SpringIssue\DANCE INK(The Student Activities OfficeKnows all the right steps.)FI1MAll in air-conditioned Quantrell Auditorium.$1.50 Weekdays; $2 Weekends.6/24 The Gay Divorcee6/26 The Ruling Class6/27 Women In Love7/1 Start The Revolution Without Me7/3 Woodstock7/4 An American In Paris with Funny Face7/8 I’m All Right, Jack7/10 The Stuntman7/11 My Brilliant Career7/15 The Wild Child7/17 And Now For Something Completely Different7/18 Providence7/22 The Importance of Being Earnest7/24 Hopscotch7/25 Wise Blood7/29 The Spy Who Came In From The Cold7/31 Rosemary’s Baby8/1 Touch of Evil8/5 20,000 Leagues Under The Sea8/7 Take The Money and Run8/8 Smiles Of A Summer Night8/12 Two For The Road8/14 Klute8/15 Rashomon8/19 Nothing Sacred8/21 Our Man In Havana8/22 Rock‘N’Roll High Schoolin Hutch Court7/29 The Chicago HighlandersBagpipe Ensemble8/5 Green Grass Cloggers withFlatrock Phil and hisHorseshoe Hotshots8/12 Chicago Blue BlowersJug Band8/19 Apshenkin EnsembleNl HHIENOONEEME CONCEDES7/1 ArtThieme7/8 The Key IngredientBarbershop Quartet7/15 The Chicago Chamber Brass7/22 Sweet Betsy From PikeMemorial Autoharp Band AIDEECWI HIMGAZEBO -An Evening with thebig band sound ofAirflow DeluxeTuesday, July 28,-8 p.m. $3 U.C. students,$5 others. Hutch Court.Tickets at ReynoldsClub Box Office. Forreservations, call 753-3592.Classes in Modern Dance, Ballet,Calligraphy, Rhythmic-AerobicDance, Ballroom Dance, PopularDance, Knitting & Guitar.Register now through June 17for Modern Dance and Ballet.Register now throughJuly 3 for other classes.Room 210,Ida Noyes753-35912—The Chicago Literary Review — Friday, June 5, 1981JOIN YOUR FRIENDSFOR A CAMPUS FAREWELLATINTERNATIONAL HOUSESMORGASBORD DINNERINCLUDING WINE AND BEERTUESDAY, JUNE 94:30-7:00 P.M.ALL YOU CAN EAT - $4.00($3.00 FOR INTERNATIONAL HOUSE RESIDENTS)INTERNATIONAL HOUSE1414 EAST 59th STREET TheChicago Literary ReviewWhat with Papa telling you to begood, and Mama telling you to benice, and the University of Chica¬go training you four years in Ad¬vanced Humanistic Decisions,well, what chance did you everhave to lead a decent life? Totake you to a place like that atsixteen!Zuckerman Unboundv By Philip RothEditor: Richard KayeDesign and Production: Susan Franusiak, Aarne Elias,Jacob Levine, Nadine AAcGann, and Jay McKenzieStaff: Keith Fleming, Jay McKenzie, Becky WoloshinSpecial thanks to Leslie Wick, Wanda Jones, Susan Franu¬siak.750 ml.750 ml.750 ml.750 ml.750 ml.750 ml.Lt.fLtr.Ltr.6-12 oz.6-12 oz.6-12 oz.6-12 oz.750 ml750 ml750 ml750 ml750 ml750 ml750 ml GORDON GIN .*4.59SEAGRAM'S CROWN ROYAl 10.89GORDON VODKA ... I.... 13.99J & B SCOTCH t.I;4 ;|vJ 9.29RON RICO RUM LT/DK ||J 1,% 4.OLD FITZGERALDS 86'. % ff.KENTUCKY TAVERN 80' .f 1 5.59SEAGRAMS 7 CROWN... 6.29SOUTHERN COMFORT 80' 7.49vm/mcans R-C/NEHI COLA .... .. .\ (worm only) 1.89cans PABST (worm only) 1.89Bottles DOS EZUIS MEXICAN IMPORT . . . (worm only) 3.59Cans RHINELANDER BEER .!.f . . . (warm only) 1.79WINE/CHAMPAGNECOOKS CHAMPAGNE i...Lzj 3.59BLACK TOWER LIEBFRAMILCH I T 3.79RUTHERFORD HILL CHARD0NNAY 8.99RUTHERFORD HILL CABERNET SAUVIGNON 8.99MICHELLE CABERNET D'ANJONVERDILLAC BORDEAUXPULILLY-FUISSE" 1979Sale Dates 6/5 ArtistEverywhere I go is the meterman fathoming my spillsnear the white face dock when I'm swimming hetempers the sand striking by stroke on the chisellingblock and when drowning or having lost my time aswhen leaving pain or holding her hear the metermansmiling tosses in crime and with a blinding touchrenders my fear I want to go away not linger too longnear the shore the sea don't want to come in but themeterman hears the night's lost song ripping mymouth he hammers in a grinA wayward child I had no use of wordsNow silent, shaped by highlights, there's no urge—Larry DunnCopyright 1981The Chicago MaroonVol. 90 No. 58The Chicago Literary Review — Friday, June 5, 1981 — 3Philip Roth: Loss Of NervesBy David BrooksIt's a veritable trend. Forget MiltonBurle and Rodney Dangerfield! FunnyJews no longer enjoy their fame. Firstit was Woody Allen coming out with"Stardust Memories", in which a tatented and troubled performer is belea¬guered by the beastly hordes, and nowPhilip Roth has written about a suc¬cessful Jewish novelist (guess who),trapped by his own popularity. In Zuck-erman Unbound, the hordes are not asbeastly as in "Stardust Memories," butthe object of their affection is evenbeastlier.Nathan Zuckerman, who has ap¬peared in some of Roth's other works,hails from Newark (like Roth), attend- ,ed the University of Chicago (likeRoth), and in 1969 wrote a satiric best¬seller on masturbation (rather likePortnoy's Complaint). With that best¬seller, Carnovsky, Zuckerman madethe cover of Life, a million dollars,hundreds of friends and thousands ofenemies. He is called the Marcel Proustof Newark and the Jewish CharlesDickens. "Talk-show de Tocquevilles"analyze his castration complex and hereceives letters addressed "To theenemy of the Jews." People confusehim with his fictional hero, asking,"Hey, you do all that stuff in that book?With all those chicks?", or else theyhand him religious literature, assuringhim that it is not too late to change hisdissolute ways. Being a successful no¬velist probably doesn't sound like thesort of life to bitch about (to most of us),but somehow Zuckerman manages tocomplain without sounding whiney orself-indulgent.For Roth, public identity is a substi¬tute for individual character. Zucker¬man has entered tinsel-land and openlyscorns his anonymous fans. We laugh atthe absurdities of these admiring nobo¬dies, but Roth means for us to see thebarbarity of Zuckerman's snobbish¬ness. The possession which Zucker¬man's father cherishes above all else isa set of letters he sent to Lyndon John¬son which Johnson didn't even have"the common decency" to answer.In his bouts with fame, Zuckermancomes off sympathetically, if a littleselfishly. In his fights with his familyand his religion, Roth explores thedepths of Zuckerman's selfishness.Zuckerman seems to believe that be¬hind the celebrated image and the fic-The following is a letter which waswritten by Susan Sontag, critic, nove¬list, film-maker, as well as a graduateof the College (1952), on the occasion ofher having received the University'sAlumni Award for ProfessionalAchievement. Ms. Sontag could not at¬tend the Awards ceremony, and so sheasked her former professor, Ed Rosen¬heim, to read her letter of acceptance.Sontag's letter is, as far as we know, thefirst occasion when she has writtenabout her years at the University, andso we offer it here as a small bit of liter¬ary — and University — trivia. Wethank the Alumni Association and Far¬rar, Straus, and Giroux for permissionto reproduce — The Editors.Let me try to tell you how passionate¬ly I feel about the education I receivedhere — the best undergraduate educa¬tion (I think) that it was possible to re¬ceive in the United States thirty yearsago, and better than anything that hasbeen offered since.I'm speaking of the "Hutchins" Col¬lege, though Robert Hutchins had leftjust before I arrived in September1949.When I was thirteen I set my heart onattending the University of Chicago.Out in the warm fastness of SouthernCalifornia, I had somehow heard that tionai Carnovsky, there exists a noble¬man, his true self. But he is deceivinghimself when he separates his fictionalcreations from his real self. After urg¬ing his brother to lead his humdrumwife, Zuckerman exagerates the dif¬ference between fiction and reality:Inventing people. Benign enoughwhen you were typing away in thequiet study, but was this his job inthe unwritten world? If Henrycould perform otherwise,wouldn't he have done so longago? You shouldn't put suchideas into Henry's head.Zuckerman's fiction is not so benign. Itwas a collection of half-truths extractedfrom the actual people who surroundhim. As an old man wisely tells himearly in the book, "You didn't put inyour whole life. There's much more toyour life than that. But you just leave itout. To get even." Contrary to this isAlvin Pepler. One of the most originalcharacters in recent years, Pepler is aJewish ex-marine who became a na¬tional celebrity in the fifties by winning$25,000 on a popular game show. Afterthe producers decided that a Jewshouldn't win too much, they engin¬eered his defeat. Pepler spends the restof his life seeking justice. He tries writ¬ing an autobiography but fails. Hisproblem is that he can't leave anythingout. Possessing a photographic memo¬ry, and a brilliant imagination, he can'tedit and so, can't write. Zuckerman istrapped; either he can edit what he ob¬serves and misrepresent reality, or hecan give up literature.As it turns out, Zuckerman ignoresthe suffering of those who believethey've ridiculed in his writing. In printand in life, Zuckerman has tried to lib¬erate himself from Judiasm by ridicul¬ing it, but he only succeded in ridiculingthose who remain Jewish. His brotherfinally holds up the mirror in the middleof Kennedy Airport:To you everything is disposable!Everything is exposable! Jewishmorality, Jewish endurance,Jewish wisdom, Jewish families— everything is grist for yourfun-machine. Even your shiksasgo down the drain when theydon't tickle your fancy anymore.Love, marriage, children, whatthe hell do you care? To you it'sall fun and games. BUT THATISN'T THE WAY IT IS TO THEREST OF US!Chicago was a really serious place, thatat Chicago the life of the mind was notonly honored but lived.After being graduated from NorthHollywood High School, I did my freshman year at the University cf California at Berkeley. Only after this last testof my resolve — but I was still sixteen— did I get my parents' consent tomigrate to cold, dirty Chicago. When his father dies cursing him, andwhen his brother reveals the enormityof his crime, Zuckerman realizes he hasbeen disowned by the things he triedfighting against and ended up only betraying. This is how Zuckerman becomes "unbound."Roth achieves this climax with amaz¬ing discipline and cohesion. Every disparate episode and character illus¬trates another aspect of Zuckerman'scorruption. The only flaw is that, fromthe start, Zuckerman has already beencorrupted. Something must havecaused Zuckerman's anti-semitic rebel¬lion but we don't know what it is. This istruly a novel of education, but with theexception for his brother's speech at theend, it is the reader who is being edu¬cated, not Zuckerman. And so the novellacks some of the drama it might havehad.in The Ghost Writer, a young NathanZuckerman muses about his literary fu¬ture:If only I could invent as presump¬tuously as real life! If one day Icould just approach the originali¬ty and excitement of what actual¬ly goes on! But if I ever did, whatwould they think of me, my fatherand his judge? How could myelders hold up against that? Andif they couldn't, if the blow totheir sentiments was finally toowounding, just how well would Ihold up against being hated andreviled and disowned?Roth's early works do possess "theoriginality and excitement of what ac¬tually goes on." And sure enough, Rothbecame the object of strong and heavyslander. While it became vogue in cer¬ tain sectors of the Jewish community tocondemn Roth, those attacks werewithout logic. In the first place, the crit¬icisms were generally prompted by thenew "sexual revolution morality"which was not specific to Roth's writ¬ing. As he wrote of his critics in 1963:"They see wickedness where I myselfhad seen energy or courage or sponteneity; they are ashamed of what I see noreason to be ashamed of, and defensivewhere there is no cause for defense."Second, hts adversaries demandedthat Roth provide some sort of accuratesocialogical portrayal of Jewish cul¬ture; something a novelist is obviouslynot bound to do. Furthermore, they expected Jewish characters to be porfrayed as Jews who happened also to bepeople, rather than as people whohapped to be Jews.Roth recognized that the cause of allthis fuss was the rampant paranoia inthe Jewish community. His enemiesimagined an anti-semitic mob lookingfor an excuse to complete the work ofthe Nazis. Apparently, Roth had giventhem that excuse by writing about aJew who masturbates too much. Rothwrote a letter to himself explaining theoverreaction to his fiction: "You havehurt a lot of people's feelings becauseyou have revealed something they areashamed of." This seems to be the mostaccurate summation of the Roth contro¬versy.But in Zuckerman Unbound, Roth re¬cants on all these arguments. This bookis a sort of apology for all the wondefuland provocative writing he did early inhis career. Zuckerman is the youngPhilip Roth and his sins are Roth's sins.In Zuckerman Unbound, Roth is on hisknees confessing, hoping we'll forgivehim and stop calling him dirty names.There may be profound reasons forRoth's flip-flop, but the description ofZuckerman's selfishness does nottranslate into a compelling argumentagainst Roth's early work. Instead, itappears as if Roth has succumbed tothe avalanche of foolishness he refutedin his younger days. Either he is a cow¬ard — for twenty-two years he provedhe was not — or else the true reasonsfor his reversal are still buried some¬where deep in his heart.To explain his conversion, Roth mustfirst refute the persuasive argumentshe gave defending his early writings,and then he must explain why so manyreaders loved those stories. After all,Roth might have created the pieces, buthundreds of thousands of people aidedand abetted his crime by loving them. Ifthere was evil in those creations, I wishRoth would tell us why so many of usfelt enriched by such malevolent andsubversive work.A Letter From SontagThe University of Chicago was just asenrapturing intellectually as I expectedit to be. Chicago seemed indeed awfullycold.After my B.A. from Chicago I went onto do graduate work in philosophy atHarvard. And Harvard has hardly thelast of "my" universities. But I alwaysthink of myself as educated here. If ed¬ucation produces, as the grim meta¬phor insists, then I am a "product" ofthe University of Chicago. Using thefaintly sinister metaphor, it is here thatI was "trained."I want to name some of the teachersin the College in whose (blessedly) required courses I had the good fortune tobe enrolled. Joseph Schwab. ChristianMackauer. Edward Rosenheim (what apleasure for me that he has agreed torepresent me today!). Kenneth Burke.And the teachers in the Divisions —Richard McKeon, Leo Strauss, ElderOlson, and R. S. Crane, whose seminarsI surreptitiously and avidly audited.And other faculty members of that era— James Luther Adams and DavidRiesman — with whom I never studiedbut did come to know and be instructedby in conversation.These classes, these great teachers — and I do not use the word "great" light¬ly — provided my intellectual canon. Acanon that has had an immeasurableand continuous influence on my wholelife and work. I have never stoppedreading and thinking about the books Iread in those courses.And I consider myself supremely fotunate to have been part of the life of auniversity when so many of its teachersand students knew and took for grantedwhat being an intellectual was; whereso many knew intellectual ardor.— Susan SontagEach year during Reunion Weekend,the Alumni Association honors alumniwho have made notable contributions intheir professional fields or in community service. The Awards Committee ofthe Alumni Association is now accepting nominations for alumni awards tobe given in 1982.If you know of alumnus whom youthink might be deserving of an AlumniAssociation Award, nominations shouldbe sent to:The Awards CommitteeRobie House5757 S. Woodlawn Ave.Chicago, Illinois 606374 — The Chicago Literary Review — Friday, June 5, 1981A Talk with Helen VendlerThis spring Helen Vendler of BostonUniversity spent several weeks at theUniversity of Chicago as the first Fre¬derick Ives Carpenter Visiting Profes¬sor. Ms. Vendler is widely a acclaimedreviewer and critic of poetry whoseworks include Yeats' Vision and theLater Plays, On Extended Wings: Wal¬lace Stevens' Longer Poems, and ThePoetry of George Herbert. Her most re¬cent book, Part of Nature, Part of Us, acollection of her reviews on contem¬porary American poetry, received theNational Book Critics Circle Award forcriticism in 1980.Two students, Catherine Mouly andLynn Keller, conducted the followinginterview during Helen Vendler's stayin Chicago.Helen VendlerCM: How would you characterize your¬self as a critic? Do you have a par¬ticular methodology that you fol¬low?HV: I think you learn what your ownmethodology is — unless you havesubscribed to one previously, un¬less you think of yourself as aMarxist critic or something — byother people telling you what it is.People have told me — and thismuch I agree with — that I imag¬ine myself to be the writer, think¬ing which strategies will be thebest ones to pursue, or which ave¬nue won't work, which will be theroad not taken versus the roadtaken, so that I see literally everyword in the composition as being achoice of many possibilities, and Itry to imagine the other possibili¬ties and how they would or wouldnot have been. So it's a continualprocess of strategy, and overall ofa general shaping.CM: What critics and teachers wouldyou say have had a formative in¬fluence on you as a literary critic,and to what extent?HV: Some people I liked best didn'tform me so much as later on. I re¬cognized them as fellow spirits,you might say, and that's a veryconfirming experience. The per¬son I think of among my contem¬poraries who has been the mostconfirming in that sense for me,has been Calvin Bedient, who's awriter at UCLA. When I read hispoetry criticism, I thought "Oh,there's two of us!". Although he'smuch more of a poet than I, hesees things in some of the sameways. What he sees interests mein a way which, sometimes, whatother people see does not interestme. Because he's somehow onmany of the same wavelengths.And in general, I admire the criti¬cism of poets. My first favoritecritic was Randall Jarrell. Iwasn't so much interested in whatcritics were saying till I found thecriticism of poets. I would say,T.S. Eliot, Randall Jarrell. Notphilosophical critics, even thoughthey were poets. I didn't like AllenTate's criticism, for instance. Iliked John Crowe Ransom's bet¬ter. CM: What distinguishes them from thenon-poet critics?HV: I think the non-poet critics gener¬ally have a methodolgy or atheme that they start with.They're interested in religious po¬etry, or they're interested in poet¬ry of social protest, or they're in¬terested in poetry of a particularperiod — the Romantic period.And then they see what is Roman¬tic about this poem or what isMarxist about this poem or whatis social-protest-like about thispoem, or how does religion figurein this poem. They're always tak¬ing the poem to something else,whereas I like to take everythingelse to the poem.LK: What are you conscious of using asyour evaluative base?HV: I think there is only — and it's avery fragile one, obviously —taste. I think anybody who pre¬tends to another evaluative baseis just rationalizing his taste post-facto. I say it's very fallible be¬cause we all know the history ofreviewing — "This will never do,Mr. Wordsworth," and so forth, or"Back to your pots, Mr. Keats" or"Lycidas is easy, vulgar andtherefore disgusting." These peo¬ple pass for having good taste,some of them — famous criticsand then less famous critics likethe ones in Blackwoods — but stillthe best read people, in a sense, oftheir day.That's why when I was talking toBob von Hallberg I said, one of theinteresting things — I've onlybeen writing reviews for about tenyears — one of the interestingthings would be later on to readover your reviews and see all theplaces where you have beendreadfully mistaken. He laughedand said, "I could tell you now,"and I said, "Yes, but it wouldn'tdo me any good now because I amnot prepared." Ten years is tooshort a time to see your mistakes.I'm sure in ten more years I willbe humiliatingly conscious ofwhat they were. But there arelarge divergences in taste amongcontemporary critics, as youknow, and you simply have tostick to your own taste.LK: When you're writing your reviewsdo you think of yourself as writingfor a different audience than whenyou're writing a book of literarycriticism?HV: YesLK: Who are they — your audiencewhen you're a reviewer?HV: I think of them as being the peopleI know who are interested in poet¬ry, whose special field in someway it is not. This includes manyof my colleagues and friends.They may be Shakespearians orthey may be Victorians butthey're not reading the latest bookby Ashbery or Ammons. But Iwant them to know about it. Sothen they come in and say to me —one of my colleagues came afterreading an Ashbery review andsaid, "He sounds just like one ofus!" That's really what you hopeto have people feel — that theseare people they don't necessarilyfollow, but they like to hear aboutand like to recognize.CM: Sounds as if you are gearing your¬self to a somewhat educated audi¬ence — educated in literary sophistication.HV: Not about modern poetry. I'mafraid that modern poetry is real¬ly outside the ken of lots of people.They haven't read any modern po¬etry — even though they mayteach English — since Eliot. Andit's not their hobby. Their hobbymay be something else — musicor another aesthetic or intellectu-*al field. Their hobby may be read¬ ing modern novels rather thanreading modern poetry, as it fre¬quently is. I quoted a poem ofAmmons and a colleague said tome, "How can a great poem be sosimple?" because he had boughtthe idea that modern poetry isvery difficult. And I think a lot ofpeople feel that. They feel that it'sinaccessible to them, even thoughthey are educated in literaryways. They feel the conventions ofthis period are very difficult, thepeople who aren't immediatelyfollowing.CM: Is modern poetry difficult?HV: Well, I think there's a lot that isaccessible, and as I said in mypreface to Part of Nature, I do liketo sort out the things. I don't thinkyou give the general reader thehardest piece first. You give himsomething that is accessible andthen you let the reader go on fromthere.CM: So that's what you've chosen tofocus on in your reviews?HV: Usually something that I thinkpeople can read right away andfeel right away.LK: I wanted to ask a question aboutyour books. Your first book wasabout Yeats, your second aboutStevens, your third about Her¬bert, then this collection of re¬views of modern poetry appearedand now you're working on a bookon Keats. Is there some logic foryou in this order? In other words,what has governed your move¬ment among these periods?HV: I should mention that there's afailed book on Whitman. I spent ayear trying to write a book onWhitman and couldn't. I thinkthere are different reasons for dif¬ferent books, and for me there's areason for each. Northrop Fryeonce said to me in conversationthat all good criticism is autobio¬graphy. And I think one's closestfriends are likely to pick that up,as indeed they do, laughing, andsaying, "Oh, Helen, I see you'rewriting about such and such,"coming out of something in mylife that they know. And I thinkthere's nothing that doesn't hap¬pen without that kind of stimulus.The only book of which this isn'timmediately true is the Keatsbook. I feel that the entire view ofthe odes which I am giving in theKeats book is not mine but — Iknow it sound peculiar, but it'strue — but Wallace Stevens'. Be¬cause as I read Wallace Stevens, alot of his work seemed to me acommentary on Keats and i wouldthink, "Oh, that's what he thoughtKeats was doing in that ode," or" That's what he saw Keats following up there," and gradually awhole new reading of the odesemerged for me which is, I believe, implicit. I wrote about oneof them, the "Ode to Autumn" andStevens, and I think you couldwrite similar articles on all theother odes. I truly feel as though Iam only transmitting to the worldStevens' implicit reading ofKeats, which seemed to me a bet¬ter reading as I collected it in mymind, than the readings I had hadon my own before.LK: Can I ask about the Whitman bookwithout embarrassing you?HV: Oh, yes.LK: Why did you feel that was something you could not complete?Somehow it didn't connect withyour autobiography?HV: No, No, it connected very well,and that's why I wanted to do it. Ihad had always a kind of seriousor intense or sublime view of art,formed of course by the whole angophilia of our training. I wasn'ttaught Whitman in school or grad uate school and suddenly, to comeon Whitman much later, whenyou've had a much more compli¬cated life makes. . .1 had begun towant a poetry that was as compli¬cated as life was, that could incor¬porate an awful lot of stray things.Yeats, you remember, said thatthe poet is not that bundle of ac¬cidents and incoherences that sitsdown to breakfast, and that's oneview of poetry — that poetry sepa¬rates out all the accidents and in¬coherence. But l finally thenwanted a poetry that included agood deal, which is one of the rea¬sons one likes Ammons and Ash¬bery, both of whom have learnedfrom Whitman to include acci¬dents and incoherence. So I want¬ed to write a book with that senseof Whitman, that he was some¬body not simply who wanted totake in a lot of geography, but whoalso had a certain aesthetic aswell as inclusiveness. People havesaid this before, but I thoughtthere were things that it entailedfor the forms, and it entailed acomic perspective of the lyricrather than the rather melan¬choly, tragic, high sublime or reli¬gious perspective of the lyric thatnormally happens. So I tried tothink about Whitman — didn'tever get to writing about him —no, I wrote one piece on "A ChildWent Forth" which is going to bepublished, but his mind goes toofast for me and all you can do, Ifeel, is trot along behind his mindsaying, "Isn't that terrific, isn'tthat wonderful, look what he'sdone here," and you can't sit backand say, "What were his choicesand how did he choose?" They'rejust too surprising, what he comesup with — the pokeweed by thefence, or. . .LK: So he's a poet for whom yourmethod of getting within an au¬thors mind —HV: Hasn’t yet worked. His mind is toomuch of a genius, so that one re¬tires in defeat, but I hope some¬day maybe I'll be able to.LK: Do you have any sense yet ofwhere you're going to go after theKeats book?HV: I want to write a book on Shake¬speare's sonnets, and then I hopein my old age to write a book on"Paradise Regained." I don'tknow if I'll be able to do that either, because that's the mind of Ithink the greatest stylist in En¬glish, so that if I can't write onWhitman how can l hope to writeon Milton. But I hope I'll get backto Whitman some day and get toMilton.CM: in Part of Nature, Part of Us youdevoted a great deal of space toRobert Lowell. I got a sense thatyou view him as a fulcrum of mod¬ern poetry, is that accurate?HV: It's not just me; its everybody.I began to read Lowell when I wasseventeen and I'm still readinghim now, thirty years later, andthat's good for a poet to last thatlong. It's a good test that you likethem when you're an adolescent,you like them when you're ayoung woman, you like themwhen you're older, you like themwhen you're single, you like themwhen you're married, you likethem when you're happy, you likethem when you're sad.That's a test of staying powerwhich in one sense is tor me themost fundamental test, the onesyou keep going back to. I liked lotsof poets when I was seventeen —modern poets — that I don't likenow (Ceci Day Lewis, or some¬one), who haven't worn so wellover the years. The second thingTurn to p. 6The Chicago Literary Review — Friday, June 5, 1981 — 5Vendler Continued...Continued from p. 5is that Lowell's idiom changedover time and he always seemedto be able to take up the currentlanguage. When Hopkins said thatpoetry is the current languageheightened, that's really whatLowell seemed to be able to do.Other people tend to get stuck inthe idiom where they started andthey just do the same poem overand over and over — an honorablepoem, often, but it stays the samepoem. The write the poem, often,that their teachers were writingwhen they were in a writingschool — the Iowa poem continuesunabated. It's that sense of beingable to change the idiom withchange over time which is verystrong in Lowell. He was a poet ofastonishing imaginative inventi¬veness; you never knew what hewas going to do next. As soon aspeople thought tney could say,"Lowell is . . ." he did somethingelse, and critics were after himagain like hounds, saying "Oh,look, he's doing something else."This has made it very hard forhim, because everybody alwayswants poets to stop still and keepdoing what they have, keep satis¬fying the taste which they havecreated.CM; You knew him personally, didn'tyou?HV: Yes, the last two years of his life.CM: How much did that enrich yourunderstanding of his work? Didit?HV: Well, I wrote a long essay on hiswork. I had heard him read, ofcourse, but I hadn't known himpersonally. And he wrote back tome, surprised, saying he thought Iwas someone who wouldn't likehis work. He thought that some¬body who liked poets as chasteand spare as Herbert would notnecessarily like his accidents and incoherence. You might say that Ihad risen to the point of being ableto appreciate that. So l had writ¬ten a long thing about him before Iknew him and I don't see that Iwould have said anything dif¬ferently had I known him. On theother hand, seeing poems slowlyis a help, when you don't have totake in a whole book at once. Youcan see them slowly over time andthen when the book is publishedthey come to you as old friendsrather than as a whole set of new,difficult sensations. I think ithelped me with the later verse,that I had seen it — with Day byDay.LK: I notice that in writing about mod¬ern poetry you almost never men¬tion Pound and rarely mentionEliot. In your review of the fac¬simile edition of "The Wasteland"you repeated Harold Bloom'sprophesy that future generationswill regard Pound and Eliot as ourCleveland and our Cowley. Do youshare Bloom's opinion?HV: Not about Eliot, no. I think Eliot isthe greatest twentieth-centurypoet.LK: You don't seem to appreciate hislater work particularly.HV: Well, that review was written tenyears ago and one of the choices Ihad to make in publishing thebook was whether to start puttingfootnotes saying I was dumber tenyears ago, or something. It wasthrough Lowell, actually, that Igot to like the Quartets. Lowellkept saying to me, "You know,they're really better than youthink they are." He had read thisreview. So I — because naturallyLowell's taste was infinitely supe¬rior to my own — I thought, well, Imust read Quartets again. Ihadn't read them since I was in school. Then I gave lectures onthe Quartets in Rome for the StateDepartment with a great deal of, Ithink, love for the texts, so I feelas though that was a good thingthat happened. I had alwaysthought that Eliot was the bestpoet of that generation, whichdoesn't mean that you can writeabout him. He'd been so muchwritten about, it didn't seem asthough Eliot needed to be ex¬plained to the world any more.But Pound, I am ... I noticed inthe winter Chicago Literary Re¬view a quote from Nabokov talk¬ing about the pretentious non¬sense of Pound, that "total flake,"I believe it was. I laughed andlaughed. I think that one can onlysay about poets that are histor¬ically important — as Pound wasclearly the most historically im¬portant poet of that generation —that they won't go out of the histo¬ry books, but they may go out ofthe anthologies, except for maybeone or two representative poems.LK: You also write very little about theself-proclaimed "sons of Poundand Williams," the Black Moun¬tain poets. Am I right in assumingthat this is because you don'tthink highly of their work?HV: Well, there are lots of sons ofPound and Williams, among themAshbery and Ammons, that I dolike very much.LK: Yes. But I'm thinking of the BlackMountain School.HV: The Black Mountain School is dif¬ferent. I think Williams was themost influential of the poets as apoet. That is to say, if you think ofPound as the most historically influential, if you then think of Eliotas the most influential in the senseof being the bellweather or thebeacon or whatever, l think ofWilliams as being the most practi¬cally influential in forming thesubsequent style of American po¬etry. It's a line, of course, thatcomes straight from Whitman.And I like that style. I like Wil¬ liams and what has come fromhim In many poets, especiallyAmmons and Ashbery (and Ash-• ^>ery derives from Eliot, too, ofcourse, and Stevens). But I don'tlike the poetry of the Black Moun¬tain group. I can't say why, ex¬cept it seems to me imitativerather than doing something new.Both Ashbery and Ammons seemto me to be doing something new.Also Pound influenced certainlyAmmons as well, but they seem tobe doing something new with theirlines, something new with thevoice in a way that the BlackMountain people don't.LK: You have written about womenpoets. Do you think that there areproblems or achievements whichare characteristic of or peculiarto women's poetry, particularlypoetry by feminists? In otherwords, particular strengths andweaknesses, particular problemseither that they face or problemsthat appear for the reader?HV: I think that feminists raise prob¬lems comparable to, if not identi¬cal to, any poet who feels a strongsense of social protest. There arevery interesting things said byMylosh, the Polish poet who gotthe Nobel Prize, in his autobio¬graphy Native Realm about that,because he was caught up in it.Terrible things were going on;what did you write about if youwere in Warsaw in the ghetto up¬rising and in the Second WorldWar with the Nazis, and subse¬quently with the Communists?Tomas Transtromer, the greatliving Swedish poet, said muchthe same thing. The main currentin poetry in Sweden for the lasttwenty years has been Marxist po¬etry, for all the right reasons, youmight say. But Tomas Tran¬stromer has said something inter¬esting about his own work. He's apsychologist who worked for sixyears in a prison for juvenile of-Turn to p. 19Spokesman Bicycle Shop Selling Quality Imported/ l v / V \ 5301 Hyde Park Blvd. BikesRaleigh, Peugot, Fuji,Motobecane, WindsorRollerskates for Saleor Rent\ 684-3737 Open 10-7 M-F, 10-5 Sat.11-4 Sun.VJ>• The 3-HOUR ACTIVITY SESSION INC.is presently accepting applications!Activities include horseback riding, nature walks, skating,arts & crafts, swimming, special fun reading activities,drama and much, much more...transportation providedONLY $100.00—10 weeks JUNE 29^SEPT 4$25.00 each additional child per family aexcellent supervision. Ms. Mary mMarmalade" Strut hers, directorClD493-3412 Writ* Summer Day C«mp9 a.m.-6 p.m. Mon-Fri TheJ-HourActhrkySeasioa.Incsaw S. fogtertde, Chicago, II.. 606156 — The Chicago Literary Review — Friday, June 5, 1981Burroughs & The Fog of WarBy Jay McKenzieBeyond simply the dearth ofstatistics lay the domain of obfu¬scated information, or what Mar¬shall Foch called the 'fog of war'.. . When an incident took place,an assassination, for example,immediately there was spunaround it like a cocoon around asilk worm larva an involvedthread of interpretation. Thoseremote from the event, say, in theUnited States, were never able toseparate fact from speculation,and after a period even the eye¬witness in Vietnam began todoubt his own memory.— Douglas Pike, Viet Cong. . .this continual barrage ofimages makes haze over every¬thing, like walking around insmog, we don't see anything.—William S. Burroughs, The JobCities of the Red Night, the latestbook by the prolific and uneven Mr.Burroughs, fails where it ought to suc¬ceed and vice versa. Burroughs, alwaysoriginal and sometimes difficult, is thatrarity in a field defined by the ephe¬meral: a survivor. In fiction's avant-garde, reputations click over like ducksin a penny arcade — often propelledthrough their cycle by the whims ofbored professors of modern literature.(Fiction has its fashions, like anythingelse.) And from the publication of hisfirst book in 1953 — Junkie, an addict'sconfession — to the present, Burroughs'work has progressed through all phasesof quality and popularity.Junkie, a modest book, benefittedfrom its author's utter candor. It wasone of the first contemporary accountsof opium addiction, and it remains thebest. Cities of the Red Night, a muchmore ambitious book, shares the can¬dor that Junkie first exemplified, butfails to achieve anything like its predecessor's impact. Where Junkie was fo cused, tightly controlled, Cities of theRed Night seems pointless. The partsfail to add up to anything meaningful.In several of his other books, Bur¬roughs has used the methods found inCities of the Red Night with more suc¬cess. The technique is a sound one:frangments are juxtaposed in such away that the several plots inform eachother, creating resonance and meaningfrom the manipulation of seeminglyunrelated texts. When the technique isworking, as in The Wild Boys, for exam¬ple, the result is convincing. A world isassembled and populated, and the dis¬tant author looks on with ironic, almostclinical, detachment. Cities of the RedNight, however, never manages tosolve its technical problems. The firsthalf of the novel is too meditated —rewritten to the point of exhaustion.Burroughs seems to promise an easyread. He keeps his plots separate andwrites with an almost condescendingclarity: no one is going to accuse him ofmuddying the waters, the first half ofthe book seems to say.Finally, when the reader is beginningto wonder if any of the subplots will beredeemed, the separate tales begin toconverge. But if the author's caution isexaggerated in the first half of the book,so is his haste in the second. The differ¬ing plots, so long held apart, come to¬gether in a confusing manner. Charac¬ters from other books pass through. Therhythm is all wrong. According to hispublisher, Burroughs spent ten yearswriting Cities of the Red Night. If true,there is at least something admirable inhis persistance, if not in his division oflabor: the book reads as if the first halftook most of those ten years to write,leaving only a few weeks for work onthe remainder.The major premise of the book is sim¬ple, if a bit odd. Burroughs summonsforth the ghost of Captain Mission, aneighteenth century pirate, who foundeda colony on the coast of Madagascar,governed by a set of libertarian princi¬ ples known as the Articles. The colonywas ultimately destroyed, and Missionkilled. But what if he had lived?''The chance was there. The chancewas missed," Burroughs writes in aforeward. "Your right to live where youwant, with companions of your choos¬ing, under laws to which you agree,died in the eighteenth century with Cap¬tain Mission. Only a miracle or a disas¬ter could restore it." Burroughs de¬livers the latter: a virus inspired byradioactivity, which produces an in¬tense and fatal sexual frenzy. Source ofvirus? The cities of the Red Night, six innumber, located in what now is the GobiDesert. The resultant plague reducesthe population of the earth to what itwas three hundred years ago. The Ar¬ticles are again imposed, this timemore successfully; this, then, is thecore of Burroughs' revisionism.Mailer once said of Burroughs that"he is the only American novelist livingtoday who may conceivably be pos¬sessed by genius." Now, Norman Mail¬er is many things to many people, buthe is certainly a careful writer: Bur¬roughs, he tells us, does not possess ge¬nius, he is possessed by it. The distinc¬tion is important and instructive. Whenat his best, Burroughs writes with animmediacy and spontaneity that fewwriters can match. (With the exceptionof Kerouac and other Beats, with*whomhe was associated in the 50's.) But Bur¬roughs is also a conscious craftsman,attentive to the orchestration of themesand stories. In Cities of the Red Night,neither skill is apparent. Much of theurgency of Burroughs' earlier prose islost, and the combination of themes andsubplots produces little more than con¬fusion. But out of this confusion, somepoints may be drawn.Burroughs holds a deeply mechanis¬tic view of human nature. His opinionson the subject can be approachedthrough the metaphor of the drug —when it makes one smile or vomit, therecan be little doubt who is in control. The drug — an external agent — penetratesand animates, giving life to 'junk-hungry' cells. Thus, by an extension ofthe drug metaphor, it becomes clearwhy Burroughs' fiction is filled withspirits who enter men to control them.Fear, envy, greed, desire: these furiesare analogous to the actual penetrationachieved by the sodomist, whosenumbers are legion in Cities of the RedNight.Despite the book's almost-trendy in¬vocation (a literal one, to various east¬ern and mythic gods), Cities of the RedNight really stands in a secular light:flesh is a mere concoction of chemicals,and no spark, divine or otherwise, illu¬mines man. The characters are cycledthrough lust and greed, withdrawal andhigh, only to emerge unchanged.Events are devoid of meaning. Evil andgood have been replaced by discomfortand satisfaction. None of this is new, ofcourse: writers have bemoaned the lossor absence of meaning for years now.What is new is the ferocity with whichthe view is put forth. In a review writ¬ten shortly before his death, Nelson Al-gren said, "Burroughs' humor differsfrom other black humorists because itis not black, but deep purple. It hasblood in it. This author seems preparedto kill."Had Algren done his homework a bitmore thoroughly, he wouldn't havebeen surprised by Burroughs' seem¬ingly murderous intensity. In the early70s, Burroughs told Rolling Stone mag¬azine, "If I really knew how to write, Icould write something that someonewould read and it would kill them."Noble sentiments, indeed. One thinks ofthe last lines of the Invocation to Citiesof the Red Night, which are in turn thelast words of "Hassan I Sabbah, Masterof the Assassins": "NOTHING ISTRUE. EVERYTHING IS PERMIT¬TED." One wonders how seriously Bur¬roughs himself subscribes to this view.Turn to p. 17seminaryNEW NOVELS BY: NADINE QORDIUER. FRANCINE DU PLESSIX GRAY,SY CUU&K* SAtO. SH4L&- 'YAMS ~ PRifOH A PO -A +H&&SBO RAQB fOfThank You!It’s been a marvelous year, and we’ve all enjoyedserving you. We thank you most sincerely foryour patronage.If you’re leaving Hyde Park we hope you’llremember us; if you’re staying here this summerwe hope you’ll please stop in and see us ...We are ...John Gary MichaelKeith Wendy PamJanet Joe SteveWe wish you the most pleasant of summers!the staff ofThe University of Chicago BookstoreGeneral Book Dept.Stuart Brent, Manager8 — The Chicago Literary Review — Friday, June 5, 1981Excerpt from: “Life in the New World”By Kfilth Fleming"Might as well tell you straight out Ienvy your strangeness, young man. Theway you have of preserving it! Whotaught you to ignore your way through alobby like that and come out herealone?"The man had started speaking to Ha¬milton from the minute he stepped outonto the loggia, and now he joined Ha¬milton at the parapet overlooking Dar¬lington Square. The two of them werethe only men out here."Listen carefully now, young man. Inoticed you failed to acknowledge oneof the brilliant men who nodded to youin the lobby just now. Fine enough solong as you're new here and enjoy whatthe French call the "benefit of no¬velty". But you must know that nothingpalls so fast as an incommunicativeyoung man, and that you'll soon need toadopt new tactics. Yes, tactics, youngman. You will want to milk your role asStranger for all it's worth. I'm sureyou've noticed the stares you draw ev¬erywhere. It's been a long time sincewe've had a real stranger among us andif you can keep an air of beguiling mys¬tery about you who knows how oftenyou might be "venerated" (sucked off)by the Palace guard — off into lowshuddering laughter. "Now the diffi¬culty will lie in keeping your mysterybeguiling — there's no sense in being apuzzle no one's interested in piecing to¬gether — and I can't tell you what greatart this will require, or rather I can, forin fact that's the only reason I'm talk¬ing to you at all young man. No oneknows more about strangeness thanI."The man did seem pretty strange. Atuft of white hair, like a feather in aheaddress, curled out from the hairlineof his skull which otherwise looked deli¬cate and domed as a lightbulb. Bonyarms folded themselves bossily acrosshis boyish chest."Let me be your guiding genius,young man — you certainly need one. Imake the ideal friend. Generous, gos¬sipy, disinterested as a playful god, I'mcompletely sexless yet fascinated bythe sex drive and its implications." Theman again broke off into that laughter,wicked and relishing, which is peculiarto people who delight in shocking them¬selves; people who, despite ther highly-developed snobbery and sophistication,carefully preserve in themselves thatnaive -jnd eternally scandalized nunwithout whom wordly wisdom is just nofun. v"No v before you can even begin to beproperly mysterious, young man, you must learn how to walk in your towel.Really, to watch you scuttle across thelobby a minute ago one would think youwere some heterosexual patteringacross the tiles of his gym locker room.Rule number one, therefore, is DON'TCLUTCH YOUR TOWEL - it won't falloff! Rule number two is WALK GRA¬CEFULLY, Now I'm more of the strut¬ting than the swishing school, but what¬ever you do, DO IT EFFORTLESSLY.Pretend your towel is a kilt. Have theconfidence your cummerbund shouldgive you."I tell you all this so suddenly, youngman, because I don't want to contamin¬ate your precious strangeness with anyknowledge of myself. I want to remaina dream voice to you, the voice of yourgenius. I do seem a trifle unreal, don'tI?"Watching the evening breeze rufflethe man's white feathertuft, Hamiltonfound himself nodding in agreement.Everything seemed a trifle unreal. Thispalace loggia where they stood. The cir¬cular staircase before them leadingdown to Darlington Square. The men intowels everywhere.In the center of the square stood thefountain, Golden Showers, threecherubs spouting golden chablis ingreat twinkling jets from their penises,each cherub with a jaunty hand at hiswaist. The public had recently com¬plained about them and a sculptor hadbeen hired to "buff" their bottoms, itbeing thought disgraceful that their lit¬tle rear ends should already hang slackwith fat. Beyond Golden Showers stoodThe Lonely Boy Bar, glass gables glow¬ing turquois against the night sky. Aconverted greenhouse, The Lonely Boyin fact boasted two separate bars: TheTemperate Tearoom and The JungleGym. Outside the entrance stood twomen in tails and jockstrap, battery-powered red lights clipped to their cupsand blinking through the spray of Gold¬en Showers. To the right, tame enough,dozed a Cafe Manana from which camethe sound of a woman's lacquered nailsdrowsily raking the strings of her gui¬tar. To the left, The Gallery of Ghostsinvited men to dissolve into its absolutedarkness and to do much more besides.Most unreal of all to Hamilton was the lesbian stronghold, LavenderManor, far off on the promontory abovethe bay — unreal, because >t wasLaurice's new home, he still c uldn'tquite believe it. He imagined LavenderManor as a place where girls couldalways remain, well girls — aristocra¬tic girls. Here ravishing unravishedgirls climbed into their canopied bedsall pink and excited from their baths,candles flickering by the window openon the thunderstorm, the girls now wig¬gling and shivering with pleasure undertheir sheets in their white cotton night¬ies, nothing farther from their k’indcurious minds than some hairy rapa¬cious man panicked and perverted byhis own lust. . ."The lobby lights are winking, youngman, but before we go back to our seatslet me briefly outline for you somethoughts on strange behaviour. Neverlet anyone trap you into a simple opin¬ion on anything. People are sure to quizyou about this woman you've come withand you've got to learn the trick ofbeing evasively specific. Everybody'son the look-out for evasive generalities,but who can argue with specific^? Tellthem that you love this woman — love isthe richest and most tantalizing word inthe language and no one will know whatyou mean. When they ask you in whatway you love this woman, pretend youdon't understand and tell them howcould anyone not love her? Describe tothem in great detail the adorable wayshe chooses her outfit for the day, orwhy she over-tips in restaurants. No¬body can complain you're not trying tobe helpful and confiding and yet you'vetold them absolutely nothing."One thing more, when we go in theauditorium, continue to sit alone, butthis time look around you. Glance at ev¬eryone once, but nobody twice. Be in¬discriminately friendly. And don't doanything so foolish as try to hide yourconnection with me. As I said, I'm apretty strange bird myself and yourlink with me will only heighten yourmystery."The lights in the auditorium dimmedas Hamilton found his seat (a divan),the footlights went deep blue, and elec¬tronic thunder rolled over the loud¬speakers. Amiable laughter swept tierafter tier of men reclining friendly andleisured on their divans in this worldwhere the word "scandal" kept a warmplace in everyone's vocabulary.Laurice had come back on stage stillnude but for the dark-blue canvas fire¬man's coat; she now led a dalmation ona leash and twirled the crystal hilt of apink umbrella. The Palace Philhar¬monic struck up a racy twelve-barblues boogie-woogie and Lauricelaunched into the occasional: "Some¬ one Else Be Stormin' 'Sides TheStorm", in allusion to the day's mostdelicious scandal. It had occurred dur¬ing the afternoon thunderstorm: Endi-cott Bradley, a notorious weil-likedyoung man now blushing good-natured¬ly on a central divan, had run throughthe puddled streets "shouting like aperfect little monkey" as the Daily Ea¬vesdropper reported it. Rain — it wasgenerally agreed on the island — wasbest exploited for its melancholy in-doorsy influence, and good form duringrainy weather had come to mean read¬ing by the window, dreaming by thewindow, kissing by the window, forgod's sake at least staying inside andnot disturbing the few moments ofpeace and lamentation most people en¬joyed by the streaming window!Laurice led the dalmation off stage,and returned a moment later complete¬ly nude. A nude man joined her. It wastime for another "Theatre of the Mind"production — this one about the self-de¬ceptive technique some young men em¬ploy to insinuate homosexuality intotheir fantasies. The innocent youngmind, not yet aware of the true object ofits desires, conjures up a couple: afrisky man and a frigid woman."Theatre of the Mind" dramatizes thisby having Laurice stand very still andsmall while the male actor strides busi¬ly around her, sizing her up. The PalacePhilharmonic accompanies this actionwith plucked basses suggesting slyprowling about a trapped prey. Bas¬soons begin sticking their noses in,sniffing out the catch, until all the or¬chestral voices are peeping in and outwith quickening interest. The orchestraworks itself into a fit of passion as theyoung man tries to lead the woman offto bed. She won't budge. Here's thetwist. The footlights fade out and thefollow-spot picks up only the youngman, his outstretched arm now tuggingon a body which has disappeared fromsight.It becomes clear that the woman wassimply an invention used to disguise themind's exclusive interest in the man. Ina dazzling revelation, the orchestrasounds a triumphant major chord andthe lights come up not on Laurice, buton another man! This new man instant¬ly allows himself to be drawn into ouryoung man's arms, and the two menembrace to the cheers of the crowd.But let's not forget our hero, Hamil¬ton, looking so mysterious there on hisdivan. In his "Theatre of the Mind"production, no doubt he'd want to disap¬pear with Laurice, and while he's at it,from this crazy island too, where apretty women's nakedness was consi¬dered "interesting" and exotic of allthings!Lehnhoff Schoolof Music & DanceSummer SchoolJune 15 to August 6For ChildrenMUSIC FUNDAMENTALSCOMBINEDWITH CREATIVE DANCEMonday and Thursday4 year olds: 1:305 year olds: 2:306 and 7 year olds. 3:30 Tuesdays and ThursdaysAdult balletWednesdaysAdult jazz danceFndaysAdult dance exerciseAND MODERN DANCE1438 F. 57th Street 288-3500 MiMONDAYJUNE 87:30 p.m. rt t m‘sS ~D°n'eMimeth*s eve^-AN EVENING WITHCHICAGO’S ARTISTIC DIRECTORSReading from their favorite pieces:Gregory Mosher, Goodman TheatreCindy Sherman, St Nicholas TheaterJason Brett, Apollo TheaterJames O'Reilly, Body Politic TheatreNicholas Rudall, Court TheatreVal Gray Ward. Kuumba WorkshopRobert Falls, Wisdom Bridge TheatreStuart Gordon, Organic TheaterBrad Hall, Practical TheaterJeff Hagedorn, Theater BabylonEric Steiner, North Light RepertoryArnie Saks, Travel Light TheatreChuck Smith, Amistad ProductionsArnold Aprill, City Lit TheaterTickets S5.50 $5*CALL 443-3800'Student*Senior*. A I C Member* Subscriber*n r-, ’rlnri r-1 .il1 (Goodman JColumbus Dr at Monroe St ChicagoThe Chicago Literary Review — Friday, June 5, 1981 — 9Vietnam: Soldier’s RemembranceEverything We Had: An Oral History ofthe Vietnam War8y AI SantoiiRandom HouseBy Peter BurkholderOld Battle field, fresh with Springflowers again —All that is left of the dreamOf twice ten thousand warriorsslain.— BashoVietnam is healing after thirty-fiveyears of war. Though giant bomb-craters and defoliated fields still markthe bitterness of recent fighting, theland itself is growing whole again, andthe people, bent and molded by the pos¬twar government's designs, are movingon as well.In the United States, the people whocreated those craters and devastatedthose fields, who killed people andburned huts and patched up bleedingbodies and collected intelligence andsuffered and survived in the name ofthe United States and the internationalwar against communism, are healingtoo. Like the Vietnamese they foughtamong, with, and against, they livewith a tangle of personal experiencesfrom that war.Everything We Had: An Oral Historyot the Vietnam War by Thirty-ThreeAmerican Soldiers Who Fought It, col¬lected and edited by Al Santoii, a sur¬vivor of that war, gives testimony tothat healing, to the diversity amongAmerican personnel, and to the vivid¬ness of their memories. The people whotell their stories here are still coming toterms with what they have done andwhat happened to them, sorting out themeaning of the chaos they saw. Sharingin their remembering is a powerful wayfor those of us who did not serve in Viet¬nam to understand better what we weredoing in Vietnam and how the peoplewho did it for us were put in that posi¬tion.Included in the book are not only sol¬diers but also officers, medics, andvarious support personnel. There aretwo women among the thirty-three,both nurses; there is a pilot who was aprisoner in Hanoi for six years; there isa CIA case officer; there is a supply of¬ficer who spent his time hiring bar girlsand trading on the Army black market;there is a SEAL (Sea, Air, Land guerril¬la — one of John Kennedy's pet ideasfor special units, like the Green Berets)who tells of barefoot midnight assassi¬nation raids staged with ali the carefulplanning and thorough intelligence ofthe (roughly contemporary) MissionImpossible series on television.Some of these were volunteers, somedraftees, some career officers. Somefeei the U.S. could have won the warwith sufficient commitment fromWashington, or if public opinion had notturned — the CIA officer, for instance,feels the Viet Cong saw the 1968 Tet of¬fensive as a total loss until PresidentJohnson quit the primaries. Some wereopposed to the war at the time, seeingthe corruption of the South Vietnameseor the illogic and destructiveness ofAmerican involvement, and servedonly because they had no choice. It is toSantoli's great credit, and an importantstrength of the book, that so many dif¬ferent points of view are represented,and each person is allowed to speak forhirr, or herself.The book is organized more or lesschronologically, from the beginnings ofthe U.S.A.'s involvement to the fall ofSaigon. No attempt is made to sketch acomplete history of the war, but u clearimoression of the general shape of tneconflict emerges, as the U.S. is gradually sucked in, escalates, and rathermore quickly withdrawsThe stories these people tell are in Wounded Marine From Heart of Darkness by Don McCullin (Knopf)yjsgjBfrjjS/ m BMPScredible. The supply officer tells ofstealing a water tower with a sky crane,trading cement for steaks which hetraded in turn for water heaters, andwatching officers write themselves upfor a Purple Heart for stubbing a toe oran Air Medal for flying around the base.His story is dovetailed with a Marine'swho served at about the same time(1967-1968), and Santoii wrings gallonsof bitter irony from the contrast. TheMarine discovered quickly that the warwasn't like war movies he'd seen. Hisboots were two sizes too big, his packfar too heavy (new weapons fire muchmore ammunition than the old onesdid), nothing to clean his rifle with buthis toothbrush. He saw a friend kill hisstaff sergeant — killing other Ameri¬cans was common, as others in thisbook make clear — and witnessed aclassic example of wartime heroicsduring the battle around Khe Sanh:(Clare) refused to evacuate him¬self and got a couple of other guysout who couldn't make it. He washit a number of times at thatpoint and was firing one-handed.He used a pop-up flare to take outa couple of gooks. He had doneeverything. This guy had firmlystated that he wanted to becomea Medal of Honor winner. Thatwas his whole raison d'etre forbeing involved in the VietnamWar. He was a crazy fucker, theballsiest son of a bitch I ever met. .There was nobody there to writeup his Medal of Honor papers.Half the battle is getting a goodwrite-up and since the officersand everyone else were dead, hedoesn't stand a very goodchance.Clare, described earlier as being "really into war", was killed three weekslater.The most interesting stories are notthose of combat as such, but thoseabout the relationships between theAmericans and the Vietnames< Aradio technician who served in 1962 1963describes the war at that time as "anine-tofive war", held at the Ameri¬cans’ convenience, with time off for"happy hour" after four-thirty and nowar on weekends or holidays. TheAmericans were tne war; if they didn't"go ou1 and chase people around andshoot at them", there was no fighting.There was plenty of time tor going tothe beach, where English speakingVietnamese, many of them students,wouid ask about the United States andthe Declaration of Independence, won dering by implication what the Ameri¬can army's defense of a repressive po¬lice state had to do with those ideals.The American personnel at that timecould not avoid seeing frequent demon¬strations against the Diem regime, de¬monstrations which were dispersedwith tear gas, bullets, and police vio¬lence.A nurse who served in 1970-71 went toVietnam because she opposed the warand wanted "to help people who didn'tbelong there." She found that treatingthe wounded Americans made her hatethe Vietnamese, all the Vietnamese,and began to think of them as less thanhuman. An airborne rifleman fell inlove with a woman in a small village hisunit was guarding and began to teachschool there, thinking of himself as akind of Peace Corps volunteer. The warseemed very distant, and when his unitpulled out for three months he lookedforward to going back and living therein peace again When his unit returned,they found the village had been burnedto the ground, flattened by the VietCong because the villagers were Ameri¬can sympathizers.An advisor to the South VietnameseNavy river patrols found an outlet for ihis own opposition to the war in a prot¬ect to raise money for an OCPha/iagt !Injured Vietnamese CivilianFrom Heart of Darkness by Don McCullin (Knopt) wounded children, run by nuns; because he went through a stateside news¬paper columnist to raise funds, he wasbranded a troublemaker by the Navy.The CIA officers describes atrocitiescommitted by the Viet Cong in theircampaign to terrorize the villagers, andcomments that the villagers wouldhave been happiest to be left alone byViet Cong, South Vietnamese Army,and Americans alike.The book takes us beyond the UnitedStates's withdrawal from the war afterthe 1973 treaty, all the way to the fall ofSaigon in 1975. A Navy Hospital Corps-man describes the scene from hisstandpoint on an aircraft carrier in theTonkin Gulf receiving the refugeesfrom Saigon:There were people coming out inboats, half-sinking boats. Therewere people who had their ownairplanes who were flying out.There were all these choppers wehad left there; they were usingthese to fly out, the Vietnamese.The flight deck was so full ofchoppers that we had to pushthem overboard because therewas no room, we couldn't get ourown choppers in. We were flyingthe big medevac choppers. Wehad an overload, packing in abouttwenty-five at a time, both Viet¬namese and American. It wastotal chaos. The Purple HeartTrail, the road that came into Sai¬gon from the paddies west of thecity, was so jammed, from the airI could see columns of people thatwere at least twenty miles long. Alot of children were crying. Somehad clothes they picked off deadbodies. Most werg barefoot.There were oxcarts and theywere hauling what they had.There were wounded men on bothsides of the road with battledressings on. The NVA (NorthVietnamese Army) was lobbingthese rockets all over the place,they were wiping out civilians. .People want me to bury it. Ican't bury it. I did learn something and I'm not sure what. But Iknow it's affected me a whole lot.And I think it's in a good way andI think I've really grown fromthat, because I don't want to seeit happen again and I really careabout people. To really try to helppeople to work through the prob¬lems of their own.After every war the U.S.A. hasfought, survivors have come home andbeen forgotten. In what sense, the Viet¬nam War was no different; these survi¬vors tell of the shock of coming home,unceasing anger, bottled-up emotionsthat take years to release, unthinkingquestions like, "Well, did you kill any¬body?" The only distinction of Vietnamwas that many Americans wereashamed of what their governmentsand their soldiers had done in theirname.But wars surely must not be allowedto evaporate from memory, whetherthey are considered crimes against hu¬manity, imperialist forays, or altruisticacts. The descriptions in this book areso cleat, accurate, and spare that thereade” experiences some of the ter¬rorizing panic of being surrounded byrandom violence all the time. And thestories in Everything We Had tell atruth and they tell it vividly. It is onlypart of the truth, to be sure; the storiesof the Vietnamese themselves, of Thepoliticians and military men who |planned The war, and of the civilians Iwho opposed it, would tell other truthsas weli about Vietnam which have been Inecessarily left out of this moving andimportant document.McPhee: Range After RangeBasin and RangeBy John McPheeFarrar, Straus and GirouxBy Paul AusickIn April of 1827, the fur trapper Jede-diah Smith and two companions left Ca¬lifornia for rendezvous near Bear Lake,on the Utah-ldaho border. They crossedthe Sierra Nevadas about 30 miles southof Lake Tahoe and walked east bynortheast across the heart of the basinand range country. On June 22, theparty camped on Thomas Creek, alongthe Nevada-Utah border, at the foot ofthe Deep Creek Mountains. Believinghe was nearer the Great Salt Lake thanhe was, Smith (still over 80 miles away)turned north and nearly died before hefound fresh water, 3'/i days and 70scorched miles later. In his diary,Smith wrote, “Our sleep was not re¬pose, for tormented nature made us dream of things we had not and for thewant of which it then seemed possibleand even probable we might perish inthe desert unheard of and unpitied. Inthose moments how trifling were allthose things that hold such absolutesway over the busy and prosperousworld."Dozens of similar stories are told oftravelers and explorers of the greatdesert of Nevada and western Utah.These stories are part of the lore of thatcountry, where the emptiness can besuffocating and the physical danger,even today, immobilizing. The allure ofthe desert remains in being able towithstand its vastness.Now, John McPhee, a regular contri¬butor to The New Yorker and author of14 previous books, has added to the sizeof that desert, as well as to general un¬derstanding of geology, in his bookBasin and Range. The story he tells is every bit as compelling as Jed Smith's,though of an altogether different di¬mension. McPhee's purpose is to “sug¬gest the general history of the continentby describing events and landscapesthat geologists see written in rocks."What geologists now see in rocks can bestated simply as deep time and con¬stant motion. Deep time is a trail ofyears of unimaginable length. The ol¬dest known rocks on earth are about 3.8billion years old. The age of the earthitself is about 4.6 billion years. The faultblock mountains of the Basin andRange are 5-20 million years old, stilladolescent. McPhee suggests this wayof visualizing it:With your arms spread wideagain to represent all time onearth, look at one hand with itsline of life. The Cambrian beginsin the wrist, and the Permian Ex¬ tinction is at the outer end of thepalm. All of the Cenozoic is in afingerprint, and in a single strokewith a medium-grained nail fileyou could eradicate human histo¬ry.Constant motion may be a bit easierto grasp: “The sites of Reno and SaltLake City, on opposite sides of the(Basin and Range) province, havemoved apart fifty miles." That's sincethe faulting began, some 20 millionyears ago. Nevada and Utah are grow¬ing at the rate of about 2Vs inches ayear. Doesn't sound fast? Fifty millionyears ago India slammed into Asia atabout that rate of speed. The result wasthe highest mountain range in theworld, the Himalyas. McPhee puts itanother, more graceful way: “If byTurn to p. 19Brustein: The Life of the TheatreMaking Scenes: A Personal History ofthe Turbulent Years At Yale, 1966-79By Robert BrusteinRandom HouseBy Bruce ShapiroOn the cover of Seasons of Discon¬tent, Robert Brustein's fifteen year oldcollection of drama reviews and arti¬cles from The New Republic there is aphoto of the author. It expresses per¬fectly the qualities which still make thecollection lively reading and an educa¬tion for anyone interested in theater,critical practice, or fine writing: Brus¬tein sits isolated in an immense audito¬rium, arms folded in an arrogant, ad¬versary posture, his face replaced by araucously unhappy tragic mask. Thereis also a photo on Brustein's new book, amemoir of his thirteen years as Dean ofthe Yale Drama School and ArtisticDirector of Yale Repertory Theater.Brustein leans wearily out of the frame,he smokes a large, donnish pipe, andhis face gazes wistfully off into space.Once again, though less happily, thephotograph seems to have captured theessential qualities of the prose. •There are basically two kinds of artsmemoirs. The more appealing examp¬les of -this bizarre species are sleazyoutrageous, and scandalous, full of ut¬terly foul gossip and rumor mongering.The other subgenre is the Serious Mem¬oir, usually written by superior cre¬ative artists who are too honorable to goslumming. Deadly dull.It was probably inevitable that Brus¬ tein would write a Serious Memoir; heis a superior artist and a superior critic,possessed by a righteousness and integ¬rity which makes it quite unlikely hecould generate any interesting sleaze.His New Republic articles from theearly sixties bolstered that small seg¬ment of the theater that was imagina¬tive, innovative, and stimulating; andanalytically and stylishly excoriatedeverything conventional and second-rate. In 1966 he was appointed Dean ofYale's Graduate School of Drama, atthe time an encrusted, fossilized institu¬tion which hadn't turned out a worth¬while professional in years. Brusteinabolished tenure, brought in new teach¬ers and artists from off-and-off-off-Broadway and Europe, totally re¬vamped the curriculum to create aninnovative professional conservatory,and created the Yale Repertory The¬ater as a platform for his Idea of whatan American theater could be. Within afew years the Rep was mounting someof the most interesting and excitingplays and productions in the countryand the School was turning out sea¬soned professionals like playwrightsChristopher Durang and Albert In-nauratto, critic and traslator MichaelFeingold, and actresses and actorsMeryl Streep, Talia Shire, Ken Howard,and Henry Winkler. In 1979 Brusteinwas ousted by the new Yale President,A. Bartlett Giamatti, in a bitter fightover the school's style and professionalstandards. Brustein packed up andmoved his company to Harvard, where Robert Brusteinhe started the American RepertoryTheater to carry the flame.Nothing is more frustrating thanreading (or reviewing) a dull book by awriter one admires — let alone a cul¬ture hero. Making Scenes is not a badbook, certainly well written, with someinteresting accounts of productions andbackstage machinations — but boring,boring, boring, all the more annoyingwhen compared with the incisiveness and fire of Brustein's criticism. Even atheater afficionado can only take somuen minutia about each season andproduction. The only time Brusteinraises the hackles for more than a mo¬ment are in the sections describing the1970 visit of the Black Panthers to Yale(re-printed from Brustein's earlier vol¬ume, Revolution and Theater) and hisrift with Giamatti. The Giamatti pas¬sage is a thorough scorcher, but eventhis is interesting mostly to Yalies andacademic insiders.Brustein also occupies much spacewith descriptions of various fund-rais¬ing efforts, mostly grovelling forgrants. The issue of arts funding ismaybe the most interesting issue raisedby the book. Brustein spent much ofwhat could be far more creative time asDean on bended knee to various founda¬tions, endowments, and philantropists.This was at a time when theater wasrapidly gaining broad public appealand funds were more readily availablethan ever before. Now energy and laborcosts are forcing ticket prices upwardat the same time that audiences haveless to spend. The Federal Govern¬ment's various arts subsidies, whichover the past fifteen years have both di¬rectly supported many programs andencouraged increased funding from pri¬vate sources, are falling under the Rea¬gan ax. It is worth noting that the Ad¬ministration is spending more onmilitary bands than on the National En¬dowment for the Arts. Bad times for thetheater.weniKBASEMENTOFREYNOLDS-InventoryNew Store Hours for Summer 10 A.M.-6 P.M. Monday-Fri.A.M.-5 P.M. Saturday10% OYlf r avvyi10% off all Popular RecordPurchases $6.75 regular price20% off all Classical Records$6.75 regular priceSale Dates June 22-2 7, 1981 \ensesOUR PROMISE: VIf you aren’t fully Wpleased with your Wlenses after 60 1days, the cost of the 1lenses will be refunded.'2566 N-Clarktp*^ 1724 Sherman Ave.Ph. ft 975-1616 EvanstonJL 60201All contact lens fitting done by AhoV6 CountV S6dtour Contact Lens Specialist M *viz a aVi* 1Dr. S.C. Fostiak, Optometrist. r ll. oo4-444lWHITE SALE Now in ProgressTwin $6.50Full $8.99Queen $11.99King $14.99STD Pillow Case $6.50King Pillow Case $8.50Ultimate Luxury - SOLID COLORS NO - IRON PERCALEYour Choice of Brown • Camel « Bone • Navy • Lt. Blue • Rose • MelonSEE OURWIDE SELECTIONOF WAMSUTTAPATTERNS PRICEDTO SAVE $’sINFLATION FIGHTINGSAVINGS MADE IN U S A.CANNON®• Solid Colors• All 1 st QualityThick N’ Thirsty-TOWELSBATH TOWEL $4.44 HAND TOWEL $2.94WASH CLOTH $1.64BE SURE TO SEE ALL THE NEW FASHION STYLESFROM UTICA® AT SPECIAL SAVINGS5225 S. Harper Harper Ct.Hyde Park, Chicago955-0100 - DAILY 10-6 Sunday 12-5 JZin&tfllforldFashions for Bod S Bath # Kitehon 131 Skokie Hwy. NorthbrookLake Cook & Edens Hwy835-3228 - DAILY 9:30 - 5:30 - Sunday 12-512 — The Chicago Literary Review — Friday, June 5, 1981By Gregory A. SpragueChristianity, Social Tolerance andHomosexuality: Gay People in WesternEurope from the Beginning of theChristian Era to the Fourteenth Cen¬tury. John Boswell. University ofChicago Press.John Boswell has received an aston¬ishing amount of praise. Since the publication of Christianity, Social Toler¬ance and Homosexuality, Boswell, anassistant professor of history at YaleUniversity, has gained a great deal ofrecognition for his scholarship andground breaking research in the area ofmedieval homosexuality. The book hasbeen acclaimed and praised by such di¬verse publications as Time, VillageVoice, Newsweek, Gay Alternate, andthe New York Review of Books. It hasjust received the 1981 American BookAward (formally the National BookAward) for history. Although the ma¬jority of the reviews have been positive,there are some reviewers who havebeen quite critical of Boswell's histori¬cal interpretations and his word usage(such as using the term "gay" to de¬scribe homosexuality in medievalEurope).But even Boswell's most ardent crit¬ics have conceded that the book is amajor piece of scholarship which hasbrought to light evidence that docu¬ments the widespread existence ofhomosexuality in Western Europe dur¬ing much of the Middle Ages. The workcontains 400 pages of text and over 1100footnotes, which one reviewer estimat¬ed averages out to 2.9 footnotes perpage. Many of the footnotes are in thelanguages of the original sources in¬cluding Latin, Greek, Hebrew and Arabic. These footnotes can be a little overwhelming to the average reader who isnot versed in the classical languages ofthe ancient world. But surprisinglyenough, the narrative reads remark¬ably well. Boswell keeps the majority ofhis esoteric scholarship to the foot¬notes. The readability of the book isprobably one reason for its popularityamong non-academics.The book is a significant landmarx inthe field of sexual history. For too long,the history of sexuality has been assigned to a lowly status in the hierarchyof socio-historical studies. Until the decade of the 1970's, the historical study ofsexuality, especially homosexuality,was not considered respectable orworthwhile. If historians did discusssexuality, it was usually out of igno¬rance and ethnocentric bias, or as away to spice up a dull classroom lecturewith a piece of historical gossip. Butsome historians, like other social scien¬tists before them, are realizing howvery revealing sexual attitudes and be¬havior are when one is investigating theculture and social structure of a societyover time. Recent historical studies,such as Vern Bullough's Sexual Vari¬ance in Society and History (1976 b havemade strides in legitimatizing the fieldof sexual history. But with Boswell's er¬udite and scholarly Work, the history ofsexuality, in general, and homosexuality, in particular, has come of age as avalid area of research.Boswell's work is also having an impact on the development of gay cultureand the gay rights movement. The bookgives gay history a respectability whichit never had before. It presents over¬whelming proof that men have contin¬uously practiced homosexuality sinceancient Greece right through the Middie Ages down to the present. Overt Homosexuality can no longer be viewed asa "decadent aberration" of our modernage. Clearly, same sex relationshipshave always been a part of the socialfabric of Western culture.But throughout much of the history ofWestern civilization, the heritage ofsame sex love has been denied gay peopie by the dominant heterosexual society. But with the rise of the gay rightsmovement in the post World War II era, _ The “Gay”a struggle against this "conspiracy ofsilence" has been waged by gay peoplein order to find their own cultural heri¬tage. The publication and popular suc¬cess of Christianity, Social Toleranceand Homosexuality can be viewed as amajor victory for gay culture in thiscontinuing struggle. Keith Arrowsmith~>( the Village Voice has even suggestedthat Boswell's book is actually a weap¬on for human freedom "by armingthem (gay people) with incontroverti¬ble proof that the arguments their foesbring against them are historically con¬tingent, erroneously reasoned, andgrounded In nothing but fatuity andfear."Harmodius and AristogitonBoswell clearly states the main thesisearly in his work: "Much of the presentvolume ... is specifically intended torebut the common idea that religiousbelief — Christian or other — has beenthe cause of intolerance in regard togay people." Although he believes that"religious beliefs may cloak or incorpo¬rate intolerance," Boswell sets out todemonstrate that the "homophobia" ofWestern civilization was not inherent inthe foundations of Christianity.He begins his historical investigationwith the pre-Christian Roman Empirewhich laid much of the cultural founda¬tion for the medieval world. Boswellconcludes that "Roman society wasstrikingly different from nations whicheventually grew out of it in that none ofits laws, strictures, or taboos regulat¬ing love or sexuality was intended to pe¬nalize gay people or their sexuality;and intolerance on this issue was rareto the point of insignificance in its greaturban centers."He then examines the scriptures ofthe Christian faith to uncover their anti¬homosexual tenets. But instead, hisanalysis finds that the New Testament,unlike the Old Testament, "takes nodemonstrable position on homosexuality." His analysis of the early ChristianChurch also surprisingly reveals "nogeneral prejudice against gay peopleamong the early Christians." Boswellin the chapter entitled "TheologicalTraditions" suggests that only a vocalminority of Church fathers were trulycondemnatory of homosexual behav¬ior; and this condemnation was nogreater for homosexual behavior thanfor other behavior that is universallyaccepted today such as "lending at in¬terest, sexual intercourse during themenstrual period, jewelry or dyed fabrics, shaving, regular bathing, wearingwigs, serving in the civil government orarmy, performing manual labor onfeast days, eating Kosher food, practicing circumcision ..."In the third section of the book enti¬tled "Shifting Fortunes," Boswell documents the growth of tolerance towardhomosexual behavior in WesternEurope from the dawn of the Middle Middle AgesAges to the 13th century as well as thecorresponding development of a gaysubculture with its own literature. Withincreasing urbanization and the revivalof classical humanism from antiquity,the environment in western Christen¬dom during the eleventh and twelfthcenturies was ripe for the general ac¬ceptance of the pederastic heritage ofthe Greco Roman civilization. Chapternine entitled "The Triumph of Ganymede" and the appendices contain won¬derful and illuminating examples of thepederastic literature of the High MiddleAges written by "gay men" (mostlychurchmen) in praise of beautiful boysand young men. The following versesfrom such a poem (simply entitled "Toan English Boy") exemplifies this Kter-ary tradition:Hail, fair youth, who seeks nobribe,Who regards being won with agift as the height of vice,In whom beauty and honestyhave made their home,Whose comeliness draws to itselfthe eyes of all who see him.Golden haired, fair of face, with asmall white neck,Soft-spoken and gentle — but whydo I praise these singly? •Everything about you is beautifuland lovely; you have no imperfection,Except that such fairness has nobusiness devoting itself to chastity.In the final section entitled "The Riseof Intolerance," Boswell traces the riseof homophobia in Western Europe andthe disappearance of the gay subcul¬ture in the last half of the thirteenthcentury. He finds it difficult "to analyzethe causes of this change satisfactorily ... but the literature of the day does indi¬cate profoundly altered ideas on thepublic about the gravity of homosexualacts, acceptability of homosexual persons, and the nature of gay sexuality."This lack of possible explanations forthis increase of hostility towards hornsexuality in the thirteenth century doesGanymed John Boswellwith eagleweaken Boswell's overall analysis. Butin the theological realm, Boswell placesmuch of the blame on the homophobicScholastic philosophy of AlbertusMagnus and St. Thomas Aquinas.Aquinas becomes the real "heavy" inBoswell's account.One controversial issue, which criticshave raised, is Boswell's usage of theword "gay." Throughout the work, herefers to men with the same sex preference as "gay" which some reviewershave suggested is an anachronistic useof the term. But Boswell does give aprecise operational definition of theword "gay": " 'Gay' . . . refers to per¬sons who are conscious of erotic inclina tion toward their own gender as a dis¬tinguishing characteristic or, loosely,to things associated with such people,as 'gay poetry'." He dismisses the word"homosexual" as inadequate to de¬scribe the nature and full range ofcharacteristics of gay people in anychronological period, because the wordincorrectly implies "that the primarydistinguishing characteristic of gaypeople is their sexuality." He also ob¬jects to the word on linguistic grounds.The term "homosexual" is really a se¬mantic mistake which came into beingin the nineteenth century when thisLatin-Greek hybird was first coined.Several critics have claimed that“gay," is a contemporary political termwhich has only come into commonusage (meaning homosexual) in thelast two decades, and thus is an inap¬propriate label to place on people of theMiddle Ages. Boswell does suggest thatthe origins of the word "gay" may betraced back to thirteenth century Pro¬vence where a similar word gai was as¬sociated with the literature of courtlylove. But documentation for this argu¬ment is very weak. In the English-speaking world, the term "gay" firsthad sexual connotations when it was ap- iplied to prostitutes in the nineteenthcentury. At least by the 1920's, if notearlier, American homosexuals fromthe urban subcultures were callingthemselves "gay". But whatever theorigins of the word, today most men,who are conscious of their homosexua¬lity, prefer the term "gay" over "ho¬mosexual". Thus Boswell also defendshis use of "gay" on the grounds that aminority group has the right of self¬labeling, so "there can be no more jus¬tification for retaining a designation outof favor with gay people than for contin¬uing to use 'Negro' when it has ceasedto be acceptable to blacks."But the real issue is: Did thosetwelfth century men, who Boswell la¬beled as gay, were really "conscious oftheir erotic inclination toward theirown gender as a distinguishing charac¬teristic?" The emphasis of this defini¬tion must be placed on the words "a dis¬tinguishing characteristic." Thesemedieval men, who lusted after andloved other men and boys, were proba¬bly quite aware of their erotic feelingsand sexual urges. But did they viewthese homoerotic desires as a distinguishing Characteristic? Did their sexuality make them view themselves as adistinct group or minority? These arevery difficult questions to answer;since finding the answers would probably involve the almost impossible taskof psychoanalyzing the self identities ofthese "gay men" who lived nearly eightcenturies ago. Not even Boswell has uncovered enough new evidence to conclusively demonstrate that most of thesesupposedly "gay men" of the eleventhand twelfth centuries viewed their ho¬moeroticism as a distinguishing featurethat made them truly different fromother men with heterosexual desires. InthP Middle Ages, different sexual actswere recognized but separate sexualcategories or groups were not. Dividinghumankind up in categries based onsexual desires only emerges in the latenineteenth century.Another debatable issue, which is atthe heart of Boswell's whole argument,is the origins of homophobia or anti-gayattitudes in Western culture. As pre¬viously noted, Boswell contends thatChristianity is not at the root of this homophobia. But he does not satisfactori¬ly suggest another source for this anti¬homosexual tradition. It not Christianthought, from what intellectual/philo¬sophical tradition did this unique andoften very hostile homophobia in West¬ern culture originate? Boswell is veryelusive on this point.Boswell is especially taken to task forhis consistent defense of Christianity bythe Scholarship Committee of the GayAcademic Union in New York. Thethree reviewers (Warren Johansson,Wayne Dynes and John Lauritsen),Turn to p. 19TONI CADE BAMBARA:A Noted Black Writer Speaks About Her Fiction,A rich woman, Toni Cade Bambara. Fettered not instoves or minks, but fettered richly in words, language, vi¬sion, Blackness, community, the woman. Rhythm. Bam¬bara is the author of two fine collections of short stories,Gorilla, My Love and The Seabirds Are Still Alive, as wellas the 1979 novel. The Salt Eaters, and has edited two col¬lections of short Black fiction, Tales and Short Stories forBlack Folks (1969) and The Black Woman. She has taughtat several universities, and worked as a freelance writer,social worker, actress, filmmaker, and consultant on anumber of conferences on the humanities. Widely travelled,Bambara is considered by many to be one of the most important Black authors writing today. At the University re¬cently, Bambara was interviewed by Larry Dunn and Rich¬ard Kaye about her own writing, Black writers, her work infilm, and the problems facing the Black artist.By Larry Dunn and Richard KayeKaye: is there a lot of uneasiness among critics over theidea of someone writing with a great deal of specificityabout anything, from being Black to being a woman, tobeing Chicano or whatever? Do you think there is discomfort on their part, as well as a certain amount of pressurewhich such critics put on a given writer to blend in withan amorphous crowd?Bambara: You're speaking of white critics? I assumeyou're talking of white critics.Kaye: l guess I would have to say white critics because theproblem wouldn't seem to come up with black critics.Bambara: Mostly, the conventions of criticism — I'm talking about those of the New York Times or the New YorkReview, or those of the Saturday Review, are primarilyan Anglo-Saxon set of conventions. One of the tenets ofthat body of nonsense is this doctrine of universality,which means.Anglo Saxon. So any kind of specificity isalways going to be disturbing to the extent that it doesn'tfit into that doctrine. If they have to talk about certainwriters, writers who to my mind are composing the bestof American literature at this moment, which is found inthe small press community as done by Chicano writers,Puerto-Rican writers, Asian writers, African-Americans,Native Americans, and so forth, they invent terms like"ethnic” to account for "other." And the notion is alwaysif they like you, then somehow you have succeeded inspite of your limitations, in spite of your commitment to acertain reality map, to a certain set of conditions that arepeculiar to the community you serve, document, or givevoice to. So if you star* talking about that very circum¬scribed, narrow little fictive schema, i.e. the world of theNY Times, or the world of most white critics, you've already encompassed them, surrounded them, but theydon't know that, and that's what gives them such dis¬ease. So they wind up saying things like, as they did in theNY Times review of Toni'Morrison's book, Tar Baby,"She's not a black writer," and that's supposed to be acompliment — it is a most vile, insidious remark, imply¬ing that Black people are not cosmic, or universal or in¬ternational, or even people! I would say the problem hasalways been a problem in this country and it's not anydifferent now. That is to say the policy has always beenfor so called ethnics — and that can be the Greeks oneseason, or Native Americans another season or workingclass Irish writers, whoever — that they are obliged tosomehow survive the white Wasp reader to the point ofentry into their novels, into their works.One of the charges that has often been made about mynovel. The Salt Eaters, some people make it an observation, other people make it a charge, others as a threat, isthat I provide no point of entry for white readers. Thereare no white characters to identify with, there's no catering to that set of norms and priorities that characterizethe so-called white readership. Of course, the questionthat I would raise is why should one have to at this point intime, since it is not like we have just got here and justbegan writing. The problem exists and quite frankly is noparticular concern of mine.Kaye: So you think that Black writers should work withoutany concern about what white critics say?Bambara: It depends on what you're doing. I think the obli¬gation of any writer, of the task of any writer is going tobe determined by the status conditioning process of thecommunity that writer serves. If you come out of, or iden¬tify with the "fat cat" American empire, then your obli¬gation is to discuss what you find with the status quo — toact as though there is no other alternative way to realityor no other kinds of ways to signify the world. And that ispolitically your task, that is essentially what they do. Ifyou are a Cuban writer, a post liberation Cuban writer,your obligation is to celebrate the triumph of the nationalwar. If you are a Kenyan writer in the late sixties, or evennow, your obligation, given the status of forces in that country, is to either address yourself to the class conflict,or the neo-colonial phenomenon in that country and totake a stand. That very much depends. So if you are amember of a downpressed community, your obligation isto make revolution irresistible. To celebrate the strengthof your community in such a way and lift up the weak¬nesses in such a way that you encourage people to devel¬op heart and to go right on. But your task is going to bedefined by the community you identify with, dependingon what its status is.Dunn: What responsibility does the Black critic have? Doyou see it being reflected today?Bambara: In general, the job of the critic is to read widelyand to lift out the patterns. And to somehow ring a circlearound the writers so that they have something to push upagainst. To identify certain patterns, to relate that towhat is traditional, and to interpret in terms of what ismodern. And perhaps, if they are really bold, to projectinto the future — what are the imperatives of our literature in the future — and to make some kind of commen¬tary which obliges the critic to have to do an awful lot ofhomework. One needs to be very well grounded in thestrength, tradition, folklore, the idioms, the pitch, pace,the music, in order to be intelligently able to lift out thosepatterns and to give them a name. Name them. A reallygood piece of criticism not only reviews the work but alsospeaks to the writer in terms of calling them to somethinghigher; and also speaks to the reader in terms of makingthat work accessible, adding some dimension to the read¬ing that the sloppy reader) the casual reader, or the pre¬judiced reader might miss. It's a formidable job. And Ithink at the moment our critics lag at least thirty yearsbehind our writers. God knows our writers have donetheir work.Dunn.-Margaret Walker in a recent interview in CALLALOO, referred to a lack of communication between theBlack female and the Black male writer. And in a recentNY Times Book Review article, Ishmeal Reed andQuincy Troupe seem to refer to the Black male writer asthreatening to the American critic's way of seeing things.Could you comment on this?Bambara: First of all there has been this mumbling mut¬tering nonsense going on for maybe six years now: thatthe only members of the writing community that arebeing published now are the women, and that's because,to quote: "Women are less threatening to the political-economic-social establishment. Now, in addition to beinguntrue, and ungracious, and divisive, it is also not true ifyou just count the numbers, those who are getting pub¬lished. But more than that it is sheer illogic. Because ifthis is so, then does that mean all the years when Blackmale writers were being published and female writerswere absolutely downpressed, does that mean we were agreater threat? In other words, the logic just doesn't scanand so finally it is just "pique" that we are hearing. AndI'm not surprised to hear it from Ishmeal Reed. Ishmealis a good friend, a good buddy, but Ishmeal is Ishmeal.And if anybody gets a play other than Ishmeal Reed, he'llhold a press conference on your behind, and your nephew,and your mama. And that for him is great fun, he meansno particular harm. He's a mischief maker, that's part ofthis character and one of his values in our community.He's a disturber of the peace, that is one of his roles, andbless his heart he does it well. When someone like QuincyTroupe, however, makes that statement, we need to askQuincy to engage in some principal of self-criticism be¬cause it is not characteristic of Quincy and its not charac¬teristic of that school, that group, of writers who knowbetter. And he knows better. (Quincy Troupe is editor ofthe NY AMERICAN RAG magazine.)Kaye: But doesn't this idea, that writers are somehow incompetition with each other, seem oppressive? Doesn't itseem to be a capitulation to those white critics who youwere speaking about before?Bambara: It is very stupid. One of the things I respectabout Toni Morrison is that she understands, as many ofus do, that everything in society is set up on the premisethat conflict is the only drama in town. Everything isabout competition and conflict. We see that across theboard. Turn on the talk show, the interviewer, the host,has three people, the object is to get them at each other'sthroat and somehow that is exciting. The notion that threeminds coming to bear on a single idea can be exciting isjust completely thrown out of the window. Since the wholelayout in this society is primarily hierarchical, the notionis you only have one per generation, everybody else mustsit down in order to let folks compete, in order to get tothat one spot. When the person gets to that one spot andunderstands the game, that this is nonsense, then that oneperson at the pinnacle can do all that he or she can to kickthe door open and to divide ail the goodies, to bring asmany folks in as they can. Which is essentially what ToniMorrison does, which is one of the many reasons I respecther so much, she's got such good sense. Frequently I've been on shows where the interviewerwill say something like, something recent, "Reading you,looking at the couples in your work, doesn't leave me witha nasty taste in my mouth as it does when I read. . ." andthen they list three or four other writers. At that point Ijust have to stop the show. First of all you're talkingabout my friends, you're talking about my sisters, mycolleagues, my buddies — and you're basing the remarkon the assumption that there's a tournament going on.What on earth could be the prize? Your approval? What'sthe thing? I think for the most part there's nonapprecia¬tion, yet, on the outside of the community of writers,whether that community is gay writers, feminist writers,Asian-American male writers, Native American-NorthDakota, female writers between the age of thirty. . .,there's nonappreciation of the fact that people are not outthere alone. There's no such thing as first person singularwhen you're talking about writing. You're talking about acommunity of writers. There are not many writers outthere who operate with the notion that it's a solo perfor¬mance that produces the literature of our time. That'smadness.Dunn: Do you see publishing and distribution as main problems facing Black writers?Bambara: Sure, there are problems. But we've got severaloptions for getting a manuscript published in thisi country. You can go to the major publishing industrywhich is very much committed to that one writer per gen¬eration, only one on your block. And there's no particularsympathy, commitment, or concern with who's doingwhat and what is important, or with what people get outof it. Then you've got the major magazines, you've got theuniversity presses, many of which now are gearing up forfiction and poetry houses and divisions. You've got thesmall press journals as well as the small presses. Thereare the vanity presses and you've got self publishing andall Kinds of variations. You can either publish it on thekitchen table and use your address book for distributionthat way. And then there's the religious press, which isnow moving away from hymnals, "How I found God"books and moving toward medicine, metaphysical counselling. They're kind of stretching out a bit. And then youhave another way to bankroll a project, and that is, forexample a friend is doing a children's book on theShriners, and getting the Shriners to bankroll it, to be thepublisher and the distributor. Or Black Beauticians, forexample. A group from D.C., they've got some money,and they say, "Well, why don't we consider doing a film,or a book, or a play, or something, in which one of ourcultural heroes, namely a beautician, is your star?" Andget them to bankroll it. So you've got several options toget a manuscript published.The problems are economic to a great extent, gettingsome dough to sit down to work. And then the problem ispromotion and distribution; in other words, they've got awhole intricate and elaborate mechanism that exists andstands between the practitioner and the audience, thataudience that names you. And you've got all this mess14 — The Chicago Literary Review — Friday, June 5, 1981-From the Danger ZoneLiterary Politics, and The Problems of the Black Artistthat you have to do a little 'brer rabbit' number to figureout a way to get to it and confront, in the nicest, mostprincipled sense of that word, that leadership that cangroom and accredit you and keep you moving.Dunn: Building a readership, yes. In Chicago, you go on theCTA bus and you see the books the people from our com¬munity are reading and invariably they are not the booksour writers are writing. How does one go about building areadership among the Black audience.Bambara: One of the ways is to demystify the book, byreading on the radio, by doing readings. I do readings inlaundromats because that's where families are. BecauseI write, for example, stories in Gorilla, My Love that areprimarily considered children's stories, and certainlyadult audiences are gathered in laundromats. In The Sea- guage will deliver up. You test its productivity.It's some amazing kinds of things going on in America,in the so-called English language in order to make it accommodate itself to those experiences and priorities anddefinitions and visions of the people who use it who haveto reinvent it all over again. And the same thing is true offeminists. Feminists who have vested interest in dismantling the patriarchal reality, so to speak, have got to de¬velop a vocabulary which enables us to talk immediately,address immediately what it means to move through theuniverse as a woman. It means having to rediscover, toreinvent a new body of symbols, words and terms, newidioms, new paces, new forms, new schemas.Women writers, particularly feminists, that is to sayself defined women writers, are very much concerned pull the covers off of people who are very close to you,whom you may not have permission from to expose theirbehind in public. Which is why I think so many writers, toput it in a really gross way, wait until their mama diesbefore they write their memoirs. You cannot go aroundtalking about your family jn an honest, or what seems tobe honest, what you say can be, you don't know if it's honest, the truth, or in those words or not. So they're off thescene, because they're not going to like being impaled inink and being pressed in print.Dunn: What about James Baldwin? His father was said tohave been alarmed by Go Tell It On The Mountain, orRichard Wright, and his experiences which he wrotewhile his parents were still living?Bambara: Well can you imagine being Jimmy Baldwin'sfather and reading that. Or, which is more to the case,what the other versions of daddy, and the other versionsof daddy and Jimmy, the other members of the family?Does that disturb them in any way, does it help illuminateanything, does it create friction and distrust?Dunn: Hence your caring and compassion portrayedamong your characters. Would you say that Velma in TheSalt Eaters is suffering from a loss of compassion?Bambara: No, she is suffering from the necessity of having,to juggle so much. To negotiate a way in this crookedplace requires that one not only be schizophrenic but thatone be polyphrenic all the time. The war is fought oneighteen fronts all at once. And here's this sister who hascome along, who's come of age in a period characterizedby civil rights, the Black Liberation Movement, the BlackStudies Movement, the student movement, the women'smovement, all of that. All of which "impacts" on how youfeel, the relationship to yourself, to your community, tothe dude, to your work. It constantly demands radical al¬terations in your world view. All of that costs something.For the Japanese, for example, to move from the feudalsociety to modern industrial society in one generation,what has it cost them? It certainly shifted their percep¬tion. And you to go Japan, what do you notice, 98% of thepopulation wears glasses. It costs something to makethose kinds of quantum leaps. Our generation was actual¬ly fatigued, burnt-out, by having to make those nimbleadjustments, dealing in a daily way without a hell of a lotof models to extract lessons from, since so many of ourmodels have been downpressed, eclipsed, smeared andgotten a bad press, made unavailable to us, becausethey're all locked up in cages. So the character of Velmais exhausted by all that. Of course the fact that she caresis what makes her keep hanging on. If she didn't care,why then she could just negotiate a bogus peace, off onthe side and trip out and call herself middle-class.Dunn: Doesn't The Salt Eaters work as a piece of music?Bambara: Yes, it's a jazz suite. I would have been a musi¬cian, except that I find it much easier to carry pencil andpaper than a piano up and down the street!Kaye: You have said in an interview that at some point youTurn to p. 20birds Are Still Alive, there's a thing called "Girl Story,"that's very much a juvenile or teenager's story. And inthe collection that is coming out soon, there's one storythat's absolutely from the point of view of a four-year-old,and then there's another piece that's very much a teen¬age love story. The laundromat is one of the few placeswhere people are available. They're sitting there, they'reusually not doing anything but talking, so it's a good placeto read a story.Demystifying books is very important. When I'm in anelementary school, or any school, I find for the kids it'skind of startling to realize there's a person behind thebook. It's not that they thought books came out of ma¬chines, it's just that they never thought about it. But oncethere's the notion of a real live person who lives in thecommunity and that you can go up to them in a supermar¬ket and talk to them and say, "Hey, I read that book and Ilike this and I didn't like that) and what about this." Alsoa lot of the stories I do that wind up in school readers, Iusually 'child-test' them. I'll make a point to go into the’basketball court or the pool hall or the swimming pool, ormy fire escape or my porch and we work through it, it's acollaborative kind of effort.Dunn: What about demystifying the English language, doyou think that, as far as Black spirituality is concerned,we can inform ourselves adequately with it through theEnglish language? You hint on this in the interview yougave in Sturdy Black Bridges.Bambara: We, as well as other communities of color, havealways been doing just amazing and reckless, daring,flamboyant things to press the limits of the English lan¬guage. English after all was invented for mercantile en¬terprises. So it's very good for talking about things. Butit's not so very good for talking about the most importantexperiences, one's own experiences. You'll have a hell ofa thing talking about various states of consciousnessusing English. For example, if you picked up a sevenpage document written in Hindu, or Ordu, about alteredstates of consciousness, it will take you a good hundredpages to translate that into English. The language justcan't carry that kind of freight, it's about something else.So you wind up with Black people making demands onthat language, breaking those walls down, so that the lan- with all of that by having to portion the language in otherkinds of ways, again, to make it accommodate that reali¬ty that you know is valid, but that the language does notvalidate for them.Kaye: Are you at all excited by the trend in fiction wherethere is a blurring of non-fiction and fiction, a breaking upof these traditional literary bounds? Are you excited thatthe bounds between, say, fiction and autobiography, arebecoming murkier?Bambara: I'm excited about the fact we're no longer lyingabout those parameters or values that we once thoughtexisted, that we've erected between forms, because theynever were true. Everybody will always assume thatmost first novels are autobiographical to an extent. Mosthistory that's written, Lord knows, is highly selective fic¬tion. The fact that Mailer, Capote and a few others arenow doing things called "faction" is just a way of ack¬nowledging that it has always gone down. Of course theJanet Cook-Pulitzer Prize business is another variation ofthat theme. It's different from Jimmy Breslin and others,what I call the sloppy school of journalism, a combinationof diary-journal entries and a little fiction, with drama,melodrama and soap sitcom.Kaye: Which brings up the question related to your otherinterview from Sturdy Black Bridges, where you speak ofyour reluctance to become too autobiographical in yourfiction. This is curious to me because I thought, if any¬thing could drive home this idea of getting down to specif¬ics, it would be dealing with Toni Bambara.Bambara: That's only a point-of-view As far as specificsgo, there are lots of different kinds of truths. Some areabsolutely grounded in facts. But there are other kinds offacts that are imagined, that are converted from the factual data, that are far more usable. The main reason thatl don't write autobiography is that it is boring. Once Ihave experienced it. I've already extracted the lesson,otherwise I don't move on. What I'm more concernedwith is whether that lesson is of any importance to any¬body else, in which case the only way to test it is to put itinto another situation with other kinds of characters anda totally new environment.To do autobiography I think is simply boring, plus Ithink it is sometimes rude. Because it means you have toThe Chicago Literary Review — Friday, June 5, 1981 — 15ChevroletSPECIAL DISCOUNT PRICESfor oil STUDENTS, STAFF,and FACUITT MEMBERSJust present your University ofChicago Identification Card. Asstudents. Faculty Members or Ad¬ministrative Staff you are entitledto special money-saving DIS¬COUNTS on Chevrolet Parts. 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Illinois 60525(312) 352 5640•NORTH S N W SUBURBAN474 Central Ave/Upper Mall LevelHighland Park Illinois 60035(312) 433-7410nor All COURSf S AVAIlABt ( SPRING, SUMMERFALL INTENSIVESCOURSES STARTINGTHIS MONTHSummertime MCAT, SAT, ACT. 4 wk/GMATNEXT MONTHSummertime LSAT, GMAT, GRECourses Constantly UpdatedLicensing Exams in Center Self StudyFor rtornmon Afiou 0**r Carters m Mere Then so Mayx US Caes 4 AbroadOUTSIDE N Y STATE CALL TOLL FREE 800 223 1 782 DR. M.R. MASLOVOPTOMETRIST•Eye Examinations•Contact Lenses(Soft & Hard)* Ask about our annual service agreement•Fashion Eye WearHYDE PARK SHOPPING CENTERBAUSCHLOMBSOFLENS(polymacon), Contact Lenses1510 E. 55th 363-6100Ugly I> ticklingRENT-A-CAR « ]$13.50 per day 200 Free MilesBetween 1C Tracks m ffeOHAand Cornell 667-XOVU Walnut Wood DesksDelivery AvailableBRAND EQUIPMENT8560 S. Chicago RE 4-2111Open Daily 4:30-5, Sat. 9:00-3By Angela JacksonToni Morrison never writes the samestory twice. She is not the writer whohypnotizes herself with repeated lan¬guage gestures, or the same story toldin the round. The Bluest Eye, her firstnovel, was a memory that cut like aglass knife, tragically realistic, poet¬ically perfect. Sula, her second, was amoment of sorcery and magic, spell-casting, haunting. Song of Solomon, theNational Book Critics Circle award win¬ning third novel, was myth, the tough,exhilirating stuff of legends. And Tar-baby, the latest, recently released best¬seller is the African-American folktaleof the same title, extended, fleshed out,reendowed with the energy of a particu¬lar master storyteller. The codified wis¬dom of the oral legacy retains its valueas metaphoric truth, because Morrisonhandles the story.And what a story this is: A Black sail¬or called Son jumps ship, stows away ona small pleasure craft bound for a pri¬vately owned island. The owner, Va¬lerian.Street and his wife, Margaret, aformer "principal beauty of Maine",live on the island. Their leisure is sup¬ported by Sydney and Ondine Childs,their Black houseservants, and Thereseand Gideon, Black island folk who laboroutside the house, (f/e/dworkers). Ja¬dine, neice of Sydney and Ondine, is theStreet's houseguest and social secretary, a Paris model and jetsetter whohas come to the island to reflect on herpast,meaningless life. It is the lure ofJadine that draws Son into the complexsocial system of Valerian, the CandyKing's houshold.Tarbaby is the story of Son, theformer Florida college student, Vietvet, native son nurtured in a Black envi¬ronment of kinship and caring, (Son issimply called Son because in the con¬text of his home environment, his tribe,he is a son). Tarbaby is the story of Sonand Jadine, the orphaned sophisticatewhom Ondine diagnoses as 'never having learned to be a daughter'. ‘She is anew creation who has lost "the ancientproperties of the tribe", who abhors themythic images of Black women whohaunt her dreams. An African-American FolktaleTarbaby is a lovestory and more: aperfect metaphor for the modern dilem¬ma of African Americans; a perfectmetaphor for the state of the whole soci¬ety, and the fragmented people who fallagainst each other like wrong pieces ofa wholely wrong whole; a perfect meta¬phor for the trouble and the triumph ofthe individual self grounded in "the ancient properties of the tribe".What sets this lovestory apart fromthe shiney, embossed, fat books thatmonotonously crowd the bookstoreshelves? What is the difference be¬tween this lovestory and those cookiecutter books hacked out heavy-handed¬ly with too much sugar, and dusted inlust and ground out dreams? Tarbabyrises above hormones and hunger because Morrison knows where Son andJadine live; and what living where andwhen they do means.Although this is the story of a womanand a man, their relationship is offsetby the realities of three other couples,the white industrialist and his "ob-ject"wife, the Dutiful Black householdretainers, the Caribbean field folk.Whereas Sula was female-centered;The Bluest Eye was child/family cen¬tered; and Song of Solomon was malecentered, Tarbaby is centered most di¬rectly in the contemporary experience.It comments most strongly on the poli¬tics of culture. Morrison's vision ex¬poses the indecency and corruption ofthe current dominant culture, the cul¬ ture that ignores, and/or exploits thedignity of the person and other peoples,that violates the beauty of the humanheart, the sanctity of the earth; that denies its responsibilities to generationsand to the universe itself. There are"terrible penalties" for such innocentobscenities; prices that Morrison suggests will be paid for assimilation intocorruption,/ There are wages that aredue which wll be won by the earthwhich casts off the tiles of Valerian'shouse; won by the trees marshalling forwar, the emperor ants that listen andstrategize; won by, perhaps, the blindhorseman, the former enslaved Afri¬cans, who roam freely in the islandmist, who the wise and blind Theresesees, and who welcome new members,"a certain kind of man", like Son.Morrison gives us a context, a creat¬ed space inside a particular vision; amusical use of language and innovativeand brisk narrative structure, weightedwith (not leadened by) symbols and reverberating with the collective wisdomof the African-American folkbase fromwhich Morrison expands, riffs quickand strong. This vision that makesroom for blind Black horsemen, freewarrior-spirits, is a tough, moral one.This is art, urgent, socially responsible,and possibly (quiet as it's kept).revolu¬tionary.But Morrison's vision has alwaysbeen grounded in an abiding morality;a morality not so bound and narrow asto diminish the possibilities for magicand innovation.She has never run away from the wildperversity of people. The stuff we shoutand laugh about in kitchens: lowdown,complicated Sula who put her ownmama away and slept with her bestfriend's husband; Eva, who put her ownleg on the railroad track for the insur¬ance money; Eva, who bathed her ad¬dict son in oil and lighted him with anawful love.She has never run away from theawful agony of our whispers: little Pe-,cola Breedlove who has been taught bythe rejection of her beauty to worshipwhite dolls, who prays for bluest eyes;her father who rapes her out of tender¬ness and anguished, twisted love;Hagar who didn't have sense enough not to let Milkman drive her stonecrazy.She has never been immune to ourmagnificence: Pilate, navelless, suffi¬cient unto herself, who invented her¬self, who wears her history in an ear¬ring: Milkman who learned to fly as hisAfrican ancestors had done.Morrison has always had a courageand an honesty guided by a keen sensi¬tivity to the authentic dignity and complexity of the Black Experience. Thateasy reverence is revealed in her attun-ement to real speech. There are placeswhere the dialogue is so true that itshouts. From Jadine the word ignorant"with the accent on Ihe syllable ig".From Ondine, "... I am the woman inthis house. None other. As God is mywitness there is none other. Not in thishouse." (Blackpeople are always ask¬ing for a witness, and what better onethan God?) The characters all talk withtheir own nuances, speak individually.Morrison's picture making gifts, asvivid as the ancient myth-artists, arenot lost in Tarbaby. Not as intrinsicallya part of the character of the languageitself as in the more poetically beautifulThe Bluest Eye and Sula, Morrison'simages still stun: ". . . crying girls splitinto two parts by their tight jeans,screaming at the top of their high, highheels," Jadine relaxes and reflectswhile wrapped in her baby sealskincoat which is black as tar. Surely she isthe tarbaby we have all heard about,the reluctant seductress set out by thesocial forces that shaped her. The ploydesigned to trap the free, self-determin¬ing Brer Rabbit; the trap from whichBrer Rabbit must break free.If Tarbaby did not have Toni Morri¬son's name on it it would be just asgood. It would be better because noreaders lingeringly in love with one ofher earlier books would come seekingtheir favorite story retold. Morrison isat that dangerous place where somepeople start looking for the artist's mis¬takes. But she has the classic bluessinger's stanch: she is too damnedmean to satisfy error-seekers. Like thegospels, she soars too high, and likejazz, she thinks too fast.Men in TroubleThe Men's ClubBy Leonard MichaelsBy Richard KayeIn his two previous collections ofshort fiction, Going Places (1969) and IWould Have Saved Them If I Could(1975), Leonard Michaels brilliantly re¬vived what seemed to be fast becominga severely ailing creature: the Jewishshort story, as once practiced with ex¬pertise by writers such as Saul Bellow,Bernard Malamud, Grace Paley, andPhilip Roth. That particular species offiction may have already seen its bestdays (What, with'Jews becoming moreand more a part of the dominant Ameri¬can culture, is there left to write aboutwith regards to Jewish culture? Whatcould possibly come after Roth's cruel,somehow elegiacal tales of the joys andfrustrations of assimilation? Movingaccounts of Great Neckers makingsoulful journeys to Tel Aviv?). Only au¬thors such as Michaels, and perhaps Cynthia Ozick and Mark Halperin, ap¬peared equipped to keep the Jewishshort story from exhausting all of itspossibilities.Michaels, by the evidence of his firsttwo books, was clearly the most avidexperimenter in literary form of all ofthese writers. He didn't even need todeal with specifically Jewish matters;there was something semetic in thesheer urban freneticism of stories like"City Boy", "Intimations", and "Re¬flections of a Wild Kid", somethingJewish in all of the loud, conversationalexpansiveness. There was, best of all,none of Roth's hyper-self-conscious¬ness. Michaels had a cruel, deft ironicstreak, but he could be deadly serious,and he could be very moving. Hisfamous story "Manikin", about therape of a university student and hersubsequent suicide, is perhaps one ofthe most horrifyingly convincing ofstories about a sexual attack yet writ¬ten.Michaels, alas, has abandoned theshort story form for a while, but hisfirst novel, The Men's Club, is morethan just a failure in form. A very slimbook, it is the story of seven men,friends and strangers, who come to¬gether at a house in Berkeley for a"consciousness raising group of thesort their wives have eagerly joined.The novel's narrator, a young profes¬sor, yearns for a cause:l thought again about thewomen. Anger, identity, politics,rights, wrongs. I envied them. Itseemed attractive to be deprived in our society. Deprivation givesyou something to fight for, itmakes you morally superior, itmakes you serious. What was leftfor men these days? They al¬ready had everything. Did theyneed clubs? The mere sight oftwo men together suggested aclub.But the desire for higher conscious¬ness never creates much that is tran¬scendent, let alone convincing. Themen gather around, remember failedaffairs, unsatisfying marriages, and afew female friendships. Gone is Mi¬chaels' stylistic inventiveness, and in¬stead we get stale California satire, aswell as the vague scent of misogyny(when the men raid a refrigerator, andnearly destroy the house they are meet¬ing in, the host's wife shows up in anasty caricature, only to smash a potover her husband's head. How sad thatthe novel's one female character is buta soggy cartoon, Betty Flintstone per¬haps). Most sad, however, is that somuch of Michael's knack for the per¬fect, luxurious sentence is missing (andsome sentences are just perfectlyawful: "The way her blouse continuedtrembling also affected my sympath¬ies, making pity and sadism mastur¬bate each other, making me likeher..."). This is west-coast good 'oleboyism, poorly rendered, badly arrivedat.in an interview last month, Michaelssaid about his latest venture, "I rereadthe novel many times, and wheneverI'd spot a passage that was too wellwritten, I'd mess it up." It is an idealike this, apparently paradoxical,which leads a fine writer with just whathe asked for: a messed up little book. Continuedfrom p. 7The book brings us ultimately togreat and irreducible questions: Isthere divine sanction, ultimate mean¬ing? And if not, mightn't it be better topretend there is? The book at last ref¬uses to answer either question, leavingus only with the author's cool and enig¬matic smile: irony provides comfort¬able refuge. And yet the appeal is notunattractive. Burroughs' prose is admi¬rable, clear and precise. But it is a fe¬verish clarity, and beckoning — some¬how moist and repellent in itsproximity. One wonders if Burroughs'book about a deadly virus is itself aseed, ejected in the hopes of producinglater and somehow ruinous plant life.The book has a kind of vegetable horrorto it: mindless, purposeless growth. Attimes, it reminded me of the kudzu vinewhich grows rapidly, killing what itfirst envelops.Early in the book, an army scout, YenLee, witnesses "a scene that he quicklyerased from memory." In large partthis is a Book of the Grotesque — thereader wishes that he had Yen Lee'spower of erasure, so as to leave behindthe hangings and rapes, the beheadingsand the putrescent corpses. Death is soubiquitous that the reader ceases toreact, and perhaps that is part of Bur¬roughs' point.Junkie revealed the existence of anUnderworld of drugs, crime, and homo¬sexuality. Nearly thirty years later, thepublication of Cities of the Red Nightmakes a true revolution complete: thatsame Underworld has become, at leastfor some, the Overworld.The Chicago Literary Review — Friday, June 5, 1981 — 17DuchampBy Abraham LeviJack Burnham's apocalyptic visionand his unique perspective on the life ofMarcel Duchamp, one of the 20th Centu¬ry's most enigmatic artists, haveplaced him in the vanguard of art criti¬cism. The modern art movementswhich he supports include conceptualart, ecological art, anti-form and artepovera which are among the most con¬troversial works of the 1970's. The in¬creasing public interest as well as thecontinued failings of the western modelof life motivated this review of the principal works which embody his vision.Through a look at BEYOND MOD¬ERN SCULPTURE and most impor¬tantly GREAT WESTERN SALTWORKS one can trace Burnham's de¬velopment as a theorist and strugglewith his provocative belief in the im¬pending demise of western civiliza¬tion.Marcel Duchamps works and atti¬tudes and the notions that support themhave been a dominant force in art since1910. Duchamp first achieved fame as aCubist and his NUDE DESCENDING ASTAIRCASE is considered by many asone of the principal Cubist works. Hisreadymades caused a tremendous stirduring their day and were responsiblefor a major shift in people's perspective Reconsideration:An Apocalyptic Art Criticas to the nature of the art object. Hislater works, especially LARGE GLASS,have been studied, debated and misunderstood for half a century. His life wasequally mystifying to the public. Hewas famed for his indifference to artand life and spent most of his later lifeplaying chess in favor of making art.Essential to Burnham's approach tothis material is his belief that westerncivilization is in a state of rapid decline.Burnham's principal analytic tools arestructural anthropology and semiology.As a structural anthropologist he main¬tains that cultures are bound togetherand supported by a group of collectivebeliefs (mythic structures). The predo¬minant beliefs in Western culture arefaith in science as salvation for all prob¬lems, and progress. These myths arefailing. In the first five essays Burnhamclarifies the nature of this dilemma andattempts to show its causes and impli¬cations.Parallel, if not pre dating the generalloss of faith in these beliefs is the loss ofthe myth of the tradition of art. Fromsemiology, he posits that art is a signsystem which, by definition, has certaininternal logics. As a sign system it isalso essdentially a mythic structure.The method that traditional art func¬tioned was by representing. The formindicated or denoted what it represent¬ed. The work functions through this do¬uble process. The form signified thecontent. Non-objective art reduced thesignifier and signified in art to a singleprocess system. Since the introductionof non-objective art, Burnham postu¬lates that art has continued in thisprocess of devolution. As art is releasedof its signifying function it's essentialstructure and logic may be revealed. Burnham obliquely expresses the no¬tion that the essential structure of art isrelated to the experience of, and is per¬haps a celebration of everyday life. Yetthe state of art has declined to a "mereshadow of its original self". As the logi¬cal structure of art is destroyed artloses its mythical value. Another factorin social cohesiveness is lost.Burnham sees Duchamp as the pro¬phetic spokesman of this demise and aman who offers alternatives. The rea¬dymades point to the end of the signfunction of art by showing that an ob¬ject, picked for no good reason, present¬ed as art can be and is looked at as artwithout any of the historic precidencesand traditions of the artist as maker.The LARGE GLASS, Burnham tells usserves as a "predictive device designedto chronical all the final stages of art"and its purpose is "re-creation of apath" that looks into the future, outlin¬ing a certain trajectory for the fate ofmodern art and culture in general".Burnham believes that Duchamp waswell aware of the dilemas of the energ-ing century and it's art. LARGE GLASScan be seen as a signpost leading usaway from destruction, but he's notsure that we'll listen.Besides being a student of structuralanthropology and semiology Burnham,it seems, has deeply investigated theHermatic traditions and strongly sug¬gests the notion that this was also Du¬champ's path. A significant section ofGREAT WESTERN SALT WORKS isdevoted to explication of the Hermatictraditions including: Alchemy, Cabal-la, and Tarot.Through a careful look at Duchamp'sre-integration of self with the environment which are essentially paths to the work ana actions, Burnham presents astrong case for viewing Duchamp as aninitiate, perhaps an adept in hermaticthought. He explains his own interest inthe field, and it's interface with struc¬tural anthropology. "These branches ofmysticism concur with a single hiddenidea; namely that all languages, arts,sciences, rites and communicated tra¬ditions of man have a common histori¬cal and ahistorical pattern derivedfrom the unique composition of thehuman brain, and the brain in turn re¬flects the plan of universal organiza¬tion."Presenting Duchamp as a secretgnostic sheds an interesting light on Du¬champ's seemingly irrational behaviorand famed distain for normal humanendeavors. For "the Platonic andChristian desire to find moral justifica¬tion for human acts is alien to strictGrosticism. In this light we might inter¬pret Duchamp's legendary "indif¬ference." The concepts of superiorquality and moral preference imply al¬ternatives. But for the Grostic, "look¬ing toward God" means assuming therigorous impartiality of the SupremeDiety, rather than being obsessed withthe enormous range of obligations,choices, and temptations that constant¬ly try the virtue of a normally religiousperson". Burnham's belief in the de¬mise of Western culture is based on hisTurn to p. ]9TiePANCAKEHOUSEAll batter made from qual¬ity ingredients blended in¬to authentic recipes thathave been carefully col¬lected and selected fromthe very best of eachcountry or area of origin.CORNER OF HYDE PARK BLVD. 1517 E. HYOE PARK BLVD.S LAKE PARK AVE. HOURS 7 a m. • 9 p.m. DAILYIN THE VILLAGE CENTER It’sFingerlicklngGood”perceptions of life tnrougn the use ofmodern intellectual tools. Yet he findsgreat support for this notion in Gnosticphilosophy. For "the Gnostic regardsour mundane world as a set of Interre¬lated involutional systems, all gravitat¬ing towards eventual chaos". He seesDuchamp as the great prophet of thisdoom on the one hand, and the carrierof the light of redemption on the other.It is through the destruction of materi¬alism that the great spiritual truthsemerge. For Burnham, the ready¬mades embody this realization. Heleaves us with this optimistic guide tounderstanding Duchamp. "Yet in inter¬preting Duchamps intentions, it wouldbe the greatest mistake to infer that heprophesied the "death of art". Farfrom that, he anticipates the inevitabledemise of art which takes scientific ra¬tionalism and post-rationalist method¬ology for its model, and this includesnearly all the successful art of the pres- ent century. The Cosmic Wheel or Du¬champ's Mill Wheel proclaims that allhuman change is cyclical; art cannotdie, but human illusion and the natureof the "aesthetic' " values do. Ultima¬tely (LARGE GLASS) can only act as asignpost reintroducing the sacred and'lived ritual' into the realm of everydayexistence, thus abolishing art as a sepa¬rate facet of life".Although the greater part of GREATWESTERN SALT WORKS is based onplotting both the course of his own histo¬ry of development and that of Du¬champ, the final three essays deal withwhat he feels isthe important art move¬ments of the 70's. It is the shaman'sfunction in 'primitive' societies to pre¬serve and to re-create the rituals whichsustain the life of the group. Ritualsserve to unify groups or individualswhich were previously separatethrough the rhythm of collective activi¬ty and shared experience and belief. Burnham presents a direction for artutilizing the notion of the artist as themodern shaman who creates contem¬porary rituals. These rituals shouldserve to provide us with the germ ofnew myths to replace those that aredying with the death of materialism.Burnham argues, through a discussionof Chomsky's and Piaget's views onlanguage universals, that there existsthe possibility that the work of art canbecome "an expendable container forthe transmition of "lived" truths". Themyths take on true substance.Burnham has moved a long way fromthe traditional notions of art critic intothe realm of theory. Using a blend of so¬cial-scientific perspectives, arcanethoughts, intepretive biography andaesthetics, Burnham presents a persua¬sive and organized argument whichpredicts the demise of western societyand its traditional values and a compel¬ling sense of the possibility of the re¬birth which awaits us. TalkContinued from p.6fenders and he said, of course hewould feel a great deal of socialprotest as he worked with iuvenileoffenders. He said he began writing poems about the young menthat he was working with and thenhe realized that that was no good.The poems had to be about him.They couldn't be about what waswrong with social conditions.The documentary value is not thevalue of poetry. Mylosh says lotsof things about that too, that poet¬ry shapes culture by form, not bycontent, and that to discover anew form of consciousness is real-ly what poetry is about ratherthan to be a documentary witnessto certain social wrongs. So 1think it's not a new problem. Dif¬ferent poets solve it in differentways. Some are more explictlywithin political, some much lessso. And 1 think women poets, andblack poets, for instance, will dothe same thing.CM: What young poets would you urgefollowers of modern poetry to bereading now? _ _ .HV: 1 think that's a question you haveto ask the directors of creativewriting programs. That's whereyou find the really young people,and you sense their talent muchearlier. 1 deeply regret not beingable to judge from the first, som-times not even from the secondbook, v/ho had talent, Decauseusually they haven't found theirvoice yet. Once they've foundtheir voice, 1 can say, "This is anew voice" Take Berryman'sfirst book, which is mostly fakeAuden, fake Hopkins, fake Yeats,anybody but what Berryman wasto become. There isn't any sign oflater Berryman in The Dispos¬sessed. 1 would not have been ableto look at that book and separate itfrom sixteen other first volumesof pastiche, and say "This is tneperson who will do it better thananyone else, who will find his ownvoice." 1 always feel like some¬thing of a Johnny-come lately.Sometimes it's a poet's fifth bookbefore the pastiche falls away andthe voice comes out for me.Continued from p. 13whose critiques of Boswell's work appear- as a monograph entitled Homosexuality, Intolerance and Christian¬ity: A Critical Examination of JohnBoswell's Work, are fairly merciless intheir attacks on his exoneration of "theChristian Church from the responsibili¬ty which it bears for the systematic in¬tolerance that has been inflicted on ho¬mosexuals in Western culture down tothe present day." But Lauritsen is quitecorrect in his criticism of Boswell'swhite washing of St. Paul's condemna¬tion of homosexuality as well as Boswell's neglect of several importantsources "of anti-homosexual sentimentin Christian theology", including theextremely homophobic passages of theJewish philosopher, Judaeus, whose writings had a major impact on earlyChristian thought. It appears that JohnBoswell is a "believer" who is defend¬ing his faith while, at the same time, reconciling it with>iis sexuality.Christianity, Social Tolerance andHomosexuality is an impressive workof scholarship of which John Boswellshould be justly proud. The amount ofresearch, time and energy which mosthave been put into this book is trulymind boggling. This study of medievalhomosexuality is a significant turningpoint for the whole field of sexual histo¬ry as well as for the culture of gay peopie in Western societies. But the readershould not be so overwhelmed by thescholarship as to be blinded to the prob¬lem areas of the work which includesthe lack of objectivity. Although histori- ans cannot completely separate them¬selves from their belief system whenwriting history, they should makeevery effort to limit the effects of theirpersonal beliefs on their research. Bos¬well, at last, might have done better ifhe had been more of an objective socialscientist and less of a subjective Chris¬tian.Gregory A. Sprague is Director of Uni¬versity Learning Centers at Loyola Uni¬versity of Chicago. He also serves asCoordinator of the Chicago Gay andLesbian History Project as well as aboard member of the Steering Commit¬tee of the Gay Academic Union, Chicago Chapter. He is in the process of completing a research project on thehistory of the urban gay subculture inthe United States from 1890-1950.Continued from p. 11some fiat 1 had to restrict all this writing to one sentence, this is the one 1would choose: The summit of Mt.Everest is marine limestone."Fortunately, McPhee faces no suchfiat. And we are rewarded with somefine stories about the history of this con¬tinent, from the Palisades Sill in NewJersey to the San Andreas Fault. In thecompany of Kenneth Deffeyes, a Prin¬ceton geologist, McPhee embarks on awestward trip along Interstate High¬way 80, bound for the Basin andRange.The province is named for the dozensof relatively small, narrow, nearly par¬allel fault-block mountain ranges sepa¬rated by valleys 10-15 miles wide. Thistopography stretches for nearly 500miles, from Salt Lake City to the Sierra Nevadas. Deffeyes, who has studied theprovince for years, says this about it:"The Basin and Range impresses me interms of geology as does no other placein North America. It's not at all easy,anywhere in the province, to say justwhat happened and when. Range afterrange — it is mysterious to me. A lot ofgeology is mysterious to me." Howev¬er, another point of view, offered morethan a century ago by Mark Twain inRoughing It, may reflect the prevailingopinion among the turistas: "It was sostupid and tiresome and dull! And thetedious hours did lag and drag and limpalong with such cruel deliberation."Twain notwithstanding, this is wherethe action is. For here is where the mostengrossing story of the continent un¬folds. Standing near a fault scar, nearly 16 feet wide and drawn into the land¬scape only in 1915, McPhee (and Deffeyes) describe what we are seeing andwhat its results will be, far beyond ourlifetimes: The whole province is pullingapart and a new plate is forming. Itsexact size and limits remain arguable,but what is happening is inarguable —space is being carved out for a newocean.I'd like to see that. But l know Iwon't; and, surprisingly, 1 don't evenmind too much. Because 1 lived in thatprovince for many years and havespent at least some of every year of mylife there. I've camped on ThomasCreek, in the spot I'm sure Jed Smithonce picked. Now, as 1 recall that landand think of when 1 next shall see it,McPhee's story has become part of it. 1can't offer higher praise.LATIN AMERICANMVjlC* E>JTCF?TMMN«Wr* FOOD&P*fi°MtbNI6MTSAT JUNE6JLpoodS & CSVERAGETjJl(gx low prices)tKvqertt ina* Cuba • CK'16-KO^ico* Puerto RicoEl Salvador* NJi CAr^watfErfVEKTAlNMOftfcj€SU5 '’Chui* Nteftfiteo\eii«vr7roilciiK.‘‘el GrvpoViXW’iucwdia'£>T*\lrv«caTv C»X<i* P\ickor\lc.Oivi‘'0*iea>\ VxifcJew>efi'r;"HferrAOOAos. Lino'%ol\V«&* ^t>lkVasilios Gaetanos0't«cr Vta’NJ^HUNiTeD OIJKH OF MffiCIWK1446 E. 53* ST.^ 3> • <4or\<Xt»o» -4*j»nor*l toy CtaUMO Gw»*»»■tr^r 'o S*.* .m, cx.it ijei S7.2-91HO “A Touch of Class■featuring the music __of BB SpinTickets on Sale NowOnly $5.00 forOpen Bar, Hor d'oeuvresTuesday, dune 9Quadrangle Club Where eachcourse meritsa standing ovation.Continental cusine, exquisitelyprepared . . . deftly served in in¬timate surroundings. ExcellentWines. All at gentle prices.Stop in after tne show for anapplause-winning final act.1525 Last 53rd StreetHyde Park Bank BuildingChicago. IllinoisFor reservations, call 24 1 5t/ART FAIROPEN HOUSEat theHYDE PARKARTISANS rv->: ‘ -57th & Woodiawn(in the Unitarian Church)Sat. - Sun.June 6th - 7thNoon • 5 p.m.Come check us out! SUNDAYBUFFETChicago’s finestfrom 1 1:30 a.m. to 4 p.m.champagne served until 4 p.m.garden fre^h salads •cheeses from around the world •fresh vegetables •fresh seafoods •salmon delights •crepes, ribs, fowl**roast round of beef •chilled melons •a variety of pastries •served in a greenhouse atmospheredisplayed like a marketplacean experience you must share. .at theHyde Park HiltonWe Buy and SellUsed Records#1701 E. 55th St.684-3375 theChartwellHouse4900 S. Lake Shore Drive288-5800POWELL S BOOKSTORE POWELL’S BOOKSTORE POWELL SNew Arrivals:Civil War,Napoleonic Wars,WWlMusicPowell's Bookstore1501 E. 57th St.-955-77809 am-11 pm EverydayBOOKSTORE POWELL’S BOOKSTORE POWELL’S BOOKSTORE20 — The Chicago Literary Review — Friday, June 5, 1981 BAMBARA Continued from p. 15continued...that at some point you realized thatwriting was a legitimate form ofstruggle. You are a teacher, an acti¬vist, you've done acting and filmmak¬ing. Isn't there still something of astruggle to balance those variouslives with writing? Aren't you in away something of a rarity among ar¬tists, who often seem very suspiciousof political commitment as opposed. .Bambara: Not in my community. Thatis the most vibrant tradition for mycommunity, to write from the dangerzone, and to not assume that there is adichotomy. Look at someone likeJune Jordan, for example, whosepoems are like bulletins from the de¬militarized zone, you know, rightfrom the heat of battle. Here comesJune with, say, a bulletin and has hadtime, somehow, under seize, to cor¬rect it. Which is what makes it soamazing and makes her so absolutelypart of a tradition, which comes rightout of our tradition. No, there's nosplit. That's when your other ethnicgroup, your Anglo Saxons, are askingyou to compartmentalize, to frag¬ment, in order to control your group.Kaye: What do you think the fate ofBlack writing will be at the handsof people like Reagan in terms ofgrants and money which. . .Bambara: Terrible, terrible. The artscuts is not surprising but nonethelessshocking and insane because it finallymeans that there is no, I mean there'salways been an empty aestheticstrain in this country, in a society thathas no spiritual tradition, there'sgoing to be no aesthetic tradition. Asin any society that's going to ban thedrum and kill off its smoke signals,you're not going to have budgets,you're not going to have that kind ofguarantee patronage of culturalworkers, anybody who is sending outsmoke signals. So it spells a roughtime.Dunn: Do you think there is any resil¬ience, like during the depression,when the country seems to lean on thespiritual things a few Black musi¬cians were doing in NYC, don't youthink some kind of resilience has beenbuilt since the sixties?Bambara: I think so. But in terms ofthe bloody handwriting on the wall,the major publishing industries areon a self-destruct path. And that isclear as the big shops eat up the littleshops. The one wonderful thing aboutpublishing, no matter how monolithicit seems, given the political, economi¬cal, and social rage of this insaneplace, is that there are people upthere who like books. But now you'vegot the soybean plantation owners, allsuch as that, buying up all those publishing houses.Now the small press communityhas already gotten itself in place, sothis is a challenge for them. It is alsoa challenge to the university presseswho are now beginning, such as theUniversity of Illinois Press, to set upfiction divisions and to look moreseriously into setting up poetry divi¬sions, to capture that readership thathas already been there, that's goingto get dumped and abandoned by thefat cat, and to continue to developthat readership.So finally it gets down to the dollar.Economics can defeat — I don't thinkit will, but I'm an optimist and a fool.It gets down to the dollar becausethere's still that problem of cuttingdistance between the practitioner andthe readership, the audience, thattakes some dough. The small press asa community does not have no dough!University presses generally do nothave any dough because they'vealways been under the spell of an aca demic slob nonsense, married to deadthings. It's always been about the"dead” writers, all them dead Ph.D.s, the "footnote thing." You firsthave to deal with the dead things be¬cause you can't go around doing thedefinitive critical whatever about alive writer who may change up to¬morrow and just blast your wholething to smithereens. So you have todeal with somebody who's been deadand stays dead and leaves you aloneso you can just speculate and playwith their bones. But finally it takessome dough to beef up those publish¬ing houses.Dunn: What are you presently workingon?Bambara: I am working on a film-script. I've always thought of myselfas a filmmaker. And writing for me isjust an apprenticeship, I shouldn'tsay "just an apprenticeship," its howI maintain sanity. But I've alwayswanted to make films. However tomake films you need a lot of money.That's why I've always liked writingbecause it's cheap: pencil and paper,very cheap. I'm doing a ninety-min¬ute film for WGBH-TV in Boston, onthe life, work and times of Aora NealHurston, about which I am extremelyexcited. And for ABC-TV I’m doing atwo-hour prime-time special on thesituation in Atlanta.Kaye: Why is it that screenplay writ¬ing attracts you? We.always hear thesestories of screenwriters selling them¬selves out.Bambara: Why? Because I'm a film¬maker, that's how I see, and that wayI can get my music thing off, direct,and do things that I was reallygroomed to do. I'm interested in final¬ly, in the next five years, not finally atall, in having my own productioncompany. I would like to do films,myself, where I have absolute controlwith what gets before the camera andwhat comes out at the other end.Writing is very lonely work —working on a novel. I would certainlywork on novels again because I un¬derstand it is not shrewd to be an ex¬clusive short-story writer when theindustries get up for a novel, critics,teachers. I'm not a fool. So in terms ofcareer, I would most certainly donovels and also because it's kind of achallenge.But in terms of my druthers, I'mmuch more committed to the short-story. One reason being that the noveltakes you out of action. For a yearand a half I was unavailable, I walkedaround like a loon. You talk to me — Iwas spaced. I be still dealing with thestove, flipping them eggs, but, honey,I was somewhere else.Community work is extremely im¬portant to me and I don't like beingaway that long. It's very lonely workbeing a writer and I'm fairly knownas being sociable. I like the dynamicsof filmmaking, working with peoplethat closely, casting, selecting, or re¬cruiting or inviting people to join mein that kind of painting. Probing intoeach other's history to deliver up thestuff that we can convert it into char¬acter — I love that kind of work.Dunn: Do you see much of a contrastbetween film and stage.Bambara: Not terribly much. I'venever been very attracted to thestage even when I had a theatre. I'mnot terribly interested in the stage,mainly because we have not foundour form yet. We have found ourform, our voice in film. But we're stillplaying with that presidium arch,we're still being Greek up there. Wehaven't really Africanized that formyet, so I'll wait for somebodv to dothat. I'm inclined to think that itcan't happen indoors. I think the clo¬sest thing to African theatre in mymind is the Mardi-gras.Patriarchy, Social Mobility and the Harlequin RomanceBy Margo MaxwellOut of embarrassment, I suppose, Ihave transformed my voracious read¬ing of Harlequin romances into a speciesof literary slumming. “Yes,” I con¬fess to friends, “I hang around the bookracks in Woolworth's. If I buy, I keep acareful eye on who's behind me in line.”In the library, I read surreptiously, hid¬ing that glossy, giveaway cover. Athome, I store my Harlequins behind myGreek lexicon. If I am caught, hot-eyedin the act, I say, "I am interested in allthe manifestations of popular cul¬ture,”Indeed I am, but that is not the wholetruth. It doesn't begin to explain why Ireap such keen, undiluted pleasurefrom my newest Obsession or PaganEncounter or Love Is a Frenzy, when Icurl up gleefully, shuck any literarypretensions, and cheer on my heroine,my Amanda, my Virginia, against allodds, perfectly rapt until she gets herman. Life, as it is, whets my appetitefor such feminine triumphs. The morefrenzied l feel about my own romanticdisorder, the more Harlequins I read.Until recently, though, I hadn't thoughtmuch about my penchant for romancefiction.I am hardly a singular woman in mytastes. Romances are selling like hot-cakes, Time magazine (April 13, 1981)tells me, selling to the tune of $100 mil¬lion in 1980, and accounting for morethan 25% of the mass-market paper¬back sales. The form itself is proliferat¬es felt Insulted—tty Doth men!Cleas stepfather Kerasten had followed Creekcustom in choosing a man for her to marryDefying him meant arousing his violent temperBen Winter was the man who desired her andwas determined to have her i know what youwant more than you do he kept insisting Buthe saw only the betraying signs of her body he<*on t listen to her reasons for refusalClea had little choice But sne.was sure of onething she would not be owned or used bvanyone She was her own person'>5 known for her hoedramatic writing style Her novels in theHanequm Romance senes and in HarieoumPresents have won her a worldwide audience£ Harlequin HooksThe NO 1 Best sellers in romance fictionall over the world simply becauseMarleoum understands how you feelabout love1ing. As gothic and period romances arephasing out, contemporary romancesare multiplying, and my favorite, Har¬lequin, still leads tbe pack ("No. 1 Best¬sellers in romance fiction all over theworld . . . simply because Harlequin un¬derstands how you feel about love!”).Romantic offspring (the RosemaryRogers brand of soft-porn romance;Avon's gay romance, Gaywick; Dell'sblack contemporaries; Jove's plannedseries for divorcees, "Second Chance atLove”) are scavenging any remainingmarket.Romances are cheap ($1.50 - $2.75),and since readers of romance fictionare incorrigible traders and used bookbuyers, one should chuck any notionthat only a few disenchanted hou¬sewives turn to romances. In fact, aprodigious number of women are avidreaders of romances — these seeminglyconservative affirmations of loving mo¬nogamy and feminine domesticitywhen they must know, as we know, thatthere is precious little stability in mar¬ riage or sex these days, and if men andwomen are sorting things out in themarketplace and in the bedroom, it ison the tenets of co-alliance, is it not? As¬suming the persistent, enthusiasticchoice of genre means something, doesone conclude that readers of romanceare women merely perverse, opting forescapist reading, cowering into a re¬gressive fantasy in horror of the un¬tracked sexual morass outside theirdoors? Is this explosion of interest in ro¬mances simply a wearied reactionagainst liberation, or a nostalgic yearn¬ing to turn back the clock?This idea — that romances are out ofkilter with their historical moment —easily leads to certain misconceptionsabout romances and their readers. Ifromances are frothy, untenable fanta¬sies, without compensatory literarymerit or allegorical lessons, theirreaders may well be simple-headedwomen. Moreover, if romances func¬tion as "soft” pornography for women,glorifying male dominance and vio¬lence, implying female masochisticpleasure, then they are morally dubi¬ous. In either interpretation, the impactof romances is, as in many gynecocen-tric forms, defused by ridicule, andwomen readers are rendered as some¬how less than intelligent, "moral”beings. Such attitudes are nicelysummed up in the question I am contin¬ually fencing, "How can you read thatjunk?”In self-defense, reluctantly, I thoughtabout what l was reading. I stockpiledcounter arguments. Romance is, I say,an old and honorable form. The contem¬porary romance, the rude descendantof Austen's Pride and Prejudice and thenineteenth-century sentimental novel,has cleverly modified the older ro¬mance formulae: heroine meets hero;hero angers heroine with his pride andarrogance; misunderstandings keepthe ideal lovers apart; hero and heroinerespectively mature; lovers finallyunite in marriage. This line has been re¬vised to accommodate cultural expec¬tations for economic and emotional de¬pendence (loving monogamy), but alsomodern social pressures for femininesexual fulfillment (hence, the supera¬bundance of lascivious scenes). Theheroine in the contemporary romancegets all the marbles, it seems, by theend of the game: she lands herself amarriage with a wealthy, virile crea¬ture who promises her affection and allthe rhapsodic sex she can manage.Take) for instance, the action in Sav¬age Surrender (Charlotte Lamb,Har/e-quin Books, $1.50). In usual fashion, theromance is told from the heroine's pointof view, one Sophie Bryant, a lessercousin of the vigorous Elizabeth Ben-net. Sophie has hair of golden fire, eyesof green, a slim waist, and so forth. Sheis requisitely young, sexually unawa¬kened, modest, poised, sweet-tem¬pered, and spunky. In a fortuitous mis¬hap, she is swept from a clerical job inLondon to become companion to thewealthy Madame Lefkas in Crete (mar¬ble villa, azure sky, devoted servants,Mediterranean ease). Madame Lefkasis Sophie's fairy godmother for, asswiftly as his helicopter, her rakehellson, Alex Lefkas, imports empire build¬er, arrives and pays fervid attentions toSophie. Sophie thinks herself impervi¬ous to his charms because she nurses asecret (though unconsummated) pas¬sion for a married aristocrat in Eng¬land. But she doesn't stand a chance.Alex, the distant heir to Rochester,Heathcliff, Darcy, and Lord Byron, hasGreek machismo, and the haunting,primitive, melancholy features of a By¬zantine icon. Though he is rich, arro¬gant, reckless, accomplished, with astock of awesome virility, his secretvulnerability is his mercantile attitude.He is an untutored brute, prepared topay for sex, but not prepared to love. ^f(arieqmtr^ffe\ent\RACHELLINDSAYman of iceHere is Alex on Alex: "I'm a mazi witha strong sex drive. I enjoy women'scompany and I like making love tothem. Mostly, they seem to like it, too,and they certainly like my money. Theusual arrangements works very well.”How can Sophie resist taking this anar¬chic virility in hand and rendering itinto a loving, passionate husband?After the predictable round of misun¬derstandings and sexual skirmishes,Alex forces Sophie into marriage topunish her for her deception about her"lover.” Sophie takes him at his word,and quakes at the prospect of a lovelessmarriage in quintessential Harlequinfashion:Despite her suspicions aboutAlex's anger she had had no realidea of the depth of his rage . . .And he was right — it hadn't evenstarted yet. They weren't mar¬ried. When they were, Sophieknew she was going to start tolearn just how cruel Alex could be— that dark Greek face held disturbing, primitive echoes of anancient barbarism which morecivilized times had suppressedbut which could still be glimpsedin the faded frescoes and icons ofthe past. Deep ocean tiles of an¬cestry, stored, spiralled and un¬seen, in the genetic cell but freedby some triggering impulse, werealive in him now. Her rejection ofhim had unwittingly touched offthis explosion, awoken the hered¬itary savage sleeping inside histwentieth-century mind.After marriage, the sexual capitulationwhich has been promised to the readerfor 150 pages of torturous groin-grind¬ing and feverish anticipation, happens.At least, we suppose it does: "the pow¬erful body imposed itself without ashred of concern, ignoring her harshcry of pain . . ” Sex is always mystifiedin Harlequins, and everything belowthe waist garbed in euphemisms (as in,"his urgency throbbed against herthigh”). Rhapsodic sex only blossomsafter love is mutually confessed, afterthe heroine has learned how to be lust¬ful, and the hero tender. We take leaveof our pair with their relations estab¬lished in no unclear terms:"The grey eyes ran over her like thetouch of flame, branding her, burninghi possession on her, and her bodythrobbed and pulsed with a need to havethat ownership confirmed in physicalassertion."Harlequins, swallowed whole and inthe right spirit, are almost irresistible.Like other types of formulaic fiction(detectives, westerns), the very predic-tibility of the form is comforting: one bypasses the vagaries and shocks ot"literary” fictions. Romantic prose isoften competent and slick; when it isbad, it is wonderful. Plots are ingenu¬ous, and the ambience is finely tex¬tured. Harlequins may be erotic fic¬tions, but they are free of licentiouselements (casual sex) which persist inpornography. Compared to the libertineCosmopolitan (another gynecocentricmode), Harlequins are sugar coatederotica.But the compelling quality of Harle¬quins goes beyond these appeals. Ro¬mance fiction strikes, I feel, a powerfulchord in contemporary culture becauseit repeatedly dramatizes successful ne¬gotiations between the sexes, which cul¬minate in a mutually gratifying con¬tract. All the silliness and euphemismscannot obscure the fact thaT a seriousproblem is worked through to its resolu¬tion, and the romantic retelling of thismust be deeply satisfying to the typicalreader. Harlequins re enact, after all, acentral socioeconomic problem formany women: how can they have bothman and money, love and security,when social pressures push them thisway and that? The central transactionin the Harlequin romance is economic:after difficulties and competition, astable, mutually acceptable exchangerelation between hero and heroine is de¬termined. As marriage erodes in con¬temporary society, the celebration ofsecure, happy relationships in the ro¬mance may be reassuring.Far from being "unreal" fantasiesadrift in an economic vacuum, Harle¬quins are approximations of the "real”world of capitalist economics. Onestrips away the pretty flesh, and thebones of economic relations are sharpand clear. In the popular Cinderellaplot (Savage Surrender is an instance),the four essential characters, in theireconomic behavior, provide a micro¬cosm of the struggle between theclasses.Alex, the hero, is the model capitalist,a self-made entrepreneur, a member ofthe Greek mercantile upper-class, andSophie's employer. He is aware of thepower and desirability his capital giveshim. Sophie, his employee, comes froma working-class family, and her low-paying, clerical job places her firmly inthe proletariat. Harlequins concur withreality since women often suffer disad¬vantaged positions in the labor force.However, it is key to the Cinderella plotthat Sophie does not overtly show classconsciousness.Harlequin mythology dictates thatthe heroine marry for love, not formoney (happily, for the heroine, lovealways comes nicely intertwined withmoney). Sophie must maintain a disdainful posture towards Alex's moneyand status. Yet the dullest reader cansee that Sophie is indeed impressed byAlex's class manifestations — silkshirts, tailored suits, well-kept body,confidence and masterful ways — hismoney, in fact. Sophie scorns Alex'soffer of a New York penthouse, and theunstable life of a mistress. Her absoluteinsistence on love and marriage is aprudent economic response because itguarantees (if anything does) the eco¬nomic security and status she desiresfrom capitalism. Sophie incarnates allthe virtues of the exploited class — pas¬sivity, imperception, accommodation,submission — and she is rewarded by aticket into a higher socioeconomicclass. After her marriage, Sophiemoves from clerical labor to domesticlabor-, she entertains guests, she pur¬chases mink coats and designerclothes, she plans little Alexs in order tomaintain her class status. Harlequin'slesson: the best accommodation to thecapitalist system is subordination, notrevolt.The female rival for the capitalist,Turn to p. 24The Chicago Literary Review — Friday, June 5, 1981 — 21A Novelist of the Chinese RevolutionChen Jo-hsi is one of the few Chineseto write on the Cultural Revolution. Shegrew up in Taiwan and was educatedthere and in the United States. In 1966she went to the Peoples Republic ofChina with her husband to become partof Mao's New China. They arrived theyear the Cultural Revolution waslaunched.The Cultural Revolution (1966-1976)was an extremely repressive periodthat forced literary silence on intellec¬tuals and writers. All writing had to beapproved under the strict guidelines ofthe Chinese Communist Party. In theentire decade only two novels were ap¬proved and published.Ms. Chen left China in 1974. She wrote ?The Execution of Mayor Yin and Other jStories from the Great Proletarian Cut-tural Revolution., translated and pub¬lished in 1976 by Indiana UniversityPress. She now lives in Berkeley, Cali¬fornia and is currently working onstories covering the reactions of Chin¬ese Americans to the Cultural Revolu¬tion.Ms. Chen gave a lecture on currentChinese writing on campus May 22. Thenext day, she spoke with Bethea Eich-wald, a student in Far Eastern Stu¬dies.BE: Why did you go to the People's Re¬public of China in 1966?CJ: For two reasons. First, I'm Chin¬ese and I wanted to work for thepeople and serve the country. Sec¬ond, in the '60's I truly believedthat Socialism was the only way out for China.BE: Why did you leave in 1974?CJ: I witnessed the Cultural Revolu¬tion. I was really disappointed.The Cultural Revolution seemedjust the opposite of what I believedSocialism or a Socialist Revolu¬tion should be.BE: What did you do when you were inChina?CJ: For two and a half years I stayedin a hotel doing nothing becausethere were no jobs available. TheCultural Revolution was going on.All schools, all colleges stoppedfunctioning for six years. So evenwhen I was assigned to a technicalcollege in Nanking in the Spring of'69, there was still nothing to do.We were sent to the countrysideto dig a coal mine. Later on thewhole school was sent to the coun¬tryside to open up a May seventhCadre Farm (The May SeventhCadre Schools were establishedthroughout the country to carryout the principles of manual workand the study of Mao's thoughtsthat were embodied in the MaySeventh Directive of 1966) Thenall the teachers became farmers.They planted rice, grew vegeta¬bles, and built huts for them¬selves. Finally, in 1972, all the col¬leges reopened on a trial basis.English courses were a must so Iwas called on to teach English.BE: What had you envisioned for Chen Jo-hsiChina?CJ: that there could be true democracyfo the broad masses; for all thepeople in a Socialist country. Butwhat I saw was authoritarian.There are many reasons I leftChina, but mostly it was for thechildren. During the Cultual Revo¬lution offspring of the intellectu¬als, particularly intellectuals whohad returned from foreign coun¬tries, and especially America, hada very bad family background.They were branded one of the FiveBlack Groups (Landlords, richpeasants, anti-revolutionaries,bad elements, and rightists). I personally don't think the Com¬munists meant to destroy the fam¬ily system. Unfortunately, bystrengthening class struggle andby carrying it to the extreme iteventually damaged the familytradition. But I look at it in an¬other way. Going through all thestruggles and going through allthese political movements I foundout that although on the surfacethe good family unity was brokenfrom time fo time, it always gotmore strengthened in the long run.When the Red Guard wanted toshow their love for the Chairmanthey usually attacked theirparents for being anti-revolution-ary, or poor background or doingsomething wrong to the State. Butafter awhile when they suffer, it isthe family that always extended ahand to save them. This genera¬tion of the Red Guard in the early1960's called themselves the"Ideal Generation". They are per¬fect, they are born with all therights to rebel. The older genera¬tion has no hope and should be de¬stroyed. They are the powerfulgeneration. Then the revolutioncome to a stalemate and couldn'tgo anywhere. When Lin Biao diedand he was exposed for trying tomurder the Chairman this generation was so shocked it became thebewildered generation. Eventual¬ly they were sent to the country-Turn to p. 23K.A.M. Isaiah Israel Congregation1100 E. Hyde Park Boulevard, Chicago, Illinois 60615Presentsv Li QSaturday, June 13th 7:00 P.M.-11:00 P.M.Auction & Deli SupperSunday, June 14th 10:00 A.M.-10:00 P.M.A Delicious,Appetizing, Exciting& Unique EventGourmet Food to Eat —Homemade Food to Buy ...Demonstrations...EntertainmentFood Photography — Housewares& Assorted MerchandisePHONE 0924-1234 Donation $2.00 Children FREE whenaccompanied by parentTickets Are Available From Members or at DoorRockefeller MerpcrialChapelSunday, June 79 a m. LQimenicai Serviceor Holy CommunionBernard O Brown, Dean of the Chapel’1 a.m. University Religious Service New and RebuiltTypewriters,Calculators,Dictators, AddersCasioHewlett PackardTexas instrumentCanonSharpElectronic Watches REPAIRSPECIALISTSon IBM. SCM,Olympia, etc.FREE repairestimates; repairs lby factory-trained \technician. *RENTALSU. of ChicagoBookstoreTypewriter & Calculator Dept. 970 E. 58th2nd Floor\J w avaiiabie withU. of C. 1.0China continuedContinued from p. 22side to become the lost generation,BE: What about you and the other stu¬dents who returned from abroad?Could you ever erase the fact thatyou had studied in a capitalistcountry?CJ: There was discrimination simplybecause of your educational back¬ground. It was very popular fash¬ion at that time for return studentsto marry into a proletarian or pea¬sant family. But always as a re¬turn student, although it may notbe stated, obvious, you felt thatthey were watching you. For ex¬ample, it was not given as a deci¬sion that Keng Erh (a returnedstudent in a story) could notmarry. It was advised. But a sug¬gestion from the Party means thatif you are a good citizen you takeevery advice. The law of the con¬stitution says things very similarto the law in America. Freedom ofspeech, freedom of publication,freedom of assembly Of every¬thing! But the fact is not like that.It doesn't say, "you should notmarry that woman, but we thingit's not the best woman for you."Just a very passive suggestion.Then if you dare to marry her thatmeans you dare to defy the adviceof the Party. You don't take the se¬cret of the whole academy intoconsideration. Oh ho! "This aca¬demy is very special and here youare very fortunate. Therefore thewhole group should be purified, in¬cluding your wife." If she is froma poor family background that isthe best choice.BE: In your story "Night Duty" ayoung intellectual asks an old in¬tellectual, "Don't you feel you'rewating your talents, spending allyour time working on the farmand makina kerosene lamps in¬ stead of being in class?" You musthave heard some intellectualswi*h this complaint.CJ: That was the general feeling, butnobody dared to say so. And LaoFu, the older intellectual, denied itIn a philosophical way.BE: Mahy of ycur characters deny theoppression. H seems such a pas¬sive response.CJ: The best policy was just don't sayanything. Don't disagree withwhatever people say and don'tagree either. Just keep the earsopen and the mouth shut.BE: The characters in your storiesdidn't seem to speak much withone another because they were soworried that what they said mightbe used against them.CJ: That was during certain periods ofintense political involvement.Particularly in certain move¬ments like with Lin Piao, and inthe One Attack and Three Antis (Acampaign launched in 1970, theOne Attact was against the coun¬terrevolutionaries; the ThreeAntis were against corruption,waste and opportunism). Therewere different targets with dif¬ferent purposes. So in these inten¬sive periods which usually lastedfrom on to two years people didn'tspeak to others; at least not atrandom.The only weapon for the people to.show protest everyday was by si¬lence. Silence sometimes is veryeffective and very violent too. Ifyou say something, you could beantagonistic towards the presentpolicy, of the orders of the leader¬ship. So the only thing to do toavoid mistakes is to be silent. Anykind of rebellion is so severelypunished that it is better to shut upyour mouth. There are people whowere outspoken but they werepunished one way or the other. Noone even kept a dairy! BE: When did this silence end?CJ: In 1976. That was the time ChouEn-lai died. Everyone thoughtthat he was the one who could givethem some hope. This person diedand they wanted to show respect.They wanted to show their feel¬ings, their outcry of anger andtheir despair through respect forthis dead person. But they werenot allowed to because the leader¬ship knew this meant a threat. Sothey tried to suppress it and itblew up. When the silence becametoo great it was really powerful.The same is true against the Gangof Four. Now, the Party's Docu¬ment #7 says to not use the Cultur¬al Revolution, and the Anti-Right¬ist Movement of the '50's as topicswhen writing. The Party knows itwill only remind people of how theParty, and Chairman Mao su-pressed them then.BE: In "Chairman Mao is a RottenEgg" what was a children's gameended up with four year olds beingsuspected of counterrevolutionaryactivities.CJ: The part of the rotten egg businesswas true. It happened to my eldestson. Of course the ending is dra¬matic. I was pregnant then and re¬ally had a bad time because ofthis. It really worried us so much,and it worried the neighbors too.Of course this kind of thing haschanged.BE: It seems this was such a .trivialmatter, but I guess during the Cul¬tural Revolution it wasn't.CJ: In Shanghai a friend of mine toldme that where his relatives livedsomebody accidentally killed acat. So the children out of fun hungit on a tree. "There's a dead cat,hang it on the tree!" In Chinesethe name for cat is "mao", andhere "mao" is hanged with thehead down. Ouu! This caused suchtremendous trouble within anarea of a couple of miles. Theyhad meeting after meeting. All the families with cats had to reportwhat happened to their cats. Iftheir cats were missing, whereare they? Just imagine what fussthey went through! It was terri¬fying. Now everybody laughs, Butat the time it was nothing to laughat it was so serious. We wentthrough meeting after meeting. Ofcourse with meeting after meetingyou do nothing. The schoolsclosed. If you worry about thingslike this what else can you do?In my own dormitory there werethree separate doors. On one door¬way someone scratched "Chair¬man Mao". It happened that therewas a scratch that went throughthe "Mao". Somebody discoveredit and reported it so we all went tomeetings. It wasn't my door; wehad a different entrance. I wenttwice and eventually said, "Ac¬cording to the height it must havebeen done by a child under threeyears old." My children at thattime were four years old so I feltthat I was in the clear in this case.So I stopped going to the meetings.But before that we had to go tomeetings to determine what daythis scratch had been done. Whocould tell? It was just a scratch!Everybody loved Chairman Maoand scratched his name every¬where. This is fun. But by mistakethis one was behind a door. It wasscratched entirely by accident. Iwas laughing myself but wouldn'tdare. I became very solemn. Wesaid, "This is a new movement ofthe class struggle. This shows thatwe have class enemies around thisdormitory. Even worse than thatwe suspect there are class enemies among the little boys A littleboy or girl could be instructed todo that." Now everybody canlaugh. Even Deng Hsiao Ping canlaugh. It's absurd.THCA^fcAGREEK AND AMERICAN FOODBreakfast LunchDinnerGRADUATION SPECIAL$1.00 Discount(on any check over $3.00 per person with U.C.I.D.^after 7:30 p.m., Monday-Friday)Offer good through June 31Dear Guest, ‘While we are not able to sell wine, we inviteyou to bring your own. We will be most happyto open it and to serve your table.1335 E. 57thCorner of 57th & Kenwood947-8309 Before you leave campus ...Before you start your first job ...Come to(W^StetoiFor clothing that’smoderate only in priceIn the Hyde Park Shopping Center1502 E. 55th Our SummerSuit Saleis now in progresswith reductions of20% to 50%Cuffs and sleevealterations free - smallcharge for otheralterations.The Chicago Literary Review -- Friday, June 5, 1981 — 23 11i“...his urgency throbbed against her thigh”Continued from p. 21like Patrice Lerrand in Savage Surren¬der, is representative of aggressiveeconomic behavior. Predatory, world¬ly, and economically astute, she is will¬ing to exchange sex (and not insist onmarriage) for a shift upwards in her so¬cioeconomic status. She openly desiresthe hero's economic advantages. It isno surprise that she is always rejectedin the Harlequinesque world. As in thereal world, the woman who acknowl¬edges her lower-class position andopenly struggles, using her sexuality togain upward mobility, threatens the pa¬triarchal order even as she tries to sub¬vert it to her purposes. She would be toodangerous in the unequal patriarchalmarriage Alex proposes. The malerival, Michael Lerrand, an executiveemployee of Alex, suffers a similarfate. He shows interest in Sophie, butwhen Alex tells him to damp his ardor,Michael does. The male rival alwayshas fewer material advantages he canfreely offer, and the heroine's tepid re¬sponse to his advances may indicate abudding class consciousness. Sheknows better than to settle for less. Theheroine Sophie chooses the stable eco¬nomic power of the capitalist hero inpreference to his petty bourgeois rival;the hero, Alex, rejects the rival becauseshe threatens his own capitalist order.After all the temptestuous lovemak¬ing is done, Sophie has exchanged herlabor, sexual fidelity, and emotional ca¬pacities for a secure position in a highersocioeconomic class. Alex has grantedthe privileges of his class in exchangefor Sophie's labor and reproductive ca¬pacities, both of which serve to main¬tain his capital. The contractual mar¬riage dramatizes, in a nutshell, theresolution of the eritire ’ struggle be¬ tween the classes. It validates andpropagates the capitalist power struc¬ture; the husband functions as the capi¬talist, and the wife serves as labor.But does this resolution — this idealmarriage — explain why women mightbe compelled to read the same roman¬tic story? I think so. Even a few Cinder-ellas give impetus to many dreamersand aspirers. Whether or not suchdreams can be actualized in everydaylife may not signify: the romantic "fan¬tasy” serves as an exemplar. In theCinderella romance, an ordinarywoman betters her material position —•which is an essential measure of the in¬dividual in a capitalist society — notthrough the torturous and discrimina¬tory maze of education and relentlesslabor, but by being what she has beenconditioned to be: dependent.Romance fosters a fictive mode ofeconomic escalation through economicdependence. It re-enacts an economictransaction that rewards the habit of fe¬male subordination. Because the capi¬talist system, in fact, must necessarilyallow some mobility and infiltration be-savage surrender tween the classes, the possibility of theresolution, in real terms, grants liter¬ary viability. Contemporary women dohave difficulties scaling the economicladder by their own efforts, particular¬ly women with inadequate social andeducational backgrounds, lack of skillsor confidence, and little faith in theirability to make good in a discriminatory economic system. Harlequins nodoubt appeal to these women, and prob¬ably not to the small percentage ofwomen who have competed successful¬ly in that system. If readers of romancefeel trapped by their own inadequacies,no wonder the ideal in Harlequins is sopotent, it allows women to gain vi¬cariously what they want — wealth,material goods, status — by behavingin a believable manner, by being patient, accommodating, noncompetitive,submissive women.One can't help noticing that the reso¬lution in Harlequins — the patriarchalmarriage and its implicit economictransaction — is wrenched from theheroine and hero with great difficulty.Diligent readers of romance have no¬ticed the increasing amount and inten¬sity of violence the hero administers tothe heroine. The heroine suffers bruisedlips, torn dresses, and a slapped face asa matter of course; recently, she isspanked, locked up, nearly strangled,and occasionally raped. Sexual en¬counters are depicted as battles and an¬nihilation. Why must the hero threa¬ten:"You have a simple choice, Sophie.Either you come quietly or you makeme use force. If you force me to coerceyou, I may not use pretty methods."?Alex is chivalrous compared to BenWinter in Seduction, who locks his darl¬ing Clea in his bedroom, feeds herthrough the window in The Collector fashion, then brutally rapes her. Onlylater does he relent and marry her.One might guess that the hero's rageand frustration is growing because thewoman — symbolic and representativeof the class on which his capital andpower depend — will not behave. Thecapitalist is, of course, locked into thesame dependency on labor as labor ison capital. The capitalist's rage is mo¬dified and tamed only when the heroine— the reluctant laboring class — acqui¬esces, judging accommodation thewiser course.Harlequins could hardly be more re¬alistic. As sexual tensions are exacer¬bated by shifting roles, rage betweenmen and women is reflected in Harle¬quins, the most charming of cultural in¬dicators. The hero's anger, theheroine's hesitation suggest theirqualms about the resolution — sharprole/labor delineations in patriarchalmarriage — that the genre provides.Beneath romantic manipulations, wecan see that the socioeconomic struc¬ture stresses both parties, locked asthey are in a stranglehold of uneasy ex¬change values. This internal violence,the the ambivalence of the romanticfigures, even the too luxuriant flower¬ing of romance fiction itself, makrs adisintegration of the current formula. Itmay augar a more flexible romanticformula, or an antiromantic formula,with similar popular appeal. Until aneffective re-distribution of power takesplace — whether patriarchy is disman¬tled or reinstated by martial law —some kind of Harlequin romance will bewith us, holding out a delectable carrotto women. As long as Woolworth'sstands, l will cheerfully buy romance,checking them out like social barome¬ters, waiting to see if Harlequin willever understand how I feel about love.BLUE CROSS/BLUE SHIELDLAST REMINDERSUMMER 1981OFF-QUARTER COVERAGEJune 12th is the DEADLINE for enrollment’Applications are available in Administra’ion 103Off-quarter coverage is available to degree students whoare registered and participate in the University Blue Cross/Blue Shield Plan the quarter prior to the off-quarter and whoexpect to be registered and participate the quarter followingoff-quarter. Off-quarter coverage is available to degreestudents for one quarter of non-registration in a 12-monthperiod. Application for off 4rter coverage must be madein the Registrar’s Office and the fee must be paid uponapplying. CHazfotte ^ihtzom<Ei.ta.tz do.493-0666 Call AnytimeV CAMPUS REACHABLESSMALL (Three, Feer, Five or Five-phis Rooms)COMMENTS LOCATION SPECIAL FINANCING PRICESunshine Remodeled4 Terrace 57th 4 Khnbnrk 12-5/8% $ amOe it YeorseN 54 A Rhubarb Ask SIAMDo it Yeonoif 54 A IQmharh Ask 48,000University Peril 55 4 Dorchester Ask urnP —^^tffffBMM MM1 Deck Bniceny 54 A Dorchester 14% 53,000MtMttM (Si lii-pfcx Rmhiw)a l M 14% 71,50054 A CornelAsmmu 84.50053* WeodWwn 14% 44,500LAKE (Over 2,000 sq. foot) -Ret tedreenNew Kitchen 57 * Dorchester Conventional 115,000Lskefroat AMosomi VioMi 54 * Everett Ask 128,0002-Story BeautyExtra Cond, 56 * Everett Yes - 11% 159,000Victorian Brick 55 * Cornell Yes - "Wrap" 149,000New Construction 53 * University Yes-13Va% 235,000100' FrontageHistoric Beauty 48 & Kimbark Ask 225,000Four Voconf Lots - Zoned R5 $25,000 Each *°r Urban Pioneer City Rehabber-3 Story Victorian Brick $19,80024 — The Chicago Literary Review — Friday, June 5, 1981HHOUSESCOZY (pOTTAGE in Hyde Park. 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Fourbedrooms, lots of extras include beamed ceilings,large butler pantry, dining room breakfront. A mustsee at $84,500.56TH AND BLACKSTONE. Turn of the centurycharm with appropriate modernization and the con¬venience of your own laundry facilities in the apart¬ment. 2 bedrooms plus study, bath and a half. Upper$60’s.IF YOUR CAR NEEDS A GARAGE and you need a 2bedroom home, this might be the place you’ve beenlooking for. Featured also is a balcony overlooking apark and a large backyard. Upper $40's.NEWPORT. 2 bedroom with garage space. Upper$70's.NEWPORT. Large 1 bedroom. North view. Mid $50's(. «58TH AND BLACKSTONE. 4 bedroom. 2 bath, over2,000 sq. ft. Super location. Large enough for afamily. Walk to Lab School. $140,000.EAST HYDE PARK. Stunning 3 bedroom, upper $80'swith very low assessments.THE MEWS. Lovely, lovely building. This 1 bedroomplus study has natural woodwork, beamed ceilings,and a woodburning fireplace. A super buy! Mid$60s.NEAR FARMERS FIELD. Large 7 room apartment,big back porch and lovely yard. Sunny andmoderately priced in the upper $60's.5401 HYDE PARK BLVD. Inside parking, 2 bedrooms,2 baths. Upper $60's.COOPERATIVESLISTEN TO THE WAVES from this cozy retreat witha fully eastern exposure. 1 bedroom co-op is only$15,000. Low monthly assessment.56TH AND DORCHESTER.. 3 bedroom. 2 bath, wood-burning fireplace. Upper $60's. Ask about ownerfinancing.HILD REALTY GROUP1365 E. 53rd St.955*1500 CLASSIFIED ADSSPACESUMMER SUBLET: Roommatewanted to share apt. at 54th & Harper.Furnished bedroom & sunporch, largekitchen, on campus bus routes nearCTA, IC, $185 + util. Avail. 6/17. CallAndy at 684 3178 until 11 pmNeed housing and don’t know where tostart? Student Government offers ahousing list of off campus housing!Three month subscription availablefor only $3 and it works. Call 753-3273for more information.Summer sublet, Regents Pk 3 rm aptconsisting of bdrm, kitch, Ig living rmwhich can be used as second bdrm,carpeting, a/c, and excellent view ofthe lake. Can also renew lease afterthe summer 288 3580.Female roommate wanted to sharesunny 2 bdrm hi-rise apt. Begin 7-1-81.Near Lake, IC buses. Prefer grad.Mary 752 3277.KOSHER SUBLET: bdrm, living S,din rms. Kosher Kitch. Avail mid-June Labor Day, $225 + util. 955 2882Condo for rent summer and fall turn orunfurn 3 br 2 bath sun porch cookskitch pleasant location $650/mo call643 28424 Br Furn. Hse in Hyde Park for rent tovisiting faculty family 667 6097.SUMMER SUBLET efficiency 57thand Drexel Mdn Bid June 15-Sept 15493 5159 WkDay Eve.Condo for sale by owner w/14% mtg totrenov, all mod kitchen 8. bath, 5 rms 2bdrms, fp, DW, prk 440 6038, 955-2052Large 7 room apartment for rent inEast Hyde Park. 1 year lease S695/moPrefer family. Call 667-5769.1 bdrm on Lake, near IC and mini-rtfor July. Aug. (June if needed) RentNegotiable. Call Mike am's241-606056th 8, Harper avail July or Aug, 2bdrm, fully carpeted, a/c, all mod.appl., walking dist. to UC, IC 8, shopp¬ing. Rent incl ht water K heat. $570.324 5237 or 704 892-4454.NEED ROOMMATE for SEPT lst2br55 8, Woodlawn 250/mo 363-1705 ferngrad pref Apt is nice and secure.Large third floor Kenwood house in exchange for sitting with boy 8 girls 12, 14mostly evenings; occasionally over¬night or weekends. 1 bdrm, huge livingroom, half kitchen, separate stairs,campus bus route. Must enjoy kids,teenagers. Available June 15. Call w/2refs: 548 0017.Spacious 2 bdrm condo sun rm, d. rmoak flrs-v. gd. condition. Low assmtCentral residential H. Pk location Ph324 3263 after 4 wkends $59,500Sublet Jun 20-Jul 11. Dorchester 8, 51, 1bedroom, air cond., stereo AM/FM,color TV, nicely turn., lake view, 324-9004 Ricardo.Summer Sublet. 1-3 rooms open. Fur¬nished, on the lake. $125 per month.Call9S5 8664 or 955 1838.Spacious 2-bdrm coop, remodeled,hdwd firs. $24,900 owner finance, saleor rent. 363 2529.Woman to share 2 bdr apt near HP co¬op S175/mo + utl. Avail June 5. Sum¬mer + fall option. 288-2478.Unique opportunity. UC alum, ownerconverting graceful 6-flat nr. 73rd 8.lake offering for.30 days large 6 rm. 2bath units w/yard. parking $j6.000-$39,000 375 7435.53rd and Kimbark, 2 br, $125/mo +util Aircond. unfurnished call 493-9139Nancy or 753 3777 AndySummer sublet 54th and Kimbark onebdrm in 3 bdrm apt own private bath BMinibus Laundry Facilities $175 butprice negotiable call Mike 324-6354.Summer sublet (Jun 1 to Aug 31)w/fall option (Female) Regents Pk. 1bedroom in a 2-bedroom apt. Air-condView of the Lake. Separate bath roomRent negotiable 241-5044 (best arounddinner time).SUMMER SUBLET (June IS Sept 1)spacious studio with lake view andpool. $248 00 monthly rent includesheat Parking available. Call 324 8788GRAFF & CHECKReal Estate1617 E. 55th St.11/2-21/24 RoomApartmentsBased onAvailabilityBU8-5566Available toall comers 2 female law students seeking 3rd forlarge furnished 3 br apt, 54th 8, Cor¬nell, reas rent, lease begins Sept643-0158 Ann or Kelly.SUMMER SUBLET: Large bdrm inbright spacious, nicely furnished 2bdrm apt. Dining rm, living rm,solarium small garden, color TV. DorChester & 53rd Rent negotiable493 2043Furnished summer sublet now, 2 rmsavailable in fall. Large sunny house 2blks from Reg 135 + util Grad studentspref Call 241-6171 eves.Summer sublet, 1 or 2 BR apt, furnished + air cond. all utils included, 57 +Dorchester, rent negotiable. CallErica at 493 2106 or Sue at 947 9448University Park studio w/walk in kit¬chen top floor NE view AC pool sauna 1yr lease 7/1 393 1034Studio apt available now. Grad stud,pref. $210/mo. Near UC 238 7941.Room avail, in 3 bdrm apt 2 blks fromcampus. Apt. is light, spacious on 3rdfloor. Avail Mid-end June, rent $192 in¬cl. heat. Eric 955-4158.Quiet mature grad student wanted toshare 57 8, Kenwood apt own roomshare bath and kitchen. $170 per moplus util. I have 2 kids call days762 5300eve 752 8865 Patsy.Write your paper or book next yearatop a dune, overlooking LakeMichigan, surrounded by treeswithout hurting your pocketbook Takethe South Shore train in to Hyde Parkor drive (75 min) when you need to 3-4br furnished house, knotty pine interior, fireplace $285 mo. Avail Sepf-June or July Call 624-5978.Studio for rent at U Pk. Condo, allcomforts, available June 15. $295 amonth. Call 955-0396.ROOM AVAILABLE Fall quarter ONLY $125/month. Across from FiefdHouse and Pierce. Call Gregg at643-2767 before 10 am.5 SHR COOP on Lkfrnt. 2 BR + den, 12x 26 Ivng/dining. Beamed ceiling w/wcrpt. Sunny, quiet. Low mnt hly. Prk-ing lot. mid 20’s 978-3170 after6pmUniv. Park apt for rent. 1 bdrm fullyfurn. Avail, immed. 643-1350.Help! Need 1 or 2 to condo-sit after 6/6til mid Sept 752 6860Condominium for Rent. Spacious, 2bdrm 5’/j room unfurnished condo,newly renovated modern kitchen,hardwood floors, security gate & intercom. In Hyde Park close to CoopPrefer family, professional peopleS550/mo Call Ed or Carol after 6 pm.288 1066LANDMARK BUILDING UNDERRENOVATION Brand new, modernoffice space in fine old Art Deco bldgin historic Wicker Park. 8 min. fromLoop by CTA el. Magnificent views ofcity 8. lake. One man offices to fullfloors $8 per sq. ft. Avail 1 SeptemberPhone 278 2900One room open in 3 bedroom apt $107month open July 31 call evenings871 4742Quiet, resp. female for rm in partfurn. condo. Washer/dryer Ig kitch. 536 Woodlawn. Avail August-June220/mo 955 9635Room w/bath in large house with stu¬dent/spouse in exchange for 10-15hrs/week babysitting. Kitchen Phone.Laundry, Private 752 6968Summer Sublet. IVj rm efficiencyNear Point, CTA, Campus Bus Fullyfurnished, $195 incl util. 6/6 9/21 CallSally 684 7820Summer sublet (June 15-Sept 1)spacious studio with lake view andpool. Parking available rentnegotiable. Call 324 8788HYDE PARKThe Versailles324-0200Large Studios•Waik-in KitcheneUtilities Incl.Furr, -Unfurn.•Campus Bus at DoorBased on Availability5254 S. Dorchester Summer Sublet spacious furn 1 br infaculty hsng near campus 6019 S. In-gleside ask $350 mo uts incl call AllenThrasher 753-4351 day only or come by.AVAILABLE SEPT 1 2 BR Unfurn Aptnr Campus 55 8. Woodlawn $500 heatincluded Graduate Sutdent couplePreferred 241-7425.SUMMER SUBLET Furn apt 2 blksfrom Reg 2 bdrm Sunporch clean753 3751 rm 104 or 229S rm. apt avail June 15 Kimbark 8, 56Call Sun 9 12 am 274 7594Roommate wanted to share with twoothers. Summer sublet only$l30/month w/fall option for $137. 53rdHarper Non smoking. 241 6380.2 resp ind seek E Hyde Park 2-3 BR, 2Bth spac apt to accom grd piano 8, profcooking equip Aug to Sept leasedesired Call Linda 363 6283 or324 6343SPACE WANTEDWanted: studio or 1 br to $300 occupancy anytime Can exchange (butnot obligatory) large 2-bath 3-br apt$300 + . Call 288 6026Garage wanted for summer storage ofcar near 56 & Kimbark Call Steve 3243693PEOPLE WANTEDPaid subjects needed for experimentson memory, perception and languageprocessing. Research conducted bystudents and faculty in the Committeeon Cognition and Communication,Department of Behavioral SciencesPhone 753 4718CHILDREN'S NARRATIVES ANDGESTURES U of C faculty researchneeds children, 4 through 12 years ofage, to participate in a study ofchildren's narratives and gestures.The procedure is enjoyable to childrenand takes about 1 hour on campus. Ifinterested, please call 3-4714 for an ap¬pointment.TELEPHONE SAL E S-lmmediatepart time, permanent salaried posilions open for articulate conscientiouspeople Telephone experience preferred, but not required. Convenientdown town location. Call A Weston at930 2000Immediate opening for executivesecretary. Pleasant working atmosphere. Apply in person. PersonnelDept 2.00 5:30 pm, Hyde Park Hilton4900 S. Lake Shore Dr.Catering Dept needs secretaryVarious duties, congenial working arrangements. Apply in person. Personnel Dept., Hyde Park Hilton, 4900 SLake Shore Dr.Part time office help wanted Assist inprocessing employee attitude surveysMust be good, fast typist. Available 10-30 hours per week for at least 8 weeksDowntown office near Jeffrey bus stopand Van Buren IC $5.25 per hour CallEllen Bernstein 663-5278.Two roommates for my 2 bdrm Shrlndapt for 1981 82 Call Dave 753 8342 *1227.Opportunity to study infant behaviorcreative persons could find paper topicin data transcribe videotapesvolunteers or' workstudy calt Janet241 7281 Right handers wanted to be paid subject in research on hemisperic asymmetry. Call Peggy at 753-4718 or 4824928Cleaning help needed Sats 9 11 $3/hr.Call 288 1780 after 6pmLOVING Home for our 10-year oldfemale, spayed cat. She's well-behaved, fiesty, affectionate, trusting:the perfect cat. Call 241 5846 (eves) ifyou feel able to make this commit¬ment No children pleaseFOR SALETDK, MAXELL, SONY CASSETTETAPES IN STOCK U of C BookstorePhoto Dept 753 3317.VIDEO TAPES VHS. BETA, UCA INSTOCK U of C Bookstore Photo Dept2nd ft. 753 3317.BINOCULARS LEITZ, Bushnell.Tasco IN STOCK U of C BookstorePhoto Dept 2nd fl. 753 3317.BATTERIES For watches, camerameters-IN STOCK U of C BookstorePhoto Dept 2nd fir. 753-3317.STOP WATCHES, DARKROOMTIMERS IN STOCK U of C Bookstore,Photo Dept 2nd fl. 753-3317TRIPODS Davis and Sanford INSTOCK U of C Bookstore, Photo Dept2nd fl. 753 3317.FRANZUS 110/220V converters INSTOCK U of C Bookstore, Photo Dept2nd fir 753-3317.U of C dinner plates circa 1931 8.memorabilia CB Goodman 753-8342.Invest in antique oriental rugs Wehave for every one a rug in any sizePrices from $35 and up. Reasonablecall Peer Oriental Rugs 7231 Vi NorthSheridan Rd. Chicago 764-9141.FOR SALE California Car 1969 ElCamino body good condition runs well$1100 OBO Chuck 753 8342 # 214.SAILBOAT, forces, good condition,$650 Call 955 1341, keep trying.Fendar Mustang, $175; amp $100 CallSteve 752 3721.5 speed Bicycle Good condition butneeds new tires $15 Liz 684-13021978 Dodge Aspen Excellent cond.Power Steering, air cond. radio, etc$3000 Call 363 5886 (home) or 753 4736(office. Mr Genberg.)1970 Chevrolet Malibu Wagon for sale.23.000 miles, AM/FM radio, air cond.$4200 Phone 363 8964 or 947-1849Butcher bl table. 10' sq br rug, dishwasher, kitchen cabinets w/formicatops 241 7840 after 7.Electric typewriter, Smith CoronaCoronet super 12 $170 sofa and chair$100. call 324 7797.Dali etching signed and numbered call324 7795CAR FOR SALE Hornet $650 runs finelow gas. auto trans. new bat, radio, snotrs '74 935 5134 nts, 427 4545 daysStevensonVoice of Music stereo turntable &speakers $15 363 1630 Sally Good giftfor children1980 VW Rabbit PERFECT condition$5500 Call 241 5846 eves/weekendAUDI '74 FOX Front wheel drive Reardefogger 53,000 miles Auto TransMust sell $1400 955 3946, 947 2624(S-OnluwT inf fZhHOKANSON REAL ESTATE223 Broadway Chesterton 926-2178YOUR OWN PIECEofSmall private lake, spring fed New brick fourbedroom architect designed home — attachedgarage.$84,500$1 7.000 down - 13 ’/2 %guaranteed financingExcellent schools - shopping - South Shore Electric to U of C IStop or 1 hour drive non-stop via skywaySeller desperate - Call Kay at (219) 926-21 78 or Chicagophone m Hyde Park. 493-8167Pets allowed Summer Sublet w/falloption 53rd and Kenwood 4 largerooms front and back porch $325 call493 0225. Bartender needed Must have experience Apply between 2-5:30 pmGreat tips, nice atmosphere HydePark Hilton 4900 S. Lake Shore DrPersonnel DeptThe Chicago Literary Review — Friday, June 5, 1981 — 25CLASSIFIED ADSSERVICES TYPIST: High quality work byTYPIST Deration quality. Help ,re«,ance wri,er Competitively pric-with grammar, language as needed **• prompt; minor edition with outIBM char9e IBM Correcting Selectric.After 6 pm 338 6835 or 338 3300 WANTED: Men's 38 down coat $35.odd voi Britannica-$4; 684-6526Fee depending on manuscriptSelectric. Judith 955-4417. WANTED: 2 grad tickets 2nd session.June 12 Friday 753 3896 or 753 3800 ORIENTALCARPETS CHEAP FURNITUREARTWORK-Posters, illustration, let¬tering, etc. Noel Yovov.ich 493-2399.Typing done or IBM by college grad;pica type. Term papers, theses, lawbriefs, manuscripts, letters, resumes,etc. Fast, accurate, reliable,reasonable New town area. Call to¬day. 248 1478. JOURNALISM M A will edit, typeand proofread your manuscript. Com¬pletely professional job. No deadlinetoo soon. Call 643-5923, evenings. Need extra Graduation tickets for Sat.June 13. Will pay. Liz 684 1302Housesitter available mid June-Septwill water plants, feed pets, mowlawn. Resp U of C- Bus. School Grad.Refs Available. 753 0107 Maft. Helmsman racing experienced only 30ft. one design Belmont Harbor See BillFan 1220 C.C.E 1307 E 60th. I have just received another shipmentof choice handknotted carpets con¬sisting of sizes 3 x 5 to 9 x 12 in warmearth tones (deep red, rust, beige,brown, etc.) Designs are well balanced and piles are rich and well cut.Prices are very reasonable for the ex¬cellent quality. Call David Bradley241-7163 or 643 8613. f Vanishing from the city—goatt sell acouch, table, chairs, desk, householdother junk Real cheap ($2 $3 a piece)Call Laura, 643-6246, leave message ACTIVISTENVIRONMENTALISTSCHILDREN WANTEDWE NEED BEDS!Please call 753 3751 Rooms 229, 104 Limited number of children will be acrepted for an all day activities program aged 6-8. For info call 752-5069. Summer jobs are now available forsincere and assertive individuals withCitizens for a Better Environment ascanvassers (public education and fun¬draising). CBE works to stop air andwater pollution problems in theChicago area. For interview call:939 1984. CBE 59 East Van Buren,Chicago. 60605.TYPIST Exp. Turabian PhD Masters,Term Papers. Rough drafts. 924-1152. PERSONALS BOOKSALE MANDARINCHINESE GREATAPARTMENT BACK YARD SALEJune 6 & 7 lOam-8 5624 Dorchester.Will do typing- 821-0940 Used book sale, 20* off, 40,000 titles.Aspidistra Book Shop 2630 N. ClarkNoon-10pmRabbi Piggy: Consorting with devils isa sin. Exorcise don't exercise them: Isthis discreet?FOR RE NT-Overhead, film strip pro¬jectors U of C Bookstore. Photo Dept To Beauty Queens and Lovely MppR A TYPIST^2nd fl. 753 3317. Girls-Happy summer. Enjoy » r I .yourselves in the real world.KODAK. FUJI. POLAROID FILM INSTOCK U of C Bookstore. Photo Dept. RUTH: hot summer plans? Don't2nd fir. 753-3317. travel too far abroad...never knowwhat my visions will pick up.The Chicago Counseling andPsychotherapy Center. Clientcentered Remember, only changes in structurePsychotherapy. 5711 S. Woodiawn. offer hope! Are we liars, ideologues, or6354 N. Broadway and 111 N. Wabash, fools? Rich Kids for Revolution.Chicago. A Registered PsychologicalAgency (312 ) 684-1800. Moveth Thy Caboose To The Bijou! Summer intensive and eveningChinese language courses will be of¬fered by Cheng Yang Borchert, Seniorlecturer in Chinese, beginning June 15.For information call 493-6420 after 3pm. For rent. 3 br, 3 bath apartment fullyfinished. Summer quarter, modern,carpeted, overlooking lake 5300 S.Lake Shore Dr. S7S0 per753 3623,9 5pm month. DOG HEART-THROBHappy Pomp and Circumcision!Excellent work done iiReasonable rates Tel:548 0663 my home.536 7167 or SUMMERTIMEMOVINGStudent with Pickup Truck can moveyour stuff FAST and CHEAP. No jobfoo small! Call Peter at: 955-1824 10am-10 pm. ’ ’Violin repair in Hyde Park.Whedbee 684-0565 evenings. William None of your will ever understand. Toobad Good-bye and Gdod Luck. (NO.10)JOB MARKETS, salaries, housing,schools, climate, much more. Com- Mmmmm. smug little son of a bitch,parative city analysis of Colorado by LAWprofessional planner Sent $6 50 to Col¬orado Source book Box 132-C, Let's go slumming at the Valois SeeLoveland, Colorado80537. Your Food! See you there! TheRevolutionary Communist Prep.yTYPING: Term papers, reasonable Brigade,rates. Also help with spelling,bibliographies. Dissertation form. Call Slumming??? Tolats! And where do684 6882. you usually eat breakfast. MellowYellow? That's what I call slumming.Do it yourself Divorce. Cook County. LAW, who types all.IL Uncontested divorce $50-100. Com¬plete how-to book. Mail $15 check or Dear Alan: always be my goat, myMO to ENAAQ Publications. 1359 fuzzy friend K? Love you lotsEdgewood. Lake Forest. IL 60045 Theresa. PEER PRESSURERADIO Give a hand to someone who needs youthis summer. Volunteer a few hourseach week as a tutor, friendly visifor,emergency room assistant or aide at aschool for the retarded. Contact theVolunteer Bureau at 955-4109 or dropby our office, 3rd floor. Blue GargoylejpyjFOR RENT CENTRALHYDE PARK m * v- RACHELB!Building being converted to office ren¬tal. Rental from $5 ro $8.50 sq ft.minimum space 1000 sq. ft. largespace up to 10000 sq ft. Occupancy1982 call 684 3000.APARTMENT CHILDCARE '- V, ;Childcare nearf campus,Tell Tchaikovsky the news All thehas beens. could have beens. and yetto-be's in progressive pop. Fridays2:30 5:00 pm on WHPK 88 3 fm. In¬formation for the ear. Now sponsoredby Wax Trax.CAMERA/TAPE recorder!?;: 2 br 2 bath apartment, fully furnishedSummer quarter, modern, carpetedoverlooking the lake.;. 5300 S. LakeShore Drive: $630 per month 753 3623,9 5 pm- CAT needs home adult x male, wh &TURKOMAN-; 4AFGHAN CARPETS stimulatingactivities, small group, family at¬mosphere. Call John or. Judy, 684-2820.Full timel if. , (FREE CAT Congratulations, lady. We made itthrough one tough year, alive, awake,and feeling every minute of it (ouch)!My heartfelt appreciation of your 8our friendship, from the P.sian situa¬tion to mdcine & everything in bet¬ween. One more wk and who KNOWShow much more b.gum — staycool’., and then a whole new adven¬ture! Love you, Lise. IlfCHILDCARESeek childcare for 5 month old preferin my home f Ixble hours over summer, full fime starting September 363-8280.goodi»Jf®JUNE 13 ISREPAIRS BIBLE SCHOOLVacation Bible school June 22 26.Presch (Age 4)-7 gr., 9-12 noon. Cornell 8U of C Bookstore Photo Dept. 2nd fir.753-3317. - v(PerPiano lessons Will train beginners Dear Bruce: Everybody knowsand intermediates Call evenings 871- sistence pays off). tee hee.4742Karu—waterwings are required if youTyping service low rates. Call Linda want to work at the Maroon—all you WOMEN'SRAP GROUP Extremely fine mauri carpets,. all^ _« natural dyes, classes designs!Also FORSEN 10RS| unusual animal-design . Baluch ■ v.xw-.yw& prayer rugs 241-7164/643 8613 4 & . JUST 8 DAYS TO GRADUATION !ipGOOD LUCK GRADUATIN G•_ . CCMIODd' 7>’ : s , j -x s r<- • v s pf! , • -< • - ,. ----- .. ...SUMMER VACATION stNlotCASH 4 GRAD TIX Bapt.Ch . 5001 S. Ellis, 684 7747- '*> ' WSHAPIROS ARE NOWOVERDUE 1 mmm * ■ismRENTALS Please return to the Student Activities; Office, Room 210, Ida Noyes ASAP. 25c '753-1918.BankingPersonalBankingRepresentativeHyde Park Bank offersan excellent opportunity foryou to further your careerwith our progressive adminis¬tration as a personal banker.For this position, prior bank¬ing experience and twoyears of college are pre¬ferred, along with typingskills of at least 35 wpm.Good oral and written com¬munication skills are neces¬sary.We provide a generoussalary and benefits packageand the opportunity for pro¬motion from within.To apply, call:Personnel752-4600HYDE PARKBANK1525 E. 53rd St.ChicagoEqual Opportunity Employer M/F have are skis,wock, my dear Beware the Jabber A Women's Rap Group meets everyTuesday at 7:30 pm at 5655 S Universi ¬ty Ave For infor. 753-5655. v.,iDear wild Indian vixen, why have you f*A/LACDAC COD CAI Chidden that voluptuous body 8 i\MO rwl\ OMLC Wooded retreat: log house surrounded Call your price1 955 0941by 20 acres of rolling woods 65 mileseast of Hyde Park in LaPorte near MA\/1M P CAI CMichigan border, 15 min. from the DIO ITiW IIlW OMLClake Peaceful rural recharge WeVeAvailable for reasonable rental June 8July Call 753-2729 or 548 4196. ’ ' ' per day late fee.THANKS LIT • -REVIEW HELPERS! ipsmoldering passion for so long? Years CAMERAS CANON. NIKON. OLYMof ecstacy have passed us by. Tonight Pus ROLLEI. MINOX IN STOCK Uat my place? Mr W; (PS—bring thechains!) of C Bookstore Photo Dept. 2nd fir.753 3317.TLMB: Call me, call me anytime...wecould study together I HOPE yourfirst born son is male'TNCB PHOTO PAPERRIDES • ’ KODAK, AGFA, ILFORD PHOTOPAPER IN STOCK. U of C BookstorePhoto Dept. 2nd fir. 753-3317.DELAWARE ride wanted. Call Mark753 3776 LITERARYSee San Diego after finals I need a per MAGAZINEson(s) to drive a car to San Diego contact Sean at 752 1203 9am 4pm - f; . getting rid of everything . _ -— ———— :Whatever you're looking for, it s pro To Susan Franusiak, Wanda Jones,gf/|fbably here Furniture, appliances. - JaV MacKenzie. Aarne Elias. Becky•’l *'■ ’ everything for the kitchen, sporting* - * and camping goods, books, records,clothes, etc- June 6 8 7 all day. 6040 SHarper (high-rise bldg behind the: LL_l||Plaisance) . V*Seniors, dance with your classmates -Tuesday. June 9th. Tickets $5.00 -^SUMMER BAZAARREVISITED ^ATOUCH OFCLASS Woloshin, Keith Fleming. JakeLevine, Nadine McGann. and others.It couldn't have happened withoutyour patient help Forever in yourdebt. Richard K. 'sale tomorrow: That pays for an openbar and hors d'oeuvres plus live musicby BB Spin. Buy your ticket nowMAGNIFICENTBUILDING «a! ■We will be at the corner of 57th and ,;-TIJ C tCU C klK -r : 6 8 7 Buy your sum;. * M ^ ^ ^ ■'*mer c lothes'a dsonable priWANTED Primavera, a women's literarymagazine needs more women to jointhe staff Call 752-2655 or 548 6240 Onsale in most bookstores II units on South Shore Dr. offerschoice apt living, several sues. OLDELEGANCE, huge trazzia lobby, UC HOTLINE753-1777Need graduation fix for June 13 Willpay mucho pesos Call 753 2233 room541. ?. will all be at BEDAZZLED tomorrow. How about you? Come early anddon't be left out < */ ^ *7^%; -’, l' J'». *>r■48-6240. on grand stairway with oak railings ^ ^Your ihstructors decided to give ex ! C 1C C Icolumns arches, near beach. 1C early and you aren't prepared?!.fTj t, I* I, ^ -Pnik Un,v; Bos' ,op secur. y and ^ can-t ca|m down? Call CA||CTGRAD. T CKETS ^ maintenance, excellent integratedopen 7 nights a week, from TAUO I M:Young Designs byELIZABETH GORDON maintenance, excellent integrated * * nights a week, fromtenants, laundry, inside garage^ i «n irii nn --'t ■;--c * . ..Need 2 tickets. Will pay more. Xallif bailable. > bdrm apts from $235 $325 °^m ,0? ^ 0uan,re"evenings 363 7265 -- v 9 room w/fireplace and beam ceiling; * Auditorium «»50 NearCounl-.ClubparUnSoum QOODBYE PUBShore, Umv 10 mm, for July 1 Call : " ' ‘ * 1221 6606 Other possible openings. Now Six long years in a musty cellar drawtaking applications for Sept 1, Oct !.. - ing beers for you all This summerAdults preferred, no pets -"T • - , you'll be seeing me on the other side ofSTEREOEQUIPMENT '4- * - V fMERCEDES BENZHAIR DESIGNERS SONY, PANASOCIC, ONKYO EQUIPMENT IN STOCK U of C BookstorePhoto Dept. 753 33171620 E. 53rd st.288-2900 TOWN-HOME¬OWNER v ]4 Sthe bar Maybe I'll rea lime 84 on FOR SALEV.- 7J_y 1 0,2rbbM y y ° u °,n e m9 Mercedes 250, 4 door sedan, all‘r* p j7 i J® n ' power, air conditioning, am/fr/swthenFILM PROCESSINGSAME DAY PROCESSING -,IEKTACHROME ONLY - IN BY 9I BACK BY 2, U of C Bookstore PhotoDept. 753 3317. ■ radio, new Michelin tires, leatherroofinc/ specifications GRAPES * * ~ sea,s> engine rebuilt, needs transmisbeing used in 1981 on ^ ; - sion work Some body rust $1500 firmy ' iPROGRAMMER/ ANALYSTThe Center for Research in Security Prices in the GraduateSchool of Business needs a full-time programmer/analystto develop and maintain research data bases and assistin the overall research effort. Applicants should haveexperience with IBM 370/Compatible (OS/VS or VM);knowledge of PL/I or Fortran, (DBMS and/or 370ASSEMBLER desirable also); and prior training — orwillingness to learn — finance and statistics. Goodcommunications skills essential. Position availableimmediately. Salary range $19K - $23K, plus Universityof Chicago benefits, including partial tuition remission.Position offers considerable flexibility, responsibility,challenge and opportunities for growth. If interested andqualified, contact Richard Jaffe, 753-4793. The Universityof Chicago is an Equal Opportunity/Affirmative ActionEmployer. Professional rewritten for andHyde Park Town Homes. Another firstfrom BPTS with the Roofing Peoplefor answers to your roofing problemTo take part and have all your roofingproblems solved send $5 for partici¬pant package and order form toBuilding Products Technical ServicePO Box 293, Arl. Hts., IL 60006 Creditgiven for $5 with the purchase ofSpecifications OF WRATH. The whole Joad family inJohn Ford's classic film Fri., June 5.Quantrell 7:15 and 9:30, $2 00 CitizensFilmSINTENSIVEGERMAN Call 6J4 7414 after 6pm Keep frying.ART HISTORY GRADSTUDENT NEW ART 11GORGEOUS STUDIOView of lake, no bus line. pkg.. tv , sun¬ny Avail June Sept, or Aug.-Sept$225 Call 288 4411. 8 wk. course from 6/15-8/7 (MWF 9 11)will teach reading knowledge with emphasis on scholarly texts. InstructorG. Miller, PhD, native German Forinformation and registration call363 1384 EXAMINER WRITERIf you have Foucault Books you borrowed via MB, could you call me ordrop them off at the Maroon Office? :f',rSoon? 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