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Submissions lacking sufficient postage cannot be returned Photocopiesare appreciated.© The Chicago MaroonThe entire D.C. Catalog ia on Bale at Spin-lt!10.98 list — regular 8.98 — SALE 7.1412.98 list — regular 10.68 — SALE 8.446.98 list — regular 5.98 — SALE 4.54SAVE 35% OFF MFG. SUG. LIST ON ALL D.G. L.P.’S.SALE ENDS DEC. 15, 1981l<ARAlANOS3KING OF CONDUCTORS/SALE PRICE$844PER DIM TAPE Tchaikovsky ■ DvorakSTRING SERENADESKARAJANBwtn Pnahqrmoofc$2M2 012 UO2 0122M2 OI9 *W2 019KARAJAN CONQUERST HE COSMOS!2M2 (Mr \ \02 007 2"’*! WH Uh: 00* «*LP'M< KARAJAN BTHE MAGICHBOF THE WMJZ FURELISETHE PIANO ROMANTICSBEETHOVEN SCHUBERT BRAHNS KARL RICHTER - jTOCCATAAND rUGLIEin d mnoRA„j.lyiatv i »KEMPFF • QLELS * DEMOS. P 2S35 608 MC 3336 608 irSdJOHANN C JOSEF STRAUSSTCHAIKOVSKY • CMOPfNLP2S3S60' MC 1336 (fit 1 A«ID OTHER BACHORGAS "lASTERPlECESF2S.T5 6*’ MC 3336 6’'DEUTSCHE GRAMMOPHONCopyright ’901 0G R>ygrar Classes inc Spin-lt1444 E. 57th •684-1505Spin-lt now, Spin-lt later, but Spin-lt!SUPER I.SPECIAL PRICES.'IMPORTED DISCS & TAPESThe Chicago Literary Review. December 4. 1981 — 3ECHO’S MODERN METAMORPHOSISThe Figure of Echo: A Mode of Allusion inMilton and Afterby John HollanderUniversity of California Pressby James ChandlerJohn Hollander’s last critical work,Vision and Resonance, was a series ofessays about the “poem in the ear,’’the “poem in the eye,’’ and the rela¬tion between the two. But like most ofthe best criticism written by poets,much of its success can be attributedto a good nose for interesting toThe Figure of Echo shows the samknack, the new book pursues some ofthe issues broached in its predsor, but organizes them around an en¬gaging central problem. It is one thatevery serious reader of poetrysooner or later finds himself wonder¬ing about: the: problem of literaryechoing.Why call it a problem? When weread titles like Charles Tomlinson’s“The Picture of J. T. in a Prospect ofStone’’ or opening lines like DeniseLevertov’s “The world is / not with usenough,’’ we recognize pointed evoca¬tions of poems by Marvell and Words¬worth. They are allusions and weknow roughly how to respond tothem. Another case which poses nospecial problem is that of the youngpoet who, not yet having found hispersonal idiom, can write only in amanner derivative, sometimes veryspecifically so, of his favorite poets.One thinks of the way Tennyson’s ad¬olescent work is shot through withKeats or the way some young writersin the last couple of decades occasion¬ally seem to be rewriting poems byStevens or Plath. We say that thesepoets are simply “indebted to” or“influenced by” or, less generously,“stealing from” the earlier poet’swork. We do not assume that we arebeing referred to the earlier writer.Quite the contrary.But then there are cases where,reading an accomplished poet, we de- ®tect reminiscences or “resonances”that we cannot easily classify. Thedoctor traveling the road to the con¬tagious hospital in Williams’ Springand All, for example, describes him¬self as “under the surge of the blue Imottled clouds driven from the north¬east.” His lines bear an uncanny re¬semblance, as Hollander rightly ob¬serves , to Shelley’s celebratedtribute to the “West Wind” that ap¬proaches with clouds “spread / On theblue surface of thine aery surge” (pp.64-65). In “Sunday Morning,” Ste¬vens describes the hush of the old reli¬gion’s encroachment on a woman’snatural pleasures, “As a calm dark¬ens among water-lights / Movingacross wide water, without sound.”But these quiet lines resound with Mil¬ton’s “II Penseroso”:Oft on a plat of risingground,I hear the far-off Curfewsound,Over some wide-water’dshore,Swinging slow with sullenroar. (pp. 99-100) Even less palpable but still unmistak¬able is the aural link between a re¬frain in one of Empson’s villanellesand the opening line of Tennyson’s“Tithonus”:Emp. The waste remains, thewaste remains and killsTen. The woods -decay, thewoods decay and fall.We can all add scores of instances tosuch a catalogue, of resonances toodistinct to be ignored yet insufficient¬ly pointed to count as allusions. Butwhat are we to make of them?I have put the question morestraightforwardly than does Hol¬lander himself. Actually, whose ap¬proach to the matter is imaginativebut circuitous. Though the book is brief the argument is hard to summa¬rize. His discussion describes a kind ofmetamorphosis from one to the otherof the two primary senses implied inhis title’s pun. The “figure” of echo isinitially taken to be a character orpersonage, the mythical creature whoappears in narratives as early as He¬siod but who is best known in our tra¬dition as the nymph beloved of Pan inOvid’s account. In his chapter called“Echo Allegorical” Hollander treatsthe Echo myth in several incarnationsand shows its recurring thematic con¬cern with language and sound. Thenext crucial step in Hollander’s meta¬morphosis pursues the figure of Echoto a poetic form than enjoyed somepopularity among Renaissance poets.In the typical case, this form calls fora dialogue in which Echo returns thelast sounds uttered by her interlocu¬tor. George Herbert’s “Heaven” isone of Hollander’s illustrations: Then tell me, what is the su¬preme delight?Echo, LightLight to the minde; what shallthe will enjoy?Echo, Joy. (p. 29)This form, which Hollander calls “EchoSchematic” provides Hollander’spoint of departure for a more wideranging discussion of internal echoingas a general practice in post-Renais-sance English poetry. And the discus¬sion of echoes within poems is meantto set up the subsequent discussionsof echoes between poems — Echo Met¬aphorical and Metaleptic. This bringsus to the fully transformed sense ofthe title phrase: the trope of echo.What this trope does, according to oneof Hollander’s more straightforwardclaims, is to “distort the original voicein order to interpret it.”In its overall conception, then, thebook is a tour de force. It means to beprovocative rather than definitive —i.e., to “call forth” responses of itsown. To the extent that it succeeds, itdoes so largely because of Hol¬lander’s range of referencfe, his criti¬cal acumen, and of course his finely-tuned ear. Some of the readings arebellringers. The best of them, perhapsbecause they cal upon so many of Hol¬lander’s talents, are his readings ofechoes that descent through successi¬ve generations of texts: Milton’s “inpopulous city pent,” for example, asit reverberates in Coleridge, Whit¬man, and Stevens; or the “number,weight, and measure” triad as itcomes down to Blake from the Bibleby way of Jonson and Marvell.Like its strengths, the weaknessesof this book deserve far more carefultreatment than I can provide here. Iwill mention what seem to me the twomost glaring. The first is perhaps aconsequence of Hollander’s choice toorganize his book as a tale of how anymph-figure metamorphosed into atrope-figure. For what Hollandergains in metaphorical suggestivenesshe loses in literary historical credibili¬ty, a point that becomes especiallyclear in his fanciful explanation ofwhy he sees this particular “mode ofallusion” emerging only “in Miltonand after.” The second weakness istheoretical. To put the matter mostbaldly, Hollander makes three basicclaims that are logical incompatible:1) Echo is non-intentional (p. ix);2) Allusion is intentional (p. 64); and3) Echo is “allusive” (p. 122) or “amode of allusion.” Hollander trieshard to finesse this terminological in¬coherence by resort to Mill’s impo¬verished notion of “overhead” poet¬ry, but not, l thin, with any success.Although Hollander does much toenrich one’s sense of the problem ofechoes, he brings us no closer to asense of its solution. In the end, hemay be less interested in finding sucha soljution than in creating distant re¬verberations between his own criticalfiction about Echo’s transformationand those myths that were told of herbefore Milton fell in with the figure.4 — The Chicago Literary Review, December 4, 1981Seasons greetings from the HydePark Shopping Center. Our storesare brimming with everythingfrom food to fashion. Our ser¬vice merchants are ready tomeet your holiday needs.Everyone here is eager tohelp you complete your holi¬day shopping more conve¬niently — right in the heart ofHyde Park, on Lake Park between54th and 55th Streets. THE Look for special values. Just a samp¬ling is listed in this ad. 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Hyde Park Associatesin MedicineHyde Park Bankand Trust Company Dr. M.R. Maslov O.D.Lake ParkCurrency ExchangeWalgreen Drug StoreThe Chicago Literary Review, December 4. 1981 — 5AN INTERVIEW WITH Alan ShapiroAlan Shapiro, as a visiting professor, taught a writing poetry class in the col¬lege during the Spring of 1981. At the time of this interview, neither of his twovolumes of poetry had been published. Since then. After the Digging has cometo press and is available at several Chicago bookstores. The other volume,Common Dangers has yet to appear. Shapiro has taught in Ireland and at Stan¬ford. He currently teaches at Northwestern University.By Eleanor LeydenEL: I am curious about your time spent at Northwestern and Stanford aswell as here. They must be very different poetic climates.AS: At Stanford they have a graduate writing program. The level ofcompetence is much higher there because the students are older, older thanme even, and they’re more serious. At Northwestern I do get very goodstudents in classes. Yet many students take the class just to satisfy thedistribution requirement, and the introductory course is really simplybackground. It’s aim is to teach them how to read poetry better bypracticing the writing of it. There is no way we could teach students tobecome poets; but we can teach them how to write well, and how tounderstand good writing.EL: What do you do at Stanford that teaches people “to become poets" asopposed to what you do here?AS: Well, we don’t. Even at the graduate level. . .all we do in thegraduate writing class is to, well, try to help the students write the kind ofpoetry they seem to want to write in addition to exposing them to ways ofwriting that they might not come into contact with on their own —possibilities of craft, rhetorical strategies. In addition to the attention wepay to the poems they write, Ken Fields, the director of the Poetry Center,and I, bring in and talk about different kinds of poems for the first twentyminutes of every class. The poems could be by anybody from BarnabyGooge to William Carlos Williams and for the remainder of the class weconcentrate on student work.EL: Do you try to lead the undergraduate students more?AS: Undergraduates. . .yes. There's much more actual teaching that goeson. In the graduate classes. . .the discussions. . .they are really like goodconversations when the classes work well. The students are all in their latetwenties, early thirties. They have begun to form a certain kind of style andreally what they offer each other is very close attention to each other’swork, which you won’t find outside of a university. It’s the only place whereyou can have a ready-made audience, people who share your enthusiasm ifnot your assumptions about poetry. In the undergraduate courses. . .there’smuch more actual teaching that goes on. I do a lot more talking. I begin theclass with a couple of weeks on prosody. I try to cover certain basicelements of form and move from prosody to matters of tone, diction, andimagery. It’s very “teacherly’’ and there’s very little creative writing perse because all of the poems they write are exercises. What I try to achieveat the end of the six weeks is to impart some basic understanding of theprinciples of poetic structure (both technical and thematic principles) so thatwhether they continue writing or not they will at least be able to read witha greater appreciation, a greater understanding of what a poem is or canbe.EL: What have you assigned to your undergraduates so far this quarter?AS: We began the quarter writing two sonnets which, in some way,immersed the students in the very technical nature of language. They had tobe aware of all kinds of things. They had to be aware of getting the meterright. They had to attend to the rhymes and they had to try to saysomething which is a lot to ask of someone, especially if thef have neverwritten before, as most of the students haven’t. But it makes themself-conscious about word choice. It makes them immediately self-consciousabout the kinds of choices that they have to make when they are writingand it forces them to rewrite. And so though the first poems are usuallypretty awful, the second assignments invariably show a dramaticimprovement, which is one of the benefits of having a first assignment thatthe students are surely going to do badly at. . .From assignment toassignment the students get a dramatic sense of their own improvement, oftheir capacities to improve. They realize that they are capable of gettingbetter, that the mind is capable of growth, that there are certain skills thatthey can learn; that poetry is not an esoteric talent that only certain peopleare born with; that in some senses anybody can learn to write verse andthat the virtues of it are for the most part civic virtues. They are the samevirtues of any kind of piece of writing — clarity, honesty, tact. For thesecond assignment they write blank verse poems (unrhymed iambicpentameter). There are still some formal elements they have to attend to.But they are freed from the “tyranny of rhyme’’ so the writing feels lessrestrained by technical considerations.EL: Do you find that the beginning writers tend to sacrifice content to formwhen faced with these assignments?AS: Yes, especially in the first assignments. The form feels to them like aProcrustes bed. Do you know the story of Procrustes? Procrustes was abandit in Greek mythology. He would tie his victims to his bed and if thevictim was too tall for the bed, if his legs were too long, he would chop thelegs off, ancf if he was too short he would put him on the rack and stretchhim until he fit the bed exactly. That’s the way writing in form feels tobeginning students. What I try to dramatize throughout the quarter is thenotion that form is or can be a technique of discovery, however much it feels6 — The Chicago Literary Review, December 4, 1981 >at first like a Procrustes bed. . .Once they become fluent in i , i wimore to them like a technique of refinement. In the process o ry>n9realize their subject matter in the minutae of style, they can in emmaking perceptions that they never would have otherwise made, n avi^9to rethink and refine their thoughts, they find themselves saying mgs athey could never have said in any other way. So, rather than t in ing opoetry as a means of saying what you already know, putting what youalready know down on paper, I try to promote the notion of poetry as anact of discovery and that the forms that the students employ are orms odiscovery. It’s really miraculous when you think about what it means torewrite a poem. Most of the shorter lyrics consist of maybe four or ivesentences and what you try to do in writing the poem is rework and revisethose sentences within and across the lines until little by little you find ayou have articulated something that’s smarter than you ever thought youcould be. The poem becomes proof that the mind can grow, which is amiracle; it’s comforting, at any rate.pi • nn vnti p\/<=>r innk at vnur own Doetrv and say "Did I really writethat?”?AS: Well, I am sometimes surprised but I always have perhaps too acute asense that in fact I did write that!EL: Well, you’ve been working on this for a long time.AS: Yeah, but there are accidents that happen and that’s another thingthat students always want to know about. . .is that whether having to writein what seems to be very exclusive restrictive forms stifles whatever kindsof inspiration they have. And the point is that you are not always inspiredand you can write good poems without being inspired at all and still learnsomething about yourself and still say something that will be valuable toyourself and possibly to other people. One is not always inspired and whenthe inspiration comes — when the train comes through the station, you wantto have your bags packed and ready to go. Working on these forms andrefining one’s technical skills is one way of not only being ready when thatmoment comes, but, in some way, the inspiration can be induced by means ofthese techniques. Everybody has inspired moments whether they write ornot, the difference is that a writer can articulate those moments and isinterested in articulating them, that’s all. That’s the only difference, itseems to me, between what he does and what other people do.EL: You write very formally. . . *As: I tend to write in accentual syllabics. . .I’d say maybe thirty percent ofthe poems are in iambic pentameter. There are several that are intetrameter, trimeter and some free verse. I write a lot in syllabics.EL: How long did it take you to feel comfortable with these metrical forms; and why do you consistently choose them?AS: The accentual syllabic line is a very natural rhythm. Not just for mebut for all of us. It’s in some way the ground base of the English language.Much of what we say naturally falls into a iambic gait. As an old professori of mine was fond of saying: “Who does he think he is, the pope?’’ “Is there; a doctor in the house?” “I’ll have the special with a glass of milk.” All ofthese are perfect iambic lines of varying lengths. So the accentual syllabic isnot the imposition of some sort of artificial rhythm on our language as Dr.Williams thought but a heightening and refining of rhythms that are intrinsic! to the English language. I write in form because it allows me to say morethan I otherwise could. For me it’s a kind of freedom. It allows me to get atand articulate areas of experience that I couldn't in other rhythms. But the| fact is I don’t write exclusively in accentual syllabics. In the last year forinstance I have been writing free verse poems and syllabic poems. Why Ij switched from one form to another I don’t know but whenever I make thatsort of change it always feel liberating. And the new form becomes newsubject matter. It always enables me to say things that I couldn't sayotherwise. It’s a new lense on reality.EL: When you switch forms do you find that you feel proficient from thestart or does it take you a while to gain your bearings?The Hostfor Jim McMichaelFrom the curtained light, inside, they must be movingslowly out of bed, now that I’m here. *However much time has passed since I’ve been gonethere’s never any hurry in their welcome,though they hear the bell, and no reluctance,for they come in no time, and are always coming,friends, or lovers, when I am at the door.A deeper rhythm somehow about to yield, their soft stepsover the carpet bring unrememberable comfortI find myself expecting, as though in their approachall elsewhere goes till I’m almost no where elsebut home, and it could be my mother who approacheswhen she would find me sleepless at her door.and till I slept would sing to me, k You IsOr Is You Ain’t My Baby —her song now is the lightthat goes on in the hall, the lock that turns.Even the coldness on my hands and lips turns sweetbecause 1 think whoever finds me heremight find it, at their greeting, such a mortal thing.— A/an Shapirok*AS: No, I feel proficient with it from the start. I read a lot and so I’ve gotthose tunes already. So, no, it doesn’t take me a while to loosen up.EL: Did that sort of formal switch occur between your two volumes ofpoetry, Common Dangers and After the Digging?AS: Well the second book, After the Digging, are radically different poemsin that they are all blank verse poems — almost all of them. But they arehistorical narratives and they are poems whose sources are historicaldocuments. They are attempts, by an act of historical imagination, to realizewhat it would be like to be someone other than ourselves. So the poems areunlike anything I’ve every done.EL: What were your major concerns in After the Digging? What areas didyou cover and how did you deal with historical experience?AS: Half the book has to do with the Irish potato famine in the 19thcentury. I got interested in the poems because I lived in Ireland and marriedan Irish woman and. . .was curious about the famine because it had such adevastating effect on the country; an effect that the country is still notentirely recovered from and so that was partly responsible for my interestin the subject. Secondly I was working in the Stanford library a few yearsago and. . .read through the microfilm of the London Times from the late18th century to the mid 19th century and got fascinated by the way in whichthe English treated that “Irish Question’’ as they put it. Since I had just readthrough all those newspapers I got a real sense of the English prose styleand got fascinated with the attitudes that the English had toward the Irish,especially during the famine years. And so I wrote the poems from theEnglish point-of-view with an eye toward trying to understand how the mostcivilized people in the world at that time could do such — what wouldappear to us as — monstrous things.EL: How did you get a sense of the persona in your poems?AS: Partly from editorials about the various characters, quotes fromCharles Trevelyan who was Secretary of the Treasury at the time and thenpretty much from quotes, bits and pieces here and there.EL: What is the second half of the book concerned with?AS: New England Puritans in the 17th century. One poem has to do with apassage from John Winthrop’s journal, the first governor of theMassachusetts Bay Colony. In this paragraph he just happens to mention(along with a bunch of other details of daily business) a woman who hadcome into the Boston Congregation. She had been distraught about the stateof her soul, whether she was damned or saved, and had felt so much anxietyabout whether she was going to go to heaven or hell, that “no-one’’ as heput it, “could console with her.’’ So one day she came into the house andsaid that she had thrown her infant child into a well so that now she wassure she would be damned. So I wrote a poem from her point of view thattakes place at that moment when she comes into the house and makes thisdeclaration. And it’s about someone who prefers the certainty of damnationto the uncertainty and anxiety of not knowning whether she would beamong the Elect or the damned. Then there's a poem about MaryRowlandson, a Puritan woman who had been kidnapped by the WampanagIndians in King Phillip’s War in 1676 and spent three months with theIndians before she was ransomed back. She had written a captivitynarrative which was the most popular form of literature at that time.EL: It seems almost like a travelogue with a mean twist.AS: Yeah, it is really and they are travelogues that are in some way,allegories of salvation of the individual soul. In Puritan fashion, sheallegorizes everything; sees everything in a redemptive scheme. Thenthere’s three poems about Salem witchcraft and that pretty much comprisesthe book.EL: What is your interest in Puritans?AS: I don’t know. I got interested in it by reading Emily Dickinson andwanting to understand her in order to understand Dickinson you had tounderstand the 19th century New England Congregational Calvinism and inorder to understand that you had to understand 18th century Calvinism andso it just kept going back and back. So that’s sort of how I got interested inthe Puritans, by way of Dickinson.EL: The two halves of the book make an interesting combination in that theIrish poems deal with the horrors of political oppression and the Puritanpoems explore a different sense of oppression, a spiritual one perhaps. Didyou have a sense of these parallels as you wrote both halves?AS: No. I had written the two sequences without any notion that theywere going to form a book and so. . .then. . .I gave a reading last year atNorthwestern and Mary Kinzey who runs the Elpenor Press heard the poemsand asked to see them so I gave them to her and she suggested that I collectthem into a book.EL: Did you work on Common Dangers before working on this book?AS: The poems in Common Dangers are older than these poems. CommonDangers poems go back ten years. It's very old.EL: What time span do they stretch across?AS: Five years, well — about six years from age 19 to 25. The Puritanpoems were written afterwards from age 25 to 28 — three years.EL: I had a chance to see the manuscrpt of Common Dangers. I was mostimpressed by the structure of the book. The sections seem to form anodyssey for me at least. The first poem, “The Insect’’ starts at a point ofwaking self-consciousness or awareness and then the poems move through avery human universe that is a web of personal relationships ending with“The Gift’’ which seems to present almost as a conclusion the simultaneity ofalienation and affection which appears to run throughout the book. Did thisarrangement emerge as part of the discovery process you mentionedbefore?AS: No. I put the middle section together because the first section had todo with childhood poems, the second section had to do with my relationshipwith my father, the third were love poems, the fourth were miscellaneous poems, mostly travel poems and then the last section were poems aboutpeople I admired a great deal. And so there was a poem about an uncle ofmine who was a miser and sewed all the money that he ever made into theseams of his pants and no one knew this when he died. They lived in ahousing project, he and his wife, and she thought that they had no moneyand when he finally died, the day before she was about to send his clothesto the salvation army my mother happened to suggest — she wonderedwhat he did with all his money — so they looked through the clothes andfound over $20,000 stuffed in the seams of everything. That takes a kind ofa. . .monumental (and horrifying) sense of perserverance. . .And then there’sa poem about a barber who used to cut my hair when I was a kid and apoem about Dietrich Bohoefler, a German theologian who was killed by theNazi’s and then this old lady, this charming old lady who used to drink inthis Irish bar and so that’s sort of the. . .that’s my sense of the book. Theopening poem that begins it, “The Insect,’’ is a strange poem.EL: It’s very different from all the others. It’s more surreal or abstract.AS: Yes, it’s a peculiar poem I wrote it when I was living in Ireland and itwas just a friend of mine who suggested that I put it in the beginning of thebook. It’s the only poem that doesn’t deal with human relationships. In away it’s a poem about preconsciousness, about the beginnings ofconsciousness.EL: When you read the poem “Simon the Barber’’, a few weeks ago hereat the University, you introduced it saying it was a poem about affectionand disaffection.AS: Yes, right.EL: And I find that is a very strong emotional tone through most of yourpoetry in Common Dangers.AS: Yes, especially the ones about Judaism you know because it’s animportant part of my background. . .Now even though I don’t follow thereligion it is still is part of my heritage. . .EL: There is a poem called “Dancing With Aunt Tillie-. . .AS: That’s the oldest poem in the book. I wrote it when I was 19.EL: . . .You express that smothering love that is often joked about inregard to Jewish mothers. It makes a nice contrast to the emotional distancein “Fathers and Sons’’. It’s an odd tension between being smothered to; death and being pushed aside.AS: Right — from almost all to almost naught!EL: How does your sense of a Jewish heritage, your affections and; disaffections, fit in with your interest in Ireland? Throughout CommonDangers it seems like you had to heritages, as if you were rooted in Judaismj yet rooted in Ireland as well.AS: I hadn't really thought about it. My background is...I’m from akind of orthodox Jewish background. My emotional background is Jewish.My intellectual background is English and Irish in that my study of literaturehas been mostly English so there is a kind of contradiction. I don’t knowwhether it’s a contradiction. It's just that our lives are somewhat makeshiftand impure in that way.EL: I suppose the reason I ask is that there is a line in the poem, "OurLady of the Vegetables’’ — about a marketplace in Ireland — the concluding| line where you mention feeling “neither estranged nor at home.’’AS: Yes, that is in some way the story of my life: falling in all waysbetween the two stools. Also that is further encouraged by the academic; world I travel in because there is no permanence to the jobs that one. that Ij can get. You get 3 year appointments, three year appointments there. So Iam very much. . .living between places always and have so far, up to now.I lived in one place only long enough to feel at home there and then had tomove on and in some way that kind of transience becomes a habit of feelingafter a while. . .But that seems to be the American way. In the poem“Explanation of America’’, Robert Pinsky suggests that for us as AmericansI in the 20th century, motion has to be considered a kind of place. That’s| where we always are, in motion. And that’s our form of being at home. AtI least that’s my form of being at home. It’s not a very comfortable home.EL: How does that contribute to your writing?AS: It neither helps nor hinders my writing. I would be doing that no; matter where I was. Being in motion is something I would like to stop. Idon’t like it. I would like to settle somewhere. You know suddenly. . .when! you get to the point where you feel on the road even when you are at home,; it seems things have gotten out of hand. But you know, the writing goes onno matter what my circumstances are. You know we have such aj condescending attitude to the imagination. We think it somehow has to bepampered and isolated and given only the most cloistered circumstances inwhich to flourish. But if one’s imagination is strong enough it can resist andI even absorb and feed off of the pressure of circumstances, whether it behaving to teach a lot, or having to be on the road, or, as in my case, both.I’ve never had any trouble writing and when I lived in Ireland. I lived in oneplace for a year, I did a lot of writing. When I was at Stanford and livedthere for four years I did a lot of writing. This past year at Northwesternalthough I’ve had to do an enormous amount of teaching — this quarterbeing both at University of Chicago and Northwestern — all the same, theenergy I've had to mobilize in order to get through the academic pressuresand responsibilities, . . .has carried over into the writing, has had, in otherwords, enlivening effect upon my concentration, . . The imagination iscapable of responding to all kinds of pressure. It doesn't need to becloistered in order to flourish. It can be engaged and divided and in somecases polarized and still respond artistically. At least that is the way it'sbeen so far for me.EL: Many teachers say: “You must write from experience" but they neverclearly define that term. What elements do you pull from experience?continued on page eightThe Chicago Literary Review, December 4, 1981 —c%Departmcnto^iusi'cl>r*'' ' ^Qvsents 1Friday, December 4, 1981 - COLLEGIUMMUSICUM - Howard Brown, director8:00 p.m., Bond Chapel -1020 East 58th StreetChoral Music of the Renaissance - Music by:Senfl, Josquin, Gabrieli, Schutz, and others,admission is freeSaturday, December 5, 1981 - UNIVERSITYSYMPHONY ORCHESTRA - BarbaraSchubert, conductor8:30 p.m., Mandel Hall - 57th St. and S. University Ave.Carl Maria von Weber: Overture to OberonRoy Harris: Third SymphonyDvorak: Symphony No. 6 in D Major, op. 60admission is free but donations are gratefully ac¬ceptedSunday, December 6, 1981ROSEN CHARLES8:00 p.m., Goodspeed Recital Hall -1050 E. 59th Street“Tonality in Schumann” - a lectureadmission is free fafa\Sundays, December 6 & 13, 1981 -ROCKEFELLER CHAPEL CHOIR - RodneyWynkoop, director4:00 p.m., Rockefeller Chapel * 5850 S. Woodlawn Ave.HANDEL’S MESSIAHtickets available - call 753-3381 for informationMonday, December 7, 1981 - CONTEM¬PORARY CHAMBER PLAYERS - RalphShapey, director8:00 p.m., Goodspeed Recital Hall -1050 E. 59th StreetElsa Charlston, soprano; Carole Morgan, flute; AndreaSwan, pianoWorks by Vivaldi, Eaton, Shapey, Arrigo, Marx,admission is free.Friday, December 11, 1981 - CHAMBERMUSIC SERIES8:00 p.m., Mandel Hall - 57th St. and S. University Ave.Robert White, tenor; Samuel Sanders, piano.Schubert, Bartok, Beethoven, Debussy, StephenFoster, andSongs of Ireland.tickets $8; UC students $4.50 - available at 310Goodspeed and at the box office the night of the con¬cert. fatA\\fafor more information, call 753'2613usicilCIVLUSJC8 The Chicago Literary Review, December 4, 1981 Shapiro interviewcontinued from page sevenAS: Students, writers, anyone ought to write about what they care about,what interests them, what engages their attention and so experience can bethe inability to say a kind word to your mother or it can be a quarrel whichyou have with Baudelair. It depends on what engages your energies. Thekey to writing good poetry is care. . .caring about your subject matter. .caring about the articulation of it. If you care about something you paygreat attention to it. It could be your experience of reading a book orjogging. The important thing it seems to me is that art, literature, poetry,art in general ought to arise from experience defined in the broadest termsand in turn should feed back into that experience and enrich one’sunderstanding and perception of the world. So in some ways it’s an ongoingdialectic. Art isn’t identical to experience. It arises from experience in orderto shape and articulate some sort of understanding of the world. Art shouldremain significantly close to the contours of experience, not insulated fromit, as “the pure poetry” of, say, some of the French Symbolists, a poetrywhich is self contained, autotelic to use Eliot’s unfortunate term. Poetry thataspires to the condition of music finally trivializes what poetry (language atit’s best) can do. But nor should poetry as, say, the social realists in Russiawould maintain, be engaged in the empirical world in some kind of finallystifling political way; again, poetry ought to remain significantly close tothe contours of life. It’s not identical to life, but it can help bs live and it canteach us about the lives we do lead.EL: That seems apparent in Common Dangers. The poems clarify some veryknotty emotional issues: There seems to be no problem in getting said whatneeds to be said yet the poems describe precisely that tension of gettingsaid what needs to be said to another human being.AS: Like any form of writing, poetry (and poetry isn’t to my minddifferent in kind from other modes of writing) strives for clarity, which isnot to say the poems will be necessarily an easy read, . . .As so little of ourexperience is clear, or permits clarity in any absolute sense. But one has toattempt to discover as much as one is capable of discovering, one ought topush against the limits of what one knows, the resistant particulars ofexperience.FL: Can you talk about the resistant particulars?AS: It’s just that often one can’t understand everything about one’s lifeand yet you try to understand as much as possible always acknowledgingthat the moments of clarity are provisional, makeshift. . .Central Intelligence AgencyWe're looking formen and women who wanta career with a challenge,and rewards to match.Not everybody can work for the Central Intelligence Agency but youmay be one of them It takes intelligence, skill initiative and a willingness to take charge Or it takes the ability to piece together informationfrom many sources and build it into a picture of what s happening inthe worldUnique professional opportunities are available for seniors andgraduate students from the University of Chicago completing work inthe following areas of studyEconomics (graduate degree required)Foreign area studies (graduate degree required)longuoges (Russian Eastern European Middle EasternOriental)Mathematics *Photographic interpretationPhysical sciencesMost of these positions are in the Washington D C oreo. some leadto service abroad. Any position would place you within an elite groupof people Graduate or undergraduate degrees in the appropriateocodemic field is necessary and practical work experience is a big helpLiberal insurance retirement and leave benefits You hove to be onA'mericon citizenDue to processing time involved those graduating within the next6 to 9 months are particularly encouraged to apply at this timeResumes should be mailed as soon os possible to Central IntelligenceAgency Midwest Personnel RepresentativeP.O Box 1412-C Chicago Illinois 60690The Central Intelligence AgencyIt s time for us to know more about each other.An equai-opportunity/affirmotive-action employerEL: That they don’t necessarily resolve anything?AS: No, they don’t. They can lead to some resolution but they don’tnecessarily. . .You write in order to understand your experience. If youdon t understand your experience you are determined by it. Understandingitself doesn't win us automatic freedom from the determinacies of life butit s a necessary pre-condition for freedom, for some sort of modest freedom.EL: It seems many people can write poems which clarify something tothemselves but are otherwise obscure. Do you think that’s poetry or doespoetry require an audience?AS: I think that’s journal writing and I think that’s valuable and I nevercondescend to that but the poem also ought to be such that it makes thatclarity apprehensible to someone else’s observation so that the subjectiveexperience objectified in the public medium of language can by means ofthat medium become someone else’s experience. But for me, when I write, Idon’t write with any great audience in mind. I write for a few friends really.I write for myself, first to understand certain things and then if the poem isgood enough and my friends like it then I feel as if the poem has succeededboth privately and publicly. But I write for a very small audience. I hopethat a lot of people read the poems but of course nobody reads poetrynowadays but one’s friends and relatives.EL: Well, you've published in a variety of periodicals. Someone else mustbe reading the stuff.AS: Yes. but there’s not much of a readership. The Yale Younger PoetsSeries, in some ways the most prestigious book competition, claimed that acouple of years ago the number of manuscripts they received exceeded thenumber of books they sold. So there are more people actually writingnowadays than reading. And you find that in the writing classes. Thestudents who claim that they’ve been writing for many years don’t read.They think somehow you can write good poetry without knowing howto readit which is silly. What they are doing is writing journal entries which isvaluable for them but as you mentioned before it’s a kind of privatelanguage insulated from anyone else’s understanding and judgment.EL: Who do you think is most important to read nowadays?AS: Well, Dante, Shakespeare. . .EL: The same old boys. . . AS: Sure, Homer, Virgil. Among my contemporaries I don’t know. I’ll tellyou the people I like to read. The people I think are good poets now: KenFields, J.D. Cunningham, my teacher from Brandeis is a great poet, TimothyDekin, Timothy Steele, Simone Di Piero — Robert Pinsky, Jim McMichaels.EL: Where are the women in this crew?AS: Janet Lewis is a great poet. Louise Bogon is a great poet. I thinkMarianne Moore has some good poems. Emily Dickinson. Anne Bradstreet. .Who else? There’s a woman poet in California, who I am sure no one hasheard of because she hasn’t put her first book out yet, named BarbaraThompson who’s a first-rate writer.EL: We’ll watch for her.The YOUNGER GALLERYand ARTISANS 21Invite you to enjoy holidayshopping over a glass of wine.The Younger Gallery presents an exhibition featuringprints, drawings, photographs more. Receive our 1982Art Calendar FREE with a purchase of $50 or more.Artisans 21 features ceramics, fibers, jewelry, papiermache, painting, photography, printmaking, and stainedglass.Artisans 215225 S. HarperHoliday Open HouseDecember 5 and 612 to 4 pm Younger Gallery1428 E. 53rd StreetOpening ReceptionDecember 66 to 8 pmAfterwards, visit Mellow Yellow restaurant where Ar¬tisans 21 or Younger Gallery customers may enjoy a com¬plimentary glass of wine with their meal.1508 E. 53rd StreetThe Chicago Literary Review. December 4 1981 — 9- false premise false premise- I think we need a new aesthetic would you look at all these goonsthey look like they just stepped out of Stanford- well you won’t get a grant wearing jeans anymore believe you me- hey look at Szelenyi look at Szelenyi- where- over there shit you missed him- did you hear that guy did you hear him- yeah I heard him so what he’s been saying the same thing for tenyears now what do the French know-- they know how to fund their people- what people I ask you huh what people- please- huh I ask you I’ll tell you what people they fund they fund a bunchof sedentary Althusserians that’s who they fund- you know you really oughta keep your voice down around here; - yeah right cencorship amongst the literati; - back to Weber are we how novel- the rise of mediocrity in education! - see what I mean- did you read that article in the AJS denouncing critical theory: - the AJS has goddamned made its name denouncing critical theorywhat’re you so goddamned surprised about- I didn’t say I was surprised did I say I was surprised don’t goputting words in my mouth you always put words in my mouth- there he is there he is do you see him- where oh yeah god he’s gotten fat- and well he should he’s got a grant large enough to sink Yale- Yale shit don’t bring up my mistakes- hey hey hey look who’s back from Berkeley- false premise- look at it this way if the stock market was based on theoryHabermas would be making a mint and Shils would be going for apenny a pound- why do you always think in terms of a market economy it drivesme crazy- well I can’t say I understood every word his English hasdeteriorated horribly- never was any good that’s part of his supposed charm you knowEast European fetishism poor downtrodden comrades- the discreet charm of the-- spare me- look me up in Frankfurt I’ll be working with Fassbinder-- New German Critique my ass that stuff's so old you could sell it atSoutheby Park Burnett- you say that every time they refuse your articles-- did you hear him capeetaleest seestym jesus moses the wholebunch of ’em sounded like a rerun of Rocky and Bullwinkle-- there he goes again state and civil society state and civil societythe only thing that saves him from oblivion is the Polish issue andthat can only last so long, - Boris darlink ve must get Moose end Skvirreli — I hear Foucault and Sennett are writing a book| - keep your voice down they’re standing right therej uh-oh uh-oh altercation between Friedrich and Mikail - not again jesus it happens every time- look I told you not to call Agnes Heller Joseph didn’t I- too tempting too tempting anyway she panned my book and itstill got good reviews- getting the OK from Telos does not mean good reviews-- what was that you primitive- all right all right so we live in a post-modern society just what isit you’ve proven- it is true you’re living with Annette Funicello- I’m waiting Marshall I’m waiting patiently just what is it you’veproven- well I’ve certainly disproven your theses you derivative slob- I’m going to make Hegel chic again- good luck-- darling you look marvelous I told you Hungary was glorious thistime of year- not City College you poor dear I wish you luck just don’t link Marxwith economic thought and you’ll be fine- Marx who- I tell you I’ve tried everywhere the market is tight- it’s not tight you innocent it’s impossible-- it’s not impossible it’s predicated upon our suppression- hey Jean hey Jean I think we just had a subject/object dialectichere hey do it again will you do it again so Jean can see-- I said the market’s predicated upon our suppression-- see see I told you a subject/object dialectic god that takes meback-- very clever very clever somebody get me a drink-- anybody got any drugs-- hey didja get to that totalitarianism conference- yeah its format was a logical extension of its subject matter-- don’t say logical extension people’ll think you’ve been drinking-- well what else is there to do nobody’ll talk to me-- with centralized planning there is no housing for the workers ohyou’re so perceptive Ivan you’re so perceptive I could bloody wellkiss you- pliz do- look he wouldn’t have gotten on the journal if he hadn’t fuckedyou-know-who and you know it so stop trying to defend him-- who’s defending I’m just saying it’s nothing new right I mean comeon let’s be real-- to it’s rampant that doesn’t mean it’s acceptable-- how do you do sir I just got back from the Max Planck Institutecan I be on yourjournal sure baby just open your mouth like agood girl and swallow my pride-- you think you re being cynical but you’re just being disgusting-- look to thyself- no I'm serious I’m going to make Hegel chic again I’m going tomarket him as the solution to valiumdrugs I want drugs it s the only way I’ll be able to stay in thesame room with that kraut-- calm down everybody give Mikail some drugs already-- five months I sent him chapters for the book each month for fivemonths and he didn’t even send a telegram saying he was alive-- yes I did you overgrown Magyar it’s not my fault you weretrouncing around Italy trying to be brilliantEX-Lin IMSSTA\BOOKSEVE K, iELLERS |5 7th Strrrt1301 East l667-3227ART Rl BBER STAMPSBook Plates- iArt ImagesChristina- Stamp* DR. M.R. MASLOVOPTOMETRIST•Eye Examinations•Contact Lenses(Soft & Hard)* Ask about our annualservice agreement. rgjmeQ|•FashionEyewear &LOM8SOFLENS(polymocon)Contact lero&sLLOCATED IN THEHYDE PARKSHOPPING CENTER1510 E. 55th 363-6100 DOC FILMSTENTH WEEK/FINALS EEK SPECIAL MOVIES:Saturday. December 5. at 7:15. 9:30:Peter Sellers and Herbert Com in the fourth and best ofBlake Edwards’ Pink Panther films:THE PINK PANTHER STRIKES AGAINFriday. December 1 1. at 8:30:Hooray for Captain Spalding!The Marx Brothers in ANIMAL CRACKERSSaturday. December I 2. at 8:30:James Dean. Natalie Vi ood, and Jim Baekusin Nicholas Ray’s REBEL WITHOIT A CAI SE(newly available CineniaScope print).All films in Cobb Hall NJ10 — The Chicago Literary Review, December 4, 1981■ — - ■' rm— zsnm. ~~~ - —THE NEW INTELLECTUALCD [D tH3 CD CD CDJ a a oq■ hd im ini uu uu-- I was there for one month one goddamned stinking month and Iwas doing good work too like you should have been doing if youweren't trying to bed down with Habermas like some sort ofwhore-- so help me I’m gonna kill him-- somebody get me a drink already I feel like a desert-- how can you live with him huh tell me how the hell can you livewith a self-satisfied drugged-out Magyar like him-- cut it out I swear to god I’m gonna knock your heads together-- if that’s a multi-level crisis theory I’m a horse’s ass-- I rest my case «.-- tendentially totalizing delusory complex oh I love it I love it-- hey Jean I hear your prize student is working with Janowitz-- don’t remind me the little slut owes me money-- commodity fetishism commodity fetishism- doing good work in Italy my ass where’s your stuff baby if it’s sogood huh your own fucking journal won’t even publish it- that does it you kraut the deal is off- we’ve got a contract you moron you call it off and Chicago Press’llsue you for every measly Magyar penny you’ve managed to get- don’t bet on it-- will somebody separate those two already-- it’s tough I tell you it’s really tough I’m seriously consideringdoing work for the CIA-- don’t do that for shit’s sake I can always get you a job doingpublic relations for the French CP-- the French CP my god that’s different from the CIA all of a sudden- hey watch it the head of the French CP is standing right there-- where oh yeah boy do I have a bone to pick with him-- Janowitz shit it’s killing me I pour my life’s blood into that kidand now she’s working for Janowitz- look Mikail nobody has any drugs so just simmer down- look who just walked in Michael Harrington I thought he was inWashington working with Kirkpatrick-- don’t be snide my dear he’s doing better than you are- Christian Democrat you have got to be kidding how could youregister as a Christian Democrat-- what do you suggest you apathetic- o-oooooh I get it you did it so you could get a job at City College- I didnot now don’t be an idiot- yes you did only it didn’t work and now you’re stuck ha youmoron that ploy hasn't worked in six years-- everyone who’s reached a mature Stalinism raise their hands-- I mean he can only do state and civil society for so long beforesomebody gets wise to him-- let’s see one two three hey pretty good let’s start an alternativeparticipatory framework-- oh com on baby nobody’s taken Semiotexte seriously since theyput a picture of a faggot on their cover- how autobiographical-- look I told you if you printed that thing calling Telos Pathos you’dget in trouble- they don’t scare me the New Left is dead baby dead and gone- you prefer maybe the New American Movement- no I think an article on the new nationalism would be very timelyright now people are sick to death of political economy -- I am not a Marxist I’m a philosophical anthropologist now lay offalready- hey Russell do that subject/object dialectic thing again so Antoniocan see it- you wanna reify go ahead and reify nobody’ll take you seriouslyyou know-- five months my ass listen buster you just can’t face up to the factthat you haven't produced anything in three years-- why don’t you try writing something other than subculturalbullshit for a change-- look we’ll talk about it when we get home all right-- hey you guys living together again-- a houseful of Bulgarians believe me darling I wouldn’t wish it anmy worst enemy-- at the rate you’re going you’ll have to be carried home-- watch it you wanna create a scene or what- look he talked for an hour and a half right quoted everything he'sdone for the last three years and he still didn’t prove that a newclass existed- whaddaya expect it’s a new concept- new concept oh spare me it’s only been around for four years- loved your debate on Bahro you really put the screws to him huh- natural impulse- gemeinschaft or gesellschaft you call that a choice-- you miscomprehend me- I mean would you rather get gemeinschafted or gesellschaftedeither way you get shafted- I do not understand your American language- damn right you don’t if you did you’d have to read somethingbesides outdated Leninism-- hey Gary it's not fair to play with the guy like that he doesn’tknow any English- tell me about it-- but vit centrelised plenning der is no housing for de verkers- who cares about the verkers huh the verkers can go screw youknow as well as I do that the verkers are no longer consideredsexy- I ask your pardon please-- drugs drugs drugs I beg of any bystander you there sir have youany drugs-- no but I have a question where the hell do you get off calling mywork derivative-- Janowitz is gonna kill her you know no way will she make it theway she's going-- don't be eschatological~ why not it’s all the rage now~ hey I hear if you call yourself a historical sociologist you get bigtime grant money-- hey you come here you wanna blow up Paris-- look I said we'll talk about it when we get home~ all right that's it I’m leaving- about time you kraut and take your neuroses with you-- hey there's a late Fassbinder spellbinder you wanna catch it- is it in color- who cares- let's goLady in BloomMaternity ShopMust Liquidate $50,000 inRegular & Holiday Merchandise25-30% Off• 20% Off All Bras & Lingerie• Going on vacation or a cruise? We have summer wear.1618 School Street477-4644HOURS Mon Tues Wed 10 30 am 5 30 pmThurs Fri 10 30 am 8 pmSat 10 30 am 5 pm Sun 12 4pm Deadline forWinter Part 1Activities Calendaris December 11Bring all information to Room210, Ida Noyes Hall, the calendarruns from January 4 to February1 ne Chicago Literary Review December 4. 1961 — 11GraphicbyLeslieWickABEmFauuKkifampa AnmntmuMiMmmm abcdbpohijiimmopqbst abcdefghijkimnokjrstuv iKHriiMUMiinn* jTHE PROFESSIONALWhen I came home today, Iheard crashing sounds allthrough the house. Adrianwas breaking everything hecould find — furniture, thetelevision, my pottery. Whenhe saw me he ran to a cornerof his room, pulling a blanketover his head. I screamed athim, telling him he could goback to his father. Then I gavehim the Flintstones comicswhich I had bought for himdowntown. They’re his favor¬ites. He grabbed them frommy hand and tore them up. Atnight, in the bathroom, Iwept.ABCDEFGAdrian’s father visited ustoday. He brought Adrian aplastic machine-gun thatsquirted little yellow bullets.As Jules and I sat on the ve¬randa drinking hot lemonadeand brandy I had made, Icould hear the muffledwheeze of the toy gun asAdrian ran through the gar¬den and house, shooting ev¬erything in sight. When Julesleft Adrian jumped out of abush and accused me of mak¬ing him go. He sprayed mewith gunfire. “Bang Bang,”he told me, “I’m Johnny Ac¬tion and you’re dead.” Littleyellow bullets bounced off myblouse and scattered on thetile.Fine. Clear, crisp, flowing. Thisone was ready for the NewYorker. Why couldn’t they all bethis easy? The Reader’s Digestpiece was being a bitch. Hecouldn’t get past the forbodingpart. These were the essentialtraits of RD stories: they wereall “true,” and they were allloaded with foreboding:It was an incredibly beauti¬ful day, like most are downhere in Belize. The clear blueof the sky was echoed in thedeep turquoise of the coral la¬goon that stretched beforeme. I didn’t know it then, butsomewhere the placid surfaceof the water was being slicedby the cold black dorsal fin ofthe Every October I go deer huntingin the crisp, cool woods of Oca-tawango, Minnesota. “Safetycomes first” is the rule I fol¬low, and I had never had anaccident. But the lone crowperched high on an old post¬oak should have warned meABCDEFGHI have always been close toTina, and have felt that wecan communicate, not only asmother to daughter, but asfriend to friend, as well. Tinahas always known how I feelabout drugs, and I always re¬garded her as mature enoughto stay away from anythingthat Mr. Hemple, our familyphysician, hasn’t prescribed.That’s why I didn’t noticeTina’s dilated pupils when shecame home late oneHe had 18 of these "F-bodes”.They were fun. But he couldn’tdecide what was supposed tohappen after any of them. Itwould be a pity if he didn’t getone done for the July issue; RDstories are extremely kjcrative;that’s a fact. The next one wouldbuy that IBM selectric he’dwanted for so long —push-button corrections,featherweight controls.But the prospect of spoilingthis fine spring afternoon byconcocting a true adventure toadorn K-mart coffee tables andsuburban dentist offices . . . well,all right, so maybe the Digestdid have the largest circulationof any magazine, anywhere.Still, he couldn’t get over thatvague feeling of shame whenthat gay green and yellow checkcame in the mail . . .Pladger steps out for lunch. Hebuys a copy of The New YorkTimes Review of Books. InMcDonald’s, he nearly chokes on-a pickle as his eyes catch areview of the latest anthology ofshort stories by “MariaBelletra.” It is written by“Norman Grabstein (who) haspublished several works of andabout literary criticism, includingDoes Function Follow FormInstead and Revenge of theDilettante. He has also publisheda novel, Structures in Taffeta.Mr. Grabstein currently teachesfilm appreciation at WellesleyCollege.”Pladger glances quickly aroundthe crowded franchise. Herecognizes no one. A bit nervous,he reads: “Ms. Belletra’s stories, whichhave brought her from com¬plete obscurity to literaryfame virtually overnight, ex¬hibit a remarkable talent forusing hackneyed melodramat-ics effectively. Her occasional¬ly innovative style forces usto wonder why she hasn’t pro¬duced anything better thanthese stories, reprinted most¬ly from the Saturday EveningPost and Cosmopolitan. Yetwe are continually, and unfor¬tunately, disappointed.”ABCDEFGTHE EDITOR: Ms. Belletrareplies, Fuck you, dreamsPladger. Yet he has theuncomfortable feeling thatGrabstin, even if he is a critic, isright.He has today’s mostunpleasant task yet before him:a short piece for Hustler. He hasbeen given the title, “Riding theRig,” and he can write anythingthat fits. Typing this kind ofthing makes him want to throwup. Well, as the old saying goes,a professional is someone whodoes his job even when hedoesn’t want to.You know how it is — you’reout there on the highwayhauling freight for weeks onend . . Ain’t much for a man tothink about. ‘Cept pussy.So when I spot this cute littlehigh-school hitchhiker stand¬ing by the road, wearingfaded cut-off jeans so tightthat the cheeks of her tight lit¬tle ass were poking out, andthe pockets showed whiteagainst her firm thighs, andwearing a halter-top tighterthan a Jew’s fist, so her nip¬ples stuck out like ripe cher¬ries ready to be picked, andher golden hair framing a facewhich included the reddest,wettest sweetest pair of lipsyou’d ever want to get into,so’s you just knew theycouldn’t be used for anythingthat wasn’t dirty, well I decid¬ed to slow down.“Where you headed, babe?” I inquired, mystick-shift hard as Detroitsteel.“My favorite direction isdown!” she squealed, and shewasn’t whistling Dixie. Oranything else, for that mat¬ter, for no sooner was she inthe cab when she was givingmy giant drive-shaft a speciallube-job with her deep throt¬tle.“W-wait a sec,” l murmered, myrig swerving all over theroad, nearly pulverizing aToyota. “Let’s find a placewhere we can be alone to¬gether.” I pulled over at thenext Texaco station and snuckher into the men’s room . . .Pladger had saved the nicestwork for last. It was for Galaxy;it was pure fantasy. Of all thework he had done today, thiswas closest to his heart. Like oldWWII flicks, sci-fi stories createdtheir own secure world withinwhich the characters operate.Since it pretends to a reality ofits own the reader (or writer) canimmerse himself wholly in itssecurity, knowing thateventually good will win outover the evil Malodon...ABCDEFG“Whaddya think, Doc?”“Dunno, Bill. If we can patch upthat old proton generator,why then, I’d say we stand adecent chance of outrunning’em. Otherwise . . . well,frankly, we’ll be in troublejust as sure as the seven sunsof Sativia set at noon!”“Well, what’re we waitin’for?”“That’s the spirit!” grinned Dr.Emertus.They worked feverishly for fif¬teen Earth Standard TimeUnits without a break. Theyhad to tie the reactor car-buron together with a piece ofAlberil twine. Finally Dr.Emertus started the fusion ac¬tivator. Bill cheered as heheard the old familiar “chugchug’’ of the Mayflower’s en¬gine. “Don’t count your Ron-dogs before they’re ini¬tialized!” warned Dr. Emertussternly. “Let’s just hope thattwine holds together.”But already Malodon deathcruisers had appeared on thescanner. . .12 — The Chicago Literary Review, December 4. 1981INVITi ABC0EF6HIJKIMH0P0RSTUV ASOQlPiHUKILMN®PQReTUV FIBCEIEF6mMmnt]PQFI5TUUUJI9A productive, profitable day.Pladger tries not to see the hugestack of papers and notebookspiled up along one corner of thestudy. Thousands of pagesaccumulated over . . . oh, years.One day they’ll be his first realnovel. Well, a story, to beginwith, with his own name on it.When it works out.But why worry? Tomorrow isa busy day. The agent wantsthat prose-poem for The PartisanReview, and there’s that oneabout the businessman,evaluating his life on ascuba-diving vacation, whomeets the mysterious IslandLady, for Playboy, not tomention that half-completedskiing accident / adventure forBoy’s Life . . .A night Pladger pulls thecovers up to his chin and slowlyrises into sleep. His head is nothis own. It jumps and swirls fromgenre to genre, catching a line ortwo, an epithet from century-oldslang, or key fantasy words forteenage girls like straightsunbleached hair and his whiteeven teeth. But when Kenny toldme about Darlene I just diedinside. Yet I knew it was up tome to help him. It all began in amost singular manner: I was taking my customary stroll alongthe Rue N when I remarkedto myself that Mile. d’A wasnot as usual, displaying herhobbling melons likewater-balloons, thrusting myblood-engorged cock into thatpanting fox who slyly said to thelittle chick, “why don’t you cometo my house for dinner, since I’veprepared your favorite dish of(cornmeal but the smart littlechick replied Mother told meabout the clear cold certainty ofliving on a planet of monsterswho call themselves Humans so Ihopped out of the pickup andbidding adieu to the nazisheepherder who’d given me alift from Des Moines dropped thelast blotter strapping the guitarto my back watching thelandscape turn Da-Glo orangeknowing it was the last trip I oranyone would ever really take,and thinking quickly; the mugwas no fool — I’d have one punchon ’im and I’d have to knock ’imcolder’n an Eskimo’s martini —see, ever since that dusty drivefrom San Antone to Topeka, I’dreckoned on buying my ownplace and settling down, or justending it all with one sweet kissfrom your bright red shoeswhich, said Pap, drawing the needle from his sickly, scarredarm, dangling voer the 300-footprecipice as we realized wewould never make base campand suddenly I knew (damn it, Iknew) that even if we slepttogether again we would alwaysremain strangers because, as hetold the girl, speaking slowly,smiling a little sadly, fingeringhis now-empty beer glass, I’m, well, I’m a writer, approachingthe secret grave where the oldmonster lay dying among fleeingstark cloudy rises corporation(purple) the un-interpret glowingvisitate beyond shimmeringescarpments adult burgundiescalling— Steve EatonThe Chicago Literary Review, December 4, 1981 — 13 AUGUST ANA LUTHERAN CHURCHSundays:8:30 am Sermon & Eucharist9:3C am Sunday School &Adult Education10:45 am Sermon & Eucharist6:00 pm Supper5500 South WoodlawnTHE AKIBA-SCHECHTER JEWISH DAY SCHOOLPresentsTHECHICAGO SYMPHONYCHAMBER PEA YERS• SAMUEL MAGAD, violin• MILTON PREVES, viola• FRANK MILLER, cello• DONALD PECK, flute• EDWARD DRUZINSKY, harpwith guestEASLEY BLACKWOOD, pianoPROGRAMMOZART Flute Quartet in D Major, K.285DEBUSSY Sonata For Flute, Viola and HarpBRAHMS Piano Quartet in G minor, Op. 25SUNDAY, DECEMBER 6th, 3:00 p.m.Congregation Rodfei Zedek5200 S. 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Harper • in Harper Ct. • 955-0100open monday thru Saturday 10 to 6 • Sunday 12 to 5 1 vHyde Park/Pi,1 ¥Hyde ParkHr1 *Hyde Park^ ■ ' *14 — The Chicago Literary Review, December 4, 1981PoetryI am still surprised by marriage, as I am by death.I wake each day to my lover's lips on mine.The sound of beds creaking in the house below —1 wake and there it is, two tissue-paper truths:1 am a married and a dying man,Thinking of the two, crushed beneath their weight.You must not die before me, my father writes;I keep the letter pinned above my desk,My mirror of neglect — my words will die before me, and my wifeBe left with nothing but the prayer beads1 bought before King David’s gate last Spring.She is a superstitious one and made me payFor holy earth to sprinkle on my grave Had we lived then, childless, beneath no special star,We would have died before our books were scrawledNo special star, no special sign.No shield against the rambling public’s brambled moansHe died on a train on the way to a conferenceAnd replaced by a man no less than heWho died on a train on the way to a conferenceOnly to be replacedAnd 1 am still surprised1 wake and 1 am marriedAfter all these years 1 am still surprisedHad we lived then, when popes commanded love.We would have burned beside St. JoanWitches in a witch’s woodFaces smeared with hand-stirred coal a young girl boughtFrom charcoal men who walked cold dogs at dusk.She is a superstitious, she my wife,And cooks with herbs beside the fireWhile owls scramble over olive books1 bought before the war. I am a dying man,A testament to the world's unbending law:DO YOU TAKE THIS WOMAN?Yes, father, and have taken her beforeBeneath my father’s bed, beside my father’s vines,Along my father’s orchard where she screamed in pain(I thrust too keep and bought her sheepskin glovesTo keep her hands from shaking when she prayed in church)DO YOU TAKE THIS WOMAN?Yes, father, lawfully 1 take her nowIn full sight of a lawless GodYou must not die before me pinned above my deskMirror of a mirrored planGypsies come and ready my palm, with my wife sittingRockingHer eyes a hollow songHollow now 1 am a dying manConsumption is a mass consumptive planUnbending in its solace — I AM AN INSTITUTION WITH NO SPECIAL STARNO SIGN OF SPECIAL TREATMENT,NO SILVER STARThey burned the Jews in YorkOne by single oneThe women went screamingThe children silent cynicsDrowning in their wordsDrowning in their trustTheir shame a pubic tuft rising above the flamesHad we been born before the trainsWe would have died on horsebackSinging lowI am a dying manWill die before my timeOnly to be replacedDO YOU TAKE THIS WOMAN?Yes, father, I will take her with me,I will die in rhythm with a tearing thrustShe wearing gloves and clutching paper beadsI am still surprised and 1 will dieWondering at the lack of nothing newHanging on my wordsMy profession of loveTo a superstitious woman, she my wifeHer lover’s lips bleeding dry the linesI had no time to pin above my desk1 WILL TAKE YOU THEREBEFORE A SPITEFUL GODHands slamming down, slow pressingHoly earth upon my grave(I will have no children die before meNo chance of a perversion here in this stone house)I wake to feel her lover's lips on mineBleeding vampire-like onto my chestMy heart beats slowly now, a Celtic drumbeat callingCalling for a new cut. a brand-new deal.face-down now, the game of lifeENTER DEATHhe seats Himself without an invitepicks up the deck begins to dealHad we lived then we would have burnedWe superstitious weWe witches in a witch's woodThin chains of stone cutting blood into our throatsSt. Joan in devil’s mask marks a new ageWhen saints are burned with booksAnd crossed painted blackHad we lived then we would have been JewsStooping, reaping, scraping holy earth(Je suis un bonhomme et c’est tout que je suisII n’y a rien d’autreRien de rien et le monde gire sans cesse) Je suis un bonhomme et je n’ai rien de direJe suis un religieuse et je mortes iciUn Juif sans un etoileLe monde gire sans cesseJe mortes dans le bois de la reineQui rit aux eclatsStanding on the stageShe clutches her blackened breastsAnd screams the messageFrance will never rise again— Dana RcsenfeldThe Chicago Literary Review. December 4, 1981 — 15THE LIARDo not play Hamlet to me, my friend,The largeness of your gestures lacksThe simple dignity of real emotion.You are trapped in your symbols.They say too much for real communicationThey are not sidewise and elusive enoughAnd you explicate them far too well.I know that within, your marrows much acheFor the eternal commonplace of true communionHow well your hunger forThe spirit’s simple breadIs hidden in the luxuryOf this cherished, public self-hate.PoetryGenerationsOur three grandmothers’ lives seemed vert,The Latin teacher dying young of cancer,The secretary widowed by New York,Your mother’s mother, ambulance driver.They made choices never written down.In skirts, stockings, high heels, rings.They loved their tall dark men, but madeTheir friends were women whose hands sliTheir friends were different from the menSo small, so soft, and never listened to,Not ever touched so softly from aboveAs by their children’s small, red grubby haThey went up to the churches, seeing daerTheir friends’ long dresses, white and blindWith splendor, placing trust in the tender <Of men’s own hearts, and made eternal vc1 held the wrinkled hand my mother feltWas right and strong in her own sweetest1 wanted salve to rub on the widow’s welt«Not knowing salve was my own hand in h1 have another woman’s hand in mine.It’s small and soft, now drenching mine witBecause the rain’s begun. The pavement siThe only building near us is a church.We must have run, arriving suddenlyIn front of two glass doors with tricky knotThey turned reluctantly for you and me.And after we were in, the door slammed sWe jumped. The altar glowed in the distanI let your hand go back to your pocket.We wait, afraid to touch the other’s hands.In the back of my mind, I can hear a soncl ran along the walls of my palace.And cried aloud the name of my mistress, ,With breasts like fawns and hips like gold aBut walls would never hold this sweetest dcI found this song when I was ten or twelveAnd during Sunday school fell deep in loveNever thinking of being damned to hellFor loving freely, I had built no wallI can appreciate a ceiling when it rainsBut I love you too much to envy altar brasAnd thunder never struck me like your worI wear these strands in my grandmother’s pWhich I found when 1 was opening closet cThe gold clasp opened. Inside: locks of hailAll long, all tangled, many lovely colors.I made a place for yours beside the gray.— K. G. Wiki nsO Sleeper: A PrayerO Sleeper, can you hear the birds thrillingat the close of the longest day?And Sleeper, do you hear the outboard motorbuzzing on the distant lake?Or has the pain flown and the care to dreams gone(marking the end of wakefulness)?The day’s heat is spent and the layered cloudshave settled on the darkling horizon.Have you watched this ending?Or (as 1 fervently wish) are you sleeping?—Kenneth John RyanYour revelations are forms of evasion.It’s all so terribly manly.You have accused yourself of so many sinsThat you need not admit to being human or frail.There are no sins.There are things people have done.Good things and bad.There is little, I think, to justify your prideIn being so much wickeder than everybody else.You have betrayed my trust.You have concealed your cry for helpWithin a cry for help.My response is part of the game.But I will play no further.Soon, my friend, if you keep on like thisI will pity you to the pointOf feeling nothing at all.And what will happen when you finally findThat you can fool all the people all the time?You will have made your loneliness impenetrable.Is that what you are really after?Richard Strier16 — The Chicago Literary Review, December 4, 1981PoetryMy Continents are CrashingMy continents are crashing these daysVolcanoes sprout where 1 walkEarthquakes dog my stepsMarking my path with broken chunks of sidewalkOh it’s tough to stay coolWhen your continents are crashingThey are getting suspicious at work.“Out on the town too late last night,”A hip coated in polyester twinges in mirth,“Steve?”1 can only blurt,My continents are crashing.— Steve Eaton Painting Lessons at Lucia’sInto the hooded hours of your greyand erudite house I came. From the street(the street that rambledwith all its buds, the taxisthat blazed, the manholes— troubadours), from it, my eyesscaled the trelliswork to the top flooruntil the violet flowers openedat the crisp iron rungs,a frail fringe fatheredby the rain.Inside, I painted the furnituretime and again: rustic chairs,red, dimpled tablecloths, ceruleandishes, vases of mimosa. The brownand succulent soap, plump and glowingwith an odor of soul in it.Stockings winding like strands of Titian’swomen over the railingof the bathtub.Nervous with that austere paintbrush,furious for accuracy, chaste,merciless — your “damn good” when 1 caughtthe likeness of my gorgeous cousinstung mefrom the craggy gulliesand the tidal forestsof the body.It rained, and there was never any music, and the woodensurfaces, and tiled, and porcelain, were chillyin the afternoon solstice. Sometimes you posed,hair abristle like a wild and brown zinnia.Your eyes flashed behind their ricepaper.Out the French doors there were the gardens,green and bearded, shelteredby the trees. The brick building growingbehind them faced mewith a wise and certain permanence.I put in my clotted notebook and learned itbetter and better over the years. Molly McQuadeThe Chicago Literary Review, December 4, 1981 — 17rPoetryAT THE EDGEAfter supper,The trees electrifiedBy a sinking sun,The awkward pipingOf a swingsetAnd jungle gymGlowing childrenWere out playingAgain. They had himDown. Then he wasUp again, kicking,Shirt tails and spittle,Staggering. They chanted“Are you gonna kissAnd reproduce?"And she? She stood offAt the edgeAbsently peelingThe film of sundressFrom between her thighs,Waiting for theDust to settle.■Elaine M Tuennerman Little Yellow Menspring from far-away landwho listen and waitso politethe crackle of theirspark, flame and clatterso queerlittle men whofind little women whoso small and so yellow andso politewho look the way ofgold only to seenothingbecause yellow is notgold andblue is for skyand yellowjaundiced and coldthe color of dead fishand a seais not here butis there and far awaycalm and setting and sereneand yellow The rain washed all of it —^ hedges, carpentry tools.the new wood of the annex —leaving the next backyard^ one mess, instead of many—and from our window, wherethe work had seemed endlessthe half-done job looked complete-there was nothing going onand we had an unobstructed view.We were ashamed.We would never be invited.Ob.,W? U The Spinach Charmer (Plath Re-told)As the gods began one world and man another1 the charmer create a salad barwith moon-eye, mouth-pipe. I pipe.Pipe green. Pipe spinach.Pipe spinach green until green spinach comesoozing with dark leaves and lurking vitamins.I pipe a plate to eat on, but no fork,no spoon (have decided to stuff it it by hand).Pipe a world of spinach, slimy growths, from thegreat vegetable garden of my mind. And nownothing but spinach is visible.Spinach leaves become human ears, eyelids.tongue. And I within my kingdomrule the writhings of this heapwith pliant tunes from my little pipe. Out ofthe green nest in my navel twist endless plaitsof spinach: let there be a lifeline!Muscles there were, are, will be,bulging over my pipe from cheeks. 1 pipeback to the Platonic Idea of spinach,its essential truth.Pipe until all green things (grass, sick cows,my innards) melt and all that sickening food is gone.Throw down my pipe, and lid my moony eye.Mardelle Fortier18 _ The Chicago Literary Review, December 4, 1981♦ This Holiday SeasonGive a Gift Made atThe North PoleBy Eskimos!♦♦♦♦♦♦♦♦♦♦♦♦ Handmade Eskimo ArtWarm Eskimo ClothesMany Unique Gift ItemsThe Alaska ShopESKIMO ART GALLERY 1 777 BANK LANEN.LAKE FOREST, ILL.295-1910104 E. OAKCHICAGO, ILL.943-3393 ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ Special!Protect YourCar’s Finish FromWinter’s Snow & Saltwith aHANDCAR WASH& WAX8am to 5 p m1 flays a weekIndoor Parking Available• Protect Your Car From Snow. Salt. &Vandalism• Monthly Terms• Pick-Up & DeliveryService Available only $1995HYDE PARK GARAGE, INC.- Open 24 hours a day -5508 S. 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California338-7737Open 7 days a week at I I a mMon & Thors til 9 p mThe Chicago Literary Review, December 4, 1981PoetryFamiliarities[1 wrote a letter,signed itwith first name and last.A man wrote back,a stranger, as full ofhidden dangersas Black Forest cake.“Dear Mardelle,” hebeganHe’d stood on thelast “ier”to climb onto “t,”then hopped down to “or”and clamberedover the last hurdle,the formal.formidable “F.”He could do anythingnow — with a splat landedright in the middleof shining like“Mardelle."I feltthe ripples. My goosebumpsrose up and screamed.Mardelle Fortier PARTS OF SPEECH1 once met a man who was reading poems from a platform. I asked the man (sincethere was no one else to listen to him) who he wrote for. “For myself, and for otherpoets of course,” he replied. “Who else can appreciate my Art?’ And who, headded, “are you to judge me anyway?”At the opposite end of the spectrum a professor gleefully smacked his lips as theroast beef was brought to his table. He held his wine glass to the light and boldlytoasted, “To Pure Mathematics! May it never prove of use to anyone.Humanity is not in style 1 guess, but then people were never all that popular.Personally, 1 like the speech of children:Liar, Liar, pants on fireStick your head in a telephone wireOr: Theorem 3.1: He who denied it supplied it.And did you hear about that guru who proposed a new theory of communica¬tion...THE MEDIUM IS THE MESSAGE!!!...or was that just magazines he wastalking about...or was it medium height...medium good...medium rare...a porousmedium perhaps...or a poor one? If mediums are medium magical, it is because theydeal with things unseen, like an infinity of mediums. Medium meaning...ad infin-um.— Christopher RyanA College RingFrom Josten’s Endures .... 1Representatives of the Josten Ring Co. will be in theBookstore, second floor, for a class ring sale, onDecember 8, 9,1981. The hours: 10:00 a.m. - 4:00 p.m.Come in and order your class ring and save Christmasmoney on this sale.Long after your memories of autumn on the quads, chem labs,and long evenings spent at Regenstein have faded, your JostenCollege Ring will take you back again ....20 — The Chicago Literary Review, December 4, 1981PoetryPassageOne day when 1 have gone awayLet the moon ferry your messagesacross the skyFor 1 shall be in the company of coyotesWho gaze at the'silvery starsand howl the moon into the void.— Minhhuyen Nguyen Poem for my MotherI dreamed I did not love you anymore.1 talked into a phone that did not answerwhile you rocked back and forth, clutchingthe glass in your hand, clinkingits ice cubes to diffuse your own senseof falling. At the other end of the linemy lover was turning into your husband.1 want to fit your weakness into mineas a sculptor makes stone yieldto the clean chisel’s cut. The abstractionsyou love do not fit their wrappings. Theseare as thin as regret, too thinto acknowledge.You are pouring tendernessonto me and 1 cannot keep itfrom making me prone. I love thingsI do not find in you: the curvingsignature, the voicewhich is not too intimate,the clean thigh.The cave that is your facemakes me want to grow old.— Ann KenistonKIMBARKLIQUORS& wtNE SHOP Sale Dates: 12/4 thru 12/8with ad sale thru 12/18";r WINES750 ML GANCIA ASTI SPUMANTE 6.99750 ML ANDRE CHAMPAGNE 2.49 -3/6.99750 ML CASTELVECCIO ASTI SPUMANTE 4.59750 Ml PERE PATRIARCHE (RED OR WHITE 3.39750 Ml CANEI (RED, ROSE, WHITE) 2.891.5 LITERS CALIFORNIA CELLARS (ROSE, BURGUNDY, CHABLIS, RHINE). 4.19BEER24-12 OZ. CANS STROHS 8.09(Imp.) 6-12 OZ. BOTTLES ST PAULI GIRL (REGULAR AND DARK) 3.79(Imp) 6-12 OZ. BOTTLES MOOSEHEAD 3.79(Imp) 6-12 OZ. BOTTLES HEINEKEN (LITE AND DARK) 3.896-12 OZ. BOTTLES AUGSBURGER 2.19(Imp.) 6-12 OZ. BOTTLES MOLSON ALE 2.79 LIQUOR750 ML KORBEL BRANDY 5.69LITER GORDON VODKA 5.39750 ML. BEEFEATER GIN 8.19750 ML RON RICO RUM LT/DK 4.59750 ML WHITE LABEL SCOTCH 9.29LITER CROWN ROYAL 13.89750 ML HIRAM WALKER PEPPERMINT SCHNAPPS. . . 4.19750 ML REMY MARTIN VSOP 19.59500 ML GRAND MARNIER 9.39750 ML AMARETTO Dl SARONNO 9.99750 ML CLUB COCKTAILS 3.091214 East 53rd(Kimbark Plaza)493-3355 STORE HOURS:MON. WED. 8:00 A M. til 12:00 A.M.THURS. SAT. 8:00 A.M. til 2:00 A.M.SUN. 12:00 NOON til 10:00 P.M. IVThe Chicago Literary Review, December 4. 1981 — 21PoetryContacts for Sale!What Is A Bargain?The 4 questions most frequently asked about contact lenses are:1 How Much Are Your Lenses92. How Much Are Your Lenses93 How Much Are Your Lenses94 How Much Are Your Lenses9What is really more important, the lowest price, or the best fit¬ting lenses? We think the 4 questions should be:1. Is the doctor really a contact lense specialist9(or is he an eyeglass salesman?)2. Can I expect professional service and care9(or will I be handled by inept, non-professional salespeople?)3 Are the quality of lenses the best available9(or are they off-brands and seconds?)4. The question is. not how much are your lenses, butwill I receive the best care, the best quality and thebest price.We at CONTACT LENSES UNLIMITED meet all the above crite¬ria of CARE, SERVICE, QUALITY AND PRICE.TRY TO BEAT THESE VALUES! » --- - f| Beach PlumsMealy — sour; softand purple linings smooth my palmsand plums dandle, also,from the bush,nearby,Shinnecock-brown, mottled, some of them raggedfrom the redwinged blackbirds.itThey have bled a little, evenj , the perfect ones.Others traillike a frazzled plaitor veil-a nutty stem. •Foxes have tasted them.Fishermen have jarred the fibrous,vibrillating plum stumps*in vetch and asterswith their stubble-buckets.Bluefish could not swim up to spawnat the plum roots,but their skeletonsare matted beneath the cottage the plum limbs built,as they tufted, tufted,up toward the cliff shags.Molly McQuade+ —— 6SUPER-WETFLEXIBLEONLY $29.00Super-thin highly wet-table lens specificallydesigned to correctthose patients whowere previous hardcontact lens failures BAUSCH & LOMBSOFLENSB,N,F,J SERIESo.vli $33.75Basic series of lensesthat Bausch & Lombbuilt their reputationon• NEW SUPER SOFT HIGH OXYGEN TRANSFER ULTRATHIN - $43.75New super-soft highly oxygen transferable lenses used to correctthose patients who were previous soft lens failures• SUPER-WET TORIC CORRECTING FOR ASTIGMATISM - $100.00The same remarkable material as the super-wet flexible lenses but spe¬cifically designed to our exact specifications to correct for difficult as¬tigmatism• SOFT LENSES CORRECTING FOR ASTIGMATISM (TORIC) - *160.00If you have ever been told that you couldn't wear soft lens due to astig¬matism now you probably can• EXTENDED WEAR LENSES - $ 160.00The ones you sleep with, no more cleaning, sterilizing nightly, no moredaily Insertation and Removal, wake up in the morning and seeLimit 1 pair per patientProfessional Fee: $30.00(includes Eye Examination Training Wearing Instructions and Carrying Case)OCR PROMISE TO YOU:If you aren t pleased with your lenses after 60 days, cost of the lenses will be re¬funded All contact lens fitting done by our Contact Lens Specialists,Dr S C Fostiak. Optometrist & AssocWe can replace your lost or broken lenses in 4 hours or less!IF YOU WANT THE BEST COME TO THE BEST<CONTACT LENSES UNLIMITED1724 Sherman Ave., Evanston. II. 60201 2566 N. Clark St., Chicago, IL 6nc14(above County Seat)864-4441 880-5400J 'S/I US 1C bv Josquin,Friday-f December. 1931Eight PM-Bond Chapel 5enfl.>chuti. jnd othersM U 5 I C AT A(/ERMAN/RenaissancefOURTCollegium Musi cumI di*Uim'(i>KVi>t fin. no22 — The Chicago Literary Review, Decembe^iqsiIrving/QueneauHotel New Hampshireby John IrvingEP DuttonThe Hotel New Hampshire is the fifthnovel by John Irving, who became knownby the phenomenal success of his fourthnovel. The World According to Garp. Forthose who enjoyed Garp, do not expectHotel New Hampshire to be at all satisfyi¬ng because it not only lacks a hero, butalso a major character. Some praising crit¬ics suppose John Berry, the narrator of hisfamily’s life in three hotels, to be the Garpof Hotel New Hampshire. He is clearly notbecause the emphasis is not on him but onthe family. Any personal brilliance thatany character may have had is not rele¬vant in the history of the family, althoughit would be in a history of the members ofthe family. It is the consistent priority ofthe family which makes Hotel New Hamp¬shire unlike Garp.But that Hotel New Hampshire is not asgood as Garp, (and it is not,) does notmake it worthless. Like most families, theBerry family tries to survive and toachieve several not too universally signifi¬cant goals: the father wants, by owning ahotel, to regain a transient happiness hefelt when he met his wife; they fell in lovewhile working at a hotel. Narrator, andson, John wants to avenge the gang rapeof his sister Franny, which occurred whenshe was fifteen, at the time John was onlyfourteen, and too weak to fight the older,football player-rapist Junior Jones, whowas able to fight the rapists but arrivedtoo late, wants to be able to enforce justicelegally rather than physically. In ratherroundabout ways, these desires are ful¬filled.The greatest problem of Hotel NewHampshire lies in the weltanshauung Irv¬ing gives the family, which the narratordescribes as “happy fatalism.” The familymaxim is that “an unhappy ending doesnot undermine a rich and energetic life.This is based on the belief that there areno happy endings.” Though at first ap¬pearing normal, the family is actuallyvery abnormal; it believes it must behappy in order to survive, rather than sur¬vive in order to achieve happiness. Likethe worlds of most families, the Berries'world is not a pleasant one. But most fami¬lies dream of happiness, not just survival.Even when the desires mentioned are ful¬filled, they are taken as odd; the fulfill¬ments are not recognized as accomplish¬ments but fantasy-like and incidental.Their view is maintained, but what is thepurpose of living “rich and energetically”if the outcomes and events of the world,good and bad, are taken with the samelack of enthusiasm? Is the view an arbi¬trary choice if they feel it necessary tolive? Is it to make material gains? Is it toallow Irving to flex his muscle of imagina¬tion? Yes, yes, yes.Yes, Irving is imaginative, but the com¬bination of the family's indlfferent-but-happy attitude and the excessively squal¬ id world in Vienna (which they enter for noreason except Irving’s: “Like any story¬teller, I had the power to end the story,and I could have. . . but I didn’t”), is toofabricated in its attempted appeal toreaders. Perhaps it is logical that Irvingtry to create a heroic family after his suc¬cess in creating a heroic individual, i.e.Garp. But the family’s lack of any deter¬mined effort to improve its condition in theworld and the dominance of chance eventsmake the family uninteresting.—David BuddieWe Always Treat Women Too Wellby Raymond Queneautranslated by Barbara WrightNew Directions PressThis, the most recently translated intoEnglish of Queneau’s novels, is a mixtureof sex, violence, and the peculiar way oflooking at the world familiar from hisother novels. Queneau in this country isread only by a small cult, and this novel isnot likely to improve this status; but thosewho enjoy novels with “eccentric” view¬points and have strong stomachs shouldlike this book.At the start of We Always Treat WomenToo Well, a band of Irish rebels seizes aDublin post office. They shoo all the em¬ployees away and prepare for a seige, buttheir attention is diverted by an Englishclerk, Gertrude Girdle, whom they find inthe bathroom. They suspect her of being aspy, but agree she must be treated with“correctness” as befits the heroes theyare; but Miss Girdle, far from appreciatingthis courtesy, seduces them all, thus caus¬ing them grave mental anguish over theirunworthiness as the British blow them tobits. Eventually Gertrude is rescued by herfiancee who has the two surviving rebelsexecuted, and all ends well.The above outline looks like a parody ofa ' sado-erotic thriller” such as No Orchidsfor Miss Blandish; and the book s introduc¬tion presents it as just such a parody. Butit isn't really, because Queneau proves tobe more interested in writing a Queneaunovel than in imitating someone else'snovel. The rebels are typical Queneaucharacters; just like des Cigales in The Skinof Dreams, they have chosen an ideal from —popular mythology and shaped their livesaround it with no concern for its absurdity(for Queneau regards the cause of Irish in¬dependence in this book as a joke); whileGertrude Girdle belongs to that otherlarge class of Queneau characters whohave no ideals at all, but live from momentto moment. Nor is it the sex and violencethat make the book worth reading, but thequalities, it shares with other Queneaunovels. There is the fun Queneau has mak¬ing the diction of his characters and narra¬tor range from pomposity to vulgarity,along with everything in between. Moreimportantly, there is the absorbing inter¬est the characters and narrators take inthe endless trivia of their lives, an interestwhich the reader comes to share.—Adam StephanidesThe Grand Openingof theHyde Park GarageEcology CenterTo Celebrate OurOpening, We AreOffering a Free CarInspection to HydePark Residents andAffiliates of theUniversity of Chicago.Indoor Parking Available• Protect Your Car From Snow, Salt, &Vandalism• Monthly Terms• Pick-Up & DeliveryService AvailableHYDE PARK GARAGE, INC.- Open 24 hours a day -5508 S. Lake Park Ave. • 241-6220“Ours Is To Serve” Eve n one talks about creatingaffordable housing in Hyde Park, butwe’ve done it!One, two, three and four-bedroomapartments with location, location,location ...down¬ monthlysq. ft. payment charges1 Bdr’s start at 521 3 3,178 3 34452 Bdr’s start at 1,543 9.412 1,0183 Bdr’s start at 2,053 12,523 1,3554 Bdr’s start at 2,291 13,975 1,512Financing provided by the NationalConsumer Cooperative Bank ... Ch er$1.3 million in rehabilitation ...The Parkshore is a tenant-sponsoredhousing cooperative offering the besthousing value in Hyde Park. We’vedone the work putting the packagetogether over the last twelvemonths ... Now you can enjoy thebenefits...Come live with us at the Parkshore!Office hours on Saturdayand Sunday 1-4:30 pm.or by appointment.For sales information, call 684-0111.Sponsor: The Parkshore, an Illinoisnot-for-profit corjxiration. 1755-56 East55th Street. Chicago. Illinois 60615.The Chicago Literary Review, December 4, 1981 — 23Court Studio Announces A Special Presentation0A HISTORY OF THEFEDERAL THEATREPROJECTADAfTfD BYV*AR\ PETERSONKATHLEEN SYKORA Sing For Your Supper uses songs,sketches, and Living Newspapersegments from actual FederalTheatre Project shows. 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CONTINENTALGIVES YOU MORE RIMSFOR YOUR MONEY5ALT LAKECITYBlaze .a trail through untracked powder.Ride out the longest run jn the AmericanRockies. Hotdog a field of moguls. Or cruisedow n a wide friendly snowbowl.Stop dreaming about it and do it. Theprice of the white stuff isn't as steep as-youthink.Continental offers a w ide variety of air¬fares and economical vacation packages tothe greatest names in Rocky Mountain skiing. Wc can lift you onto the hill in no timewith nonstop flights to Denver. And easyconnections, to Grand Junction, ColoradoSprings and Salt Lake City.So sharpen your edges and fill yourbota bag. Then see your travel agent or callContinental Airlines at 686-6500. Elsewherein Illinois toll free (8(X)) 972-7896.We're your most comfortable lift tothe slopes.CONTINENTAL j FAIRLINEShe Proud Bird24 — The Chicago Literary Review, December 4, 1981THE SOONER STATE By K.G. WilkinsIt was a quiet evening in Kafka,Oklahoma, when the truck, pulled up.Three hippies got out the driver’s doorand walked into the Happy Times Cafe.They sat in one of the window booths andstared at the road. Joanne, the five toeleven waitress walked over and pulledout her order book.“What’ll ya have?”Three coffees and three hamburgers.They had been driving all day from theway they talked.In the kitchen, they could hear Joannasaying, “they all wanna hamburger andsome java, Al.” The heavy-set manjumped off his kitchen stool and startedto fry the meat on the grill.His mind wasn’t on the beef patties; hehad cooked too many hamburgers overthe years to think about them anymore.He learned how to cook hamburgerswhen he was ten; his mother worked allday, so Al took over the kitchen. He hadgrown up and married an Italian womanbefore the war. When he joined thearmy, they made him a cook. (It must bea mistake, you’re a decent chowhand,they joked about him.) When he cameback, his wife took a week to pack upclothes and the stuffed toys he hadbrought for the retarded son, and thenshe left for Indiana with her first cousin.(They told me that he and I would havedeformed children, so I married you andGod still punished me. He punished mebecause I never told you, she said.) Alstarted his life work when he had soldthe house. Anonymity. He traveledaround, and cooked for a living. Hashjoints, fine restaurants, motels, sodafountains, casinos, caterers; buteverywhere he went, he had to leave. Hebecame prized by his employers, andsought out by their competitors. For Alwas probably the best cook alive. Foodwas not merely food to him, it wassomething he took care of and madebetter by cooking, an essentialexperience.Finally his car broke down on a lonelyhighway in Oklahoma. He walked a miledown the highway surrounded by cornMelds, and found himself at the HappyTimes Cafe. While he was sitting andwaiting for his car to be fixed, the smalldark woman who waited on him askedhim if he needed a job. (Business is good.I don’t have time to do all the cookingmyself anymore, she said.)Her name was Laura.Al liked his job and liked the woman hewas working for. She made goodblueberry pies on Tuesdays andThursdays.Al was thinking about Laura as he putthe pickles next to the hamburgers. Hehad long ago admitted to himself thatshe was even more a mystery to him thanhe was to her. She came in everymorning and bought the food, madechange, waited on the counter, did thebook-keeping, ate, and left for her whiteframe house behind the courthouse. Alasked people about her past life,because even though she lived alone, shewore a wedding ring on her left hand. Noone knew what had happened to herhusband. She had moved to Kafka alone.The cook was fascinated by the idea of abeautiful woman who was not involvedwith men, and not involved with women.He had met a lot of women who scornedmen when he was in the army. He feltthat he could understand why a womanwouldn’t want to be loved by men, but hehad always thought that attractivewomen would always have someone theyloved.He tried to talk to her about his ownpast, even though he knew that itwouldn’t make him look good, but shenever listened very well. She would askhim what his wife’s name was after hetold her how he felt when his son wasdiagnosed. They got along well forhaving so little in common. Laura askedhim over for spaghetti dinners everyweek or so. Days the diner was closed, she’d ask him over for a game of gin'ummy. He liked her house with its largewindows and hardwood floors. He likedthe look of the leather-covered collectedworks on the bookshelves. He liked thecolorful jumble of the paperbackscrammed together in the shelves close tothe floor. He had never read very much,mostly Hemingway and biographies offamous men; but from her he learned thenames of the high-brows; Hardy, Woolfe,Pound, Dickenson, Rimbaud, Colette,McCullers, Bronte. The house was alwaysclean, but he would find a book placedface-down somewhere any time that hewas there. One night he opened thebathroom closet to take out a cleantowel, and found a Sayers novelface-down next to a glass jar of scentedpowder. He felt that he had discoveredsome intimate secret, but whether it wasthat she read mysteries, or that she usedexpensive perfume he never coulddecide. One night she apologized to himwhen he came to the door, saying thatshe had forgotten that she wanted towatch a special on tv that night. Wouldhe mind watching it while they atedinner? He acquiesced, of course, notknowing whether he just wanted towatch her as she watched tv, or whetherhe, too, was interested in thepresidential candidates. Some nightswhen he walked his dog past her house,he could hear classical music coming fromher front windows. It was the kind ofstuff that kids play for recitals and thetown's dentists played to raise money forperidontal disease research. They had anice little string quintet that practicedevery Tuesday, but their wives claimedthey come home full of nitrous oxide mostweeks.She was intellectual, the kind thatshould be on the school board, but shenever volunteered and the Kafka schoolsstayed open without her.Al put the orders on the shelf betweenthe kitchen and the dining room. Theteen-agers smiled as they ate thehamburgers. They didn’t know if theywere just very hungry, or if the burgerswere the best they’d ever eaten. Alallowed himself a self-satisfied grin, andturned around to find Laura at his elbow.She necer minded the hippies androadscum that stopped in the diner. Sheeven seemed to like the hippies. Sheliked to find out where they weretraveling to, and what college they haddropped out of, and who they wanted tovote for. She never doubted that theywould have opinions the way Al did.Sometimes the diner would get postcardsin the mail, from Texas, and Florida, andSan Francisco. Al felt her breath strikehis shoulder. He smiled at her andwished that he could sleep with heragain. She walked over to the hippiesand Al began to wash the dishes leftfrom dinner.Al had fallen in love with Laura likethis - she had been watching him chopchop lettuce, and her hair fell out of herhair-net and around her face and neck,with the sun in her eyes. He cut histhumb and she smiled out of pity. He toldhimself the smile was not the smilewomen reserve for men they desire. Shehad never said a word about herfour-poster bed over the ding-room'sceiling as they drank red wine over theremains of a quiet dinner. He desired herand no one else. He decided loving herwas better than being deserted.He glanced at the dining-room. Laurawas talking very rapidly to theyoungsters. She was telling themsomething she thought was veryimportant. The hippies were smiling ather, too. Laura saw Al watching her andmotioned for him to go over to her.“Al, these two want to get married,"she said, pointing to one of the girls andthe boy. “Isn’t that great. Why don’t wehelp them?”Al told them that he was glad that theyounger generation was finally coming to its senses and realizing that marriagewas the greatest institution man hadever invented. His own experience wascompletely irrelevant.“Al, what they need is witnesses wholive in this state, I could be one and socould you. Would you do it? We’ll close upthe diner and go over to Judge Crater's.”Al nodded. He felt that something washappening to him, she had said “we”hadn’t she? He finally came out of hisreverie to sign the marriage certificatebelow Laura Beth Wallace. When thejustice of the peace asked for the groomto put a ring on the bride's hand, thecouple before him grew silent and lookeddown at their feet.“Ah, I see. . . this does happensometimes. You don’t have a ring, doyou?” asked Crater, smiling at Al.The couple shook their heads, and tearscame to the girl’s eyes. Her happinessseemed threatened.Laura reached over to the groom, herhand cupping something. She smiled athim, and the judge saw what it was bandwent back to work. The ceremony endedpeacefully a minute later. Al knew whatshe had given the stranger. He turned toher, and waited to cath her eye.“Why did you give them your ring?”Laura smiled, again the smile of pityfor Al. “It was my mother’s ring, but Ihave other things to remember her by.”Al turned red. “Were you evermarried?” he asked. The dark-haired woman stoppedsmiling, looked over his shoulder, lookedat his forehead, and said “No.”Al would have gone on to make a foolout of himself, but the newlyweds and| their maid-of-honor were hugging Lauraand Al. They apologized and said that| they had to leave. They were due in! California the next afternoon. Laurawalked them out to their truck while| Judge Crater asked Al what he thoughtI of the groom. By the time the judge wasj through explaining the way shy groomsmake good husbands, Laura had backedher car out the drive-way and driven intothe dark night.Al didn't follow her home. He waiteduntl he was at work the next morning totalk to Laura, and he waited until workwas over to catch her hand as she flickedoff the front lights. He held it tightly andtold her that he had loved her for sevenj years and wanted to marry her beforej seven years went by. She didn’t say sheI loved him, but she didn’t say she| couldn’t. She asked him over to her houseI to tell her more.The hippies were staying at a friend'scabin on their honeymoon, but while theywere down on the beach the palewedding ring flew off her finger and intothe crashing golden waves where Laura'smother had drowned twenty yearsbefore.The Chicago Literary Review, December 4, 1981 — 25‘AstrologerClasses starting February 1982Consultations by appointment onlyMarlene Tomasello664-1103G.W. OPTICIANS1519 E. 55thTel. 947-9335 •Eyes iimM mi Caatect Lmmi fitted byregistered OylMtliul s.Spicielists m tteelty lyeaeer at KeesonebtcMeet. V^SC/-F/by John W. Lockharthe Journeys of McGill Feighan, Book I:Caverns, by Kevin O’Donnell, Jr., Berk¬ley, $2.25.The Journeys of McGill Feighan, Book II:Reefs, by Kevin O’Donnell, Jr., Berkley,$2.25.The Weirdstone of Brisingamen, by AlanGarner, Del Rey, $1.95.Camber the Heretic (Vol. Ill in the Legendsof Camber of Culdi), by Katherine Kurtz,Del Rey, $2.95.Science Fiction Digest, edited by ShawnaMcCarthy, Davis. $1.95.This is a peculiar mishmash of ob¬jects — fantasy, science fiction, spaceopera, and even a new magazine.Lab on premises for f<Sst service - framesreplaced, lenses duplicated and pre¬scriptions filled.1519 EAST 53rd STREETPHONE: 752-3030CANON AE-1SOm 111$23g95* RENT-A-CAR «1608 E. 53rd Street$13.50 per day 200 Free MilesBetween IC Tracks * * — AfiAAand Cornell O07a2OVU* With Free Calculator(Canon LC-208) While Sapplics LastWe SellKodak Film & PaperINSTANTPASSPORT PHOTOS tai sm youT' *T.gVCHINESE-AMERICANRESTAURANTSpecializing in Cantoneseand American dishes.Open Daily 1 1 A.-8:30 P.M.Closed Monday1318 E. 63rd MU 4-1062Due to ContractualDifficultiesThe Major Activities BoardRegrets to Announcethat thePlasmatics ConcertHas Been CancelledStay tuned this winter for more MABconcerts in the tradition of Gary U.S.Bonds and Jimmy Cliff!!! There are some light works by newwriters, and also there’s a bit heaviertrilogy by Katherine Kurtz. In otherwords, it’s a diverse bunch.I’ll start with some of the more flip¬pant recent books: The Journeys ofMcGill Feighan, by Kevin O’Donnell. Iimmediately warn those of you whoread only deep material: don’t botherwith this! It is a fun, mindless adven¬ture, the main character of which, asyou might expect, is McGill Feighan.The Journeys are set within a galaxywhich depends on teleports for its eco¬nomic livelihood. It so happens thatMcGill is one of these intersellar tele¬ports, called Flingers in the Jour¬neys.That’s not all. One of McGill’s earli¬est experiences (age four days) isbeing ingested for study by a giant,amoeba-like alien who is an agent ofthe mysterious Far Being Retzglaran.This shapes the rest of his life, andthus the rest of the books, for the FarBeing has an enemy: the Organizationwhich is the interstellar crime syndi¬cate.Naturally, McGill is curious aboutthe circumstances and consequencesof this contact, and starts investigat¬ing, all the while working with fellov/Flingers teleporting the galaxy’sgoods, and trying to grow up.On top of all this, the Organizationhas not let the Far Being’s interest inMcGill go unnoticed, and persistentlymakes attempts to kidnap or to killhim.These conditions made for an excit¬ing start to a series of unknown1552 E. 53rd St.<LTnder the I.C. tracks)9 a.m.-7 p.m. weekdays12-4 p.m. Sundays length. The most comparable worksare Star Wars and The Empire StrikesBack, for both these and Journeys arerip-roaring adventures that leaveyou slightly hanging and eager forthe next installment. It’ll be quite await, though: Book III of Journeys isnot yet listed in Forthcoming Books.The second book of the mishmash isAlan Garner’s The Weirdstone of Bri¬singamen. I hate to make anothercomparison to Tolkien, but the tone ofthis book, and the feelings it evokes,are much like those in the Hobbit.Garner uses children instead of hob¬bits, and his mythology is a little moretame, for it is mixed with Old Norsetales. The story essentially concernsSusan and Colin, two children who be¬come involved with an ancient strug¬gle between Good and Evil. Firefrost.the Weirdstone of Brisingamen, hasbeen lost, and the side which finds itfirst gains the upper hand in the bat¬tle. If Evil should come to possess thestone, it could destroy the last bastionof the forces of pure Good, which areguarded by the wizard Cadellin, whois a friend of Susan and of Colin.The plot in Weirdstone is more wel¬come relief from Plato, Thucidides.Marx, Freud, and the like; subse¬quently it gets my recommendation.The last set of books is not so light¬hearted, but rather, very depressing.I speak of the Legends of Camber of! INTERNATIONAL \HOUSEGIFT SHOPForeign Cards and Imported 0b0i)ofiGifts for All Your Holiday Needs?I 1414 East 59th St.753-2284Directed by Michoel Hildebrand__presented byThe Adult Theatre of theHyde Pork Jewish Community Centerot K. A.M. Isoiah-lsroel CongregationIIOO Hyde Por^ Dlvd- Tickets $5Dec 5 ot 8p.m Dec 6 ot 2 306 7 30pm 266*4600Dec 10at 7 30p m Dec 12 ot 6p m. Dec I0ot 2 306 730p mA.MvU*twJ Witt, ttvt fwMitlnjAol M«Ut>potitan (>«,**> bv It* UnVtori 1 uni)26 — The Chicago Literary Review. December 4, 1981SCI-FICuldi, by Katherine Kurtz. The mostrecent book is Camber the Heretic; ho¬pefully it is not the last of the series.The Legends, like Kurtz’ previousChronicles of the Deryni (three vol¬umes), are very well written. They’reset in a medieval world full of inter¬nal and external political conflictamongst Church and State. More im¬portantly, a battle between two racesoccurs — human and Deryni. The heroof'the trilogy, Camber MacRorie, is ofthe Deryni, the race which has theability to do magic of many kinds.In the earlier parts of the Legends,Camber has helped to overthrow anoppressive Deryni king — only to finda hostile, jealous, and vengefulhuman constituency ready to startpersecutions under the restoredhuman king.If you’re one of those people outthere who loves tragedies, the Le¬gends of Camber of Culdi are perfect.They are full of political tension,struggles against seemingly insur¬mountable odds, successes, and, ofcourse, tragic failures. On the otherhand, if you can’t stand seeing someof your favorite characters die, youmay still enjoy these books — I'm inHYDE PARK UNION CHURCH5600 S. Woodlawn Ave.Church School (all ages) 9 45 a.m.Worship 11:00a.m,, Nursery ProvidedW. Kenneth Williams. MinisterCome, Worship, Study, Serve this category, and found the Legendsexcellent. They compare favorablywith LeGuin’s Earthsea trilogy andwith Donaldson’s Chronicles of Thom¬as Covenant in literary quality; Ms.Kurtz has done a highly commendablejob.The last item is a bit different.Davis Publications, which alreadyputs out Analog and Isaac Asimov’sScience Fiction Magazine, has come upwith a new magazine, Science FictionDigest. . SFD is edited by ShawnaMcCarthy, the managing editor ofDavis’ other two magazines. Thus it isnot surprising to discover that most ofthe staff is the same for these threepublications; however, the content ofeach magazine is vastly different.Some of you are probably familiarwith Analog's serials and hard-science SF, along with lAsfm’s varietyof shorter and softer-science SF.Science Fiction Digest is orientedtowards those people who want tosample some of the new SF, fantasyand non-fiction in the field, withoutpaying $2 to $15 for each book. Thereis also an interesting column on forth¬coming books.Science Fiction Digest does not tryto condense a whole novel by “butch¬ering it to fit,’’ so to speak. What Ms.McCarthy does, however, is to concen¬trate on one section of a novel, cuttingand rearranging it until it reads as ashort story or novelette. This is essen¬SMALLCONTEMPORARYNAVAJO RUGSNEW GUINEA SCULPTUREMARJORIE BUTLER548-2013By Appointment tially the reverse process from thewriter who expands a novelette intoa novel, or adapts a short story to achapter of this book. What is mostpleasing about this method is that itworks. The condensations do not giveaway the whole story, but they dogive you a taste of the author's style,along with a satisfying bit of the tale.Not only that, SFD does not leave youhanging too badly.The major drawback is that you donot have the choice of which fourbooks will be in each issue; thus, Ifound this a good magazine to keepan eye on, but not necessarily to sub¬scribe to DRIVE CARS TOFLORIDA& MOST CITIES U S A.NO CHARGEAAACON ATJTO TRANSPORTPHONE NOW FOR FUTURE DATESREPRESENTATIVE WANTEDON CAMPUS.CALL NOW! 427-0086HYDE PARKTHE VERSAILLESIDEAL FOR STUDENTS324-0200Large Studios • Walk-inKitchen • Utilities Incl. •Furn. - Unfurn. • CampusBus at doorBased on Availability5254 S. 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ChicagoRE 4-2111Open Daily 8; 30-5Sat. 9:00-3COURT STUDIO THEATREAnnouncesAUDITIONSfor two one-act playsMARK MEDOFF’S Doing A Good One forthe Red ManDirected by Jonathan ShamisandHAROLD PINTER’S The LoverDirected by John SusmanSATURDAY, DECEMBER 5 & 6, 3:30 to 5 PMREYNOLDS CLUB THEATRE57th & UniversityFor more information, call 753-3581 MIDWAY TRAVEL SERVICEUniversity Of ChicagoAdministration BuildingANNOUNCES NEW BUSINESS HOURSIn order to better serve the University Community andrelieve much of the congestion associated with Holiday Reservationsand Ticket Purchases, we will remain open for business thefollowing hours, effective now thru Dec. 18:MONDAY THRU FRIDAY 8:30 AM-6:00 PMSATURDAYS 10:00 AM-2:00 PMDON’T FORGETYour Art - To - Live - With PaintingsAre Due Monday, December 7Room 210, Ida Noyes Hall A Late Fee fT ill Be ( harped!I he Chicago Literary Review, December 4, 1981 — 27The Chicago Literary ReviewLiterary/Trivia Quiz1) Here are three famous dogs. Who are their masters? 6) What was Caroline Meeber carrying when she got on the train fora) Bendico Chicago?b) Argosc) Pilot. 7) In what play does Boeuf ride away on her husband’s back like an2) What color was the tie that Peter Wimsey borrowed from his wife “amazone”?the night she gave birth to their first son?3) What book served as the source for “Zorro?” 8) Who drinks “Prairie Oysters?”9) What is John Keats' real name?4) Who gave the handkerchief to Othello in the first place?10) In twenty five words, what does Moby Dick mean? (We will print5) What novelist wrote which novels based on the theory of relativity? xhe best answer in the next CLR).Completed answers should be returned to The Maroon Office by January 8, 1982. Staffmembers and their families not eligible. A prize of The Oxford Book of Literary Anecdoteswill be awarded to the best entry.“It is important for you,whoever you are,to reaa...thisbook.” —NewYorkTimes Book ReviewThis “remarkable new book...brings areader into immediate and unmistakable con¬tact with an uncommon mind. The clarity of[Nozick’sJ style mirrors the lucidity of histhought...This is a major book.”— The Boston Globe“Will attract intelligent people of allbackgrounds...Nozick is moved by a splendidpassion...His arguments link his explanationsto his vision of a persistent role for philosophyin common life.” — The New Republic“Ideas as bold as they are bright.”— Washington Post Book World“[Nozick] is so acute on a range of suchbasic questions that...the satisfaction of read¬ing him is considerable.”—Los Angeles Times Book ReviewPhilosophical ExplanationsRobert Nozick$25.00 at your campus bookstores, or directly from The Belknap Press of .Harvard University PressCambridge, Massachusetts 02138 i 1Ii\I THE ART OF THE! HOLIDAY GIFTo batikJ clothingj jewelryj? ceramicsj cloth dolls£ photography£ papier macheJ printmaking§ weaving£ stained glass£ watercolorsIhl\ noon thru 4pjn.> OPEN HOUSEDECEMBER 5 & 6i>Ifi(fL at the galleryrun by artistsARTISANS 215225 S. Harper288-7450m-f: noon thru 6 p.m.sat: 10a.m. thru 5 p.m.sun: noon thru 4 p.m.\Visit the Younger GallerySunday, Dec. 6,6 thru 8 p.m.1428E. 53rd Street:28 — The Chicago Literary Review, December 4, 1981 yVISIT BELGIUM - SEE THE WORLDa two-week tour of Belgium, France and Luxembourg is an exciting cultural adven¬ture by itself, but with a little added effort on your part to learn Esperanto, the easyinternational language, it can be so much more than the usual European tour. Experiencethe romance of Paris, and the Continental charm of Brussels and Antwerp. Then, climaxyour trip by attending a World Congress with people from 50 countries. You can make newfriends from around the world without the need of translators, because you and yourfriends will be speaking one common language Sign up now for the preparatory course inEsperanto and finalize travel reservations later Travel will be during the last 2 weeks ofJuly 1982, for a cost of less than $2000. For further information callFerence Mozi at 477-1484 or Janet Bixby at 267-7655or writeSebok Travel561 W. Diversey PkwyChicago, IL 60614THE FLAMINGO APARTMENTS5500 South Shore DriveSTUDIOS & ONE-BEDROOMS• Unfurnished and furnished• U. of C. Bus Stop• Free Pool Membership• Carpeting and Drapes Included• Secure Building• University Subsidy for Students & Staff• Delicatessen • Beauty Shop• Barber Shop • T.J.’s Restaurant• Dentist • Valet ShopFREE PARKINGMR. MORRIS 752-3800 Dr. Kurt RosenbaumOptometrist(53 Kimbark Plaza)1200 E.53rd St.493-8372Intelligent people know thedifference between advertisedcheap glasses or contact lensesand competent professionalservice with quality material.Beware of bait advertisingEye ExaminationsFashion Eye WearContact LensesYoung Designs byELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd 288-2900HOUSE OF CHIN1607 E 55th St. • 752-3786Dining Room - Carry OutCANTONESE, MANDARIN, &SZECHWANClosed Mondays COMFORT AND CONVENIENCEINFLOSSMOORTraditional 3 bedroom, 1 Vi bath brickGeorgian home in lovely Flossmoor Park.Brand new solid oak custom-made kitchencabinets and brand new top appliances.Oak floors throughout. Large, fenced backyard Attached garage Walk to I.C. andexcellent Flossmoor schools Bright, cheer¬ful home in desirable neighborhood. Specialfinancing available. Currently owned byU.C grad'Barbara Steele 481-1855Baird & WarnerSince IM55 I he I ru-u <l \.mu in Real I staleOffering 36 Cnicagota^d Re*' Estate Counseling CentersrChicago Symphony OrchestraSir Georg Solti, Music DirectorUniversity Night ConcertJanuary 13, 1982 - 8:00 p.m.TICKETS AVAILABLE NOW BY MAIL, ATTHE ORCHESTRA HALL BOX OFFICE, OR BYPHONE (435-8111) WITH A CHARGE CARD(VISA, MASTERCARD, AMERICAN EXPRESS).Sir Georg Solti, ConductorBEETHOVENCARTERDEBUSSYDEBUSSY Symphony No. IVariations for OrchestraPrelude to ‘The Afternoonof a Faun "La MerAttend Pre-Concert Symposiums at6:30p.m. before eachUniversity NightTicketPrices Main Floor $9 00Front Main $6 00 Lower Balcony $12.00Upper Balcony $ 7 00 Gallery $ 4 00Box Seat $15 00Group Orders: accepted beginning six weeks prior to concertdate Call Group Sales Manager 435-8111For January 13th Concert OnlyMake check/money order payable to:University Night/BO, 220 S Michigan, Chicago. IL 60604ForName . seats @ $. . Total $ 2nd Choice_ Res PhoneAddressCity/State/Zip .SchoolEnclose stamped self-addressed envelopeand copy of student ID. AJoin the Episcopal Church Council atthe U. of C. forSUNDAY EVENING EUCHARISTAND SUPPEREucharist 5:30 p.m.Supper 6:00 p.m.this SUNDAY, 6 DECEMBER, at(XI □V BISHOP BRENT HOUSE5540 S. Woodlawn Ave.New and RebuiltTypewriters,Calculators,Dictators, AddersCasio >Hewlett PackardTexas InstrumentCanonSharpElectronic Watches REPAIRSPECIALISTSon IBM, SCM,Olympia, etc.FREE repairestimates; repairsby factory-trainedtechnician.RENTALSavailable withU.ofC.I.D.The University of Chicago BookstoreTypewriter & Calculator Department970 East 58th Street 2nd Floor753-3303The Chicago Literary Review, December 4, 1981 — 29HOUSESSUPER NEW LISTING 3 plus bedrooms, Rayschool district co-op townhouse. Upper $90’s. Fi¬nancing.TUSCAN MANSION has apartments for income,large yard, offstreet parking, garden and lots ofsunshine! $145,000.RAY SCHOOL DISTRICT, 3 bedroom town-house. Cozy fireplace, garage, fenced backyard,2'? baths, 2 dens make this a super buy at$139,500WALK TO SHOPPING (only a few steps away)and live in this efficiently designed 3 bedroom,2Va bath townhouse Private backyard, centralair and more. $105,000THIS LOVELY Queen Anne family home boasts3 fireplaces, tiled kitchen and bathrooms. Lots ofstorage space, fenced back yard, 2 car garageAsking $125,000CONDOMINIUMSCOMPLETELY REDONE. Financing possible.Beautifully refinished wood. Call about this 2bedroom plus study in the Ray District.SENSATIONAL PRICE - 3 bedroom condo nearshopping and park, walk to U of C, Ray Schooldistrict, needs work, “do-it-yourself” or inves¬tors dream, as is $36,000RENT WITH OPTION - excellent financingavailable 9-4% and a low down payment pur¬chases this 27th floor studio in the Newport$30'sNARRAGANSETT' Magnificent five room con¬dominium home Beautifully decorated Must beseen. $100,000THIS SUNNY CORNER - 2 bedroom condo inRay district has a great kitchen and manyextra's. Sparkling condition with great financ¬ing. Mid $60's.58TH AND BLACKSTONE - 4 bedroom, 2 bath,over 2,000 sq. ft. Super location. Large enoughfor a family. Walk to Lab School $145,000 and fi¬nancing.PRICED TO SELL affordable, campus loca¬tion, one bedroom condo; hardwood floorsthroughout, lots of southern sun and light. Low$40’s.SUNNY, LIGHT, one bedroom Close to campus,lovely oak floors and french doors, lots of closets.$50’s"SPACIOUS 3 bedroom, 2 bath, East Hyde Parkcondo with good building amenities security andservices $90’s.CHARMING EAST HYDE PARK CONDO Thiswarm 3 bedroom apartment is a lovely blendingof the old and the new Attractively priced under$70,000 Super financing possible.THE RIGHT LOCATION, south of 55th 2 bed¬room home with family room, modern kitchen,garage. Mid $80’s.COOPERATIVESPRICED TO SELL one bedroom, lake view co¬op Perfect for single or couple, near to park,lake and transportation $11,000LUXURY LIVING in an elegant 2 bedroom, 2bath co-op building. Owner financing $50,000NEW CAMPUS, one bedroom co-op, lots of beau¬tiful wood, built-ins, modern appliances, lovelycourtyard building, affordable living, unit mo¬derately priced low $30’s.SPACIOUS...hi-rise co-op with great east-westviews. 2 bedrooms, 2 baths, foyer and formal din¬ing room 24 hour security, near U. of C. bus. Mid$50'S.BUILDINGS•East Hyde Ptrk Blvd , $335,000•out and Drexri, 34 units. $$105,000.•0.000 sq ft zoned B2-4 plus 26 apU $390,000. Classified AdsSPACEStudio Apart -its. HILD REALTY GROUP955 1200.Richton Park. 3 B/R townhouse. l'z bath,bsmt. centra* air. Walk to 1C. 3-8417, 799-6313.Jan. 1 Sublet: 1 Bdrm Apt. on 56 & Kimbark.Lease Expires 4/31.324-4296.WINTER QUARTER SUBLET-Sunny Roomw/lake view in 3 bedroom apt. On campus &minibus routes S137/mo inc heat. Call 752 0391.ROOMMATE WANTED 165$ in 3 br apt 12/20Heat inc 54th & Woodlawn Vickie/Kathleen667 5321 evesSublet 1 Bdrm in turn 2-bdrm apt. Jan 1st-June'82. Safe loc., qt, well-mntd bldg. On minibusrte. S212/mq + util, fern, non-smkg, grad pref.Call 363-7841 betw 6-11 pm.Female graduate wanted to share 6 room furnished apt 5711 Kimbark. Rent $140 plus util.Avail. Jan 1 Call Minna 947 6468 or 667 7611Spacious, pleasant apt; one room in twobedroom apt to let Please call Jeff at 667 2659.Nicely furnished one bedroom, on Kimbarknear the University (heat included) $400/mo386 2647.FOR RENT-room in house bdrm & bath util in-cl Avail immed 5229 Ingleside. Call 363-0656.Space in graduate student housing avail.Winter quarter and on, call Bruce at 324 3928Lg 24 room apt. 58th & Blackstone $375 mo +sec . 667 4875SUBLET large 1 bdrm apt: Ivng dng bdrmktchn. Views of lake and park. Xlnt security &parking. Pool, grocery, laundry. Near campusbus. 5500 S. Shore Dr. Call Rosenberg 947-6069day, 752-0619 pv»« 8. wknds.APT. SUBLET/FURN. SALE Apt. avail Jan1st. 2*2 rms-S225/mo 74th & S. Shore Dr. Apt.overlooks Lake Mich. Relocating: All turn,housewares for sale Call 731-9185 anytimeFemale roommate wanted, grad stud or work¬ing woman pref to share spacious apt on HydePark Blvd between 5*th & 55th. Call 288 2622.Apt for rent in Hyde Park-2 bdrm 1 bdrm andstudio apts available some and all utilities paidnewly decorated carpeted call 643 7»°*TOWNHOUSE 3 br den 2'2 both c/air yardparking rent rest acad. yr 800/m< opt sale call493 0543.Campus FilmAttack of the Killer Tomato’s Made to be theB-movie to end all B-movies, Killer Toma¬to’s is a funny, though sometimes slow,parody of many of Hollywood low-budgetmasterpieces. The film has built up its owncult following among B-movie connois¬seurs. Shown by Inter-House Council thisFriday, Dec. 4, in Quantrell, at 7, 9 and 11p.m. Admission $2.The Pink Panther Strikes Again (Blake Ed¬wards, 1976) The fourth of the long seriesof Panther films, this one lacks the purewit of the earlier flicks but still a few goodgags. Sat., Dec. 5 at 7:15 and 9:30 pm.DOC. RM.Everybody Does It (E. Goulding, 1949)Amusing yarn of an aspiring singer (Ce¬leste Holm) whose husband (Paul Douglas)ends up in her desired profession. Wed.,Dec. 9 at 8:30 pm. LSF. RMAnimal Crackers (Victor Heerman, 1930)The Marx Brothers star in this film which Available now-room for student in N. Side apt.$107/mo. + utilities 871-4742.SPACE WANTEDVisiting prof wants to rent studio or larger apt,Jan/Feb May. Or swap sm house nr N YC Contact immediately: Dr. Abrahamsen, NewSchool, 65 5th Av NYC (201) 343 5905PEOPLE WANTEDPaid subjects needed for experiments onmemory, perception and language processingResearch conducted by students and faculty inthe Committee on Cognition and Communication. Department of Behavioral Sciences.Phone 753 4718.OVERSEAS JOBS-Summer/year roundEurope, S. Amer., Australia, Asia All Fields$500 51200 monthly. Sightseeing Free info.Write IJC Box 52 IL5 Corona Del Mar, CA92625.Responsible, good-humored student for occasional baby-sitting evenings. Call 667 4220 after5.Two young men for light moving short distanceon Dec. 9. No transport needed. Call 288 3500 or324 0056.Volunteer-elementary science teacher neededprivate school for learning disabled in SouthEast Evanston needs interested person todevelop 6th grade science projects two after¬noons per week. L.D. specialist available tohelp call 475-6646 Dr. Kolesnik between 9 and 4.FOR SALEPASSPORT PHOTOS WHILE YOU WAIT!Model Camera 1342 E. 55th St. 493 6700Whimsical line drawing notecards make appreciated gifts or greeting cards. Set A : StringQuartet series or B: Grandma's Neighborhoodseries. 12 for $5.00. Black on ivory, grey or tan.Sheila Shochet, 5749 S. Dorchester Ave.,Chicago 60637, 947 8974.1973 Datsun PL 620 pickup, runs well, 28 mpg,must sell by Xmas. $1500or best offer 955 9656,keep trying.14 K GOLD Jewelry for 2/3 LESS than retailcost: necklaces/bracelets/initials/charms/earrings. Order holiday gifts now. Suzanne684 5739.Xctry skis bdgs poles shoes Sz. 7. New $75. Hkgboots, Timberline Sz. 7. $35. 955 2030.vaguely concerns a stolen painting. Butthe real "meaning” in this film is revealedin Groucho’s performance of "Hooray forCapt. Spaulding” and Chico and Harpoplaying bridge. Fri., Dec. 11 at 8:30 pm.DOC. R.M.American Graffiti (George Lucas, 1973)Lucas’ pre-Star Wars vehicle raises all theissues relevant to its time and the genera¬tion it depicts: the Vietnam War, drugs,drag racing, the generation gap, etc., etc.But Lucas very carefully avoids confront¬ing these issues on any level save thebanal, pompous, or superficial. This filmnot only foreshadows Lucas’ later epic-trash, but also reflects the bland ideologyof TV, the medium where most of this film’sstars would later find popular success.With Richard Dreyfuss, Ron Howard, CindyWilliams, MacKenzie Phillips and SuzanneSommers. FR Dec. 11 at 7 and 9:30 pm.LSF. RM.■ATSTHE MOST EXTRAORDINARY DISPLAY OFHATS EVER SEEN UNDER ONE ROOF!COME ONE AND ALL TO SEE THEPANAPLY OF HATS, MANY DESIGNEDESPECIALLY FOR THIS HOLIDAYSALE AND EXHIBITION.•PEN1NCSUNDAY, DECEMBER 6 FROM 4 TO 7 P.M. EXHIBITIONDECEMBER 8 THROUGH DECEMBER 23TUESDAY THROUGH SATURDAY: 11 TO 5SUNDAY: 1 TO 5HYDE PARK AMT CENTEX1701 EAST S3 STREET CHICAGO 60615TELEPHONE 312.324.5520WEAM YWJB FAVORITE RATTO HE OPENING!HILO REALTY GROUP1365 E. 53rd St.v 9g^1*°° J30 — The Chicago Literary Review, December 4, 1981 '78 Omni, 4 cy. stick, exc. cond. $3200. 582 4014.Ford 1929 5 window coupe, 302 Boss enginegood cond., call (217) 774-4287. ReggieWilliams.Couch 71.7 ft clean but shabby $15. 288-1474.SERVICESJUDITH TYPES—and now has a memory.Phone 955 4417.Psychotherapy and counseling. Fees on asliding scale; insurance accepted. JoanRothchild Hardin. PhD, registeredpsychologist in Hyde Park. 493 8766.Excellent, accurate TYPIST with B A. willtype term papers, theses, resumes,manuscripts—whatever your typing needsQuick, pick up and delivery on campus.Reasonable—call Wanda 955-8375 after 5 pmTypist available for papers. Selectric IIReasonable rates. For arrangements and information call 682-6884.WORD PROCESSING SERVICE/TYPING/HEADL I N E S —Dissertations, Tapetranscription. Tables, Form letters, Reports,Statistical typing. List maintenance. Resumes,Newsletters. NANCY COHEN PROFES¬SIONAL TYPING-378 5774.The Chicago Counseling and PsychotherapyCenter, 5711 S. Woodlawn, is opening a LongTerm Therapy Group to new membersDecember 3, 1981. Meets Thursday evenings 810 pm, $50/month, first two months payable inadvance. Open to women and men 18 and over,especially women; preliminary interview re¬quired. Group leaders: William Bradley, MTS,SW and Margaret Warner. PhD. 684 1800.Chicago Counseling and PsychotherapyCenter. Client centered psychotherapy. 5711 S.Woodlawn, 6345 N. Broadway and 111 N,Wabash, Chicago A Registered PsychologicalAgency. 1312)684 1800.ALTE RATION & Repair pants, skirts, dresses,etc. Reasonable rate. Call 643 4262.TYPIST: Experienced secretary types dissertations, reports, etc. Grammar correctedPickup and delivery. One day service mostcases. Call 667-8657.SCENESHYDE PARK ARTISANS GALLERY is havinga CHRISTMAS OPEN HOUSE Dec 5th 12 4 onSat at 57th & Woodlawn in the UnitarianJaws (Steven Speilberg, 1975) One hasonly to sit through the travesty of Jaws 2to appreciate the engaging terror and vi¬tality which Speilberg instilled in the origi¬nal. And one can only pray that their won’tbe a Jaws 3, and that Speilberg will holdtrue to the promise of his earlier work andavoid collaborating with clowns likeGeorge "a la Raiders of the Lost Ark"Lucas. Fir., Dec. 11 at 7 and 9:45 pm. LSFR.M.Rebel Without A Cause (Nicholas Ray, 1955)A masterpiece of youth, crime, and punish¬ment starring the immortal James Dean,the late Sal Mineo, the recently deceasedNatalie Wood, and directed by the abusedNicholas Ray. Highly recommended. Sat ,Dec. 12 at 8:30 pm. DOC. R.M.The Thin Man (Van Dyke, 1934) The origi¬nal in over-long running series of modernmarriage and mayhem, and without ques¬tion the best. With William Powell andMyrna Loy. Sat., Dec. 12 at 7 and 9:30 pmLSF R.M.American Pictures is Jacob Holdt’s multi-media presentation of his 5 year, 100,000mile hitchhiking adventure throughoutAmerica. Holdt combines interviews,music, narration, and about 3,000 of hisphotographs to present his extraordinaryexperience, an experience which led himfrom the ghettos of Harlem to the man¬sions of Rockefeller. A brilliant anthropoli-gical and intuitive Marxist critique ofAmerican capitalism, American Pictureswill be screened nightly at 6:30 pm. untilDecember 19 at the old Court Theater, Uni¬versity and 57th. For further info, call363-5593. R.M.Women's Film Festival: Latin Am. Womenin Struggle. Women for Radical and Eco¬nomic Equality will be sponsoring the fol¬lowing films on the following dates: Dec.6th: Salt of the Earth (USA); Dec. 13th: Chi-cana (Mexico) and Double Day (Brazil);Dec. 20th: One Way or Another (SaraGomez, Cuba). All films will be screened onSundays at 3 pm. at Ruiz Belvis CulturalCenter, 1632 N. Milwaukee. $2.Church. BEAUTIFUL GIFTS at SENSIBLEPRICES. Pottery, Photography, Glasswork,Weaving, Sculpture, Calligraphy and Wonderful Christmas Cards. Hours Th Fri 12 3, Sat 124, Sun 112. Come on by!Spartacist League Forum: "Iran. Mullahs'Blood Frenzy." Friday Dec. 11 7:30 pm 2ndUnitarian Church 656 W Barry. For info call427 0003.Spartacus Youth League Forum : Military Viitory to the Leftist Insurgents In El SalvadorWed., Dec 9 7:30 pm 3rd fir Sun Parlor, IdaNoyes Hall. For More Info call 427 0003PERSONALSWriter's Workshop (PLaza2 8377).To all Blackfriars, MARRS-ians and Maroonstaft: Have yourselves some happies—youmore than deserve it! MH House manager, apprentice Mistress of Arts, reporter, and cute lilpest.Greg Parker: I may be afraid to listen, butplease don't be afraid to come talk .....To my University and Hyde Park Friends: Myholiday wish is that your days and hearts maybe filled with love and cheer. Agnes McDermott, Floresville, Texas.Missy, how can I know what I think till I readwhat I write? Larry. Letter follows.Loving home wanted for adult fml. spayed cat.Comb. Tort, shell/calico. Call 731 9185.WALLACE, VINCENT, and all Thanks againfor signing the 3rd floor wall. Come back soonBruce, Ayala, Diana, Sheila, & Rich: Once wewere friends/But all things have ends/As I'velearned to my sorrow/When I look behind/Onlyconfusion I find/So I'll turn my face to the morrow Merry Xmas/Chappy Chanukah.MargoLynn.BLACK STUDENTDIRECTORYThe Organization of Black Students is compiling a list of all black students in the UniversityA Directory will be published in order to increase contact among black students on campus. Call 753 3566 if you would like to appear inthe Directory.THE NEXTCHICAGO ELECTIONSCome to a forum on "The Next Chicago Election" with Milt Cohen (Dor. of Illinois CoalitionAgainst Reagan Economics) and RobertaLynch (In These Times Columnist) at 7 30 pmDec. 13, Sunday, at 5004 S. Blackstone. Sponsored by the Luch Parsons Chapter of the NewAmerican Movement Newcomers welrnmoiWANTEDI need one more ticket for Fall ConvocationMuch appreciated. Call 286 0187THE PHOENIXCheck the Phoenix first for books, records andgames in the basement of the Reynolds ClubJOHN LENNON:REMEMBERA Special Radio Tribute one year after hisdeath. Tues Dec. 8 5:00-7:30 pm on WHPK FM88 3. Hosted by Ray Gude.ACHTUNG!TAKE APRIL WILSON'S GERMAN COURSE& HIGH PASS THE SPRING LANGUAGE EXAM! Two sections: MWF 11-12 & 6 7 pm, JanII April 30. For more information and toregister, call: 667 3038MOVINGStudent with Pickup Truck can move your stuffFAST AND CHEAP No job too small! CallPeter at 955 5180 10am 10pmNEED ATYPIST?Excellent work done in my home Reasonablerates. Tel 536 7167.STEP TUTORINGHelp a kid feel bright and intelligent Volunteerto tutor an elementary or high school studenttor two hours a week. Contact Peter at 643 1733for more informationPIANO LESSONSBeginner advanced. Doctoral degree fromJuilliard school, N Y Tel 536 7167THE PHOENIXWe have the best prices on books, records,games. Check us first. In basement ot theReynolds ClubNEED EXTRA CASH?People are needed for a questionnaire type experiment in the Graduate School ot Business.Payment is $5.00 an hour and will be paid incash. The experiment will last approximately ?to 3 hours. For more information please callHain at 753 4209 Mir.iGJAClassified AdsCONDO FOR SALELovely sunny 5 rm. condo, 2 BR Totallyrenovated. Oak fl. & buffet, frpl., bale., PLUS!Fin 13% Call Karen d. 947 5456, 3. 947 0859GERMAN RADIO SHOWOn WHPK 88.3 FM every Monday 5 7.30 pm"HOERFUNK."WOMEN'S MAGAZINEPrimavera Vol 6/7 is out! Available in mostHyde Park bookstores. Women who want tojoin the staff should call 752 5655 for infoEXCE PTIONAL HOUSEAvailable Jan 1 to July 1 next to campus allcomforts in ideal Hyde Park location preferemployed couple will consider students 3 orless with best references 5700 mo 955 9549GENERAL STUDIES INTHE HUMANITIESAll G.S. Humanities graduates andundergraduates are invited to an end of thequarter party Come and get acquainted withfellow students and your professors today at4:30 pm in the Nonesuch Coffeeshop onWiebolt's 4th floor. Refreshments (do keep trying to come into the building if you're comingafter 5 pm. We're up there).LOST AND FOUNDLOST: Brown wallet 11/26 vie. Ida Noyes.Reward. Call R Martin 324 0840, 753 3265WE WANT YOU!Join us for a Hillei Jewish Students WeekendJan. 8 9th. Meet students from the Chicagoarea. Enjoy great food, singing, dancing, interesting speakers. Live band Sat nite $15 00for weekend. For more information, CallHillel, 752 1127.AUDIOGRAFFITIThe Peer Pressure radio show Every Wednight, 11-2 pm WHPK 88.3 FM Sponsored byWax Trax with help from the Phoenix Bookand Record store.GERMAN COURSESthrough CCTS at LSTC1) Evening class (2qtr) Fee: $80 per qtr. 1st qtrMo 7:30 9:30 rm 203 Beg Jan 4, 1982 2nd qtr Tu7:30 9 :30 rm 309 Beg Jan 5, 19822) Day time class (15 weeks) Fee: $160 MWF 12:00 1:00 rm 309 Beg Jan 4, 19823) Advanced Reading (Theology) Fee $80 Th7:30 9:30 (or by arr.) Rm 309 Please register atCCTS 667 3500 ext 266 or call instructor G F.Miller, PhD (native speaker) 363MOVERS GUIDEFree! How to saveon moving Movers, rentals,helpers, shipping, boxes, Referals. 324 8578ORIENTAL CARPETSFOR YOUNGCOLLECTORSOur unusually fine semiantique Afghancarpets are works of art. To make a carpetwool is cut, spun, dyed and handknotted frommemory into a unique design Unlike prints, an |Afghan carpet is one-of a kind and on theaverage a 3' x 5' carpet contains 'A of a millionknots taking many months to create. A goodcarpet is often the same price as a good print.It can be hung on the wall or used on the floor,and lasting hundreds of years, it makes not only a beautiful but also a useful gift. To see ourpersonally selected collection of art call 2880524. D. Bradley, carpet connoisseur, PhD. student, former Middle East resident researcherHANUKKAHCandles and Tin Menorot on Sale at Hillel, 57151S. Woodlawn, 752-1 127. First Candle: SUNDAY, DECEMBER 20.OBS STUDY BREAKThere will be an Organization of BlackStudents study break on Dec. 4 TON IGHT from3 to 6 pm in the East Lounge on the second floorof INHFREE CATExtremely beautiful cat, orange, two years oldlooking for a good home. Call 955 1092 fordetails.SANTACLAUS ARRIVEDON A FLYINGCARPETand brought with him a sack full of beautifuloriental carpets, new and older, made by hisskilled elves living in Afghanistan, Pakistanand Persia. Aself labor is still cheap we can of¬fer you these unique carpets at veryreasonable prices. To put a magic carpetunder your tree call 288 0524 (until Dec. 17).Merry Christmas from David Bradley (TheTurkoman).Cftaz(otte CVi(?stzom<zRea( Estate Co.HOW CAN YOU DO BETTERTHAN 8%. . We have an assumablecity mortgage for a 5 sunshine filledroom condo at 54th Dorchester. ReadyFebruary 1. $59,900 (will consider rentwith option).IMAGINE A LARGE THREEBEDROOM at 55th Harper. Thereare very few this big at “UniversityPark” condo. Assumable 934% FNMAmortgage. Must move fast. Transferee.$95,000 negotiable.SH....SH... A SECRET TOSHARE! Spacious 2,000 sq. ft. condo.Owner will accept any reasonable offereven if you think it’s low'. 50th & the lake.High floor - 2 bedrooms 2 baths - realfireplace asking in $60’s.3/4% assumable on cor-IER “WRAP-AROUND" TWO1EDROOM, TWO BATH.rARAGE INCLUDED. On cam-us bus line, 54th &• Hyde Park Bl\d.35,000.1638 EAST 55th STREET493-0666 9>/2% ASSUMABLE FNMA...at4800 Chicago Beach in NorthTower...looking north. To settle estate,two bedroom, two bath, includinggarage, $75,000 negotiable.Advice to the lovelorn (for housing, thatis). Make your decision when the choiceis greatest and the prices stable.YE OLD ENGLISH look w ith cobblebrick walkway and front garden near57th & Kenwood. Six smallish rooms (onebedroom, two studies). Lots of naturalwoodwork. Priced in $60 s.READY FOR SPRING - PRIC¬ED RIGHT. Tenth Floor North Tower“U. Park” 55th, 1 bedroom. $44,000.ARCHITECT’S PRIDE - HYDEPARK’S JOY. Just finished. Over2800 sq. ft. Triple decks of sunshine.Highest quality materials and ap¬pliances. Woodburning fireplace, centralair, attached garage. Immediate oc¬cupancy near campus of U. of C. &Osteopathic Hospital, 53rd & University.Excellent financing. 13l/2%. $210,000 pluspoints.1/4 ACRE IN THE CITY Completewith lovely landscaped yard. 2-cargarage and* a lovely 5-Bedroom home,woodburning fireplace, 2 living rooms(or music room or family room i. LeadedWindows. A choice residence. 52ndWoodlawn. $180,000.ON OGLESBY NEAR 69thSPACOUS EIGHT ROOM CONDO, plussunroom. Side drive w ith brick garages.Only three families. Look now, availableJanuary 1. $(34,000. Bigger than a house.CALL FOR OURCOMPLETE LIST OF PROPERTIES MINOLTA XG-M.45 2.0Minolta XG-IAUTOMATIC PERFORMANCE.AUTOMATIC .SAVINGS. .GOODBYE. FRUSTRATIONHELLO. SURE SHOT!CanonSURE SHOTHiNEWCationAn incredible system of| interchangeable components I|provides unlimited versatility.!• Hugged protessonai PcxJy muth precise match needlemetenng• Electro Mechaneai shutter w speeds from 8 sec to12000th sec plus B » i 90th sec l» Add optiona: accessories to oota - Shutter-Prioritytion Aperture Priority Automation or OOth\Now you no longerhave to settle for lessthan a Nikon!• Ttie easiest-to-useeasiest-to-own Nikon ever• Totally automatic—justlocus and shoot• Amazingly light andultra compactmodel earner*1342 E. 55th 493-6700The Chicago Literary Review. December 4, 1981 — 31\\7ITH mistletoe and hollyV V Let Christmas time be jollyWith just a little folly: ,,W1 But don’t get of!your trolley!Occasional Verses,Y IDA E. S. NOYES