LEP0Cminentfy ‘PresentahCeTHE LISLE LETTERSEdited by Muriel St. Clare ByrneAn Abridgement. Selected and Arranged by Bridget Boland"As moving and as powerful as any novel 1 have read in years.... a concise, compelling,gloriously readable human drama.... It is as if we had a portion of the 16th century ontape... .a beauty of a book." -James Goldman, author of The Lion in-Winter, ChicagoTribune Book World Illus. $25.00MANET and Modern ParisTheodore ReffOne'hundred paintings, drawings, prints, and photographs by Manet and his contem¬poraries, precursors and successors focusing on Paris-its streets, people and social life.130 b&w illus., 24 color plates. $39.95Published in association with the National Gallery of ArtGOOD COMPANYDouglas HarperTramp society viewed by a sympathetic visitor. "A rare glimpse of a world withina world. ...[He] has captured the language, customs, and character of these men on themove, these knights of the rails... .a rare book about a rare breed." -San FranciscoChronicle 52 photos by the author. $10.95 paperGOOD COMPANYDougla* A HarperARnxrRunsTlmghllSornm ModemTheRevolutionRemembered1 yew itH*** u»ow«»tat lln* W>rfur t.tuh-JH'nJe#* e A RIVER RUNS THROUGH ITNorman MacleanPhotographs by Joel SnyderMaclean's classic novella embellished with photographs, specially taken, of Montana'sBig Blackfoot River which is the background for this "masterpiece.. .a lyric record ofa time and of a life." — Village Voice 15 full-color plates. $25.00Also available: A RIVER RUNS THROUGH IT and Other Stories$12.50 cloth, $5.95 paperTHE POWER OF STEAMAn Illustrated History of the World's Steam AgeAsa Briggs"Attractive illustrations with highly readable text." -New York Times Book ReviewMore than 200 halftones, 24 color illus. $10.00 paperTHE REVOLUTION REMEMBEREDEyewitness Accounts of the War for IndependenceEdited by John C. Dann"Oral history as these veterans' grandchildren must have heard it. It's still good funafter two centuries." - Wall Street Journal Illus. $10.95 paperTHE BENCHLEY ROUNDUPRobert BenchleyA selection by Nathaniel Benchley of his favoritesDrawings by Gluyas WilliamsThe cream of the incomparable humorist's witty pieces."I was always looking for Benchley's stuff.” -E.B. White$8.95 paperMe Letters'Murid Sr.Clare Byrnt^ • ^ & a Ho Ho HoTwo by Will CuppyHOW TO ATTRACTTHE WOMBATIllustrated by Ed Nofziger$5.95 paperHOW TO BECOMEEXTINCTIllustrated by William Steig$4.95 paperVery special musings on natural history."Pure and unadorned Cuppy is goodfor the mind and the funny bone."-Henry Horn, Princeton UniversityAt bookstores or from University ofChicago Press5801 Ellis Avenue, Chicago IL 606372—The Chicago Literary Review, Friday December 2, 1983The CLR’s first-annual poetrycontest was an overwhelmingsuccess. Submissions were re¬ceived from over 110 authors,and a number of very goodpoems could not be printed be¬cause of space considerations.The first-prize award goes toDaniel Tiffany for “NativeSpring”. A second-prize awardwas granted to Sally Satel for‘‘Key Largo”. Several pages ofHonorable Mention poems ap¬pear in the issue, and all are tobe commended. The CLR willsponsor a short-fiction contestin the spring, and welcomes allsubmissions.Editor: Campbell McGrathEditorial Board: Elise Eisenberg,Elizabeth Lichtenstein, Rainer Mack,Jack I. Roberts, David SullivanStaff: Daniel Brownstein, LeslieRigbyProduction: David Miller, Brian Mulli¬ganThe Chicago Literary Reviewis published quarterly byThe Chicago Maroon,the OFFICIAL student newspaperof the University of Chicago.Submissions, business or editorialquestions should be directed tothe third floor ofIda Noyes Hali, room 303,212 E. 59th St.Chicago, II. 60637or call:(312) 962-9555This issue Vol. 93 No. 24©1983 TCMgc/CLR CHICAGO IITERARY W**ContentsPoems by Daniel Tiffany p. 5First Place, CLR Poetry ContestPoems by Conrad BaMke, Daniel Brownstein, and Lauel Bruce p. 6Honorable Mention, CLR Poetry ContestA poem by Saly Satel p. 7Second Place, CLR Poetry ContestA Poet in the Urban World by Jack I. Roberts p. 8A poem by Douglass Bond p. 11Honorable Mention, CLR Poetry ContestPhotos by David Miler p. 13Poems by Liz Goldsmith, Athena Kidegaard, and Paul Wapner p. 15Honorable Mention, CLR Poetry ContestPoems by Efise Eisenberg, Rainer Mack, and Jack I. Roberts p. 16Poems by John Schulman p. 19A Map of Montana in Language by Campbell McGrath p. 20The Poet's Voice: An Interview with Reginald GMons p. 22Private Struggle, PuhBc Battle by David SuKvan p. 25Poems by Travis Du Priest and Pierre Long p. 30Poems by John Metcalfe and Wliam Weaver p. 32Poems by David SuKvan p. 35Poems by B8 Fafioon, John IGoos, and Barbara E. Stinchcomb p. 39Honorable Mention, CLR Poetry ContestPoetry in Brief p. 40The Chicago Literary Review, Friday December 2, 1983—3Are you searching for theperfect Christmas present?Stop searching!Come into the University of Chicago Bookstoreand do your shopping among thousands ofbargain books . . . current... rare . .. out-of-t*print books.Take a few minutes and browse . . . We feel sureyouTl find the perfect gifts for yourself and yourfriends. Please come in soon.We have bargains at 50% to 80% off listprice.University of Chicago BookstoreGeneral Book DepartmentFirst Floor970 East 58th StreetP.S. The new student directory has arrived:only $1.00Uterary Review, Frid^, December 2, 1983First Place, CLR Poetry ContestNative SpringNo one sober under the bright canopy,no one glancing off the street at duskknew the angel raised the birds himself.Gray cobs and coffee grounds:anything a man won’t eat.Forearms and boots whitened with flour,a gauze-capped baker grumbled in his cups.Hundreds of men at tables—soldiers, farmers in town for a drink:the mayor himself drunk as a wheelbarrow.No one saw the angel catch his sleeveon the grill, stripped as he gatheredthe birds from the fire.Bandit SupperWe are impatient; we hate to leave,we hate to leave the river after dark;we plunged tonight from dusk to cordial dusk.We hugged the coast for bulging codand filthy trout tonight.We sailed into a drowsy hive:the bay woke over the hull and fled.Word passed from bow to sternto silence the engine...a ship cut from water’s memory.We nearly saved ourselvesthe trouble, craning for a glimpsebefore a tocsin cleared the table,before the lantern bowed its headand caught us gazing at our hosts. Dead ReckoningThrough the branches we saw the harborchoked with grasses, silt-blind.Columns blurred to brackish linesdiced in a foot of water.Powdery timbers jutted from the marl.A man greeted us in the ruined stadium.He spoke for the deadloafing on the upper tiers:a question and a smile and a bone to pick.The drone of a motorboat rose from the estuarythe listless, the lollers stirred in the shade,each face like a bead in a blackberry’s comb,dusty, glowing like a wick.Back GenoaThe deep knock of the windlass woke mebefore the anchor dropped;chain plunging through the walelike a gale in the trees.I cleared a patch on the salt-crazed glassand rose through my eyesto the rim of a desolate port:no trace of cattle or tilled fields,but livid smoke marblingthe country behind the coast.A town glittered like a vein in the cliff,lives abandoned in an ugly hurry:shop doors agape, roasts and kettlesstill steaming over fires.A trail of paintveered from the barber’s window,the brush dropped in the street.-Daniel TiffanyThe Chicago Literary Review, Friday December 2, 1983—5Honorable Mention, CLR Poetry ContestJacob Van RuisdaelWe crunched past the windmill at Wijk-bij-DuurstedeAnd I marked how the dog-tongued liliesHad frozen in the middle of a song.In that air, the silent smoke went straight up.Each two-thousand year creakEach two-thousand year creakEach two-thousand year creakServed to remind me of all you had sufferedAnd of all you had created.We laughed lightly and walked on to Haarlem.—Conrad Bahlke Other YogiisI. After the rain falls,black crabssit &. . . watchmist over the ground —pale flush over the breastof granite,skin of Earth.A summer sun . . . rises.II. In May,in the afternoons,salamanders baskon the wall —reptile yoginson a journeyto Purusa.—Laurel Bunce All Through ItalyMeeting again in the morningI thought of a bouquetof flowersand it was like aflower, or at least the scent of one,that I could smellall through Italyso I returnedlot leaveoreeach time, a scentthe world alive—Daniel BrownsteinCan’t findyour message?Use theCOLLEGEMAILROOMIn the ReynoldsClub basementWhere themessage isthe mediumAutumn Quarter grades will be availableafter December 21 from the mail roomattendant upon presentation of your student I.D. card.(Winter Quarter bills have been delivered — check your folder!)6—The Chicago Literary Review, Friday December 2, 1983Second Place, CLR Poetry ContestKey LargoThis evening feeds off.slow regretfalling on simple pleasurefalling on youa beach ornament,twisted and baroqueupon the silver sand and lowerShe spun and arched for youdown, where tide’s grey tonguewhispered clean the shoreYou, thrashing, metallic,a grunion in midnight frenzyoozing clear and bloodless sapwhile the moon, an onionor some pearly fruit, bobbedon a solid, tilting wave.—Sally SatelMaroon awards will soon beavailable to those students whomade outstanding contributionsto the paper last Spring Quarter.They are:Abigail AsherStephanie BaconDavid BrooksKahane CornSteven DiamondPurnima DubeyMike ElliottRussell ForsterCliff GrammichDon HaslamKeith HorvathAnna HupertAra JelalianLorraine KennyBruce KingSondra Krueger Madeleine LevinFrank LubyJeffrey MakosLeah MayesNadine McCannPaul O'DonnellSharon PeshkinWilliam RauchJon RobertsAbby ScherSteve ShandorKoyin ShihCassandra SmithiesJeff TaylorKittie WyneDarrell WuDunnChecks may be picked up during theweek of Dec. 5 in the Student ActivitiesOffice, Room 210, Ida Noyes Hall Maroon awards will soon beavailable to those students whomade outstanding contributionsto the paper last Summer Quarter.They are:Karen AxtSteven DiamondBill EjzakCliff GrammichAnna HupertLorraine KennySondra KruegerNina LubellJeff MakosSharon PeshkinChecks may be picked up during theweek of January 2 in the Student ActivitiesOffice, Room 210, Ida Noyes Hall.The Chicago Literary Review, Friday December 2, 1983—7' tA Poet in the Urban World:iA Consideration of the Poetry of C.K. WilliamsTar by C.K. WilliamsVintage books, 198365pp., $8.95by Jack I. RobertsMy East Hyde Park apartment-buildingstands directly opposite a vacant lot.Some mornings, especially in bad weather,the quiet despair of the city is present inthat lot, weed-choked, filled with trash.Perhaps you’ve felt the same way uponseeing a back alley, a condemned building,an empty store-front. Such sites and theimpression they make upon us are commonto our experience as city dwellers.C.K. Williams has lived in cities all hislife. It is characteristic of Williams to usesuch scenes in his poetry; scenes, in thewords of another poet, “common in experi¬ence but uncommon in books”. In Williams’poetry things we see each day are trans¬lated into words, vividly, richly, but with¬out exaggeration. Williams infuses a scenewith new gravity, and makes it worthy ofour serious attention. In his poetry C.K.Williams has created a world, consideredby some to be the supreme achievementfor a poet, and that world is our own.In Williams first collection, Lies, pub¬lished in 1969, the most successful poemsare those dealing with life in the city. Inthese poems urban man is a victim, help¬less against the elements and the crueltyof others:And men, they too are wounded.They too are sifted from their lossand are without hope. The core soft¬ensand melts. There are thorns, thereare the dark seeds, and they end.(“It Is This Way Within”)For Williams we are solitary creatures,without hope, incapable of contact withothers, verbal or physical. Even the pros¬pect of love holds no solace for the poet. Inthe poem “On the Roof” he laments “Thetrouble with me Is that whether f get loveor not I suffer from It.” The world, in short,b a nasty place.In the final poem in Lies, however, a newtheme is introduced. The poem, "A Day for %Anne Frank”, begins with a depiction of fstreet life, but evolves into an invocation gof sorts. The poet addresses Anne Frank, flamenting over her death, but caling her «forth fn anguish: * Come sit with me herekiss me; my heart too is woundedwith forgiveness. . .Stay,they will passand not know usthe cold brute earthis asleepthere is no dangerThe poet sees a dead girl and reaches outto her. His message is this; We live in a ter¬rible world but we can hang on, hold eachother up, and provide comfort to one an¬other.This theme continues its development ina later book, With Ignorance. The moststriking about this volume is the long,Whitmanesque lines in which Williamscasts his poems. The length and flowingstyle of the lines allows Williams the free¬dom to include all the emotion, all the care¬ful detail he needs to make his poems com¬plete. Williams has an eye for detail likefew other poets writing today. He includesno less than we need, no more than wewant, in order to create a scene in ourminds.The movement in With Ignorance is an opening up, both stylistically and themati¬cally, a mellowing. Williams begins to seethe lighter side of our experience; hisvoice begins to grow warm. The faces ofcities have begun to change as well. In“Bread”, the poet visits a neighborhood inwhich he used to live. When he lived therehe could walk “blocks without hearing En¬glish, (but) now the ghettos have beencleared, there are parks and walkwaysand the houses are owned by peoplewho’ve moved back in from the suburbs".The urban landscape has changed. Yet Wil¬liams' voice, though more tender, is no lessrueful. His poems are still poems of loneli¬ness, still his own, though now distinctlythat of others too. His voice is no longerone of despair, but one offering comfortthrough the anecdotes he provides. In hisunforgettable characters we see our¬selves, and recognize our own humanity.Moreover, Williams succeeds in evoking asense of place which many of his earlypoems lacked. Williams supplies an expla¬nation of this aspect of his poetry:Sometimes the universe inside us canassume the aspect of places we’vebeenso that instead of emotion we see trees we knew or touched or apathand Instead of the face of a thought,there’ll be an unmade bed, a carnosing from an alley...(“Bread”)Emotions and ideas have been replacedwith images which convey fully those feel¬ings and thoughts.In his new collection of poetry, Tar, Wil¬liams’ has maintained all the strong attri¬butes of his earlier books, and reached anew peak. His voice has grown evenwarmer, reassuring and funny. The linesare still long and snakelike, but more reg¬ular. The details seem to convey more in¬formation and the images have beenhoned to razor’s sharpness. Many of thescenes are literally ■ unforgettable; theViet Nam veterans making their drunkenway down the sidewalk; the man in asnowstorm making patterns in the snow;the condemned apartment building filledwith newly-released inmates of the mentalhospital. The book is full of people, espe¬cially children. There is hope in thesepoems, regeneration, a chance for the fu¬ture.In the next to last poem in the book,“Tar”, Williams sets up a typical urbansetting; the workmen across the street re¬shingling a building, while reports of thenear-disaster at Three Mile Island come inover the radio. He ends with still moreurban realism, but a realism that tran¬scends the city, providing Williams’ a met¬aphor for the poet; } ,Even the leftover carats of tar in thegutter, so black they seem to suckthe light out of the air.By nightfall kids had come acrossthem: every sidewalk on the blockwas scribbled with obscenities andhearts.American poetry can do well to hopethat C.K. Williams continues to scribble hisobscenities and hearts well into the future.For Williams, like no other poet, turnsevery piece of fallen tar, all the waste and‘despair of urban life, into poetry. An in¬novator stylistically and thematically,C.K. Williams is a great poet, and Tar is hisfinest book - a witness to our frailty andstrength, and the compassion with whichwe support each other.8—The Chicago Literary Review, Friday December 2, 1983m% would like to invite1 • . WMF r- '“r ilemoning parties at 57thember 4, from 2:00-4:00mtographing Sylvia on Si11, from 2:00-4:00ng her new book, Thlilding the CampusSunday>ck will lHenrithe Bunny toavailable for giftand 57th Street Bool One of hundreds of books from Patdete Works of Sigmund Freudinary Coop Bookstoreil— one to two upcomingt Books. This Sunday,!., Nicole Hollander will"lllllilllwand her other cartoonWe would alstheir supportthe happiest of ho fgkjaOI3®5: UsesourweSEMINARYBOOKSTORE5757 S. UniversityMonday - Friday 9:30a.m.-6:00 p.m.Saturday 10:00 a.m.-5:00 p.m.Sunday Noon-5:00 p.m.752-1959 1301 E. 57th StreetMonday - Friday 8:00 a.m.-10:00 p.m.Saturday 10:00 a.m. - MidnightSunday 10:00 a.m. - 6:00 p.m.684-1300Where people who care about books come to find them.The Chicago Literary Review. Friday December 2. 1983—9r vMerry,Merry, Merry...Mittens, Mufflers,Munchables,Make-believe,& Mistletoe!You'll find them all... right here inthe heart of Hyde Park! Here inour neighborhood, you'll discovereverything you need to make yourholidays merry. Friendly smiles,low prices, no hassles, no crowds!At the Hyde Park Shopping Centerthe true spirit of the season is yoursCity GirlCohn and SternDoralee, Ltd.Fanny MayFritz on 55thHyde Park Co-opPark LaneHosieryShoe CorralSusan GaleWalgreensWoolworthsAt yourservice:Flair CleaningHemingway'sHyde ParkAssociatesin MedicineHyde Park BankHyde ParkCurrency ExchangeDr. M. R. MaslovOptometryThe Hyde Park Shopping Center • On Lake Park between 54th and 55th Streets10—The Chicago Liter car y Review, Friday December 2, 1963from DichotomiesHonorable Mention,CLR Poetry Contest II. The Door and the StreamWhat would Antony or Romeo have said,Watching me break my interlocking armsWith love like theirs wailing in my bloodWith the din of twenty anti-theft alarms?Did I nod to the pull of moon and stream and leaveThe door ajar? Who lives having what I hadAnd doing what I’ve done and doesn’t grieveThe phases of the moon around and go mad?Any man old-fashioned for lasting love,Havng housed you, would’ve urged the loving lie,‘There’s nothing beyond the door worth speaking of,’So dear the woman deep in the moon’s way.What is this unfixed aged where man and womanDon’t fix eyes, don’t navigate the soul,But toy with things most dear, most fully human,Trade oar for bobbing in a small dark pool?Wasn’t it proved somewhere that two may rideA stream, yet stand as still as a cornerstone?0 all the worst of rock and wave collideAnd drown the old dream to fix the moon.And who am I to shout about a streamBoth wild and tame, a grand corridorOf rolling permanence, who damns that dreamAnd the dreaming soul who won’t plunge an oar?— Douglass BondGet Ca$hFOR YOUR TEXTBOOKSFROM A.T.D. (American Textbook Distributors)MON.-FRI., DEC. 5,6,7,8 & 98:30a.m.-4:30p.m.The University of Chicago Bookstore970 E. 58th St.Textbook Department*2nd Floor962-7116 a a a ^ ■ \MQSTOfvQfy The Christmas break isalmost upon us. Nowis the time forChristmas shopping9before it begins.The Bookstore has endlesspossibilities.. .sweatshirts, T-shirts,blouses, sweaters, stocking stuffers,mugs, ties, cocktail glasses, exercisemats, extra seating benches that foldaway when not in use, stuffed animals,rings, and on and on and on.So do your Christmas shopping now,before the Christmas break.THE UNIVERSITY OF CHICAGO BOOKSTOREGift Dept. 2nd Floor970 E. 58th St.962-8729 1BX 5-4366The Chicago Literary Review, Friday December 2, 1983—11^<y§p w0 ltr>'&kWfit'-jfes,7 -lxyj=zi2^—'jwMr5E• >)(iTti'r A 15-WEEK NON-CREDIT COURSE OFFERED BYTHE UNIVERSITY OFFICE OF CONTINUING EDUCATION- AND THEDEPARTMENT OF ROMANCE LANGUAGES AND LITERATURESMmrU&%‘..(pifSt Having been offered many times in the past,this course has proven to be successful inpreparing graduate students for the ForeignLanguage Reading Examination in French. Theclass is specifically designed to preparestudents for this exam, but is open to anyonewho has a desire to learn to read French. TheReading Exam will be given by the TestAdministration on April 23,1984, immediatelyafter the end of this course.The course will be taught by Charles Krance,Associate Professor in the Department ofRomance Languages and Literatures. Noprevious knowledge of French will beassumed. MWF 8;3(). 10:00 AMThe class Jan 4 -April 20,1984will meet: wieboldt 130The fee for this course will be $200. Toregister or receive more information, contactthe Office of Continuing Education: judd Hall,207, 5835 S. Kimbark Avenue (962-1722). Thedeadline for registration is December 19,1983.No auditors will be allowed. MuC ■ —mr Tfye tUn'iuersiTj of CfycacjOSymphonicWind Ensemble-performs -Bizet* Music fromCarmeniciM chorus and soloistsBeethouen -• OuerTure lo"Eymont"Jarobaq Cooper, conductorSaturdau. December^ 8:30 pmMandel Hall 5TTH and UniversityTree admission~rmdt possible bp an 3QFC grant ■KIMBARK HOLIDAY SPECIALS!Sale dates: 12/2 -12/8SMIRNOFFVODKA1.75 hr.BACARDIRUM1.75 hr. - It. or dk.JIM BEAMBOURBON1.75 hr. SEAGRAM’S SOC89CROWN ROYAL1.75 hr. DEWAR’S WHITE $ -| *799LABEL 1 /\\ 1.75 hr.SEAGRAM’SV.O. $£99750 ml 6" l$Q49,fljS ji-Btu I YO.S: SEAGRAM’S7 CROWN $Q99 MARTELL 3- $1 099STAR COGNAC A £750 mlE & JBRANDYBAILEY’SIRISH CREAMKORBELCHAMPAGNE750 mlPIPERCHAMPAGNE750 ml WINE$699 MOUTON CADET750 ml12 99 LITTLERHINE BEARRIUNITE 2/$500 $29ea9 HARVEY’SBRISTOL CREAMPAUL MASSONWINES 1.5 hr.(Rhine, Chablis Burgundy, Rose) $0991'Rjuniff $4493/$900$6" BEER & SODAOLD STYLE24-12 oz. cans $799COKE6-12 oz. cans $1 69Kimbark liquors& WINE SHOPPE1214 E. 53rd. St. • In Kimbark PlazaPhone: 493-3355Sun.-Noon-Midnight • M-Th-8am-lamnours. F&S-8am-2am12—The Chicago Literary Review, Friday December 2, 1983RITCHEY CMRfTlfN CASSEGRAINThe Chicago Literary Review, Friday December 2, 1983—13New20X30posterprintsby Kodak!■ "Wow-size"pictures Yourwalls come alive■ Full-frame madefrom yourfavorite 35 mmKodacolor filmnegatives ortransparencies■ Printed on KodakEktacolor paper■ Adds a personalspecial touch tothe decor of anyroomOnly $ 16®?The University of Chicago BookstorePhotographic Department2nd F1oorVISA 962-75581BX5-4364Special films for yourspecial shots!The newIcxmily of 35 mmKODACOLORVR FilmsKODACOLOR VR 1000 Film• The most light-sensitiveKodacolor film everISO 1000• Capture that natural-lightfeeling indoors, without aflashCF135-12 CT135-24KODACOLOR VR 400 Film• Lets you select fast shutterspeeds to stop action in day¬light or to capture manyexisting-light situations• Choose smaller apertures toextend depth of fieldISO 400CM135-12 CM 13S 24 CM13S-36 KODACOLOR VR 200 Film• Gives you the flexibility toselect a slightly highershutter speed to stop actionor smaller lens aperture toincrease depth of field overa wide range of general-lighting conditions ISO 200CL135-12 CL135-24 C1135-30KODACOLOR VR 100 Film• The sharpest Kodacolor filmever is ideal for generalpicture-taking situationswhere maximum imagesharpness and color qualityare desired ISO 100CP 135-12 CP135-24 CP135-34Stock-upfor the comingHolidaysNow. Ourprices arealreadydiscounted.The University of Chicago BookstorePhotographic Department2nd Floor962-7558IBX 5-436414—,|he Chicago Literary Review,, Friday December 2, 1983 BEATTHERUSHU. of C. |.imprinted |folders by I.Duo-Tang \ is®?and f-Acco-Pressbinders byAcco. Buy YourWinter Quartersupplies nowwire bound,padded, andring notebooks.Three-ringbinders, andpocket folders.CardinalBOmM-D’THE UNIVERSITY OF CHICAGO BOOKSTORESTATIONERY DEPT.2ND FLOOR970 E. 58TH STREET962-8729IB.X.5-4103Next time you’rebuying film...Buy some convenientKODAK Mailers, too.Next time you finish a disc or roll of KODAK Film, don tout It m your pocket drop It into a convenient KODAKMailer instead Then just add postage and your homeaddress and mail itYour finished prints will be delivered right to yourmailbox and you'll get quality color processing byKodak in the bargainGet some convenient KODAK Mailers todayOUR SPECIAL PRICEONLY ONLY ONLY$499 $954 $076DP12 DP24 DP15Includes piocessmg o' d printing ol one roll or disc olKODACOLOR film ond return postagefhe University of Chicago BookstcPhotographic Department2nd FloorHonorable Mention,CLR Poetry ContestA Fish StoryPapa fixed the boat motortook out the screwsset them carefullyin orderloosened the pieces andsqueezed slowly insidetook off the piecesforced his big hands andthe little screwdriver insideto replace the heartopen motor surgery on the back porch.Papa built a lake in the back yardstacked cinder blocks five highrectangular blocks with two open squares insidedoughnut holes -put a plywood board between the highest squaresthe boatput a garbage can betweenthe cinder blocks, under the boardfilled it with hose-waterthe lakebolted the motor onto the boat, in the lakerevved it and took off.Mama came out with a picnic lunch and her fishing poleyelled at Papa tocome and get herhe turned the boat aroundshe got in andthey headed out across the lakePapa had finally gotten the motor workingafter missing a month of good fishingthey sat on the lake all afternoonate ham sandwichesdrank lemonadestrung a dozen or more fish onto the linemotored back to the shorehappy with their catch.Papa unbolted the motor from the boat, put it in the garagetook the board off the cinder blocksleaned it against the back porchpiled the cinder blocks in the garagepoured the lake in the alleywent in to eat Mama’s hot fried fish.—Athena Kildegaard Crossing the USA with a Memory CompassThe tables have turned.In younger days you were always to the South of me.Way down under in heat and sun,you were an undetectable palmetto bug.Now maps the New Age for us.(present tense is a knot in me)my nostalgia tank is spilling over on city concrete,beyond the Midwestover the mightright Monongahela.Under the Puerto Rican subway ridershuter click frame New click Yorkpushing slow in a fast town.If you see me silly water approaching,four story walkout the vestibule mailbox,You are the circe siren called Sea Cow(That’s me alright, bearing my crown of thorny question marks).—Liz GoldsmithAubadethe best moments are not padded, like being in Pennsylvania, sick,and having mom right there to serve me breakfast;i liked you amy kendall and now you’re married to someonewho is with you cause you’re beautiful: i pretend that maybe i could appreciate you;john gave me a plant which could be greener, this morning i’ll move itcloser to the window;out my window i can see my neighbor’s whole life:she is in love with this nerd who smokes cigarettes, who likes to sit on the floorand caress her thick legs as she talks on the phone to other people;i have this urge to do something great today, like write a novel, draw a masterpiece,think an earth-shattering thought, compose a symphony, sleep,a plane travels above carrying folks from one nightmare to anotherwith optimism;in china little adults sit under wing-tipped pakodas and play life,just like we, who sit in cars on four lane highways play metaphysics;a can of cat food has been balancing on the white wood fenceof the house next door for days:why don’t they do something about it.—Paul WapnerThe Chicago Literary Review, Friday December 2, 1983—15/,uminusityEvolution Toward the Main Sequence20.000 10,000 5 000 2,500Temperature (Kelvins) UntitledI’ll whisper some soft nameand hope that it lingersbeautiful,a summer rain,or rings sweetlylike the memoryof a distant love.Or in a circle,captures youwith the flightof the blackbird.— Rainer MackFishing Black RiverI drive thirty miles to the Black River’s edgethen wade through shallows to the far bank.Forest black on both sides, black sky immense,the river runs black, ruffling reflectionsof the moon, the branches of trees.I reach into the pail beside me,into the writhing black of soil, worms.I feel them — small cold fingerssliding through, entwining with my own.Taking one, I bait the hook,cast, wait here in darkness.Tired, cold, afraid of the dark,I remained beside the river, hopingfor one bite, one tautness of line.My mind goes back: I waited too long.At seven a man passes on the other bank,waves his red cap at me and shouts —“You’re wasting your time. No fish in here.Black River’s got too much iron in it.’’Now darkness has fled and lightmakes the stony bed shine orange, rust.I cross again, eyes cast downward,see no life, only water, stones, sand.East to cross but had to leave,the Black River stays with melong after its water has driedfrom my boots.— Jack Roberts UntitledThe wind is my love’ssweet whisper,and rain the gentle washof her touch.Ever, in the purest goldof the twilighther eyes sparkle anddance for me.The song of my solitudeshe sings for me,weaving some rare essencewith her lips.Such a lilting soliloquyis her love,that entrances my heart’slonging tears.— Rainer MackOne SummerDawn wasa gray bubble,fat with wet.I was down,sick with sleep,drunk dumb, or floppedon the sidewalk.Except once,I raised my head and sawa horse galloping down the streettrailing wings like tattered reinsbehind it.It was flesh, I swearthe hooves struck sparksrang bell-like, undid meI thought the mistmust have birthed itfor I smelled seasilver, fresh, slick with sweatoh, God I lay weak-legged and burningwatching her falland not flying.— Elise Eisenberg16—The Chicago Literary Review, Friday December 2, 1983Experience elegant European cuisineeach day at lunch atChez MorryLocated in the garden West endof Hutchinson CommonsChef Charles, with over eighteenyears of experience throughoutthe United States and Europecordially invites you toexperience his unique andinnovative approach toward fineEuropean culinary creations.Relax and enjoy an exceptionalmeal.Apply today for a Chez Morrycredit card! Seating from11:30 a.m. to 1:30 p.m.Monday through Friday* Reservations prefered. •To insure seating please phone by 11:00 a.m.Please call:Ms. Barbara Smith493-2270December 5-9 December 12-16 December 19-23 December 26-30X. WlenuCL, WorryPerrierMineral water with lime wheelfSomdin de potSAoaFresh Crustacea and fish, pureed, rolled into a sausaae.steamed and served with a velvety sauce bechamel8L,, Wi-~White asparagus on butter lettuceand surrounded by chef s garniChoice of entree:Wotis dr ISoeuf li tlfinaton a fa Sordetai**Tenderloin of beef stuffed with mushroomDuxelles, surrounded with pate and baked in puff pastry,sliced to order and topped with bordelaiseC. anard a f CJranaeHalf of a deboned duckling baked with fresh ginger andserved with an orange sauce of Grand Marnier and Mandarin orangespoiSAOH a la FlorentineFresh sauteed filet of fish served with spinach inanise-flavored bechamel and un peu de sauce hollandaiseHaUtoJI.Eggplant, zucchini, tomato, green pepper and onionsauteed with garlic in olive oilPaliiurio WinieluroSmall French pastryPtiiiMChoice of fresh-brewed coffee with whipped cremeor hot tea with lemon$9.95gratuity included X. WrnuCL, WorryP.rr..rMineral water with lime wheelPouLL, JL lL.u( LbuJLThin slices of beef pounded and wrapped around mushroomDuxelles, then broiled and served with bordelaiseSalaJL d f^pinardFresh spinach and hard-boiled egg. wilted with a hot bacon,honey and sesame seed dressingChoice of entree:Fommedoi ami ( Lampiynom Sorde/aneSauteed medallions of tenderloin served on a bed of croutons,crowned with bordelaise and fresh, sauteed mushroom capsJ* VAitt. C.UJosBoned chicken bteasi sauteed with shallots in Calvados brandyand cream, served on a bed of fresh spinacho^nilln .Sain/ j^acymei a la /^anltwuScallops sauteed with omon, mushr<x>ms, lemon and whitewine, served in a casserole garnished with pommes duchessesFomalei a la f ^am«Jan«A tomato half topped with Parmesan cheese and broiled' J+-r> -Fresh asparagus served with butterPhUuarie IVjiniatmr*Small French pastryfSsissmnChoice of fresh-brewed coffee with whipped cremeor hot tea with lemon$9.95gratuity included X WenuCL, WorryMineral water with lime wheelC a^uillt! Samt ^acipeei Jw/aeiamiScallops in lemon, wine, onion and mushroom marinadeSa (ad* merit am*Avocado, shrimp and sprouts served withmixed greens and chef s garniChoice of entree&fUcL «... Po,o~Medallion of tenderloin rubbed with freshly crackedpeppercorns, sauteed in white wine and brandyStaffed Ifiocl C ornisk ^JJen 1 ’irmmifmtCornish hen deboned and stuffed with white and wildnces, mushrooms and onions and served with a sauce of pinkchampagne and white seedless grapespaisAoa SanU am jhemrr* SlantFresh filet of fish gently sauteed and served with a buttersauce delicately flavored with wine and shallots. JJaricoli l erli am Semrr*Tender-cnsp green beans with butter(\rotU, VuLfBaby Belgium carrots served in a sweet saucepgliAAerte 71/iniatmrwSmall French pastryZviaMaChoice of fresh-brewed coffee with whipped cremeor hot tea with lemon$9.95gratuity included X. W.nuCL, WorryCam I \m*rMineral water with lime wheel( oymill*) Saint datt^mei a /. ^tahenn*Scallops gently sauteed in garlic and olive oil thenlightly tossed with green and white rot in i and Parmesan cheeseSalad* d Cpmard julienneFresh spinach tossed with lulienned beef,Swiss gruyere and vinaigrette DijonChoice of entree&/LL - P~~~Slices of beef tenderloin sauteed with garlic green peppermushrooms, onion and tomato, finished withfine red wine and sauce hordeluiseJ. VoLitt. «. VmBoned chicken breast sauteed with garlic, bacon, mushroomsand red wine, finished with a fine red wine sauce/ ouwn / Noumea/Fresh fish fillet sauteed with garlic onion, tomato and whitewine, finished with a squeeze of fresh lemon6L..J. UJf.X...The ciaasu vegetable steamed to lender-crispness,topped bv an equally classic egg lemon sauce/ jimatm egSmall French pastrvOmseamChoice of fresh-brewed coffee with whipped cremeor hot tea with lemon$9.95gratuits includedChez MorryFeaturing Elegant European Cuisine11:30 a.m. -1:30 p.m.The Chicago Literary Review, Friday December 2, 1983—17r —THE UNIVERSITY OF CHICAGOannouncesJohn M. Olin Center Lecture Series:Democracy in America Today:A Tocquevillian PerspectiveINAUGURAL LECTURE:George F. WillIndividualism and the Moral Foundationsof Democratic GovernmentWed., Jan. 4,4 P.M.Law School Auditorium1111 East 60th StreetFUTURE LECTURES:Jan.18:Alan KeyesEconomic & Social Counsel of the UnitedNations, Black Statesmanship & theAmerican RegimeFeb. 2:Christopher LaschDepartment of History, The University ofRochester, The Family in AmericaFeb. 15:Samuel HuntingtonDepartment of Government, HarvardUniversity, The Military in America18—The Chicago Literary Review, Friday December 2, 1983Latcadio Hearn in the French West IndiesHearn in the East River Hotel,by mirror waxing his moustache,blue glasses hiding the blind eye.Sweating in his black wool three piece,he swallows from the tin pitcher.Lafcadio, next day, on the Baracoutawriting in his journal, “Eventhe great red storehouses take a faintblue tint as they recede.’’Hearn thinking about his death,everything blue and hot:he takes off his soaked collar and sleeps.Later, in afternoon, he spies a shipriding the sun, near horizon,and writes, “Against sunher whole shape changes color,the sail turns black a greenish black—’’Hearn, sun dark face inscrutable,drinking with a man from Guadeloupe,and over side, white spray in the dissolvingwake startles Lafcadio. “The veins of marble,”he scrawls, “we coast through blue stone.”He can write no more. He dreams.It is 1887, it is July, and Hearn has no thoughtof wearing a kimono twenty four years later,of the heart attack then, wife and boysharvesting cherries. And wakingLafcadio cries out, scribbles, “As I dozedshe seemed to burn cold fire through my lids,and a great blue eye—” But the sun has dried his ink.La Lurie“— Light the girandoles.— At once, excellence!”That pomegranate on the night-stand,was it I who halved it,dropping to sleep, the desireof devouring still on my teeth?What surprise when I woke,spilled "seed glittering in the sun!Recalling little, I washed my body,and of course I could not keepfrom tearing the skin, tonguing inthose kernels,for Beauty consumes herself withoutour doing a thing.Say you board a train, find Sapphoreeling in her compartment to hidden lyre,a white boa trailing behind;if she winds that spume around your shoulderyou’ll find yourself nude, buriedbeneath her gauze, her necklace,and she’ll tell the gendarmesshe’s just a poor Greek girl, that this man —those that rinse my mouth red,or she who casts a crimson prism:someone else, not I, who halved it.Or the pomegranate, cleft. Translation from a Letter, June 25, 1983Dear John, morning, one cloud hangs Nantucket bay,a sheet of black against the clear...we went to town & came back to thunder & hail.As if bits of cloud shed off.It’d been an enormous sleet of black.p. 2. ...the family nightmare:Dad pulls in his stomach,Mom stretches her bad back,we all stare in the mirror.Tonight we’ll eat fruit & fish, calm & peaceful...— but yes I finished, Emma, 1984, &meanwhile the green land stripacross the bay considers me.I am all right. Sun broke,for a moment all water shone white,& I write an essay on my Black Days.It won’t mean a thing to anyone but me.I love you John....that this is all impenetrable.Nothing is crucial.I wonder, next year living with you.Dear John, morning, Nantucket bay holds one cloud,black it sails the wavelet. Nothing moves.I miss you.Fruit & fish look calm in the mirror,& soon the black cloud’ll stretchfrom the edge of waterall way to town,but now the sun courses above....spears of heat on my back & I love you...The MysteriesThe detective surveyed Grimstad’s town squareone morning as he lurched awake in his hotel room.What woke him? Not the wrench thrown at his head but thatwho threw it didn’t care if it struck or not.How careless the dream had been!A knock on the door.The pretty housemaid with her shout of breakfast.When would she seduce him?Not yet.Who murdered the clergyman’s daughter?October 1982. Dear wife,it seems suicide.Both wrists slit and a knifepinning the note to an elm.It reads, “I hope this knifeis not so blunt as your words.”They’re making a little hell over here,my dear wife, and doing a good job of it.Even the town idiot knows nothing.My love I abhor Norway, love, Johann.-John SchulmanThe Chicago Literary Review, Friday December 2, 1983—19by Campbell McGrathAt the time of his death last year, Rich¬ard Hugo was the chief poet of the Ameri¬can West. The “West”, and all it repre¬sents, has been an important symbolicpresence in American literature since itsinception. The savage, uncivilized wilder¬ness; the vast open spaces of the plains;the empty space one can turn to to “makea new beginning” — these have foundtheir traditional expression in the conceptof the “frontier”. Yet, while novelistsfrom Cooper, to Twain, to Jack Kerouachave made use of it, the “frontier” hasbeen curiously un-fertile terrain for Amer¬ican poets. In fact, while lesser poets suchas Carl Sandburg have been drawn to it,no great native poet has dealt consistent¬ly with the American West as a subject.A brief survey confirms the point. EmilyDickinson rarely looked beyond her roomin Amherst for inspiration. Walt Whit¬man’s poetic thought approached the fron¬tier on occasion, but he found his chief sym¬bolic presence in the sea. The greatAmerican “modernists” drew inspirationand poetic material from varied sources:Pound and Eliot looked to the past andpresent civilizations of Europe; WilliamCarlos Williams and Mariann Moore to theurbanized east; Wallace Stevens to therealm of pure thought. Even Robert Frost,the century's great pastoral poet, foundhis rural land-scape in New England andnot the West. More recent poetry turns onoccasion to a far-western location: Theo¬dore Roethke’s “North American Series”to the Pacific Northwest; Robert Hass, totake a contemporary example, to the hillsand coasts of California.Richard Hugo stands alone in the GreatPlains. His country is a Montana of greymining towns; of rivers full of cutthroattrout; of bar windows with "Grain Belt”beer signs glimpsed from trains. Yet it isalso a sort-of Montana of the soul, wherethe "cruel triumvirate” of loss, despairand bitter resolve hold sway. First andforemost, Hugo’s commitment is to thepeople that inhabit his bleak terrain: alco¬holics, derelicts, American Indians, a sym¬bol of the dispossessed — the "brokenmen” of the frontier. Even when his specif¬ic location changes, moving to the isle ofSkye, or rural Southern Italy, the emotion¬al landscape is unvaried. Work, hard luck,drink and no good are the common lot.ft is not enough to describe Hugo’sthemes, however. It is necessary to exam¬ine his poetics, his method of getting to thefrontier, to fully understand his concep¬tion of it. For Hugo uses a methodologywhich complements his subject matter andhis symbolic intent, and becomes an aes¬thetic whole when examined from this per¬spective. Hugo strives ultimately for aniconicity of method and subject, a crystal¬line "frontier” of language, as well as ofplace.Hugo’s intonation, his poetic voice, isblunt, colloquial, almost brutally straight¬forward. Yet what at first glance can seemalmost casual, is in fact highly structured.Hugo’s poetry sticks close to iambic penta¬meter, at least in those books which consti¬tute the heart of his career, Good Luck InCracked Italian, The Lady in Kicking HoraeReservoir, and What Thou Lowest Well Re¬mains American. His style is somewhat em¬bryonic in his earlier work, and becomesmore experimental in his later books, not¬ably the prose "letter poems” of 31 Let¬ters and 13 Dreams. The first lines of mostpoems are strictly metrical, and the restnever vary far from the norm. Hugo getsan extra metrical effect from his use ofsingle-syllable, Anglo Saxon-derivedwords, which build up in the course of apoem for added impact. Let him pan. His sluice will rot andflake.Here, the gold is river, coiling goldaround gold stones or bouncing golddownflat runs where the riffles split thelight.(“The Gold Man on the Beckler”)In fact, the repetition of hard, single-syl¬lable words, or of a given sound in alonger word, is a key technique of Hugo'spoetry. "Flank”, "black", "bleak",“cruel”, “rocks”, “gold” — the words ap¬pear over and over again, adding a senseof inescapability, of fatality, to the lan¬guage itself. Here again, what seems ran¬dom is consciously organized by Hugo. Inhis volume of lectures and essays on poet¬ry, The Triggering Town, Hugo out-lineshis theory of such repetition, whereby herepeats a sound he particularly likes in apoem within three-to-eleven syllables ofits first appearance. While the theory it¬self has a somewhat "random” nature toit, as Hugo himself admitted, Hugo’s use ofthe language does not. He is aware ofsound and repetition as important ele¬ments of poetry. And he uses the build-upof repeated, consonant sounds to parallelthe bleak world he chronicles.Syntactically, Hugo’s poetry makes useof the declarative to further mirror itssubject. Hugo’s poems are built around thedeclarative sentence. In some instanceswhole stanzas, or even poems, neverstray from it. This is not to imply a lack ofcomplexity, because Hugo employs thissimple grammatical form in endlesslyvaried ways:Some days you’re finished. Not eveneelssquirming for sale in tubs, or thebaynaturally square, involve you. Thefirst starover the bay makes a star in yourwine.You don’t drink Mediterranean sky,orhear wind rubbing the moon. It mustbe the town,the shops drab as Ohio, the streetslaid outnearly in grid forcing you back toyour flag.("Why Sapri Will Never Be Ita¬lian”)Hugo uses the declarative to make a state¬ment in every sentence. His willingness, infact his insistence, to make statements, tocommit himself, the poet, to opinionsabout everything from wine, to stars, toOhio main-streets, is one of Hugo's distinc¬tive marks in an era of cautious, non-com-mital poets.Hugo's use of the declarative transcendsa strictly personal level, however. Usingthis disarmingly straight-forward sen¬tence structure, Hugo is able to accomplishseveral of his most important tasks as apoet: to lend a sense of equality, of paral¬lelism to the radically different terms withwhich he confronts the reader; and ultima¬tely, by equating un-equal terms gramma¬tically, to transcend the purely physicalworld. Thus, in Good Luck in Cracked Ita¬lian, he writes:I'd walked from cruel soil to a troutfor love but never from a bad skyto a field of wind I can’t explain.("Spinazzola: Ouella Cantina La”)And again:What's electric is the sea, laddering white voltage up thecliff.What’s npt electric is your life.(“Storm in Acquafredda”)By equating them syntactically, Hugocan take the reader directly from a consi¬deration of the storm-tossed sea to a con¬sideration of “life”, his own or thereader’s. The directness and simplicity ofthe one adds weight to the other. We arelikely to give credence to Hugo’s asser¬tions about “life” because he ties them soclosely to his assertions about the world of“cruel soil” and "bad skies”. And yet ul¬timately, the reader is forced to transcendthe “literal”. In reality neither one’s lifenor the sea are electric. But by stating itbaldly, — the sea does not seem electric, itis electric — Hugo forces the reader to ei¬ther accept or reject his world. The readerwho accepts it is manipulated by Hugo toassume his own symbolically-chargedworld view.This symbolically-charged level ofHugo’s poetry is present throughout hiswork; it maintains itself sometimes withina particular book, and sometimes through¬out his corpus as a whole. Certain ideas,places, names, mostly things, receive aheightened meaning from their repetition,in different sequence and/or contexts, justas the repetition of a favored sound lendsit a sense unique to Hugo’s work. An obvi¬ous example is the “town”. The “town”,for Hugo, is a vitally important object. Thetitle of his book of essays is taken fromthe fact that “a small town which has seenbetter days” often served as the “trig¬ger”, or poetic inspiration, for Hugo. Therecurrence of the town in his poetry has,thus, a logical explanation. The readergets his sense of importance for the“town” not from this knowledge of Hugo’sLanguage:work-habits, but from the weight the towntakes on in the poetry itself, as in thispoem from White Center:If you stopped there it was only torefuel.Chances are you went by fast andthe town curvedby you in the tricky lens the win¬dowof a fast train is. The style: Ameri¬can,last century farm. The state: some¬place high plains.("After a Train Trip, One Town Re¬mains”)The town is invested with a personalmeaning which the reader accepts when heaccepts Hugo’s world. The symbolically-charged meaning is a direct result ofHugo’s manipulation.Along with the town, two other “ob¬jects” form the core of Hugo’s pesonalsymbolism; the "coin”, and the "brokenman”. And also like the small town strungalong the railroad tracks, they are direct¬ly tied to the Montana soil from which theyspring. Thus it is no surprise that these“symbols”, which can be traced in embry¬onic form through the earlier work, cometo full fruition in the books centered inMontana.The “broken man” is the image of de¬spair that haunts Hugo; beggars on street-corners, alcoholics in small-town bars, theIndians, the loaners and wanderers thatfill the dying mining towns of Montana.Again and again Hugo refers to them,always the identification with himself isclose:Same paper blown, same brokenmanbegging me for money and I overgive.(“Walking Praed Street")Don’t think I don’t beg, don’t godogto their doors, cowed and clawing...("Scugnizzo”)How much money would erase him ina dream,his lids inflamed, his bare feet bibli¬calwith sores? Why beg me, thestrange,but not the soldiers with their girlstwo tables down?(“Beggar in Sapri”)The repetition lends a resonance to thebeggar/broken man figure not presentanywhere else. He attains the same, spe¬cial significance for the reader as he hasfor Hugo.The opposite case from the “brokenman" is the “coin". In Hugo's world the “coin" is what is always good, whether tobuy a drink or a meal. It is a universal“currency” not only economic, but spiritu¬al as well. The men along the raggedstreams of Montana mining silver or goldare in effect spiritual wanderers in searchof the universal “coin” of life. The coin be¬comes so dominant in one or another of itsmanifestations — "coin”, "currency”,“gold”, “silver” — that in one book it ap¬pears in over half the poems. Seen in thelight of the special significance attached tothe word, the closing line of “MontgomeryHollow”, which would otherwise seem atbest surreal, is rendered comprehensible.“Cow, brook, hay: these are names ofcoins”. The town, Montgomery Hollow, is aparticularly desolate, deadend place. Yeteven when other values have vanished,the simple currency of the natural land¬scape, the streams and the basic farmingaccoutrements, has a universal signifi¬cance which cannot be denied. Cow, brook,hay, these are the coins of MontgomeryHollow. These are its residing values.At different levels, then, Richard Hugo’spoetry strives for an iconicity of methodand subject, of form and content. Withinhis bleak, repeated language; his assert¬ive, straight-forward syntax; his personalsymbols; the landscape of a literal andspiritual Montana is crystallized. It is in¬herent in the language and grammar asmuch as the country itself.While the relationship of Hugo to his po¬etic forefathers is problematic, his rela¬tionship to contemporary poetry is per¬haps more so. During his life-time, Hugotaught at the Universities of Montana, Co¬lorado, Iowa and Washington. His bookswere nominated twice for the NationalBook Award, and received several lesserawards. He was also editor of the YaleYounger Poets series, a prestigious posi¬tion. His books were as successful as canbe expected in American poetry today,but no more so, even though he was a “po¬pulist” poet. Despite this moderate de¬gree of recognition, Hugo has never re¬ceived the attention he deserves.Hugo may have been alone on the GreatPlains during his lifetime, but they arenow a quite acceptable poetic landscape.Poets such as Dave Smith and David Wa¬goner, who are rough contemporaries ofHugo, have explored the plains in detail.Ed Dorn has satirized the west in Guns¬linger. Younger poets take side-tripsthere with great frequency. But none hasHugo’s uncompromising commitment to thevision of the West, of Montana specif¬ically, as a vast, symbolically rich Ameri¬can landscape.But it is Hugo's language, even morethan his subject matter, that has beenhighly influential. The direct, declarativeattack, and the hard-northern dialecthave become a common sight in poetry. Analmost random investigation of contem¬porary poetry will yield signs of Hugo’s in¬fluence:One thing you don’t talk about inMinnesotais the meaning of water. You cansaywhat a lake did to you, orwhat you got away with in spite ofit......It’s done over beers, at night...("Heart of the Garfish”, by KathyCallaway,from Heart of the Garfish, U. ofPittsburghPress, 1982)Carolyn Forche, to cite a popular example,bears a marked Hugo stamp in her earlierwork. But where these poets fail is in ful¬filling some, but not all of the elements inthe equation that makes Hugo’s poetry sorich. Ms. Callaway’s Minnesota may bejust as interesting as Hugo’s Montana, butshe has to prove it. The assertions of whatyou do or don’t do in Minnesota, the use ofthe state name in the first line, these de¬vices are far less rich when not imbuedwith the special significance Hugo’s worldhas for his reader.Whether Hugo ever gains the reputationhe deserves is to some degree a matter ofchance. Even with the growing recognitionamong younger poets of his importanceand influence, there is no guarantee.Given the somewhat ghoulish proclivitiesof the publishing industry, the fact that nocollected works, and not even a biogra¬phy, has appeared, is an unpromisingsign. One can only hope that given timeand exposure, Hugo’s stature will be as¬sured for future writers. Even if he had notproduced in his lifetime a body of poetrythat rivals any written in America sincethe middle of the century; had he notbrought an honesty and personal invest¬ment to his work almost unique among hiscontemporaries; had he not created a po¬etic language and voice becoming moreand more influential; Richard Hugo wouldbe deserving of our praise and attention.Richard Hugo put the West on the poeticmap. He gave the symbolic frontier, theMontana of desolate towns and lost soulsa place In American poetry. And for this heshould be thanked.A Map of Montana inRichard Hugo's Poetry of the American West20—The Chicago Literary Review, Friday December 2, 1983The Loop and North Side just got closer. The MAROONEXPRESS, a new weekend bus service, begins providingaffordable, dependable, and comfortable transportation toUniversity of Chicago students on January 6.The Express will run to and from Ida Noyes Hall and theShoreland on Friday and Saturday nights, making 3 departuresand 3 return trips; the last tw o return buses w ill make additionalstops in Hyde Park. Buses will go to the Art Institute and WaterTower Place areas along Michigan Avenue, and the popularLincoln Avenue and Clark-Diversey neighborhoods on theNorth Side.Tickets for the Maroon Express can be purchased next quarterwith a U of C ID at the Ida Noyes information desk, ReynoldsClub box office, or any Residence Hall front desk. A one-wayride will cost $1.25; a 14-ride, $10 coupon booklet good for oneacademic quarter will also be available.Schedules will be printed at the beginning of Winter Quarter,botli in the first issues of the Maroon and Chronicle and onseparate sheets distributed University-wide. The December 6Chronicle will also contain a tentative schedule.The Chicago Literary Review, Friday December 2 1983—21r TThe Poet's Voice:An Interview with Reginald GibbonsReginald Gibbons is a poet and editor ofTriQuarterly magazine. Besides his twovolumes of poetry— Roofs, Voices, Roadsand The Ruined Motel— Mr. Gibbons haspublished The Poet's Work, an importantanthology of modern poet's views on theart of poetry. Mr. Gibbons teaches atNorthwestern University and was lastyear's visiting-poet at the University ofChicago. This interview was held withDavid Sullivan and Campbell McGrath, inNovember, in the Evanston office of Tri-Quarterly.CLR: Something you’ve talked of often, inyour workshop and elsewhere, is the ideaof poetic “occasion.” What is your sense ofpoetic occasion?Reginal Gibbons: You started with a hardquestion. I don’t want to have a categoryfor it. I don't want to say it always has tobe a certain thing. It’s easier to say what itisn’t. That is, it’s easiest to say what kindof occasion is hardest: the smallest occa¬sion. I can't say what the biggest occasionwould be. As an editor, one of the biggestproblems with many of the things I receiveis that they don’t have an occasion. Some¬times it’s pretty well written stuff. Butthat’s looking at it from the outside. Fromthe inside “occasion” is a totally differentthing. I mean, as a poet, the occasion is agiven, it’s not a matter of choice. To someextent it has to do with temperament, ithas to do with experience, it has to do withconscious goals you’ve set for yourself. It’sjust that there are some things that com¬mand, or compel, or require your atten¬tion. Other things don't.CLR: Do you think the occasion can be madefrom any small thing, or does it have to besomething within the event — an impor¬tance. Is it an organic part of something, orI would rather have a generosityof spirit than all the wit or technicaldexterity in the world.can anythng be made to have enough im¬portance for a poem?RG: Well, there’s always a reciprocity be¬tween a poet or a writer’s abilities andpersonal sense, and the so-called “occa¬sion.” So, two poets taken through preci¬sely the same experience, would write twodifferent poems. There always has to be avital connection between the poet’s needsas a human being, the poet’s desires, andthe things that catch the poet’s attention.So the tiniest little thing, like the Williams’poem about the plums, or the even prettierone about the cat, which is just a descrip¬tion of a cat, can be the occasion for a real¬ly good poet. It’s probably true the oldsaw that great poems require great sub¬jects. Great occasions.CLR: Are there things that couldn’t, underany circumstances, be poetic “occasions”?RG: I don’t know.CLR: Is it a case where given the right reci¬procity, as you say, between poet andevent, anything can become a poem?RG: I’d want to say that anything is a pos¬sibility. I think we’d want to say that noth¬ing is excluded. The practical reality of thematter is that for a lot of poets a lot ofthings are excluded. For everyone some¬thing is excluded. But taking us as an ag¬gregate, today, there’s probably nothingthat isn’t part of some poet’s vital re¬sponse to experience, to the world. I’d saythat too much poetry is written by poetswho don’t think that any occasion is re¬quired. For these poets it’s not a matter ofsmall or large. They seem to feel that apoem can come out of pure perceptions, or reflections. A friend of mine uses thephrase perceptions about perceptions todescribe this poetry.CLR: You’ve said that poetry should payhomage to the physical. Isn’t this in somesense the same as “perceptions”?RG: Well, I’m sure I got the phrase fromConrad, who says, in the preface to theNigger of the Narcissus that paying thehighest possible homage to the visibleworld is the writer’s duty. And he’s nottalking there about how interesting hisperceptions are. The question is how im¬portant, how correct are my perceptions,not are they a good reflection of me.CLR: Another, related concept in poetry isthe poetic “voice.” Your work, tends tohave a similarity of occasion and voice.Your poems often center on a remini¬scence, or on a quiet or subtle event inyour life. Your “voice,” is similarly under¬stated, and is always highly personal.How do you perceive the relationship be¬tween these two concerns? Do you feel youare a more “personal” poet than most?RG: No. Not really. I think all poems arepersonal. Even when you are dealing witha poem that is overtly dramatic, or really“out-there” somehow, a topic that is real¬ly far away from yourself, it still has to an¬swer to some need or desire in you, somespecial reason you have for pushing into it.So it’s all personal. I don’t think it’s reallyaccurate to say that I’m a poet who neverraises his voice. That book (The RuinedMotel, Houghton and Mifflin, 1981) is aquiet book. The one I’m working on now ispretty rambunctious by comparison. Italso deals with themes that are more pub¬lic, public concerns. In a longer poem I’mworking on, “Some Voices,” a number ofdifferent voices address concerns of vio¬lence, etc. Even the more personal poemsare spoken in a somewhat louder voice.That didn’t answer your question whichwas, I think, is the personal occasion thedominant one of the age. Probably.CLR: You mention you’re dealing morewith “Public” issues in your new poems—do you find much of that in American poet¬ry today?RG: No, I think it’s kind of rare. I think thatthere aren’t many poets who can feel theweight of a public problem as much as theycan feel the weight of a personal pressureor need. But it seems to me that the greatpoets, and the best poets, sometimes con¬sciously push themselves towards mattersthat they feel must be addressed in poetryif it hopes to have a status as a serious andvital part of human expression, and notjust be a kind of marginal, private gratifi¬cation. For example, to take Irish poets,Yeats is the example everybody knowsabout from class. And it’s not really aquestion whether his politics were correct,or sympathetic, or doctrinally acceptable.He was able to absorb into himself thepain of a national dilemma. And for himthe dilemma could be felt in concreteways— he’d known people who had beenkilled, or psychologically scarred. To takea contemporary example, Seamus Heaneysays that he reached a point in his workwhen he somewhat deliberately forcedhimself to turn to “the troubles,” asthey’re called, to see if there wasn’t someway they could be addressed. And he hasfound some wonderful ways of doing so, Ithink.I think the American poet has a problem,in that we tend to be easily convinced thatwe have to take an extreme position oneway or the other in regard to the state—either that everything's OK, and weshouldn’t bitch about it, or the other ex¬treme, that everything’s falling apart,and we have to get out there and march to stop racism, sexism, nuclear weapons, allthe big issues. Poets tend to adopt one po¬sition or the other, but when pushed theytend to back out of both. I think this is anunnatural response. If you’re in the middleof a situation, that situation will havesome sort of personal echoes in yourself,and people you know. If you’re fightingwith your wife, there are elements of thatfight that aren’t just yours and hers.You’re bringing a lot to it that you ac¬quired somewhere else. Sometimes a poetThe average reader just can’tpick up a book of Ashbery or Mer¬rill cold...and make anything out ofit.will lose sight of this. Of course, the otherextreme leads to some of the most dread¬ful, ponderous diatribes. Awful poems.CLR: What voice is it you find yourselfusing to somehow connect the personal andthe public?RG: Well, I don’t do it in every poem. Ihaven’t set myself a consistent program.I’ve just tried to turn to some things thatwere troubling me “out there.” I’m tryingto find a way to talk about some thingsthat I haven’t experienced, things thathaven’t impinged on me physically, direct¬ly, but that are some of the “great” sub¬jects, the great concerns. The travails ofthe down-trodden, the anguish of war-tornnations, to say nothing of more “mun¬dane” domestic problems. I’m not sure ex¬actly what kind of voice I can find to dealwith these concerns. The long poem I men¬tioned before is in many different voices,none of them mine— “Some Voices,” that’sthe name of the poem. Another poem I’vebeen working on for two years and can’tseem to finish, is a sort of dramatic mono¬logue by a prison warden. So there aremany strategies, many voices to speak onthese concerns.CLR: You continue to emphasize a need forsome sort of connection between the per¬sonal and the public. Do you think it is nec¬essary, or advisable, to have the elementof the public “concern,” or issue, present inpoetry?RG: I admire writers that can do so. Justfor example I can tell you some writersthat I do admire. I'm trying to put togethera symposium a year from now to discussproblems of imaginative writing, poetryand fiction, and among the poets I’ve invit¬ed are Heaney, Derek Walcott, GalwayKinnel, Michael Harper, StanislawBaranzak, a Polish poet who's in thiscountry now, and I’d like to invite CzeslawMilosz. All these poets have written verypersonal poems, very intimate personalpoems, but they’ve also done something else. I don’t think there is poetry that onlydoes the other, that only discusses the“big question,” just lays these big ques¬tions out there again and again. I don’tthink you can get there without under¬standing the private passions. In fact,there’s an early letter of Yeats’, this wasin a piece by Allen Shapiro in TriQuarter¬ly, where Yeats mentions that he doesn’tthink a poet can be whole, able to do fullwork, without having experienced certainpurely domestic responsibilities. The waythe poet Bruce Weigl puts this to me is, ifI’m going to read somebody’s work, thefirst thing I ask them is if they've everraised a dog from a pup. It connects some¬how. I don’t think public enthusiasms areworth very much if they’re not connectedto the personal passions and understand¬ings of people around you— lovers,parents, even dogs and cats on occasion.CLR: You mention Seamus Heaney—therecertainly seems to be movement in hiswork from the very personal to the morepublic.RG: I think that’s very common today. IfI’m lucky someone will notice it in my ownwork. It’s very typical—I know it’s what Iexperienced. When you’re writing yourfirst poems, for a long time, for years,you’re forming yourself. There are somethings you don’t get to until you feel moreformed, you have a stronger sense ofyourself. Then, if you’re lucky, and youhave some talent, and you can husband it,nurture it, and exercise it, you reach thepoint where you feel you can handle moreresponsibilities than you could before. Youjust don’t want to write some of thoseearly poems over again. You’re afraid ofgetting stuck there, writing family poems,and reminiscence poems. You have to dothose, and some of them can be your bestwork. I don’t think I have anything veryoriginal to say on this. It's just that my ex¬perience seems to reflect a fairly commonpoetic development.CLR: Do you think there’s a need for Ameri¬can poetry to become more conscious of thepublic, to become less self-involved, moreoriginal?RG: Well, a book that just came out that Iquite love, by C.K. Williams, called Tar, Ireally think is wonderful. And there aren’tvery many poets around today who canclaim any particular originality in terms oftheir strategy, but going back, in 1983, toa line that Whitman used, is original. Otherpoets I know, whose work I know, who aretrying to do something original in terms ofthe line, don’t seem to have that success.For instance Frank Bidart, a pretty well-known poet, has a new book out, with a lotof long poems, and I think they’re kind ofawful. He’s also trying to break up a longline, but I don’t understand why, I don’tunderstand what he’s doing. I can’t hear itas being very good. There is a difference ttiiliiisiif£vasttViiiicbhtlPfif<dPilbaabbfiuCEFClif<ftf<CRitVihnliaeeelitfanhosfcspgtfstt0tfpbPP00gSIaietftfP(rrtrutfdYmtrCaaeRosec;tfAhNePMPalP<01ws<jufrthb<fitg<Sim22 The Chicago Literary Review, f"riday December 2, 1383between those two poets, even though ou¬twardly they both seem to be innovatorsin the long line. It seems to me that Wil¬liams is writing poems, and Bidart is writ¬ing some kind of a composition that lackssubstance for me, even though he’s deal¬ing with the same themes at times. Bidarthas a long poem about Nijinsky, and that’sgetting out there, that’s not one's ownvoice. And he’s got a really bizarre pieceat the end, I think it's just called “Gene¬sis,” which is just a revised standard withbroken lines.So there are good ways and there arebad ways to try and go outside yourself.What I miss in Bidart, but I feel in Williams,is that connection between— In that open¬ing poem in Tar, when he goes to the win¬dow and sees those two guys in the street,by the end of the poem all the hope¬lessness and despair of being a veteran ofthe war in Vietnam is there, it’s in thepoem, he really uses that. But you don’tfeel it’s “our there” somewhere, you don’tfeel it’s them, and that it’s a big cause. Youdon’t feel that it’s going to be put on aposter and used for a campaign, althoughit could be. What you feel is that there’sbeen this incredibly passionate response,a response of grief-stricken sympathy,and also of bewilderment, because the gapbetween the poet and these two guys isbasically unbridgeable. But you reallyfeel as if imaginatively it's been connectedup.CLR: You don’t feel this same connection inBidart?RG: Well, when it’s there, it feels dry, me¬chanical, forced. I really do like the Wil¬liams book. I’ve just reviewed four booksfor TriOuarterly, one of which was Mi¬losz’s book, which I think is a good bookfor American poets to read...CLR: Which book is that?RG: It’s called The Witness of Poetry, andit’s his Charles Eliot Norton lectures at Har¬vard, published about six months ago. It’shis assessment of poetry in the 20th Centu¬ry, and the differences between what it’slike to be a poet in a place like Poland, anda place that hasn’t had the same kind ofextreme history. He has some very inter¬esting things to say. He doesn’t wish thateverybody had to go through what the Po¬lish poets have gone through, but the onething they’ve gotten out of it is a sense ofa hierarchy of values. To put it bluntly andhorribly, it is a basic reality that if you’rehungry it’s more important to have a loafof bread, than to have a book. He doesn’tsay that that’s the most important thingfor everyone, but the poet who has thesense of hierarchy will understand howprecious the book is in another way, as agreat luxury, an incredibly wonderfulthing. But it comes after bread. The poet insome other place never really understandsthe hierarchy, and can make the mistakeof putting the book first and forgettingthe bread. It’s just a way of saying that apoet, no less than a fiction writer, has tobe alive through his senses, alive to thephysical world. That means not just to thepleasures but to the pains. It sounds obvi¬ous, and hardly profound. Clearly every¬one is alive in the physical world, we allget head-aches, but that’s not the pointsomehow. Roth’s new novel is a novelabout a head-ache. That doesn’t seemenough. It’s so hard to talk about this inthe abstract, because finally the only thingthat matters is producing memorablepoems. And why poems turn out to bememorable changes with the seasons. Wetry to perceive what the real constants areunderneath, and we try to figure out howthere could have been a time when theydidn’t like Shakespeare. But there was.You may not be able to explain it, or youmay be able to explain it. But it's hard tofeel it.Poets are trying to find expres¬sion for what they feel, when whatthey feel belongs to everyone.CLR: Are you saying that— you’ve talkedabout Irish poets— is it necessary to be ina situation of such extremes to produce po¬etry of this kind?RG: No, no. Oh, I meant to mention theother three books I reviewed. For in¬stance, there’s a book which seems to beentirely personal, by Mona Van Duyn,called Letters to A Father. And thenthere’s Roland Flint’s Resuming Green.And the last is a book that no one will haveheard of, I’m afraid, by an English poet,Norman Nicholson, who must be about sev¬enty now. And what I wanted to say byputting these poets in the same group withMilosz was that you don't have to live inPoland, or Ireland, or El Salvador, or writeabout them. But it seems to turn out that apoem that is about even the most personalmatter, will be most memorable whenwhat Milosz calls the “back-ground con¬sciousness” is highest. If the poem is reallyjust about eating the plums from the re¬frigerator, something in the urgency ofthat language conveys how precious it is tobe hungry, and to have that hunger satis¬fied. That poem is about as far as you canget from Milosz, but I suspect that it's thesame idea working. Those three poets Imentioned are all highly personal, yet there is a back-ground consciousness. Ni¬cholson is more “out-there.” He writesabout the mining towns, and the people inthem. Yet even when he writes of a slag-heap, there seems to be more behind it, asif the slag-heap memorialized all the livesthat went into it.CLR: Do you think that’s in any way relat¬ed to a Symbolist tradition— or to a GarySnyder sort of mythic-symbolic element inpoetry?RG: There are works I admire that getsome of their power from being re-work¬ings of old myths, especially Greek myths,but I tend to be pretty suspicious whenthat stuff is right up on the surface. WhenSynder does that, I just don’t believe himall the time. And I also think that he’sprobably making a lot of interestingnotes, but that he’s not writing poetry.That’s another question. Maybe it’s OK.Maybe, finally, that’s alright. Maybe thepoem isn’t the main thing. For me it still■S.CLR: You seem to still be emphasizing theimportance of a “vital connection” be¬tween the personal, and some sort of morepublic or universal resonance in poetry.RG: Well, another thing I’m trying to say isthat it doesn’t interest me when a poettries to show me that this weird experi¬ence he's writing about is something thathe can relate to. I don’t care whether herelates to it or not. To hear something,that’s the first thing on my mind. Just tohear some expression of understandingand feeling, that is so memorably shapedthat it brings me to some sort of under¬standing. Snyder’s notes don’t seem likegood poems to me. Bidart’s don’t either.Snyder as late as Turtle Island has somethings that feel like poems to me.CLR: Is your problem with Snyder that hiswork feels too much like “jottings for apersonal epic,” to borrow a phrase?RG: I think Snyder’s problem is that he’swriting for a defined audience. He’s writ¬ing for the elect. He’s speaking in a grouplanguage, that’s confined to a group. He’snot particularly interested in discoveringanything new, for his audience or himself.He’s interested in repeating what every¬body in this group already believes istrue. Like, ‘cosmic consciousness,’ whatev¬er that is, is out there, and that Dharmarevolutionaries are where it’s at. If he canmake me feel that, I’ll go there. But if hecan’t make me feel that in the poem, I haveno way to get there without turning into aDharma revolutionary, and I don’t evenknow what that is.CLR: Is the poet’s duty to discover, or todescribe?RG: I think the poet’s duty is to memorial¬ize. Sometimes that’s a matter of descrip¬tion. When you’re lucky it involves a gooddeal of discovery. I don’t know what thepoet’s duty is. Did you say duty? Duty. Thepoet’s duty is to write well. To try andwrite great poems. Our definitions changefrom time to time. What people thought agreat poem would be in the '60’s, isn’twhat people think a great poem is today.CLR: Snyder seems to represent a sort ofregionalism in American poetry, both geo¬graphic and sociological. Do you think re¬gionalism is a powerful force in Americanpoetry?RG: No, not really. I think Snyder is a spe¬cial case. But, somewhere in an interviewwith Snyder, he talks about his last bookof poetry selling 50,000 copies. _For- a bookof poetry that’s literally amazing. I can’thelp thinking that the people who buySnyder’s books don’t read any other poet¬ry. If a poet can create an audience forhimself like that, then great, that’s won¬derful. I think it must be very...satisfying, to write, publish it, and know it goes tosomeone who is already interested in whatyou have to say. But I’m not sure it hasmuch to do with whatever the literary cul¬ture is in general. Because all poets, evenGary Snyder, are such marginal artists,compared to a novelist, who is such a mar¬ginal artist compared to a best-selling no¬velist, that I’m not sure things like culturalregionalism, geographical regionalism,mean anything except that somebody sellssome books. When you read poems, orwhen I read poems, I’m not sure we pay alot of attention to a particular region.CLR: How about a group like the so-calledNew York poets, who share at least someconcerns and stylistic devices?RG: I’ve always had trouble making thosecategorizations. There’s the dead NewYork school, poets who are dead, or at theend of their careers, Frank O'Hara and hisfollowers, or Ashbery, who I think ispretty much written-out, has been for awhile.CLR: Basically you don’t find regionalism aWe SayWe say a heart breaks—likea stick, maybe, or a bottleor a wave. But it seemsmore like the field clumpthat crackles upward from a matchand collapses, grass filamentssparking in the ash-dustthen going out. TodayI take myself down by steps,one at a time, into the sadnessI admit I can’t always reach.There should be a roomat the bottom of the black stairway,my friends sitting with strangers,waiting, but there’s no one,only the memory, whenthe pale air flickers as ifit were an invisible flame,of my aunt in her hopsital bedand beside her, about to be leftalone—the last sister, and so soon—my mother, bent overthe purse in her lap, eyes closed.I can see the patent leather glossand the shiny clasp that untiljust now she had beensnapping open and shut, till-just now—it broke. That breaking-like a voice that cracks, cursingor crying, or the song that falls,out of thinking too far ahead,into a smouldering loneliness—was that the sound of the heart?—Reginald Gibbonsfrom The Ruined Motel© 1981Houghton Mifflin Company. Reprintedpermission of the author.viable term for American poetry.RG: Well, maybe for some critics. I don’tfeel it as a writer. Critics need that, andacademics, taxonomy is their business ba¬sically, that's their life. I don’t think poetsare very interested in taxonomic distinc¬tions. They’re interested in being alive,getting enough time to write, and writingsomething that is bigger than they hadhoped, bigger than you thought you couldmanage, and that way getting to peoplethat you don’t know, don’t have specificties to. To convey to them that there issomewhere, somebody sitting with justwords to work with, who understood andloved something about the human condi¬tion, and was able to offer some pure at¬tention— I’ll call it love— to a moment ofhuman, natural history. CLR: Does the poet have a responsibility tobe honest in his work?RG: Not factually, no. I use the phrase ofPound’s, that art is an “accurate report.”And I use the word honesty. But thatdoesn't mean you can’t lie. It just meansthat there is an honesty beyond fidelity tothe factual. Verismilitude is not the samething as artistic honesty. I think you knewthat when you asked me the question. So, Idon’t know exactly how to define it.There’s an honesty that feels right. Anhonesty of the spirit rather than the facts.I think it might just be an honest acknowl¬edgement of the complexity of...sadnessand happiness, to borrow Pinsky's phrase.It's hard to do, but it’s simple. The concep¬tion of it is simple. The mystery, and thewonder of it, and the constant renewal ofit, is that every writer is a complete per¬sonal history in himself. And so he bringsto his work a complete universe, or atleast a galaxy, of desires and needs andpredispositions; things that have been no¬ticed, and things that haven’t been no¬ticed; things that have happened andhaven’t happened— and so that particularartist's choice of diction, and symbol, andnarrative structure, is always inimitable,and has a personal honesty. It’s a greatgift. And so unequivocally individual, thatyou just can’t mistake, say, Yeats’ poemsfor somebody else's. The individual filterseems to be critical, yet what’s at stake isthe one thing that can be transferred tosomeone else. You explain it to me, I don’tknow how it works. I don’t even really liketalking about it. Now I know why I don’treally like being interviewed. It feelsfalse... It smacks of charlatanry to me togo on at length about the poet, poems, po¬etry...Everything is in the doing, whetherit’s reading or writing, it’s in the doing.You continue to refine your position, ifyou've taken one, but you don’t want totake any position too rigidly. Somethingjust has to come to you, as a writer or areader, and it’s a mystery where it comesfrom. That’s what I feel about C.K. Wil¬liams’ poems, where did they come from?How come nobody else ever did this? Ithink it was 1977 that his last book cameout, that’s six years ago, and there are 17poems in Tar...It’s not easy to write well.CLR: Or Mona Van Duyn, whom you men¬tioned.RG: Yeah, it’s been ten years for her. Andthe little poems in that book aren’t sogreat, they’re fine, but it’s the two bigones that are just killers, just amazing.CLR: Do you find any trouble with a sort ofeditorializing in her work?RG: I talk about that in my review. I’m notbothered by it. I think she comes so close inthose poems to tender spots, not just forherself, but for everybody, that by impos¬ing her poetic voice at the end of the poemshe’s offering another way to read thepoem— she’s saying, ‘I created this,’ ack¬nowledging the art, as it were. And in away it deepens the experience for me.There’s such a shock because it’s such a lit¬erary thing. But I prefer her self-conscious¬ness in the use of those devices to Ash-bery's a thousand times over, becauseAshbery never lets me have the raw thingeither, he never lets me have it. And Mer¬rill does the same thing in the long books.He holds the thing away. There’s ultimate¬ly a kind of contempt for feeling in theirwork, and that may be what’s troublingabout it.CLR: Do you find perhaps a contempt forexperience as well in their work? Clev¬erness for cleverness’ sake?RG: Yeah, there’s that. But they’re morethan clever. They certainly are clever.Continued on page 26The Chicago Literary Review, Friday December 2, 1983—23Summer HasJust Arrived“Summer Times, ” a previewof Summer Quarter 1984 atthe University of Chicago,is now available in yourCollege Mail Room folder.“Summer Times” containsdates, costs, and earlycourse listings for SummerQuarter. Remember - it'snever too soon to plan ahead!READ ALLABOUT IT HOWBGHWtG.It's here. Now. The Terra Trainer. For runners who like their mileage heaw and theirshoes light. For those who have longed forsomething that could take punishment,absorb the shock, and feel like it wasn teven thereThe NIKE Terra Trainer.A shoe to be taken lightly.We’ll be open Sunday, Dec. 11and Sunday, Dec. 18 for yourChristmas shopping pleasure!ATHLETIC FOOTWEAR & APPAREL1527 E. 55th St.(Next door to University Bank)363-2700M-F 9:30-5:45 pm • SAT 9:30-5:30 pmMaster Card, American Express accepted!ABLE HAS NIKON FOR LESS!!NIKON FGPROGRAMProgrammed. Automatic.Manual. And automatic TTL flash.Four ways to take great shotswith the new Nikon FG.YOUR COST AFTER MFG. REBATENIKON FGwith 50mm NIKON fl.8SERIES E LENS NikonWt take l he worldsgreatest pictures.MNIKON INC. U.S.A. LIMITED WARRANTY INCLUDED'35°° MFG. REBATE $2149s/T?. . CanonSURE SHOTABLE LOW PRICE• Fully Automatic Focus• Automatic Film Winding• Automatic Exposure• Automatic Pop-Up Flash• Automatic Film Rewinding s119WITH CASE NikonEMEASIEST TO USESIR EVERNIKON USA 1 YRLIMITED WARRANTYF/1.8E TENS ABLE ,LOW!PRICE S129•BONUS COUPON—^FREE FILM >4BLEiRoll of 24 exposure Fujicolor PrintFilm ASA 100 with every roll of135 processed and printed.MUST BE 8 OR MORE PRINTS| OFFER EXP. 12-3-83 m80-200• (ANON • NIKON• ftNTAJ • MUMHTA• OLTMPUS28 f/2.8 . 69.0035-105mm (3:5-43 $169.0035-200mm 3 5-4.5 $279.0050-200mm f3 5-4.5 $179.0050-250mm 14 0-5.6 $249.0028-85mm (3 5-4.5 .-.....$179.00M09CAMERASTORESINC.PASSPORT 1.0. PHOTOS WHILE YOU WAITQuality film developing 1 51 5 E. 53rdChicago, IL752-3030HRS-MON -SAT. 9 am - 6 pm24—The Chicago Literary Review, Friday December 2, 1983. Private Struggle, Public Battle:Frank Bidart's War with Vaslav NijinskyI have learned to fly: ever since I donot want to be pushed— I fly now Isee myself beneath myself, now agod dances through me.—Friedrich Nietzche, Ecce HomoThe Sacrifice, by Frank BidartVintage Books, 1983by David SullivanIn the 1960’s American poets began towrite intensely private poems which theyshared with the public. Allen Ginsberg in“Howl,” and Robert Lowell in Life Studies,wrote from deeply personal feelings with¬out the usual intellectual distance thatmost writers felt art must have. Honesty,or the appearance of honesty, was valuedabove all else, in this so-called “confes¬sional” school of poetry. The movementtowards autobiographical self-revelationcontinues today; the “I” is often the larg¬est and most important character in apoem. Modern American poets search forphysical objects in the external world onwhich they can project their internal feel¬ings. When this type of verse is writtenwell it bridges the painful life of a search¬ing individual, and illuminates the univer¬sality of struggle; when it is written poor¬ly it is merely masturbatory self-glorification.Frank Bidart struggles to balance hiswork between these two poles through theuse of dramatic monologues, and a prose¬like, thought-process verse. Bidart’s firstbook, Golden State, is an intensely painfulaccount of his problems with his father; hissecond, The Book of the Body, consistsmostly of dramatic monologues. This sec¬ond volume is written in a variety ofvoices — that of a man who has lost hisarm, that of a young girl who is anorexic —but though they are better crafted, theylack the exploratory fever that made themore personal work so compelling. Bi¬dart’s third book, The Sacrifice, is an at¬tempt at reconciling these two disparatethemes.Bidart tries to reunite them by makingthe personal work more poetically struc¬tured and the dramatic monologues morepersonal. The poems in The Sacrifice takeseveral approaches to this task. “Confes¬sional” is a dialogue between a priest-likecharacter who forces the poet to probeinto the guilt he has about his deadmother. The agonized protagonist is sooverwrought and petty, however, that hebecomes pathetic, rather than sad. In addi¬tion to “Confessional”. The Sacrifice con¬tains two shorter poems that are fascinat¬ing dramas, and a sinisterly short workentitled “Catullus: Odi Et Amo.”I hate and love. Ignorant fish, whoeven wants the fly while writhing.Also included is the supposedly “radical”version of Genesis which concludes the vol¬ume, and is really rather silly. But it is Bi¬dart’s major work, “The War of Vaslav Ni¬jinsky,” on which the book should bejudged. An analysis of this long poem illus¬trates both the strengths and weaknessesof Bidart’s uniquely original verse.“The War of Vaslav Nijinsky” attemptsto portray through an interrupted dramat¬ic monologue the difficulties in uniting anartist’s private guilt with his public art.Thi? theme of conflict between two oppos¬ing parts of an individual is the chief con¬stant throughout Bidart’s poetry. Hewrites about divisions that occur constant¬ly in life: that between mind and the body,between intellect and the emotions, be¬tween the public and the private. It is atheme that lies closer to philosophy thando most poet’s obsessions, and an attitudeof the intense, self-questioning examinerpervades his work. Bidart was attractedto writing a dramatic monologue on thelife of the Russian ballet star because thedancer's life so closely related to thepoet’s own themes of separation and reun¬ification.The crux of the poem lies in a bizarreevent that took place immediately beforeNijinsky went entirely mad. It was a chari¬ty event for the Red Cross which thedancer had organized, and is described ina number of contradicting ways by variousspectators. In his poem Bidart uses only Ni¬jinsky's wife Romola's account. She writesthat on the day of the performance he en¬tered the ballroom of the Suvretta Hoteland said:'I will show you how we live, how wesuffer, how we artists create.' Andhe picked up a chair, sat down on itfacing the audience and stared atthem. They waited. Time passed. Wemust have been like this for half anhour...He took a few rolls of blackand white velvet and made a cross the length of the room. He stood atthe head of it, with open arms, a liv¬ing cross himself. ‘Now I will danceyou the War, with its suffering, withits destruction, with its death. TheWar which you did not prevent andso you are also responsible for.’ Vas¬lav’s dancing was as brilliant aswonderful as ever, but it was dif¬ferent. He seemed to fill the roomwith horror-stricken suffering hu¬manity...struggling with all his steel-like muscles...to escape the inevita¬ble end. It was a dance for lifeagainst death.This description illustrates the range ofseparations that Nijinsky felt, and was in¬tensely aware of: between the artist andhis audience, between private pain andpublic guilt, between sanity and insanity.Simultaneously it shows how much hewanted to reunite these separated pads.This extraordinary account alone wouldhave been enough to fascinate Bidart, butthere are more parallels.After his final dance Nijinsky brokedown and was diagnosed as schizophrenic;"a condition in which the patient is ab¬sorbed in wish-fulfilling fantasy as ameans of escape from reality...a separa¬tion between the intellect and the emo¬tions.” In this instance it shows that Ni¬jinsky was battling against a split withinhimself when he performed his “wardance.” A painful split which he acknow¬ledged and on some level understood, butwhose damaging effect he could do noth¬ing to avert.Bidart has always been obsessed withthe mind-body separation. His second bookwas titled The Book of the Body. Nijinskywas an extraordinary dancer who had arich, but private, intellectual life. This sep¬aration of the two into different spherescan be seen in the great difficulty he had incommunicating his ideas to other dancers— often he said they had no “feel” fortheir bodies. In addition, he was most com¬fortable in roles which allowed him to me¬tamorphose into other beings. Many whosaw him dance say that once he donned acostume he became the harlequin, faune,or rose that he played, but that he was un¬comfortable in romantic dominant maleroles. Nijinsky was bisexual, and this bothexplains his difficulty in adopting tradi¬tional male gender roles, and shows thathe questioned the division between the sexes in the society he found himself in. Hidiaries reveal that he considered our divi¬sion between mind and body artificial, andclaimed that it led us to view sex as some¬thing evil, divorced from the spirit.These separations that Nijinsky felt andattempted to bridge throughout his lifeare reflected in the language and poeticform that Bidart uses to portray him. Bi¬dart has carefully crafted this poem, andby examining the poetic devices he em¬ploys we can understand what he wishedto convey about the dancer as an artist,and in turn, about himself. Bidart has de¬veloped a poetic voice that is very close toprose, and yet uniquely his own. His sub¬ject is the mental acrobatics of the personwhose voice he is inhabiting, and headopts it in a remarkably believable, un¬adorned way. This establishes anotherconnection between the two artists. If weexamine the poem at the level of wordchoice and then move out to consider itsgeneral structure, we can see how careful¬ly each part is worked out so that it re¬lates back to the larger theme of separa¬tion that the poet is confronting.The dramatic immediacy of Bidart’s lan¬guage comes from the directness withwhich he addresses the reader and the dis¬tortions he puts the English sentencethrough. Bidart is never ungrammatical,but the way he prints words, the range ofpunctuation, and the line breaks he uses,give a thoroughly natural speech-like ca¬dence to his writing. Words are printed ineight different ways. He uses small orlarge script, which is printed either nor¬mally, italicized, quoted, or italicized andquoted. Bidart uses such a variety of typeso that the languge can vary in a naturalway from casual conversation to the gran¬diose announcement of a philosophical"Truth.” In a line like:out of “GRATITUDE,and FEAR OF LIFE,—and AMBITION...we move through language in a way thatparallels our mental movement. First weare given the quoted, conventionally ac¬cepted answer; then the italicized half-truth, and finally the unadorned, self-de¬precating “real" truth. The distortionshelp indicate and reinforce the centraltheme of separation since they create sucha vast distance between the casual frag¬ment and the philosophical pronounce¬ ment.Bidart’s choice of words to be capitaliz¬ed or emphasized is also crucial. In themidst of this largely mental poem the al¬most childish passage where the dancerlies down in the snow to die fragments intoa series of voices. The first is when he talksto himself, the second is when God argueswith him, and the third is when his bodytalks. The weight of physical presence thataccompanies the line, “MV HANDS/ beganto get cold, to FREEZE” occurs because capi¬talization has been used previously onlyfor philosophical ideas. When Nijinskyends this section by saying “The War al¬lowed me.../ to EMBODY” we understandthat a unification has taken place. Thewords of “physicalness” have risenthrough the language in response to theconflict between evil and insanity whichthe dancer had considered previously in apurely “mental” context.The concept of separations is also embo¬died in the enjambment that the poet em¬ploys. Line breaks and spaces betweenlines rarely fall at natural grammaticaljunctures. They serve instead to empha¬size mental reallignments or new direc¬tions of thought within the text. The dis¬cussion between Romola and Nijinskyabout guilt is a wonderful example ofthis:“Do as you like! I willdivorce you, and marrya manufacturer...”We feel the agonizing, though humorous,mental turnabouts because of the waythey are displaced on the page, each pieceharkening back to others that employ simi¬lar movement.This layering of words and similar logicpatterns throughout the poem is one of theprincipal unifying elements Bidart em¬ploys. They reappear in the text to empha¬size the philosophical investigation ofguilt and its relation to the individual andsociety that the poem is centered upon.Though the individual incidents vary wide¬ly each deals in some way with Nijinsky'sattempts to understand and reconcile thedivisions he finds in himself between hisguilty feelings and his actions.How these feelings are splitting apartthe artists internal thoughts and externalactions becomes clear when we analyzethe.prose paragraphs dispersed within thetext of the diary-like main poem itelf.These prose pieces are taken from Romo-la’s biography of her life with Nijinsky,and from Richard Buckle’s book on Ni¬jinsky. They provide a backdrop of realevents to the dancer’s mental acrobatics,and allow us to see Nijinsky's deepeningmental separations. The early pieces areamusing and informative, but as the poemcontinues the actions that are describedbecome increasingly violent and irratio¬nal. After reading Nijinsky’s account of hisjealous nightmare about his wife and hismale lover Diaghilev, we understand whyhe pushes his wife and children down thestairs. If read out of context, the full hor¬ror of the action would appal us. This sepa¬ration of logical mental thoughts and illog¬ical physical actions emphasizes the majortheme of the whole poem.Bidart's one device in recording theprose biographical material i6 to make itincreasingly poetic as the text nears theclimatic “war dance.” He does this throughselective editing, and by allowing eachsentence its own line. These two poeticizednarratives illustrate that even as the ar¬tist approaches a kind of reconciliation be¬tween inside and outside, personal andpublic, private guilt and universal guilt,his actions estrange him even more. The“war dance” occurs because he realizeshow potentially destructive these feelingsof guilt are. This last dance is his attemptat reuniting the warring factions withinhim, which even if successful on a publiclevel, still will leave the personally pain¬ful divisions that eventually drive himmad.This suggests that there is a strong senseof development within the poem. Its truestructure is closer to a circle in which thebalancing of disparate elements is in con¬stant flux. Soon after the "war dance”passage, the dancer begins to describe hisyouth in the second person. This is at oncea dramatic rendering of his sickness, and aContinued on page 27The Chicago.Literary Review, Friday pecember 2, 19?3—25*Continued from page 23There’s an ill-will in their work, finally, Ithink. A niggardlieness of spirit that istroubling to me. I would rather have a gen¬erosity of spirit than all the wit or techni¬cal dexterity in the world.CLR: Looking around your office here, theamount of work involved in your editorialduties is apparent. As a poet, what do youlook for in a poem that arrives on yourdesk?RG: It’s pretty elemental really. Therearen't too many mental lucubrations in¬volved. When you start reading a poem,and even if you admire things in it becausethey’re well done, striking, there still isanother question— whether it’s about any¬thing, whether it has any substance. AndI’ve found myself, for an issue that’s com¬ing up, taking some things that did nothave what I used to think I always wantedall poems to have— some finish, some dex¬terity, some polish. But they had more sub¬stance than some of the other stuff,they’re rawer, than stuff I’ve taken be¬fore. Sometimes I do sit here and wonder ifI could frame, or phrase briefly, exactlywhat it is I want. But I probably can't. Iprobably shouldn’t. I do have a position,and I’ve written several pieces on it, butit’s pretty loose. I can be jolted off where Istand. I like to find pieces that don’t fit myfirst preconception of what I want.I think it’s true in both poetry and fictionthat what you want is a composition inwhich the big thing, whatever the bigthing is, that’s there behind it, is present inevery line, all the way through from thebeginning. I think it’s easier to see instories, especially stories of someone whowrites with this kind of Keatsian ore-pack¬ing method, shoving it into every little rift,like Flannery O'Connor. It’s like a mark, awater-mark, where you can hold the storyup to the light, and see the big story therein every line. I think it’s possible to do thatin a poem. I’ve tried to do that in thepoems I’m writing now.CLR: Your poems tend to be highly access¬ible. It’s been said that Ezra Pound intro¬duced difficulty to modern poetry— whatdo you think about the issue of surface ac¬cessibility?RG: I think I have a predisposition forpoets whose expressive needs don’t carrythem as far away from accessibility as sayAshbery, or even Merrill. This is the kindof poetry that gives us all a bad name. Theaverage reader just can't pick up a bookof Ashbery or Merrill cold, without havingread modern poetry, and make anythingout of it. You need some preparation. Also,I think it’s too easy to fake. A lot of theso-called necessary difficulty smacks ofself-indulgence. There are all kinds of dif¬ficulty that represent self-indulgence, andsometimes it’s disguised because we’re tooclose to it, but I find a lot of unwarranteddifficulty, or difficulty of an un-productivekind, in a lot of contemporary poets. Prod¬uctive difficulty I find in a poet like CesarVallejo. There’s a sort of presumption thatif you have something important to sayyou have to say it in a difficult way. Whyshould that be the presumption? I don’tknow.CLR: What do you think about Pound,then? You mention him several times inThe Ruined Motel. Is he a major influencefor you?RG: Well, I got a letter from Donald Davierecently, he was a teacher of mine, and hesays that he more or less presumed thatpoets of my generation, and younger, justmake a decision at some point that Poundhas nothing for them, nothing they can use.That the Poundian way of seeing, which isalso a way of writing, is just not somethingthat anybody wants to pursue. And heasked me the question you just asked me—what’s available in Pound? And I thinkthat there are three answers to the ques¬tion. If you’re primarily a scholar or a crit¬ic, and you read Pound from that angle,then he’s obviously immensely rich andrewarding, because he gives you morethan you’ll ever digest. If you’re an ordi¬nary reader of poetry, not a purely intel¬lectual reader, then all you can do is dowhat Montale says to do with Pound,which is just to scan it for the pieces. Hesays that within the ruin of the Cantos aremany brilliant Haiku. And then for thewriter, and I guess for me, I think Pound’swork is kind of a lesson-book. When I wasgraduating from high-school and going away to college, from a high-school thatwasn't sending many people off to toomany high-fallutin’ colleges anyway, thevice-principal gave me a paper-back copyof the ABC of Reading. I was flattered be¬cause it was obviously a serious literarybook. And that book just about wreckedmy life for a year or two. I read that and Ithought— my-God, the responsibilities.I’ve got a lot of catching-up to do. I’m onlyeighteen years old and I’m already be¬hind. But it was tremendously importantto me to see how seriously the enterprisecould be taken. I mean, I wasn’t a writeryet, I wouldn’t write a good poem foryears, but it was very important to me.That’s why he appears in my poetry, as ateacher.And then the Cantos, for a while I wasvery close to them, living intoxicated bytheir powers. I-XVI, and the Pisan Cantos,which was the way I read them. The rest ofit I never got close enough to to under¬stand in any capable way. And Poundreaders of the first kind, the scholars, area very special bunch. I wrote a piece oncecalled “Pound and the Gods,” and a whilelater I got a letter from this guy, an incred¬ibly brilliant Poundian scholar. And hesaid, I read your article with interest, anddo you know, in Canto such-and-such, linesuch-and-such, what the reference to the‘lantern’ is? I have been trying to tracethis reference for years, and I just don’tknow, just can’t find out. I had to writeback and say I really have no idea, I justdon’t know anything about those sides ofit. There are just things going on that aremeaningful for me, even without under¬standing the references of every word. Iwas very interested in the way Pound usesthe Gods. He says the Gods are an eternalstate of mind. You know, he was asked atthe end of his life, what he would do forEuropean Culture if he could, and he saidhe would re-build the temple of Venus.And he really believed it— love, some con¬ception of love, and the Gods as an eternalconception of mind. When you’re in themiddle of it, something comes through you,you are possessed by something that isbigger than yourself— I think that’s oneway of looking at it. Poetry has tradition¬ally always included the Gods in its prov¬ince, and that’s probably just becausepoets are trying to find expression forwhat they feel, when what they feel issomething that belongs to everyone.Something so intense, at either end of thescale, grief or joy, that if I can just find away to express my own, maybe you’ll beable to understand yours.CLR: Is poetry inherently spiritual then?RG: I think it probably is. But I don’t knowwhat that means. I asked this question ofWilliam Goyen in an interview I did withhim, because he talks of a spiritual ele¬ment in style. I said, what do you mean byspiritual, and he said— Well, I don’t meanmaterial. And that leaves a lot ofground.CLR: Stevens would seem to be a some¬what different case, saying that the Godsare dead, we don’t need the Gods...RG: Yeah, anybody who could say thatmoney was a kind of poetry, has got a dif¬ferent slant. But for all that, Stevens is themost curiously ethereal and insubstantialpoet of the 20th Century. Most of his poet¬ry is not about anything, but about the“aboutness” of the thing. There are a lotof ways to take that. He’s too cagy to becaught too far out on a limb, but what Ithink he meant by that kind of approachwas that the substances themselves didnot move him. Textures of thought and offeeling, textures of imaginary landscapesmoved him more than whatever experi¬ences...But does it seem a surprise at all toknow, then, that his personal life, his lifeof intimacy with wife, and daughter, andfriends, was almost barren? And that hisproductive hours of the day weren't spenteven in doing something as mindless asrunning a literary magazine, but were con¬cerned with business as an abstract. I sus¬pect that his work worked this way forStevens, almost as if he had been a mathe¬matician, working purely in the abstract.And I can understand the seduction of that.It’s easy to get caught up in the run ofevents that are somehow seductive intheir simplicity — in that even if they fallapart, they have a solution that is finite.Even if TriOuarterly were to die, I couldn’traise any money and it absolutely felldead, I could walk away, because it's a fi¬nite thing, and it’s dead then. Whereasthat poem that’s dead, my poem about theprison-warden I’ve been working on fortwo years, that hurts if that dies.CLR: It reminds me of a phrase from ThePoet’s Work, from Seferis, that you used inthe work-shop, about waiting for the woodto cure, waiting for poems to get fin¬ished.RG: Yeah, I used to feel that if you didn’tget the whole damn thing forged when themetal was hot that it wasn’t even honest.That if you were banging on a piece of coldsteel, that it wasn’t honest. And I still feelthat to some degree. But I know that thepractical reality is that you have to— it’sin Ben Jonson’s “Temper,” where he talksabout the forge, something like—take it tothe forge and turn it anew. Turn it anew.You’ve got to put it back in the fire andheat it up again. \Contacts for Sale!What Is A Bargain?The 4 questions most frequently asked about contact lenses are:1. How Much Are Your Lenses?2. How Much Are Your Lenses?3. How Much Are Your Lenses?4. How Much Are Your Lenses?What is really more important, the lowest price, or the best fittinglenses? We think the 4 questions should be:1. Is the doctor really a contact lens specialist?(or is he an eyeglass salesman?)2. Can I expect professional service and care?(or will I be handled by inept non-professional salespeople?)3. Are the quality of lenses the best available?(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 criteriaof CARE, SERVICE, QUALITY AND PRICE.TRY TO BEAT THESE VALUES!• NEW SUPER SOFT HIGH OXYGEN TRANSFER ULTRATHIN • $43.75New super-soft highly oxygen transferrable 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 butspecifically designed to our exact specifications to correct for dif¬ficult astigmatism.• SOFT LENSES CORRECTING FOR ASTIGMATISM (TORIC) - $160.00If you have ever been told that you couldn’t wear soft lens due toastigmatism now you probably can.• EXTENDED WEAR LENSES • $ 160.00The ones you sleep with, no more cleaning, sterilizing nightly, nomore daily Insertation and Removal, wake up in the morning andsee. BAUSCH & LOMBSOFLENSB3, B4, & F SERIESONLY $33.75Basic series of lensesthat Bausch & Lombbuilt their reputationon.SUPER-WETFLEXIBLEONLY $29.00Super-thin highly wet-table lens specificallydesigned to correctthose patients whowere previous hardcontact lens failures.uimi i pan pci pcmeru.Professional fee additional (required)(includes - Eye Examination, Training, Wearing Instructions and Carrying Case)OUR PROMISE TO YOU:If you aren’t pleased with your lenses after 60 days, cost of the lenses will berefunded. All contact lens fitting done by our Contact Lens SpecialistsDr. S.C. Fostiak and Dr. John S. SchusterWe can replace your lost or broken lenses in 4 hours or less!(if lenses are in stock)IF YOU WANT THE BEST COME TO THE BEST!CONTACT LENSES UNLIMITED2564 N. Clark St., Chicago. IL 404141724 Shanaaa Ava., Evanaton, IL 40201(abova County Scat)864-4441 880-540026—The Chicago Literary Review, Friday December 2, 1983Frank BidartContinued from page 25way of returning us to the root causes andinitial guilt feelings that produced it. Ni¬jinsky felt that he was successful at the ex¬pense of his brother, whom he felt hedrove insane through his superior dancing.Curiously, in actuality his brother fell outof a window when he was six, and nevercould have become a dancer. But what isimportant for the poem is Nijinsky’s notionthat he was the cause of his brother’s in¬sanity. The dancer’s guilt feelings are notnew however — we first encounter them onthe sixth page of the poem. The poem’sprogress serves to deepen our under¬standing of the central themes which arestated in the first lines. Bidart chose to usethe slightly childish voice that Nijinskyspeaks with in his diary, written after hewent insane. He has not tried to write aprogressive narrative, but a dramatic in¬vestigation.The intentional circulatory of the poembecomes even clearer if we examine thevery similar narrative pieces which openand close the text. This “frame” is the onlyinstance of the poet’s own voice intrudingon the interrupted dramatic monologue,and in its few lines it sets up the majorthemes, and introduces the crucial event,around which the poem circles.Still gripped by the illusion of a hori¬zon;overcome with the finality of a bro¬ken tooth;suspecting that habits are the onlysalvation,— the Nineteenth Century’sguilt, World War Onewas dancedby Nijinsky on January 19, 1919(“The Sacrifice,’’ p.1)Frightened to eat with a new set ofteeth;exhausted by the courage the insanehave shown;uncertain whether to REDEEM or toDESTROY THE EARTH(“The Sacrifice,” p.30)The first three lines of each half of the“framing” stanza call attention to them¬selves by being the only end-rhymed sec¬tion of the poem. Schematically, the linesread aba/bab: they are essentially an un¬ %finished rhyme stretched across the entirelength of the poem.As well as the rhyme, the first threelines of each half of the frame are circularin terms of content. The first line, of thefirst section, is related to the second line ofthe last section. The first line is about theidea of separation between the differentparts of an individual or the world asbeing false, an illusion. One of these falseseparations is between madness and san¬ity. The line at the end of the frame refersto the courage of the insane, which is some¬thing he admired earlier in his brother, butwhich, after following his troubled mindthrough its questing thought process, wecan also see as referring to himself. Thesecond similarity is between the secondline of the first section and the first of theend frame. These lines serve two func¬tions; first they remind us that the poem isabout a dancer’s physical body, not just hismind; and secondly it condenses the timeframe of Nijinsky’s thoughts to the narrowspace of two or three days. Finally, thelast line of the first stanza hints at Chris¬tian imagery where one individual dies, oris sacrificed, for collective sins or guilt. Atthe end, when these parallels have beenmade obvious and the separations havebeen made explicit, we read that Nijinskyis “uncertain whether to REDEEM or to DE¬STROY THE EARTH.” These two lines, sepa¬rated by the length of the poem, embodythe major divisions and philosophicalproblems of the entire work in condensedform. The four line coda, which is repeatedafter the final stanza, serves as a last un¬ifying device to tie the poem together.The last point worth noting about thenarrative frame is that it represents themajor theme of separation even in its verband noun choices. The first two lines ofeach half of the frame are constructed sothat their verbs are poetically obtrusive,clashing opposites. The strangeness ofAn 8-Ounce Hamburger.(That’s right, 8!)Charbroiled.Always Fresh, Never Frozen.Served on a Fresh Roll orBread with Fries.Simply Delicious.No plastic forks, paper wrappers or greasy bagshere. At the Medici Restaurants, you are served the mostdelicious hamburger in town in a fashion that won't ruinyour appetite. And that goes for all the other wonderfulselections we offer.with this ad!Now, the best hamburger intown is yoursfor only$2.50Offer is good through Dec. 9th and does not apply todelivery orders.52 MS Harper Cl66”-4008 L*RQnH&rper IIifftEMC! U50 E SThScOn 57th 667-7.594 1having someone “gripped by the illusion”and “exhausted by the courage” is thatthe physical verb is applied to the mentalabstraction. A similar reversal occurs inthe other two related lines, but here theabstract verb applies to the physical noun.The choice of words and how they are con¬trasted echoes the larger theme.The narrative frame, like the rest of thepoem, is crafted to embody in its languageand form the theme of separation betweenpublic and private guilt on which the poemis a meditation. The way the words areprinted, the breaking up of sentences, theintermingling of diary-like portions withprose sections, and the narrative frame,are all carefully worked out so that theyreinforce the major theme. Few poetstoday work so carefully at perfecting theircraft to the point where each piece of thepoem relates to the larger whole. Thiscrafted quality creates a dense network ofinterconnected language which builds upthe character of Nijinsky in a vivid and be¬lievable way.This crafting of language however, isalso the poem’s major problem. Bidart hasbecome so enamored of Nijinsky’s life, andso dutifully records each mental anguishand frustration in a precise and carefulway, that it becomes oddly drained of itsemotional importance. In a dramatic mono¬logue where only one person’s perspectiveis given, the reverse side must be carefullyexposed to the reader. In Browning’s bestpoems we are forced to look behind thespeaker’s strange actions and questionthe sanity of his judgement. Bidart cannotdo this precisely because he so enjoys thedancer’s mental acrobatics. Nijinsky’s lan¬guage itself seems stripped down and hon¬est, and we are not asked to question itsinsights. Even the prose passages whichreveal his external actions are under¬standable within the context of the dra¬matic monologue. Nothing jars the illusionthat what we are being given is the“Truth.” Only if we know the dancer’s lifefrom the outside will we see that his per¬spective is a distorted one.Perhaps Bidart has succeeded in his ex¬periments with the stretching of prose sen¬tences too well. He revels in recreating Ni¬jinsky’s madness in each piece of the poemin a seamlessly perfect way. It is clear thatthe poet was attracted to the dancer’s lifebecause of how it reflected his own obses¬sions, but we do not feel them. The craftplaces us at an intellectual distance fromthe subject, a distance that is neverbridged.An example of Bidart breaking throughhis own intellectual distancing is in thetitle poem of his first book of poetry, Gold¬ en State. He ends the long monologue:When I began this poem,to see myselfas a piece of history...you had to become a character: witha past,with a set of internal contradictionsand necessities...But, of course, no such knowledge ispossible,-...your photographs stare back atme...with the dazzling, impenetrable,glitter of mere life...Here the poet turns against his own poem,with its careful language and constructedcharacters, to show us the anguish under¬neath. No matter what he constructs, he isleft with the “glitter of mere life.” This is a“truth” that denies there can be any truth,and perhaps Bidart is looking for some¬thing more than this in his current work.But he has separated himself from theemotional importance of Nijinsky’s life justas he has separated that life into parts.We are left ultimately with a poem of craftand fragments, in a book composed of“fragmentary” poetry. We need, but can¬not find, the bridge between the poet’spersonal feelings, and some more univer¬sal experience. Beneath the technical glit¬ter, a vital connection is absent.^MUsIOMUsIOMlIsIC^CJ THE UNIVERSITY OF CHICAGO .23o DEPARTMENT of MUSIC §Presents:Friday, December 2 - Collegium Musicum Event nu 8:00 p.m., Bond ChapelA celebration of a 16th-C. Mass according to MartinLuther’s Formula Missae (1523), in honor of Luther’s 1>Quincentenary.3 Frank C. Senn, presiding.With music by Ludwig Senfl, performed by the » 11»c.Collegium Musicum Motet Choir. LnKathryn Pohlmann, guest director.r Admission is free.Sunday, December 4 - American WomenComposers-Midwest Chapter O8:00 p.m., Goodspeed Recital HallWorks of Cowles, Levin, Lutyens, Misurell-Mitchell,u Remer, Tashjian and Vercoe will be featured.Admission is free.§ WINTER QUARTER EVENTSJan. 26 - The Newberry Consort.Feb. 3 - Gewandhaus Bach Orchestra of Leipzig. pLnn2" Feb. 17 - Robert and Nicholas Mann Duo.Feb. 19 - Sequentia.Mar. 9 - Gabrieli String Quartet.Information about the above concerts is available atthe Department of Music Concert Office, Goodspeed ♦J7u Hall 310, 962-8068.3 The Department of Music will continue its NoontimeConcert Series in the Winter Quarter. All concerts are con Thursdays at 12:15 p.m. in Goodspeed Recital C/THall, and they are free. Listings will be available the^ ■< first week of Winter Quarter in the Department ofMusic Concert Office. n*lUSlC'sMUSlCJ3MUSll $The Chicago Literary Review, Friday December 2, 1983—27LM.• A .'VwV.SOiU VA'H V^V.' vT. —V.Introducing aholiday fare, just in theSt. Nick of time.At Midstate Airlines, we re making our' holiday fare low, so you can keep your spiritshigh This December 24th through January 1styou can take advantage of our special half-pricefare between any two points on our system. All youhave to do is make a reservation. So call your travelMidslole AirlinesGetting there is getting easier.With 984,760 studentsreceiving college degreesthis year. . .you’ll needmore than a diplomato get ahead.Think training.Think Merrill Lynch.We offer four training programsthat can separate you from the crowdand put you on a fast irack to successCorporate InternProgramAn 18-month training programencompassing sales, securitiesresearch, trading, marketing andfinance which exposes you to thefinancial services industry.Accelerated OperationsManagement ProgramTrain to direct and control a staffresponsible for processing trans¬actions and maintaining customeraccounts in this 9-month program.Corporate SystemsProgramThree months of classroomtraining will prepare you for a careerin either Systems Programming orBusiness Applications.Operations InternDevelopment ProgramA two-year program combiningclassroom and on-the-job training pro¬vides an overview of the operations functions that support Merrill Lynchproducts and services.See your Placement Office, orwrite for an application to: CollegeRelations. Merrill Lynch, One LibertyPlaza (165 Broadway), New York, NY10080.—We'll be onyour campusMONDAY,JAN. 30Merrill LynchMerrill I .yneh & ( A\ Inc. dA breed apart.Merrill Lynch is an EqualEmployment Opportunity employer andencourages applications from females,minorities and all other persons.2S-The Chicago Literary Review, Friday December 2, 1083 RockefellerChapel|<HMSUNDAYDecember 4,19839 a.m.Ecumenical Serviceof Holy Communion11 a.m.University ReligiousServiceBRIAN GERRISHUniversity Preacher andProfessor of Historical Theologyin the Divinity School12:15Carillon tour and recitalSTANLEY H. KAPLANEDUCATIONAL CENTERDecember ClassesGMAT.GRE SAT. SPEED READING.January Classes4WK/GMAT GMAT.. LSATACT ..SPEED READING ESLPflfPARE FO«MCA? • SAT » lSAI * GMA? •G«t PSVCM * G«£ BC * OCA? * VAT * matINTRODUCTION to CAW SCmOOI * SPEED READINGSSAT*PSAT*DAT ACHIEVEMENTS* ACT *CPATOEH * MS*P * NM6 ' '1 "I • ECFMG • FiE*N CLE**CGENS*FMGEMS*NPe '*ESt.*NCB >SPflWG. SUMMER FALL IWKSIVESCourses constantly updated henttieprograms and hours Visit any center andsee tor yoursert why *e mafce medifference Speed Reading Coursefeatures Free Demo iesson—Cait *0'days & timesPiapaiaaon Spaoaaao ones •su#iARLINGTON HEIGHTSCHICAGO CENTERHIGHLAND PARKLA GRANGE CENTER (312(312(312312 437-6650764-5151433-7410352-5640OuteHa N V Slat* Or*, Can To* > •« SOC 223 I ’8?Cantara m Maa» U S C.*a» Puanr Toronto Canasta.Michael Marwick D.D.S. andMonica Kargl - Marwick D.D.S.Dental Practice1525 E. 53rd St.Room 604Hyde ParkBank Building752-788810% Student DiscountInsurance AcceptedAway From the Main SequencedW>Q »SllttOdOenebCYGNUSJi L PHINUSE0UUL l USA PMROOSEVELTUNIVERSITY’S GUARANTEE: If you don'tscore in the top 25%. takethe next course free.LSATGMATMCATSATGREPREPARATIONCOURSES$ Prepare for January & March ExamsNow offered in: Loop, ArlingtonHeights, Evanston, Hyde ParkClasses begin weeks of:GMAT: Jan. 2, Jan. 9LSAT: Classes now forming forthe March ExamFor more information, call or write:312-341-3660800-223-2618Test Preparation CoursesRoosevelt University430 S. Michigan, Chicago, IL 60605In cooperation withThe National Center for Educational Testing CUTCOLLEGE COSTS!!Live in your own Condo for LESS than student housing!Just $747 down and $268 per mor\fh. *•Rehabbed Courtyard Building•Near the Lakefront•Exercise Room•Sauna•Steps to CTAAinslie ParkCONDOMINIUMS840 W. Ainslie (4900 N)Chicago, IL561-4544•Plus taxes and assessmentsAll Brands Importers Inc., New York, Sole U S Importer CANOOSEFORALLSEASONSImported Moosehead. Stands head and antlers above the rest.BRAKE FOR MOOSEHEAD. WHEN YOU DRINK DON'T DRIVE.The Chicago Literary Review, Friday December 2, 1983—29ParabolaA Visit to Shakespeare and Co., 1979(For George Whitman)Somewhere between Calais and AmiensI pause,declare myself catholic,enter Paris,My approach, that towardany monument:Read a book a day, do you?When I’m at a good stand I do.If you need a place, stay here.Then with the strut of the ashgrey pigeonin Luxembourg,I hear, in foreign tongue, Sir,my native English,And miraculous now, phoenix of St. Blaise,he spits back, "Never.”— Travis Du PriestStl Life of Cuftic Objects Off to starboard:Twin orange flaresIn the Centaurus Constellation —Dragon tonguesOn a whirling aurora mirror...Quickly congealing into blue-veined waxworkWell ahead:Nebulae moon-clusters— dewdrops on spiderwebbing,pasted platinum lace —Then abruptly extinguished...Blue curl of smokeFrom a gutted candleAbove:A molten bank of crucible-cupolasTheir gaping red gulletsWelded to the sky roof...With silent thunderResonating about like curded steamThat nightI lay in my charcoal sleep-padWatching stonehenged starsFloat past a brass-latched port:I, Copernicus!Ptolemy at the helm,Oil spreading on ice,Ursa Major6th Magnitude...Axis of the World— Pierre LongThe Cold Room(a retrospection)I can rememberQuite clearlyThe cold roomIn my grandfather’s cellar...Small and dark,With the dusty square of windowWhich gave a glimpseOf snowAnd the stalks of lilac bushesThe doorCreaked and groanedWhen I opened it,And damp spice odorsCame up from the boxesBasketsAnd wine barrelsThat stood aboutIn the shadows...Shrivelled yellowed applesWere spread out on boards.In one cornerBy the vinegar jugRed onions were sprouting— twisted green —Between the wooden slats of crates.Squashy brown oblongs of pearsAnd drooping grey-green peppersSquatted on a table-topAlongside a tin dishpanFilled with sand and carrots.On the dirt floorBy the wine-keg,On legs,A wicker basketBulged black walnuts,And over by the potato barrelsWere dark-green rough Hubbard squashes— the orange split of oneThat had been cut openSnake, tigress bitch, golden helmet, ram,horn bowl, double-handled vase,she stares over his shoulder,her hair the color or roses and yellowwine, into her lover’s face.Pomegranates, mustard walls of Agrippa’svilla, Palaestra’s exercise court,rust-red pigment in green and purpleperistyle, she will sail tomorrowfor her ministrations. Holding nowa stylus, she waits for Dionysius.— Travis Du Priest This roomAlways fascinated me,But it was one partOf the big houseI never wanted to enterTowards evening...— Pierre Long30—The Chicago Literary Review, Friday December 2, 1983H14ARE YOU PREPAREDFOR YOUR FUTURE?IllimilliiiliitiiitiiiiniiimmiiiEPSONArrow Computers Centersoffers the latest incomputer seminartraining, includinghands-on experiencefor all participants.All seminars are led byprofessional instructors.The Straight Talk Computer PeopleCOmPUEER CEnUERSA DIVISION OF VIDEO KING STOPES7360 N. LINCOLN AVE., LINCOLNWOOD,IL 60646 312-675-8960DR. M. R. MASLOVOPTOMETRIST• EYE EXAMINATIONS• FASHION EYEWEAR• AIL TYPES OFCONTACT LENSES• CONTACT SUPPLIESTHE HYDE PARKSHOPPING CENTER1510 E. 55th363-6100>111 I Atrtncm Opmtric AaocWonStudios, 1 & 2 BedroomApartments AvailableSome Nice Lake ViewsGood LocationHeat IncludedParking AvailableCALLHERBERT REALTY684-2333,5% Student Discounts9:00 A.M. -4:30P.M.Monday thru FridayI enjoy my contactLenses made byDr. Kurt RosenbaumOptometristKimbark Plaza1200 E. 53rd St.493 8372 Arrow Computer Centerswould like to help!From NOVEMBER 21THRU NOVEMBER 28we are celebratingThanksgiving withFREE computertraining seminars.Arrow does for youwhat no one else can!* Hardware and softwaresupport* LIFETIME discounts onsoftware* Free delivery andinstallation* Our own convenientservice department andtechnical support* Telephone help line foroperating questionsYou must RSVP to attendCall Mr. Morris675-8960No cost, No obligation vmHOLD -ITTHE ANTI-THEFT DEVICEOnly s1995• Low Cost Security forOffice Equipment• Deters Theft• No Holes to Drill• Does Not Void Warranties• Fits most office equipment• Installs in MinutesHOLO-IT™ can be used.tosecure computers, printers,typewriters, video monitors,disk drives, calculators and numerous other productswithout physically modifying the equipment or itssupporting furniture. 'HOLD-IT™ is an excellent theft deterent for educationalsystems, business office complexes, student dormitoriesand apartments.Contact your local dealer or send a check directly to:AZTEC ELECTRONICSPhoenix. Arizona 85040HOWTOFIND A JOBYOU LOVE~without!LOSING ■YOUR MIND.This handbook gives you everythingyou need to find the job that’s perfectfor you-including where to look for it,and how to get it when you find it.It’s full of sound, professional advice-from finding yourself a mentor andgearing up for the job interview to sur¬viving the job hunt and living throughcareer change.Concise and easy-to-use, TheHarvard Guide to Careers includessuccessful strategies for:RESEARCHING EMPLOYERSHow to find out about a specific job,work environment, and careeropportunitiesLETTER WRITING□ How to request career advice□ Inquire about a job□ Apply for a job□ Follow-up an interviewWith 13 sample lettersRESUMES□ What to include□ Sample formats and styles□ How to dramatize your academicaccomplishments and personalinterestsWith 8 sample resumes and a list of157 action verbs INTERVIEWING□ Types of interviews□ Four interviewing styles and howto cope with them□ How to prepare for the 19 mostcommonly asked questions□ How to ask smart questions ofyour ownThe Harvard Guide to Careers fea¬tures the most complete bibliographiesavailable for researching 56 differentcareers - from accounting to veterinary-medicine - that you can use to leam thebasics of a field, find out which compa¬nies are prominent, and get the namesof people to contact.PLUS INFORMATION ON:□ Internships□ On-the-job training opportunities□ Management training programs□ Executive recruiters□ Summer jobs□ Work abroadWith over 30 directories to potentialemployers and 372 special librariesfor career researchEliminate career anxiety, and pickup the skills to win he job of your choice.Get The Harvard Guide to Careers atyour campus bookstore today. Martha E Leape'JSiUiiiifjEliLb$6.95 at your campus bookstore.Harvard University Press79 Garden StreetCambridge, MA 02138The Ctycago Literary.Review, Fricjay Dqcember 2, 1983—31Scene in a Meat MarketYou want to make it with meand all I can smell is fish,my drink all packed up in iceand alewife fins in my gills.Then bait your worm-hooks with careand sautee me in your oils —we’ll wriggle a deux in the pan,away from the still staring eyes.—William WeaverFalacyThe genital question keeps rising,in retaliation, I suspectto masculine demands for more and biggerbreasts.I am puzzled:Do you suppose, my dear,that a really bad carpenterwould do better workwith a bigger hammer?—John Metcalfe■ IHiBHIHiHH Coupon ■■ ■■ ■■ ■■■$300 off]■ any purchase over $10 total. m1 PLUS ■: 10% off :| any purchase at all! |I What a deal! Stop in today and we’ll |■ give you the widest selection of ■“ collectibles and antiques anywhere! ■CouponUSED FURNITURE • CLOCKS • INCENSE • RELIGIOUSCANDLES • WOODEN DOLLS • ROCKING BULLS • ROCKINGHORSES • LARGE LETTER BIBLES • YOU NAME IT!We’re taking orders NOW for Christmas!Sticks & Stuff1749 E. 59th St. • 667-4610Houre: Mon. - Fri. 11 a.m. - 7 \ .m.Sat. & Sun. 10 a.m.-6 p.m. Steak LoversLOVEMORRY'S DELI!Enjoy a complete STEAK DINNER,including fries, roll, salad, and donutsfor only$ 84COMPLETE!Other dinners featured each night include:• GREEK CHEESE& SPINACH PIE• VEAL PARMESEAN • BBQ CHICKEN• LASAGNE• VEGETABLE LASAGNEMake tonight STEAK NIGHT at:MORRY'S DELIin Hutchinson Commons1137 E. 57th St.32—The Chicago Literary Review, Friday Decembe 2, 1983■DOC FILMS • DOC FILMS • DOC FILMS • DOC FILMS • DOC FILMS • DOCFRIDAY:Guy Hamilton’sGOLDFINGERWith Sean Conneryat 7:15 and 9:30All Shows in Cobb Hall, 5811 S. Ellis - WEDNESDAY & THURSDAYDECEMBER 7 & 8:John Guillerman’sKING KONGWith lessica Lang, Jeff Bridges,& Charles Grodin at 8 p.m.Admission $1 ($2.50 Friday & Saturday) - 962-8574EXERCISE!Join us for exercise classesat FOUR DOLLARS per session!Classes held at 57th and WoodlawnBabysitting available at NOADDITIONAL CHARGE!Call for appointment TODAY:947-0392Mickey Mantle saysCREDIT FORVISA1 and MasterCard' Credit Cards Now Avdllableto Students through TUTIEBflVER' s BankActlon Program!No Minimum Income or Job RequirementsSavings account and fees required Mail this coupon for completeinformation.Send to Timesaver Headquarters Building /Student Dept / 12276 Wilkins Avenue / Rockville , MD 20852NameCity ZipPhone ( )^ School AttendingStatus Fr a Soph Grad :jThere’s Never Been a Better Time to Get VISA* andMasterCard' Credit Cdrds! Apply Toddy!PRESENTSJOE PASSSPECIAL MONDAY PERFORMANCENovember 28 thru December 10RAMSEY LEWIS TRIODecember 30 thru December 31andJanuary 3 thru January 7Bring in this ad and we ll waive one cover,when one cover charge is paidValid now thru Dec 10 1983Weeknights, doors open at 7 p m Performances at8pm and 10 p m Fri and Sat., doors open at 8 p mPertormances at 9 15pm, 1130 p m.and 12 45 a mThe Holiday Inn Lake Shore Drive at Ontario Steet943-9200 onThis is no ordinary pizza. This isThe Medici’s famous deep-dish pizza,delivered steaming hot to your front door!Call 667-7394Delivery Hours are:Monday-Thursday. 4:00 pm to 11:30 pmFriday, 4:00 pm to 12:30 amSaturday. 1:00 pm to 12:30 amSunday. 1 :<K> pm to 11:30 pmMAROON962-9555The Chicago Literary Review. Friday December 2, 1983—33J/ZZM.'csEKSBBB< INTERNATIONAL® NEWSSTANDSSERVING CHICAGO SINCE 1965OPEN EVERY DAY OF THE YEAR3000U|. AND F0REI8N PERIODICALSNMRYHARD-TO-FIND PUBLICATIONSPOStERS • POSTCARDS • PAPERBACKS3000SENSITIVE AND SIZZLING GREETING CARDS(And at Bob's, when you buy \5 cards, you get 1 FREE /CHICAOO LOCATIONSHYDE PARK51st * LAKE PARK684*5100NEWTOWNCLARK A OtVERSCY - ALL OPEN LATENEAR NORTHCLARK A DIVISION943-1977ROGERS PKDEVON a BROAOWAY883-1123 743-1444CHEAP CIGARETTES! A PACKHA A DPShTW.!i\m/\Put the pastin yourfuture!LIVE IN AN HISTORIC LANDMARKThoroughly renovated apartments offer the convenience ofcontemporary living space combined with all the best elementsof vintage design. Park and lakefront prov ide a natural settingfor affordable elegance with dramatic view s— All new kitchens and appliances — Community room-Wall-to-wall carpeting — Resident manager—Air conditioning ' -Round-the-clock security— Optional ind(X)r or outd(x>r — Laundry facilities onparking each fl<x)rStudios, One. Two and Three Bedroom apartments.One Bedroom from $505 — Two Bedroom from $700Rent includes heat, cooking gas. and master TV antenna.Call for information at id appointment — 643 1406CffMemeriijftoMse1(h2 East 56th StreemIn Hyde Park, acrxxss the [Kirk from7he Museum of Science and IndustryKt|iul 111 Rising Opportunity M.ui.t^txl h\ Metre iplex. Inc KOSHER LUNCH PLANAVAILABLEMONDAY-FRIDAYWINTER QUARTERAT HILLEL HOUSEBeginning January 3,1984-Ending March 16,1984COST: $230.00Contract for the entire quarter must be signed andpaid in full in advance.if interested, contact:Hillel House • 5715 S. Woodlawn • 752-1127ARNOLD W. RAVIN MEMORIALLECTURES: 1983-84Evolutionary History, Historiography andLiteracy Criticism: Variations on the Themeof How Do We Know What We Do Not KnowTHOMAS J.M.SCHOPFDept, of the Geophysical SciencesCommittee on Evolutionary BiologyDec. 6 Laws of History: How Well Do We Know WhatWe Do Not KnowTuesday Evenings, 8 P.M.Hinds Geophysical Laboratory, Rm. 1015734 S. EllisuHjis Holtbag Reason$iue a (Sift fWabe atuHje Nortlf$0 Eskimos!• Handmade Eskimo Art• Warm Eskimo Clothes• Many Unique Gift Items(The Alaska fthnpGallery of Eskimo Art104 East Oak StreetChicago, Illinois 60611312-943-3393The Poetry Center presentsIsrael’s leading poetYehuda AmichaiFriday, Dec. 28 P.M.atThe School of the ArtInstitute of ChicagoColumbus Drive 8c Jackson Blvd.Admission: $3.50 general$2.50 students,senior citizens•Free admission to School of the Artinstitute students Not For Profit.34—The Chicago Literary Review, Friday Decemtk • , 1983RepeatingI won’t describe the metal grey sea:you've been here before in winterand squinted to separate the ambiguous seafrom the ambiguous line of grey cloud cover;so you know. And I will not ask what you seefollowing the gesturing finger of your loverwhose mittened hand points out the heavingshape of a tiny ship that your visiondoesn’t seem to include. But you agreeand continue to look over your shoulder,trying to discern what she could meanwhen she says, “On the horizon, there,that's my love!” No. You know thesewords already. I want you now to hearthe low singing of the man in the treewhose uncovered ears are freezing,so remember yourself in the scene;behind is a grove of birch in which,like sticks where swallow are nesting,sits the black bulk of a man, much olderthan most tree climbers. He’s listeningto the cold sea, pretending he’s a singerwho can discern the loud sad meaningof the battering repetitions of salt waterthat never stays long enough to freeze.He’s forgotten the bickering of the lovers.Voices Underneath Our Ownfor K.K.What memory drives through my narrative?I hear it in your call from Californiathat splits our voices into separate frames.Cradled against your ear we walk togetherpast the screen door, past jumbled voices, pastmemory that drives through my narrative.It bangs, and I hear less of the othersand more of you. The stretched telephone linebreaks, splits our voices into separate frames,but you keep me there, describing the carthat slowly wells up out of the dead dustthat memory drives through my narrative.Your words bring back another home, the dustis Maria’s mother’s car ballooning forwardto split our sweaty effort into separate framesand I roll off. Memory is a silent riftthat splits our voices into seperate frames;stories of your lovers all sound the same, a wedgethat memory drives through our narratives. Ice BathLicking the sweet morning syrupfrom my fingers I cradle the platesin my free arm. Two faces bob upabove the violent whitewater of October’s Sycamore Creek.Bob Nakamura laughs when my father,naked and shivering, shrieks“A regular scrotum-scruncher!”The two out of shape, middle agedchildren lean against the foam.I scrape wheat cakes from our platesand survey the half-frozen streamwhere Nakamura’s belly distendsas he floats. He was bornin the American concentration camphis mother died in;Utah, where we wiredoff the Japanese from useless earth.He laughs and his eyes disappearinto the creases of his wrinkles.Outside our cabin is a faucetthat always drips. I jack it on,step back and listen to the bucketfill up in diminishing tones.Far out in the rushing currentDad submerges himself until his neckis a stem for his disembodied head.Removing a clean plate from the stack.I watch my father’s roundface whooping out a hollow “O”,that never reaches me as soundabove the faucet’s splattering.I remember a cocktail hoursilence, after a colleague asked“So where are you from, Nakamura?”He turned on him, said softly, “America.”Summer's HaicuDo not look forwardto Fall, do not look back to Spring,look at your hands.My heart is full,then empty; blood ticks againstsweaty temples.Heat swollen feet partfrom heavy socks, and scatterin the tub water.A silent thrush flewthrough a hanging loquat treeunharmed.The unreasoned starsbursting beyond my windowsparklers of the 4th.-David Sukvan%The Chicago Literary Review, Friday December 2, 1983 350> PRESENTSKENNY BURRELLOctober 25 thru October 29LIONEL HAMPTONSPECIAL MONDAY PERFORMANCEOctober 31 thru November 12Bring in this ad and we ll waive one cover,when one cover charge is paidValid now thru Oct 29 and Nov 15 thru Dec 10,1983.Weekmghts doors open at 7 p m Performances at8pm and 10 pm Fri and Sat, doors open at 8 p mPerformances at 9 15 p m., 1130 p m and 12 45 a mThe Holiday Inn Lake Shore Drive at Ontario Steet943-9200 University of California, San DiegoTHE RESEARCH PLACEMajor Research University• UCSD ranks sixth in the nation in total dollars awarded forfederally financed research and development at collegesand universities.• UCSD has a close association with leading research andarts institutions including nearby Salk Institute forBiological Studies and Scripps Clinic and ResearchFoundation.World Renowned Faculty•UCSD’s faculty comprises men and women outstanding intheir field of research including Nobel laureates, membersof the National Academy of Sciences, fellows of theAmerican Academy of Arts and Sciences, and members ofthe American Philosophical Society.High Level of Financial Aid• Over 90 percent of graduate students at UCSD receivefinancial support.Strong Ph.D. and Masters Programs• Degrees are offered in biological, physical and socialsciences, humanities and arts.For an application for graduate study and more informationcall (619) 452-3555 (8:00 a.m.-4:30 p.m. PST) or write:Graduate Studies and ResearchMail Code Q-003AUniversity of California, San DiegoLa Jolla, CA 92093UCSD adheres to an Affirmative Action/Equal Opportunity policy.& New classes starting January 9Evenings - Monday and FridayMorning - early afternoon - WeekdaysTaught by a superb facultyFor information about class times, registration and fees call:Lehnhoff School of Music and Dance288-3500 1438 E. 57th St.Iiyde park Ip/ychoMierapylas/ociates 1Social WorkersPsychologists388-3348 Psychiatrists i Morry’s Catering-o.. Let our professionalstaff help plan yourupcomingHOLIDAY PARTY! j•Deli trays f•Hot hors d'oeuvres \•Cold canapes f• International buffets \CALL |BARBARA f493-&&70 fmarian realty,inc.m. REALTOR I Dr. Kurt RosenbaumOptometrist(53 Kimbark Plaza)1200 E. 53rd St.493-8372Intelligent people know thedifference between advertisedcheap glasses or contact lensesStudio and 1 Bedroom and competent professionalApartments Available service with quality material— Students Welcome —On Campus Bus Line Beware of bait advertising.Concerned Service Eye Examinations548Q S. Cornell Fashion Eye Wear684-5400 Contact LensesA Festival ofLessons and CarolsSunday, December 4*4 p.m.Parish Choir and OrchestraChurch of St. Pauland the RedeemerSouth Dorchester at 50th StreetBenjamin Lane,Orsanist and Choirmaster Looking for the excitement ofahigh qualitygraduate school researchenvironment?The University of Texas HealthScience Center at Dallas is amaior center for research m theBiomedical SciencesOpportunities are avaiiaoie forhighly individualized graduateresearch training programswith an outstanding faculty ofover 250 investigatorsAttractive stipends are available Areas of specializationincludeBiochemistryMolecular BiologyPharmacologyBiophysicsImmunologyPhysiologyCell BiologyMicrobiology For further information contactJ T Stull Ph D Associate Deanof the Graduate School ofBiomedical Sciences Universityof Texas Health ScienceCenter. 5323 Harry HinesBivd Dallas Texas 75235Phone 214/688 3310UTHSCD IS <*n i )pportuni|yuniversityCP 36—The Chicago Literary Review, Friday December 2, 1983CHXNUJ&HATSINAI TEMPLECHANUKAH FESTIVAL WORSHIP - SUNDAY, DECEMBER 4 - 11:00 o.m.A beautiful Service of prayer, music and a message of in¬spiration for the Holiday.HOLIDAY RADIO BROADCAST - SUNDAY, DECEMBER 4 - 6:00 p.m.The Chanukah Festival Service, featuring Rabbi Bermanand the Sinai Choir, will be broadcast over WNIB-FM,97.1THE SINAI SISTERHOOD GIFT SHOP- Featuring a complete selection of Menorahs, candles,decorations and beautiful holiday gifts. Openweekdays, 10-2, and Sundays, 10-11 and 12-12:30.FOR A COPY OF THE CURRENT TEMPLE BULLETIN, INCLUDING THE HOME SERVICE FORCHANUKAH. PLEASE CALL OR WRITE THE TEMPLE OFFICE:CHICAGO SINAI CONGREGATION5050 SOUTH SHORE DRIVECHICAGO. ILL. 60615Howard A. Derman, Rabbi"CHICAGO'S FIRST REFORM SYNAGOGUE - FOUNDED 1861" • HOLIDAY : open: HOUSESATURDAY& SUNDAYDECEMBER3 & 412 to 4 pmif*CV Charles Bloom-Photography• Carmeltla Clayton-Dolls • Jam:Cloghessy-Stained Glass • Dinah Cody-Papermache • Elizabeth Conger-Jewelry • DornEllis-Ceramics • Nan Freund-Jeweiry • MeredythFriedman-Weaving • Marianne Hammett-CeramicsNancy Campbell Hays-Photography • Jethro JehersJr -Ceramics • Marva Jolly-Ceramics • MaureenMelville-Stamed glass • Dorian Sylvam-Watercolors• Margaret Smith-Watercolors • PeggyStevens-Photography • Oliver Szilagyi-Walercoiors• Ruth Szilagyi-Batili • EileenWasserman-Wearables • NancyWietmg-Oil painting • JudithVamamoto-Weavmg •/r5225 S. HarperArtisans 21 GalleryOLDEST AND LARGEST SALE OF PRINTS IN THE MIDWEST.RtNNSVWU ttueiTAT Tkfc iWftyTTOf CHICAU> PRESei^ rn Vouuv oxtc-rooJlLfc C0&eHAU.‘)8‘IEUUSfttf: LfKCAfcOfree rdhumowFbRiWFOCHATVON, (ACL? "Renaissance Society • 5811 S. Ellis AvenueThe Chicago Literary Review, Friday December 2, 1983—37ComingHoly, Holy, Holy is the LORDGod Almighty, who was, is, andis to come...you created allthings, and by your will theyexisted, and were created.Rev. 4:8,11; see also Is. 6:3 There is One who is infinite and eternal. His name, IAM *, expresses the fact that He is uniquely andexclusively self-existent. He brought space, time,matter, and energy into being. He has created theuniverse and all the life-forms within in.LORD GOD,I thank andpraise you forthe incrediblycomplex andwonderful wayin which youhave chosen todesign life.Even thesimplest cellglorifies You!Nearly two thousand years ago, He became human, comingto this planet as the Jewish Messiah, as was foretold by theprophets of Israel hundreds of years before His birth. Here aresome of the prophecies that have already been fulfilledconcerning Him:MESSIANIC PROPHECYGen 3:15Psalm 22:1Psalm 22:6-8Psalm 22:14Psalm 22:15Psalm 22:18Isaiah 7:14Isaiah 9:6Isaiah 53:2,3Isaiah 53:4Isaiah 53:5bIsaiah 53:5 & 6Isaiah 53:7Isaiah 53:9Zech 9:9Zech 11:12Zech 11:13Zech 12:10Micah 5:2 FULFILLMENTRev. 12:4,5,17Matt 27:46Matt 27:39-44John 19:34John 19:28Matt 27:35Matt 1:21-23,25Luke 2:11, 12Matt 28:18Mark 14:50,15:29-32John 1:10,11Matt 8:16,17John 19:1John 19:16, 34Matt 27:12-14John 1:29Matt 27:57-60John 12:12-15Matt 26:15John 19:34, 37Matt 2:3-6Matt 27:3-10 Yeshua ha9 Mashiach(Jesus the Messiah)He came once - and He will come again.*ln Hebrew, YaHWeH, but usually rendered asLORD or GOD in most Bibles. For further informationand/or fellowship youmay contact:KEN HILL1416 N. SpringfieldChicago, IL 60651489-46484l> 38__The Chicago Literary Review, Friday December 2, 1983Honorable Mention, CLR Poetry ContestThe Cemetery Near Wison1. from a window on the Howard El.Rain falls across the windows of the train.Trees in the cemetery are brittle and black,And hundreds of grey stones areAs scattered as the wet leaves.A flimsiness and wetness to thingsBlurred by cold rain on the glass;And to the grey stones and the brown leaves,The flimsiness of newspaper glued to a city street.The sharp lines of the black trees, getting sharper.The stones scattered among the leavesAnd the leaves scattered beneath the trees.A flimsiness to things,Pain in the sharpness of black trees.2. another scene.On the narrow road of the cemetery,A car. Engine running, lights on,Wipers going back and forth in the rain.Near a tree close to the road,A man. In trench coat, collar up,Walking a straight line across the grass.His umbrella shudders onceFrom a gust of wind.It pulls him through the leaves.Near the grey stones he stops,Shoes buried in the wet leaves.From beneath his coatA dry yellow rose.A yellow rose.A shuddering umbrella.A man standing in wind and rain.—Bill FalloonHousesIndian Creek farm house,Alight on the hills of southern Ohio.We will stay an animal kingdom.Cistern water quickened by bambooRod. Barns tied together with gardenHose. Pacific householding: OurMeasure of God’s Depth and Breadth.IIChicago duplex. SinkingReal estate on two lots.Grey fire escape. Slow el.We floor-slide to the heater.Weary frame. Whilom home. All that’sWorth saving, I pick you outOf an infected foot.Frozen pipelines. OneHundred gallons thaw and gushOver bedrock. We sag in clay.IIII walked and shopped today.Parsley, tomatoes, cracked wheat and mintSpecialized cactus soil. Carbonated water.Outside, houses fall in west Lebanon. AndThe desert blooms up east. Bected to StayIt was almost too far.Twice I sat down in the frozen snowAnd said, I can’t go any further.How I wanted to be carried.I thought of my childhood home,And suddenly I was thereWalking along the country roadBringing the mail homeFrom the mailboxes several miles distance:Hands stained from picking wild blackberries,Hair wet from the river.The rules were small rules then.Don’t dawdle coming home from the mailboxAnd don’t swim in the river.The sky a small sky, was kerchief size,To fit the small child’s head.Today I would have elected to stayOn that dustry country road.That same child,Dawdling on the way home.— Barbara E. Stinchcombe—John KloosThe Chicago Literary Review, Friday December 2, 1983—39At# These reviews were written byDaniel Brownstein, Elise Eisenberg,Campbell McGrath, Jack I. Robertsand David Sullivan.Heart's Needle by W.D. SnodgrassAlfred A. Knopf, 198382 pp., $6.95Untitled Subjects by Richard HowardAtbeneum, 198388 pp., $6.95Heart’s Needle and Untitled Subjectsare two past Pulitzer Prize winning vol¬umes of poetry, the former in i960, thelatter in 1969, re-released by major pub¬lishing houses for the current season. A re¬issue of such recent material Is an oddthing to do in a field, i.e. poetry, whereeven publishers don’t make any money, inthe case of Heart's Needle, however, thejustification is evident: this is a splendidbook of poetry.In fact there are several justificationsfor Heart’s Needle’s re-appearance, itsfirst appearance in paper-back, by theway. The book was a seminal work of the“Confessional” school, galvanizing the po¬etry world, and making it clear that whathad been Robert Lowell’s personal experi¬ment was in fact a full-fledged “move¬ment”. As a school, ”Confessional” poetryleaves much to be desired, but it did pro¬duce some fine books of poetry, by Loweiiand Sylvia Piath among others, amongwhich Heart’s Needle must be counted.in all fairness, W.D. Snodgrass’ workhas not aged perfectly. The languageseems stale on occasion, the tone a littlecorny. But what is best about Heart's Nee¬dle, the concluding tong-sequence “Heart’sNeedle”, about the break-up of the poetand his wife, with their young daughtercaught in the middle, has aged gracefully,if at all:Going home we watched the stowstars follow us down Heaven’svault.You said, let's catch one that comeslow, pull Of its skinand cook it for our dinner.The elegance and graceful sorrow ofHeart’s Needle, an even more remarkableaccomplishment given its intricate formaldesign, should be treasured today as itwas twenty years ago.The same cannot be said for RichardHoward’s Untitled Subjects. This book,while quite accomplished in some regards,offers neither an historical, nor a literaryjustification for its re-printing. The book isa set of dramatic monologues by sundryhistorical figures, from Ruskin to “proba¬bly” Thackeray, spanning the years 1801to 1915. Why the particular figures cho¬sen? Why these particular years? Likemany other things in thia book, it’s a mys-ttry to ma. Why, for instance, does thepoet use an aleverniyMabte tine in the vol¬ume's first poem? The elaborate forme of Poetrythe poems seem too often merely typo¬graphical. The formal constraints are justthat — constraints. They don’t seem to addto the poems, but rather to stifle them. Thepoet seems interested In a display of tech¬nical virtuosity for its own sake. The sub¬ject matter of the book is quite dry, in factdown-right dull, and would have been bet¬ter served by a style that served as a con¬trast to the stuffiness, rather than an en¬hancement of it. —CMAxe Handles by Gary SnyderNorth Point Press, 1983114 pp., $7.50Gary Snyder’s Axe Handles is a bookthat deserves reading. That it is Snyder’smost recent book of poetry since Turtle Is¬land <1974; Pulitzer Prize for poetry) isprobably reason enough. But the bookearns respect on its own merits.Snyder’s ideas about poetry have de¬veloped interestingly in Axe Handles. Al¬though Snyder's unique influences — hisexperiences as a logger in the Northwest,his interest in Zen and the far East, and hisexperiences in Japan — stilt play a majorroie in his poetry, he has developed a newaccessabiiity. Snyder's central search forthe spirit of the country in which he lives,it’s essence, continues in Axe Handles.Snyder also keeps the role of a Shaman-Poet, a poet who sees himself as a part ofsociety. But a lot of the strong emphasis onmythologies in Snyder's earlier poems,witness Myths & Texts, is gone. Snyderconcentrates in Axe Handles, on his familyand on his immediate environment. As aresult, most of the poems tend to be highlyaccessible, and also very immediate.There is a familiarity in the poems thatreaches the reader.There are points that can be faulted inthe book. A few of the poems — such as“Axe Handies” itself, or “Look Back”,“Under the Sign at Toki's”, and “The Can¬yon Wren” — tend to stand out, whiteothers do not seem as important or con¬nected. The book, however, is a whole,and can really only be looked at fully assuch. The poems develop on each other,and build on each other; their relation¬ships are outlined by Snyder’s division ofthe book into three parts (Loops, LittleSongs for Gaia, and Nets), and their re¬spective subdivisions. Snyder has alwaysconceived of his books as books — as op¬posed to collections of poetry — and thedistinction can also describe Axe Handles:it coheres.Snyder’s at times slightly cliched, and attimes slightly “preachy” voice may alsoface criticism. The only response, asidefrom negation, is along the lines of a com¬ment Snyder made a short time ago: “Thething that keeps someone else a poemChicaoo Literary Review, Friday December 2,1983 in Brieffrom working for me most often is toomuch ego interference, too much abstractintellect, too much striving for effect;there’s a lack of contact with the innervoices.” Snyder is very much in touch withhis own “inner voices”. And in Axe Hand¬les, he still says what he wants to say.Snyder's integrity, combined with hismovement - towards more accessible sub¬ject matter — the country, his family —make this a fine volume of poetry. —DBPicture Bride by Cathy SongYale University Press, 198382 pp., $5.95Letters From a Father and Other Poems byMona Van DuynAtbeneum, 198263 pp., $6.95Cathy Song’s Picture Bride, the 1982winner of the Yale Younger Series Poetscompetition, is a quiet collection of veryfine poems. Song has filled her first bookwith sensuous, delicate poetry, lines to beread atone on rainy days. Picture Bride isdivided into five parts, each part namedfor a flower. The poems themselves areblossoms, too, as they spring fresh fromthe page, shyly triumphant.Though Song’s poems are light andsweet they possess a strength that is im¬mutably, passively powerful. Song writesof family, desire and death, of prisoners,the need for escape. Patience, acceptanceand passivity are prevalent themes inmany of her poems.One particularly stunning poem paystribute to the woman painter, GeorgiaO’Keeffe. “Blue and White Lines afterO’Keeffe’' is found in the very center ofthe book, and is divided into the book’sfive flowers (all floral paintings byO’Keeffe). Song speaks through O’Keeffe,painting pictures with words, white ex¬plaining her own thoughts on acceptance,discipline and the freedom these allow.Song's soaring, gorgeous imagery sendsthis soft poem skyward; but “Blue andWhite...” also fairly rings with truth and apure eloquent peace. Let’s hope there ismore coming from this wise, young poetwith her honesty and flowers and bluepainters.Letters From a Father and Other Poemsby Mona Van Duyn is another fine book, ofa very different sort, if Song’s book is oneof truth and flowers, Van Ouyn’s is one oftruth with warts. Though she writes offairly common things, death, love and oldage, her style is refreshing, stripped andhonest to the point Of brutality. Van Duyndoes not dress what she wants to say insweetness."Under an overwashed, stiff, graysheet of sky, the hillslie like a litter of woodchucks, their backs mottled black with lea¬flessbranches and brown with oak-leaves,hanging on till spring.Little towns are scabs in theirhaunches...”Such scabs, along with assorted sores,dung heaps, etc. are the prevalent imagesin Letters...These are personal images, one to makethe reader startle and blush. They are re¬freshing, like a slap in the face. The famil¬iarity of constipation, road ruts, crankyparents and getting the flu, are humorousand strangely touching. There is a heartstopping quality to these poems, from thefirst, evocative “Letters From a Father”,to the last, whimsical “Ballad of Blossom”which manages to be about an old cow andyoung love at the same time. This is adeeply moving collection of poems aboutdeath, moose, elephants and photo¬graphs, where the universe is “a compul¬sive old scribbler” and fog on a lake is, ofcourse, “an immense cowpie of mist.”Some of these poems are too good to bemissed. —EEFamily Reunion: Selected and New Poemsby Paul ZimmerThe University of Pittsburgh Press, 1983The Pitt Poetry Series published by theUniversity of Pittsburgh Press has re¬leased Paul Zimmer's sixth book of poems.Zimmer has been called the most consis¬tently entertaining poet writing today.Sadly, his work has never been widelypublicized. His poems are lucid, daring andwitty. They are poems about the long haulfrom infancy to middle age, about growingup and failing in love, about our desiresand ever-present longings, about loss. Hiseasy syntax and coioquial voices mightfool you—these poems can be unsettling,even frightening in their poignance and re¬alism. Moreover, its exciting to find a poetso comfortable with so many voices, all'ofthem memorable. In our age of giant egos,it is refreshing to read poems so utterlyfree of pretension, so full of humility andwarmth. All of these poems are wise, all ofthem beautiful. Zimmer has produced avery fine collection. —JRErosion by Jorie GrahamPrinceton University Press, 198383 pp.f $6.95Most poets bludgeon their readers withstartling insights, sure that the force oftheir poems will convert even the moststoic heart. Others are content to speakwith a calm self-assurance that belies anunforced, powerful vision. Thankfully,Jorie Graham, in her second book of poet¬ry, Erosion, has chosen to display her vi¬sion through careful craft and little shout¬ing.Graham's poems are full of quiet percep-■ Continued on page 42The Department of EducationThe University of ChicagoMemorial ServiceforAllison Davis1902-1983The John Dewey Distinguished Service Professor Emeritusand Director of the Martin Luther King, Jr. Research Center3 p.m., Saturday, December 3,1983The Joseph Bond ChapelThe Joseph Bond Chapel is on the Main Quadranglesjust south of 1025 East 58th StreetummcrNtohfs Dream• • by William ShakespeareExtended toDecember 18to meetticket demand! W ednesday-Sa turday8 PMSunday2:30 & 7:30 PM Tickets $10-$1352 off for studentsand seniorsUC students only $3 with Student Rush! (Rushtickets strictly subject to availability. Call for details.)Court TheatreThe University of Chicago5535 S. Ellis Avenue Call753-4472Visa/MC/Amex MaSTERWORkSTake a Greater Ft. Lauderdale Break.HOLLYWOOD • POMPANO BEACH • LAUDERDALE-BY-THE-SEA • DEERFIELD BEACH CLASSIFIEDADVERTISINGClassified advertising in the Chicago Maroon is52 for the first line and $1 for each additionalline. Lines are 45 characters long INCLUDINGspaces and punctuation. Special headings are20 character lines at $2 per line. Ads are not ac¬cepted over the phone, and they must be paidin advance. Submit all ads in person or by mailto The Chicago Maroon, 1212 E. 59th St.,Chicago, III. 60637 ATTN: Classified Ads. Ouroffice is in Ida Noyes Rm. 304. Deadlines:Wednesday noon for the Friday issue, Fridaynoon for the Tuesday issue. Absolutely no ex¬ceptions will be made! In case of errors forwhich the Maroon is responsible, adjustmentswill be made or corrections run only if thebusiness office is notified WITHIN ONECALENDAR WEEK of the original publicstion. The Maroon is not liable for any errors.SPACEApt avail Dec 1. Gd Loctn. 4rms. Hrdwd firsFrml dng rm. Huge BR. $430. 899 5178 752 52845218-28 WoodlawnOne & 2 bedroom apt. from $360 435/Mo Call643 6428 or Parker -Holsman Co. 493-2525AVAILABLE IMMEDIATELYTwo & 3 bedrm apts at 54th & Woodlawn $435$490/mo. Contact Mr. Quinn 493-2329 ParkerHolsman Company 493 2525.Large room w own bath. Lake view. Goodsecurity, on B bus rt rent $250 start Jan 13V* room, 1 bedroom apt at 55th & Kimbark callCharlie at 667 5038 for appointment Parker-Holsman Co. 493-2525.FOR RENTTwo bedrm., 1 bath condominiums completelyremodeled. Floors refinished. Some apts. withsunporch. Rent $550. For inspection contactMr. Wardian 493 2525.Female rmmate wahted to share spacious, It 2br apt. Convenient loc; $205 752 1512 evesWoman to share a clean sunny, pleasant 2bedroom apt with a young professional woman(U of C alum) safe location, close to U of C bus& 1C. Rent reasonable. Available Jan. 1 withoption to renew in June. Call Kitty at 890-6035(days) or 241 5688 or 241 5688 (eve andweekends). Lakefront 3 bedroom co-op Marvelous view,modern kitchen & 2 baths. Parquet floors.Move-in condition. Excellent closet space.Good parking. University Transportation closeby. 24 Hour Security, Receiving room,Playground, Yearly decorating incl. in assess¬ment. Asking low 60s. By owner. 363 4348 morn,eve. weekend.Hyde Park 51st Greenwood $650.00 7 Room Apt2 baths Adults E venings 288 8995.BDRM W/ PVT BTHRM available, in 3br, 3rdfl apt. On 54th & Kimbark $215/mo 363 8398eves.For rent clean newly decorated IV* rm.utilities free new carpet and new kitchen tilecall 752 7788.Female roommate for furnished apt close tocampus. Share w one for $275 or w 2 for $183beginning Dec or Jan. Call Miriam 667 0445 orleave a message at 674-3715.Hyde Pk Blvd nr Kimbark 7rm 4br cptg. Shop& Tran quiet free Heat Hot Water $540 752 5146HOUSESITTER WANTED for large, warm,furnished apartment near university. Payminimal rent for maximal comfort. Clean,neat, RESPONSIBLE person only! 752 7477.Clean, quiet, friendly roommate wanted for 1Ige bdrm in 2bdrm apt. Apt is sunny, cozy,carpeted with lake views, new kitchen. On B, Cbus rts. at 55th & PH. $275 incl. util. Furnished/unfurn. rm avail Dec 15, rent free til Jan 1Sally 493-9554 after 12/15 (914 752-2212).WINTER SUBLET or forever 6 spaciousrooms 2 bedrooms close to Univ. Find marriedstudent with child. REWARD %40. Call Kim285-2439. Best UNIV APT. AVAILABLE IM¬MEDIATELY.APARTMENT TO SUBLET: 5'2 room apart¬ment available furnished from Jan 1-June 1(Dates negotiable). 2 bedrooms, sunporch forstudy, large living and dining rooms, blocksfrom University. $675 per month, Utilities in¬cluded. 752 7477.Fern rmmte to share large beaut 2 bdrm aptHyde Pk Blvd near 55th Grad or Wkg wmmn on288 2622.WINTER SUBLET/forever 1 bdrm apt nearcampus, GARDEN, laundry, sunny, nice, $390324 1459.GREYSTONE - 2 FLAT, all new systems. EllisAvenue. 2 car garage. $129,000. Investment opportunity for student's parents. Rental $620with garage. Hild Realty, 955 12001 Rm in 2 Bdrm Apt. $170/mo On B & D routes.Nice Landlords. Call 363-4961. Looking for a female to share nice coachhouseRent $200 call 324-7406 for more infoSTUDENTHOUSING4-BEDROOM APT 4-STUDENTS completelyfurnished utilities included reasonable rentDAY 236 666 after 8pm 624 6566c/*c/nG' as/cZ/e %/dZ/*<C$eaY ZjjZaZe tjo.493-0666 • CALL ANYTIMEON THE LAKE FRONT:TO SETTLE ESTATEImagine six rooms-two baths-in much sought-after East ViewPark. Choice second floor.Enter from 54th St.$72,00056th & BLACKSTONE:TO SETTLE ESTATEFour rooms plus study alcove off livingroom. Garden level in quiet six-flat.Needs decorating. $25,000GRACIOUS:Built as a co-op, beautifully managed,beautifully maintained. Near 59th &Stony Island. Stunning expanse of 41feet, side-by-side living room and din¬ing room. Spacious, gracious formalliving. Two bedrooms, two baths, newkitchen. Garage access. $52,500The Chicago Literary Review, Friday December 2, 1983—41i ’eomeoeu ytcivt v’cisjogtuin j --upcT VC i'7 ;. I -7. , ^ '■Poetry in BriefContinued from page 40tions of the physical world transcribed intoa lyrical verse of short, enjambed lines. Inthe first poem of the book she leads us toher house at San Sepolcro, where; her poems, though it rarely masks her ownstrong voice. She writes about John Berry¬man’s forms, Werner Herzog’s movies,John Keat’s gravesite, and the paintingsof Gustav Klimt; all with a relaxed, un¬daunted ease. She does not mention themto display her knowledge; they are merelynatural starting points for her thoughts.Other poets try to disguise their schoolingand intellectual training by a roughshodfree verse, or they try to impress theirlearnedness upon their readers with a de¬vastating heavy-handedness; Grahamdoes neither. When she writes well the ab¬stract inteltectualism merges perfectlywith the concrete images.A poem that unites the two in an un¬forced, almost magical way, is Kimono. Itbegins with a description of a woman in akimono (the poet), who is aware that she isbeing watched by a neighbor:There’s milk on the air,ice on the oilylemonskins. How cleanthe mind is,holy grave.As with many of her poems there is thecombination of marvellously alive, physi¬cal descriptions, and the poet’s specula¬tions about the sad transience of theworld. The two seem to be intimately con¬nected in the poet’s mind. Every piece thatshe can fasten on to in the world aroundher is another piece that will eventuallyerode away. When the connections workthe poems soar far beyond the beauty oftheir descriptions; but when they do notthere is an embarrassing overarchingquality about them.Jorie Graham is not satisfied withbeauty—she searches for the meaning thatlies behind it, the root of her attraction toit. There is an admirable quality of at¬tempting to reach for the greater meta¬phor each time she describes something;sometimes however, she comes up emptyhanded. In “I Watched A Snake” she is fa¬scinated by its motion through the grass;black knothead up, eyes ona butterfly.This must be perfect progress wheremovement appearsto be vanishing, a mendingof the visibleby the invisible—But the description is almost ruined by thetrite metaphorical use that she puts it to;—just as westitch the earth,it seems to me, each timewe die.Admittedly it is a difficult art to knowwhen to stop a poem, to know when the de¬scription itself embodies more than anymoral can, but that is the art of poetry.Even the poems that don’t work howev¬er, have beautiful things in them, and allare products of an active, searching indi¬vidual. Graham is highly sensitive to theworld of art and it is a frequent emblem in He thinksI don’t see him, my little manno more than sevenThe boy watches the mythical scenestitched in the embroidery from distantlands change shape as she works in hergarden. When she bends over the bird on itdips out of sight, and then rises againwhen she rises. This is a beautiful image ofthe poet’s art clothing her body and re¬vealing its forms as she moves, but it is sosubtlety conveyed that we hardly noticethe larger metaphor behind it. At the endof the poem she becomes the outside ob¬server, the "small spirit”;his eyes a sacred storeof dares,to watch, as on the other sidejust pastthe abstract branches, somethingmost wholeloosens her stayspretending she’s alone.The jump into the mind of the other charac¬ter where she watches herself undress isdramatic, poignant, and extremely sex¬ual. When Jorie Graham writes from thistype of insight her poems leap beyond therealm of craft, and enter the realm of vi¬sion. —DSOnly the World by Constance UrdangUniversity of Pittsburgh Press60 pp., $5.95The opposite of vision is not grounded¬ness, which could be its own virtue, butfalse vision. Unlike Jorie Graham’s book which attempts much and succeeds often,Constance Urdang’s book Only the Worldattempts little and succeeds even less. Shehas adopted the style of a "poet,” whichmeans she inverts word order, usesstrange metaphors, and breaks her writ¬ing up into lines, but she has no knowledgeof what these devices need to be filledwith. However she is not at a loss to ex¬plain this. In fact the first section of thebook is devoted to poems about travel toplaces that she has never been, which in it¬self is a pretty hollow metaphor. Shebegins one poem, "I don’t know Chicago”which seems to discount the rest of thepoem. Evidently this writing about placesshe has never been is not intended ironi¬cally for she does attempt to describe theplaces. Perhaps she was under the illusionthat an artist was entitled to constructthings from their fantasy, and this was thetrue test.There is an alternative hypothesis whichshe suggests in another poem;A masterpiece, ideal because unrealizedon canvas,In lieu of what is called art. The mundanepart,The skill, the doing, the craft, is scornedIn times like ours, so why not eliminateWhat really happened?Though she intends this as a criticism ofother poets, (notice the capitalized firstletters and the rhymes) it could also bedirected at herself. Her craft is of the sim¬plest variety, clunking rhythms sustainedby infrequent rhymes, and does nothing toelevate her pedestrian ideas. We learnnext to nothing about the poet’s life, andthe world as she views it seems a paltrywasteland without anything to be insight¬ful about.The greatest irony perhaps, is that shehas titled the book Only the World, whichseems like a worthy task, and yet she can¬not even describe it properly. Anotherpoem begins:Because it is noon againAll the bells in the world are ringing.I suggest she take a course in simple geog¬raphy and become a taxiderist. —DSAfter One by Tom SleighHoughton Mifflin Co., 198352 pp., $6.95To quote Reginald Gibbons (elsewhere inthis issue) out of context, this is the kind ofwriting that gives us all a bad name. WhileMr. Gibbons was criticising the witty, elab¬orate, self-consciously intellectual style ofJames Merrill, Tom Sleigh’s first book ofpoetry, After One, suffers short-comingsof a different order. The tone of After Oneis low-key, colloquial, under-stated; the poet wants us to know that he’s one-of-the-guys. At its best, this poetry offersrewards of a similar vein: minor revela¬tions of regret or sorrow, glimpses at per¬sonal pathos, at fathers and sons, or lostsiblings. At its worst it is mawkish, or sim¬ply boring.The root of Mr. Sleigh’s problems, how¬ever, is not his subject-matter. Manypoets, past and contemporary, have suc¬ceeded in drawing excellent poetry fromthe same minor-key, personal terrain overwhich Mr. Sleigh leads us. It is his tone, hisvoice, which fails him. Mr. Sleigh’s poetryis loaded with phrases like "the intimatesadness of speech”, “the shared terror ofour flesh”, "the accumulated ash of allthat happened” — phrases which are soovertly "poetic”, and so cliched, that thereader is left flat. In the first poem in thevolume, Logos, Mr. Sleigh speaks of a"broken truth” revealed in a sun-light in¬duced epiphany:we are taken, gravenBy our birth into the stoneOf the world, a rain-beaten nameFlushed a moment with blood andlight.All the catch-words of contemporary poet¬ry — blood, stone, light, (even "rain-bea¬ten”) — are laid out baldly, and withoutoriginality. The reader is not even inter¬ested in exploring beneath the cliched ex¬pression to determine whether the pro¬posed "truth" is of any interest.Despite clear good-intentions, and an oc¬casional poem which does yield a sense ofaccomplishment, and even some admirableattention to formal conventions of rhymeand meter, After One is doomed by its po¬etic voice. One can only hope that Mr.Sleigh will escape his dependence on thesafe, tired, and ultimately boring conven¬tions of contemporary poetic expression.-CMPrimevera, Vol. VIII.1983. $5.00Hyde Park’s own Prlmavera has justpublished its eighth annual volume, andthe quality of material continues to im¬prove with each edition. Prlmavera is a"women’s literary magazine” which es¬chews any specific political position infavor of artistic/literary excellence in thetoosely-defined field of women’s experi¬ence. Photographs and original-art are re¬produced with excellent clarity in a glossy8%” by 11”, bound, magazine format. Fic¬tion and poetry are uneven, ranging fromvery good to mediocre. Five dollars buysyou a handsome Introduction to the boom¬ing field of contemporary women’s litera¬ture, and supports a very worthwhile ven¬ture. —CM42—The Chicago Literary Review, Friday December 2,1983For couple or single person bedroom availableJanuary 1 in fully furnished 5 room apartmenteast Hyde Park $240 per month call Kamy day630-6889; 624-7466 or 324-6302 evenings.For Sale near univ 2br 2bth Ige rooms laun nitin kit all appl AC $54,000 wkdy aft 955-0341.Large room w own bath. Lake view. Goodsecurity on B-bus rt rent $250 start Jan 1 241 -6718.Single female needed for 1 bedrm in 2 bdrm apt56th & University Call 241-5343 keep trying.Studio apt. near 57th and Blackstone for subletstarting Jan 1 call 288-6668 after 8pm.1 BR APT AVAIL JAN 1 S430/mo incl heat &water 5631 S. Kenwood 947-04639-1 lam M-F.SPACE WANTEDStudio or l-BR to $350/month, beginning Dec.or Jan. Pis call 241-7015.I am an undergraduate looking for a room inan apt. Call Judy 472-4184 for more info.FOR SALEDodge Van for sale. Slant six (cylinder). 15-20mpg. With ladder rack. Good engine. GoodTransmission. Good Tires. $895. Bill 493-9122Solid wood bookshelves, very firm twin-sizefoam mattress, 13" Panasonic B/W TV, woodframe couch/coffee table, more. 752-0516.Component stereo $300, color TV $150, tableand chairs, $50, fouton $50, sofa $25. Also othermisc. furniture, kitchen items call 363-5185.IRISH MADE sells Christmas gifts: hats,sweaters, scarves and ties imported directlyfrom Ireland. Call 947-9395 for prices and otherinformation.Would you Buy A Used Car From A Rabbi?1973 Plymouth Valiant Original Owner MotorExcellent Body Fair $500 Call 667-3666 or 752-1127LOW ENERGY? Try UPTIME, a natural,nutritional energy booster. Call Catherine formore info at 955-4108 aft 12 noon or 288-5213eves.DINING SET: round table & 4 chairs $120 1369E. Hyde Park Ao 804phone 433-8563.1973 VW Squareback—Excellent condition!New Paint, rebuilt engine, good tires and bat¬tery. $1150. call 752-3346.Music for Christmas!!! Saxophone $595. Like-new Buescher Alto sax. Call 752-3346.$975 Buick Skylark 69 Good cond. Runs greatNew Trans, New water pump. New battery,others Snow tires, P Steering, P Brake A/CRadio. ..Must sell 363-1195 evenings.WANTEDSturdy, wooden kitchen table; clean, firmqueen-size mattress; reliable washingmachine, comfortable arm-reading chairplease call 643-9711.PEOPLE WANTEDPeople needed to participate in studies onmemory, perception, and language processing. Learn something about how you carry outthese processes and earn some money at thesame time! Call the Committee on Cognitionand Communication, afternoons at 962-8859.EARN $100/WK DURING XMAS HOLIDAYS& MAYBE BEYOND. Retired lady prof willpay $400/mo to 1 or 2 U of C female students.Duties: purchase food weekly, cook simple,delicious meals, and do light housekeeping instudio apt at 55th and Lake Shore Dr. HoursFlexible. References exchanged. Please phone955 6728.People wanted to gather together for a night ofDANCING to the spinning of WHPK DJs PatCannon, Steve Diamond, and Ken Wissoker.Sun. Dec. 4 until 2am at Club 950. 950 W.Wrightwood a few blocks north of Fullerton atLincoln Ave. Break!The Chicago Counselling and PsychotherapyCenter, 5711 S. Woodlawn, need people who arewilling to talk about their personal problemsand feelings for 10 sessions with a psycho¬therapist-in-training. Participation should notbe seen as psychotherapy or as a substitute forpsychotherapy, although participants mayfind it a useful experience. Participants willneither be paid or charged for their sessions.Call PAT 684-1800.Healthy non smoking paid volunteers soughtfor research into the common cold. Call 791 -3713.TENOR SOLOIST and section leader needed:Hyde Park Union Church, 5600 Woodlawn.Please call 363-6063 for appointment to audition.Become a distributor for UPTIME. Businessmeeting, Dec 2nd. 8pm. Call Catherine 2885213.MUSICIANS-free lunch & good tip in exchangefor your talent! Call Catherine 955-4108. BlueGargoyle Cafeteria 5655 So. University. SIGNUP NOW FOR NEXT QUARTER!ASSISTANT FOR BUSY OFFICE. 30 hrs/wkmin. Duties inc. coordinating staff (8-9 peopi®). planning and carrying through office procedures, and facilitating communication bet¬ween personnel in and out of office. Many pro jects some infernationai. Typing 50+. $5-7hourly. Resumes: OFFICE COORDINATOR,c/o Mr. Young, 5345 S. Harper #406, Chicago,IL 60637. (684-3508eve only, 7-9)People needed with FAST FOOD EX¬PERIENCE. If you are hardworking, responsi¬ble and quick - Please apply at the Frog &Peach Office (Basement of Ida Noyes Hall) onDecember 5th & 6th between 2 - 4 pm.Healthy non-smoking paid volunteers withonset of common cold within prior 24 hourssought for research project. Call 791-3713.Part-time typist wanted to enter data into wordprocessor for legal reference publication. Re¬quires speed, accuracy and ability to think in¬dependently. Hours flexible. Call 853-0166.SERVICESJUDITH TYPES - and has a memory. Phone955-4417.JAMES BONE, editor-typist, 363-0522.TYPIST Exp. Turabian PhD Masters thesesTerm papers Rough Drafts. 924-1152.PROFESSIONAL TYPING. Reasonable 6846882.PASSPORT photos while you wait. On Cam¬pus. Other photo services available. 962-6263.CUSTOM CATERING. Let me create theunusual for you. Far Eastern & Europeanspecialties.Wendy Gerick -538-1324MOVING AND HAULING. Discount prices tostaff and students from $12/hour with van, orhelpers for trucks. Free cartons delivered N/Cpacking and loading services. Many other ser¬vices. References BILL493-9122.NEED ATYPIST?Excellent work-Reasonable Rates. Tel. 536-7167PRECISION PLUS TYPING Fast service atreasonabl' rates includes editing. 324-1660AnytimeTYPIST - Experienced Secretary Types AllMaterial - Thesis, Dissertations, Tables, etc.on IBM Selec. 11. Grammar Corrected 667-8657.PROFESSIONAL TYPING. Call Barbara. 955-3175.ARCHITECTURAL QUALITY REMODELL¬ING Reliable, neat, guaranteed on-time com¬pletion. References available. LOSETH CON¬STRUCTION CO. 363 2202.General and legal typing services. Promptpick up and delivery. Contact Victoria Gordon(752-1983) *Typing. Term papers, theses, etc. IBM Correc¬ting Selectric. All projects welcome. 791 1674.Need a break? Enjoy many during the hotDANCE party provided to assuage pre-finaltensions, as WHPK DJs Pat Cannon, SteveDiamond and Ken Wissoker spin the discs onSun Dec 4 until 2am, at Club 950. 950 WWrightwood, a few blocks north of Fullerton atLincoln Ave. Hip Hop!UPTIME tablets contain Vit. C, wheat grass,spirulina, papaya, fructose, caffeine (herbalsource), cayenne pepper, cellulose. 3 tabletsfor $1.00. Now available at Blue Gargoyle Cafe.5655 So University Or call Catherine 288-5213.Women's therapy group forming: To concen¬trate on issues including identity, family,work, self esteem, relationships. Call MicheleScheinkman, ACSW, 363-8578 or Janet Reibs-tein, PhD. 324-2558 (eve).SCENESWRITERS' WORKSHOP 752-8377It's PARTY time-with WHPK DJs Pat Cannon,Steve Diamond, and Ken Wissoker, Sun Dec 4at Club 950. Dancing, mixing, and BREAKINGbefore finals. 950 W Wrightwood, a few blocksnorth of Fullerton at Lincoln Ave.AMNESTY INTERNATIONAL meets atCrossroads (5621 Blackstone) on Monday, Dec5 at 7:15 pm.PETS •Take care of small sociable Beagle dog for 12days over Xmas break. Compensation, all foodcall Joan, 777-7900 ext28, days leave message.LOST AND FOUNDLOST a ladies Bulova watch w/black cordband Lost around Regenstein. High sentimen¬tal value. $50 reward. Call Dorothy Joyce 493-8601.STILL LOST: Brown-framed glasses. If youtried to call, please try again. 363-1078 reward.PERSONALSUPTIME helps increase alertness - great forfinal week! Call Catherine at 288 5213 eves.RIDESDrive a Cadillac Seville to Phoenix. Expensespaid. Call H. Fried 782 7348SAN FRANCISCO in CHRISTMAS break, bycar. call CHAIM, 667-6212.Rider/Driver to and from Florida Dec 19 foJan 2. Share driving & expenses call 684-4743 LONELY OR UPSET?If something is bothering you and you want totalk about it, the hotline is willing to listen. Youcan talk to us between 7pm and 7am on anyday, even Sunday. Our number is 753-1117.ACHTUNG!TAKE APRIL WILSONS GERMAN COURSETHIS WINTER, AND HIGHPASS THE SPRING LANGUAGE EXAM! Two sections: MWF11-12 & Tu, Th 6-7:30PM Classes will begin Jan11&12. For more information and to register,call April Wilson: 667-3038.ORIENTAL CARPETSWARM YOUR WINTER!!For the past four years our carpets havebrought color and comfort to the homes ofmany professors and students. Whether youchoose a roomsize Persian or tribal prayerrug, our prices and quality are the best! For anappt. call 288-0524 (evenings and weekends).LANGUAGE COURSESThe Chicago Cluster of Theological Students atThe Lutheran School of Theology is offeringclasses in FRENCH-GERMAN-LATINSPANISH. For info, and reg. call Gerlinde F.Miller, Program Coordinator 363-1384.FRENCH COURSEthrough CCTS at LSTC. READING CLASS:Tue 7:30-9:30pm, Rm 206, FEE: $110. Beg. Jan10, 1984. For info and reg call Mary LouiseHolman Bekkouche 667-2312 or 962-1722 or G FMiller, Program Coordinator 363-1384GERMAN COURSESthrough CCTS at LSTC. Beginning Janurary 7.READING CLASSES: TWO QUARTERCOURSE (1st Qtr) Th 7:30-9:30pm, Rm 206,FEE: $110. (Beg. Jan 12, 84) TWO QUARTERCOURSE (2nd Qtr): Mo 7:30-9:30 Rm 206FEE: $110. Beginning Jan 9, 1984 ADVANCEDREADING COURSE: Wed 7:30 9:30, Rm 206FEE: $110. Beginning Jan 11, 1984. 25-WEEKINTENSIVE (60 instr. hours): T/TH 11-1, Rm206 FEE: $220. Beginning Jan 10, 1984 CONVERSATIONAL GERMAN for Beginner (II):Tue 8-10pm, Rm 203, Beg Jan 10, 1984. CONVERSATION (INTERMEDIATE): Tue6-8pm,Rm 203, beg Jan 10, 1984. For info and regplease call Geralinde Miller, PhD, NativeSpeaker, experienced teacher 363-1384.LATIN CLASSthrough CCTS. For info and reg call FatherRichard Zborowski. 324-2626 or GF Miller 3631384.SPANISH COURSESthrough CCTS at LSTC: BEGINNINGSPANISH (II) Tue 6-8pm, Rm 205, FEE : $110,Beg Jan 10, '84 For info and reg call CarmenRosario 288-8289 or 241-7800 or G F Miller,Prog. Co. 363-1384 INTERMEDIATESPANISH (READING): Mo 6-8pm, Rm 205FEE : $100, Beg. Jan 9, 84. For infoand reg callKamini Beekie 241-5661 or GF Miller, ProgramCoordinator 363 1384HIP HOP PARTYBreak one last time before finals. Hip hop to950 Sun Dec 4 for WHPK night-Homeboy 3 DJsPat Cannon, Steve Diamond, and KenWissoker will be spinning perfect beats and hotdance tunes until 2am. Club 950 W Wrightwood,a few blocks north of Fullerton at Lincoln Ave.COMING OUT?GALA hosts a coming out group every Tues at8:00 pm at 5615 S. Woodlawn to tackle issues ofbeing gay on campus and at home. Followed at 9:00 by the GALA Coffeehouse. All arewelcome. Starting 1st wk winter qtr.ORCHESTRA AUDITIONSAUDITIONS for string players interested injoining the University Symphony Orchestra orUniversity Chamber Orchestra in WinterQuarter : Tuesday and Wednesday, January 3-4. Call the Music Department for more information and audition appointment . 962-8484.Music by Beethoven, Rachmaninoff,Shostakovich, J.C. Bach, Boccherini, andothers. Practice hard!PUB FOOTBALLMinnesota at Detroit, Mon, Dec 5, 8pm.Members, 21 +PUB MOVIELET'S SPEND THE NIGHTTOGETHER—Rolling Stones Tues & Wed,11pm. Members, 21 +DANCE DANCE DANCELive Bands! Bluenotes and Groanbox!Rockabilly and Technofunk! Best of BothWorlds! Fri Dec 2nd! Doors open at 7:00! BlueGargoyle (57th & University) $2 at door.X-MAS PARTYCalvert House Christmas party, Saturday,Dec. 3, 5735 S. University. Meet at Calvert at5:30 p.m. for caroling, or come at 8 00 p.m. forfestivities. ALL WE LCOME !CONCERTOCOMPETITIONJanuary 1984 Department of Music ConcertoCompetition, for performance of a suitableconcerto with the University Symphony Orchestra or the University Chamber Orchestrain the spring of 1984. For further information,including elgibility requirements, contact theDepartment of Music, Goodspeed Hall, 9628484. Application deadline: January 20.ST. NICHOLAS MARKETUnusual gifts, knits, ornaments, toys, dolls,$1000 raffle, flea market, treasure auction andmore. St. Thomas Apostle Church 5467 S.Woodlawn. Sat. Dec. 3 10-6, Sun Dec 4, 9-4WASSAIL PARTYJoin the Student Activities Office incelebrating the holiday season at the AnnualAll-University WASSAIL PARTY, Tuesday,Dec. 6th, 4 6, Ida Noyes Hall. Carols, seasonalgoodies, and plenty of Wassail. Everyone invited!DEAD HEADS UNITEBear Tape Exchange wants to trade tapes withYOU! Looking for all Jerry or Dead shows.Call Barry at 753-3900. AIKO AIKO ALLDAY!!!!CLASSICAL DANCERECITAL,MANDELHALLCOMMITTEE ON SOCIAL THOUGHT: IndianOdissi Dancer Tanjana Gauhar's first US Performance after her 3rd East/West Europeantour. Dance recital/lecture demonstration on7th Jan '84, 7pm. Tickets available MandelHall Jan 3rd on $5.00 for U of C students $2 50.RESUME SERVICEExtensive type styles & paper selection. Prompt service. Copyworks 5210 S. Harper 2882233.The Chicago Maroonwill resume publicationJANUARY 6,1984The Closer You Gel The Better Me Look!Hyde Park's Completely NewApartment ResidenceA Short Walk From The lake And:Harper Ct. • University of ChicagoThe I. C. • RestaurantsIncludes• Master T. V’. Antenna • Sew Ceramic Tile• Ind. Control Heat * Sew Appliances• Hoi/ to Wall Carpeting * Sight lioormen• Central Air ConditioningI Bedroom from $405 - 2 Bedroom from $5255200 S. BLACKSTONE AVE.I BLOCK WEST OF HARPER COURT I DRIES—SHAH:FOR EXTRA¬TERRESTRIAL BEINGSWhen the human beingsavsIt is not trueHe may meanI don t know about it, soI think it is untrueOrI don't like it 'Reflectionsentersiiwi ioOctagon Press $7.95Available atSeminary Co-op Bookstore5757 S universityUniversity of Chicago Bookstore5750 S Ellisor promptly by mail tromSHK Book Service, Dept C-1PO 8o« 17b Los Altos CA 44022The Chicago Literary Review, Friday December 2, 1983—43SAO’s annualTuesday, Dec. 6th 4pmIda Noyes HallEveryone invitedCarols &Seasonal Goodies44—The Chicago Literary Review, Friday December 2, 1983