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The Ubyssey Jan 24, 1975

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Array Vol. LVI, No. 42
FRIDAY,
JANUARY 24, 1975
VANCOUVER, B.C.,
.48
228-2301
See special Canadian lit issue inside
PUDGY FINGER of law points to Ubyssey fotog Marise Savaria
Thursday threatening action if his picture was taken. Needless to say
it was, now SUB office of rag is bracing for attack of Quasi Cops,
complete with walkie-talkies and ticket books, charging in to arrest
innocent student journalists. Outrage over photo is believed because
quasi-cop was not wearing full dress uniform.
Knight's future blackened
but Dailly's brightens up
Premier Dave Barrett reiterated
Thursday that former chief B.C.
education researcher Stanley
Knight will remain axed and
education minister Eileen Dailly
won't lose her job.
Barrett told reporters at Simon
Fraser University that if he
reconsiders deputy education
minister Jack Fleming's decision
to fire Knight, he will set a
precedent which would result in
other middle level civil servants
appealing to the public to have
their dismissals reversed.
"In the final consideration,
someone needs to be delegated
with authority to make decisions,"
he said. "The decisions must be
made.
"I have delegated people in the
cabinet with authority to make
decisions and they are the ones to
make the decisions unless I lose
confidence in them.
"I have not lost confidence in Ms.
Dailly and will not interfere with
Ms. Dailly," he said.
Knight was fired last week after
Fleming told him he had failed a
civil service job evaluation during
his probationary period.
Fleming has alleged he was fired
because he tried to implement
recommendations   set   out   in
Dailly's white paper for education
reform, released last spring.
Barrett said the government "is
still committed to the white paper"
but "will determine the best
priorities" in implementing the
paper.
The white paper listed five vague
areas for education research and
development. It was criticized at
the time of its release for containing no concrete ideas for
education reform.
Barrett was at SFU to give a
speech on the current federal-
provincial natural gas dispute.
False Time rate cards flourish
Cards with false subscription rates for Time
magazine are still being distributed at UBC.
Efforts by Time staffers in Vancouver and by The
Ubyssey to contact the mysterious distributors of the
cards, New Market Design Systems, have so far
failed.
The Time staffers say the firm can only be reached
through a box-number address. A letter was sent
from the Time office to New Market Design systems
last week, however no response has yet been
received.
The Ubyssey was unable to obtain a phone number
for the mysterious distributors and checks with the
post office, the Better Business Bureau, and City of
Vancouver licensing authorities failed to turn up any
trace of the distributors.
The subscription cards advertise subscription rates
which are lowej- than the actual rates. Those who
send in the cards are being charged the higher rates,
according tova spokesman for Time.
The erroneous cards were still being distributed at
UBC this week, despite last week's report in The
Ubyssey of the errors on the cards.
The only action taken by the Time Vancouver office
has been to send a letter to the distributor. They
obtained the distributor's address only after a phone
call to Time headquarters in New York.
The staffers told The Ubyssey that no action on the
fiasco has been taken by Time's New York
headquarters or by Time Canada.
UBC students have found the false subscription
cards in various lecture halls and on posters since the
beginning of the current school year.
Actual rate for the one-year subscription, quoted at
$7.50 on the distributed cards, $9 is $9 while the 25-
week subscription, quoted at $3.75 — has been
changed to $4.27 for 27 weeks.
$3 undergrad fee
will go to societies
A motion to return a $3 fee to graduating students who are not
members of an undergraduate club, society or department was
defeated by the grad class council Thursday.
Instead, an amendment proposed by arts rep Nancy Carter will allow
undergraduate student organizations to apply for the funds, a repeat of
past practice.
The original motion was put forward by science rep Ron Walls who
said that individuals should be able to obtain the rebate.
"Otherwise people outside of undergraduate organizations not only
can't get what is their money, but have no control over how it is spent,"
Walls said.
"If people want to havea say in how their money is spent, they should
become involved in their undergraduate societies and unions," Carter
said.
The undergraduate organizations can do whatever they want with the
non-discretionary rebate, Carter said.
The rebate will provide approximately $30,000 in total, but the Alma
Mater Society hasn't provided an exact figure yet, recreation rep Dave
Hull said.
The arts and science faculties have never accepted the rebate, said
Walls.
"They're never well enough organized to decide on a project, so, in
effect, their money subsidizes other faculties," he said.
The deadline for applications for money is Feb. 19 and a ballot for
selecting projects to receive funds will be sent through the mail to
graduating students. Page 2
THE      UBYSSEY
Friday, January 24,  1975
Hot flashes
TV folic
Wednesday
Community participation in
television and the changes it
would effect will be discussed in
International   House  Wednesday.
Bill Nemtin, an expert on
television as a form of mass media
will be the speaker. Nemtin is also
a member of the Association for
Public Broadcasting in B.C.
Nemtin has also worked for the
National Film Board and Metro
Media. Title of his talk is
community programming and the
consumer goal. It happens at
noon, in the IH upper lounge.
Haiti
Fifteen hundred blacks from
Haiti, living in Montreal, are
threatened with deportation by
the Canadian government.
Refused immigrant* status, they
are faced with certain
imprisonment, if not death, upon
return to Haiti.
And       the       International
Committee Against Racism
demands that these repressive
tactics by the Canadian
government stop and these people
be given immediate legal Canadian
status.
A demonstration and rally,
organized by INCAR, has been set
for 1 p.m. this Saturday. Marchers
will assemble at the Vancouver
courthouse, 800 West Georgia and
proceed to the immigration office,
1550 Alberni.
Frontier
Does this university piss you
off?
Are you asking yourself more
often than not who these geeks
spewing off at the front of your
classes are and just how they got
there?
Do you care?
Do you think you could do a
better job, only not in the
oppressive atmosphere of the
university as you know it?   .
There is a different kind of
teaching institution in B.C. and it
has been here since 1899. It's
called Frontier College.
The college employs "laborer
teachers" to work in primary
industries and outlying
communities. The laborer has a
job in the community, such as a
worker on a rail gang, and in his
spare time is expected to cater to
the educational and recreational
needs of his fellow workers.
Sound good? There will be a
recruiting meeting for the college
at noon Wednesday in Buchanan
100. Interviews will be conducted
after the meeting.
Tween classes
Mildred     Brock
TODAY
WOMEN'S ACTION GROUP
Meeting,     no
room.
YOUNG SOCIALISTS
Stephen Watson speaks on Canada's
racist   immigration    laws,   8   p.m.,
1208 Granville.
LATTER DAY SAINTS
STUDENT ASSOCIATION
E. B. Preece, mission president for
the Vancouver area, speaks on the
book of Mormon, noon, Angus 412.
ECKANKAR
Discussion  group,   noon, SUB .115.
EUS
Dancing lessons with Just Cookin',
9 p.m., SUB ballroom.
ALLIANCE FRANCAISE
General meeting,""      noon,
International   House  upper  lounge.
GAY PEOPLE OF UBC
General meeting, noon, SUB 105B.
SATURDAY
ED FIVE
Physical education skill sharing day,
9 a.m. to 4 p.m., gym A, winter
sports centre.
GAY PEOPLE OF UBC
Rap  session,   7 p.m.,  N9 A3, Gage
towers.
UBC KARATE CLUB
Practice, 10 a.m. in winter sports
centre gym E and 7:30 p.m.
Monday in SUB party room. New
members welcome.
TUESDAY
PRE-MED SOCIETY
Discussion     by    medical    students,
noon, IRC 1.
IMMRAN DANCE GROUP
Group presents free performance of
contemporary   dance,   noon   today;
noon and 8 p.m. Wednesday and
noon Thursday, all In SUB art
gallery.
UBC SKI CLUB
General meeting, noon, Angus 104.
The UBC
SKI CLUB
is meeting on
TUESDAY AT NOON
IN ANGUS 104
"          'yi'.- •
'■^yk-naa*"-
'wu
^&
n
1 9
THE
CHARLES BOGLE
PHONOGRAPH DISPENSARY
new
& used
records
4430 W.lOth
2240232
PIZZA
With cheese, tomato, ham,
pepperoni, onions, and
mushrooms.
Onh 40c a Square
Where?
SOUTHERN COMFORT
f
TEACHERS
School District No. 57 Prince George, serving the residents of
British Columbia's largest and fastest growing interior community
has openings as of September 1975 for teachers and
administrators covering a broad range of the educational
curriculum. -
These positions, both in the city of Prince George and in the
surrounding communities of MacKenzie, McBride and Valemount
offer the new graduate the challenge and the opportunity of
becoming involved immediately within the educational
framework of this growing interior region.
Situated in the heart of British Columbia's forest industry these
openings offer not only rewarding professional careers but also
provide an environment conducive to diverse outdoor recreation.
Prince George is the centre of some of the world's finest big game
hunting and trout fishing areas. Housing has expanded to meet
the new demands and property taxes in the City of Prince George
and surrounding areas are amongst the lowest in the province.
If you have a desire to take part in the growth and development
of North Central British Columbia and would like to learn more
about these positions you are invited to call Mrs. J. Chose of the
Teacher Employment Service, B.C. School Trustees Association,
1095 Howe Street, Vancouver, telephone 682-2881.
Appointments will be arranged with the recruiting staff of School
District No. 57 Prince George, who will be in Vancouver on
January 29, 30, and 31 and February 1st.
CENTRAL ADMINISTRATION OFFICE
SCHOOL DISTRICT NO. 57
1891 - 6th Avenue
PRINCE GEORGE, BRITISH COLUMBIA
V2M1L7    563-3694
THE CLASSIFIEDS
RATES:   Campus — 3 lines, 1 dsy $1.00; additional lines 25c
- Commercial - 3 tines, 1 day $1.80; additional fines
40c. Additional days $1.50 & 35c.
Classified ads are not accepted by telephone>and are payable in
advance. Deadline is 11:30 a.m;, the day before publication.
Publications Office, Room 241, S.U.B., UBC, Van. 8, B.C.
5 — Coming Events
SATURDAY, JANUARY 25th. Graduate
Student Centre, 'Steam Heat" (Formerly the "King Biscuit Boogie
Band") is playing in the GSC Ballroom. No hard times. Come as you
are. Admission $2.00. Full Bar Facilities.
GAY UBC RESIDENTS meeting at 3rd
Haida Totem Park 8:30 p.m., Friday
24th CANCELLED — WITHDRAWAL
of facilities.
FREESEE: THE ASCENT of Man. now
showing every Wed. at 12:35 and 1:35
p.m. SUB Aud.  Free.
10 — For Sale — Commercial
C & C SPORTS
Mid-Winter Specials
15% Off All Badminton, Squash and
Tennis Racquets!
Dozens of other attractively
priced items.
4:00 p.m.-6:00 p.m.   Mon.-Wed.
4:00 p.m.-9:0O p.m. Thurs. & Fri.
9:00 a.m.-6:00 p.m. Saturdays
3616 West 4th Ave.
65 — Scandals
THE UBC SKI CLUB meets every Tuesday in Angus 104 at noon. Be there
please.
70 — Services
11 — For Sale — Private
1973 TOYOTA P.U. with or without
Homemade Camper. Offers. 736-9470
evenings or weekend.
MARDI SRAS SOCIETY. FREE with
purchase of 3,000 raffle tickets. See
your  fraternity/sorority rep.
SALE PRICE Texas Instruments. SR-50
only $164.95, Co-Op Bookstore. SUB
basement or call 325-4161.
25 — Instruction
PIANO LESSONS by grad of Juilliard
School of Music. All grade levels
welcome.  731-0601.
30 — Jobs
RESUMES
Creative  Writing and  Printing
Custom Editing and Styling
Student  Discounts
688-6288
BEST   RESUME  SERVICE
CREATIVE, RELIABLE carpentry at
honest rates.  Phone Josh at 733-0973.
ELITE ESCORT SERVICE provides a
Friendly dignified escort, hostess service and we now require young
ladies. For more information. Phone
681-8171.
SOUND RESEARCH — thousands of research papers — Custom Research —
Student Resume Services, 1969 West
Broadway. 738-3714. Office hours, 1:00
p.m.-5:00 p.m. Mon.-Sat.
INCOME TAX PROBLEMS. Call expert,
former tax assessor. Prompt service.
Low   rates.    Pick   up.   266-4651.
85 — Typing
PAPERS TYPED  PROFESSIONALLY —
get better grades. All work checked
for spelling and carefully proofread.
Tel.  736-5816
ESSAYS TYPED fifty cents per page.
Vicinity 17th and Cambie. Phone 879-
2093.
90 - Wanted
WANTED  1966-68 124  FIAT  SPIDER  or
MGB good condition (No crap please)
266-4888. Also for sale 1971 Toyota
4x4 hubs excellent condition.
99 — Miscellaneous
aBaaaaaaB*aaa«Ba*Baaap*a«a*aj*aBaaa"aaaaw*B'«
USE
UBYSSEY
CLASSIFIED Friday, January 24, 1975
THE      UBYSSEY
Page 3
Roszak hits false awareness
By GARY LENNEY
The current movement in search
of a higher consciousness is in
danger of falling into the trap of
"bloodless research and mindless
sensationalism," Theodore Roszak
said Thursday.
Roszak, author of Making of a
Counterculture and Where the
Wasteland Ends, outlined his
criticism of the "consciousness
circuit" in a noon lecture.
He warned that the way to higher
consciousness is uncharted and
that unless we proceed carefully
and sceptically we are in danger of
ending up with nothing but carnival magic or collections of
graphs and numbers to replace
true religious experience.
"We are like a prisoner who has
escaped into unfamiliar terrain
with no idea which way to turn," he
said. "We cannot yet tell awesome
from absurd, moral from extreme
... we must mark roads that lead
to barren lands."
While he acknowledged many of
the experiments in religious experience as sincere, he said that
many are "false starts."
Already we see transcendental
meditation being advertised on the
bases of electroencephalogram
research as a kind of
businessman's "psychic martini,"
a quick way to relaxation and a
healthier mind and body, he said.
Uri Geller and the proliferating
psychic pleasure fairs stand as
their own warning that
showmanship is often mistaken for
true religiosity, he said.
Roszak compared problems in
the consciousness circuit with what
he saw as problems in contemporary sexuality.
"Sex is at the first level of
repression," he said. And the
sexual changes that have come
since Freud's work have led us into
a "society drowning in permissiveness   and   pornography."
He described adult comic books
available to "children of all ages"
that "make Heronymous Bosch
look like Victorian wallpaper."
While some may hail such
literature  as  a  move   toward
liberation he said he sees obscenity
to be "the symptom of the disease,
not its cure."
He compared the willingness of
the sexual liberation movement to
encompass the bad with the good
with the problems in the move
toward higher consciousness, the
"aquarian frontier."
In this context, Roszak criticized
scientific examinations into
religious experience, examination
that has "brought all into the
laboratory for quantification."
He said that such examination
puts us in danger of mistaking
religious experience for what can
be measured and quantified.
Science may measure only the
least important part of religious
experience, he said.
While he acknowledged much of
the examination as sincere and
perhaps even beneficial for the
scientific community, Roszak said
it is a case of "wild new wine being
stored in old and very dusty bot-
ties."
It is the use of rigorous
methodology to justify scientific
religious examination that Roszak
sees as being harmful.
"It is as if we had more to learn
from electroencephalogram than
all the upinshads put together," he
said.
He argued further that science is
in danger of placing too much
emphasis on the peripheral aspects
of religious experience, such as
fork bending, emphasis that could
prove detrimental to the search for
authentic religious experience.
He reminded his audience of the
warning Jesus gave to his disciples
that many a false prophet could
perform miracles more wonderful
than his own.
As an example of the research he
was criticizing, Roszak referred to
the work being done in split brain
psychology, research that has
managed to "locate" creativity in
the right hemisphere of the brain.
This is then offered as proof that
mysticism exists because it has
been located, he said.
The attitude that "what science
doesn't know nobody knows" is the
No new slates as
confusion hits vote
Politicking Thursday produced
no new slates, but a lot of confusion
and even confidence among those
who have declared their candidacy
for the Feb. 5 Alma Mater Society
elections.
Council grad studies rep Stefan
Mochnacki denied rumors that he
was running for an executive
position, but did say he and several
others whom he refused to identify,
were meeting Friday to put
together a slate.
Possible candidates for this slate
are Jennifer Fuller, nursing
representative on council, Stew
Savard, acting arts undergraduate
society president, and Jeanette
Auger of the women's office, who
have indicated they would run in
the election.
Auger mentioned the possibility
of running a feminist slate, and
criticized the still-unnamed slate
headed by Joan Mitchell for having
only one woman on it.
Meanwhile, Mitchell confirmed
student senator Greg Peet would
join their slate, but not as candidate for secretary.
"None of the positions are
definite yet," she said. "We're
going to discuss it over the
weekend."
Others running on the same slate
are Gary Moore, Greg Heenan,
Rodney Cox, Tom Manson and
Johan de Rooy.
outcome of this type of thinking, he
said. "Once we scientize, how long
before we mechanize, then
militarize?"
In contrast to this "dessication of
experience by research," Roszak
pointed to the carnival type of
religiosity that encompasses
everything "provided it is forbidden and freakish."
He said it puts us in danger of
"diluting the golden elixir with
soda pop substitute."
One aspect of such charlatan
religion is the attempt by some to
explain all religious experience in
terms of mundane reality, he said.
This includes various well known
works, such as the attempts of von
Daniken and Velikovsky to explain
religion in historical terms and
Wilhelm Reich's claim to have
demonstrated the existence of a
universal energy because he had
captured it in a box and taken its
temperature."
He compared this attitude to
meeting the messiah and "trying
to verify his existence by taking his
fingerprints."
Roszak also warned of more
overt charlatanism, such as that
contained in a recent book about
Uri Geller hailing him as a prophet
of the modern age. The book reads
"like Abbott and Costello meet
Jehovah."
He said that it isn't a question of
whether Geller has the powers to
which he lays claim, but rather of
the effect of small mindedness that
surrounds its promotion.
Roszak promised more positive
advice in his final lecture at noon
next Thursday at IRC 2.
—marise savaria photo
REFLECTIVE MOMENT amid green jungle for unidentified woman student taking pause in bright sun
Thursday to contemplate upcoming mid-term exams. But remember, only 72 days til classes end.
'Crisis centre unnecessary-no rape on campus
By SHEILA BANNERMAN
"There is no rape on campus, so
a rape information or crisis centre
is unnecessary."
When women's office head
Jeanette Auger tried last summer
to raise interest in forming a rape
information centre at UBC, that
was the usual reaction she
received.
But during the last year, five
rapes have been reported to the
women's office, Auger says.
The office has also had calls
from several women during the
last six months who were raped but
did not report it, adds another
staffer, Marion Barling.
A third staffer, Janet Sprout,
says there should "definitely be a
rape centre established on campus
and financial assistance should be
offered."
The staffers tell the story of one
rape victim who went to student
health services only to find that she
had to wait in line with everyone
else.
"There are no emergency services on campus or nearby,"
Auger says.
Barling says the women who
phoned about their unreported
rapes were in various states of
emotional unrest and "just needed
someone to talk to."
One woman said "my father
would kill me and I'm not going to
tell anyone," Barling said. That
women, like many others, needed
counselling but didn't know who to
turn to.
RCMP constable S. F. Leach
says there have been three
reported rapes on campus this
academic year, and 12 reported
cases since 1971.
Of the three most recent cases
one has not been solved, one was
taken to high court, where the
sentence was four years and one is
pending in court, coming up for
trial in the spring, he says.
All women reporting rapes have
wished to press charges.
"When questioning rape victims
we realize that they might be
uneasy talking to a male police
officer," Leach says, "and we try
to be sensitive to their emotional
condition. We usually ask her
whether or not it will bother her."
The most common rape cases
happen with hitchhikers, he says.
A woman is trapped in a car with a
man who won't let her out.
Hitchhikers are "one of our
biggest problems," Leach says.
Exhibitionists are another
problem, though they are usually
harmless, he says. There are few
instances reported during the
winter, for obvious reasons,
although a man wearing only boots
was seen standing in the golf
course by University Boulevard
last week.
In the summer, exhibitionists
are a "real, real, big thing," says
Leach. "They come up from Wreck
Beach."
Off-campus, there is a rape relief
centre at 181 West Broadway but
its number — 874-7911 — reaches
an answering service outside its 10
a.m. to 5 p.m. hours. The number,
a new listing, not listed in this
year's telephone book. Page 4
THE      UBYSSEY
Friday, January 24,  1975
Time and Digest finally put in place
Prediction: Time and Reader's
Digest will launch massive
subscription campaigns to try to
prove their popularity and entrench
their financial position in Canada.
Recommended course of action:
Everyone tear the little subscription
forms into little pieces and send a
donation to Saturday Night.
The surprising government
decision to stop tax concession to
advertisers in magazines publishing
Canadian editions or sections but not
based in Canada certainly took long
enough.
These   magazines   have  too  long
Gerald: your eulogy
This editorial is directed at former
arts rep on council Gerald
deMontigny, who promised not to
sue. It therefore contains all the
nasty terms that have been welling
up in editorial bosoms of late.
Gerald, you and everyone like you
who abandons whatever post held in
the middle of term, can quite justly
be called the worst quitter extant.
When elected you should serve, no
matter how frustrating that
experience might be, because
obviously you have a certain
responsibility to" do whatever you
can.
Of course you feel stifled by the
right wingers on council. Who
wouldn't. But you don't quit; you
work to circumvent them and make
sure council actually does something.
Otherwise you leave it in the
control of those same right wingers
and their pathetic schemes.
So, Gerald, you should be taken
and placed in a padded cell and
forced to listen to Gordon Sinclair
read the collected diaries of
Mackenzie King (color commentary
by Howie Meeker), with a
continuous recording of Andy Kim
and Terry Jacks singing O Canada in
the background. And given only
Texan burgers to eat. With Tang. For
nine days. You rat.
been draining advertising away from
Canadian publications, while
presenting the most puerile pap
imaginable.
Saturday Night doesn't exactly
represent the mecca of journalistic
endeavor, but at least it tried. As do
Last Post, Canadian Dimension and
Canadian Forum, all currently in
fairly shaky financial positions.
So send support to these
magazines and give a good cheer for
the downfall of the two publications.
It's about time they went.
Letters
Review
rejected
Whether a book reviewer approves or disapproves of any given
novel is his own affair and none of
the author's but there is a
statement in Ron Binns' account of
my Land of Is misleading enough
for me to break the rule that a
writer should never publicly reply
to his critics.
At the end of a clear and
reasonably well-written review
Mr. Binns produces the following
unintelligible sentence:
"The title, in case you were
wondering, is not a reference to the
International Socialist movement
but in fact alludes to the
relationship between the I of the
ego, the world of others, and the
endless catalogue of personae
which surface throughout the
action."
The phrase "in fact" might lead
the reader to suppose that Binns
got this pretentious interpretation
of the novel's title from me
directly. "In fact", however, I took
it from a poem by W. R. Rodgers
called "Neither Here Nor There"
which begins:
"IN THAT LAND ALL IS
AND NOTHING'S OUGHT . . ."
The line struck me as suitable
since the poem's theme is similar
to that of the novel.
John Mills
Simon Fraser University
Actually my review was longer,
but it was edited. After the sentence Mills objects to, I quoted one
of his characters as remarking, "I
am aware of a world outside
myself... a marshmallow world
of Is."
In terms of this quotation and the
novel's treatment of point-of-view
I think my interpretation was
equally as valid as the one Mills
suggests.
Between marshmallow poetry
and validity in interpretation falls
the intentional fallacy. Incidentally, a sentence which is
truly "unintelligible" cannot
logically be "pretentious."—
Binns.
Gerald
To Alma Mater Society Council:
The purpose of this letter is to
inform council that due to
irreconcilable differences between
my political beliefs and those
beliefs most frequently expressed
by the majority on Council, I feel
that my continual involvement on
AMS council is a waste of time both
to myself and to those other
members on Council.
I believe that the purpose of a
student society should be to
promote involvement of students
both in the university, and in the
communtiy, however, throughout
the year the AMS has consistently
endeavoured to construct institutions and structures that serve
only to perpetuate the alienation of
the  students   from   both  their
THE UBYSSEY
JANUARY 24,1975
Published Tuesdays, Thursdays and Fridays throughout the
university year by the Alma Mater Society of the University of
* B.C. Editorial opinions are those of the writer and not of the AMS
or the university administration. Member, Canadian University
Press. The Ubyssey publishes Page Friday, a weekly commentary
and review. The Ubyssey's editorial offices are located in room
241K of the Student Union Building.
Editorial  departments, 228-2301; Sports, 228-2305; advertising,
228-3977. Editor: Lesley Krueger
"My Alley Oop hairstyle Is my problem, o.k.," growled Ralph. "Just
wait and see, this time next year I'll have reached puberty, be six foot five
and pack a punch (and a pair of pants) like arold Snepsts" Maurer.
Immediately punching him out were Lesley Krueger, Andre Paradis, Nick
Fairbank, Boyd McConnell, Eric Ivan Berg, little bourgeois Jan O'Brien,
Bernard Bischoff, Ron "the alien Canuck" Binns, David West, Pat Angly,
Sheila Bannerman, number three Marcus Gee (assisted by number four
Bobby Orr) and Kini McDonald. The frenzied scheme was dampened
predictably by Gary "Kawmoniwanaleiu" Coull shouting: "It's all settled,
your children are doomed to be basket cases for fooling around with that
shit." Ken "23" Dodd mercifully fed him a gallon of magic mushroom
juice as Doug Rushton, Marise Savaria, Mike Sasges, Sue Vohanka, Gary
Lenney, Michael Mcleod, Susan Cardinal, Barry Jensen, Chris Gainor,
Berton Woodward, Alan "Paisley" Doree, Mark Buckshon, Tom Barnes,
Cedric Tetzel, Carl Vesterback, Stuart Lyster and Jake "The Candidate"
van der Kamp clapped.
student society, and their community.
I bid council success in its plans
for the future, and hope that
council will feel great satisfaction
in its efforts to build a large corporate empire, that not only exploits the students, but those individuals that we employ, as mere
cogs in the vicious machinery of
our Empire. Therefore, I submit to
you, my resignation.
Gerald de Montigny
former arts rep
Da law
I believe that it is Parkinson's
Law which states that "... Officials make work for other officials . . .". Among other things,
we now see a request that:
"Officials make other officials
and their businesses well-known"
to the detriment of the workers
who have paid for the privilege of
working for and with the official!
Indeed, if said official does not
bring fame and 'well-known-ness'
to his institution he is required to
divorce himself from the institution by his co-officials who
apply policy about 'publish or
perish' that they may have had no
hand in designing!
May I submit that this is absurd
— may, obscene. For what reason
does a university exist? Self-
aggrandizement and collection of
knowledge only? Or does it also
exist to pass the collective
knowledge from one generation to
another?
I submit both!!!
Some people are better at
gathering knowledge, others at
passing it on.
Let us bear this in mind and if
necessary change the criteria for
choosing and tenuring professor.
Indeed, what is the use of having a
man on the staff who works hard
for however long it takes to get
tenure, gets it and then sits back
like deadwood for eons after than,
knowing that he will not, be sacked
because he does no work.
I am sure that this happens —
ought it?
How can it be ended?
Name withheld
Neuslettre
Today I had occasion to pick up
and read a copy of the newsletter
('Neuslettre') published by the
Engineering Undergraduate
Society.
Only one word can describe it:
Rubbish. Four pages long, at least
half of it contained an assortment
of jokes, mostly sexist, as well as
other derogatory comments. Most
of the remainder of it contained an
editorial of nonsensical remarks,
announcements of a dance and the
'Red Rag', and a short sports
section. The only items of
redeeming value in this paper
appeared to be that short sports
section, and two very short articles
on wages for engineers and B.C.
Hydro speakers on campus. The
rest was crap.
In my opinion, the students of
this university should not be
required to support, as far as they
do, an undergraduate society that
wastes money producing a
newsletter of this nature, and that
also engages in other futile activities. Engineers, for the sake of
sanity, kindly clean up your act or
don't have one!
Dave Johnson
social work 3
Godiva
Whilst thinking of the upcoming
engineer's week my mind was
suddenly full of Lady Godiva
(figuratively speaking). If the
Engineers   repeat   last   year's
spectacle I think it is worthwhile to
present the Lady Godiva legend as
told by my trusty Funk and
Wagnalls Encyclopedia.
Godiva or Godgifu (1040-80),
English noblewoman, wife of
Leofric, Earl of Mercia. She is
known to have persuaded her
husband to found monasteries at
Coventry and Stow. According to
popular legend she obtained for
people of Coventry a lowering of
the excessive taxes levied by her
husband, who agreed to reduce the
taxes on condition that she ride
naked through the town. Lady
Godiva, mounted on a white horse
and covered only by her long hair,
carried out his demand. Only one
person disobeyed her orders to
remain indoors behind closed
shutters; this man, a tailor known
afterwards as Peeping Tom,
peered through a window and
immediately became blind. The
oldest form of the legend is quoted
from earlier writers by Roger of
Wendover (died 1236), in Flores
Historiarum.
Lady Godiva's ride is of
historical significance to the
people of Coventry. Her humility
was self inflicted and served a
purpose.
I. Thomson
arts 4
ADVERTISING
Sorry
Certain comments made and quoted in the Nov. 28 and
Nov. 29, 1974 editions of The Ubyssey and in three letters
from Robert Marris (and others) to the editor of The
Ubyssey published in the same editions of the paper
contained comments which may tend to cast doubts upon
the character and denigrate the reputation of arts undergraduate society Alma Mater Society representative,
Nancy Carter.
We, the undersigned, hereby apologize for any embarrassment caused to Nancy Carter by the publication of
the letters and comments contained in the news coverage
in The Ubyssey and emphasize that no malice toward her
was intended by the undersigned.
Gerald deMontigny
Andrea Trudel
Stewart Savard
Linda Bartram
A. J. Francis
____^^_ Robert H. Marris Atwood
Page
Friday
Birney
Blais
Cohen
Layton
Purdy
Richler
Laurence
reprinted from Canadian Forum
Bucking the literary tide
This issue of Page Friday is about Canadian
Literature — or CAN. LIT. as it is popularly known.
In the last 10 years there has been an explosion in
Canadian publishing, writing and literary criticism.
Can. Lit. courses sprout in English departments
(sic) across the land.
A total change of attitude toward the native writer
is evident on the part of government, publishing
houses, press and readership. Gone are the arid days
of the provincial wilderness in which an older
generation of writers like Irving Layton, Margaret
Laurence and Mordecai Richler grew up to forge
their talents in bitter isolation — or seek exile in the
capitals of the master cultures, London and New
York.
Colonial subservience has been replaced by a fierce
national pride, and the last decade has witnessed
Canadian culture in the toils of a radical self-
examination, in an attempt to define a coherent body
of Canadian literature, separate it from other
literatures, pin down its unique aspects, and assess
its true worth.
The boom in Canadian literature is closely allied to
the resurgence of Canadian nationalism in general.
Literature is one of the crucial ways in which
Canadians — or at least the dominant white English
and French speaking middle-class majority — have
tried to give themselves a sense of identity, and
assert their independence from the primary colonial
influences emanating from historical ties with
Britain and the U.S.
Canadian nationalists see the fact of American
economic domination reflected in the threat of
American cultural domination — demonstrated in
different ways by the takeover of the Ryerson
publishing house by the American firm McGraw-Hill,
and the demise of a literate paper like Saturday Night
while American pulp like Reader's Digest and Time
continue to get tax concessions from the Canadian
government.
A great deal of energy has been dedicated in the 60s
to insisting on the worth of Canadian writing and the
importance of reading it. Dissenting voices have been
frowned on, and constructive — even uncritical —
encouragement to Canadian artists is the order of the
day, delivered terms of adulatory reviews, self-
congratulatory cliques, and lavish government
grants.
We have our own culture heroes now — Irving
Layton, Margaret Atwood, Marshall McLuhan,
Northrop Frye, Leonard Cohen, some of whom have
achieved an international reputation.
In the academically-weighted world of esthetic
discussion there has been a strong trend to discuss
Canadian Literature in terms of the specific themes it
debatably appears to embody — isolation, the
wilderness, survival, the garrison mentality.
A corollary trend has been to search back in our
threadbare heritage for great Canadian writers of the
past — an exercise which has conjured up ghostiy
figures like E. J. Pratt, F. P. Grove and even Bliss
Carman.
Dissenting voices have been few, and undoubtedly
Mordecai Richler's is the loudest and most assured —
as Marcus Gee shows in his survey of Richler's
literary journalism.
Obviously though Richler's own hard years in Paris
and London, followed by a massive cosmopolitan
success as a paperback novelist in both the U.S. and
Britain, have a certain influence on his witty bit-
See pf 2: MAKING canadianlitcanadianlitcanadianlitcanadi
Making our own waves
From pf 1
chings. Other literary mandarins of the local scene,
like Northrop Frye, Margaret Atwood and George
Woodcock, actively sanction and encourage the industry.
The Can. Lit. explosion has something of the
character of a mushrooming atom bomb — impressive from a distance, but indiscriminate in the
impact of its overkill, and depositing a mass of debris
in all directions. If this PF issue registers a mood, it
is that after the heady days of the new literary self-
consciousness now perhaps is the time to take stock of
the value of the state of Canadian Literature.
Can. Lit. is a major industry — for the professors in
their warm academic niches, for the state-subsidized
publishers, for the burgeoning Canada Council-
assisted little magazines, and for the writers
themselves, nourished on grants, publicity, instant
academic consecration, and a glut of readers.
But has the rush to self-pride stunted the growth of
self-criticism?
There is a caricature version of the exemplary
Canadian writer: he is usually is closely associated
with a university or city-based literary clique or
publishing house, he is almost always an academic or
a writer-in-residence, and he usually relies heavily on
Canada Council handouts.
The reality comes uncomfortably close to the
caricature. Writers like Layton, Birney, Atwood,
Bowering, Ondaatje, MacLennan etc. etc. all have
academic posts or connections. Within the groves of
academe such people not only influence the way
literature is taught, they also have a profound effect
on the way our critical perceptions are shaped.
Is Richler perhaps right? Is it too easy for the
young Canadian writer to make a name for himself in
a tiny pond? Is a thematic approach to Canadian
literature a very useful way of approaching it, or does
it distort our perceptions through slick
generalizations? Is there in fact a coherent national
literary tradition at all? Or is the only meaningful
characteristic any worthwhile literature can have is
its diversity?
In other words, is the hunt for a literature's
national characteristics a leftover from the 19th
century?
It is these kinds of questions which we hope will be
generated by the articles here. Has Canadian
Literature been overvalued? Some of our contributors would agree. Others not. But at least the
forum is open and wide-ranging.
As well as the overviews of the current literary
situation which this theme issue offers, individual
writers in the particular context which their work
raises are also considered.
Pat Angly looks at the plays of B.C. dramatist
George Ryga, who like poet Patrick Lane, has found
creative inspiration in the outcasts and poor who
exist on the darker side of Canadian affluence.
Sheila Bannerman looks at another oppressed
group, women, through the medium of Margaret
Atwood's first novel The Edible Woman although
here identity is shown to be warped not by economic
privation but by the kind of emotional alienation
attendant on female role stereotyping in a consumer
society.
And Gordon Roback considers the literature of a
third and more assertive minority within Canada's
borders, the Quebecois, and the key issues of their
literature and identity raised by Marie Clair Blais'
novel, The Wolf.
Everyone of significance on the scene has not been
covered.
It is one indication of the way the subject has grown
that this simply couldn't be done.
What we don't manage to cover we hope we make
up for in more general articles.
David West surveys the existing state of the little
magazine scene, Lesley Kreuger interviews
Margaret Laurence, and the theme issue's coordinators Ron Binns and Bernard Bischoff, respectively offer overviews of the state of contemporary
Canadian poetry and the specific cultural themes
raised by Margaret Atwood's influential book Survival.
Lastly let us not forget that UBC had a major role in
establishing a national literary consciousness
through the long-running magazine Canadian
Literature, and that many important national writers
have passed through this university's classrooms
(Earle Birney, George Woodcock, Margaret Atwood,
Tom Wayman, Gary Geddes, George Bowering,
Lionel Kearns).
Who knows but that the Cohens and the Laytons of
tomorrow are amongst us here today?
What Vancouver loses in its relative isolation from
the strongly Ontario-orientated centralization of the
major publishing houses and literary magazines,
(which a writer in the new radical journal Canadian
Review bitterly characterized as "the Toronto
literary mafia"), it more than makes up for in its
mythological status as the final frontier.
The West Coast is as potent a symbol in Canada as
in the U.S. and the old pioneering dreams of a better
life die hard. One thing is certain, east or west this
country provides one of the liveliest and thriving
literary cultures that any young writer could hope
for.
THE UNIVERSITY OF BRITISH
COLUMBIA PRESS
Room 303, Old Auditorium Building
VISITORS WHO NEVER LEFT: The Origin of the People of Damelahamid.
Eight legends translated from the Gitskan by Chief Kenneth Harris in collaboration with Frances M. P. Robinson
of the Institute of Fine Arts.
Hard cover: $10.95: paper cover: $4.95.
TOWARDS A VIEW OF CANADIAN LETTERS: Selected Critical Essays, 1928-1971.
A. J. M. Smith has been for almost half a century one of Canada's leading critics, and the present volume
assembles his best essays in this field.
Hard cover: $9.00: paper cover: $5.50.
VERTICAL MAN/HORIZONTAL WORLD: Man and Landscape in Canadian Prairie Fiction.
By Laurence R. Ricou. A comprehensive and penetrating look at the inter-relationship of man and landscape in
Canadian prairie fiction.
Hard cover: $8.00: paper cover: $4.50.
A REFERENCE GUIDE TO ENGLISH, AMERICAN AND CANADIAN LITERATURE:
An Annotated Checklist of Bibliographical and Other Reference Materials.
By Inglis F. Bell and Jennifer Gallup.
Hard cover: $7.00: paper cover: $3.50.
A CHECKLIST OF PRINTED MATERIALS RELATING TO FRENCH-CANADIAN LITERATURE/
LISTE DE REFERENCE D'IMPRIMES RELATIFS A LA LITTERATURE CANADIENNE-
FRANCAISE, By Ge'rard Tougas. Hard cover: $9.50: paper cover: $6.50.
CANADIAN LITERATURE PAPERBACK SERIES:
COLONY AND CONFEDERATION: Early Canadian Poets and Their Background.
Edited by George Woodcock. A survey of the narrative and lyric poets of Confederation and the later nineteenth
century. This is the sixth volume in the Canadian Literature series, and like its predecessors the collection
contains a number of unpublished  pieces and draws together related articles from the Journal Canadian
Literature.  Paper cover: $6.50.
OTHER TITLES IN THIS SERIES ARE:
WRITERS OF THE PRAIRIES, Edited by Donald Stephens. Paper cover: $5.50.
MALCOLM LOWRY: The Man and Hi§ Work, Edited by George Woodcock. Paper cover: $4.50.
DRAMATISTS IN CANADA, Edited by William H. New. Paper cover: $5.50.
THE SIXTIES: Canadian Writers and Writing of the Decade, Edited by George Woodcock. Paper cover: $3.50.
CANADIAN LITERATURE:
A Quarterly of Criticism and Review, Edited by George Woodcock, and published in association with UBC Press.
A magazine devoted entirely to the study and criticism of writers and writing in Canada, it serves as a continuing
symposium on the nation's literature. Annual subscription  $5.50: Individual copies $2.00.
STICK IT TO US!
FOR A HOCKEY STICK. PURCHASE TWO
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Canadian Literature
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THE IKE AND TINA TURNER
REVUE EXPLODES
FRIDAY, FEBRUARY 7
Also Appearing "Stone Bolt"
B.C.I.T. GYM
3700 Willingdon Ave. Burnaby, B.C.
Doors 7:00 p.m. Show 8:00-10:30 p.m.
Presented by the Student Societies of B.C.I.T. and S.F.U.
Admission: Student's Advance $5.00
Non-Student's Advance $6.00
At the Door $6.00
ADVANCE TICKETS:
Students Society Office, S.F.U.
T.N.T. Store, B.C.I.T.
 Concert Box Office, Coggery.	
LEFT COAST REVIEW
wants
U.B.C. Student Submissions
The Arts Undergrad is publishing the 3rd annual edition
of the Left Coast Review. Interested people should
bring their poetry, prose, essays, drawings, brass
rubbings, photographs and/or picture puzzles to
Buchanan 107 as soon as possible. People who want to
help put the magazine together should get here even
sooner. Do not be left out in the cold Canadian winter
of anonymity. Start writing, scribbling and rhyming
today.
Page Friday, 2
THE      UBYSSEY
Friday, January 24, 1975 Atwood's nationalism
symbol of trend:
Survival "shoddy"
By BERNARD BISCHOFF
For better or worse, Margaret Atwood's
Survival is probably the most significant
book on Canadian literature that has yet
been written. Its authority stems not
necessarily from its merits or insights but
from its influence; it represents not only the
point of view of particular writer but of a
whole movement that has dominated
Canadian literature since the late 60s —
what can be very roughly described as a
strongly pro-nationalist, Canadophile
movement.
Its main proponents have been writers
and critics such as George Woodcock in his
periodical Canadian Literature; Northrop
Frye, the doyen of University of Toronto
academics, with his book The Bush Garden;
Robin Mathews of Carleton, arch-
nationalist, and others. Atwood's book can
be taken as a sort of manifesto of this whole
tradition; it represents the most coherent
and concise statement of the group's views.
Some of the others mentioned don't
siabscribe to her specific opinions but they
are close enough that Atwood's book can be
taken as an exemplar and, in fact, as a kind
of digest of the whole nationalist argument
in literature.
It seems important to me to examine this
book carefully because the arguments she
presents are dangerously obscure and, in
places, either blatantly illogical or simply
insipid. And yet, a large slough of people,
and an especially large slough of academics
have found her arguments persuasive and
sensible. Let's let Atwood speak for herself.
She outlines her basic position in one of the
opening passages of the first chapter: "I'd
like to begin with a sweeping generalization
and argue that every country or culture has
a single unifying or informing element at its
core . . . The symbol, then — be it word,
phrase, idea, image, or all of these,functions
like a system of beliefs (it is a system of
beliefs though not always a formal one)
which holds the country together and helps
the people in it to co-operate for common
ends."
She offers no argument; she simply
presents it. It would surely be ratner
depressing if a whole people or culture could
be summarized in one word or symbol (so
one could say: is that all it amounted to?)
but that in itself doesn't show she's wrong.
But what is more disconcerting is that it's
difficult to find out what she's saying. She
says "country or culture" but surely these
are two quite distinct entities. Her thesis
might make some (though little) sense if
applied to specific cultures but applied to
countries, in the ordinary sense of the word,
• it becomes nonsensical. Are we to believe
each of the banana republics in South
America has its own impotent symbol or
central image? And does she want us to look
for a national symbol behind every artificially created puppet regime (e.g.
Diem's South Vietnam) that has existed?
And if she doesn't want to include these as
authentic countries, then what does she
mean by country? After all, this is the very
point at issue; many people have argued
that Canada itself is an artificial product —
a semi-nation at best. And her definition of
symbol is so wide and all-embracing as not
to constitute a definition at all.
But back to her argument. She says, a
page later, "The central symbol for Canada
— and this is based on numerous instances
of its occurrence in both English and French
Canadian literature — is undoubtedly
Survival, la Survivance. She spends the rest
of the book defending this "undoubted"
claim with a kind of dogged fervour. The
whole approach seems so preposterous as to
be barely worth considering, but if you don't
feel this immediately, then let's go back for
a moment, and see how she applies her
model to other literatures. She says:
"Possibly the symbol for America is the
Frontier, a flexible idea that contains many
elements dear to the American heart..."
and later: "The corresponding symbol for
England is perhaps the island, convenient
for obvious reasons."
Now remember that the point of this whole
enterprise is supposed to give one insight
into a nation's literature. Let's suppose you
applied the model of The Island to Chaucer's
Wife of Bath's Tale, Shakespeare's Othello;
Milton's Samson Agonistes; and Dickens'
Pickwick Papers — how fruitful do you think
this would be? Or about analyzing Poe's The
Tell-Tale Heart; Crane's The Red Badge of
Courage; Hemingway's The Sun Also Rises
and Heller's Catch-22 in terms of the frontier? But it is precisely this dead, quixotic
kind of activity that Atwood recommends
we apply to Canadian literature. Atwood's
penchant for "sweeping generalizations"
(as she calls them) is the most serious (in
Food a symbol
of alienation
By SHEILA BANNERMAN
The Edible Woman is a startling social commentary based on the consumer-oriented
society, particularly the consumption of food.
Marion McAlpine, the protagonist, leads a normal life with an ordinary job, an ordinary fiance and ordinary, predictable people occupy her time, until she realizes she is
being forced into a behavioral pattern to enact rituals for the people around her. In
Marion's friends, Margaret Atwood gives her three possible choices of future social
roles. There is her room-mate, an ardent women's libber; a married friend who is the
victim of biology and diapers, or the "office virgins." In rejecting these she begins to
realize she is only another victim of society.
The Edible Woman
by Margaret Atwood.
McClelland and Stewart,
$2.75 paper.
As she draws herself out of this pattern she loses some conscious control over her
actions and begins acting a little strange, but as if in a dream it goes unnoticed by the
people around her.
The only person Marion finds she is comfortable with is a male friend who haunts
laundromats and is obsessed with ironing and "getting things smooth and flat."
Gradually, she becomes more and more aware of society trying to destroy her, to eat
her up, she begins to identify with things consumed and finds that there is less and less
that she is able to eat, until finally she cannot eat at all.
When this happens, Marion finally becomes conscious of what it is that has been
happening to her and what she must do about it.
Ultimately, she bakes a cake in the shape of a woman, the personification of herself,
the edible woman, and eats it, thus destroying the last images of her former self.
Throughout the book, Margaret Atwood uses metaphors of food to describe things, and
to control the edible element, all major events take place at meals or when food is being
served.
As a social commentary, The Edible Woman can both entertain and enlighten, the
characters being simply vehicles for ehr sometimes ironic perceptions of how and whom
society consumes.
Atwood uses simple language and all ideas and perceptions are presented in a
straightforward manner, making for a very readable book, though it is easy to fall into
the dreamlike feeling and read it simply as an entertaining story.
Margaret Atwood first became aware of the "obvious urban rot" in cities when she
went to Harvard to study for her PhD in English. She described the Americans she knew
as being "confident, yet dangerously innocent of the world." These people considered
themselves the "centre of the world's business and research", remaining oblivious to the
real situation.
fact fatal) flaw of the whole book. In her
chapter on Canadian heroes (or the lack of
them) we find the following: "The
American way of death, as demonstrated by
both history and literature, is death by
violence ... the English way of death, insofar as there is a single one, is death by
history... the Canadian way of death is
death by accident."
This is an incredibly futile attempt at a
distinction since these three alternatives are
not even mutually exclusive — they all
overlap. And one last classic from near the
close of the book" If the central European
experience is sex and the central mystery
what goes on in the bedroom and if the
central American experience is killing and
the central mystery what goes on in the
forest (or in the slum streets), surely the
central Canadian experience is death and
the central mystery is what goes on in the
coffin." How this is supposed to follow, I'll
never know, but presumeably, Atwood
knows. And what could possibly go on in a
coffin, anyway?
Atwood's method of criticism goes
something as follows: she first coins or
steals a number of clever catch-words or
slogans (survival; victor/victim; stone
angel) and then proceeds to ruthlessly
implement them on whatever work of art
she happens to be dealing with.
Her drive for oversimplification forces
her to distort not only Canadian literature
but other literatures as well. She makes the
bland generalization that English writers
see nature as kind and protective (has she
never read Shelley?) while Canadians see it
as hostile; a chapter later she argues that
animals in Canadian literature are always
viewed as victims whereas in the U.S. they
are only viewed as goals for the hunter to
kill (has she never read Richard Eberhart,
Randell Jarrell, Theodore Roethke — or
even Jack London), and so on. By some kind
of perverse magic, she succeeds in turning
some fairly powerful poetic statements into
specimens of SPCA propaganda.
Her method of proving some particular
position she espouses amounts in the end to
reliance on a kind of potluck — she simply
assembles a group of writers that fit her pre-
tailored position and lumps them together in
a chapter. She argues that Canadian immigrant novels unlike American almost
always end up with the protaganist experiencing total failure even financial
failure. Then, realizing Richler's The Apprenticeship of Duddy Kravitz doesn't fit the
model, she dismisses it and goes on to more
obscure works.
She argues that Canadian writers tend to
view women as ice-figures, crones, old
Hecate figures with almost no mention of
erotic Venus figures. (This is all her terminology, not mine.) And sure enough that
particular chapter supports her conclusion
for she somehow manages to overlook
Birney, Cohen, Layton, Purdy and others
who have written Canadian love poetry.
I could go through the rest of the book
picking holes as I go along but that would be
a cruel and tedious procedure. Instead, I'll
make a few general comments on why I
think Atwood's whole approach to Canadian
Literature misfires and suggest an alternative approach.
The pro-nationalist movement arose in
Canadian literature at a time when
Canadians as a whole were suffering from
severe inferiority neuroses; the
braggadocio and self-congratulatory airs of
the nationalist school were a necessary
antidote to this, and in their own way
healthy. But this should have been only an
interim stage; a necessary but temporary
part of the process of growing up.
Other countries have gone through similar
traumas when they first asserted a
nationalist stance (witness the Sturm und
Drang movement in late 18th century
Germany and the Slavophile movement in
the 19th century in Russia. But the important writers in both countries either
completely avoided contact with these
groups whom they regarded as hacks (as
Tolstoi did) or else first joined but later
transcended the group (as Goethe did).
Today, the hunt for some single defining
characteristic that a nation's literature is
supposed to possess is an anachronistic
activity; it is a leftover from the dangerous
myths of 19-century nationalism, on a par
with looking for the specific characteristics
of a race, or Volk, and often ends in silly or
See pf 4:  ATWOOD
Friday, January 24, 1975
THE      UBYSSEY
Page Friday, 3 PF    INTERV>
Her god a jester, her angels stone, novelist Margaret
Laurence talks about her readers and characters in
an interview with reporter Lesley Krueger
By LESLEY KRUEGER
When novelist Margaret Laurence was 14,
she first read Sinclair Ross' book As For Me
And My House.
"I'm not saying it was a great influence on
me, but I did read him when I was very
young," she said Wednesday in an interview
from her Lakefield, Ont. home. "It was Ross
who first taught me when I was 14 to write
out of my own time and place and people."
Laurence's place, the centre of her five
Canadian novels, is a fictionalized version of
her own home town called in reality
Neepawa, Man. and in the books,
Manawaka.
Manawaka is a small Prairie town, its
economy controlled largely by the Scots who
first came to Canada as Red River settlers
and its farms and shacks the outposts of the
Metis and Ukrainians.
It's time ranges from the birth of Hagar
Shipley of The Stone Angel during the 1880's
to the present as the characters, mostly now
resident on the coast, visit and remember.
And the characters move from novel to
novel in a community of the Shipleys, the
Tonnerres, the Gunns and Logans, the
Camerons.
"I sometimes feel as if I have a whole
town walking around in my head,"
Laurence said. "The major characters in
the five books are of course basically contemporaries and move around the same
themes and backgrounds.
"When I am writing each of the books I
become totally caught up in the characters.
And what happens when each book is
finished is that they always remain with
me."
She pauses and laughs. "A family."
Pictures show Margaret Laurence as a
powerful woman, solid and with blunt high
cheekbones. Yet on the telephone her voice
is surprisingly high and young as she talks
about her characters, her readers and her
contemporary Canadian writers.
She said her roots on the Prairies connect
her closely with other Canadian writers,
many of whom also hale from west and
central Canada.
"We share certain common symbols and
outlooks. For instance, when I was a child on
the Prairies I looked to the coast as a place
of escape. Escape I suppose from the
drought and the Depression.
"But it was that to a lot of people who were
not writers. When I went to the coast there
were a lot of Prairie people there that I just
ran across.
"That's why they happen to people in my
novels. It seems plausible, doesn't it? If they
all come from the same place and look to the
same symbol, surely the gesture of leaving
would be common too."
But Laurence says she doesn't want to
talk of the  commonalities  in  Canadian
literature. She is not prepared to advance
theories because it is late and she has the flu
and is afraid, whatever the circumstances,
she would evolve a well-sounding theory
only to later abandon it under second
thoughts.
In fact, she says she has not been concerned with establishing a thematic consideration of Canadian literature, as has
poet Margaret Atwood in her book Survival.
Instead she has been working for the past
two years with the new-found Canadian
Writers' Union to protect the rights of
Canadian authors now publishing.
"Writing is one of the only professions I
know where actually eating and living is left
under question," she says.' "So I've worked
hard this past year and plan to work more
the next with the writers union.
"One of the things we're doing is drafting
a minimum contract for writers just
beginning and helping our members indirectly in their negotiations with their
publishers," she says.
"Contrary to popular opinion, writers in
Canada don't have any more difficult a time
publishing than writers anywhere else.
"Of course it's hard for those first starting, here and everywhere. What we're
trying to do now is help these writers and
our members establish a common contract
and common rights so, although it might not
be any less tough to publish, it can be more
equitable."
The only stipulation for membership in
the union is a published work, Laurence
says. This means the union represents a
diversity of writers and has brought
Laurence into contact with most of the
prominant ones publishing today.
"I am tremendously impressed with the
quality of some of the younger writers I've
come across through the union and the few
through my three terms as a writer-in-
residence at different universities."
These three one-year terms were interesting but completely unproductive as
far as personal writing goes, she says.
"Some poets I know who are also
university teachers functioned well. I think
of Earle Birney. But fewer prose writers
seem able to do it.
"I'm not an academic and I couldn't work.
'Some other friends of mine who were
writers-in-residence were able to write at
the same time but I couldn't do it. For me it
was the means of earning a living.
But Laurence shied away from questions
about student writers in a university setting.
She says she has met "two or three"
possible writers in university settings but
doesn't know whether their university life
would help that gift or stifle it.
"Writing is a very individual thing. I know
I write in different ways from some friends.
I require intense concentration when
writing."
She said this concentration comes
primarily during the difficult first-draft
stage. This leads into an interesting con
sideration of her relationship to her readers
— and for a Canadian author she has many.
"I never think of my readers when I first
write. I only think of the book. The only time
I consider my readers is during my second
and third drafts, when I consider the
potential readership and the way to get
through to the readership without being
unsubtle. -
"I cut the redundancies and streamline
the wording. The second and third drafts I in
fact look on as editing. But I cut the words
for the readers, never the story itself."
She says she was slightly aided in this
because of past journalistic training on
Winnipeg newspapers, where she worked
after leaving the University of Manitoba.
"I don't think the journalism had any
effect on what's behind the writing, but it did
teach me a certain amount of economy with
words. The Diviners (her latest book) is a
long book, but I don't think it has a single
unnecessary part in it.
"This is partly the journalism, partly the
practice of writing itself. I consider journalism a very honorable profession,
although in form it is very different from
writing. It just told me if you can say it in a
simple way, that's better."
Laurence, like many writers, is more
hesitant to talk about what she is saying
than her method of saying it — which ranges
from the conventional novel form to recent
innovations in The Diviners in the use of
flashbacks in a form called memory-bank
movies.
"The themes are there. But I personally
don't set out to write message literature,"
she says.
"There is a difference between
propaganda and literature, although that is
not to say that propaganda is not a
legitimate field.
"It sets out to convince readers of a
certain position in a certain field. A novel on
the other hand asks a lot of questions. I
personally don't purport to answer the
questions.
"I just have my questions, my themes, my
characters."
People have questioned her use of the
characters repeatedly, throughout A Jest of
God, The Stone Angel, A Bird In the House,
The Fire-Dwellers and lately, The Diviners.
"They don't like a stampede of characters
throughout. I like it, they are my friends and
I think anyone who finds them so also."
Yet Laurence says the Diviners could well
be her last novel, although certainly not her
last book.
"It may be the last novel, and I've said I
don't see another particular novel at this
moment. But that isn't to say another might
not come around."
Instead she says she thinks she'll write a
children's book or continue critical studies
and translations.
She has written one book of criticism,
Long Drums and Cannons, and one travel
book, The Prophet's Camel Bell.
She has also translated African short
stories and written a novel Out of Africa,
This Side Jordan. These come from her
tenure in Africa with her former husband,
Jack, an engineer, and lead, amusingly, to
her identification as "Laurence, Margaret,
Mrs. Van. woman who wrote book on
Ghana" in the Vancouver Sun press library.
When told of this she laughs, and says:
"Yes, and when I wrote articles for the Sun
they  used  to  put   "Mrs.   Laurence  is  a,
housewife   with   two   children   living   in
Vancouver underneath."
"Identifications tend to tell more about
the person doing the identifying, don't they?
I just sometimes wonder where in particular
that leaves me."
Cashing in on nationalist trend
From pf 3
juvenile conclusions (like saying that the
Russian novel is always dark and
pessimistic) and offers little or no insight
into a work of art.
Often a foreign influence has a profoundly
enervating effect on a nation's writers; a
much more important effect than
homegrown influences (as the Petrarchan
mode was far more important for the
Elizabethan renaissance than the local
tradition represented by John Skelton. I
realize I'm belaboring the obvious but it
doesn't seem obvious at all to Atwood and
her followers — in fact, the exact opposite.
One more general criticism, Atwood fails
to establish a proper distinction between
national writers in the authentic sense of the
word — that is, writers who are
economically and culturally tied to the land
itself — and others who are essentially
temporary inhabitants, or whose loyalties
are tied to another culture. She speaks of
writers such as Charles G. D. Roberts, and
Mazo de la Roche as if they were the genuine
article, when any shrewd assessment would
immediately place them where they belong:
as Victorian Britishers wearing Canadian
masks.
Even more astonishing, Atwood conflates
the "suffering" of these early British
compradors (she has Roberts and Ernest
Thompson Seton identifying with suffering
animals, as victims) with the real suffering
of Indians and Quebecois. This tells us more
about Atwood's limited grasp of suffering
than about the writers discussed.
One wonders that this book should have
been granted such favorable reviews.
Perhaps it is the easy outline, the lunch
menu approach to literature that appeals to
the lazy critic. Perhaps it is the soothingly
simple explanation Atwood gives for
complicated questions. The book's main
strength is simply that it rode the crest of
the nationalist trend; Atwood knew the time
to cash in.
For when you look at it now that the
smoke has cleared, this is a very shoddy
book. This is not to say that couldn't have its
uses. It would be ideal, I think, as an introductory textbook, at the, say Grade 10
level. Grade 12 students, I think, would need
something slightly more sophisticated.
Page Friday, 4
THE      UBYSSEY
Friday, January 24, 1975 canadianlitcanadianlitcanadianlitcanadianlitcanadianlitcanadianlit
'Dying animal9 Canada:
her many alien poets
By RON BINNS
One thing seems to unite Canadian poets,
and that is contempt for their country.
Canada, they assert, is "a paradise for
mediocrities" (Irving Layton), "a nation of
losers and quislings" (Dennis Lee) and
"schizoid from birth, and still a sado-
masochist" having moved "from
adolescence into what looks like permanent
senescence" (Earle Birney).
Its people are "the consenting citizens of a
minor and docile colony" (Dennis Lee) and
"a cowardly people": "what a shameful
thing it is to be a Canadian (Tom Wayman).
PURDY .. .landscape painter
Or as Leonard Cohen has more sardonically
remarked:
Canada is a dying animal,
That's the sort of thing to say, that's good,
that will change my life.
The dying animal, however, provides a
very good ride indeed for the contemporary
poet, with an explosive renaissance in the
writing and selling (and public reading) of
poetry perhaps unmatched in any other
modern industrial state outside the U.S.S.R.
Margaret Atwood's article Poetry in the
Buffer Zone in The Times Literary Supplement for Oct. 26, 1973 provides a good
introductory insight into the contemporary
Canadian poetry writing scene.
As she points out, things are totally dif-
COHEN ... weary romantic
ferent now to what they were 15 years ago,
when Canadian culture boasted only three
or four literary magazines, and only about
ten new titles of verse were published annually in editions which were lucky to sell
more than 400 copies.
Canadians are now the highest per capita
consumers of poetry in the world, though
this is not generally realized (when Cohen
remarked on this to a British newspaper it
was treated as a typical exaggeration).
No one, it appears, has analyzed why
poetry should be so popular in Canada.
Irving Layton offered his own typically-
exuberant explanation in his introduction to
the anthology of love poetry he edited entitled Love Where the Nights Are Long.
Canada, he remarked, had no role in the
world, no minority problem (the Indians
being curiously invisible to Layton), and
had a lousy topography and climate, hence
"When Canadians are done with the excitements of professionalized sports and
alcohol, a voice in their miserable, nightmarish souls tells them that contact,
abandonment, passion and the understanding heart are what matter most in
our lives."
And hence the rash of love poems at the
centre of Canadian poetry writing (a
symptom evident too in the lyrics of those
who are perhaps the real Canadian poets of
the present global age: internationally
successful singer-songwriters Joni Mitchell,
Neil Young and Cohen).
Reading modern Canadian poetry is
rather like dipping into Palgrave's Golden
Treasury brought up to date. All the stock
properties of romantic lyricism occupy the
Canada Council subsidized pages of modern
versifiers.
And almost any hopeful scribbler can take
heart when first volumes as weak as Tom
Marshall's The Silences of Fire or Joy
Kogawa's A Choice of Dreams, make it into
print with the big publishers without any
apparent private pull.
(The traditional way to get yourself
published if you live on the cultural fringe is
of. course to start your own little magazine.
This way you publish the poems of other
little magazine editors, they in return
publish yours, your acknowledgements list
grows impressively, and one day you make
it).
The fact that Patrick Lane had to wait
until he was 35 before he could get his superb
collection Beware the Months of Fire
published by a major house also points to the
more depressing side of the renaissance
though: the taste of editors and publishers'
readers is as irrational as ever.
In her article Atwood (herself of course an
accomplished minor poet, as well as critic
and wooden novelist) communicates her
excitement about the poetry renaissance in
an almost breathlessly schoolgirl manner,
culminating in the question: what is
Canadian about Canadian poetry?
She chooses to avoid giving an answer,
which is a cautious move. It's a problematic
issue which can't be answered in the usual
academic format of the analysis of themes
and images (as that soggy unreadable
textbook Butterfly on Rock demonstrates).
Maybe all you can say is that the poetry of
self is dominant, and that there's an energy
at work in the manifold confessors of the
lyric school which is missing from their
contemporaries in Britain and the U.S.A.
Canadian poets also tend to have a much
stronger sense of humor than their more
solemn British counterparts, and certainly a
more sophisticated one than the trivial
outpourings of Britain's hip Liverpool
school.
At the same time there is a disturbing
absence of major figures in the field of
Canadian poetry. The important father-
figures of modern Canadian poetry (say
Layton, Birney, Purdy) seem dwarfed in
comparison with British and American
poets like Sylvia Plath, John Berryman,
Philip Larkin and Ted Hughes. Where is the
Canadian work that can compare, say, with
Hughes's brilliant collection of dark survival poems, Crow? The energy of Canadian
poetry (seen at its most vivid in Layton's
grossly over-productive outpourings) seems
often negated by its lack of attention to
formal elegance.
To see this, compare Layton's poem New
Years Eve with John Berryman's on the
same topic. Perhaps P. K. Page comes the
closest to the kind of polished graceful style
of a leading British poet like Philip Larkin,
but too often her work seems to drift off into
a soporific vagueness. Some of the opposition of styles is aesthetically self-
conscious, witnessed by Purdy's inspiration
to write The Cariboo Horses after reading Al
Alvarez's attack on British poetry in his
introduction to that excellent Penguin anthology The New Poetry.
The poetry of self is perhaps rapidly
becoming a cul de sac. Obviously, Cohen's
latest book The Energy of Slaves wouldn't
have stood the ghost of a chance of being
published had its saleability not relied on its
author's enormous international popularity
as a singer. Cohen in fact renounces art in
favour of experience:
"Bach said he'd play but he was unable
to leave the woman sleeping in his bed
who fleshes out the tunes he'd lose instead."
At the same time Tom Wayman's savage
attack on the book in Canadian Literature
magazine seems overdone. Certainly there
is a lot of weak writing in the book, but
Cohen isn't offering his work as language
but as footnotes to his biography. To say that
Cohen evinces an "unlimited contempt" for
women, as Wayman claims, is an
exaggeration, since Cohen perhaps more so
than anyone has poignantly celebrated his
gratitude and worship of them.
Simply because Cohen places himself at
the centre of his work, and wryly admits his
longing to be physiological as well as
spiritual, doesn't make him a chauvinist pig
— at least not in the tastelessly
dehumanized cynical way that Layton
sometimes is. Wayman's critique can be
used against his own. volume, Waiting for
Wayman, where the chuckling sardonic
figure of the writer is at the centre of the
poems, and the women are completely
unrealized remote peripheral objects, useful
to forge an elegy or so.
Cohen's weaknesses as a writer perhaps
stem more from the fact that he has
developed his craft more out of the fin-de
siecle styles of Victorian culture than out of
homegrown concerns. It is precisely this
absence of any meaningful kind of historical
or literary tradition which is what perhaps
cuts most into the development of modern
Canadian poetry.
As Dennis Lee puts it,
"In the city I long for men, complete their
origins," and a number of young writers are
making interesting attempts to wrench free
from fake literary attempts to capture a
Canadian identity.
Rebels of yesterday like Layton now
appear as establishment figures, and a
younger generation is toppling the idols
through the kind of forum available in new
"angry" magazines like Canadian Review.
The Canadian tradition posited by the
academic industry, or the absence of a
tradition which creates such a curious void
of achievement at the heart of Layton's
massive Collective Poems, no longer seem
adequate to the younger modern writers.
Confessing emotions of love or national
fervour with the obligatory backdrop of
Canadian topographical features now seems
a dead enterprise, a part of the disease of
dullness which evokes such contempt on the
part of Canada's poets.
The negative pose adopted by modern
Canadian poets becomes a necessary
disguise from which to begin the project of
completing' genuine origins as opposed to
spuriously literary ones. In Wayman's case
the search for a political foundation seems
one fruitful way out of the cul de sac of
lyricism, an esthetic balance to the rewriting of Canadian history in terms of the
lives of working people rather than of ruling
classes. Similarly Patrick Lane turns away
from the stereotyped themes of Canadian
identity to discover a new reality in the
poverty and suffering at the root of society.
Dennis Lee's Civil Elegies is perhaps the
finest long poem on the contemporary
scene, effectively exploring the nature of
public and private identity against the
setting of Toronto and its history. In his
desire to furnish, out of the traffic and smog
and shambles of dead precursors a civil
habitation that is human, and our own Lee
draws on figures like Tom Thomson, the
Ontario painter, and Chartier, the mad
BIRNEY... father-figure
bomber, to construct new possibilities of
Canadian identity.
Interestingly, the figure of Chartier reappears in Gary Geddes's long poem War
and Other Measures, illustrating a shift
towards the use of history and documentary
for material as the traditional approaches to
literary experience exemplified by Northrop Frye's myth criticism come to seem
capsuloid in their remoteness from the kind
of world evoked in Lane's poetry. Even an
accomplished literary craftsman like
Michael Ondaatje has lately turned away
from the mythologies of his first two
collections, The Dainty Monsters and The
Man With Seven Toes, to transform history
into aesthetic artifact in The Collected
Works of Bill the Kid.
LAYTON ... erotic wit
It is such writers as these, who demonstrate a concern with transcending the
purely private world of the ego and its
emotions and relating to more public,
historically meaningful situations who I
would guess will come to be seen as the
really important poets of our time.
Friday, January 24,  1975
THE      UBYSSEY
Page Friday, 5 Richler intolerant of hypocrisy
ByMARCUSGEE
Shortly after the release of St.
Urbain's Horseman, Mordecai
Richler is riding in a Toronto taxi
cab with two interviewers who are
talking about his success:
"Listening to their chitchat the
driver astutely gathered I was hot
stuff. 'And who', he demanded,'is
the famous writer I've got in my
taxi"
Beaming with pleasure one of the
girls mentioned my magical name.
'Never heard of him,' the taxi
driver shot back.
The aggrieved girl rattled off the
list of novels I'd written.
'Well,' the taxi driver said raking
me with a look that cried phoney,
he's not Jacqueline Susanne and he
didn't write The Carpetbaggers.
'Never heard of him!' "
Notes on an Endangered Species,
by Mordecai Richler.
Alfred A. Knopf, New York, 1974.
Shovelling Trouble,
by Mordecai Richler.
McClelland and Stewart, 1972.
Hunting Tigers Under Glass
by Mordecai Richler.
Panther Books Ltd., London 1971.
First published by Weidenfield and
Nicolson Ltd. 1969.
This frank cabbie typifies the
average Canadian of a few years
back. Ignorant of the country's
writers, scornful of anything
printed here, most Canadians did
not believe the existence of notable
Canadian authors.
Yet despite the stagnant atmosphere that stifled so many
authors of the 60s, Richler became
one of the country's most successful writers. He is the guy who
made it big while others were
ignored. He is the youth who
escaped his oppressive roots to
strike it rich — a self-made man.
Richler is preoccupied with the
struggle of growing up in a Jewish
neighborhood of Montreal. His
novels are an attempt to understand his Jewish Canadian
origins.
But it's in his essays that Richler
attacks his two favorite subjects,
Jews and Canada, with an incisive,
entertaining directness, giving
these writings a modern perspective.
"To be a Jew and a Canadian is
to emerge from the ghetto twice,"
says Richler in the foreword to
Hunting Tigers Under Glass, a
collection of his' essays.
He escaped to London while still
in his early 20s to avoid being taken
In Perceptions, Portents, and the
New Canadian Style (Saturday
Night, Sept. 1971) Richler takes a
shot at the new nationalism and the
joyous acclamation of all things
Canadian.
Writing about nationalism
Richler relates a story once told by
Al Purdy in MacLean's magazine
in which Purdy feels a thrill of love
for his country while looking down
on the Arctic ice from an airplane.
succeeded largely without help
from awards or subsidies so now he
deplores the easy affluence of
younger men and women in his
profession.
"Today to merely say that you're
creative is to stand back and duck
a shower of prizes and offers and to
enjoy a nice little side income in
supplying radio and TV stations
with your outspoken opinions on
divorce,       household       pets,
RICHLER ... bad Jew, worse Canadian
Always cynical, Richler asks,
"Can Purdy, whose Canadianism
is undoubted, really distinguish at
say 30,0000 feet our heartwarming
bilingual ice from the pernicious,
imperialist American ice of
Alaska."
Richler claims critics today take
the same blind nationalistic perspective when reviewing Canadian
books. Authors who concern
themselves with Canadian subjects
are given high acclaim, according
to Richler, while authors who set
their books in other countries are
berated for doing so.
"Canada," he says in Saturday
Night,     "has     surfaced     as
masturbation and the Bomb."
In Maple Leaf Culture Time
Richler says Canadian culture is
characterized more by affluence
than by the energy or talent of our
artists.
O Canada (New York Review
of Books 1968) also presents
Richler's reactionary stand on the
new boom in culture. "Now that
The Jews have called him an
anti-Semitic fascist while the
WASP's have claimed he is not a
real Canadian.
for "that pathetic provincial" the
Canadian writer. He also refused
to be labelled as a "Jewish
writer." He stayed in London for
over 15 years writing novels and
movie scripts.
In Canada Richler says he has
been open to attacks from two
sides. Because of his writing the
Jews have called him an anti-
Semitic fascist while the WASPs
have claimed he is not a real
Canadian.
It is easy to see from Richler's
essays why Jews and nationalists
are angered. In exploring the two
major influences of his life and
writing, Richler is absolutely intolerant of hypocrisy, which he
attacks with both irony and wit.
everybody's sweetheart and every
day is St. Valentine's Day." In
Maple Leaf Culture Time (New
Statesman. 1969) Richler charges
the government with being the
beneficent mother figure of the
new cultural wave, handing out
copious awards and prizes to the
country's writers. "Handing out
toupees to all comers, our cultural
plan is vulnerable to the charge of
staking just about all the alienated
kids to commiting their inchoate
but modest complaints to paper."
Richler's complaint with this
mass subsidization of culture is it
makes life too easy for developing
writers who formerly had to
struggle to be recognized. Richler .
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the country is culture crazed and
more preoccupied than ever before
with its absence of a navel, how one
yearns for Canada's engaging
suspicion of art and artists of not so
long ago."
Jews in Sport (Book Week 1966)
and Catskills (Holiday 1965) are
both very funny reviews each
ridiculing a separate aspect of the
established Jewish society.
Jews in Sport is a review of the
Encyclopedia of Jews in Sports
applauded on the dust jacket as "a
noteworthy contribution to-
mankind's ever-growing quest for
knowledge." Richler's irreverent
comments about the book show his
disdain for the closed door racial
community which must justify
itself by printing a volume of petty
achievements of its members.
Ending the review, Richler
writes "I, for one, am looking
forward to an encyclopedia on
Jewish Drunks, High School
Dropouts and Thugs from Noah to
today."
Catskills is a similarly scathing
though hilarious report about the
famous New York State Borscht
Circuit of glittering resorts for rich
Jews.
Searching deeper for hb roots,
Richler went to Israel in 1962 and
wrote a journal published in the
essay collection Hunting Tigers
Under Glass. Richler's insights
here into the Israeli attitudes and
way of life reaffirm his distaste for
narrow-minded racial groups and
their self-centred nationalism.
In one case, he writes, Israeli
girls told him Israeli Arabs "won't
mix and stick to their own people
and areas" and they have loyalties
outside the country. Thus they are
denounced. It is precisely this
provincialism and racial elitism
which Richler attacks on every
front.
There is no doubt Richler is a bad
Jew and a worse Canadian. Not
only that but he often condescends
in the manner of a bored
sophisticate to us poor provincial
readers. "I am not an anti-
Canadian or a Jew baiter he says in
the foreword to Hunting Tigers
Under Glass. "I do, however,
deplore many things Jewish and
Canadian."
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AT REASONABLE RATES
731-8644
2125 W. 10th at Arbutus
VANCOUVER
INSTITUTE
lectures
PROF. JAMES F.
RICHARDS
distinguished food scientist of
UBC's Department of Food
Sciences, talks about
The Myth of
Organic Foods
at 8:15 p.m.
SATURDAY, JAN. 25
Vancouver institute
lectures take place on
Saturdays at 8:15 p.m.
on the ubc campus
in lecture hall no. 2
instructional  resources
centre
admission to the genere
public is free
Page Friday, 6
THE      UBYSSEY
Friday, January 24, 1975 canadianlitcanadianlitcanadianlitcanadianlitcanadianlitcanadianlif
\\
Quebec shows paradox
Literature unlike people
By GORDON ROBACK
French Canadian literature is the
literature of paradox.
At first glance it appears overwhelmingly
black: full of suffering, repression, oppression, betrayal, guilt, cruelty and death.
Yet this portrait of French Canada is contradicted by the Quebecois people: vibrant,
open and kind, full of humor and joie de
vivre.
This paradox leads us to ask whether the
literature is an accurate reflection of
Quebecois society or if it merely reflects the
biases and personalities of its writers?
The Wolf
Marie Claire Blais
McClelland and Stewart
142 pages.
This problem is complicated by the
sudden zeal with which Canada (especially
English Canada) is investigating its
literature in the hope that it will provide the
characteristics of our elusive national
identity. I "have heard many critics and
professors attempt to open the cave door
sealing the answer to this mystery by the
utterance of a single magic word There are
too many magic words. Politics. Survival.
Diction. Economics. Regionalism. Victim.
Open Sesame.
This approach is not only a threat to a
valid understanding of our literature but is
also unfair to our writers. After looking at
Donald Cameron's Conversations with
Canadian Novelists, one quickly realizes
that they have heterogenous attitudes to art,
life and Canada. And our literature is the
better for it.
Nevertheless, there are many common
themes, attitudes and perspectives which
may be discerned from the works of French
Canadian novelists. Marie Claire Blais'
recent novel, The Wolf, serves as a good
focal point because it shares many of these
traits.
Sebastien, a young music student, relates
the story of his numerous and unhappy
homosexual affairs. Like his namesake, St.
Sebastien (patron saint of archers and
pinmakers), he is a martyr (metaphorically
at least) to love. He sees himself as, "one of
an involuntary race of redeemers who serve
through love and charity." He encounters
"tormented souls who are unable to respond
to any form of love," and his aim in life is to
love without reward, unconditionally."
"Love is the thirst of passion mixed with
suffering" and passion "flays people alive
like monsters or saints."
Perhaps Blais uses homosexuality as the
vehicle to express her view that all love is
unnatural. This theme is common in French
Canadian literature. Religion is presented
as a stifling force — something which
represses and distorts human emotion.
Edmund Wilson, who is to Canadian
literature what Columbus is to America,
said: "one of the main preoccupations of
French Canadian literature is the
dichotomy between flesh and spirit that is a
feature of Jansenist doctrine. . . . Love is
not regarded as an uplifting force, bur
rather as something which is degrading and
carnal."
Examples of this attitude are found in
Thirty Acres by Ringuet, The Torrent by
Anne Hebert, The Tin Flute by Gabrielle
Roy and The Town Below by Roger Lemelin.
Probably the most vivid example of this
attitude is found in Blais' A Season In The
Life of Emmanuel. Christianity has so
warped Heloise's sensibility that she is
unable to find an outlet for her love of
humanity in a convent and finds it in a
brothel instead.
The Wolf is full of characters who cannot
love. Sebastien has, "The naive dream of an
open life without boundaries." Sadly he
realizes that life is full of boundaries. Yet
compared to Mad Shadows or Season in the
Life of Emmanuel a big change in Blais'
attitude to love is evident.
While Sebastien's "awkward compassion
is only a drop of blood lost in the sea," he
realizes in the end that "love given un-
stintingly, even if it is given badly, is not
completely lost; if one drop of blood has the
power to quench (a lover's) third and . . .
suffering ... I would like to dedicate my life
to that once again."
In Blais' early novels nature is regarded
as a place of refuge from the corruption of
society and the unnatural rein the church
holds on human emotion. This is a
traditional and common theme of French
Canadian literature. The Wolf indicates a
significant change in Blais' attitude to
nature. While Sebastien experiences a
similar sense of refuge in the forest, the
dichotomy between religion and nature has
disappeared. The key to this lies in
Sebastien's discovery of the statue of Christ
in the forest. This statue closely resembles
the man in Sebastien's dream whose face
"was clearly marked with great misery as
though he had long been persecuted and
found refuge only in the fields." This reveals
the spiritual basis of Sebastien's
homosexuality, his love of men is a substitute for his love of Christ. What is important here is that a harmonious trinity
exists between man and God and nature.
There is something ethereal about The
Wolf. On closer examination we realize that
there are no place names in the book. At
first the story could be taking place
wherever French is spoken and it is only
gradually that we have a sense, though
always unpalpable, the story is taking place
in Quebec.
Wilson explains, "The fact that we never
know exactly where the story is taking place
is characteristic of one kind of French
Canadian fiction . . . French Canadians in
their cultural enclave on the North
American continent do, not always know
where they are." Another explanation would
be that French Canada is such an insular
society it would not occur to them that the
story could take place anywhere but in
Quebec.
An interesting aspect of French Canadian
literature, at least among the novels I've
read, is the relative absence of social and
BLAIS ... leading Quebecois writer.
political satire. French Canadian writers, as
their English counterparts, appear to take
their politics and their society very
seriously. (I'm not talking about Jewish
Canadian writers: Richler, Cohen, Wein-
traub etc.)
Two exceptions immediately come to
mind. In Claude Jasmin's Ethel and the
Terrorist the hero is more interested in
making love than advancing the revolution.
After planting a bomb which kills a watchman he flees to the U.S. While he feels
little or no guilt he is worried that Ethel will
leave him if she discovers what he has done.
Ethel here serves as a Jewish equivalent to
Duddy Kravitz's Yvette. (It is interesting
Injustice Ryga theme
in ballad-like style
By PAT ANGLY
George Ryga is becoming an increasingly more important figure in the Canadian
drama scene. He has worked extensively on both the stage and in radio and television,
writing and producing his own plays.
Racial and political conflicts and the youth "revolution" of the 60s form his subjects.
Ryga has both lived and worked among Canada's native Indians, and his experiences
with them gave him insight into their problems, which he says are the problems of
"forgotten" people everywhere, but the people are not forgetting.
The Ecstacy of Rita Joe, his most successful work to date, is the story of the Indian
people in Canada today. It is told through the experiences of Rita Joe, a young Indian girl
who refuses to conform to the narrow, patronizing role white society has created for her.
After a brief history of her life, shown through flashbacks, Rita is "murdered" by society
for her crime of trying to live her life the way she wanted to.
Ryga examines the struggle between working class and ruling class in another play,
Captives of the Faceless Drummer. The play is set some time in the future in a city,
during a political revolution. It centres around a debate between a revolutionary leader
and his prisoner, a kidnapped government official. The two men, obviously different in
personality and from socially opposite backgrounds, exchange insults, personal histories
and political beliefs while the leader waits for orders on whether he is to kill his prisoner
or not. *
Although there is a lot of rehashing of old upper-lower class arguments, the two men's
conflict is never really resolved, although the two men become almost friends. In the end
the bourgeois army comes in and kills the radical — the official walks away unharmed.
Another of Ryga's plays, Grass and Wild Strawberries, is a look at the "hippy"
rebellion of the sixties, and the vacuity of their undefined goals of peace, love and
freedom. In this one the main character finally acquires a sense of social responsibility,
and decides to fight within the system for the changes he wants.
Although both Captives and Grass and Wild Strawberries seem to have the establishment win over the revolutionary, Ryga does not really answer the questions he raises. He
just presents them in his rhythmic, ballad-like style (he writes his own music for the
plays) and lets the audience make their own decisions.
He seems, in his drama, to take the role of one who makes people aware of injustices
and conflicts around them by evoking vivid insights into some of the existing problems
(especially those of the native peoples); problems which they might not be totally aware
of, so that from increased awareness change will evolve more naturally.
that women often serve as the moral conscience in Canadian literature.)
The terrorist is in trouble with his bomb
throwing friends because they don't like his
association with a Jew. The terrorist's
friends also do not like blacks. This is
strange since French Canadian literature js
fascinated with the plight of the American
black — probably because they see themselves as the white "niggers" of Canada.
In Jasmin's satire, love triumphs over
Ethel's principles. When the terrorist is
involved in another killing, Ethel leaves him
— only to return. The terrorist resolves the
situation by abandoning the struggle and
forgetting about the revolution. Not a very
amusing satire.
The other exception which comes to mind
is La Guerre, Yes Sir, where Roch Carrier
makes fun of everybody: the robot-like
Anglos, the French Canadian who serves his
country cleaning toilets in Newfoundland,
the whore with the heart of gold, the rustic
natives who spend the war frolicking
around. Yet the novel is also filled with
oppressive black humor: the village boys
playing hockey with a severed hand, the
dead French Canadian hero blown to bits
while taking a crap on a land mine, the
menage a trois where two fellows take turns
making a nest in the ultimate earth mother.
In Survival Margaret Atwooa oDserves
that Canada and especially French Canada
is obsessed with death.
Paradoxically, while English Canada is
actively searching for a Canadian
mythology, French Canada is content to
ignore its mythology.
In O Canada Edmund Wilson, after
presenting the details of the conflict between Duplessis and Charbonneau over the
asbestos strike, says that it would make a
fascinating drama. It is interesting that an
English Canadian — John Thomas Mc-
Donough — rose to the challenge. The play is
full of mythological figures, Trudeau,
Laporte, Marchand and so. Yet French
Canadian writers either treat their
characters with pathos — Prochain Episode
is the best example — or with excessive
amounts of sugar. Perhaps Atwood is right,
French Canadian writers have not
presented mythological figures because
they do not see themselves in that way. Or
perhaps a better explanation can be found in
The Wolf where Eric tells Sebastien,
"Everybody has his own mythology and
mine is my own business."
Despite its many paradoxes, French
Canadian literature is vibrant, dynamic and
strong.
Friday, January 24, 1975
THE      UBYSSEY
Page Friday, 7 canadianlitcanadianlitcam
Publishing B.C.
poets crunched
By ERIC IVAN BERG
Tis sad to say that the late and
great state of poetry and little
literature magazine publishing in
our beautiful province of B.C. isn't.
Isn't that beautiful, that is, not
that organic homegrown poets
aren't alive and writing for that
they are indeed. But unfortunately
it is the inflation-paced price of
pulp and printing costs these days
that are driving little magazines
out of existence (they rarely made
a profit anyway).
Perhaps B.C. should be a bit
prouder of its poets — perhaps Arts
Access-type legislation should be
enacted declaring provincial poets,
like virgins, an endangered
species. For nowadays nobody —
not even poets on the Canada
Council college lecture circuit can
make a living solely on poetry.
Robin Skelton teaches and edits
the Malahat Review literature
quarterly of the University of
Victoria. Frederick Candelaira
and Stanley Cooperman both teach
at SFU on the top of Burnaby
mountain and edit its organ The
West Coast Review. Colleges such
as Capilano (Pierre Coupey and
Daphne Mallat edit The Capilano
Review) and Douglas (Dave
Evanier and wife Dini edit Event)
have their teacher-poets and
Canada Council-supported
publications.
Out of the ivory-towered cliches
and into the streets where some
say "real shitkicking poetry" is
born (illegitimately and otherwise) we find the hand-to-mouth
small press messes struggling. The
Titmouse Review (Avron Hoffman, Major Metaphor, Mr. Poem,
and Buttock Rat — believe it or
else, are the ed heads) in the
legendary style of the long dead
TISH is avant garde with some
incredible graphics. 3c Pulp and
the Pulp Press incorporate remnants of Vancouver's Poem
Company and produce a high
quality offset broadsheet with
pictures — the paper is high
quality, the poetry varies fantastically. Local street poets such
as Gerry Gilbert, Judith
Copithorne, Jon Furberg, Steve
Osborne, Opal Nations (with his
twin "pronged" poetry), Rich
Snyder, Charlie Tidier and Eric
Ivan have all found their way into
the pages of several of these little
semi-commercial (3c), magazines.
Several post mortem Ubyssey-
hacks have even tried their hands
at poetastery. Former editors Tom
Wayman and Mike Finlay and past
Page Friday guru Fred Cawsey
have all written and published
chapbooks of poetic frenzy. This
merely proves that not all "hunt
an' peckers" on the PF payroll
here at culture gulch can be considered "hacks" in light of such
precedent. There must be some
artists among us?
If one is truly interested in finding such poets and magazines the
library has periodical references
of back issues and mailing addresses. Organizations such as the
Vancouver Poet's Co-op (CFRO-
FM), the Vancouver Writer's Guild
(Roy Lowthe edits their Pegasus)
and even the Creative Writing
Department on campus (George
McWhirter, Mike Bullock and
Jerry Newman edit the UBC
literature journal Prism International) abounds in such
pseudopoetic creatures. For
despite the financial squeeze of
inflation poetry in this province, no
matter how many mags like Tish,
Blackfish and Karaki die, is still
alive with people who live it and
compose it. Perhaps more people
to buy it and believe in it is all that
is needed in this province.
PEOPLES CO-OP BOOKSTORE
341 West Pender St., Vancouver, B.C.
685-5836
NOTICE OF ELECTION
This is a formol notice of the election
of one student representative from each Faculty
to serve on Senate.
Universities Act
35 (2)   The senate of each university shall he composed of:
(h) a number of students, equal to the number provided in clauses (a) to
(f) (which totals 17), elected by and from the Student Association in
a manner that ensures that at least one student from each faculty is
elected;
(INTERPRETATION:. . . "Student Association" means all full-time
students who are members of the alma mater society or the graduate
studen t society of a university;)
(Senate at its meeting of Wednesday, October 9, 1974 resolved that for
purposes of elections "full-time" students be interpreted as undergraduates
taking at least twelve units (or the equivalent) of courses; all doctoral
students; and all other graduate students taking at least six units.
36 (2)   The term of office of a member of senate elected under section 35 (h) is
one year and thereafter until his successor is elected.
CALL FOR NOMINATIONS
This notice is a call for nominations from the full-time students,
in each faculty for ONE representative to be elected by and from
the full-time students in each faculty to serve on Senate for a
period  of  ONE  YEAR  from  a   date  to   be   decided   by  the
Lieutenant-Governor.
Nominations;
Each nomination paper must carry:
— the name, student number, year and faculty of the nominee
— the signature, full name in block letters, student number,
year and faculty of each of three full-time students from the
same faculty in support of the nomination.
— the signature of the nominee indicating the nominee's
willingness to run for election.
Please note the following listing of faculties:
AGRICULTURAL SCIENCES
APPLIED SCIENCE (including Architecture and Nursing)
ARTS   (including   Home  Economics,   Librarianship  and
Social Work)
COMMERCE AND BUSINESS ADMINISTRATION
DENTISTRY
EDUCATION (including Physical Education and Recreation)
FORESTRY
GRADUATE   STUDIES    (including    Community   and
Regional Planning)
LAW
MEDICINE (including Rehabilitation Medicine)
PHARMACEUTICAL SCIENCES
SCIENCE
NOMINATIONS MUST BE IN THE HANDS OF THE
REGISTRAR BY 4:30 P.M. ON FRIDAY,
FEBRUARY 7, 1975
At its meeting of January 22, 1975 Senate resolved that candidates limit their campaign spending to $75.00.
Ballot boxes will be available for voting on TUESDAY, MARCH
11, 1975 and students will vote in their own constituencies only.
The locations will be announced in due course.
Page Friday, 8
THE      UBYSSEY
Friday, January 24, 1975 canadianlitcanadianlitcanadianlitcanadianlitcanadianlitcanadianlit
A writer's little  stepping   stones
By DAVID WEST
Today's poets are published in the same
place as the last generation of poets — in the
little magazines.
They print a mixture of genres: fiction,
poetry and plays. But they are most important as a showplace for new poetry.
Virtually none is published in Canada
outside the little magazines.
The little magazines are the home of
established and apprentice writers. The
editors are sometimes empirical,
sometimes cruel, but often helpful. It is the
little magazine that keeps Canadian
literature alive in this day of rising costs in
the book publishing industry.
They have unusual names: Stuffed
Crocodile, Salt, Grain, Haik, Pulp, to
mention a few. Some have more common
and explanatory names: The Canadian
Forum, Saturday Night, Prism International.
money, who print established or good new
writers they have chosen to promote. The
first group with the odd names publishes the
odd people. They pays their money (or
contributor's copies) and they takes their
chance.
These "odd" magazines, and others like
them too numerous to name, fill an important role in the early and even advanced
stages of a writer's career. The writer hopes
to learn from the free manner of the editor
and from the casual letters they exchange.
The writer hopes to be accepted and, if he is,
he has a forum to hear his voice and judge if
he is fitting to be called a 'poet'. His value
can be set by the common standard.
The little magazines are a necessary step
for the poet. He has little chance of
publishing a book until he can list six to 14
little magazine credits. Someone will be
familiar with the name, creating a potential
market for the publisher.
It all began back around the '40s in
Canada, when book publishers were
scrimping on poetry. The McGill Fortnightly Review was founded and published
people like A. J. M. Smith, A. M. Klein, F. R.
Scott and other important voices which are
highly regarded today.
Preview and First Statement came along
in 1942 and 1944 to publish these poets again,
as well as to introduce Patrick Anderson,
Ann Marriot, P. K. Page and Irving Layton.
They shared in these magazines a common bondage to the expression of social
concern and much of the poetry suffered
from its theme. It did, however, begin a new
type of Canadian poetry that fused lyricism
and intense imagery.
There are many little magazines today,
but, sadly, they are too few to allow even a
portion of the poets and would-be poets on
the Canadian scene to express themselves in
print. As a result, new magazines run by
frustrated groups of writers constantly
emerge from any garage or basement large
enough to hold a printing machine of any
kind, age or description.
Other magazines are more established
and deserve some individual comments.
Blackfish is a Vancouver magazine sold
internationally that publishes both
established and new writers. It also tries to
be international in content and appeal.
Quarry, Event, Tamarack Review, Prism
and others are university publications. They
are consistently well edited and have a good
reputation — mainly because they've had
enough grants to establish a continuity of
policy, and of readership.
Saturday Night may be revived from its
somnolent state by an Imperial Oil grant,
but is still experiencing many problems. It
publishes mostly name poets such as Susan
Musgrave and Peter Stevens and cannot
really be called a little magazine. It used to
be, but turned slick and died. Robert Fulford
turns out a good product when he isn't trying
to raise money.
There are of course, short stories appearing in Canada. They come out in
university reviews: Prism International,
the Journal of Canadian Fiction and others.
The Canadian Fiction Magazine is based
in Prince George and edited by that long ago
minion of UBC's creative writing department, R. W. Stedingh. This magazine
contributes the most to Canadian Literature
in the shortest space, including reviews of
fiction. The Journal of Canadian Fiction
includes both reviews and "learned" articles.
These two magazines are the exceptions
to the little magazine theory. They do not
publish poetry, but concentrate entirely on
fiction and fiction-related topics.
Another small magazine that deserves
attention is the Raincoast Chronicles
published by H. White at Madeira Park on
the Sunshine Coast. It is mainly a magazine
dealing with west coast history and
averages two poems per issue which, while
of high quality, are very much limited by the
thematic nature of the publication.
GIRLS!
UBC Engineers Invite You to
DANCE to  JUST C00KIN"
Fri., Jan. 24, 1975
9:00-12:30
SUB Ballroom
GREASE NIGHT
SOUTH COURT LOUNGE
S.F.U.
Band:
Teenangel & The Rockin' Rebels
9:00-1:00 a.m.
Admission: Students $2.50
General $3.50
Sponsored by S.F.S.S.
Y'all come to the
FARMER'S
FROLIC
There'll be a whole heap of guitar
pickin', foot stompin' music and
some display's o' country humer
FARMER'S FROLIC
SAT. JAN. 25, 9:00 TO 12:30
Featuring: "SUNSHINE" and "BROTHER"
plus "THE TWEETYBIRDS"
Tickets: $4.00/Couple - SUB Ballroom and Party Room
Full Facilities Hard Times
Something fo"cheers"abouf:
Now the glorious beer of Copenhagen is brewed right here in Canada.
It comes to you fresh from the brewery. So it tastes even better than ever.
And Carlsberg is sold at regular prices.
So let's hear it, Carlsberg lovers. "One, two, three ... Cheers!"
Friday, January 24, 1975
THE      UBYSSEY
Page Friday, 9 v***?1
vH.- ■
laricepetforrrmnceperformancepeifonha
Audience laughing at or with philanthropist ?
By ERIC IVAN BERG
Fired hilariously out-of-
synchronization, the stage crew
splatters the study wall with
"brains and blood" before the
intense   and   epileptic   young
playwright blows his own out with
a revolver in his mouth. This awkwardly inauspicious start to a
brilliantly written beginning sets
the rhythm of the Freddy Wood
Theatre's latest production, The
Philanthropist.
Grinning Bo bored
By NICK FAIRBANK
Sporting the inevitable black felt hat, wearing cream pants, vest and
a black silk shirt and playing a rectangular guitar, Bo Diddley entertained an enthusiastic crowd at the Commodore Ballroom last
Friday.
The 44-year-old, five ft. seven in., 225 pound musician was born Elias
McDaniel in McComb, Mississippi.
For years Bo's was a dynamite act, until the British invasion of the
U.S. music scene, lead by the Beatles. Although pushed into the
background he continued playing and putting on shows. Then, a few
years ago, a great revival began and he returned to popularity.
The show on Friday opened with a four-piece band who played for the
45 minutes, then Bo's back-up band of local musicians played as the
tension grew to boredom and people wondered if Diddley was going to
play at all. There were shouts of "Where's Bo?"
Then he finally came on and everyone cheered. As he played the
rhythms for which he is so famous, the dance floor became packed and
began to vibrate.
Bo shouted, "I want everybody to clap", and soon everyone was
caught in the magic of his sounds.
And Bo just stood there, swaying a little and played, with a grin on his
face, looking cool.
Despite the happy audience, however, he wasn't at his best; he didn't
seem as enthused about the show as everyone else was. But then, after
all, he's been playing for over 18 years and maybe the novelty is
beginning to wear off.
But looking round at all the faces it was obvious that a good time was
had by all.
This is playwright Christopher
Hampton's witty bourgeois
comedy which has been produced
with several such out-of-sync
ineptitudes included. It is
comically laundered for its admitted wit to such an extent that it
becomes a dramatic anagram, a
word game.
This philology of decadence
nevertheless has some excellent
acting in its support, especially
Matthew Walker's delicately introverted portrayal of Philip, the
The Philanthropist,
Written by
Christopher Hampton.
Directed by
Klaus Strassman,
At the
Freddy Wood Theatre.
philanthropist. Peter Brockington
gives a convincing presense to the
role of Donald, the Lit prof counterpoint of Philip.
Trish Grainge adds a sharp wit
and wounded feminism to her
interpretation of Celia, Philip's
fiancee with the hot pants, or as
Donald warns: "The quickest
drawers in the faculty".
The audience did indeed break
into spiels of laughter at the dark
satires on suicide, lunatic
assassinations, and anarchy
liberally sprayed about. Yet out-of-
sync is the only way to describe
The Trial
BillyJack
It takes up where Billy Jack left off.
Starring DELORES TAYLOR
andTOMLAUGHLIN
TIMES — Feature starts at:
Mon.-Fri. 8 p.m. only
Sat. 12, 3, 6 and 9 p.m.
Sun. 2. 5 and 8 p.m. I
MATURE: Warning — Frequent violence and brutality. —R. W. MacDonald, B.C. Director
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much of the audience's reaction to
the anagrammatized word game
wit. More succinctly put, perhaps,
is the feeling that at several points
it worried me as to whether they
were laughing with or at the actors?
Other acting performances from
younger members of the cast were
uneven as was the applause. Taken
to  task,   Richard  Ouzounian's
braggadochio portrayal of the
disgusting literary cauliflower and
social boor Braham, was a study in
hyperventilation.
Kathy Boucher plays Liz perfectly, as another point in this
triple triangle — she doesn't say a
word.
The dramatic pacing seemed
quite jerky at times. Excellent
Seepfll: PLAY'S
IT'S HERE AT LAST!
a subfilmsoc presentation
JAN
23-26
A film by/
Luis Bunuel
"THE
DISCREET
CHARM
OF THE
Thur. & Sun-7:00
Fri. & Sat-7:00 & 9:30
SUBTHBATR, bqurgeq,^,
Please show A.M.S. card
75c
FAMOUS ARTISTS LTD. FAMOUS ARTISTS  LTD.
Orphean. Theatre - Thursday, Feb. 6 it 8:30
"NBL SIMON'S BEST PLAY YET.
A JOY. ft LOVELY PLAY.
EXTRAORDINARILY FUNNY."-"™ Bam*, N.Y.Tim«
■oo    m
ALLV   HCGHAH
NCILSIHONS
NCV COMCDr
\i/      \ I /
$6.50,5.50,4.50
Orpiwua nSeotrt
HwndayFefc.l3at«:30
THE GREAT
Incomparable Soviet Cellist
$7.50,6.50,5.50
Q.E. Theatre • Monday, Feb. 24 at 8:30
Page Friday, 10
THE      UBYSSEY
Friday, January 24, 1975 Soprano intact for strong finale
By ANDRE PARADIS
On Saturday Elisabeth Schwarzkopf gave her farewell performance for our city. A small,
blonde, German woman came onto
the stage, and became perfect. The
evening's program was all Lieder
a form which Madame Schwarzkopf has consistently
demonstrated to be a supreme art.
Her appearance was drama in
itself for the audience. People were
not only there for an evening's
moments, but to pay homage to a
truly great soprano's career which
has spanned some 38 years years.
The initial Schubert songs opened
with slight hesitancy both on the
part of the performer and the
audience.
One could doubt. Perhaps she
was covering her vowels; perhaps
too, her voice was declining in
power. Perhaps she was making
her farewell appearances with
straing. From some inner magic,
the years soon fell away. She was
not only almost fully intact, she
was magnificent.
The Schumann songs, two
selections from Myrthen, were
singularly coalescent moments
and from then on no superior artistry could be hoped for. The
fusion of Schwarzkopf's impeccable phrasing and vocal power
with the confidence of having won
the audience created an aura of
stunning beauty for the Brahms
which followed.
The contrast between the
darkness of Brahms' Immer leiser
wird mein Schlummer (Ever
lighter becomes my Slumber) and
the lighter Vergebliches Standchen
(Vain Serenade) was performed so
well it was a show of strength.
After the intermission Madame
Schwarzkopf re-entered, radiant
and seemingly refreshed. This
second part of the evening proved
to   be   the   height   of   Lied   in
terpretation. The Mignon song,
Kennst du das Land (Do you know
the country) and Das verlassene
Magdlein (Theforsaken girl), both
by Hugo Wolf, were technically
and emotionally well performed
indeed. These, along with Trau
nicht der Liebe from the
Spanisches Liederbuch, searingly
exemplified the devasting and
intelligent beauty of this art form.
To slowly leave this purge, three
thoughtfully cast Strauss songs
followed. I am sure that Morgen!
has never been recorded as it was
sung that night. Madame Schwarzkopf's accompanist, Geoffrey
Parsons, proved so utterly sensitive to the singer and the music
that suspension of spontaneous
applause was lavished upon the
two performers. The four Wolf
songs, with which the program
closed, alleviated the reflective
tension.
Vancouver gave her a standing
ovation, the realization that this
marvellous singer would never
perform her again adding an
urgent sort of poignancy to the last
few minutes. Elisabeth Schwarzkopf received applause as
elegantly as anyone is ever likely
to, and returned onto the stage for
three encores. The last, aptly
summing up her career as one of
Schubert's greatest interpreters,
was Im Fruhling (In Spring Time).
It was an evening after which
cliche and hyperbole became insignificant.
The only flaw which marred the
performance was caused by the
Q.E. management. They allowed a
defective air conditioning unit to
interfere with the opening, An die
Musik, destroying a vital link in the
rapport between performer and
audience.
Play's sum uneven
From pflO
little bits are white-washed by
certain excessive subtlties in the
acting which succeeds them. The
anagram recipe for wit can
become tedious and long-winded in
the end despite the acting.
Director Klaus Strassman had
made  an   admirable   and   en
tertaining attempt to try and
translate all of Hampton's knife-
edged word play and black satire.
But the whole appears larger than
the disjointed sum of the
productions unsynchronized parts.
Yet despite both excellent and
overblown bits of acting there is no
doubt that the audience left Freddy
Wood with peace of mind.
Friday, January 24, 1975
THE      UBYSSEY
Page Friday, 11 Page 16
THE'     UBYSSEY
Friday, January 24,  1975
Do or die for puck 'Birds in Sask
By STUART LYSTER
The hockey 'Birds head into a
two-game series against the
University of Saskatchewan with
three good reasons why they
should win.
Reason number one. The 'Birds
should be smoking from the 5-1, 3-1
losses suffered last week in
Saskatoon. The lowly Huskies took
advantage of a 'flu bug that slowed
or sidelined most of the 'Birds in
registering their second and third
wins in 16 games this season.
Reason number two. UBC is a lot
better than Saskatchewan. Aside
from marksman Rick Jackson and
goalie   Kevin   Migneault,   the
Huskies are still in the process of
building a team from the ruins of a
1-17 season last year. UBC has
better forwards, a better defence
and goaltending that equals the
magic of Migneault.
Reason number three. If they
don't win both, they may as well
start preparing for next year.
In other words, it's do or die for
the 'Birds.
Granted, the 'Birds won't be
mathematically out of it if they
split the series, but they are
already two points behind Calgary
for that elusive second and final
playoff spot. To beat out Calgary
they have to win against Saskat-
DRILLING FOR OIL UBC grappler Mike Richey takes liberty of
using Central Washington State's Sack Zieger as diamond head in
recent action. 'Bird team is in Klamath Falls tonight against Oregon
Tech.
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chewan, because Calgary has two
game against them as well, and
haven't lost to them in over two
years.
"I think we'll beat them," says
'Bird coach Bob Hindmarch.
"We're completely recovered from
that 'flu bug, in fact I was the only
one that missed a practise this
week because of it."
Hindmarch also said that Husky
goalie Migneault wouldn't be that
much of a factor in the series, even
though he stopped all but two of the
95 shots that came his way in last
week's two games.
"he's a great goalie, alright, but
it was more our slow timing that
made him look good. Now that
we're healthy I think we'll beat
him."
Richard Saxton, CITR sports
direector  who  travels  with   the
Rugby
The rugby Thunderbirds get
back into action on Saturday when
they take on the Cowichan team
from the Island.
The 'Birds were scheduled to get
back into action after their long
Christmas layoff last Saturday but
their match with the Capilanos was
called off due to repressive field
conditions.
On February 1 they will take on
the Meralomas then travel to
Victoria the next week for a match
with James Bay.
After that they embark on their
Pacific Northwest Intercolliate
Rugby league schedule. UBC won
the league with a perfect 5-0 record
last year.
They will travel to Oregon to
take on last year's runners-up, the
Oregon State Ducks, then will
move on to Eugene to meet the
University of Oregon Beavers.
team, credits the return of Jim
Lawrence and Keith Tindle and
their constant hustle as the spark
that could carry the 'Birds into the
play-offs.
"To make the play-offs, the
'Birds will have to beat Calgary
three out of the remaining four
games they play together. I think
that Lawrence and Tindle are a
factor.  Also if Brian  DeBiasio,
Peter Moyls and Bill Ennos start
scoring the way they have in the
past, nothing will stop them," said
Saxton.
Games will be carried live from
the Winter Sports Arena by CITR
Campus radio 650. Friday's game
is at 8:00 p.m. and Saturday's is at
noon.
All UBC students are admitted to
the games free.
Basketballers finish
easy part of sked
UBC basketball teams finish the easy part of the schedule this
weekend with games against the University of Lethbridge Pronghorns.
Neither the 'Birds nor the Thunderettes should have much trouble
improving their records. Lethbridge trails the Canada West standings
in both the men's and women's divisions.
The Thunderettes are currently alone in first place with a 9-1 record.
Coach Susan Evans is looking for two easy wins to extend that lead.
The Thunderbirds are in third place with a 6-4 record. Second place
Alberta (7-3) is playing first place UVic this weekend, so the 'Birds have
an excellent chance of moving into second place ppast the Dinosaurs if
they can win both games with Lethbridge.
Game times are 6:30 p.m. for the women and 8:30 p.m. for the men
Friday and Saturday at War Memorial Gym.
*    *    *
Meanwhile, the UBC soccer team, already with three weeks of
inactivity behind them, will again be left out of the B.C. Soccer League's
weekend schedule this week.
The 'Birds will try to relieve their boredom with an exhibition match
against Royal Oaks, Sat. at 12:00 noon at the Gym field.
Those who decide to turn up for the game may see a change in the
'Birds' style.
They were seen working on their crosses from the wings in their
training session Thursday.
In their past games, the 'Birds have not been too exciting down the
wings. Most of their attacks originate and end in the middle. This may
be the reason mid-fielder Darryl Samson is their top scorer.
With one of the faster and fittest teams in the league, a wide open style
with a lot of wing plays will definitely suit the 'Birds better.
Coach Joe Johnson has asked The Ubyssey to extend his invitation to
any budding goalkeepers on campus to join the team.
The Scotch
drinker's
Scotch.
*i
"to
f(t
& White.
Enjoyed in over 168 countries.

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