse Southerners asthe Louisiana Longs, Lester Maddox,Jimmy Carter and author Jesse HillFord.Rather than rattle on about how goodFrady is and then picking at fine points ofdoctrine which would be of little interestto those outside the flock, let me use therest of my space here to show you one ofmy pet scraps from the book on SamErvin's role in the Watergate hearings:Impossible to exaggerate, then,the astonishment of Nixon and hisadjuncts when all their excellentfacilities — their sleek SouthernCalifornia nimbleness and Nielsensophistications — failed in the endagainst something absurdly archa¬ic, rudimentary, plain and unas¬suming, sluggish and sometimesbumptious and even largely unre¬gardful of them up to now, embo¬died in this fusty septuagenarianSenator from the outlands of thenation. . . all their facile MadisonAvenue cynicisms about the abori¬ginal fundamentals of Western lawpropounded to them by Ervin —such as Ehrlichman's rejoinder, tothe proposition of the hallowednessof the individual's privacy, "I'mafraid that's become a little erodedover the years" — somehow sud¬denly rang, against Ervin's hicko¬ry-grained simplicity, with theirtrue cheapness: utterances for in¬scription on tin. A rather long-running passage, thoughmost of Frady's prose is more spare,since he, like Faulkner, tends to switch tosentence poem only when he is waxingmost eloquent.Moments not to be missed in the bookare: Earl Long's struggle to run Loui¬siana while carrying on a fairly open af¬fair with a red-haired stripper severaldecades younger and a good many inchestaller than he, while his nephew, the goodSenator Russell, and wife were trying toget him committed once that wouldstick; the good folks of South Carolina'sBeaufort area adjusting to being on thesame side as the liberals fighting a chem¬ical plant coming in — "Uh, listen, arethere any more outside agitators downthere that you suppose you could bring uphere to help us with this thing?" — andthe incomparable Brother Will Campbell, the preacher who is uniquely Southern in the style of his maverickness andvariety of sweetness of spirit while driv¬ing much of the Southern church andstate bureaucracy. His confrontationwith a Southern Baptist Convention offi¬cial over the Convention's proposal to putin added security measures at their glassand concrete administration building istoo wonderful to miss —or give away.And through all the most potent con¬flicts, Frady succeeds in presenting peo¬ple so that both warts and soul, weak¬nesses and strengths, show clear in away that manages not to seem contradic¬tory but only "just the way damn peopleare."By David OatesI'm mostly a fairly mild-tempered fel¬low, but when it comes to people talkingabout the South, which I regard as myhome, I tend, with most of my fellowsfrom that region, to be very hard toplease and quick to crawl all over some- Great South!Southerners: A Journalist's OdysseyMarshall FradyNew American Library$13.95 one who says something which to me isclearly stupid.When I got a hold of Frady's bookSoutherner's, I came in looking for afight. I'd read a review in a northernpaper by some person who sounded smu¬gly pleased to have all his concepts aboutthat simple brutal region down there con¬firmed, and I figured Frady's sold out:One of those Southerners who had gottena totally yankee outlook on things andtells people up here what they want tohear and then it's all true because aSoutherner said it.Well, I didn't get to have my mad. Hewent and cheated me out of it by writingone of the goddamn finest books I'veread. Not that I don't still have my littlepoints where we don't see eye to eye,now.Frady does a beautiful job of catchingall the craziness, tragedy and all aroundAt Budget, you’re...with great rates and great service.We accept all major credit cardsand the Sears Revolving charge card.(Cash rentals allowed for U. of C.students over the age of 21 withproper l.D. 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One could pose a comedy ques¬tion: if l were to discuss the girls in Pre¬sence with my four grown granddaugh¬ters (now ages 21 to 26), which characterwould (a) they and (b) I recommend as amodel of behavior? But of course mycharacters aren't model, they're normalhuman behavior. All that can make themseem strange in 1980 is what EdmundWhite described as their adherence to"an etiquette of sexual civility"—mymale characters don't just breatheAmerican beer into a female character'sface and say You wanna?FLEMING: In your essay on Americanbad manners for Esquire (Dec. 1977) youagree with Lord Chesterfield that onlywomen can teach a man the finer pointsof good manners.But what do you think of Chesterfield'ssexist remark that women are "but chil¬dren of a larger growth"—exquisite andcharming beings who are none the lessintellectually inferior to men?SPACKMAN: Chesterfield's view ofwomen as a sort of children probably isbecause in his day women were hardlyeducated at all. (That exact contem¬porary of his, Lady Mary Wortley Mon¬tagu, was as exceptional as she was bril¬liant — a duke's daughter able to readwithout moving her lips? what next whatnext!) But there is still a base for Ches¬terfield's view — they do pout, they doburst into tears, they do sometimes go tobed with us for idiotic reasons; they havetantrums of rage or of jealousy, theyneed constant attention, their promises(as classical poetry tells us from the be¬ginning) the winds and the waters carryaway. But this is simply the base of whatthey are, the residue so to speak of cen¬turies of being trained that way; and itseems to me any man of sense simplygoes on from there (without mentioning it, need I say!) — there is no end to whatan angel a woman will develop into ifproperly courted. Which is alas exactlythe sort of statement that would label aman a sexist. Very sad, when in fact I amsimply a man who agrees with Hugh'suncle (in Presence) that "a woman inlove is the luxury of luxuries." (Providedof course she's in love with me.) But inno sense do I agree with his lordship thatwomen are inferior.FLEMING: How has your classicaltraining influenced your writing?SPACKMAN: Classical training hasadded two literatures to my background,and I've written Latin elegiacs and occa¬sional Greek; it has also made me skeptical of printed information. But my syn¬tax was soundly based in the four yearsof grammar-school at WilmingtonFriends, not in the ancient languages'later.FLEMING: How do you feel about neologisms? I notice you invent them every sooften, such as the word "nighted."SPACKMAN: Neologisms by and largeare ruining the language: they're usual¬ly made up by people who don't knowwhat they're doing. (Color-stuff is ofcourse different — "Things don’t alwayspredict out like you think they do, you gotto follow your own distinctiveness" iscreative illiteracy and has its uses.) But"nighted" is no neologism: "Good Ham¬let, cast they nighted colour off," saysthe Queen. And anyone in my generationknows Housman's "Crossing alone thenighted ferry/ With the one coin for fee/Whom on the wharf of Lethe waiting/Count you to find? Not me."FLEMING: How important is goodbreeding in a novelist's education?SPACKMAN: I don't think good breed¬ing has anything to do with a novelist'seducation: nobody has to be Mrs. Whar¬ton. (But as Quiller-Couch said aboutHenry James, his country-house sceneswould have been better if he'd known theright people — a remark too appallingfor any decent m- j have recorded.) FLEMING: What is the future for aristo¬cratic fiction in the U.S.?SPACKMAN: Louis Auchincloss is per¬haps the only genuine blue-blood writingabout blue-bloods, but of course he's notvery interesting. Ed White's calling myrich Philadelphians the result of my"utopian vision" of them is absolutelycorrect (the actual type is likely to be avery bland bore, or a snob).FLEMING: One difference betweenyour An Armful of Warm Girl and A Pre¬sence with Secrets is that Armful takesplace in an essentially safe world, bywhich l mean that nobody gets killed theway they do in Presence. How do deathand violence fit into your "utopian vi¬sion"?SPACKMAN: Love and death seem tome the only subjects worth writing about("death and its antonym and proroguerlove" is a fancy phrase I once thoughtup) but the violence in Presence happensto be pure chance. The first story oc¬curred to me when mobs sacked She-pheard's Hotel in Cairo in the 50s; I sim¬ply transferred it to Italy, which l knew.The second story is simply what did goon in Brittany in 1963, and the Breton no¬bility were in exactly the Greek-tragedytrap, their honor and their loyalties help¬lessly devoted to despicable ends; if onlyas a symbol of a dying code, that vicomtehad to die — and if this theme isn't asclear as it ought to have been, I have tothank the lovely seductress who took thestory over for her own purposes (only toend up in a demoralization she never ex¬pected to feel). Hugh's death in the laststory was a structural affair entirely : tohave meditations and summing-up at afuneral one had to have a corpse — andas to the method, the attempted seduc¬tion of his girl happened to a friend ofmine, and all I did was make Francescamore violent than the actual Francoise(Hugh is shot to death in Presence by aLesbian rival).FLEMING: Speaking of utopian visions,how does a writer keep his luxurious fan¬ tasies safe from the bathos of day¬dreams?SPACKMAN: Keeping daydreams andfiction separate is simply a matter ofkeeping one's mind on what one's doing;and if one's attention lapses, the senti¬mentality can be edited out when one's) revising.I FLEMING: How often do you revise?Your style is the ultimate in easy ele¬gance. Does it cost you much hardwork? *SPACKMAN: I revise drastically : this iswhen the writing gets done if one has aslip-shod subconscious. I have no faithwhatever in the inevitableness of whatone first puts down — your subconsciousmay be paying attention to what youwant, but it's just as likely to be workingon income-tax or the next casa d'appun-| tamenti. Hard work! Look at your firstdraft in three months and you'll have thehorrors.FLEMING: Are you really, as one criticj said, a "goosebump genius"? How oftenare you enchanted while you're writ¬ing?SPACKMAN: Hard work is most of it,and often a sheer exasperation; enchant¬ment occurs only when (a) exactly theright word, phrase, or rhythm appears ofitself, or (b) a paragraph is at last fin¬ished the way you want itFLEMING: Given the general neglect ofwriters in this country, how is a writer tokeep his heart in his writing?SPACKMAN: I doubt if the public hasever understood any high-style art forwhat it is, or ever will. People read whatthey're told they'll like; and neither inschool or college are they taught by peo¬ple who know which way is up. So onlyrun-of-the-mine novelists can live bywriting, and only a few firms like Knopfare going to publish anyone else. Onesimoly has to recognize this — and trustto luck. I gave up altogether on Armful;then a series of sheer accidents, and outof the blue there I was at Knopf.DOC FILMSproudly presentsTomorrow at 7:15 and 9:30 2%ect/ SdcUe 493-0666FEATURE OF THE WEEK$125,000CORNER PENTHOUSETWO STORY CONDO. 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Modest rent Call: 7532496 (office); 752 1922 (home); orleave message: 753-4548.F roommate to share 2 bdr apt nearHY coop. S 175/mo 4- util. Avail Apr 1.288 2478 morn and evesLarge house to rent best campus location summer quarter yard piano allamenities tel: 324-7858.Room open in 3 bedroom apt for Spring Qtr S90/mo call 493 9719.Room available at prime campus location Coed living, softball playerswanted. Great place for grads and, undergrads alike. 3-3257.1 Bedroom apt available for SpringQuarter (Summer Qtr optional) inHyde Park Semi Furnished. $225/mo288 2007 evesPEOPLE WANTEDPaid subjects needed for experimentson memory, perception and languageprocessing Research conducted bystudents and faculty in the Committeeon Cognition and Communication,Department of Behavioral Sciences.Phone 753 4718Someone experienced with childrenwanted to live with mother/4 yr. oldrent exchange for 15 hrs child careweekly 667 8235 evenings.Bright person wanted to work onunusual finance job. Mornings $4/hrstart, then more. South Shore 933 1857Quandrangle Club needs desk clerkMonday and Tuesday midnight to 8:00am University of Chicago student only. Preferably long term. Call Mr.Fulop 493 8601.The Younger Gallery seeks craftspeopie working in clay, fiber, wood,enameling, glass, etc. interested inparticipating in a group show to beheld in Cleveland, Ohio. For more information contact LenGambinoat 2415829Full time or part time employment asparking garage attendant. Call 6672800.WANTED Typist/copy editor toassist soc prof at UlCC 6 8 t^wk,$5/hr 869 8866 or 226 0118The Younger Gallery seeks artistsworking in 2 D media interested inhoiding one man shows in Hyde ParkFor more information please contactLen Cambino at 241 5829Babysitter for toddler wanted oneweekday or Saturday morning Someexp preferred. Vic. 55th andBlackstone 324 9533 SERVICESTYPIST Dissertation quality. Helpwith grammar, language as neededFee depending on manuscript. IBMSelectric. Judith 955-4417.ARTWORK Posters- illustration, lettering, etc. Noel Yovovich 493 2399.Will do typing IBM Selectric 821 0940IBM Tpewriters repaired for LESS bya former IBM customer engineer withover 8 years experience. Why pay IBM554.00/hr. for service when you don'thave to? Generic Typewriter LeonWhiten, 427 0175.IVORY TOWER HOME SERVICESHire a student to paint, plaster, cleanyour apt, maintain your condo bldg,translate Latvian and more! 493-9108.Pregnacy tests Sat. 10-1 AugustanaChurch 5500 S. Woodlawn Bring 1stmorning urine sample $2 donationSouthside Womens Health Service.THE WRITER'S AID Resumes;editing & writing: flyers, pamphlets,brochures, reports, books, ghosting;creative pieces. Prompt, professionalservice. Call 288 1911.The Chicago Counseling andPsychotherapy Center. Client-centered psychotherapy 5711 SWoodlawn 6354 N Broadway, and 111N Wabash, Chicago A RegisteredPsychological Agency. (312) 684 1800.TYPIST: High quality work byfreelance writer. Competitively pric¬ed, prompt; minor editing withoutcharge. IBM correcting selectric.472 2415 or 338 3800.Professional Typing of Resumes,thesis, reports, forms-reasonablerates call Midwest Secretarial Service. 236 5417.Typing, bibliographies, help withdrafts for dissertations, spelling,grammar. Call 684 6882PERSONALSWRITER'S WORKSHOP (PLaza2 8377)Los True Kings are really queens justask Mont! Amy, Leader of the Psi USluts.Answers OK, Yes How? Love, J. (ei).Tejas babe even if you are difficultand have a dumb cat and won't livewith me you better know I love youlots who elseOh, Molly McQuade, why do you avoidyour adoring Reggie when he's absolutely bonkers about you? Can youso easily forget our idyllic days backat Cambridge, when you waited for mytrain so eagerly after holiday? Onlyyou, crumpet, can make my stay inthis wretched country bearable Dropthose monkeys and return to vnurs truly. Reqgie BirkinToggedy.they're all saying w? re anitem, can it be true’A and E: only one more quarter! Doyou think they have a table big enoughfor all of us at Le Francais? CDISCREET MUSICTurn on and Tune in every Wednesdaynite at 10 :30 pm for the best in the Progressive music experience Foreignand Domestic, on WHPK FM 88 3 inStereo Music which is as ignorable asit is interestingPASSPORT PHOTOSPASSPORT PHOTOS WHILE UWAIT Model Camera, 1342 E. 55th St493 6700 MOVINGI have a truck and can move thingsFAST and CHEAP No job too smallCall Peter at 955 1824ASINGULARGROUPWe are a co op of artists and craftspeo¬ple sharing selling space at 57th andWoodlawn We are open Wed-Sat 11-2stop in. New artists are invited to join.DOES YOURM1NDMATTER?It does to us. People are needed forongoing experiments in handednessand psychology. Interesting and pro¬fitable Call 753 4735 (Leflies pleasecall)PERSONALPROTECTIONSHRIEK ALARM Send $3.90 (incudespostage) to William Everett, 5811 WNational Ave., West Allis WISC. 53214.RIDESNeed ride to N. Carolina (Duram)Around March 20th. Call Jim 241 4414.FOR SALESALE 9 3 Sat. 3/21, 5410 S. Blackstonernd. Oak Tbl, buffet, chests, bk cases,glassware, misc. (Cash only).Used IBM elecutive typewriter forsale best offer. 753 289842” round kitchen table 4 chairs goodcondition $40. Call 493 9223.CHILDREN WANTEDWe are doing a study on reading inchildren age 9 14. Each child attends 7individual sessions on campus and ispaid $3.00 per session. For informationplease call 753 4735M F.LIBRARYSTUDENTSDon't graduate—they just fade away.One question the GLS faculty won'tanswer: what percentage of incomingstudents will actually finish theirdegrees?BUY MY FIAT75 Fiat X19 excel cond 54k mi 30 mpgrebuilt eng/trans 947 8488.GAY COFFEEHOUSEWith music. Satruday at 8 30 pm,March 14 in the Ida Noyes Library.Refreshments (a gay and lesbianallianceevent)FOREIGNSTUDENTSENGLISH WRITING WORKSHOPstarting soon af Crossroads 5621 S.Blackstone. Submit writing samplesby Mon March 16. 684 6060 for infoELIZABETHHOLIDAYLONDON TOURApril 11 18 res by Mar 20 hotel, airfare, brkfst. sightsee 565 1265 $650 student rateBABIESInfants needed age 6 26 weeks for PhDstudy in social development One hourexchanged for two hours babysittingCall Janet Marcus 953 1824LOVE-A-CAT; BEA FOSTER PARENTCan you provide a temporary home forone ot my cats thru June? I will pay forfood, litter. 2 shy neutered males, 1purr bomb Call Carol at 924 6164ASAPFALSESalaries of women in academics arelower than those of men with comparable training and experience atevery age. every degree level, everyfield and every type of institutionApril 23 24 Conference on Women andthe University at U of C Save thosedays!FICTION WRITINGShouri Daniels (Molly Ramanuian) isofferino ten intensive work shops oncampus Call 667 0673 copies of the SaltDoll by Shouri Daniels at St aver sBookstore ENQUIRE INTOINQUIRYINQUIRY, the quarterly journal ofessays written by students in the College is now available! Read about occupational health care, Aristotle, theSocratic dialogue "Laches, andKeats” Eve of St Agnes FREE copiesat Ida Noyes, Reynolds Club, I Houseand RegensteinNEW BODIESSculpture by Marianne Hammett—anentirely new collection of ceramicsculpture Mar 15 thru 31 in Artisans 215525 S. Harper in Harper Court opening reception Mar 15 1 4 pm.EXCAVATIONA book of poems by Alice Ryerson. onsale at U of C Bookstore. $4YEARBOOKSAdvance orders are being taken nowfor the 1981 yrbk they will be $12.50 ontil Spring quarter S14 afterwards INH+ 218SCHOLARSHIPSHEREA few partial tuition scholarships forUC students to the Aspen Music Schoolare available. Interested'’ ContactPhilip Gossett, Chairman Dept ofMusic, Goodspeed 309, immediately.RAVENING JOYLast two weeks: paintings, drawings,writings, photographs by CaludiaTraudt. New works have been addedFeb 21 thru Mar 15 3 to 7 daily. 1645East 53rd upstairsGAY RUBBERSTAMPSGay Rubber Stamps Send $1 50 forcatalog HIMAGES. Suite 621, 1525 E53rd, Chicago, IL. 60615WOMEN'S RAPGROUPA Women's Rap group meets everyTuesday at 7:30 pm at 5655 S Universi¬ty Ave. For info. 752 5655.PIANISTSInterested in joining the University ofChicago Symphony Orchestra for aspring performance of Stravinsky'sPetrouchka (1947 version)? Auditionswill be held early in spring quarterFor more information, contact Barbara Schubert a* the music department 753 2612.HOME FOR SALEMICHIGANYr. round ranch home Union Pier, Mioil heat. 3,bdrms., 2 full tile bthsMode kit. w/lg brkfst rm mini kit. inreaf bdrm Dr. 15 x 20 Lr 15 x 24 bothhave panelled walls, tile ceilingsHrdwd. floors thruout Lg walkinclosets. Storm windows New roof.Alum gutters Full bsmt. Lot 66 x 2581 blk from beach Near ski resorts,school, shopping, church 90 min fromChi. Idea! location Ask for Lake AveHome No dr a K Real Estate616 469 2090LOST AND FOUNDKitten found but can't keep Free toloving home 955 4929 eveningsHYDE PARKThe Versailles324-0200Large StudiosWalk-in KitchenUtilities Incl.Furn.-Unfurn.•Campus Bus at DoorBased on Availability5254 S. Dorchester Put your money whereyour Heart is.AmericanHeartAssociationWE RE FIGHTING FOR YOUR LIFEGENERALSTUDIESIN THEHUMANITIESAll graduate and undergraduategeneral studies in the Humanitiesstudents, come to the winter GSIH party today at 4 pm in the None such cotfeeshop room, Wiebolt 4th floor Thoseinterested in the GSIH program arewelcome as well. Refreshments will beservedTRUE OR FALSE?Salaries of women in academics areegual to men if women are in comparable positions. LITERARYAAAGAZINEPrimavera a women's literarymagazine, needs more women to jointhe staff Call 752 5655 or 548-6240 Onsale in most bookstoresCLASSIFIEDClassifiec advertising in the ChicagoMaroon s 75 cents per 30 characterline Ads are not accepted over thephone. ar 3 they must be paid in advance Si omit all ads In person or bymall to T e Ch.gago Maroon, 1212 E59th St., Chicago, IL 60637 Our officeis in Ida \oyes, room 304 Deadlines.Wed noon for the Fri paper, Frl noonfortheTues papersRESEARCHVOLUNTEERSNEEDEDSubjects needed for nine week evaluation of drug choice. Minimal time required Volunteers receive up to$195. No experimental drugs This isnot a treatment study We are looking(or 3 groups: I). Normal healthyadults. High school graduates between 21 and 55. 2). Anxious, tense peopie between 21 and 35 who are not currently receiving medication 3). Peopie between 21 and 35 who haveformerly (but not currently) receivedtreatment with tranquilizers or sleeping pills, such as Valium, Librium orDalmane For information please call947 6348 between 10 am and 12 noonweekdaysCUSTOMER SERVICEREPRESENTATIVE(Telephone Sales)li you're looking lor part tine empiovment tnat otters the con¬venience of a Downtown locationplus lull scheduling includingevenings & weekends, then this isthe opportunity tha* vou have beenlooking tor! U vou are a dependable, punctual individual with aclear, precise speaking voice vouquality with us. Wi.h MontgomeryWard insurance Group as your emplover, you will be provided witheverything vou need to enjoy thisposition as Customer ServiceRepresentative.In addition, we otter a good compensabon plan with excellentbenefits including paid hotidavs &vacations. For an interview ap¬pointment. call Tom Benson. 621-6036, Personnel Dept. No. 0193,between the hours of 9 a m. - 1p.m. ONLY.MONTGOMERY WARDINSURANCE GROUP140 S. State St.Chicago, IL. 60603Equal Opportunity Employer M F Kennedy, Ryan,Monigal &Associates5508 S. Lake Park667-666657TH & KENWOODAttractive 5 room con¬do w WBFLPC. Excel¬lent campus location.Priced in mid-$70 s.Call for info.MODERN 4 BEDRMFree-Standing customhome w side drive. 3stories of lite andspace. Spacious LR-DR. Extra large kit¬chen. 2 family rooms.Call Jan Haines.56TH & KIMBARK2 BR 1 Vi BATH plussummer breakfastroom overlookinghuge backyard. 20 ft.MBR. Natl w/w thru¬out. WB FPLC GarageAvailable. Call JanHaines.WALK TO CAMPUSFrom this bright andcheerful 1 BDR condo.Seller will assist infinancing. Call Pat493-8647.The Chicago Literary Review —Friday March 13, 1981—27The University of Chicago Bookstore isproud to have played an important rolein the growth and progression of theideals of education.*We now have an expanded referencesection which will prove invaluable toyou in your research endeavors.We invite you to come in soon so thatyou may browse in a store which is filledwith books on all subjects that sustainthe human spirit.Your patronage will certainly ensurea better bookstore for us all.Stuart BrentGeneral Manager|The University of Chicago Bookstore^ General Book Department |Hours: I ;8-5 Monday through Friday j .*9-5 Saturdays j •'au uf UU'i'M/m' vifc • . i.; ’ j:UJJllLl.