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UBC Publications

The Ubyssey Oct 26, 1973

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Array Music group to probe scandal
The music undergraduate society
grievance committee established Tuesday
will attempt to be totally objective, committee secretary Jan Evans said Wednesday.
The committee was formed to investigate
charges of certain students and professors
about department head Donald McCorkle's
alleged ineptitude and arrogance.
"We want to impress that students are
open minded about the matter. That's what
the committee's about," Evans said.
Committee chairman George Austin
concurred: "We are looking towards a
harmonious relationship between faculty
and students. It's not a 'get somebody'
committee. It's a 'find out what's happening' committee."
Austin said MUS president Murray
Walker was able to see McCorkle for about
an hour on Tuesday. Walker could not be
reached by The Ubyssey for comment on the
Meanwhile, two more professors who
wanted to remain anonymous talked about
their difficulties with McCorkle Thursday.
A first-year professor spoke about what he
felt was McCorkle's "main problem."
"I   prefer   to   have   a   strong   leader;
someone who is strong," he said. "However,
I think Dr. McCorkle is trying to take on all
decisions with the same degree of
The professor cited some of what he felt
were McCorkle's positive qualities.
"He wants to build a strong department,"
he said. "I've no criticism of his hard work
and determination; his attempt to get the
department moving — to raise the sights of
the department," he said.
McCorkle worries too much about small
problems to the exclusion of larger issues.
The more difficulty he encounters the more
he entrenches himself in his position," he
"I'm sure McCorkle's too close to this (the
controversy) to see what's going on," he
said. "McCorkle's blind to a basic premise
of university administration. You hire a
man and allow him to prove his abilities and
fire him if he doesn't work out after a fair
"But McCorkle's been pushed to the wall
and he's trying to attach his string to
everything," he said.
Another professor, senior in the department said he felt McCorkle was reaching the
position of being 'impeached'.
"He's (McCorkle) going to try to weather
the.storm but I'm afraid it's going to be
awfully uncomfortable for him,"-he said.
"Some people are very optimistic he will
He said the faculty's attitudes towards
McCorkle has changed rapidly in the past
few weeks. "Those that previously supported him, including the former department head, are now opposed to him," he
He said the real controversy started "a
few weeks ago" when students started
placing sarcastic signs on walls in the music
building. He said, however, that problems
first developed last spring when students
signed a petition complaining about McCorkle's refusal to admit a qualified student
to graduate school.
He said, in addition to rejecting qualified
applicants, McCorkle's so-called "first
rate" grad school lacked what he felt was an
essential first year theory course.
The professor said he had a lot of "little
nitpicking" complaints about McCorkle.
Every concert program has to be approved
by him before it can be printed," he said.
(Programs are routinely issued before
department-required student recitals and
concerts. Approval of these programs is a
minor matter which the professor felt was
unsuitable for a department head.)
Another complaint the professor had was
McCorkle will only sign requisitions on
Tuesdays and Thursdays which, he said,
resulted in unnecessary and even "absurb"
delays in music department purchases.
Meanwhile, Eric Wyness, MUS
representative to the Alma Mater Society
council said Thursday he had seen arts dean
Doug Kenny enter McCorkle's office on Oct.
15. "He was around here the whole day,"
Wyness said.
Harriet Crossland, a part-time flute
teacher who complained Oct. 11 she hadn't
been paid because of what she called McCorkle's ineptness" said Thursday she was
paid by Kenny's personal secretary on the
Monday after the first Ubyssey article about
McCorkle appeared. She said Kenny's
personal secretary sat in music department
offices all that week (Oct. 15-19).
However, Kenny's secretary said Thursday she had "never been in McCorkle's
office or even in the music building."
Kenny as usual was unavailable for
Crossland expressed concern about
professors speaking against McCorkle who
remained anonymous. "I don't see what
they're worrying about," she said. "It hurts
more than helps their cause by their
remaining anonymous."
Sedgewick leaks
as faulty beams
are repaired
Vol. LV., No. 20 VANCOUVER, B.C., FRIDAY, OCTOBER 26, 1973     <*&
By JAKE van der KAMP
The faulty beams in Sedgewick
library have now been repaired
and there is no longer any danger
of the building collapsing. However
the $3.8 million building still leaks.
Franz Conrads, director of new
construction for Physical Plant,
said Wednesday the fallen planter
beam which had caused the
problems was safely back on its
concrete base and high tensile steel
bolts on either side are now holding
it in place.
"At present the beam is taking
the whole force but if it should fail
the two bolts are strong enough to
bear the weight," he said.
The falling beam was first
noticed last spring when it shattered some windows and could
have sprayed glass for ten feet
around the area.
Interim supports were put in
place to prevent the building from
Conrads said the planter beam
had wedged itself between its
support beam on one side and a
retaining wall on the other side. He
said the beam was deficient in not
having enough reinforcing bars
and because the bars were of a
smaller diameter than specified by
the original architectural plans.
Conrads admitted a main support beam had been damaged in
repairing the planter beam.
"The contractor tried to bring
the beam back into its position by
applying force to push it up, and in
so doing transferred the force to
the main support beam by the
friction from the wedged beam.
During this operation the main
support beam cracked," he said.
An injection of epoxy glue was
used to repair the cracks, but he
said he could not be certain about
the effectiveness of the remedy
since it was a totally new approach.
When asked if the failure of
either beam could be traced to
incompetence by the architect or
the contractor, Conrads refused
comment. He said, however, the
cost of the repairs was being
handled by the contractor and a
consultant was called in to check
whether the repairs were sufficient.
He also said work was in
progress to determine ways of
repairing the leaks in the buildings
but it would take a long time to fix
them because it was difficult to
determine exactly where the water'
was coming through.
"Problems like this are for-
seeable because Sedgewick library
is of such an unorthodox type of
construction," he said.
"The leaks were probably
caused by expansion and contraction of the drums which
surround the trees but I'm
reluctant to call people who built
the library incompetent because of
these errors. We're all human. But
I expect it to be rectified at the
expense of others," he said.
Conrads was reluctant to say
more and expressed worry he
might get in trouble for the information he had already
"Oh dear, I should have told you
to contact Arnie Myers at Information Services about this in
the first place," he said.
—don peterson photo
WHO KNOWS WHAT EVIL lurks behind the coat of Zegma man?
That's the question facing a student who became an unwitting part of
a CYVR radio publicity stunt.
AUCE confident off 50 per cent
Organizers of the budding campus local of
the Association of University and College
Employees are confident of recruiting the
required 50 per cent of their potential
membership by their Dec. 10 deadline, according to AUCE provisional secretary Dick
If it receives certification it would form the
second largest non-faculty bargaining unit on
campus. The largest unit is local 116 of the
Canadian Union of Public Employees which
currently represents about 1200 university
So far 40 per cent of a possible membership
of about 1050 university employees, mostly in
office and clerical positions have been
signed, including over 50 per cent of about 300
eligible employees in the campus library
"Library employees could feasibly form
their separate bargaining unit if we fail to
reach 50 per cent, however I'm confident we'll
make it," said Martin who works in the
mailing room of the main library.
After beginning their membership drive
Sept. 11 organizers signed up 30 per cent of
membership required by the provincial
government in the first month but have ex
perienced more difficulty since.
"In the first month we basically signed up
people in areas like the registrar's office and
the library where we have lots of organizers.
But after you sign up people in your own
departments you run into trouble. This is
what's happening now," he said.
Martin named Scarfe and Henry Angus
buildings, the medical department and UBC
employees at Vancouver General Hospital as
main problem areas now facing organizers.
Asked why the fledgling union didn't have
organizers in these areas Martin blamed the
problem on lack of communication.
Members of the science undergraduate society Thursday
criticized science senator Svend
Robinson for his lack of participation in SUS activities and his
failure to attend their meetings.
About 15 people attended a SUS
meeting and made it clear they are
dissatisfied with Robinson's
representation of the science
faculty when he is actually
registered in first year law.
Robinson did not attend the
meeting Thursday.
One member asked if the Oct. 10
Alma Mater Society student
council motion requiring an
elected faculty senator to remain
in that faculty or resign. However
the motion is not retroactive.
Robinson was elected a senator in
1971 then transferred to arts and
finally to law this year.
Most of the people at the meeting
disliked the way Robinson was so
outspoken on the resignation of
former SUS president Piers
Bursill-Hall's resignation two
weeks ago.
Several peoole expressed concern about the lack of communication between the SUS,
science students and the rest of
UBC. There was some discussion
of the formation of a central liaison
office to co-ordinate information
pertaining to science students.
SUS president Brian
Kolthammer, who chaired the
meeting, told the group three
members for the grad class council
are needed by the Oct. 31 deadline.
Fred Metcalfe, science 4,
suggested the executive pick three
people from the nominees rather
than holding an election. Metcalfe
announced his candidacy for a
position then promptly left the
Science students who are
graduating this year are eligible to
sit on the council. Any interested
students should submit their
names, departments and telephone
numbers to the SUS office, SUB
box 178. by noon Tuesday.
The meeting also passed a
resolution asking the AMS for
permission to form a committee to
draft a new SUS constitution. Page  2
Friday, October 26,  1973
Tween classes
General   meeting   noon   SUB   105B;
social 7:30 p.m. arts one blue room.
General meeting noon SUB 224.
General meeting noon Bu. tower.
Behind the Israeli aggression, 8 p.m.
1208 Granville.
Dr.   Corteen  on  Processing without
Awareness, noon Angus 207.
Discussion on proposals for the Universities Act, noon SUB 205.
General meeting, noon SUB 213.
Application forms, Buch. 4929, trip
July 1, '74.
General      meeting,
dance 7 p.m.
Halloween     costume     dance     with
Sweeny Todd,  9  p.m.-l  a.m., Place
Vanier ballroom.
Swami Tirtha on spirituality and
everyday life, 8 p.m., Henry Angus.
General meeting, noon SUB 213.
Panel discussion, An Exploration of
Women's Sexuality. First of a two
part series, 7:30 p.m. SUB Ballroom.
Discussion   —   Right   to   Abortion?,
with    Bernice    Gerard,    noon    SUB
Weekly noon prayer and share time,
all welcome, green room Lutheran
Campus Centre.
Speakers re corrections:  parole officer,  social  work  prof,  and  student,
noon SUB 113.
First organizational meeting, all welcome, noon Biological Sciences
Carl Armerding speaking on Justification by Faith, noon SUB Auditorium.
Hot flashes
filling fast
Student charters to Toronto
this Christmas are filling fast so
UBC students are advised to book
early, an Association of Student
Councils Travel Service spokesman said Thursday.
Wendy Leach said flights leave
Vancouver Dec. 15 and 21 in the
evening. The Dec. 21 flight is
already two-thirds full while the
Dec. 15 flight is half booked, she
said. Both flights return Jan. 6.
Christmas exams end Dec. 21.
AOSC   is   also   offering  a  ski
package to Jasper with accommodation at the Jasper Park Lodge.
Bus transportation to and from
Jasper lift, tickets for four days
and accommodation costs $139.
AOSC has just started offering
the ski trip so no bookings have
been made yet, Leach said.
Tickets or further information
on either of these programs are
available from the AOSC office in
SUB across from Speakeasy.
Anglican-United Campus Ministry
Songs of Hope & Joy
& Celebration
In Concert:
OCT. 30 - 12:30 - SUB BALLROOM
NOV. 3 - 8:00 - TOTEM PARK
Workshops Noon Hours
Lutheran Campus Centre
Discuss the issues with
Tuesday, Oct. 30
12:30 Noon       SUB 215
Sponsored by UBC Pro-Life
George & Berny's
2125 W. 10th at Arbutus
It's Arrived! Datsun's new
1974 economy
See it at
290 S.W. Marine Drive
Dir. Lie. 1812
Swami Bhoomananda Tirtha
"Spirituality & Everyday Life"
(Admission Free)
Sat. 8 p.m. Henry Angus 104
Sat. Oct. 27   8:00 p.m.
Hillel House
Members: 50* Non-Members: 75*
Tm 'New-Look9
RATES: Campus - 3 lines, 1 day SI .00; additional lines, 25c;
Commercial — 3 lines, 1 day $1.50; additional lines 35c;
additional days $1.25 & 30c.
Classified adi arc not acceptt d by telephone and are payable in
advance. Deadline is /1:30 a.m.. the. dav bcture pubiiaitiiw.
Ihibficatwns f)fflcr. Room 241 S.U.B., UBC. Van. S, B.C.
5 — Coming Events
8:00 p.m. — October 29th
East End Cultural  Centre
1895 Venables
All Welcome - Host Autoban
Tel. 731-3289
LADIES!!  Today'
s  the  day  fo
■  the
Engineers'    OktoberfEUSt!!
Ballroom,    S::iO
Bayarian   music
by    Johnny    Sc
nvara.    Get
free   admission
passes   noon   to-
tody   in   SUR!
10 —For Sale — Commercial
Then you need
a print dryer
Single  Paint     $14.95
Double   Paint     $19.96
Single   Chrome     $19.19
Twin   Chrome     $25.56
tl)f Hensi ano ;S>i)uttrr
3010   W.   Broadway 736-7833
AM-FM Stereo receiver. 2 speakers, turntable, base, rover and
cartridge, list $200. Your cost
$125. 2-voar parts guarantee.
Call   325-0366   for   savings.
THE AIRMAIL has art deco.. .iew-
ellerv and kitsch. 3715 Main St.
at   21st.   Phone   S70-7236.
11 — For Sale — Private
MUST STLL Rovnl Calculator. $00.
Retails   for   $120.   n2r>-11(51   eves.
1969 DATSUN 510, good condition.
Reasonable. Private. 261-7713 or
15 — Found
30 — Jobs (Continued)
"SHOE SALES" Lady or man, experienced in selling- better quality women's and men's shoes,
part-time required. Apply in person, "Hughes Fine Shoes Ijtd.",
4516 West Kith Ave., near U.B.C.
35 — Lost
Campus.     Call     Bruce.     S72-
40 — Messages
Student production needs various
parts filled including': waterproof female who can BBQ fish
outdoors; yuun^ woman with
pottery experience, act-ess to a.
kiln, *Sc a'dliiy to play convincing death scene; a couple to
walk through fallen leaves (and
not trip over- dormant profs).
Xo experience necessary but it
helps if you have a pleasant
personality, clear voice, mild
sense of humour, and are reliable (for :j-4 davs, anvhow).
Details? Phono Ores1. T^2-S212
Thurs., Fri., Sat. 7-10 p.m. only
- musicians -
Kadi   Sundav  —   1-:'.   p.m.
at Jericho Gym
Foot  of Diseoverv *   2nd   Ave.
-    Pt.    228-8685    or   224-0386
BRIAN A. annouuoes his water-
bed is hack in commission. R;ch
widows   please   phone   733-7783.
60 - Rides
70 — Services
80 — Tutoring
85 —Typing
20 — Housing
S/C SUITE, very reasonable rent,
in exchange for some babysitting of infant. Xursing student
preferred. Vicinitv 10th & Crown.
Avail.   Nov.   1.   224-4751.
25 — Instruction
30 — Jobs
PEMALE STUDENT (over 21) to
act as night staff in small treatment homes in Richmond. 736-
S711   — Anna Battler.
SUB, Mon.-Fri., !i:00 a.m. to 1:00
p.m. ami 1 :O0 p.m.- 6:00 p.m.
$2.00 per hour. Apply SUB, Rm.
WANTED — Student for light
cleaning Kerrisdale area. ! hrs.
twice  monthly.   Ph.   261-1417.
EFFICIENT F.lectrie Typing. My
home. Kssays, thesis, etc. Xeat
accurate work. Reasonable rates.
TYPING:— Fast, efficient, neat.
41st »t   Marine  Drive.   266-5053.
MANUSCRIPTS, theses, essays, etc.
done quickly and accurately.
Reasonable rates. Claudctte, 506-
101S   or   22S-2421.
YEAR ROUND ace. typing from
legibile drafts. Quick service on
short essays. 73S-6S2!) from 10
a.m.   to   0   p.m.
90 — Wanted
99 — Miscellaneous
CLASSIFIED Friday, October 26,  1973
Page 3
Profs attack help as free lunch
Ubyssey Foreign Affairs Reporter
Is there or is there not such a
thing as a free lunch.
That question was discussed at
length Thursday during a World
University Services sponsored
debate on the merits and shortcomings of foreign aid and the
many strings that can be attached
to such programs.
Michael      Wallace,      Peace
science professor attacked the
current structure of most foreign
aid programs as having too   many
conditions and making too many
impositions on other culttures.
He used the analogy of bars
which around the turn of the
century used to serve free lunches
as long as patrons bought liquor.
"Many people went along with
that but eventually they realized
that the cost of the food was being
absorbed by the cost of the booze,"
Wallace told a crowd of 75 .
"That's where the expression
'there ain't no such thing as a free
lunch' came from."
Wallace went on to suggest that
foreign aid programs qualify as a
'free lunch' except they usually are
tied to trade deals, cultural impositions and other hidden
Wallace said the trade situation
now is even more unfair to underdeveloped countries, primary
industry countries and prime
supplieers of raw materials, than it
was in the past.
"It takes more wheat to buy a
tractor today than it did at the end
of the Second World War."
History professor John Conway,
—don peterson photo
SOME: OF THE many instruments and displays on view during the three day Chinese Festival which ends
today. The theme behind the presentation is show life in the People's Republic of China. Today's events
include a talk on women in China, musical presentations and a martial arts display.
Last chance for festival
This is your last chance to get in on the happenings of the Chinese festival on campus.
Today is the third and final day of the festival's
displays and demonstrations.
It is sponsored by the Chinese Students'
Association and International House to celebrate the
Oct. 24 United Nations Day.
The festival is being held to introduce different
aspects of Chinese culture to other Vancouver ethnic
groups. Today's program finishes off three days of
talks, slides, projects, shows, displays and performances.
Elizabeth Johnson will give a one hour lecture at
noon today in Buch. 104 on women in China. Johnson
is one of the first female anthropologists who has
done studies on women in China.
Her husband, Graham Johnson of UBC's
anthropology and sociology department, opened the
festival Wednesday with a lecture on the educational
system in China. The Johnsons visited China last
There will also be a Chinese cooking demonstration from 5:30 to 6:30p.m. at International House.
From 6:30 until 7:30 p.m. a Chinese painting
demonstration will take place.
The Ching Won musical society will present some
Chinese instrumentals from 7:30 to 8 p.m., then for
another half hour the Wong Ha athletic association
will do a lion dance.
A Chinese martial arts demonstration will be
given by the Cheung Fung Tai Chi association and the
Wong Ha athletic association at 8:30 p.m.
At 9 p.m. the Loretta Leung dance group will
perform and at 9:30 p.m. the Chinese students
association choir will finish off the program with
fifteen minutes of music.
These presentations all take place at International House. It's free.
organizer of several foreign aid
programs, while defending
Canada's aid program, agreed
with Wallace.
He said in some instances the
behavior of Canada's trade policies
has been scandalous.
He particularly referred to the
recent action of the federal
government in refusing to sign an
international accord on sugar
prices which would have given a
fairer deal to third world countries.
"The trade and industry
departments are working to cancel
out th^effects of aid as fast as they
can," Conway said.
Wallace also attacked the strings
attached to foreign aid.
He gave the example of a deal to
provide water pumps to Pakisttan.
He said the pumps purchased were
complicated, instead of using local models, which though not as
efficient, would do the job.
"Now Pakistan is committed to
constantly supplying expensive
replacement parts for the pumps
and local industry hasn't been
given a chance to develop.
Wallace also said foreign aid is
often used to bolster the standard
of living of the middle class in a
country instead of helping those
who really need   it.
He used the example of a grant
for road building by the World
Bank to Mexico. The grant was
used to build expressways,  and
then second class buses one of the
main transportation modes of the
lower classes were banned from
using it.
Conway admitted that there is
corruption   in   the   way   aid   is
. dispensed as well as corruption in
the way it is used but he said it is no
worse than in Notrth America.
He said he thinks Canada's aid
has been generally employed for
good purposes while agreeing
there are bad incidents.
Wallace's final attack on foreign
aid was on its one-sidedness.
He said often aid is used to extend a political point of view,
particularly a western one, and
used the example of the number of
aid agencies, particularly the
World Bank which denied funds to
Salvador Allende's Chilean
government thus helping
precipitate his downfall.
Political science student Gayle
McGee visited India and Nepal on
a world university services grant
last year said she thinks the main
flaw of foreign aid is that it
alienates because there is no
direct contact with the people.
She compared American aid for
construction projects to Chinese
and said the latter is much better.
She said the Chinese, in her
experiences in Nepal, sent
engineers but hired local labor and
related directly to the people.
A good time was had by all.
Nearly 80 apply
for president
Nearly 80 persons have applied
for the position of administration
president, Beverly Lecky,
chairwoman of the board of
governors' presidential selection
committee, said Thursday, the last
day for applications.
Brian Loomes, Alma Mater
Society president, said secrecy of
the names, a common practice,
was not to jeopardize the position
of these applicants.
All applications have been from
academics, said Lecky. The main
purpose for their nomination has
been their outstanding academic
and administrative abilities.
Opinions solicited stressed
academic and administrative
abilities. This may be due to the
idea anybody who has risen
through the ranks will have a grasp
on teaching research writing and
all other facets of education, said
Advertisements for applications
were published in England,
Canada and the U.S., she said.
Most applications have come from
American universities.
During two meetings, two issues
have evolved, said   Loomes.
The first is preference for a
Canadian nomination and secondly
the serious consideration of all
women's applications.
Lecky said opinion also confirms
the preference for a Canadian
candidate. The two women applicants have been outstanding and
can stand on their own merits, she
The original committee is
subdivided into four groups to
look at 15-20 applications, said
In general he said he was
looking for a candidate expressing
a definite interest and sympathy to
the problems of the "students as
well as receptive to their ideas.
The reason for the tentative
closing date was due to the different time of publication in
various countries.
As not to disqualify anybody due
to this diversity the deadline may
be prolonged to the end of this year
if the committee agrees said
The B.C. Civil Liberties
Association is taking the Alma
Mater Society to court next week
over the legitimacy of the AMS
constitution which allowed a ban of
free distribution of the Georgia
Under the constitution clause
banning free advertising at UBC
without permission from the AMS,
thousands of copies of the Straight
were confiscated Oct. 5 and locked
in the AMS offices.
Association president Reg
Robson said Thursday: "It is a
matter of principle to allow the
Straight to distribute on campus.
"The AMS is infringing on the
fundamental rights of freedom of
speech and I don't think the AMS
has the authority to infringe on
these rights," he said.
Robson said the association is
not supporting the Straight or The
Ubyssey in their commercial
battles but it is fundamentally
concerned with the infringement of
civil rights.
"The exact type of action to be
taken has not been decided as yet,
but a writ will be filed within the
next few days.
"The four types of action we
could take are an injunction for
Straight editor Dan McLeod, the
association could seek an injunction on behalf of the Straight,
we could file an ordinary suit or
take the case to student court."
AMS treasurer John Wilson
refused to comment saying only
that any writ launched in court
would be turned over to the AMS
lawyers. Page   4
Friday,  October  26,   1973
OCTOBER 26, 1973
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,
Co-editors: Vaughn Palmer, Michael Sasges
First of all the sun rose slowly over world famous editor Mike Sasges
and arch-rival Vaughn Palmer sued for equal time on another network. Rick
Lymer clung to the hem of his garment, saying "Let there be confusion" and
Alan Doree, Mark Buckshon, Denise Massey, Dru Spencer, Pat Kanopski and
Don Peterson sprang from a nearby telephone booth. Marise Savaria
captured Peter Cummings, Ben Gelfant, Peter Leibik, Ralph Maurer, Tom
Barnes, Boyd McConnell and Laureen Gunnings in color. Pf'ers Bernie
Bischoff, Steve Morris and Ed Cepka whimpered in the chorus, while Gary
Coull and Ken Dodd conducted and picked up the prize money and awards
afterward. Lesley Krueger and Linda Hossie sighed, "Our names in lights."
In response to your recent articles on the bookstore, an editorial
(The Ubyssey, Oct. 16) and letters
to the editor by Brian McHee and
Mike Saxton (The Ubyssey, Oct.
19) — the first critical of the
management of the store and the
latter in support of it for at least
trying to facilitate the legitimate
return of texts by students — I
would like to offer several comments.
The problem of theft of merchandise in retail outlets is not
confined to a college bookstore and
is of major concern to retailers
Four years ago we had no idea
how much theft occurred at the
store but we knew it was high.
In the past three years one
person has been employed full-
time as the security supervisor and
from time to time additional people
from a security firm are hired to
Council stops thinking
Alma Mater Society council has adopted
a policy of speak no evil, seek no evil, hear
no evil, ask no evil and think no evil.
As a matter of fact, councillors don't
appear to be thinking at all.
For example, at Wednesday night's
meeting, councillors almost approved, without a whimper, a request from treasurer
John Wilson for a highly-questionable
$25,000 computer for the society's business
Only persistent questioning by Bob Angus, one of three Graduate Student
Association representatives on council who
bothers to show up, and the editors of this
here paper convinced them to instead table
the request and ask for more information.
Some of the questions your concerned,
well-informed councillors forgot to ask were
the cost of the hardware — the motion from
finance committee, headed by Wilson, did
not include the cost — will the computer
save the AMS money, what effect will it
have on the business office staff, can the
AMS get out of the agreement if the
computer turns out to be a turkey — it can't
— and are there alternate and cheaper
methods of handling AMS bookkeeping?
Wilson will bring answers back to
councillors on these questions. There's still
doubt if they give a damn on what the
answers are.
And that is just one example.
While watching council over the past
two months, The Ubyssey has found the
whole bunch lacks direction, ideas and goals.
They're nothing but a gang of zombies
sitting in the round.
They go through the motions of passing
motions, blindly following authority, any
authority, but never quite share who that
authority is.
On Wednesday they sat and argued 25
minutes over how many students from each
faculty should be reps on the graduate class
council, yet were unprepared to say
anything solid or meaningful about the
endowment lands or Recreation UBC.
(Eventually, with a little bludgeoning from a
few concerned councillors, they did.)
They should be handling any one of the
dozen or so problems facing their
constituency, students — problems such as
the Rec UBC rip-off and provincial
government plans for the endowment lands,
problems such as high bookstore prices and
residence rents. Deeper problems which
would eventually rip the AMS apart if not
checked such as discontent over high fees
and low services among certain
undergraduate societies and the entire
graduate faculty, are totally ignored.
Part of the reason is lack of leadership
from the top. As we said in an editorial Oct.
19 the AMS executive is bitterly split into
two camps, neither of which is showing
much initiative toward formulating coherent
Maybe the campus apathy we've all
been hearing about has spread to the heart
of the AMS, the councillors, although they
should be the ones trying to alleviate the
fact that most students don't give a damn.
Attendance at council is low. By the
end of council meetings, the quorum can
often be challenged.
At the moment, council seems ready to
approve without much fuss treasurer
Wilson's $684,000 budget next Wednesday
although it will be the single most important
political act they will commit this year.
The least they could do is wake up.
And besides, Craig Williams, engineering
undergraduate society president, isn't
wearing his red jacket to meetings anymore.
Now that is apathy.
mount offensives on shoplifting.
Many other physical and
operational procedures have been
instituted to reduce the problem to
an acceptable minimum.
Saxton may rest assured that
had the management any idea that
it could be robbed as easily as
occurred it would have designed a
different system.
It is obviously bad and the
members of the bookstore committee are grateful to The Ubyssey
for bringing the fact to our attention.
I personally would have
preferred a different way of informing us since you only got half a
story through your desire for a
good headline.
If you had spoken to store
manager Bob Smith in private
there could have probably been
several arrests.
If you had waited several days
you would have been able to have
the story you published as well as
helping us arrest one or two of that
minority whose stealing add to the
cost of doing business.
Another system of textbook
refunds will be devised but our first
concern will be to ensure that
students who have a legitimate
return will get their money and
then the management will try to'
ensure that the store is not robbed
in the process.
We feel that our primary objective is still to run a store where
students' and the university
community are served with undue
hassle, and not an armed camp.
Any time merchandise is left
where people have physical access
to it there will be theft since all are
not honest.
The tone of McHee's letter struck
a chord of agreement since I
wonder if most of the users of the
bookstore realize the progress that
has been made through the efforts
of many people including the
bookstore staff, faculty, members
of the administration and the
members of the bookstore committee and, in major part, by
Through gross mismanagement,
theft, and inept supervision the
bookstore lost $210,000 three years
ago and had an inventory of about
$1,225,000. That loss has been
reduced to about break-even this
year, the inventory is down to
about $500,000 and the theft is
down. An inventory ordering and
control system which has taken
two years to develop and implement and a textbook ordering
system and widespread faculty use
of this new system resulted in the
best fall season in years.
In spite of these improvements
we are well aware that the system
still does not provide the service
which we need to supply a
university the size of UBC.
A report, three years in the
making, has been forwarded to the
administration by the bookstore
committee which contains two
major recommendations.
The first is provision for more
space since the store cannot
operate the way customers want it
to without more space in which to
improve physical handling of
goods and sales space for an ex
panded  range  of  merchandise
This recommendation has been
passed to the building committee
of the university but because of the
planning horizon of that committee
will provide no visual results until
1975 or later.
A second recommendation is for
university support for the store's
operation, mainly for improved
expertise in textbook and
professional publications (people)
and for money to improve the
control systems needed to improve
This support is needed for textbooks since, if we continue to
charge the publishers' prices for
textbooks, it costs about six per,
cent more than we receive to
provide texts.
The specifics of how this support
will be expended are being
prepared by a sub-committee of
the bookstore committee and will
be forwarded to the administration
within the next two weeks. Receipt
of this assistance should be forthcoming much more rapidly than
the request for more space.
A parting shot at your usual
inaccuracies and lack of responsible reportorial fact gathering
subordinated for a little sensationalism.
The price of textbooks has never
been raised to cover the cost of
theft or other operating costs.
Students have always paid the
publishers' price increase not,
under the present policy, one instituted by the bookstore.
I am continually amazed at how
threatened the editors are when
they have to append snide comments to an article, such as
McHee's which is somewhat
critical of your operation, while
you allow irresponsible, uninformed and childish comments like
those of Saxton's letter go without
Your editorial of Oct. 16 is bad,
factually. "Ain't freedom of the
press great when you got the
I write this to you as an individual with the inside knowledge
of a three-year member of the
bookstore committee but without
their sanction or knowledge.
J.D. Forbes
associate professor, commerce
Never ones to turn down a dare
even if it is only implied, we are
replying to your letter. The
Ubyssey does not attach comments
to letters because the editors feel
threatened, but to add information
or to criticize. So the following is
for your information. We did go to
Smith and tell him of the operation.
It was the last day of the operation
since the deadline for refunds was
that day and the refund desk was to
be moved.
We repeat we are not an arm of
the RCMP. We could care less if
the university ever catches up with
the people who hit the bookstore.
We only reported what Smith
told two Ubyssey reporters when
he was told of the theft operation.
And he did say students would have
to pay for losses through theft.
If Smith is upset over Saxton's
letter, let him reply. That's not our
job; we just provide the means. "Much madness is divinest sense", said Emily
Dickinson and, of course that's true but it doesn't help us
very much. Madness has always been the great bugbear
of civilized man. The person who is labelled by the
majority as "mad", "insane", "crazy", "mentally ill",
"weird" — one can use either a polite or impolite
euphemism — is, in a sense, the archetypal outlaw,
outside the magic circle of society. Unlike the criminal,
the madman is marked not because his behavior is
painful or specifically harmful to others (although it
may be in the case of the criminally insane) but because
it is strange. The crime of the madman — and let's face
it whatever its legal status, madness is certainly treated
as a crime — lies in the unpredictability and inex-
plicability of his behavior; his randomness, his refusal
to conform to the ritualized norm.
In the last two hundred years or so, madness has
come to be synonymous with mental illness. It is an
obvious but important point to note that there is no
logically necessary connection between the two. It is
generally assumed that certain types of social behavior
are caused by distinct concrete deficiencies or
malfunctions in the psyche (or brain or nervous system)
— but that is all it is, an assumption. Mental illness is
then treated analogously to physical illness: if you show
smallpox blemishfe the doctor depends on some antibiotic to destroy the bacteria that cause it. If on the
other hand you continually speak of being persecuted
and throw violent tantrums, the doctor dutifully
searches for some"thing gone wrong" inside your head
which he can treat with the appropriate medicine. This
is known as psychotherapy. The treatments often
assume terrifying guises and, like fads, vary from age to
age. Schizophrenia, for example, was usually treated
with insulin shock in the thirties but this method was
supplanted by electro-shock therapy during the forties
and fifties. This in turn has been superseded by the most
recent development: simply to sort of chemically douse
the patient with massive doses of tranquilizers. These
are the modern, humane methods. We have all heard of
such drastic surgical means as lobotomy — where one
simply deals with a recurring phobia by severing a
person's mind in two. It must be admitted this usually
works. In earlier and more robust times, such radical
cures as burning-at-the-stake were employed.
In the last two decades, particularly during the
sixties the whole concept of mental illness has come
under attack. It has been pointed out that there are
radical differences of type: between physical and so-
called mental illness. It may be a misnomer to call
• mental illness an illness at all. Psychotherapy has come
under fierce attack. It is important to remember that the
percentage of people who recover from mental illness
without psychotherapy is roughly equivalent to the
percentage that recover with psychiatric treatment.
How would we rate a physical cure that had the same
success ratio? Many of the old myths, especially the old
Freudian and Jungian superstitions are finally being
thrown completely overboard. The two great pioneers of
this attack are the Scottish psychoanalyst R.D. Laing
and the New York psychiatrist Thomas Szasz.
Laing became notorious in psychiatric circles with
the publication of his first book The Divided Self (1960)
written when he was 25. He hypothesized that
"schizophrenia is not an illness at all but a behavioral
response to a suffocative social situation (usually
family)". Since then he has extended and complemented
his theories in such books as The Politics of Experience,
Self and Others, The Politics of the Family, Sanity
Madness and the Family, and Reason and Violence. He
insists that there is a close casual connection between
the mental disorder a person experiences and the particular socio-economic order in which he lives. His latest
book Knots, which became a bestseller, represents a
curious break in style. Here he writes short cryptic
word-diagrams which can be taken either as poems or as
proto-chemical formulas describing the intricate
chemistry of human interchange: problems of confrontation and combination that occur between arbitrary figures A, B. and C.
Last Monday and Tuesday, Oct. 22 and 23 two films
dealing with the life and work of R.D. Laing were shown
at the Instructional Resources Centre.
The first film Psychiatry and Violence consists
simply of a filmed lecture-interview by Laing. Here he
expounds his views and criticisms of the practice of
psychiatry in general. Laing regards psychiatry as a
virulent and violent form of medicine. He argues that the
ascription of "mental illness" to certain people is a
superstitious belief on a par to claiming they are
possessed by the devil. Laing says in The Politics of the
"The concept of schizophrenia is a straitjacket
that restricts psychiatrists and patients alike. By taking
off this straitjacket we can see what happens. It has
been shown in the field of ethology that observations on
the behavior of animals in captivity tell us nothing
reliable about their behavior in their natural setting. The
whole of our present civilization may be a captivity. But
the observations upon which psychiatrists and
psychologists have drawn in order to build up the
prevailing picture of schizophrenia have almost entirely
teen made on human beings in double or treble captivity."
Laing says in the film: "When a person is not suffering from persecution but remains convinced he is
being persecuted we call him mentally ill. But what do
we say about a person who is being persecuted but is
completely unaware of that fact? Is he sane?"
Laing argues that a large part of the treatment used
by conventional therapists is an extreme form of
violence.  He points out that the massive doses of
tranquilizers now favored to treat schizophrenia simply
amount to a kind of chemical lobotomy. The victim's
thinking powers and emotions are put in a deep freeze —
or wiped out forever.
Laing pushes a frightening but fairly convincing
comparison between the present psychoanalytic
establishment and the Spanish Inquisition. The
psychiatrist becomes the Grand Inquisitor; the patient
becomes the heretic. If a heretic refused to accept the
framework in which he was found guilty, this was taken
as further evidence of heresy. For example: if a woman
accused of witchcraft gave the sane rational answer
(by our standards) that she did not believe in witchcraft
it was taken as further evidence that the devil had infected her soul and that she was a witch. Similarly if a
patient diagnosed as schizophrenic refuses to believe
that he is schizophrenic or accept the terms of the
diagnosis, this will be taken by the doctor as further
evidence of the diagnosis.
Laing gives a short history of the concept of
schizophrenia and how it arose. He moves on, in the
closing parts of the film to various meditations on
political philosophy.
Laing argues that often so-called schizophrenic
behavior can be aggravated by telling the patient that he
is schizophrenic. In a sense, the patient begins to act out
the role prescribed for him. He has been told by the
experts that he is a sick person and needs treatment. So
he begins to act like a sick patient. Laing says:
Psyches out
R. D. Laing
"This set of ascriptions to a person and this induction into the role of schizophrenic, themselves
generate much of the behavior that is classified as
symptomatology of schizophrenia. To a much greater
extent than most of us suppose, it may be that it is the
institutalization of this attribution in a set of organized
behaviors on the part of psychiatrists, mental nurses,
social workers, family members and others that induces
much of the more consistently described subsequent
behaviors of both acute and chronic schizophrenia which
tend to confirm the initial diagnosis in many cases."
Of course, if this were correct, institutionalization of
schizophrenics would be a disastrous move which would
only intensify the condition.
But Laing also argues a second more radical thesis.
He suggests that rather than trying to find a cure for
schizophrenia, perhaps we should realize that often
schizophrenia is itself a cure. Laing feels that a person
will embrace schizophrenia as a way out — an escape
from some great emotional shock or from the vicious
and seemingly insoluble economic quandaries in which
this society often places us; a path away from the hyper-
alienated and fragmented self. Often our situations are
so grotesque that a schizophrenic reaction is the only
sane alternative. Laing argues if this process is allowed
to function on its natural course, it will regenerate and
strengthen the person. Here is how Laing describes an
acute schizophrenic breakdown:
"It appears to be a sort of death-rebirth sequence,
from which, if it is successfully negotiated, the person
returns to the world feeling newborn, refreshed, and
reintegrated at a higher level of functioning than
If this analysis is correct then almost all of conventional psychiatry is wrong-headed, for it is trying to
interrupt the healing process rather than aid it.
Laing points out that among certain primitive
tribes, a few members will sometimes suffer symptoms
paralleling those of schizophrenia. They are usually left
alone, and if and when they recover, they are regarded
as wise-men and sages.
Laing says: "Under all circumstances, a man may
get stuck, lose himself, and have to turn around and go
back a long way to find himself again. Only under certain socio-economic conditions will he suffer from
It is because of this sort of analysis that Laing has
developed his anti-psychiatry. On this view, incarceration in a typical institution is part of the problem
rather than the beginning of an answer. In 1965-66, Laing
and a few of his associates, notably David Cooper, began
to organize a new type of hospital for schizophrenics.
This kind of hospital would serve essentially as a shelter
or sanctuary, where the schizophrenics, rather than
being impeded by treatment, would be able to undergo,
unhindered, a process of destruction and regeneration.
Laing describes it: "Staff-patient role distinction
became blurred ... (the hospital) became more of a
household, without staff putting patients to bed, getting
them up, drugging them, and so on. It became no longer
clear who, if anyone, was treating whom for what since
it was no longer discernible ... who was sane and who
was crazy." The most well-known of these "free
hospitals" or "asylums" or "households" was set up in
1965 in London at Kingsley Hall, and it is this household
that the second film Asylum portrays.
The film was directed and produced by Peter
Robinson and narrated by Nancy Robinson. Robinson
and his camera crew lived in the community themselves
while making the film and achieved close personal
contact with many of the members. Robinson writes:
"During the seven weeks we spent in the community, the
camera man, the sound man and I all became accustomed to talking very plainly about things that were
very important to us, namely, ourselves. It is a central
belief in the community that people know what they are
doing and can stop if they please. There is no such thing
as someone not knowing what he is doing."
Everyone who lives at Kingsley Hall is encouraged
to work i.e. help with the upkeep of the house and pay
his own rent. The line between patient and doctor
becomes completely blurred: patients help patients,
patients help doctors, doctors help patientts and so on. In
the discussion groups it was difficult to tell who were the
counsellers and who was being counselled. At the end of
the film, I was still unsure — and that is a good sign.
But there were some who were readily identifiable
as patients, if only by the pain they exhibited. There are
some superb scenes in the film. One encounters a young
adolescent who is obviously having profound problems
adjusting to the world. A few scenes later his father
arrives at the house in a black limousine, inquires how
his son is doing and, chequebook in hand, offers to help in
every way he can. In one brief scene one recognizes the
incredible domineering oppressiveness of the father but
also his own sincere bewilderment and humiliation at
what has happened to his son. There is the young girl
who has moulded herself into a foetal ball and who
communicates only in groans and whimpers, and the
aging former computer expert who suffers gross
delusions and undergoes violent rages. In one scene he is
threatened with expulsion from the community by some
of the other members (because of his dangerous
violence). After hours of persistent questioning by them,
he begins to exorcise his furies and grope towards a
solution. But this again is a troublesome scene;
somehow things are no longer free and one is reminded
of certain orthodox psychiatric techniques. Because the
problem still remains. Not all schizophrenics heal
themselves. And it is not true, as Szasz seemed to imply
in his all-too-glib speech at UBC a year ago, that
classifications of sanity and insanity can be dispensed
with altogether. Often a so-called schizophrenic is experiencing intense mental suffering and obviously needs
concrete treatment of some sort.
One can of course question the results that Laing
achieves just as Laing has questioned others' results.
There is no guarantee that the people of Kingsley Hall
are not simply learning to play one more desperate
scenario, one more role which Laing and others expect
from them rather than the final regeneraion and release.
One feels that Laing and Szasz with their insistence on
the dignity and freedom of those conveniently labelled
insane are on the right track. There is a very basic kind
of emancipation going on here that has taken thousands
of years to move even this far.
At the beginning of Asylum Laing says "The important thing to remember about mental hospitals is this
— the doctor has a key to get out and the patient
doesn't." Laing, to his credit wants to break the locks off
all the doors.
These films were presented by Software Productions under the direction of Barrie Reynolds. Reynolds
said that his organization was attempting to bring Laing
to Vancouver as part of a speaking tour. If he comes, go
and hear him. He is perhaps one of the most important,
and certainly one of the most humane and compassionate thinkers of our time.
Bernard Bischoff Drama
City Stage Stages
ANNA HAGAN as Joy and Duncan Regehr as Stu in a scene from the current City Stage lunch hour
City Stage, the small, lunch-hour theatre
located downtown, has been showing performances of Sam Shepard's play, "Chicago"
since October 16.
The play is short — forty minutes long. But, it
is very tedious anyway.
The play is, supposedly, deeply subjective.
However, it is so subjective that any relevance
the dialogue has to the theme of the play (it is
supposed to be a "personal progress report on
the present state of civilization. . .") must have
been lost somewhere between the author's head
and his pen.
The actual production was very good considering what little the script had to offer.
Duncan Regehr plays 'Stu'; a married man
caught in the daily monotony of living in the city.
The main action of the play has Regehr sitting in
a bathtub talking in asides and soliloquys about
life in the city and the blissful life outside of it.
Stu's wife, Joy (Anna Hagan) joins him in the
bathtub for several scenes and she contrasts his
dreamy sort of talk with a more realistic approach. The other four members of the cast don't
say much. They make sporadic appearances on
the stage dressed in minks, flashy suits, and they
all wear sunglasses: I guess to intimate that they
are 'blinded' in their lives as city 'beautiful'
Regehr performs well and his ability as a good
actor shows. It is too bad he wasn't given a better
play to act in.
The audience at the performance I saw consisted of many, different types of people, except
there weren't that many of them. There were a
lot of kids, some construction workers, and some
older women. However, there weren't any
business types. One would think that a lunch-
time theatre on Howe Street would attract the
people who work right around it.
The audience ate their lunches throughout the
performance, but they didn't seem to respond to
the parts of the play which were supposed to be
funny, and that was good because the humor was
pretty cheap. Stu fantasized about a ride on a
train. It was an unbearable trip because a fat
man "farted" and the smell was nauseating.
Plus, the dialogue was spiced with needless
swear words which were a weak attempt at
getting the audience to laugh. However, they
didn't work. All this swearing and bathroom
humor made the whole play seem ridiculous and
There was one member of the audience who
over-reacted to every line which might have
been funny. She sat in the back row and laughed
hysterically. As it turned out, she had something
to do with the cast because she called them by
their first names and went backstage after the
play was over.
If the play City Stage picked had been more
"down-to-earth", instead of so out of reach, it is
quite probable that the production company
could do a good job. "Tira" opens on October 30
under the direction of John Grey. I hope it will be
better than forty minutes of bathroom graffiti.
Boyd McConnell
Smothers' Brothers
Has it been three years? I hadn't realized.
Since their feud with CBS over the Smothers'
Brothers Comedy Hours, Tom and Dick began
extended nightclub tours. Last Thursday they
were at the Cave.
Their traditional red jackets and black pants
and trim haircuts was reminiscent of their
weekly television show. Two or three times their
act was punctuated by their Comedy Hour theme
song. One half-expected a pause for station
identification. Their routine is so familiar. How
many -times has Tommy introduced himself,
"I'm Tommy Smothers, not Dickie. A lot of
people get us mixed up?" How often has Tom
embarked upon a rambling soliloquy or a
coherently confused exposition until he would
become aware of Dick staring at him with an
incredulous and irritated look? Or, in response to
a stream of Dick's pointed criticism, Tom would
query naively: "What are you trying to tell me?"
Familiar, but nonetheless, funny.
Although Tom and Dick are both good
musical performers, their choice of songs was
less than appealing: folk songs and ballads
ranged from "Guantanamara," "The Wand'ring
Minstrel," The Driving Ballad of John Henry"
down to "Michael Row the Boat Ashore". But the
songs themselves are of little consequence;
rarely is a song sung straight through; they are
frames for the comic routines that weave a tight
web of jokes, jibes, puns, cliches, jargon, and
even some sound social criticism. Well, that's
what it would seem. Actually, Dick explained,
they don't sing a song straight through because
the length of a song averages 3 to 3 1/2 minutes,
and poor Tom has the attention span of a spare
minute and a half.
The humour was basically political, which
provides a supply of popular topics for public
entertainers. Their jibes were fairly pertinent.
Agnew is the recent target: Tommy, who offered
Dick ten dollars to please not make him repeat
that nasty bad word that slipped out, was accused most censoriously by Dick of offering a
bribe. Offended at being so cruelly misunderstood, Tom was thoughtful for a moment,
then explained: "That wasn't a bribe, that was a
On the whole Tom and Dick were relaxed and
warm. Their performance was flawless, they
really seemed, along with the rest of us, to be
enjoying it.
Linda Reed
(Zee Zee Top)
November 5 & 6
8:30 P.M.
Tickets available at the
Thunderbird Shop and all
Concert Box Office Outlets: $3.00
At the Commodore: $3.50
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Page Friday, 2
Friday, October 26,   1973 Boohs
Post-Auschwitz poetry
Poetry of the Committed Individual,  Edited  by Jon
Silkin. [Penguin Books, 1973, $1.50].
"After Auschwitz no more poetry can be written." We
may disagree with T. W. Adorno's blunt statement, but
we must also reluctantly admit that it voices, albeit in an
extreme way, what has troubled the conscience of many
poets in the twentieth century: what is the use of poetry
in an age that has witnessed within a space of sixty years
the carnage of World War One, the efficient terror of the
death-camps, the savagery of the Vietnam War, and
other bloody conflicts too numerous to list? After such
knowledge what forgiveness. Or, as Adorno and George
Steiner among others have argued, after the
unimaginable atrocities of modern barbarism there
must be a re-evaluation of the function of literature. The
question they ask is crucial: Can we still maintain the
liberal humanist belief in literature as a civilizing force?
Jon Silkin addresses himself to this question in his
introduction to the anthology, Poetry of the Committed
Individual. If Silkin's answers appear inconclusive, the
inconclusiveness is not a weakness but expressive of the
complexity of the question. Reluctant to formulate a
manifesto, Silkin remains with his doubts and regards
his statements as provisional.
As Silkin sees it, the issue centres on the disturbing
co-existence of poetry and barbarism, and poetry's
inability to check the horrors of barbarism. The late W.
H. Auden, for instance, recalled in despair how all the
poems he wrote did not prevent the murder of a single
innocent in the gas-chambers. Worse than the admission
of impotence is the suspicion that there may be a connection between poetry and barbarism; a suspicion
George Steiner has elaborated into a controversial
thesis: "The capacity for imaginative reflex, for moral
risk in any human being is not limitless; on the contrary,
it can be rapidly absorbed by fictions, and thus the cry in
the poem may come to sound louder, more urgent, more
real than the cry in the street outside." (in Language
Silence). Silkin quotes Steiner and adds that the writing
of a poem may involve impure motives such as vanity,
the assertion of ego.
Confronted by these suspicions the heart despairs and
painfully remembers Adorno's statement. But poems
continue to be written, and even if Steiner's thesis is
partially true, we can yet agree with Silkin's assertion:
"I can only add to it (Steiner's thesis) the sense I have of
how I, and people I know, have occasionally been
shamed and made to feel they must change certain
modes of behaviour as a result of being moved,
emotionally and intellectually by something they have
read." The ringing confidence of liberal humanist
culture may be missing, but in its place we find a more
realistic assessment of the powers of poetry and also of
its limitations.
Silkin's introduction also touches on the debate
between the claims of the moral conscience and the
claims of aesthetic purity. As a poet and an editor of the
British literary magazine Stand, from whose numbers
were chosen the poems for the present anthology, Silkin
sees the debate, in practical terms, as one between an
imagistic impulse and an explicit social commitment.
How to reconcile the clear, hard, sensuous image with
the discursiveness of social comment? Again Silkin has
no clear answer.
On the one hand, he acknowledges the lasting contributions of Imagism. (A note of criticism: Silkin's view
of Imagism is somewhat simplistic. He seems for the
most part to be thinking of the pictorialism of later
Imagism or Amygism as Ezra Pound derisively labelled
it.) On the other hand, he realizes that under certain
conditions aesthetic ideals must be sacrificed for
greater moral values. But let us not mistake Silkin's "on
the one hand" and "on the other" as either confused
vacillation or a "cop-out". What emerges is the common
sense of a practicing poet (as opposed to an academic
theorizer) who knows that a fall awaits him on either
side of the tightrope he negotiates, who is acutely aware
that keeping his balance means giving equal weight to
both social commitment and aesthetic integrity.
Silkin's anthology contains many masterful tightrope
walkers. Running through the table of contents one
comes across a number of established names: Brecht,
Cesar Vallejo, Zbigniew Herbert, Blok, Voznesensky,
Yevtushenko, and Joseph Brodsky. But there are others
largely unfamiliar to a North American audience. Of
these I would like to bring to attention the British Roy
Fisher and Geoffrey Hill, and the Turkish Nazim Hik-
met. Their poems are examples of all that is best in
committed poetry.
In Roy Fisher's "Seven Attempted Moves" we find
what are apparently seven straightforward descriptions
of objects. Further scrutiny reveals, however, that
Fisher's objects are not 'innocent':
Doors into further in
lead out already
To new gardens
Small enough for pets' droppings
quickly to cover:
too soon, steps curtailed;
The minibed; minibath;
and jammed close
the minican.
The visual facts stand on their own; at the same time,
they register, even if only by implication, the failure of
social values. Similarly, the abrupt breathless rhythm —
the visceral/organic form of the poem — may be
regarded as mimetic of an unhappy social fact — the
confining spaces of modern low-cost housing. Fisher is
thus able to extend aesthetic practice into the area of
social criticism.
A very different poet than Fisher, Geoffrey Hill attempts to reconcile the formal demands of poetry with
the vexing problems of human existence by turning to
history. For Hill an historical event contains possibilities
both aesthetic and moral. In his sonnet sequence,
"Funeral Music", Hill focuses on several events from
the Wars of the Roses. From an aesthetic standpoint
Hill's choice of subject matter from the fifteenth century
complements the formal structure of his sonnets and
their solemn music. From a moral standpoint the
disorder and chaos of the Wars provide the occasion for
a meditation on man's attempt to square his desire for
order with his destructiveness, his ideals with his
mortality. The voice of the poem tries to make sense of
the beheadings and carnage of the Wars by arguing for a
reconciling vision of ultimate order, while asking sadly
at the same time:
Then tell me, love,
How that should comfort us — or anyone
Dragged half-unnerved out of this worldly place,
Crying to the end 'I have not finished'.
Nazim Hikmet's long poem "Letters to Taranta-
Babu" is perhaps the most successful in coming to terms
with the problem raised by Silkin: how to reconcile
sensuous imagery with social or political argument.
Hikmet's poem consists of a series of letters written to
Taranta-Babu by her husband. He is an Ethiopian in
Mussolini's Rome, and just before his arrest he writes to
Taranta-Babu commenting on the social and political
situation in Italy and confessing his fears of an imminent
invasion of Ethiopia by II Duce's army. The epistolary
form of the poem enables Hikmet to combine statements
condemning the brutalities of fascism with the sensuous
language of a man who yearns for wife and home:
This year in Africa
the end of the rain,
the coming
of all colours and scents
like a melody from the skies—
the stretching moist soil under the sun
like a bronze-skinned woman from Galla—
they'll all bring us death
at the same time
as your sweet bosom's awakening
How strange, Taranta-Babu
that death
shall walk in through our door
tucking a Spring flower
in his colonial hat
This is great poetry, apprehensive of the sensuous and
the lyrical, committed to affirming life, but also painfully aware of man's capacity for destruction.
Some final words. Silkin's anthology suffers from an
unnecessary restriction: all the poems are chosen from
the British literary magazine, Stand. This somewhat
arbitrary restriction has resulted in a preponderance of
British poets and the exclusion of poems that may have
better reflected the concerns expressed by Silkin in his
fine introduction. But this is only a minor criticism.
Silkin's anthology renders a valuable service by
reminding us that poetry need not be a luxury, that
poetry, in a barbarous age, may serve as conscience to
shame us into moral probity.
Victor P. H.Li
Master of Lilith
Isaac Bashevif Singer will be lecturing at
the Beth Israel in Vancouver at 8 p.m.
Oct. 29. He will be lecturing the following
day on campus in Buch. 100 at 12:30.
In Hebrew legend, Lilith is Adam's
first wife. An evil spirit, she is both
maternal and seductive and symbolizes
the supernatural and realistic worlds of
I. B. Singer's writing. Singer is a
storyteller, a man fascinated by tales.
His narratives are examples of a story's
power to excite interest as he evokes a
world of mystery created by the passions
and principles of Jewish life.
Recounting his early life in Warsaw in
his memoir In My Father's Court [1966],
Singer makes this comment about the
stories he hears from the street. It
reveals much about his own writing:
"These tales were fascinating and
horrible at the same time . . . There
were secrets not only in heaven above but
also here on earth." The "secrets" of
heaven and earth shape the adventures
he describes in his numerous works.
Singer's life of learning secrets began
in Leoncm, Poland where he was born in
1904. At the age of three Singer's family
moved to Warsaw where, as the son and
grandson of Rabbis, he attended a
Rabbinical Seminary. Following the
pattern of his older brother, I. J. Singer,
however, the young Singer left the
Seminary to become a journalist. He
began as a proofreader for Literarishe
Bletter, a Yiddish literary magazine.
Soon after, several of his short stories
and the novel Satan in Goray appeared in
Poland before he left for New York in
Obtaining a job on the Jewish Daily
Forward, New York's leading Yiddish
paper, Singer began to contribute
regular columns, reviews, and essays
while renewing his creative writing. In
1943 several of his stories where
published in Yiddish as a book. By 1950
The Family Moskat appeared in a
English translation; it had earlier been
serialized in the Forward between 1945
and 1948. Saul Bellow's translation of
Singer's "Gimpel the Fool" was carried
in Partisan Review in 1953. A series of
short story collections and novels quickly
Singer's world is one where fact
becomes mixed with fantasy. Imps,
demons, evil spirits and dark powers
control the characters in many of his
works. "I was created," says one of his
narrators, "half spirit, half demon, half
air, half shade, horned like a buck and
winged like a bat, with the mind of a
scholar and the heart of a highwayman."
Dreams effect the behavior of many of
his heroes. Rabbi Bainish in the short
story "Joy" changes from despair to
bliss after seeing his dead daughter in a
dream. This brings "a sense of wonder, a
supernatural tang, a touch of heavenly
joy." But, as Singer reminds us, "every
man is followed by devils — a thousand
on the left and ten thousand on the right."
Temptations subvert the best intentions
in Singer's fiction, whether it is in his
realistic, chronological novels like The
Manor (1969) or The Slave (1962) or in his
highly unconventional short stories like
"The Gentleman from Cracow."
Evil-doing in Singer's stories is not
always punished, although men suffer for
their follies. The complex relationship
between man and God becomes a game,
but of the most serious kind: "Men are
the children of the Highest and the
Almighty plays hide and seek with them;'
explains Singer. So, Mr. N., the hero of
"The Lecture," who is on his way to
Montreal to give a talk on "the brilliant
future of Yiddish", finds himself isolated
in a bizarre situation of death and love.
But the aged Dr. Fishelson, the Spinoza
of Market Street, miraculously discovers
new energy to make his wedding night a
night of happiness: "He kissed Dobbe
and spoke to her of love. Long forgotten
quotations from Klofstock, Lessing,
Goethe, rose to his lips. The pressures
and aches stopped ... he was again a
man as in his youth." "Yes," writes
Singer, "the divine substance was extended . . . , was absolute, indivisible,
Since 1950 Singer has been deeply involved with the English translations of
his work. He carefully assists his translators, correcting, editing, and
rewriting when necessary. Because of
this he calls himself "a bilingual writer"
and says that "English and has become
my  'second original.' "  Storytelling
remains an art for Singer, an art where
"the reader listens and wants to know
what happens." Consequently, he uses
traditional narrative techniques and
organization. The details of eastern
European Jewish life and humor,
however, are rarely absent from his
fictions. A passage from "The Old Man"
summarizes several of his dominant
literary characteristics:
At every synagogue he would tell
stories about wars, about evil spirits,
and of the old days of cheap and
abundant living when people dried
sheepskins in cellars and drank spirits
directly from the barrel through a
Drinking "spirits" through a straw (with
its pun) neatly combines the humor,
detail, sense of history, and mystery
found in Singer's writing.
Critics such as Irving Howe, Alfred
Kazin and others have praised Singer's
work. In Kazin's recent study, Bright
Book of Life (1973), he defines Singer's
achievement as "the transformation of
all Jewish history into fiction, fable,
story." For Singer the imagination
transforms the traditions of Jewish orthodoxy into universal literary forms.
Gimpel the fool summarizes this when he
declares that "no doubt the world is
entirely an imaginary world, but it is
only once removed from the true world".
Ira Bruce Nadel
Friday,  October 26,  1973
Page Friday,, 3 Cinema
Enter the dragon, exit the star
Let me be quite honest about Bruce Lee's martial arts
film, Enter the Dragon. Despite all its faults, I really
enjoyed it.
The plot is a simple frame for the action. Lee has to
gather evidence against the deadly arch-villain Han,
who manufactures dope and kidnaps young girls. In
addition, Lee wants to avenge the death of his sister
caused by Han's bodyguard, a sort of Golden Boy Odd-
job. Han's island is inaccessible except for the martial
arts tournament he has every few years. Do you get it?
So we can fill up dead air with smashing bricks, splintering two by fours and exotic assault and battery!
Characterization is equally simple. At one point Jim
Kelly, U.S. karate champion says to Han, "Man, you're
right out of a comic book!" Which sums it up nicely.
Villains scowl and wear black gloves. John Saxon
(remember him from the Sandra Dee movies) leers at
all the women. And the editing was done with a mix-
master. So what.
This isn't about the art of the cinema. This is about the
late Bruce Lee, the most famous martial artist in the
world. Lee is a super-fighter, light-years away from
Channel 8 Wrestling. His fighting sequences are
carefully staged and exaggerated so that a battle involving a dozen guards becomes exquisite. His skill is
extraordinary. He moves so fast I could only gush in
amazement. Watching Lee wind up in slow motion,
uncoil in the air and smack! — plant a sneaker in the
villain's bridgework made me want to run down
Granville street looking for a bully.
The sound track is beefed up with Larla Schifern's
score. Each punch and kick is skilfully choreographed
and makes a terrific whip-like sound. Not great cinema,
but incredible Bruce Lee.
Lee died last summer in Horrg Kong at the age of 32
and was buried in Seattle. A coroner's jury ruled he died
of a brain swelling caused by hypersensitivity to aspirin
or meprobonate. A pain-killing drug was given to Lee by
actress Betty Ting-Pei when the star complained of a
headache on the night he died. Earlier speculation
suggested he died of marijuana poisoning.
Son of Lee Hoi Chuen, a star of the Chinese opera, Lee
was born in San Francisco in 1940, raised in Hong Kong
and attended college at the University of Washington in
Seattle where he majored in philosophy.
Before his death he was earning about $250,000 a film,
the highest earnings for an actor in all of Asia.
A Singapore newspaper immediately compared his
death with James Dean. His Buddhist funeral in Hong
Kong was attended by nearly 12,000 weeping teenagers.
Non-neon nickelodeon
In case you didn't know: down on Hastings and Main
there is an old movie-theatre that has style and shows
mostly interesting films for little money. It is called
"City Nights" and it tries to provide an alternative to the
neon temples on Granville.
True enough, the guy who takes your ticket in the
narrow, smoky lobby doesn't wear a red livery or gold
buttons on his sleeves. There are no thick, red carpets
and you won't find much legspace where you sit down.
But who cares. The place, being strangely alive, has
other things to offer. If you climb to the huge balcony or
walk over to the romantic box-seats on the sides, the
wooden floors and stairs squeakingly acknowledge your
presence and who knows, the people next to you might
even say hello. You will feel there is still something left
of the mystery that once so gloriously surrounded the
first magic lanterns.Perhaps it's the people, perhaps it's
in the air, in the dim light or in the dust on the old curtain. Or maybe it's the domelike structure of the
building, or just the awareness of not being merely a
consumer whose dollars have been trapped once more.
"City Nights" is no rip-off. The two reruns that change
every week, cost 99 cents. Any extras like salami sandwiches and wine are not provided by the management.
After the show, you are not cast back into the sterility
of an ordinary commercial street. Around midnight,
Hastings street offers itself as a spectacle. Frederico
FeHini's drunkards and prostitutes are more colorful,
but the characters on Hastings are just as real and more
If you are a Groucho Marxist, it might interest you
that the "City Nights" Saturday midnight shows are
almost entirely devoted to you.
Currently there is also a Marlon Brando Sunday
matinee festival going on. It includes most of Godfather's earlier Tangos.
This week's regular double-feature consists of:
(1971) — Drug evasion and manipulated computers
provoke action in a brave new world. Robert Duval as
THX 1138 and Donald Pleasance as SEN 5241 in 25th
century Fox.
Cool Hand Luke
(1967) — Ivan Denisovitch with a southern accent.
Paul Newman perpetually running away from four-
and two-legged dogs in the web of law and order.
The Virgin Soldiers
(1969)—From novel by Leslie Thomas. British conscripted soldiers humorously losing their innocence in
the Far East. With Lynn Redgrave and Hywel Bennett.
Five Easy Pieces
(1971) — Starring Jack Nicholson, oil rigs and trailer
parks. Brilliant satire of American lower-class jungle,
through which a young musician finds his way back to
play, with fingers still stiff from working on rigs, five
easy pieces on his parents' piano.
The Damned
(1969) — Sex and steel, corruption and degeneration.
The psychological make-up of Hitler's major armorers, the Krupp family (called Essenbeck in film),
explored and exposed. Dirk Bogarde and Ingrid Thulin
in Visconti's masterpiece.
(1966) — An ordinary situation becomes extraordinary, mysterious and meaningful when blown-
up. Latin America's leading novelist Julio Cortazar
provides the idea for Michelangelo Antonini's famous
classic. With David Hemmings and Vanessa
The Caine Mutiny
(1954) — The whole crew turn against the skipper.
Thought  up  by   Edward   Dmytryk   for  Humphrey
Bogart, but Jose Ferrar steals glory of a great film in
a five-minute appearance. „
^ Paul Sterchi
There is something macabre in making a cult hero while
the body is still warm. Yet pilgrimages to his grave have
already begun. Enter the Dragon (Lee's name has
something to do with dragons in Chinese) should be a box
office smash.
Though Lee may not have got up that ladder to stardom, he had, at least, broken one rung.
Geoff Hancock
Sub cine
Luchino Visconti, no stranger to celluloid, began his
long film career working for Jean Renoir (yes, the Jean
Renoir) way back when, before World War II. Like
contemporaries Welles and Resnais, his reputation was
established rather early in his career and has lingered to
haunt him ever since. His last film, and many say his
best film, the lyrical elegiac "Death In Venice" (1970),
The film stars Dirk Bogarde as the fragile melancholy
composer on leave in the Adriatic tourist mecca for
reasons of his failing health. The Thomas Mann story of
how he meets, is dazzled by, inspired to compose to, and
eventually falls in love with a beautiful young boy is
carried faithfully to its tragic climax. The beauty and
restraint with which Visconti handles the delicate
subjects of the composer's distant homosexual infatuation, the flashbacks of a tormented and obfuscated
academic career, his loving wife, and the deadly Asian
Plague attacking the city, all carefully composed and
interwoven into the fabric of the story, is a tribute to
Visconti's mastery of the subtleties of style and structure. Several of the scenes are simply beautiful to see,
the opening exodus on the fogbound steamer, the
exquisite interior of the Grande Hilton, the panoramic
beach scenes (in ye olde knicker bathing pyjamas), and
the Fellinified backalleyways with the dreaded plague
hovering in the deep focus background. Visconti's roving
camera and majestic musical score provide the visual
and emotional cues to this tender tragedy of a man
reaching out of his shell academic shell for the first time
and falling desperately in love with a hauntingly lovely
young boy.
"Death In Venice" winner of the 1970 Grand Prize at
the prestigious (albeit somewhat pretentious) Cannes
Film Festival, is a pretty movie. You need not take off on
the injected intellectualization about "true beauty" and
"perfection" that the composer and his musical contemporary stab each other over, but you can enjoy this
fine film any way you wish.
Ivan Berg
Skin Flix
Don't plan any more trips down to Blaine, Washington
to catch a skin flick. The Supreme Court of the United
States decided to pass the buck on the morality issue. It
has left the decision up to the tastes of the individual
counties. And, thus, Blaine has decided they don't want
the revenue garnered from their blue movie theatres.
It won't be all that bad. If the likes of Last Tango in
Paris can be shown right here in Vancouver, people will
be able to see the prurient efforts of moviemakers which
have some sort of 'social redeeming value'.
The only -question raised by Blaine's seemingly
prudent dealings with the pornography issue is: What
about democracy? The Americans, in particular, always
advocate freedom of most everything. Shouldn't the
counties leave the decision of whether to go to the movies
up to adults?
There has been "The greening of America", the
blueing of America (the sexual revolution of the sixties
and the proliferation of sexploitation films); the reddening of America (the Watergate embarrassment);
and, now, maybe there will be the whitening of America
(because of the apparent danger of laws governing
everything from films to the length of skirts).
At any rate, if one gets off on "cum-shots" and other
blue movie attractions, go to the Golden Kitten or the
Eve right here in Vancouver. Or, better yet, pick up the
newest copy of a Ted Mark thriller.
Boyd McConnell
LOOK TO . . .
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Page Friday, 4
Friday, October 26,  1973 Mummenschanz
Plastic Mime
Standing ovation for Mummenschanz!
Wednesday evening the Centre for Communications and the Arts at SFU presented an
outstanding performance of the celebrated Swiss
mime-mask theatre, Mummenschanz, in the
SFU theatre.
Mimes Andres Bossard, Bernie Schurch and
Floriana Frassetto brought a new dimension to
the art of mime by introducing plastic masks
which continually changed and transformed the
As in the classic French mime, the first half of
the program was given over to Style Pantomimes. Giant shapes moved with a poetic
grace; a great brown bag rubbed itself erotically
against a wall, a huge caterpillar walked up a
ramp and turned over, the north end of a worm
rebelled against the south end. A sensual white
ball tried to escape from the black ten-foot tube
attached to it. Flies, camels, cats, anteaters and
gibbons hopped, washed and scratched their way
through a fantasy jungle.
The little sketches of the second half flowed
together around the central theme of identity.
Masks were dropped to reveal more masks.
These were dropped to reveal — nothing. The
characters would trade their featureless faces
and shrivel into non-existence.
The program started slowly and then took off,
rising higher and higher in intensity, wit, fantasy, imagination. The masks became more and
more complex. Characters rearranged faces
made of blocks, only to lose everything to
someone else, who in turn suffered by gaining too
much. The blocks became musical instruments,
checker games. The battle of the sexes was
vividly illustrated in a parable where the man,
whose masks was rolls of blue toilet tissue
confronted the woman, with rolls of pink tissue.
Flowers, neckties, airplanes, love-letters,
handkerchiefs, sexual gestures were expressed
covering the stage with reams of toilet paper but
eventually they became literally so wrapped up
in themselves they couldn't communicate.
And more. A love caress became macabre as
the young couple began eating one another's
faces, ending in knives and forks. A fantastic
sketch where the characters drew eyes and
mouths on little notepads, ultimately ending in
The brilliant final sketch involved changeable
putty masks. An atmosphere of nightmarish
inevitability was created with a most original
form of humor. One character tried to remake
his face in the image of the other, but only succeeded in distorting his own features. They
became elephants, devils, hawks, gargoyles with
such rapidity that they eventually merged
together, losing everything which characterizes
individuality and life.
As long ago as 1905 the English stage designer
Gordon Craig wrote that the masked actor could
somehow restore to the theatre the perfection
toward which all art must lead. When the actor is
masked, he minimizes his own personality and
assumes that of the mask, and so concentrates
the spectator's attention more fully on the
essential conflict of the drama.
Mummenschanz mime-mask is fascinating
theatre. The powers of their imagination to put a
wedge into the small crack which opens onto
mystery. Their long standing ovation was perfectly deserved.
Two questions though. Why only one performance? Why didn't they come to UBC?
Geoff Hancock
Wyman Impresses
Modern dance is an irritating business in
which the meanings of the actions are never
quite clear to the uninitiated. Instead of an
honest and spare realism, the theatre is semi-
dark, mystical, impersonal. Bodies move in a
mechanical fashion, the electronic music bleats
and clangs away, and despite the skill and ability
of the dancers, one remains cool and detached.
And so it was with last Friday's performance
of the Anna Wyman dancers at the Vancouver
East Cultural Centre.
Three works were presented: Triptych,
Dance-Is. . ., created for the opening of the
cultural centre last week, and Peacemaker.
Again and again I was impressed with their
technical skill, their formal sense of ensemble,
the geometric designs of their dancing. But
because esthetic values were being stressed,
instead of emotional values, I was unmoved.
Ignorance of modern dance? Perhaps. Dislike
of electronic music? Possibly. Certainly,
dehumanization bordering on the occult is one
way of heightening the human experience. At the
same time, the Anna Wyman dancers did not
focus around this central theme. The experience
became truncated, the gaps in the program awkward.
The program opened with Triptych, a piece in
three movements called Cycles, Planes and
Depths. From a soundless beginning on a blue-lit
stage, the dancers moved with a formal grace
into the bright lights and discordant electronic
music of Stockhausen. The music became
transformed into bodily movement.
Stage lighting, which Adolphe Appia called the
sister of music, aided in the dancers expressive
facilities. A short optically affected film,
projected by Anna's husband, Max, led us into
Planes. Three dancers dressed from head to foot
in striped costumes crawled and swayed in a
precise mechanical fashion. Triptych concluded
with the silent, semi-dark and mystical Depths.
A distinct mood of mystery and foreboding was
created, which required absolute concentration
on the part of the audience. A highly imaginative
and complex piece which was somewhat
The most striking number was certainly
Peacemaker. With its elegant sense of decay, of
broken gestures and haunting "pas de deux" it
maintained a solid tension yet marred by a lack
of flow between its various parts. The dancers,
identical in frosty .white costumes, the couple
sheathed in an elastic envelope, the finale all
seemed forced together. Long awkward gaps
between sections, with the audience muttering to
itself, doubts whether or not sections were
completed, the loud toilet running backstage,
leads one to musing about "purpose".
Anna Wyman's group is dance theatre. Total
theatre is an interaction between all the arts;
lights, music, dance, acting and props combine
to provide participation in a mystery. Speech
before words, Artaud calls it. The incredibly
talented Anna Wyman dancers are certainly
moving in the right direction. Unfortunately,
even when one approaches with a sense of
wonder, the austerity of their performance lends
itself to misinterpretation, or misunderstanding
and certainly not participation. Total theatre is a
theatre of effects. The effect of Friday night's
performance was a bumpy road, highlighted by
interesting scenery.
Also included in the performance was Dance-
Is. . ., a work created for the opening of the
Vancouver East Cultural Centre. The dancers,
wearing bright yellow and red costumes held a
mirror up to ourselves and reproduced various
sporting events. Boxing, tennis, floor hockey,
track and field and other sports were presented,
a la Marshal McLuhan, as icons of our society.
This was filled out by an effective parody on
curtain calls, and an intriguing number under-
red lights involving novelty bicycles. Sculptural,
energetic and high-pitched, the dancer's use of
musical design, straight lines and geometrical
forms changed the gaudiness of Cap's cycles to
some ultimate mystery. A brief burst of light on
the frozen tableaux and they vanished into
Like the Egyptians, the hieroglyphic figures of
the dance patterns express mysteries. But like
hieroglyphics, the meanings are not easily understood by the wandering, bewildered,
piecemeal mind. One remains cool and detached
without a Rosetta stone.
The Anna Wyman Dance Theatre will be in
residence two weeks at the Vancouver East
Cultural Centre, Venables and Victoria, from
October 15 to 27. Subsequent programs at the
centre will cover the company's entire repertoire. Oct. 17-20and 24-27 at 8:30 p.m. $1.50 weekdays, $2 weekends.
Geoff Hancock
Corned Beef
PHONE 738-2010
3211 w. Broadway
— SALE —
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50%-80% in
Sale Room
Fri. Oct. 26 to
Sat. Nov. 3
People's Co-op Bookstore
341 W. Pender St.
—Another Masterpiece by
Luchino Visconti
Death in Venice
Thurs. 7:00
Sat. 7:00
Fri. 7:00
Sun. 7:00
SUB Film Soc MIDNIGHT showing of
Visit the future
where love
is the ultimate crime.
__ 9=71
paul ^|
newman    '
'Cool   Hand
Luke"    I
BRANDO:    Film  N°5
sat., sun,  2 pm
Marlon Brando
Richard Boone
umwmsju iihhsi .. ncmimtM
MIDNIGHT,   Fri., Sat, Sun.
Starts Sunday
Sooner or later
IP      are going to get it.
Friday, October 26,   1973
Page Friday, 5 Music
Baroque Licks
On Sunday October 28 the Vancouver Society
for Early Music will present an all-Vivaldi
concert performed by its recently-created
baroque orchestra L'Age d'Or. This musicial
event is not to be missed.
The existence of the Vancouver Society for
Early Music can be seen as evidence of Vancouver's musical coming of age. The society's
membership of over five hundred suggests that
Vancouver has now reached a level of
sophistication where it can support not only
symphony and opera societies, but smaller
special-interest musical ensembles as well.
Several cities have such groups affiliated with a
university but Vancouver is among the few
which enjoy an essentially public-oriented early
music ensemble.
The aim of all groups within the Vancouver
Society for Early Music is historical authenticity. L'Age d'Or consists of twelve musicians
who dedicate themselves to playing baroque
music as one would have heard it in the
eighteenth century. Missing are the nineteenth
century violins constructed to produce the
volume and brilliance of a romantic symphony.
The members of L'Age d'Or perform on instruments which are specially made in the
eighteenth century manner. The lighter construction and decreased tension of these instruments produce a softer, mellower sound. The
musician plays not so much on, as with, the instrument. Missing also is the conductor. The
ensemble plays under the joint leadership of the
first violinist and the harpsichord player. All
these factors contribute to an integrated, clear
sound — the sound of Vivaldi.
The forthcoming concert of L'Age d'Or will be
special in a number of ways. It will include, for
instance, a concerto for viola d'amore, an instrument constructed with various sympathetic
strings, much on the principle of the sitar. Also
on the program are a recorder concerto and a
cantata with mezzo-soprano Phyllis Mailing.
The location of this years' L'Age d'Or concerts
is designed to complement the baroque sound.
The Pacific Ballroom of the Vancouver Hotel has
the excellent acoustics and an air of elegance
that are missing in the Playhouse. Finally, the
music of Vivaldi has an immediate appeal that
makes an all-Vivaldi program a treat indeed.
The Vancouver Society for Early Music's
renaissance ensemble, Hortulani Musicae, has
gained a firm position on Vancouver's music
scene. L'Age d'Or gives every indication of doing
the same. Treat' yourself to an evening of
elegance. Tickets are $1.50 for students and are
available at the Vancouver Ticket Centre, all
Eatons stores, Duthie Books and Bill Lewis
Sarah Ellis
Blue Beat Brother
L'nlimited by Jimmy Cliff
Reprise Records
Recently, Paul Simon, Johnny Nash and
dozens of other musicians have discovered the
beauty in Jamaican soul music or reggay.
Jimmy Cliff, has been hip to it for a long, long
A native of Jamaica, Jimmy Cliff's latest
album Unlimited (Reprise Records) contains
several emotion-packed, pro-Jamaican reggay
"Under the Sun Moon and Stars", is the first
song on side one. Cliff says his parents died
working like slaves, hoping to be rewarded for
their efforts in heaven. "It won't happen to me,
I've got to be free. I want it right here on earth,
not on Venus, Saturn or Uranus. . ." sings Cliff.
The whole song is loud and lively and done in the
characteristic lilting reggay rhythm. The obvious point is you've got to get your fun while
you're still kicking.
"Fundamental Reggay" describes what
reggay is all about through musical demonstration and in the lyrics. "It's the music for all
who love beat. It's got some calypso just like a
rock opera, a classical notion to steal your
emotion. It's the solution to make everyone
"Oh Jamaica" could easily pass as the
background music for a winter holiday tour
commercial until you listen to the lyrics. It
begins with a distorted American National anthem and then bursts into a powerful chorus with
the words, "Oh, Jamaica, your many lovers
were deceivers from the start. They loved you
for your beauty and wealth, cared nothing for
your welfare or health." This refers  to  the
various exploiters of Jamaica, particularly
"World of Peace" is the only really poor cut on
the album. The lyrics are extremely trite and put
to a tune that would be considered unacceptable
for a Saturday morning cartoon show. Cliff asks
for popes, kings and prime ministers to join in
and sing for peace between the rich and poor,
west and east, strong and weak and every other
opposite that pops into his head.
The finest song on the album is, "Price of
Peace". It is a mix between blues and reggay in
which Cliff shows a tremendous vocal range. The
lyrics deal with how black culture, specifically
Jamaican culture, has been suppressed through
the years by white domination and exploitation.
"You took away my culture, cut off my tongue so
I can't communicate. Hid my whole way of life so
myself I should hate." He closes the song with a
warning to the white race, "our time has come so
you'd better watch the clock." "Price of Peace"
is distinguished by Tommy McCool's flutework,
and Jackie Jackson handling the bass action.
Along similar lines is "Poor Slave" which says
although the black man no longer wears the
physical chains of slavery, his mind is still enslaved for the white culture has not allowed him
to think independently. Bobby Ellis plays a mean
trumpet on this cut.
As far as I'm concerned whenever drums,
congas, flutes, saxophones, trumpets, lead,
rhythm and bass guitar players get together it's
pretty difficult to go wrong musically. But as
Jimmy Cliff says on his album cover, when you
call upon the soul of over twenty brothers and
sisters to create music, it's impossible not to
produce a few jams. Peter Leibik
Harum's hotel
Procol Harum have done it again. Back in '67 it
was "Whiter Shade of Pale". Acid was the
driving force behind it all. It is impossible to
describe a trip but through their music they have
come closer than many.
We have been through much since those days.
Deep introspective acid rock has passed into
history. Nobody has yet emerged to give us some
direction. A return to the past seems the answer,
the themes of '57. It seems that we are running
backwards as fast as we can.
Grand Hotel (Chysalis 1037) follows suit. The
Procol Harum are as lost as the rest but are still
able to create distinctive pieces. Although incorporating diverse themes, ranging from the
20's to the 60's, they are able to achieve harmony. Each piece contains a bit of musical
history, taking you back and forth through time.
Often it is a satisfying experience, sometimes
not. The style has an inherent feeling of emptiness in it.
However Procol Harum and their distinct
energy hold it all together.
Grand Hotel, best represents the entity of the
album. The orchestration is subtle, moving from
idea   to  action,  back   and   forth,   covering  a
lifetime of influences. History as portrayed in
music becomes an emotional experience
whether one has lived it or not. Each piece is an
extension, filling in the blanks and waiting to
move forward.
"Fires (Which Burnt Brightly)" with the
Swingle Singers featuring Christianne LeGrand
is perhaps the best piece on the whole album.
Morbid, pathetic, it questions our present
position, the futility of past efforts, noble at the
time, that have led nowhere. The past decade
has left us burnt out, searching desperately for
new horizons. Where they are is too early to say,
but the realization that such is our position is
truly a step forward.
LeGrand is truly amazing. She carries the
piece entirely.
Grand Hotel is a well executed score, as well
as a series of musical essays. The accumulation
of influences in the Procol Harum is immense.
They have survived the sixties and are able to
comment on its accomplishments and failings.
Where all this has taken us is a question we must
all answer, a question which they have posed.
Mike Volpe
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Page Friday, S
Friday, October 26,  1973 Friday, October 26,  1973
Pago  11
***'*** • t —'
Most of the criticism leveled
against Recreation UBC is unjustified, says program director
' Ed Gautschi.
"Under Rec UBC, many things
that weren't offered before are
available to students — supervision, instruction, longer hours
and a permanent booking service,"
says Gautschi.
He says he believes the $5
students who belong to the
program pay is not high.
Most of Rec UBC's $21,500
budget is paid by $15,000 from
program card holders. The
physical education school pays the
"With the money, we have to pay
the salaries of the supervisors,
instructors, administration and
replace the equipment," says
He says the $5 pool fee and the $5
athletic fee students pay during
registration and the extra,
, volunteer $5 locker fee have
nothing to do with Rec UBC,
although much of the criticism of
the program is based " on the
assumption the fees are part of the
"We have 2,400 people who hold
cards. It's only a handful of people
who are complaining," said
Gautschi. "I wish that anyone with
a complaint would come to me.
"At least I'm in a position where
I can do something about it. I
# realize that the program is new
and isn't perfect, but if people
brought their complaints here we
can act."
Gautschi claims he never said he
wanted only "serious athletes" to
join Rec UBC as The Ubyssey
quoted him earlier this year.
"In my opinion, a serious athlete
is one who tried out for a team," he
now says.
"Rec UBC is for casual athletics.
Even if you only use the facilities
t about once a month, you should
pay the $5."
He denied his program is
discouraging participation in
"We're making it more valuable
for students by lengthening the
hours from 4 p.m. to 11 p.m."
Ideally, one fee could cover
everything the four separate $5
fees now cover. However, that
would mean many people would be
'paying for something they don't
Alma Mater Society council has
gone on record as opposing the
extra Rec UBC fee and has asked
the administration to find alternative means of funding the
Council Wednesday passed a
motion asking that the seven
students on the nine-person Rec
UBC committee currently ap-
^pointed by Gautschi be appointed
by council.
Council also moved that its
appointees of the committee
uphold the society's position that
the administration should fund the
Men's and Ladies'
S>ou'westers too
Gautschi refused to say Thursday whether or not he will go
along with the AMS request.
But he said he would prefer if
any students appointed by the AMS
understood the program and had
worked within it.
He also declined to say whether
he would permit council to replace
current Rec UBC appointees with
opponents of the program's
current funding arrangement.
The current dispute in the
program seems to centre around
the use of gym E.
Head supervisor Len Marchant
says most of the outside doors,
including those next to the parking
lot, were locked in an effort to cut
down on locker room rip-offs.
With only one supervisor on
during the evenings only one entrance could be opened.
Gautschi says it was physical
plant officials who vetoed the
playing of floor hockey in the gym,
not Rec UBC.
The problem, it seems, is that the
floor, designed to take the stress of
such games, can't.
The "marks" referred to are
numerous cracks developing in the
rubberized floor. The scuff and
tape marks had nothing to do with
the decision.
All groups which have the gym
reserved for floor hockey were,
supposedly, informed of physical
—peter cummings photo
THE WINNERS OF THE ARTS 20 RACE. Announcing the Fort Camp winners left to right, back row:
Grant Inkster, Brian Gibbons, Stu Deverney (manager), Ritchie Simon, Doug Nicks; front row, I. to r.: Bill
Duff, Joe Moreira, Gord Yolland, Tim Frick, in 35:6. Second was Delta Kappa Epsilon; third the Vancouver
School of Theology.
plant's decision earlier this year.
The plan then was to use regular
hockey sticks with Cooper
"Superblades" attached. These
were supplied but soon all were
either lost  or broken.
After that it was decided to make
the move to plastic hockey sticks
so that breakage costs could be
minimized. This apparently has
brought forth new problems.
"But, we're open for any
suggestions," Marchant says.
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Orchard Park Shopping Centre, Kelowna, B.C.
*"Design and Word Trade Marks in Canada of the
Villager Shoe Shoppes Ltd."
Tuesday, October 30
12:30-1:30 p.m.   SUB 207-209
We encourage students who wish to interview with
I.B.M. to attend the session and understand the
jobs we are interviewing for.
the day!
Next Tuesday (Oct. 30)
this year's edition of Bird
Calls (Student Telephone
Directory) will make its
appearance on the
Look for it at the
Bookstore, S.U.B. Information Booth, A.M.S.
Ticket Office (Rm. 266
S.U.B.), the Thunderbird
Shop, University Pharmacy, and Mac's Milk in
the Village. Page   12
Friday, October 26,   1973
Imperialism a reality
But who benefits?
The issue of American imperialism in Canada is not whether
it is a reality but rather what social
groups it benefits, sociology
professor Paul Cappon said
In a debate with political science
professor Kal Holsti on American
imperialism in Canada Cappon
said it is beneficial to all classes of
Canadian bourgeousie.
Cappon divided Canadian
bourgeoisie into three classes —
managers of American owned
industries, managers of service
industries dependent on American
investment and independent
Canadian businessmen.
"These groups resist imperialism only when their interests
are threatened," said Cappon.
How strong the bourgeousie is
and what degree of imperialism
they accept are the issues of the
reality of American imperialism,
he said.
Cappon also said American
political control is manifested in
"Americans have control over
our fiscal and monetary policy and
our foreign affairs policy," he said.
In addition the constitutions of
Canadian political parties reflect
American politics, he said.
Replying to Cappon, Holsti said
the term 'imperialism' should be
discarded when considering
Canada-US. relations.
"We have American penetration
but not imperialism," said Holsti.
Holsti defined imperialism in
classical terms and stated conditions which must be met.
He said American imperialism
in Canada must constitute the
* a dramatic growth of
American ownership of Canadian
* the promotion of resources
beneficial to the U.S. and the
blocking of others,
* a closed-door policy to Canada
investing in other countries,
* American government intervention in U.S.-owned firms
based in Canada to protect their
the word
Mum is the word these days for
the arts faculty ad-hoc committee
on minimal standards in reading
and writing.
The committee was formed in
September after the faculties
curriculum development committee reported an alarming rate
of "functional illiteracy" among
arts students.
"That an intelligent 18-year-
old should lack the distinction
between a comma and a full stop,
or should be unable to control the
simplest pronoun references, is
certainly remarkable," the
curriculum committee's report
The ad-hoc committee is
studying the problem with a view
to making proposals for implementing a required program of
non-credit instruction in writing
for students "who fail to meet the
minimal standards of competence."
The committee has been
meeting and reading papers but
according to English professor
Bruce Grenberg, no one is going to
say anything until the committee
comes up with its final results,
probably some time next term.
"Until then, your guess what is
going on is as good as anyone's.
The committee members gentlemen's agreement to remain
silent is surprisingly effective," he
said Thursday.
* a policy towards Canada of
preventing trade contacts with
other countries,
* American control of foreign
policy in Canada.
Holsti said American relations
with Canada exhibit none of these
characteristics of classical imperialism and therefore the term
cannot be applied.
He cited Canadian disarmament
policy as a prime example of lack
of American foreign policy control.
"Holsti isn't talking of imperialism in the 20th century, he is
referring to 17th century mercantilism," Cappon said.
"In that context the U.S. has no
imperialist policy in the world."
"There is no economic necessity
for American imperialism in
Canada," said Cappon. "It is a
reality but we would be better off
without it." Holsti retorted: "I still
don't see what Cappon means by
"If you want to call American
flow of capital imperialism do so,"
he said, "but it bears little
resemblance to classical imperialism."
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