UBC Publications

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UBC Publications

The Ubyssey Nov 13, 1981

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UBC battles for western championship tonightl What excitement! See
our indepth, local preview page 20.
Who is the man behind the miasma?
The Ubyssey, eh, examines the Ac-
quisitors' Apprentice page 3.
^LW Canadian literature is traditionally
considered the runt of English-
language letters, carefully incubated under "Canadiana" sections while its
American and British counterparts vie
vigorously for international critical and
commercial success.
Not any longer.
By any standard, this fall season is a
bumper crop for Canadian authors and
readers alike. Books by Margaret Atwood, Jack Hodgins, Robertson Davies, W. O. Mitchell and Timothy Find-
ley are stocking the shelves. It is a cultural feast to celebrate the coming of
age of Canadian literature.
The development of this indigenous
literature has been a slow and neglected
process. Canada's persistent colonial
mentality influenced its culture as well
as its economy: we dismissed our fiction
as a second-rate imitation of imported
American and British works. Here there
was no tradition to justify a culture, and
so our artists wrote in an ignominious
This self-dismissal did not survive the
centenary, however, when it became a
matter of national pride to have something to celebrate about. Canadians instinctively turned to their artists, who
had been vigorously creating a national
culture, and in the process defining a
Canadian identity.
For the next 20 years, Canadian literature became a national indulgence, nurtured as lovingly as the beaver and
maple leaf. As the Canada Council increased its funding (from $819,000 in
1971-72 to over $7 millidn in 1979-80),
the literary community expanded and
matured in response. Canadian publishers gleaned the teaming pools of talented writers who nourished the growing
industry of literary criticism.
See Page Twelve Page 2
Friday, November 13, 1981
Due to Expansion of our
Stereo/Video Dept. we're holding a
50% OFF
k y-   '
Page 3
Newman builds...
Ubyssey staffers Paul Kaihla and Eric Eggertson   interviewed   Peter   C.   Newman,
Maclean's magazine editor and author of
The Acquisitors: The Canadian Establishment, Volume Two, in his room at the Bay-
shore Inn. The gaunt author, in town to promote his new book, nibbled on room service
breakfast while defending his involvement
with the Canadian economic establishment
he writes about.
One expects to find in Newman the pompous, overbearing qualities his Maclean's editor persona suggests. He is in fact rather
reserved, almost shy. If he carries any pretentions or vanities about his success, he keeps
them well hidden.
Do you now ever feel like one of those
powerful men in their large corner offices
that you first set out to document 10 years
Well, first of all I don't have a corner office. Secondly, I don't consider myself part
of the establishment. I believe that a journalist is a chronicler, is an outsider by definition.
He's on the other side of the barricades whether he's writing about politicians or businessmen. I feel that very strongly.
Now at the same time, if you want to write
about these guys, you have to have access to
them, you have to talk to them, you have to
get to know them. I don't see much wrong
with that; it's part of my trade. And I guess
partly because of that I get accused of being
close to them. I am close to them, otherwise I
wouldn't get some of the intimate stuff that I
do.     ,
How'd the idea to write about a Canadian
establishment evolve?
I had been in Ottawa for 12 years and written about political power — my first books,
Renegade in Power and Distemper of our
Times, which I believe are in most university
courses on Canadian politics. Then I moved
to Toronto in 1969 to become editor-in-chief
of the Toronto Daily Star, and discovered
that here was this group of extremely powerful, unelected, unaccountable group of about
200 people who literally ran the country.
And nobody had ever done anything about
them, except there'd been a few articles . . .
well, profiles of what they were like but they
had a sort of Chamber of Commerce flavor
that they were fantastic and the status quo
must be preserved at all costs. Or, there were
radical attacks on them that they were robber
barons, gangsters, who should be put to the
guillotine. And I didn't belong in either
camp; I was just going to present them as
they really are.
There was room for this and out of it came
the notion that they are in establishment
that they are a ruling clique. And of course
it's true — now it's accepted.
Why do you think members of the establishment first allowed you to interview them
and continue to do so?
Well, I'm not quite sure. If I were them I'd
never speak to me at all. I think part of it is
that it's a book. You know, a book is a different thing from a magazine article or a
newspaper feature. First of all it has permanence. I don't pretend to be an historian, but
there is an element of recording events, and
trends, and people. So they know what I say
about them will be the interpretation people
have of them. So there's an advantage for
them to talk to me to try and give me their
version of the truth — which I don't accept. I
don't accept anything unless I check it. But
that's basically what they see.
Have you had many clashes with them on a
personality basis or do yon subdue your own
personality Just to get the interview and information?
There are people unhappy with what I
wrote about them, but it isn't a hostile confrontation . . . there are a few who are very
hostile. But I don't-care; that's the way they
are, that's the way I reported them. If they
don't like it they have access to the courts,
and of course some of them are taking it.
In an article five years back, the writer said
you were creating icons for our society, that
because of your childhood you're obsessed
with security and think that it's essential for
the country to know the people who are in
control and to see them in a good light. He
sees a lack of criticism in your work which he
fears may be "culturally destructive."
You know, there were a lot of lawsuits with
the first volume and a lot of lawsuits with this
volume. So if I was writing such great bales
of stuff, they wouldn't be there. That's part
of the answer, but that's only a superficial
You know, as I said before I'm not an advocacy journalist. This person who said that
...Canadian icons
wants me to attack them for being terrible
and I won't do that. And that doesn't mean
that I don't think they're terrible. Necessarily. I'm just a journalist who believes that
what you do is you give the evidence and then
let the reader make up his mind.
He also says you're creathrg icons for our
society. Are you using the Canadian Establishment to help forge more of a Canadian
Sure. I think there's something in that. But
I think they're valid icons. One cannot always construct the icons one wishes. One has
to chronicle the icons that exist. These people
are out there and they're doing this stuff
They're the leaders of the economic community in this country. Their lifestyles, that I
describe in great intimate detail, have a bearing on all of us. The way they do business, all
their accomplishments, all their faults, all
their extravagances, are setting models for
the rest of us whether we like it or not.
Who has been your model or what figures
The last ten years have been significant
ones for Canadian capitalism. Corporate
mergers and take-overs have dominated the
financial pages, there has been a significant
shift westwards in investment, if not control, while federal and provincial governments have become an ever-more important
actor in energy and other sectors.
The    Acquisitors:    The    Canadian
Establishment, Volume Two,
McClelland and Stewart, 430 pages
When the history of these years comes to
be written, it may well transpire that Canadian big business was in the process of making it into the big leagues of the multinational corporations, prodded and
sometimes dragged along by the- state. It
may further transpire that the resource and
financial service sectors were the scenes of
these developments, with our secondary industries going the way of the dodo-bird in
the new order of international capitalism.
For the moment we lack such synthetic
So we are thrown back onto the pages of
the Globe and Mail or the Financial Post
for day to day information, and onto such
peep show hawkers as MacLean's magazine
editor Peter Newman for flashes of the corporate operators on stage and in the
There are high costs in resorting to someone like Newman in his two volumes of
The Canadian Establishment. It is like relying on the Globe and Mail's gossip columnist Zena Cherry for insights into what is
happening inside the corridors of power.
-^ric •ggartton photo a
author with a million dollar view
Name-dropping falls short
Both can tell you who attended a particular
social function, sat at which table, and
wore the latest creation from Dior and Yves
St. Laurent. Charting corporate power,
alas, involves something more.
Newman, to be sure, has greater pretensions than Zena Cherry. You cannot be the
editor of a weekly newsmagazine (never
mind its standards) and not throw in a little
sophistication with your name-dropping.
You cannot hope to get seven-part TV
specials churned out of your books, unless
you have a few anecdotes and little secrets
to reveal.
But conversely, you do not get very far
with your sources, the high and mighty if
you plan to turn too critical a lens against
them. It is as a chronicler and court
purveyor, certainly not as social critic, that
Newman pursues his celebration of the
Canadian establishment.
The first volume spoke of the established
names, Argus and the CPR, wealth that
had been in Canada for several generations.
The second volume tackles a new theme,
the acquisitors, men who did not inherit
their wealth but have gone on to build corporate empires in their own lifetimes.
There is the new wealth of Vancouver
and Calgary, Edmonton and Toronto, of
the Skalbanias, the Blairs, and the
Reichmanns. That some of Newman's acquisitors were born with silver spoons in
their mouths somewhat contradicts his
theme of new wealth. But we shall not let
mere sociological evidence get in the way of
so bold a Columbus.
Nor shall we demand too much in the
way of literary graces. The opening page
tells us of how the Canadian establishment
is being shaken "to the very filaments of its
elegant roots." A little later we are told of
have you greatly admired in the field of journalism?
My role model is a former editor of
Maclean's called Ralph Allen, who was
editor in the '50s and who I worked for. He
was a great editor — he taught me everything
I know. When he left Maclean's and joined
the Star I followed him and eventually
became editor-in-chief. I also admire a lot of
Americans   —    Halberstam, Mailer.
What did you think of Henry R. Luce
(founder of Life, Time and Fortune
I thought he was the worst thing that ever
happened to journalism, because he used his
magazines as propaganda weapons. And
that's inexcusable because the reader doesn't
know that it's propaganda; he thinks it's
On what issues did you find his manipulation most distasteful?
Well the main one of course was Formosa
— promoting the nationalist government's
interests. But Time still does it. You know,
Time will have a large interest in a movie and
they will put that movie on their cover, not
admit that they have a financial interest in it,
and say that it's the greatest movie every
made. I think that's just awful.
See page 10: NATIONALISM
how the age of the rich women is betrayed
by their eye-corners" as accurately as by the
concentric rings on the stump of a Douglas
fir." And there are many more such pearls
strung throughout the 430 pages of
scarecely-edited text.
But what does Newman tell us that just
might help us to get a fix on today's corporate world? In the chapter on B.C., he
tells us of how our acquisitors "are
reaching out for new fields to conquer in
the Far East," and how the B.C. hinterland
has taken the place of Japan's pre-war colonies. A very important theme indeed. Unfortunately, Newman can hardly stay with
it for more than a moment, rushing to tell
us about the green Rolls-Royces and grey
Mercedes Benzes which our acquisitors
make use of when visiting trading outposts
around the Pacific.
In his discussion of the Reichmanns, the
real estate billionaires of Toronto, he notes
that Porter in Vertical Mosaic had drawn
attention to the unconcentrated character
of urban real estate. It is precisely here,
where the Canadian establishment had failed to tread, that the Reichmanns, Bronfmans, Skalbanias and Pattisons have made
their fortunes.
What Newman does not stress, however,
is that these fortunes are largely in the service sector of the economy, and that they
have been made possible by the very high
rates of inflation that have characterized
capitalist economies in recent years. It is the
altered contours of capitalism in the 1970s,
not the entrepreneurial ommissions of
earlier capitalists, that has made possible
wholesale speculation in land and properties and the emergence of new corporate
empires in this sector.
See page 6: PETER Page 4
Friday, November 13,1981
Obasan tells the story of the Japanese
internment with compelling emotion
Obasan is one of those rare novels that documents an
important historical event and then offers something
more. The first novel to describe the internment of
Japanese-Canadians during the Second World War,
Obasan manages to avoid the moralizing that the subject matter invites.
It is not a pity the poor victim book, and it's not
overtly political. The novel transcends the subject matter and offers something other than guilt for the public
that allowed the internment and vindication for the
Japanese Canadians that suffered it.
     camp. The recollections are filled
By Joy Kogawa
Lester, Orpen & Denny's $13.95
215 pp.
Rather it addresses the way some
Japanese-Canadians dealt with the
crisis and in the process says
something about the ways in which
all of us came to terms with our
The novel also implies that individuals in our society are so
preoccupied with reason that we
take our rationalizations for truth.
It suggests instead that most of us
need to look inward and through
silent contemplation recognize the
emotions that lie at the root of most
of our actions.
Obasan tells the story of the internment through the eyes of
Naomi, a small town Alberta school
teacher looking back on her
childhood in the Slocan internment
The  story  begins in the   1970's
"I don't think we
can leash our
emotions to
our minds.
I think our minds
follow our
with the death of Naomi's uncle
and her arrival at Obasan's
(Japanese for aunt's) home.
The present in the novel spans little more than a day. Naomi is caring for the newly widowed Obasan.
They are waiting for the arrival of
Naomi's brother Stephen and her
other aunt — Emily from Toronto.
While they wait Naomi pours
over a package of documents dealing with the internment that Aunt
Emily has sent her. The package —
government documents, family letters and Emily's dairy — serve as a
catalyst that brings Naomi's
childhood memories flooding back
to her.
Naomi's recollections explore the
internment with childhood innocence. At the beginning of the
war she is seperated from her
mother who is visiting Japan, and
her father who is sent to a work
with unspoken, unexplained emotions, the uncertainty of Naomi's
childhood is revealed through bad
dreams and small frightening incidents that take on the emotional
weight of the internment itself. It is
uncertainty made bearable though
by Obasan's silent but pervasive
and unflinching love.
Aunt Emily's documents also illustrate the contrast between the
two aunts and the ways in which
they each dealt with the emotions
generated by the internment.
Emily has turned the internment
into a cause. She wants vindication
for the Japanese, wants people to
be aware of what happened and
wants to make sure it doesn't happen again. But her chattery politics
are more than a cause, they're a
way of harnessing her bitterness
and rage at the internment to
something productive.
Obasan responded to the same
problems with silence, though not a
destructive silence. Unlike Emily
she doesn't have the power to
speak. While both are handicapped
as women, Obasan is further handicapped because her English is not
good. She is also closer to the
Japanese way of life than Emily and
as a result she cannot develop a
political voice the way Emily can
with her determined nature. So
Obasan has to find another way of
dealing with that bitterness and
She turns it inwards in a way that
strengthens her ability to accept fate
nobly. She harnesses the bitterness
to a protective silence. In a time and
place when a political voice would
have done her no good she uses
silence to protect the children of the
internment and to protect other
Japanese from abuse as
troublemakers. Obasan's silence
becomes in her old age a serene way
of viewing the world that serves her
better than any response she could
have come up with.
The novel sees Naomi coming to
terms with the characters of both
her aunts. Neither the silence of
Obasan nor the activism of Emily
are enough for her. Her story sees
her trying to understand Emily and
aquire a voice of her own without
losing what Obasan has given her
through her wise and silent way of
viewing the world.
The book concludes with
Naomi's discovery of her mother's
harrowing fate. It is a fate that
strongly contrasts the values of
North American society as a whole
with the values that Naomi has been
struggling with.
Though the interlacing of past
and present is sophisticated and
narrative suspense is carefully maintained, the book's greatest strengths
lie elsewhere.
The primary power of the book
lies in poetic moments that give insight into the characters' struggles.
The way in which the opening scene
mirrors the emotions of Naomi's
uncle purely through description of
the coulee where he sits is particularly striking.
Scenes like the one where Naomi
almost drowns in the cold black
waters of Slocan Lake while not exactly symbols for the sense of abandonment that Naomi is feeling, take
on the emotional weight of her
abandonment in a powerful way.
Obasan's few words and actions
are charmed both with simplicity
and deep emotion that say more
about her than Emily's wartime
diary can possibly say about the
politically active aunt.
If there is a criticism of the novel
it is that the narrative relies too
much on those moments, developing characters through them rather
than through narrative action. The
characters are frustratingly static;
only Naomi changes in the novel
and most of that change is subtle
and implied. Even though we see
Naomi grow from childhood to
adulthood all that happens is that
her fears and apprehensions are
translated into reticence. Her day at
Obasan's mourning her uncles
death appears to change her very little.
That is to be expected though
from Kogawa; this is her first novel
after three books of poetry. The
author feels that the poetic
moments give the novel a unique
texture. "Writing poetry has taught
me to respect the power of the moment's emotion," she says.
Obasan turns her
rage inward
in a way that
her ability to
accept fate
The reliance on those moments is
something that grows out of the
philosophy of the novel, and of
Kogawa herself, that we must
recognize the pool of emotions
within ourselves and not suppress
them. "I don't think we can leash
our emotions to our minds," she
says. "I think our minds follow our
emotions. I don't know how the
emotions can be disciplined. I
haven't learned that. All I have
learned to do is to chart them and
not to deny them. Because of that I
have to give the emotions
Certainly the formal simplicity of
the language (that obviously grows
out of Kogawa's Japanese heritage)
make the reading of the book very
much like reading a poem. It is a
book that shouldn't be struggled
'with intellectually. Rather it should
be read for its subtle emotions.
recollections explore internment Friday, November 13,1981
Page 5
An elitist gothic
mystery for those
who understand
Professor Ozias Froates is a
nobel prize contender researching
the properties of human excrement.
Madame Latouro is a gypsy
shoplifter who cures violins in
dung. Maria is her brilliant
daughter, a student of Rabelais, in
love with her wizard professor Clement Hollier. Simon Darcourt is a
stout Anglican parson in love with
John Parlabane is stranger than
all of them. He's a recalcitrant
monk, a drug addict, a homosexual, a stool pidgeon and a
philosopher of unparalleled intelligence. He might be the devil incarnate. But he's also the catalyst
for almost everything good that
happens in Robertson Davies new
novel The Rebel Angels.
The book traces the intellectual
and romantic passions of the faculty of the College of Saint John and
the Holy Ghost and of a favorite
student, Maria Magdelana
The Rebel Angels
By Robertson Davies
MacMillan, $16.95. 326 p.p.
On the surface the book is a .
gothic mystery of theft and murder.
The narrative hinges loosely on Clement Hollier's pursuit of a lost
Rabelaisian manuscript that he feels
will offer him some great
philosophical insight. The book
disappears from an estate of which
Hollier is joint executor. Suspect is
the extremely nasty Urquart
But that plot is primarily an excuse for Davies to explore themes as
numerous and complex as the
characters themselves.
Everyone in the book is struggling with the past in one way or
another in order to achieve the
blend of intellectual and spiritual
knowledge that will satisfy them.
Hollier is so concerned with the
way the past can offer knowledge
we have lost that he is only dimly
aware of the present.
Maria is running from her
spiritually rich gypsy heritage into
the intellectual world of modern
scholarly research.
Simon Darcourt is longing after
the things that his upbringing as a
parson have denied him.
Parlabane is obsessed with his
own scarred history and has grown
insensitive and cynical because of it.
All those struggles are manifested
in their present day attitudes toward
love. Hollier's love affair is with
history. When he makes love to
Maria on his ratty sofa it is a
capitulation to lust.
Maria believes she is in love with
Hollier who embodies the intellectual ideal she is seeking.
Simon Darcourt's love for Maria
is the idealized love of a parson
made stronger by the fact that he is
a bachelor who has never known
the physical love that Maria might
offer him.
Parlabane doesn't know love at
all, and sex for him appears to be
simple self debasement.
Between all that Davies explores
themes as diverse as the function of
a university in the modern world,
the forms that art patronage should
take, and Davies perrenial favorite,
the importance of myth to the individual.
In Deptford Trilogy worked out
the psychology of several male
characters in terms of Jung's archetypes. In The Rebel Angels
Davies makes up for a past
weakness and gives a female
character the same treatment. Each
of the characters in Maria's life correspond loosely to the shadow,
animus, mana, and hero figures in
Jung's psychological framework.
The book is full of archaic
knowledge and allusions that both
enlighten and enliven the narrative.
The secret of the bomari is revealed
and the principals of alchemy are
Rabelais is more than a subject of
study; the French rennaissance
authors life loosely parallels that of
Parlabane and Parlabane's
character is partially drawn from
that of one of Rabelais favorite fictional creations. They even share
the same last words: "I now take
leave, in search of the great
Frequent references are made to
the Swiss alchemist Paracelsus and
his maxim, "Be not another if thou
canst be thyself," is often quoted
by the characters.
But as in all of Davies novels,
much of interest is left unsaid.
There is a Robert Browning poem
about Paracelsus unmentioned in
the book that enlightens the twisted
and perplexing ending that Davies
provides. In the poem Paracelsus
struggles with knowledge and love
as ways of achieving self-
realization. On his deathbed he concludes that the summum bonum of
life lies in neither, but in the ability
to "see good ine vil, hope in ill-
success." Those words more than
any in the novel tell us how Davies
expects us to view Parlabane and
the effect he has at the end of the
The book is not without its flaws,
though. The reams of philosophical
discussion piled on top of the scads
of arcane references make the book,
heavy going at times.
As a result there are points in the
book where one begins to lose sight
of the characters as flesh and blood
human beings.
elitist weirdneas  in  the  halls of academe
This isn't helped by the narrative
style, (which alternates between the
first person accounts of Maria and
Simon Darcourt) nor by the number
of characters in the book. Without
one central character to trace it
becomes harder to identify with the
characters in the book.
Further, Maria is a little bit
removed from most peoples common experience. Her speech is formal and full of old fashioned
idioms. And her interest in Rabelais
is not exactly common to most
university students.
In Davies' Deptford Trilogy The
central characters each have a book
to themselves.  That gives Davies
more latitude to develop characters
and make them realistic than The
Rebel Angels allows him.
The sacrifice of a little realism is
not a great blow to Davies' work
though. He has never intended his
novels to be realistic, though he
pays careful attention to deterministic plot and character motivation.
The Rebel Angels is not a book
for everybody. Its a book for people who like a little work with their
fiction. Certainly Davies would admit to a charge of elitism.
"Literature," he says, "is written
by those who know for those who
Creal original but uneven
Shortly after his forty-fifth birthday, the reverend St. Clair Gwynn,
known to his friends and family as
Saintly, repudiates his belief in
God. The reverend then turns to
selling prayers to earn his income,
and finds it a lucrative business.
With a fine sense of irony and
humor, Margaret Creal begins her
most recent collection of short
stories, The Man Who Sold
Prayers. Unfortunately, the wit and
originality of the first story is not
maintained throughout the collection, although some pieces are well
worth reading.
The Man Who Sold Prayers
By Margaret Creal
Lester and Orpen Dennys,
198 pages, $14.95
The collection, on the whole, has
scattered moments of insight and
perception. But some stories seem
lacking in depth, or somewhat ill
formed as if they needed a longer
period of maturation. An example
of this inconsistency is the comparison between The Man Who
Sold Prayers and Counterpoint.
The first story in the collection
deals with Saintly. His prayers, it
seems, work as a good luck charm
for his patrons.
Saintly and his family prosper.
His wife takes up a part time job
and enjoys her new freedom. The
two girls grow up, flourish, and
take "their father's peculiar
notoriety in stride." Saintly stays
home, writes prayers, bakes bread
and cleans house. Everyone seems
Then one day Saintly wakes up
and finds he can no longer produce
prayers. After some consultation,
Saintly returns to his old profession
the collection, is not. Sophia and
Nicholas, both married to other
people, are having an affair in
Paris. Theirs is a tedious affair and
the plot traces their last night
together before they both leave for
their respective homes.
Sophia, an American, is an accomplished   pianist,   Nicholas   a
They learn to
take his
in stride
with the bishop's blessing.
"Saintly, recalling that the
clerical shirts and collars he had im-
pusively purchased that afternoon
were a half-size larger than those he
had discarded a decade earlier, said
he thought there had been some
Set in Toronto, the story sketches
an interesting eccentric who is,
amazingly, unique.
Counterpoint, the third story in
British snob who likes to "chase
women." Creal gives no reason why
an intelligent, independent woman
like Sophia would find Nicholas attractive, who, as the title suggests,
is her antithesis.
Another irritation is the cliches
which keep popping up. "Pain at
her loss mingled with humiliation at
being so summarily rejected, and
lay like a weight on her heart." Says
Nicholas   to   Sophie,   "How
beautiful you are." Sophie thinks,.
"Alarmed by love he lived in a gilded cage of his own making."
The story is shopworn,
something we've all heard dozens of
times, in dozens of novels. It is
disappointing after the wit and
originality of Saintly.
When Creal writes on other, less
common themes, she fares much
better. Tales From A Pensione set
in Florence, records a conversation
between a mother and her son, a
college drop out. Creal picks up the
nuances of the conversation as the
mother tries dilingently to amuse
her son and he continually and
cruelly rejects her.
Two Women is another interesting but less sucessful story.
Here Creal explores the relationship
between two middle aged women;
Andrea discovers that her married
friend Ariadne has fallen in love
with her. Creal plays upon
stereotypes and the result is a little
ridiculous. "Andrea reproached
herself for not having paid attention to the signs. For the signs, she
now saw, had been there all along.
In the compliments, the gifts, the
attentions, in Adriadne's willingness to drop everything in order
to be with her, in innumerable
favors small and large, in the rather
mannish style of dressing she had
over the last months adopted."
Creal has her moments in The
Man Who Sold Prayers but whether
the collection can stand by itself as
worthwhile, is debatable. Page 6
Peter C misses point
Friday, November 13,1981
From page 3
There is an interesting account of
the successful takeover bid by
Brascan of the giant Noranda
Corp., and of how the taxation
system encourages such mergers.
There is also a valuable listing of all
the major take-overs in Canada
from 1975-81 in a 55 page appendix
at the end of the volume.
On the other hand, his discussion
of Alberta's new oil wealth adds little to what has already emerged in
the more theoretically informed
literature, like Pratt and Richard's
Prairie Capitalism. Once again,
Newman is so preoccupied with
drawing the persona of the "oil
patch," that he completely
overlooks the significance of
resources as opposed to secondary
industry as the basis of the new fortunes. Newman may think the
cleavage inside the corporate elite
lies between his inheritors and acquisitors. Capital is much more
likely to divide into fractions along
resource versus manufacturing
One lays down this thick and
heavy book with a certain feeling of
relief. What information it contains, and it does contain some,
must be gleaned by wading through
arid or saccharine stretches that go
on and on. There is no theoretical
backbone to this study, only a long
recitation of names, corporate
shakers and makers, and their
deals. The fact that a third volume
is already threatened is no source of
Obviously Newman is on to a rich
vein, which neither he nor his
publishers will easily drop. Not at
$24.95 a volume, and with the book
compulsory reading at all the corporate watering holes in Canada.
There are certainly new trends in
Canadian capitalism which social
scientists and Canadians as a people
can neglect only at their peril. But
in the end Newman's enterprise
leads us nowhere. We can pose to
him the question which he places in
the mouth of one of his Vancouver
buccaneers, Bob Carter, a propos
the accumulation of millions: "The
only trouble is what the hell do you
do after you've got it?" What the
hell, indeed, do we do with more
volumes of The Canadian
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Page 7
Native women take power and rejoice
Beyond the grey cement walls of
the city, deep within the small
towns throughout our province, the
magic and mystery of the Society of
Women is passed on as it has been
since time began.
Anne Cameron, author of
Dreamspeaker and the recently
published Daughters of Copper
Woman, has captured the magic,
the legends and the power of these
women in her new book. Cameron
explains in her preface that these
are stories from native people of
Vancouver Island which have been
preserved for generations through
an oral history.
Cameron successfully weaves
together stories about the beginnings of the society and tales told
through the old women currently
living on the island in communities
like Tofino, Cowichan and Tahsis.
The stories reflect the ideals of a
people whose women were
respected and controlled their own
bodies and minds.
The book is also ironic. In
Qolus the Changeable the daughter
Daughters of Copper Woman
by Anne Cameron
Press Gang Publishers, $7.95
of Copper woman, Mowita,
becomes the old woman and
prepares her daughter to carry on
the truth and protect it.
Though this all happened long
ago, Cameron tells us, "When the
Time came for the next change and
the black robed men moved to
destroy the Society of Women, the
women Endured. Not fighting, not
disputing, clinging to their
knowledge, they Endured, and now
it is almost Time again, and much
magic is preparing, and soon the
sign will be known."
The message is clear. The time
has come for women to take back
their power and the time has come
again for native women to rejoice in
their rich and beautiful heritage.
The myths reflect a price of
womanhood. When they
menstruated, the women believed it
was their sacred time and they
celebrated. It was the society of
women who taught their daughters
to take pride in their bodies, that
they were a source of their power.
"People were living almost as
they were intended to live. Almost.
And the Society of Women was
strong. It was inter-tribal, open to
all women, regardless of age, social
status, political status or wealth.
No woman could buy her way
into the society. No woman could
inherit a position in the society.
Each member of the society had
been chosen by the society itself,
and invited to join and become one
of the sisters."
They taught the girls with jokes,
legends and examples how to care
for their bodies and respect them.
When the strange white men arrived
in dugouts "infested with sharp-
faced bright-eyed creatures," the
whole world turns upside down.
"Instead of being raised and
educated by women who told the
truth about their bodies, the girls
were taken from the village and put
in schools where they were taught to
keep their breasts bound, to hide
their arms and legs, to never look a
brother in the eye but to look down
at the ground as if ashamed of
Instead of teaching women that
once a month they would become
Hodgins succeeds in style
Canadian culture, it is said, is a
hole in the ground: less than nothing and more noticeable for its absence. Or it's a deadbeat cousin one
doesn't mention at a family dinner,
or a mangy dog perhaps the Canada
Council keeps alive with scraps. It's
something Doug and Ted McKenzie
watch on Monday night.
It is much the same story for our
national character. If the U.S. is a
melting pot, then Canada is a centrifuge. The most popular national
holiday is Canada Day for that's
when all the closet ethnics take their
national costume out of mothballs
and dance in the street. It appears
Canada is a country where the most
popular culture is yogurt.
But that's wrong. Canada is a
unique country that leaves an indelible print on its inhabitants regardless of their national origin. Artists
of various disciplines have been recording the national character in a
rising tide of national consciousness
for a number of years: from Joe Fa-
fard, Ken Danby and Margaret Atwood to really, any number of artists. To be sure artists work on a regional scale but Canada, or any
country, is the sum of its regions.
The Barclay Family Theatre
By Jack Hodgins
Jack Hodgins is a Vancouver Island writer (currently residing in
Ottawa) of well-earned reputation.
He, in his stories and novels, nicely
captures the sense of Vancouver Island: the mountains, forests and
ocean, as well as the history and the
people. The son of a logger, raised
in the Comox Valley, Hodgins
knows what he writes. Vancouver
Island is essential to all of his writings and this has, somewhat curiously, added to his repute as a
writer. Fortunately his reputation is
based on much more.
Jack Hodgins' first published
book was Spit Delaney's Island, a
solid collection of short stories
about Island people. Spit itself
nearly guaranteed Hodgins' place in
Canadian literature. The stories are
good entertainment with punch.
Hodgins deals with strong characters and he provides a window into
their hearts. Then he places them on
a slow spit and turns the heat up as
it were, by dropping them into the
situation they each most fear. It's
the heart of fiction and Hodgins
displays a master touch.
The Barclay Family Theatre is
Hodgins' latest effort, and like his
other books succeeds both in style
and content. The book may be read
as either a novel or a collection of
short stories. Each episode is concerned, either primarily or indirectly, with a Barclay sister, siblings of
a Vancouver Island family.
This connection may not be immediately obvious for in some of
the stories the Barclay sisters are
relegated to a decidedly supporting
role. For instance in the first story
Lenora Barclay is the mother of the
boy who tells the story. And in Mr.
Pernouski's Dream Christina is the
wife of the central character. As
well, the sisters must vie with the Island, that somewhat mysterious
land still pregnant with promise, for
attention. Even though some of the
stories are set in Ireland and Japan
the Island still maintains a tangible
The stories vary as though Hodgins wrote them over a long period
of time in very different places. The
first few stories are pale in comparison to the others. The reader is left
unsatisfied. The appetite is only
pricked and not sated. For instance,
in the Leper's Squint, the central
character Phillip Desmond, falls in
love with a woman other than his
wife. Through much of the story,
the reader wonders whether "or not
he will go to meet the other woman.
When he does not; it's disappointing. The reader wants the character
to march into the heart of his trouble.
See page 8: HODGINS
sacred, they were taught to become
ashamed of their blood. No longer
did they go to the waiting house,
but they were taught to act as if they
were sick.
When the girls returned to the'
villages after this terrible twisted
education,   they   were   no   longer
eligible for candidacy in the society.
But, according to myth,
everything goes in cycles and the
time for taking power will come
again soon. The stories of these
strong, powerful women of the
society, now preserved also in
Cameron's words, will survive to
teach women their strength.
Arid the stories are not without
humour. In the time when Copper
Women, the mother of all humanity, was living alone on the coast,
her loneliness was great. She wept
for a long time and a huge cluster of
mucous fell from her mouth and
nose. Remembering her instructions
from her magic sisters who brought
her to the coast, she saved the liquid.
The mucous grows into her first
companion and she dubs him Snot
Boy. But the boy never grows into a
fully formed person. "Incomplete,
he could catch fish, but it was Copper Woman, and later, Mowita,
who knew how to smoke and
Here the old order is turned
around. Women are not put down
because they cannot hunt and fish,
but are respected because they have
the knowledge to cure and smoke.
Snot Boy remains a boy but Copper
Woman's daughters and sons are
taught her secrets and "more than
Snot Boy would ever know."
Cameron writes beautifully and.
in her stories told through the old
island women, she has captured
their voices with an exacting ear.
The story telling is set in houses
with the old women remembering
their history as they weave a basket
or in the woods where Granny admonishes her grand children to get
on with the berry picking.
Cameron pulls up a chair for you
and lets you smell the fresh baked
cookies as the wind whistles outside. Then slowly the story begins
and you are enthralled.
It is also a pleasure to hear stories
about areas we know so well.
Chesterman Beach is an example,
where Ki-Ki's Granny remembers
the story of how her people fought
back against the Spanish
Keestadores who came to Tofino
before the English. These stories
have almost been lost and are never
recorded by white historians from a
native perspective.
The stories are invaluable, for
they help preserve a culture that was
almost wiped out by the European
settlers and their descendants. It is
also worth noting that the book is a
soft cover at a reasonable price
rather than a hard cover which invariably would have been available
only to a few.
captures sense of Vancouver Island
Writers find their profession by default
neon dreamer
"Writing was always my neon
dream. The word 'writer,' in capital
letters has always been hanging
above my head like a neon sign,"
says Audrey Thomas, a novelist and
UBC creative writing department
Thomas, and four other Canadian women writers discussed
women and their writing careers, in
Brock Hall, Oct. 22. The panel also
included Rosalind MacPhee, a
poet; Brenda Rabkin, freelance
writer and broadcaster; Helen
Hodgman, playwright and novelist;
and Kay Alsop, The Province
fashion editor.
Thomas was the only one who
says she always wanted a career as a
writer. The other women said they
became writers by default, and even
Thomas admits her first romantic
dream was to be a ballerina.
MacPhee says she wanted to be a
painter, but turned to poetry instead. "I was in personnel work and
writing was a hobby for me," says
"Then suddently I was nine mon
ths pregnant, and going crazy at
home with nothing to do, so I began
to write poems." MacPhee says
eventually, after much hard work,
she had some of her poems accepted
for publication.
Rabkin says she was also going
crazy at home alone with a small
child. "I began at CBC Radio in
Winnipeg as a freelance broadcaster, with no experience. I began
writing commercially because I had
nothing else to do." Since then, she
has moved into documentaries, articles, and movies.
Alsop says she was 40 years old
when she started writing. "My
children were all at school and I had
nothing to do." She said that she
had no degree, and no training outside of a six-week feature writing
course. She has worked as a stringer
See page 8: WOMEN Page 8
Friday, November 13,1981
Women writers offer advice
Continued from page 7
for McLean-Hunter, an interviewer
with CBC Radio, and is currently
The Province fashion editor.
Hodgman started writing when
she was 27 which she said was rather
late in life for a writer. She says she
was very lucky because her first
novel was accepted for publication.
A second novel was published in
1979, and she has spent the last
three years working on her third
The writers agree a university
Hodgins' latest is a
childhood revisited
Continued from page 7
It is fortunate that there are many
stories in the book, for the first few
stories are too much like a Toni Only print: pretty to look at but little
subject matter. A few of the stories
provide good characters and then,
as if the book really is a slice of life,
gives them a mild situation to deal
with. They do. Mr. Hodgins is being too autobiographical writing
about only what he has lived. Indeed, the book follows an autobiographical construction, starting
with the tribulations of childhood
and proceeding through early and
first loves, adulterous love, mid-life
crisis, old age and finally ending
with childhood again. But it is rarely adequate for a writer to draw on
only what he has lived. A good read
demands more.
It's when the character has been
pushed to the limit that the reader
vicariously derives the most.
This situation occurs in the excellent The Sumo Revisions. Jacob
Weins, Mabel Barclay's husband, is
61 and retired. He has also tried to
commit suicide once. Thrashing
about for some purpose to his life
he took to the road in a camper.
Weins and Mabel drove every road
in America and then flew to Japan
where the story takes place. It is
here that Weins finds his answer in
a most satisfying, thoughtful story.
Hodgins also shows his colors in
what is perhaps the most current
and immediate story. It is called
The Plague Children and it deals
with the magic mushroom pickers
who descend on the Island every fall
in search of their fungus. At his
most vehement best, Jack Hodgins
describes the helplessness and outrage of the farmers as their fences
are cut, their livestock disturbed
and their homes broken into by the
pickers. Hodgins shows what might
happen (and probably has) when
one of the farmers reacts in retaliation. It is a story many people might
do well to read.
The final story rounds out the
collection. Ladies and Gentleman,
the Fabulous Barclay Sisters is a
return to childhood. It is light,
amusing, a comedy of errors, a
mint after the supper. It and other
stories in this B.C.-grown book are
a fine repast.
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degree is not essential for success as
a writer, but felt that the support
and feedback offered by courses
such as creative writing are very
valuable to struggling writers.
Both Thomas and Hodgman say
they envy students enrolled in the
creative writing courses. "The
course gives students leisure to pursue their dreams," says Thomas.
"They have a sense of comradeship
that many writers miss." Hodgman
said that support and feedback is
important for writers. "Perhaps I
would have written much earlier if I
had been able to take a creative
writing course," she said.
The writers all agreed successful
writing requires determination and
discipline. Alsop said that
newspaper writing is very good for a
writer's discipline. "You are constantly fighting a battle of time versus inches. You have to produce a
certain amount of copy within a
certain length of time, and you
quickly learn to discipline
Alsop added if a person wants to
write, he or she should do just that.
"Find an area that you enjoy and
write." MacPhee agreed. "Beginning is awful. But if you really want
to write, go for it. Nothing else matters."
"Don't let the bastards grind you
down," said Rabkin, "and they will
try." She advised potential writers
to strive for a balance between
writing for money and writing for
writing's sake. "Eighty per cent of
my writing is done for profit, so
that I can afford to spend the rest of
my time on a novel."
The panelists agreed writing is
hard work. "I have been working
on my third novel for the last three
years. It doesn't get any easier,"
says Hodgman.
If your neon dream has always
been to be a writer, these five
women agree the only way to turn
dream into reality is to start writing
and keep on writing. You will need
.curiosity, ability, determination
and discipline. And a sense of
humour that will allow you to paper
your walls with rejection slips.
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Page 9
they don't give you money
Prostitution, myths:
filmmaking task
The Quebec cinema has been conspicuously absent from most theatres in Canada. The
problem is essentially money, or the lack of
it, which prevents a national distribution.
This Friday and Saturday, however, the
Pacific Cinematheque, probably the best film
society in the country, will host two
Quebecois filmmakers, Paule Baillargeon
and Guy Simoneau and their respective
French-language films, La Cuisine Rouge
and Plusiers Tombent en Amour.
Simoneau's film is a documentary on prostitution, while Baillargeon's film is a fictional account of a married couple and tensions amongst the sexes. Baillargeon and
Simoneau spoke to The Ubyssey earlier this
week about their films and filmmaking.
The title, Plusiers Tombent en Amour —
Some Even Fall in Love — is an intriguing
Simoneau: Yes, it's ironic. It's a line from
one of the characters in the film. The
customers say that. It depends which sense
you give to the word "love."
Watching the film, one realizes the myriad
of opinions that exists. Everyone has a different point of view. From the man on the
street, who candidly admits to being with
prostitutes, to the prostitutes, to the pimp, to
the two transexuals, and finally to a man,
who says, "I hate them. I can't believe a man
will pay to have sex with a girl." There was
one homosexual prostitute in the film, who
says, "We don't get fucked, the women do."
Simoneau: I asked him if he considered
himself a prostitute, and he said, "no, the
women are." (Male homosexual prostitutes)
don't feel they'e prostitutes.
Do you think most male prostitutes feel
that way?
Simoneau: "It's very hard to say. But
that's right.
Baillargeon: They don't want to identify
with women. They don't want to be
Simoneau: Before I shot the film, and was
walking the streets, I told them that I was doing a film on prostitution and they said,
"About whores?" I was amazed. They
thought it was about women. But I didn't
want it to be that way. There is no difference
between one prostitute and another.
Wen mate homosexual prostitutes more
"closed" about their activities?
Simoneau: Yes, those I met seemed
harder for them to accept the fact.
Why the subject of prostitution in the first
Simoneau: I was interested in the subject. I
am interested in people. What happened at
the time was that I met a prostitute. I had
been in Montreal for six years. I always
found the same people, the same things people wanted. But I didn't mind the subject.
People were very open. They show their contradictions easily.
Slim, the pimp, at the beginning of the film
has his back to the camera. By the end, he
had his jacket off and was talking to you as if
he were talking to a friend, being very candid
about his life. Did you have to engage in
repeated conversations with him in order to
get that level of confidence and intimacy?
Simoneau: Not really. He's a special case.
There are a lot of contradictions in that guy.
That's why I find him interesting. I got problems with that guy. Not with him, but
because I found him so interesting — it's not
a question of agreeing with him or disagreeing with him — that people who saw the film
said he got too much place in the film. I don't
understand why (people say that). What difference does it make how much space he got
in the film?
How much did the film cost?
Simoneau: I made the film for $35,000.
Do you see Canada's National Film Board
playing a functional role in Canadian film?
Simoneau: They don't do it anymore. We
got some services from them . . .
Baillargeon: ... But they don't do it
anymore . . .
Simoneau: Since about two years, they
haven't been helping. It's really bad.
Baillargeon: At the beginning, they used
to. (But now) they don't give you money and
they don't lend you equipment through a
program. It's a fact nowadays, a young filmmaker . . .It's impossible to be a young filmmaker. You can't make a film even if you
have made other films. Right now, that's it.
There is no money, and politics get in the
way. So they let the people who are already
filmmakers, experienced filmmakers get the
money and go on.
You spoke to the film production dam at
UBC. There an a lot of budding filmmakers
out here. What advice did you give them?
Simoneau: I spoke to one guy and asked
him if he could see himself making films after
he left here. He said "No." They do it right
now because they like it.
Baillargeon: There doesn't seem to be
anything open for them. They seem to know
that it's just about impossible to do films (for
a living).
Simoneau: Yes, I didn't get answers . . .
Baillargeon: However, the training they get
will serve them anyway. You know you are a
filmmaker by the number of years you . . .
Baillargeon: Yes, suffer, the number of
years you keep on . . .
Simoneau: Did you like the film (Plusiers
Tomben en Amour)?
Yes. I went to the preview expecting a
diatribe about the social "problem" of prostitution. I came away from the film with a
different stance. This was a collage of opinions and people frequently contradicting
each other about one subject — prostitution.
I liked that.
Baillargeon: Yes, it's not a film that dictates. It's life. Everyone's a prostitute. We
don't say it, but prostitution is a way of life.
That point is made near the beginning of
the film. And I wanted to see more of that
same point of view in the film. Prostitution is
not restricted to the streets. Prostitution is
feeling the obligation to sleep with your partner after he has taken you out a few times.
The Goddard film, Sauve Qui Peut La Vie,
had a similar standpoint.
Baillargeon: Prostitution is a way of living
in our world. That's the way it goes. The
women who gets married, prostitutes herself.
The guy who takes you out for supper and
expects sex, he's a pimp. That's the way we
live. And these people (in the film), they're
doing it. And they know it.
Yes, they do know it. They're very dispassionate and disassociated. They have no delusions about what they're doing. Are you
satisfied with the film, looking back on it?
Simoneau: Yes, I wouldn't change it.
Do you prefer to stick with documentary
as a film form?
Simoneau: No, I'd love to make a
dramatic narrative . . .
Baillargeon: Good Luck . . .
Simoneau: I will do it, Paule . . .
What about your film, La Cuisine
Rouge? I haven't seen the film yet, but the
press release calls it a "feminist parable."
Baillargeon: Well, I can tell you that it's
not that. One can call it a "feminist
parable," if you want. I don't call it that. I
don't like this label to be attached to the film,
or to me. No that I don't sympathize with the
(feminist) movement, but calling the film that
makes it a restrictive experience. What more
can you say if one attaches labels on a film?
You've said it all. This film is a film. It is not
a feminist film. It is about the preoccupations
of a woman.
Simoneau: . . . And men too.
Baillargeon: Sure. I don't know if it could
have been made by a man . . .
And in one sense, that's irrelevant to film .
Baillargeon: Yes. I don't like the term
because critics always talk about the content
of the film, and they make moral judgements
on the film. They don't talk about the fact
that I'm a filmmaker or about the form of
the film. They talk about the fact it's about a
woman, made by a woman. I hate that. To
me, what's striking about the film is its form.
We almost never see a Quebecois film getting national distribution. There is the occasional Les Bons Debarras, and then only
because it won awards and played in New
York to favorable reviews.
Baillargeon: That's right. (A film) goes out
and then maybe it comes back. It's too bad
because there are good filmmakers in
Quebec. You have to know it exists. There
should be an organization for distribution,
but what can we say?
Simoneau: Because we're not in the same
country (laughs) . . .
Baillargeon: I just got the subtitles for La
Cuisine Rouge. I didn't have the money
(before). I produced the film for $40,000, but
if you don't have subtitles, you don't get
anywhere. You're doomed. Unless you're invited to Cannes or win a prize, it's impossible. It's ridiculous.
Do you see the government having to take
a more active part in, say, film distribution?
Baillargeon: They have to. Quebec is a
small country with six million people.
We have to get the government to help us
with the Quebec cinema. But saying that (can
also mean that) government would have control over content. It's a very difficult problem. I might be a pessimist, but I don't
think things will resolve themselves.
Who are your favorite filmmakers?
Simoneau: Fassbinder, Wenders, . . .
Baillargeon: And Goddard, and some
Quebecois filmmakers. I saw a very good
film called Underground USA. But from the
United States, I don't know if I like many
Simoneau: I used to like Cassavettes . . .
Baillargeon: Cassavettes can go on making
films (despite distribution problems) because
of a wider public. In the United States, it's
enough of a market (unlike Quebec).
Simoneau: Altman films too.
Baillargeon: I don't anymore.
Early Altman? M.A.S.H. Nashville?
Baillargeon: Yes, I liked Nashville and
Thieves Like Us.
A Wedding?
Simoneau and Baillargeon: No, we didn't
like that.
Baillargeon: He makes one film every year,
that's unthinkable for me (because of
budgetary considerations). It's another kind
of filmmaking.
Both Baillargeon and Simoneau are
visiting Vancouver courtesy of a grant from
I'Institut Quebecois du Cinema. La Cuisine
Rouge will be showing at the Cinematique at
the National Film board theatre on Georgia
street. Paule Baillargeon will be on hand for
the Friday and 7 p.m. screening of La Cuisin
Rouge (admission $3 with membership card),
and Simoneau will be appearing at the Saturday showing of his film (admission also $3).
Quabac la • email country Page 10
Friday, November 13,1981
Nationalism not hairy-fairy
From page 3
Well you're a self-avowed nationalist. Isn't there a bit of Luce in you
by using Maclean's as an instrument of this?
Well, you know, if Canada's national magazine wasn't nationalistic, there wouldn't be much point
to it. My nationalism doesn't say as
Luce's did that you have to vote for
the Republican party, you have to
recognize nationalist China — all
that kind of stuff. All I'm saying is
that we've got to have our own
country operate according to its
own values rather than imported
values. It's a defensive nationalism.
Sure, I push those ideas, but I
think they're universal ideas.
They're not specific things that are
going to benefit me or people I represent the way Luce did. But it's a
good question.
Why do you personally feel so
strongly about having an independent Canadian culture?
Well, partly my background I
guess. You know, I arrived here
when 11 years old from Europe,
fleeing the Nazis. I had to learn
about Canada, had to learn English
— didn't know a word. I was trying
to fit myself into this society and
got to really love this country by not
taking for granted what people who
are born here do. So that was part
of the process.
And Canada literally saved my
life. We were in France, the Nazis
advancing and no country would
take us. We tried the States, we
tried Australia, we tried all kinds of
countries, and Canada was the only
country that would let us in. It isn't
sort of a hairy-fairy thing; it's a genuine affection for a country that
saved my life.
As editor of our national news
magazine, what do you feel poses
the greatest threat to world security
for the remainder of this century?
Well the biggest threat to world
security is the fact that by 1985, 40
countries will have the nuclear
bomb and the means to deliver it.
It's one thing for the U.S. and the
USSR to have it, but when a lot of
very unstable countries . . . Argentina, Israel, Libya, Pakistan . . .
when those kind of countries have
nuclear capabilities, then we're in
deep trouble. I think that's where
the greatest danger is. It isn't the
confrontation of the superpowers
because there is some element of
control because the destruction
would be so complete that it's be-
>NOV. 15.
16 & 17
8 P.M.
Tlitl AT RE
W«t»rtront ThMtr*
On Qranvllla Island
•6.00 IChlld. M.M)
Free gold
Boy, wouldn't that be something. And believe us,
pal, our staff would be the first
in line to pick up that gratis
glittery stuff.
But they'll just have to be
content with serving our 15
gigantic, creative burgers,
super salads and other tasties.
Open 7 days a week,
11:30 a.m. till like late.
2966 West 4th Avenue. And
remember all burgers less than
$500 an ounce.
yond imagination. There could be a
lot of small nuclear wars which
would wreak havoc and are entirely
possible if not probable.
Looking at the way our system is
structured, controlled by an establishment, people who are pursuing a
narrow path of empire building. . .
I mean doesn't this system reinforce
conflicts and disparities in the international system? Certainly the establishment isn't focused on solving
the problem.
No, I think it's a separate issue.
You know, some guy who's flipping
real estate in Burnaby has nothing
to do with a possible world holocaust.
. . .Ahh but in a way he's using
up resources that could be used toward some kind of campaign to
No, no, I don't buy that. It may
be true, but I don't believe it.
We've heard rumors that you're
thinking of leaving Maclean's.
No, it took me 10 years to establish a news magazine in this country. It's now working; it's in the
black. I'd be crazy to leave now
after all that work to have it finally
going. I get tired sometimes doing
both the books and the magazines,
but I've managed it with seven
books and there's no reason to
think I can't manage it some more.
I at Xmas Dec. 27th—Jan. 3rd
J —   # days food and lodging—  O days
*   skiing - all transportation (BUS) -
New Years Eve Party
$150 deposit needed by Nov. 20th
2800' Vertical Powder +  +  +
Ph:  228-6185  or 261-4783   -   Ross  SUB
210 |
Its special taste
made it famous.
Dofasco recruiters will be
interviewing UB.C. students
on December 3 and 4.
Check with the U.B.C. Placement Office at 228-4011.
There are many reasons why
you should consider Dofasco
as a solid career choice.
To begin with, we are one
of Canada's leading steel
producers. And we're Canadian owned and operated.
In addition, we are a
progressive, growth-oriented
company. Our investment in
related resource companies
and subsidiary plants
throughout Canada, and our
program of planned expansion, have enabled us to keep
pace with Canadian demand.
In fact, our projected steel-
making capacity is expected to
increase by over 30% by 1995.
Dofascos employees share
in the profits they create.
"Our strength is people" is a
basic truth at Dofasco. A
truth that is clearly
evidenced by the fact that
our work force is one of the
most consistently productive
in North America. This
exceptional productivity is
good for Canada, good for
Dofasco, and good for
Dofasco employees, who
share in the company's profitability through our profit
sharing plan.
Dofasco Graduate
Training Program helps you
make the right choice.
Our flexible Graduate
Training Program allows you
to sample a range of careers
before a final decision is
made. You'll gain a wealth of
practical experience by
working at challenging
career-related assignments.
You'll get to know the
personality of the company,
obtain an accurate overview
of our entire operation, learn
about different departments
through plant tours and
seminars, and meet key
Dofasco people, who are
leaders in their specialized
And, best of all, you will
share in the decision of
where you want to continue
your career.
Our product is steel. Our strength is people. Friday, November 13,1981
Page 11
Calendar a cigarette package
If you ever wanted to be able to
note down the day of that important funeral you have to attend and
at the same time find out just when
Charles Heavysege breathed his
last, you are in luck.
The 1982 Canadian Engagement
researched by Theresa Moritz
Lester and Orpen Dennys, Toronto
For that matter, if you want to
know who Charles Heavysege was,
or when the first woman doctor was
licensed in Ontario, or what Prince
Edward Island was called until
1799, you can find out these bits of
information along with 362 other
pieces of historical trivia in the 1982
Canadian Engagement Diary. You
might even stop flipping through
the pages long enough to record
some coming engagements.
The diary is another of those
pricey items that are not much more
useful than the back of a Player's
cigarette package, but publishers
like them because they can be aimed
at a specific group of people so a
return can be guaranteed.
Feminists can righteously purchase Everywoman's Almanac;
Bennett bashers can gleefully hang
a Socred Scandal Calender on their
wall. And terminal cheeseheads
who turn up the radio every time
Paul Preston's Canadiana comes on
will find a year's delight in scribbling notes to themselves in this
Diefenbaker's dream of a diary.
I must admit I come close to being in the last category. I was
fascinated to find out that Charles
Heavysege, early Canadian poet
and playwright, died on July 14,
1876. I was interested in Emily
Howard Stowe becoming Canada's
first woman doctor four years and
two days later, in 1880. I gave
thanks that the good people of PEI
decided at the end of the 18th century to stop calling Spud Isle the
Island of St. John, thus sparing
millions of school children further
confusions in dealing with Maritime
Besides these obscure and
esoteric facts there are the more
familiar and important historical
events, along with the inevitable
chronological signposts such as Joe
Clark's birthday or the date Tom
Thomson died in Algonquin Park.
Also familiar is the taint of
eastern Canadian regionalism,
something which might easily be expected of a book which was largely
researched at the Metropolitan
Toronto Library.
There is one hilarious error which
literally illustrates the attitude that
Canada ends at the Lakehead. On
the page facing Feb. 15, the day the
current national flag was adopted in
1965, is a graphic presenting
"Canada's flags, past and present:
the Union Jack, the Red Ensign,
and the Maple Leaf." Instead of
the Red Ensign, there is a drawing
of Ontario's provincial flag.
To be fair, researcher Theresa
Menzies does draw on material
from all of English Canada, though
she has a certain blind spot for
Quebec. The political, social and
cultural history of Quebec seems to
submerge from sight between 1763
and 1967.
Perhaps it is presumed that the
Quebecois became more interested
in the founding of York, the first
occasion of the Queen opening
Parliament or when the ribbon was
cut at the Stephen Leacock
memorial after they had experienced the Plains of Abraham.
Menzies undoubtedly tries hard
to make the diary as Canajun as
Canajun can be. Each of the 12
months is prefaced with old engravings and excerpts of poetry and prose to represent all of the 12 provinces and territories. (Neat, eh?)
Also, emulating more significant
publications, the diary includes a
note on the typefaces it was printed
in, smugly proclaiming its use of
VIP Cartier roman and italic, the
only fonts ever to originate in
Canada and which were first released in proof on July 1, 1967.
But being the most Canadian
engagement diary ever printed isn't
enough. Unless you though* grade 7
history was the high point of your
life or are enough of a pyromaniac
to appreciate knowing when various
cities burnt down in the 19th century, you could find that the diary
puts you back to sleep rather than
starting your day off right.
There is tod much of the bland
and conventional, and not enough
little known but thought provoking
events. Menzies relies heavily on the
three C's: Cabot, Cartier and
Champlain is called upon to fill"
far too many dates, the only
noteworthy one being July 29 when
he became the first person ever in
this country to shoot at a native Indian with a gun, some 372 years
He wasn't the last, though. The
entry for June 6 relates that
Shawnadithet, the last Beothuk,
died in St. John's that day in 1829.
His people, who once inhabited
what we call Newfoundland, had
been hunted for sport for more
than a century after whites began
arriving in numbers; but the cause
of the Beothuks' extinction, is not
If nothing else, the diary can give
you a conversation starter every
morning while you check whether
today's the day the chimney sweep
comes. You will also no longer find
it necessary to listen to the radio on
the way to work when the announcer says "on this date in
history ..."
Calendars, though, can be had
from banks and tire stores. They
may not contain obscure tidbits of
history, hut good books on Canadian hisjory can be found in places
outside of the Metropolitan Toronto Library.
The emigrant's hope [is] of bettering his
condition, and securing a sufficient competence to
support his family, to free himself from the
slighting remarks too oftf n hurled at the poor
gentleman by the practical people of the world,
which is always galling to a proud man, but
doubly so when he knows that the want of
wealth constitutes tbe sole difference between
him and the more favoured offspring of the same
parent stock, susanna moodie, Roug/ting 11 in Ihe bush,
third edition, 1871
SsK'.-SE.^"*^::- :.-*.':yi'*K>yr^%-Y:'fi^S.-ltJiL-,. ?
Findley's hybrid
TIMOTHY FINDLEY . . • reality
'The War' — like any other war
— will come and go and be parenthesized by dates in history books.
A war is just a noise — the stench of
death — a view, however wide or
brief, of rubble — and a cause for
lamentation . . .
A war is just a place where we
have been in exile from our better
dreams.—from Famous Last Words
These are the words of Hugh
Selwyn Mauberley, an expatriate
American writer, fascist sympathizer, and a fated compulsive
witness to the ideals, intrigues and
atrocities of his time. He is labelled
traitor by his country and trouble
by his cabal, fleeing to a derelict
Austrian hotel where, in tense expectancy of violent death, he
decides to tell it all. The truth. If
there is time.
Two months later, Allied soldiers
find his body, still clutching the
silver pencil with which he has etched four rooms — sixteen walls and
two ceilings — full of his testament
of truth. These famous last words,
and the soldiers' bitterly conflicting
reactions to them, structure the
Like Findley's last book, Famous
Last Words is an episodic gunfire of
historical events, bursting inevitably
into war. But unlike The Wars,
where men are passive victims of a
consuming violence, its international cast of politicians, business
people, diplomats and exiled royalty consciously breed corruption and
destruction. This willing sacrifice of
peace and sanity for the exhilaration of global power play is a
human truth which Mauberley
struggles to reveal, and which two
soldiers struggle to accept.
Quinn, a demolitions expert who
distrusts the propoganda of "we"
and "they", sees the writer not as a
traitor, but as a misguided witness.
He is willing, almost compelled, to
forgive Mauberley because of the
writer's final confession, his last
leap at truth. But Quinn's commanding officer is haunted by the
atrocities of Dachau and is obsessed
with the need to blame. Neither
soldier meets Mauberley's challenge
to accept.
Their fierce debate, spliced(by the
writer's testament, is a highly absorbing and effective framework,
allowing Findley to juxtapose action with analysis, daled events with
enduring consequences. His im-
aginitive blending of fact and fiction is quizzical.
Famous Last Words is a novel
populated by real people creating
real history. The narrator
Mauberley is presented as a protege
of Ezra Pound and member of the
social and literary elite of Fascist-
dominated Europe. Actually,
Mauberley was a fictional persona
created by the real Ezra Pound in a
suite of 18 poems entitled Hugh
Selwyn Mauberley. Thus Findley
borrows a prefabricated character
to narrate a fictional novel of
historical events — illustrating the
novel's divided attempt to minutely
document history while creatively
probing its meaning.
This dual aim is not too ambitious, but in Findley's novel it
. . . masked by fiction
falters through incredibility.
Mauberley as a historical figure is a
witness limited by time and place,
yet eis a mediator between fact and
fiction he must necessarily be omniscient. The priviledged insights
which he etches into plaster become
evidence of Findley's thorough
research rather than Mauberley's
personal experience. As Linden-
burgh rages at the press, as Wallis
Simpson watches a fly drown in her
martini, as von Ribbentrop vomits
in anxiety, as Schellenberg hisses
coffee past his lips — in short, as
history parades by as fiction — how
can Mauberley penetrate their emotions, perceive their inner thoughts?
Either he or Findley (or both) are
extending fact by fiction, extrapolating history through imagination.
Findley has created a hybird
novel which is compellingly imaginative yet confusingly realistic,
or confusingly imaginative yet compellingly realistic — or, in the words
of Mauberley himself, "All I have
written here is true; except the lies."
.*»!*' * Page 12
Friday, Nover
Sensuous guitars,
armadillo tunes
The armadillos never sounded so
Last Sunday night the Queen
Elizabeth Theatre witnessed the
power and mystery of Andian
music brought alive by Sukay in a
concert sponsored by the Folk
Festival people, the four member
group play traditional music from
South America on the wooden
flutes, drums, charango's which
were developed on that continent.
The group, Edmond and Quentin
Badoux, Javier Canelas and Gon-
zalo Vargas play all the instruments
interchangably. And, as Canelas explained, the traditional instruments
were the flutes, drums and pan
pipes. The guitar and charango
(developed from the guitar, it has
10 strings and a resonance box
made from an armadillo shell) came
with the Spanish.
The musicians say that when the
Spanish missionaries came to South
America they forbade the natives to
play the guitar because of its sensuous shape. One of the musicians
joked they should have forbidden
the tarka, a phallus-shaped flute.
Even though the musicians did
not give a political show, the effects
of Spanish imperialism had a great
impact on their music and culture.
They sang a stirring song about
Mount  Potosi,  a Bolivian  silver
mine the Spanish began. The Indians of the area were forced into
labor service and when they left
home to work in the mines they
wore their funeral clothes, knowing
few would return.
Another traditional song played,
Canelas explained, begins in
Spanish but as the night wears on
the people begin to sing in
Quechua, their native tongue.
As the musicians explain, the
music has been integral to the daily
and ceremonial life of the two
cultural groups that flourish today;
the Quechuan and the Aymaran.
Canelas says a whole village will
participate in festivals and many
songs seemed almost like plays with
several different parts.
The lively music, — its name in
Quechua means both dance and
music, — was infectious and a
dance floor would have been convenient. Most of the pieces were in-
strumentals and like Flor De Santa
Cruz relate to a specific social occasion.
The Flor De Santa Cruz is a Bolivian song, featuring the charango,
quena, guitar, bombo and pan
pipes. It is festival music traditionally from Bolivia but also
played in other parts of the Andes.
La Banda de Pena Herrera, a
traditional   Ecuadorian   song,   is
played to awaken newlyweds, "why
I don't know," said Vargas shrugging his shoulders. The song combines the strains of native and
Spanish music.
The song also featured the dul-
zainas, two whistle flutes tuned to
the diatonic scale and played
simultaneously by one person. In
the same song, Badoux played the
ocarina which is an oval-shaped
prehispanic instrument usually
made of clay and in earlier days was
shaped like an animal or human being.
The pan pipes, made from different length's of cane, sounded
eerily in many songs. The sound has
been featured in many films recently such as Picnic At Hanging Rock
and reflect a haunting quality.
Carrito, a traditional Peruvian
love song, displayed an interesting
cultural difference between North
and South Americans. The song
combines the harp, charango, harmonica and guitar and is a love
song that is joyous rather than sad
or melancholy.
It is often difficult to analyse
something which is culturally so different but the music was intriguing
and enjoyable. The only disappointment was that the musicians
did not give more glimpses of current problems in Latin America.
SUKAY . . . mystery brought alive
Cultural ambience
sparks renaissance
From page 1
Harvests increased from the 30
works twenty years ago to the 2,725
books published last year, while the
20 average print run for fiction,
which was 2,500 copies in the sixties, now is 5,000 for a first work
and up to 30,000 for an Atwood
Today's warm cultural ambience
has sparked a Canadian renaissance
where earlier writers, such as
Mordecai Richler, Hugh Maclen-
nan, Brian Moore, Margaret
Laurence and Alice Munro, are enshrined as Canadian masters, their
books Canadian classics.
Yet the emphasis on the qualifier
"Canadian," once a triumphant
recognition of our indigenous
culture, now isolates Canadian
writers from their international
counterparts.   The   incubative
"Canadiana" sections date from an
era when patriotism was as relevant
to sales as a book's quality. One
bought, and even read, a Canadian
novel for the same reason one now
buys Canadian lottery tickets: to
make a token contribution towards
the arts, with the added intrigue of
possible gain.
But with the rise of writers like
Atwood and Davies to international
fame, and the translation of Findley
and Mitchell into over a dozen
languages, such token contributions
have become historical relics of a
humbler era.
Now Canadian authors can claim
equality with their international
peers, and this book season's
bumper crop is indeed a celebration
of Canadian literature's coming of
—by Corinna Sundararajan
High energy quar
The Nylons, the all male,
acapella group from Toronto, provided a complete escape package
Monday and Tuesday night at the
SUB ballroom.
The only thing which brought me
back to reality was the audience,
which was overly eager to give the
Nylons an ovation, even if they
hadn't finished a song. Anyways,
once those four men let their vocal
cords vibrate, nobody seemed to
care about papers, exams, getting
up in the morning, or having to set
up the ballroom before the concert
The energy level of the performers was never less than 100 per
cent. From the jokes to the
choreography, the lighting to the
sound, everything was integrated
into a tight performance.
The Nylons are obviously aware
that it takes more than good singing
to please a crowd. They are self-
professed teasers, being 25 per cent
dacron, 25 per cent come on . . .
and the crowd on Monday night
loved every advance. The Nylons
made the most of the audience's expectations in It's Lonely at the Top,
their dinner jacket and imaginary
cigarette number where they never
say the last word, 'top'. The audience demands that they say it, but
they won't — a satisfying tease is
the result.
Perhaps this is what the Nylons
need to do more of: to play on the
expectations of the audience. Surprise us. Shock us. Don't be as
predictable as Sunday dinner at
Grandma's. Many people in the
crowd had seen the Nylons more
than once; they have played the Van
East Cultural Centre, Malcolm
Bowl in Stanley Park, and at the
Cave this summer.
These Nylons fans may think
twice about buying tickets again if
the show stays the same. The second set on Monday was especially
predictable — it was virtually the
same second set that they performed at the Cave, right down to the
encores with the addition of their
California iced tea commercial.
Some of their arrangements, such
as Eli's Coming, Up On the Roof,
and Wimoweh, are excellent and
memorable, but I want to hear how
they would tackle other rock and
roll classics.
Perhaps they might have mis
judged the audience. True, it was a
young, campus crowd, the Nylons
wouldn't let the audience forget it
— "campus confidential" was
mentioned more than once.
Yes, the crowd did climb the
walls when it recognized a song, but
they also responded favourably to
the Nylons own tunes. They were
well written and delivered with an
ease and style that makes one feel
like they're old favourites. Paul
Cooper's Some People I Know is a
dynamite song, and is worth a listen
if you can get a hold of their 45.
While the first set was not as interesting in costuming or staging as
the second, it was the energy and interplay between the performers
themselves and the audience that
pushed the set beyond enjoyable.
This was evident in the raw power
of Acapella, the steamy innuendo in
Be Good to Me, Baby, and their
story telling in Me and the Boys.
The first set also included
Something About You, Silhouette,
and their renditions of Dream, One
Fine Day, Runaway, and Love Potion No. 9.
Incidentally, Love Potion No. 9
features Arnold Robinson on
drums, the only instrument added
to this vocal group, and wisely used
sparingly. All in all, it seemed that
the emotional climax was in the first
set: either the Nylons peaked early,
or I did.
The Nylons are: Paul Cooper
from Tennessee, who sings lead
most of the time, Mark Connors
from Ottawa, Claude Morrison
from Toronto, who sings counter
tenor, and Arnold Robinson, who
holds everything down to Earth
with his solid Bass voice.
Cooper has a percussive style
with his voice, and a commanding
stage presence, but shares the
spotlight with the others. Thre is no
clear leader in this group. Although
Connors can bring tears to my eyes,
but he was not singing up to his
ability on Monday. Perhaps that is
because the sound was not perfectly
balanced, and the tuning was a bit
off at times.
The performers had a hard time
getting their notes before songs,
and the sound was heavy on the
bass end. There was also a bit of a
dependency on the sound men to
end the songs with the reverb, when
more creative endings should be
tried. aer 13,1981
Page 13
Pat Metheny Group an
ecstacy to watch, listen to
tet a great escape
It is a compliment to Morrison's
fine falsetto that the majority of the
time it was hard to tell if it was his
voice or an overtone one was hearing. Morrison is a fine performer,
but he seemed to be the most uncomfortable on stage. He shouldn't
be worried. Robinson, who is the
group's more recent addition, has
fit in beautifully; he seems to love
every minute of what he's doing,
and enjoys talking to an audience.
The Alma Mater Society concerts
people are lucky that the Nylons do
put on a good show. If it had not
gone well, the crowd may not have
gotten over its anger at having to
fight for and set up their own
The Fire Marshall would not
have pleased at the result. The
Monday concert had been sold out
before the concert, so why were
more chairs not set up? Did they expect people to stand?
All in all, however, a winner of a
The Pat Metheny Group made its
Vancouver debut at the Orpheum
Sunday night and they left a large
crowd thunderously applauding
their performance.
The Group played a startling array of compositions from four of
Metheny's diverse recordings, as
well as four tunes never put on
record. The selections ranged from
the Ornette Coleman's unconventional contemporary progressions
to the extremely popular chord
changes and melody of a tune inspired by James Taylor's work.
Every number was tightly executed and left the audience
breathless with the virtuosity of
each Group member.
The band was graced by Lyle
Mays on keyboards, Steve Rodny
on bass, Nana Vasconcelos on percussion, Dan Gottlieb on drums
and Metheny on a multitude of electric and acoustic guitars. Though it
was the Group's debut in this city,
Metheny himself has passed
through during his tenure with Gary
Burton, and Metheny and Mays
were both members of Joni Mitchell's band the last time she played
Metheny is truly the wonderboy
of jazz guitarists (read of his
brilliant career and weep) and, at
28, he has won the respect of the
finest musicians and a vast audience
without compromising his musical
principles in the slightest. The
reason for this respect was obvious
during his two hour set.
The Group opened with a scorching version of Phase Dance that
featured energetic solos by Metheny
and Mays as well as an emotional
windup   with   the   beautiful
Oberheim synthesizer.
Mletheny then displayed his country roots with a fast paced duet,
weaving his hot licks around
Vasconcelos' driving rhythms, then
diving into a smoking version of
Keith Jarrett's The Windup. the
band then began to truly display
their musicianship, interacting
superbly and subtly through diverse
rhythms, unique chord progressions
and lightning fast melodies.
Metheny was surrounded by guitars
and played each impeccably,
though the attack sound of his
white Gibson had an unfortunate
echo. He bobbed and weaved and
PAT METHENY . . . renpected
crouched with pained expressions
on his face just like a real rock star
and his stylized guitar lines, played
through a digital delay system,
possessed a heavenly quality.
Lyle Mays (dubbed Lyle Amazing by Keyboard Magazine) was
particularly stunning throughout
the concert, sitting amid a semicircle of keyboards with his back to
the audience and his long, groomed
hair shining like a halo from the
Play misses passing grade
The best thing about Egon
Wolfs Kindergarten is that it eventually comes to an end. Until then,
we must endure the pathological
maunderings of the three elderly
Sanchez siblings.
By Egon Wolff
Directed by Kico Gonzaiez-Risso
Kits House Hall until Nov. 22
Kindergarten shows us how many
people live. People who are locked
in vindictive, destructive patterns;
people who entertain themselves at
the expense of others; people who
have nothing to do but argue with
other people who also have nothing
to do.
Tono, a man approaching old
age, moves in. with his elderly
brother Mico. "I felt a Christian
obligation to a brother who lives
alone. So here I am. Tied to a stalk
of celery," he says. Meche, sister to
the incongruous duo, moves in
with them. Mico sells umbrellas
for a living. Tono lives off Mico.
Meche shaves in the bathroom,
much of the time.
Wolff refers to his play as a
'comic' work, and says that its comic appearance reflects its true,
pathetic nature within. And yet,
nothing about the play fulfills the
requirements of comedy (unless one
is wont to laugh at insults like
"asthmatic orangutan" and
"mummified magpipe."
Certainly, nothing is funny about
the dialogue. The 'humour' is
vulgar and revolting.  "What do
women do in the bathroom for such
a long time?" Mico muses. "Inspect their intimate parts, I suppose," barks Tono.
And when Mico laments that he
has never been married, Teno
retorts, "I'll run to a matrimonial
agency and bring back some cripple
for you."
Obviously, Wolff makes the error of equating sarcasm with
humour. As a result, the audience
must be exposed to what is, essentially, a household's dirty laundry.
This makes for a tedious time. The
words of Meche, directed toward
her immature, battling brothers,
ring true: "This is what you do all
day? A poor performance, I'd
Kindergarten abounds in annoying pseudo-profundities. Meche
says wearily, "Time . . . God,
what has it done to us?" Tono offers this advice on how to deal with
tedious, but it ends
adversity: "We all have stones in
our shoes, but one must hold one's
head up high."
As the play labours on, we begin
to realize that it will not get any better. Weary of Kindergarten, we
yearn for nap-time. But the im-
becilic action continues inexorably.
Tono throws a box of lemon creme
cookies at Mico. Meche dons a bird
costume. Mico pretends to be a
ruthless pirate.
Because of its chaotic, desultory
script, Kindergarten is difficult to
follow. But to confuse things even
more, the play suffers a nationality
crisis. Meche (played by Barbara
McColl) speaks with a Canadian accent. Tono (Denis Comey) speaks in
an unsuccessful British accent.
Mico (John Destry Adams) speaks
in a full British accent. Their house
looks vaguely American.
Kindergarten in translated from
Spanish, and the characters retain
their Spanish surname, Sanchez. If
the Spanish context were preserved
as well, this would have been at
least a more cohesive play.
The play is saved from total ruin
by John IJestry Adams (Mico), who
appears through Canadian actors
equity association. Adams does as
much as he can to add interest to his
role of persecuted older brother. He
manages to gain sympathy for
Mico, (the least idiotic of the three
characters), and to show that he is a
sensitive man trapped in baleful circumstances.
For this reason, Kindergarten has
some sensitive moments. As for the
script, let us hope something got
lost in the translation.
He shifted easily between a grand
piano, synthesizers and organs, and
an autoharp. The harmonies that
flowed from his fingers were inevitably pleasing to the ear and his
Oberheim backdrops to Metheny's
solos were perfectly complementary. Mays is clearly the co-leader of
the group; all of their most recent
compositions are products of
Metheny-Mays collaboration and
his keyboard work held the sound
together like aural glue.
Dan Gottlieb has played with
Metheny since their days together at
the University of Miami and the
unity the two have developed was
evident. Gottlieb's compulsive,
driving drumwork was enhanced by
the superb percussion of Nana
Vasconcelos. His exotic collection
of South American devices added
colour and variety to the already
unique and exciting sound of the
band. One solo on the equivalent of
a bushman's bow provided a lovely
introduction to the South American
flavoured tune from the new
album, Ozark. Vasconcelos also
sang, his voice melding into the
background a la Weather Report.
The Group played a powerful
version of the title track of the new
album, As Falls Wichita, featuring
layers of synthesizers and some
sparkling sounds from Mays'
autoharp. This was followed by an
incredibly upbeat version of Jaco,
Metheny's tribute to the Fort
Lauderdale Flash, Jaco Pastorius,
also a friend from Metheny's Miami
days and a member of his first
Steve Rodny's acoustic bass playing was brilliant but his electric bass
rarely shone the way Marc Egan's
(the Group's previous bassist) did.
His solo here was extremely fast but
not very clean and lacked any attempt at phrasing.
The Group ended with San
Lorenzo, perhaps Metheny and
Mays' finest composition. It was a
very slow version which they speeded up during the driving Oberheim
sections. Mays' piano solo was
crystal and dazzling. The audience
gave a standing ovation and
demanded more. The band
responded with two upbeat tunes
from their American Garage
album, Cross the Heartland and
American Garage. They hammed it'
up in superb rock 'n' roll style, the
joy they felt from performing was
obvious and it was transferred to
the audience. The Metheny Group
was pure ecstasy to watch and to
listen. Page 14
Friday, November 13,1981
Foon's kids too simple
Kids' paradoxal perspective instantly
tosses us into the immigrant child's
situation. Only he speaks English.
His Canadian counterparts chatter in
gibberish: a humorous distortion of
English, German and French
Internationally, Canada ranks
third as a major immigration and
refugee center. The immigration
quota will increase again in 1982.
In Vancouver, 45 per cent of
elementary school children speak
English as a second language. In
fact, in one west-end school, the
students speak 47 different
languages. Most of these immigrant
children face major problems adjusting to their new homes and based on interviews conducted with
students, Denis Foon's New Canadian Kids tackles this intensifying
New Canadian Kids
Written by Dennis Foon
Directed by Jane Howard Baker
Green Thumb Players
The play, aimed towards
children, focuses on the story of
Nick (Robin Mossley) a young immigrant boy, who leaves his country
'Homeland' with his family for
Canada. Homeland's setting is international; Nick's family could
have lived anywhere.
Accordingly, Nick and his
mother dress in multi-national
costumes: a melange of Pakistanee,
East Indian, and Chinese.
New Canadian Kids' paradoxal
perspective instantly tosses us into
the immigrant child's situation. Only he speaks English. His Canadian
counterparts chatter in gibberish: a
charmingly humorous distortion of
English, German and French.
Writer David Foon investigates a
complex social issue but his
straight-edged, superficial depiction
of society is far from complicated
or original.
Granted, the simplicity is directed
towards children. But television
already bombards kids with this
clear-cut black and white view of
the world. It nourishes the fallacy
that all people are one, good or
two, evil, New Canadian Kids' simple characters reinforce this media
First we have Mok, (Colin
Thomas) the all-bad, stupid Canadian bully. He beats Nick up, calls
him names and breaks his food
bowl. Mok's character is so one-
dimensional it becomes more
cartoon-like than human. Like the
coyote in Roadrunner, Mok's
obsession with "getting" his opponent ultimately leads to his defeat.
Implicitly, Mok's character is
anti-Canadian. We see that all
Canadian kids are raised on junk
food and scratchy rock and roll.
They munch on chocolate bars and
play sports, but never seem to
Nick, in comparison, represents
the classic naive victim. Coming
from Homeland where there are no
cars or buildings, Nick is overwhelmed by the Canadian computerized culture. He typifies the
local country-bumpkin who moves
to the city, yet with one difference.
Nick cannot communicate with
Canadians; he doesn't speak gibberish. Naturally this helpless outsider is ostracized until one "nice"
Canadian girl defends him.
Nick's mother, also, plays a
stereotypical character — the traditional housewife who cooks, scrubs
and hen-pecks her children. Fundamentally she fears assimilation,
but she can't go back to Homeland.
The  why  remains  unanswered,
reflecting another of the play's
weaknesses. We are told only the
immigrants left Homeland in the
middle of the night. Did the family
flee a natural catastrophe or a
fascist dictatorship? Foon thus ignores the story's catalyst, which
would have explained the mother's
The ending too, is disappointing.
Nick and Mok suddenly become
friends, and Nick's mother becomes
a Canadian: another happy
Hollywood ending.
Despite its cliches, New Canadian
Kids is amusing. Colin Thomas as
Mok really rolls out the kid-stuff
when he devours his hersey bar and
mimicks a rock star.
New Canadian Kids does explore
a contemporary social issue and in
the process drives home the fact
that "picking on people is an international sport."
Yup, it sure is something,
right? But hold on, buster,
there's none of that stuff here!
Just 15 blast-my-socks-off _
burgers, fair prices, and tons of
other great stuff. So keep
your hands to yourself!
2966 West 4th Ave., open
from 11:30 a.m. seven days a week.
Opening soon corner of
Georgia and Hornby. (Yuk, yuk.)
Your Future—ICBC
We are a young and dynamic organization providing a range of insurance services to the people of
British Columbia. To possibly make you part of our future, we are recruiting graduates in the
following disciplines:
Our computer systems are among the largest and most sophisticated in Western Canada. With
plan capacity expansion and systems development we expect to be one of the first "Offices of the
future". We offer well established career development paths with rapid promotion from Programmer Analyst to System Analyst.
We actively recruit graduates for Claims Adjuster positions, which investigates, adjust and
negotiate automobile claims. Candidates who enjoy analyzing, researching and making decisions
requiring technical and legal judgement will find this work challenging. Career path promotion to
more reasonable levels of adjusting, including supervision and management, is a logical expectation of this position.
To be investing in your future you will want to apply by submitting a UCPA application form
together with a recent transcript of marks to Brock Hall Manpower Office by November 4, 1981.
This, no doubt as you have noticed, is a little grey box. It is not
Intended to be funny, cute, coy or even terribly interesting
because that takes energy which I don't have, suffice it to say
this: there is a staff meeting, Sunday night 7 p.m. at
8andface's place, check the office for the time. Be there.
& Lybrand
chartered accountants providing
"the full range of financial and
business services in 21 Canadian
cities, and 90 countries around
the world through Coopers & Lybrand
Student Representatives to serve on the Board of
Governors and the Senate.
This notice is a call for nominations for full-time students to run for
election for the following positions:
SENATE - SEVENTEEN students (five at-large
and one from each faculty)
Nomination forms giving full details of the requirements of nominations are available in the Registrar's Office, the A.M.S. Office (Room
266 S.U.B.), and in the offices of the Student Undergraduate
Societies and the Graduate Student Association.
Nominations must be in the hands of the Registrar no later
than 4:00 p.m. on Tuesday, December22, 1981.
Super Specials
Posters   Games   Puzzles
UBC etchings
Assorted G. Hware
Cowboy Hats
Shop now for Christmas!
Golf Shirts
Assorted Swim
Sale runs Tuesday and Friday only.
University of B.C.
Student Union Bldg.
Lower Level — 224-1911
9:00 a.m. - 8:00 p.m.
Sat. 10:00 a.m. - 5:00 p.m.
5840 Oak Street, Vancouver, B.C. V6M 2V9 266-6281
An exciting and stimulating workshop/seminar
SATURDAY, NOVEMBER 21st, 1982 - 10 a.m. to 4 p.m.
Tickets: Single Admission, $25; Stud., $20; Couple, $40
Dr. Jamtolsky is founder of the Centre for Attitudinal
Healing in Tiburon, California. Author of "To Give is To
Receive" and "Love is Letting Go of Fear". Be a love
giver not a love seeker is the concept taught by Dr.
Jamtolsky in dealing with critically and terminally ill
children. His powerul message was recently featured on
60 Minutes. Friday, November 13,1981
Page 15
Dancers xno longer just a body'
The following is an interview with
Pacific Ballet Theatre dancer Suzanne Onellette by Ubyssey staffer
Lawrence Panych.
Although a dancer by profession,
Ouellette is also an accomplished
teacher and has been engaged on
occasion to teach for the UBC Ballet club. She has extensive training
as an actress and has recently chor
eographed a short jazz ballet to be
performed by the dancers of Pacific
Ballet theatre. Ouellette will perform with her company Nov. 15-17
in Ballet Closeup, at the Waterfront
You have extensive experience
dancing and studying in Europe, in
England, Portugal and Germany.
At a very young age you became the
a dancer now has to have varied talents
first Canadian to be accepted by the
Stuttgart Ballet. What can you tell
us about those experiences? What
do you see as the main differences
between dance here and in Europe?
It gave me a taste of the good life
in the ballet world. The Stuttgart
Ballet has resources that the majority of North American companies
simply don't have. It is totally state-
run, and has virtually an unlimited
budget. A dancer has complete
medical insurance, life insurance, a
dental plan. Salaries are very high.
In general the arts get a great deal
more public support. The Stuttgart
would perform Romeo and Juliet
for two months straight and still sell
out every show. It's a different ball
game over there.
In terms of dance style, there i*.
no longer as much of a difference
between here and Europe. When I
first left home America was much
more technically oriented. It was always 'look at the body' or 'look at
the line' but the dancer could be
cold and have no charm or
charisma. Now it isn't the same
The American companies have
drawn from the Europeans and
North America has become much
freer in expression. A dancer now
has to have varied talents — must
be an actress as well as dancer and
have some personality. You are no
longer just a body and a machine
out there. It's an exciting development but terribly demanding.
It's interesting you should say
that ballet here used to be cold and
unexpressive considering the pioneering role of North Americans in
modern dance.
They were probably frustrated as
hell with ballet's constraints here
and that's why they broke completely with it. It used to be that
contemporary styles were only for
the rejects of the ballet world. Now
finally they are accepted as other
dance forms. I find much of modern dance creative, challenging and
entertaining and I'd like to do more
of it.
I was fascinated when watching
Children of Theatre Street (a film
about ballet training in the USSR)
to see a modern dance company in
Moscow doing things which were
done here 40 or 50 years ago. The
movement was hard and angry. My
impression was that they thought in
order to be modern they must be
completely opposite to ballet. Modern dance can be fluid like classical
For a dancer you have an im
pressive drama background.
My mother was an actress and
stage manager in Scotland. She was
the first woman stage manager at
Stratford-on-Avon. I had an interest in drama at a very early age. I
went to the Playhouse Theatre
school and performed with Theatre
in the Park but then I became interested in ballet and went away to
Europe to study.
I retun.ed and went to the Royal
Winnipeg but while in Winnipeg I
became involved with drama. At
the time I was very frustrated with
dance. Every time I tried to express
anything I had a hard time being accepted. Not being a soloist or hav-
AT PBT ... all you do is dance
ing lead roles I had to fit in and was
always being told to 'tone il: down.'
I couldn't be a ham.
When I returned to Vancouver I
was very active in the theatre. I
taught movement at the Aits Club
theatre, took singing lessons and
speech lessons. But then I met Pacific Ballet theatre and got back into dance again. Sometimes I find it
frustrating to have a drama background because in ballet it's not always accepted and I have to learn to
control it.
You don't see yourself as a dancer exclusively.
Definitely not. But right now I
know what I want to do. I want to
dance. I'm happy dancing now and
feel that my career is on the verge of
going somewhere. I have the ability
to do something and I'll work as
hard ais I can to prove it to myself.
You've tried your hand at choreography recently. Your new piece,
Double Treble, will be performed at
the Waterfront theatre this weekend. What can you tell us about it?
It's a very short diversion.
I did it for fun, for the dancers and
for the audience especially. We
needed something like it in our
school program so (Pacific Ballet
artistic director) Renald Rabu approached me to do something.
It took me four days to get it out
and another two to really work on
it. I still watch it to correct certain
problem parts. It's a jazz piece done
to the music of Jean Pierre Rampal.
It works well and so far the audiences like it.
What changes have you seen in
your three years with Pacific Ballet?
Ever since I came to the company
we've had talent. The problem was
that the talent was young and immature. We didn't have the artistic
direction necessary. When Renald
Rabu came we found in him what
we were lacking. It took him a couple of years to get us and himself into shape. We have a company now
and a gbod company.
Several of your dancers have recently been offered positions with
major companies in Canada and the
U.S. but turned them down to remain with Pacific BaUet. Why?
The biggest reason is that we're
getting to dance here. At PBT all
you do is dance. You dance so
much you get sick of it. In the bigger companies even if you're a soloist you're not on every night. At
PBT if there are four ballets in an
evening all the dancers are in at
least three.
At Pacific Ballet theatre you can
be choreographed upon. Choreographers will create roles for you and
so it is your ability being worked
with. Also for me personally, after
having sweated for three years to
help bring the company to where it
is now, I couldn't leave. I'm so
much a part of it.
Surely there must be some disadvantages in being with a small company. Do you suffer artistically?
No. I think you have more advantages depending on what you
want. I don't want to do the old
classics. I had my taste of doing the
classics. I'm not a swan.
One disadvantage of being with a
small company is the susceptibility
to injury. You don't get a stand-in.
If you have a sore foot you work
with a sore foot. If you have a sore
back you dance with a bad back.
They take out as many lifts as possible but you still dance. That's a disadvantage but then you can't baby
yourself. It makes you strong.
Montreal symphony expresses lovely tone
Ida Haendel played the
premiere of Sibelius' violin concerto, and years later Sibelius
said that nobody could play it as
well. Having heard Haendel play
that concert, it was with great
expectations that I attended the
Montreal Symphony under
Charles Dutoit, with whom
Haendel was to play the
Beethoven violin concerto.
Haendel is one of the last of
the great romantic soloists, playing in the passionate style of
Casals, Stern, and Rubinstein.
Feeling the music with these is
uppermost, sliding sexily around
with shifting rhythms and por-
tamentos; mere technique is only
a tool for achieving deeper feeling in the music. With this in
mind, it came as an unpleasant
surprise when Haendel's playing
was cool, precise, note-perfect,
and boring.
Not that this was true of the
whole concerto,  but only the
first two movements. Suddenly,
at the beginning of the last
movement, she opened up completely, playing the finale with a
jig-like bounce, something I
have only imagined and never
actually heard before. The whole
movement was filled with a
flashing light rhythm, with
sharply pointed accents in a
manner that simply would not
occur to modern violinists so
.concerned with the mythical
"long line" that details escape
them completely.
Why only in the last movement? I cannot offer an explanation, but during the whole concerto Haendel had a sad and
fearful expression on her face,
and stood with a very tense, nervous posture.
It is very tempting to compare
orchestras. And as Oscar Wilde
said, "I can resist everything except temptation."
The Montreal Symphony is
not a first rate orchestra, by
Dutoit. . . symphony director
comparison with, say, the
Philadelphia or the Vienna. And
yet, hearing the cohesiveness, expressive nuances, and sheer lovely tone of the Montreal strings, it
will be very difficult to hear the
Vancouver Symphony again
without sighing a little.
Stravinsky's Petrouchka gave
the orchestra a superb opportunity to show off boi:h in
ensemble and in solo. Apart
from the superb string sound,
the brass gave good snappy
rhythms and powerful, bold
tones but never overpowered the
strings. The Montreal horns
were a little flabby compared to
Vancouver's Martin Hackleman
and his section, who regularly
astonish me with their heroism.
Vancouver's woodwind section
in general is as good as Montreal's, and certainly our oboes
are more bold and involved than
the rather distant oboes of the
Montreal Symphony.
The greatest difference is with
any orchestra the conductor.
Charles Dutoit is mannered and
theatrical, with many showy
gestures, superficially like
Akiyama. But deeper, Dutoit is
convincing when at the end of
Petrouchka, the death-moment,
he drops his head and shoulders
in mourning and holds the audience spellbound in silence for
endless time, until he suddenly
reanimates and allows the audience to applaud.
Or when Dutoit wants a
phrase to melt in your mouth,
and his hand slides limply forward, suggestive of moist softness; or an elegant joke from the
bassoon is evoked by a gesture at
shoulder height, hand flopping
palm up.
Dutoit is an actor, he can do
these things and make them flow
because he is relaxed, confident,
and yes, arrogant and totally self
assured in the Toscanini style.
Akiyama could never pull
these things off; his gestures for
show seem merely inserted and
planned without feeling; he is
not graceful; he does not dance.
Dutoit dances. And like Bernstein, it is natural, and never
ridiculous. Page 16
Friday, November 13, 1981
Lest we forget...
Why do we get classes off on
Remembrance Day? There is a
reason for it, or at least there was.
Perhaps the original reason was to
remember the dead and perhaps
there was hope that the same thing
would never happen again.
Well, the memories from 36 years
ago have faded and so has the hope
that accompanied them. Recent
news stories have quoted several
prominent persons (Reagan and
Breshnev) stating that they think
that a "limited" nuclear war is
possible. That is, they think that
should there be a nuclear war, it
could be contained to just a few
bombs and would not spread to
complete elimination of mankind.
How nice of them to be so confident that they can play their games
and leave someone behind to clean
up after them.
It is even more reassuring when
you know that a study published by
the International Institute for
Strategic Studies states that should
it ever come to the use of nuclear
weapons, there is little chance that
the use of these weapons could be
controlled   (how   they   conducted
their study I don't know and I'm
not sure that I want to know). And
the more they talk about the ability
to control it, the greater the
possibility of finding out first hand
there seems to be.
But why limit this just to a critique of nuclear war? After all, guns
kill people too. Lots of people. And
they're doing it to lots of people all
over the world every day. Or rather
people kill people, but the guns do
the dirty work.
In the case of a neutron bomb, it
isn't even very dirty, everyone just
dies and leaves the buildings standing. Nice and clean, easy too —
just push a button.
The hope of 36 years ago was that
the world could live in peace. Not
very likely or so it seems, when all
you have to do is take a look at the
newspaper or listen to a newscast to
learn of the latest conflicts which
have arisen. Conflicts such as those
in Afghanistan, El Salvador, and
the latest in Sweden are just a few.
So why do we get classes off
Remembrance Day?
Kendall Frankham
science 1
Filmsoc grovels
Last Wednesday student council
approved the minutes of the Student Administrative commission
and budget committee. The 75 per
cent Filmsoc — 25 per cent AMS
sharing of SUBFilms profits has
thus become law and the reduction
to the $1 admission has become
Herewith Filmsoc would like to
thank the people who have made
this possible:
The 601 individuals who put their
weight on the drawbridge of the
SUBFortress by signing the petition
for the referendum. This assured
Filmsoc access to the chamber with
the Round Table;
Student Council, for deciding to
face the issue without delay and
then dealing with it effectively;
And particularly impressed we
were by the members of Student
Council who, unasked, gave their
eloquent support to our case, including Sean Boyle and John Allen
Davis, pivots on the door to truth.
Chris   Niwinski,   although   our
adversary, we name Sir Doer-
Our foes with the siege mentality
amongst the Alma Mater Society
Executive, SAC, and budget committee deserve a cheer because, if
the degree of our resentment is any
indication, they put up a good
fight, and because we don't kick
people when they are down.
The Ubyssey we send our appreciation for serving as messengers
and for providing a forum for our
Our view is that the AMS is a service supported by volunteers and
not a government run on power-
trips. As such the object is to save
students money. The object is not
to redistribute unearned money.
We intend to keep earning our
money by undercutting anyone in
sight. That is, by charging $1 for
the balance of this and the next
academic years.
Dusan Milatovic
Filmsoc acting chair
Ranger 'Gentlemen9
I must commend The Ubyssey for
its front-page account of the heinous conduct of the crew of the USS
Ranger who dared to address female denizens of residence as
First the neutron bomb, now this.
How much more can Canada take
from the damn Yankees?
I think retaliation is in order.
How about we invite the Ranger's
crew to UBC and address them all
as "gentlemen."
That'll fix 'em.
Greg Smith
B.A. '79
November 13; 1981
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
staff and not of the AMS or the university administration. Member, Canadian University Press. The
Ubyssey's editorial office is in room 241k of the Student
Union Building. Editorial departments, 228-2301; Advertising, 228-3977.
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Sundararaian, aa Glon Sanford munchad phaoaophteaty on a maola laaf, recording har fa-
moua laat worda. Nancy Campba* ahriakad in fnjatratton, ckibbaring Arnold Hadatrom with a
daad baavar aftar catching him awigging from a boMa of Raniar bataad of Mohnn. Mean-
wMa raM mooaa Scott McDonald, Kavin McGaa and Craig Brooks amotharad faabla chorda
of "O Canada" undar a giant map of tha Gnat Whha North, inflicting parmanant oorMy harm
onDkkSk™. ErfcEggarlaonarrfChartaaRscldan. ButChartcroCHeanaac^^
room with Paul KaMa, Craig Yi* and Hatan Yagl to aniekar ovar unoanaorad footaga of har
aummar hoMay. Juat than. Shaffin Sharrtf burnt Into tha nawaroom to armounca "John B\7
McOonakfa amigratadl" in undar ft» worda. Juia Whaahwight fakrtad.
Boycott Canada, eh?
Canada was an interesting concept, but no one really believed it would work, eh?
But IBM and some large insurance companies had a
lot of money invested in the non-existent country, so
an industry was born — Canadiana.
Canadiana was designed to convince millions of
people that the large void north of the U.S. had a form
and identity. One of the key components is Canlit, a
dizzying array of novels, poems, plays and scrawls
chronicling everything from Saskatchewan's erotic adventures with gophers, to a woman fucking a bear
somewhere in Ontario. All highly amusing, but totally
The only identifiable folk heroes in this Pango-
Pango of North America are a newscaster named
Floyd Robertson and a hick named Charlie Farquar-
son. Charles Dickens could have come up with more
believable names than those.
The national sport in Canada is a cross between lacrosse, hockey and beer drinking. The national entertainment is watching Bob and Doug McKenzie on television.
No one can decide what the national joke is. There
are so many choices — the postal service, the Canadian Boring Corporation, and parliament.
Perhaps worst of all is the fact that this sham of
Canada is so profitable. Canlit, with all its improbable
plots, sells like hotcakes from Tokyo to Tangana
Surely the public must realize that Canada is just too
silly to believe. Like the National Enquirer, Canada
sells copies to the easily duped.
The only responsible reaction to the sham is to ignore it. Next time someone analyzes a Margaret Atwood novel, leave the room. Boycott Canada.
'Ranger encouraging'
The recent visit to Vancouver by
the USS Ranger was met with the
expected degree of liberal and "pa-
cifistic" demonstrations by people
acutely unaware of the strategic importance of such a ship or of the
military balance in general. The incessant — no, the irritating — barrage of complaints strewn forth by
"peaceful demonstrators," environmentalists and other radical
"pro-society" groups demonstrated
once again their remarkable ability
to act without thinking, and to
speak without knowing. Ridiculous
protestations to "Disarm now" or
to "Prepare for peace" may indeed
sound desirable, but are presently
Utopian and unattainable.
Has it ever occurred to the pacifists in our society that it is, paradoxically, the very existence of such
"death machines" which they oppose that ensures our sovereignty
and peace? Has it ever occurred to
them that the prolific arsenal of the
U.S. is necessary to maintain the
military balance and guarantee our
deterrent potential? My feeling is
that these thoughts have been considered but that the demonstrators
have been unable to accept the horrible strategic realities of our world.
I am no more hawkish than the
next person. Indeed, I wholeheartedly support any arms limitation or
reduction negotiations, yet I cannot
commit myself to blindly venture
down a corridor which will lead to
my destruction. The international
order is such that unilateral disarmament is considered a homicidal act
while mutual disarmament efforts
have been desirable and exhaustive,
but fruitless. Because of these
truths, the U.S. has correctly adopted policies which maintain our
peaceful status by bolstering the deterrent force to the West. Such poli
cies should continue until disarmament agreements become a practical
In the meantime though, it is
both foolish and dangerous to let
down our guard, call for immediate
disarmament or protest against the
elements which protect our existence. I found the Ranger visit to
Vancouver an interesting and encouraging illustration of Western
strength and solidarity. The nuclear
era has changed everything, but it
has changed nothing; the old adage
If you want peace, prepare for war,
remains as true today as ever it was.
Let us not stop the search for
achievable alternatives to this process but may we pursue them with
the understanding that any alteration of- international procedures or
truisms is not attainable through
unilateral, or destructive internal,
Brad Orloski
* Should engineers be shot?'
Supermouth isn't just an event,
it's a whole new way of being. More
precisely, a way of being in SUB
during lunch hour to listen to all the
nifty debates with different campus
groups which the Debating Society
is hosting. It runs from November
9th to 20th, and you're invited.
You know the stuff. Should creationism be taught in science classes?
Is euthanasia wrong? Are professional schools more important than
the humanities and sciences?
Should engineers be shot to atone'
for their crimes? Supermouth is one
of the places to hear debates on
Bank of M. wrong moves
An ad from the Bank of Montreal in Friday's Ubyssey proclaims:
"Undergraduate students: Take a
look at who's been making all the
right moves."
Could the beloved bank be referring to its "right" move to centralize
all its student loan facilities at its
Granville and Pender branch,
depriving students of a campus
location for student loans? Or
perhaps they were referring to their
moves to financially support
"right" wing repressive dictatorships such as South Africa, Chile
and others?
Just wondering.
BUI Tieleman
political science graduate student
campus, besides the Pit and Student
Council meetings. It's a forum for
ideas. It's groovy.
The problem with this letter is
that I can't draw you a picture of
Supermouth to show you what he
looks like. But he's on all the
posters we'll be plastering around
UBC to tell you where each debate
The Debating Society likes to be
heard. So we marched around campus on Tuesday wearing silly
costumes and making noise, in the
famous Supermouth parade.
We think talking is a good idea.
We haven't changed the world yet,
but we're trying.
Come to Supermouth.
It's wonderful.
Sylvia Berryman
debsoc Friday, November 13,1981
Page 17
•-.■•:> ■■-■-■   .j? •■ -*v~y
Faculty slams admin attempt to point finger
In Friday's Ubyssey you quoted
Jim Banham, UBC information officer, as saying that the faculty arbitration award "had created the
$8.5 million shortfall in UBC's
financing." ("Hiring freeze hits
students in the classroom," p.3). I
am sorry to have to disagree in
public with Jim Banham but the
faculty association is sick and tired
of hearing this charge repeated.
In other public statements the administration has alleged that the
faculty arbitration award has led to
a "shortfall" of $7.2 million. The
fact that they quote $7.2 million in
one place and, apparently, $8.5
million in another, is reason for
concern in itself.
Let us, however, look at the $7.2
million figure since it happens to
represent almost exactly nine per
cent of last year's faculty salary bill.
The administration is saying that an
award of 18 per cent led to a
"shortfall" of $7.2 million or nine
per cent of the faculty salary bill.
That can only mean that the administration has budgeted a maximum of nine per cent for faculty
salary increases since anything more
than that figure produces a "shortfall."
We know, in fact, that the administration asked the Universities
Council of B.C. for an increase of
12.1 per cent for salaries. This was
done, however, in the knowledge
that 12.1 per cent would come
nowhere near meeting the formal
proposals for salary increases which
the faculty association has already
Why did we go to arbitration?
Because, after years of salary erosion and at a time when inflation
was running at 14.2 per cent, the
administration offered us a general
salary increase of nine per cent.
What did the arbitrator say in
awarding 18 per cent "The faculty
association made a strong case for
catch-up   well   beyond   what   is
awarded . . . but I am obliged to
give effect to the University's inability to pay argument." (Emphasis added.)
Mr. Richard Bird, the arbitrator,
is an independent third party whose
appointment was originally suggested by the administration and
agreed to by the association. In the
course of the hearings he gave the
administration the opportunity to
present all the financial evidence it
wished. In the light of that evidence
it was his considered opinion that
• the University was able to pay 18
per cent for salary increases . He
devoted seven pages of his award to
the university's "ability to pay."
We are dismayed that the administration, in publicly expressing
itself to be "shocked and
surprised," should have stated that
the award "ignored the university's
ability to pay."
Of course an award of 18 per cent
creates   difficulties   for   the   ad
ministration if it has budgeted for
less: it has to reconsider its
budgetary priorities. If, however,
the administration continues to
blame its financial difficulties on
the arbitrator's award we must ask
whether the blame should not more
properly be directed to the administration's budget priorities, its
request for inadequate funds for
salary increases, its unrealistic
salary offer.
It is not the arbitration award
that should be attacked but rather
the provincial government's failure
to provide adequate funds for the
entire University operation.
I cannot escape the feeling that
the administration is trying to make
the faculty feel guilty for receiving
an 18 per cent award. We feel no
such guilt, nor should we. Our
salaries are still behind what they
were, in real terms, in 1971.
The arbitrator concluded his
award with these words: ".. . in my
opinion the members of the faculty
have already done more than their
share in fighting inflation and
under this award will likely continue to do so but in lesser
We support your call to the administration to work with students,
teaching assistants and faculty in
fighting the attack on post-
secondary education. We should be
engaging the provincial and federal
governments, not shifting the
burden of responsibility for our difficulties to a third party who was invited, by the faculty association and
the administration, to provide a just
Charles Culling
president faculty association
Retrenchment simply a symptom
The current budgetary retrenchment at UBC is nothing more than a
symptom of an all too familiar
sickness. The B.C. government, due
to its liberal internationalist
outlook, believes that its sacred duty is to act as a clearing house for
our natural resources.
Whether they exported cheap
energy to the United States or subsidized the logging industry through
low stumpage rates (often not paid
at all by some American and
Japanese lumber companies), past
and present regimes in Victoria
have   always   preferred   to   pay
foreigners to "share" in our natural
wealth rather than encouraging the
British Columbian entrepreneur.
It is the duty of institutions like
UBC to serve British Columbia.
Although at present it seems to
exist only for its own sake, even the
faculty of arts has a very important
role to fulfill. Instead of cutting
back on its budget, the university
should be thinking more along the
lines of a reorientation of this faculty. History and the arts should be
used to create a cultural awareness
of the British Columbian entity. At
present this is woefully lacking; few
people even know that B.C. was
founded on Nov. 19, 1858.
Likewise, the faculties of Science
and Applied Science must become
part of a comprehensive program of
industrialization, just as the faculty
of agricultural sciences is needed to
contribute to food self-sufficiency.
All must pull together so that B.C.
can reach its great potential and
forever leave behind the current
state of economic and social
James C. Burdon
science 4
Not that I don't trust administrators. . .
TO: all administrators-
FROM: a student
RE: academic misconduct
I hesitate to communicate to administrators in this way but I am
concerned at the number of cases of
academic   misconduct   that   have
been reported in The Ubyssey since
September. There has been a consistent  lack  of concern with the
quality of education on this campus, a consistent failure to com
municate with those sectors of the
university which are concerned with
the maintenance of standards.
1 am concerned about the matter
because it is apparent that the university no longer stands for truth
and honesty.
Academic misconduct will not be
tolerated in future. Administrators
suspected of academic misconduct
will be required to present themselves before the entire university
community for a full and open explanation of their conduct. Failure
to do so will be taken as an admission of guilt.
Since September, 1981, there has
been one glaring example of guilt
through absentation. 1 call upon
this person to suspend himself indefinitely.
J. R. Boyle
What?! More funds?
You want more funds?!
For downtown destitute, buck-passing stopped with cops
A disturbing thing happened to
me last week. Actually, it happened
to someone else — I was only a
It was the second last day of my
student teaching practicum, and I
was on my way to Templeton
Secondary School in East Vancouver. With bus transfer in hand, I
crossed Main Street, looking back
down Hastings to see if the bus was
coming. When I reached the other
side, I was rather shocked to see a
man lying in a crumpled heap on
the sidewalk, leaning against a
building (the fact that the building
contained a bank and law offices is
interesting and symbolic, I suppose,
but not necessarily important).
I am quite unaccustomed to this
sort of thing, having been born and
raised in that middle-class mecca
across the mountains (Calgary, in
its oil-induced affluence, has
segregated its less fortunate inhabitants to an area where they will
not be conspicuous or inspire guilt
in the suit-and-tie set).
The man, I observed, was one
very destitute individual. He was
only semi-conscious, and was
holding his midsection in apparent
pain. Seeing that everybody else
was ignoring him, I bent over and
asked him if he was alright, or if he
needed help. Getting no response, I
ran back across the street to
Carnegie Centre, on the corner of
Main and Hastings.
I told the women at the information desk that a man was lying on
the sidewalk across the street, and
that he obviously needed help, but
that I wasn't sure what to do. One
woman suggested calling an ambulance, but the other said she
would go have a look.
Is he a native?" she asked as we
left the building.
"Yes he is," I replied, wondering
if it made any difference.
I followed her across the street,
and watched as she shook the man
firmly by the shoulders, telling him
to wake up. The man opened his
eyes and mumbled something
unintelligible. She felt his wrist for a
pulse, then stood up and walked
away, telling me that "he'll be
okay." Having seen that nothing
had been done, I stood there
frustrated and confused.
As I wondered what to do next, a
fire-engine pulled up to the curb.
Five firemen disembarked and
stood over the man sprawled on the
sidewalk. After waking him up,
they talked to him for a minute or
two, then moved away to discuss
the situation. This went on for a
while, and then just as their indecision was becoming apparent an ambulance pulled up. Two paramedics
got out and joined the discussion.
Shortly thereafter the firemen, now
off the hook, left the scene. Meanwhile, the man had attempted to
leave, but before he could stand
erect he fell back to the pavement,
bouncing off a newspaper box on
the way down.
The paramedics sat him up
against the building, and then they
too began to confer about a possible course of action. Once again the
man tried to leave. He reached his
hand out for assistance, but was ignored by the paramedics. He struggled to his feet, but once again went
crashing to the sidewalk, this time
banging his head hard against the
Shortly a police officer pulled up
on a motorcycle. He conferred with
the paramedics for a while, then
they climbed back into the am
bulance  and  departed.  They too
were off the hook.
By this time the significance of
this little drama had become clear.
The actors so far had included
members of three important institutions — all of which had no answer
to the dilemma which confronted
Excuse me. The third institution,
i.e. the law, did have a solution.
The cop leaned against the building,
standing guard over the man. He
stood there for about ten minutes,
not saying or doing anything.
Having observed this entire epid-
sode for almost an hour, and having let about ten buses go by, I
decided to find out what the hell
was going on. I walked over to the
police officer and inquired as to
why the paramedics had not taken
the poor fellow to a hospital.
"What would you suggest we
do?" he demanded angrily.
"Take him to a hospital. Why
didn't the paramedics take him to a
hospital," I repeated.
' The cop replied that hospitals are
for sick people, and can't waste
their time with people such as this.
But surely, I suggested, there must
be some kind of social welfare agency, or something, which ain care
for them in this situation.
A sardonic smirk crossed the
cop's face, and he began to lecture
me about the city being full of people like this, and various other
social problems.
"How would you suggest we
solve these problems," he once
again demanded of me. I was just
about to suggest that perhaps a
serious restructuring of our society
was needed, but it occurred to me
that whenever people do seriously
try to restructure society, people
like him are sent to put a stop to it.
So instead, I asked him what he
was going to do. "Put him in the
drunk tank. What else can we do?"
he replied.
Our discussion was cut short by
the arrival of a police van. Another
cop got out, and the two of them
hauled the man into the back of the
As if right on cue, my bus arrived. I climbed aboard, and sat watching as the police van pulled away *
from the curb. Ah yes, I thought,
what else can we do?
Freestyle is a column of wit and
opinion open to Ubyssey staffers.
Brian Jones is a native Calgarian.
Don't be too shocked. Page 18
Friday, November 13,1981
Rumors are circulating that this
column is a radical culture-voracious manual to artistic orgies festering in the Lower Mainland. But
then, it's good publicity never to deny rumors.
Consider the Pacific Ballet
Theatre. Rumor has it they are still
trying to propagate the fallacy that
ballet tutus hold their starch in B.C.
rain. You can catch that act from
Nov. 15-17 at the Waterfront theatre at 8 p.m.
For those of you with less frivolous tastes, two World War I plays
are erupting at Studio 58 starting
Nov. 21. Watch a slow-thinking private get shot through a misunderstanding and a small group of
young English officers grovel in
their mucky trench — setting you in
the perfect frame of mind for
Christmas exams.
Before you shoot yourself,
UBC's Museum of Anthropology
can give you something worthwhile
to live for. Celebrate the unique traditions of Northwest Coast Indian
Art by walking through Legacy, an
exhibition of ancient and modern
artifacts, from Nov. 24 to Aug. 31.
Whiplash advocates can watch
Fleeting Gestures: Treasures of
Dance Photography streak through
the Presentation House art gallery
until Nov. 29. See black and white
photographs from 1862 tango with
the newest in 1981 holograms, kicking up the dust of dance history.
For those of you with no self respect, you can risk being seen at the
zany Just When You Thought It
Was Safe To Go Back Into The
Theatre: North Shore Live. This
play on TV is as winded as its title,
written by and starring Tom Wood
and Nicola Cavendish as two competitive hosts of questionable sanity. The show runs until Nov. 21
nightly at 8:30 p.m.
For those of you with mild temperaments or artistic pretentions,
the Vancouver Art Gallery is displaying two shows of intellectual refinement: 19th Century British
Paintings and The 1960's. Compare
and contrast these neighboring
shows then write home to mom in
under 1,000 words. Deadline is Jan.
Your hairs
on fire
Okay, so the headline's a lie.
But while you're here
just imagine our 15 monstrous,
gigantic, scrumptious, creative
burgers; our huge, crunchy
salads, and other great stuff, too!
2966 West 4th Avenue at
Bayswater. Open 7 days a week,
from 11:30 a.m. till God knows
Now the truth: there's a
hamster in your pants.
Help Us Feed
A Hungry World
In a hungry world, agriculture is a man's most vital concern. And in North American agriculture,
CF Industries is one of its most vital resources. We serve farmers as a major manufacturer
and distributor of chemical fertilizers— 10 million tons annually, in fact. Our distribution
network represents the most sophisticated on our continent, and we're committed to developing
nature's resources ethically and using them efficiently, because natural resources are the key
raw materials in our manufacturing operations. In all, our products and services play a key role
. in feeding a hungry world.
To fulfill the ever-increasing plant food demands we face, CF Industries is developing new
technical strategies and enhancing its professional engineering forces like never before. Now
among Fortune's top 300 companies, our growth opens up exciting career possibilities for
graduating engineering professionals in CHEMICAL ENGINEERING. These will be process
engineering positions located at our Medicine Hat, Alberta ammonia facility.
As you help us make the world a better place to live, you will also enjoy a highly competitive
salary and complete benefits program. We welcome your inquiries and, hopefully your talents.
Plan to meet with our Employment Representative at the placement office on:
Nov. 16th, 1981
If unable to attend send resume to: Manager Corporate Placement:
CF industries
Salem Lake Drive
Long Grove, IL 60047
An Equal Opportunity Employer M/F
"Blue" comes from the
Labatt's Blue label. But
"Canada" is the part we're
especially proud of. We've
been here since 1828. Today we're a
wholly Canadian-owned and
operated company with 11,000
Canadian shareholders
and 10,000 Canadian
employees. What's more
we're Canada's
favourite beer.
Canada Blue. It's a name
we're proud to share.
Page 19
rt:..**''*-    "   -'.'*'
»■■■ .ii.jwj.i
Senator challenges secrecy
President Kenny addressed the
faculty of arts Monday afternoon
about discontent over the inaccessible retrenchment committee and
the campus-wide cuts. These concerns are both faculty and student
concerns. Even after I explained
that I was the (student) arts senator,
I was turned away from the meeting, because I was not an official
"faculty member." Undergraduates are allowed two reps from first
and second years and one rep per
department,  i.e.  one for French,
one for psychology. But there were
none present at that meeting.
As newly elected arts senator I
feel I have a responsibility to the
students and that begins with being
informed. It is difficult to find solutions when all that is available is
closed doors and second-hand
In the '60s students wouldn't
have been barred from any meeting
— perhaps we have let things slide.
Today we probably have more rea
sons to end secrecy and bring
knowledge into the open. I am going to find out becoming a faculty
rep. If you are concerned, approach
your dean to see if the department
you are majoring in has student
reps. President Kenny is speaking to
all faculties, the last of which is
faculty of science on Nov. 23. I
hope that the allotted representation is present.
Lisa Hebert
arts senator
Nothing to do but complain
We've got a problem. Or maybe
it's more of a complaint. Anyway,
we desperately need help. The Om-
budsoffice is located in Room 100a
SUB, across the main corridor from
the SUB candy counter. Our problem is that we have nothing to do.
That's right, NOTHING TO DO!
Eleven members of the office just
sit around, twiddling thumbs and
wearing idiotic grips,- thinking of
ways to spend the budget (paid for
Letters are always welcome
(they're the only part of the paper
we don't have to write). They're
even more welcome when they're
triple spaced on a 70 space line.
For a moderate bribe, or even for
by UBC students through the Alma
Mater Society).
Now we loVe spending money,
but we only enjoy spending when
you, the unknown student, get
something in return. And what can
we do you ask? Broadly speaking,
we solve student problems and take
action on student complaints.
AMS, housing, registrar, finance, administration and profs are
just some of the many areas where
free, we'll even let you use our
typewriters and paper. However,
there is no one here named either
Editor nor Sir and letters addressed
to them tend to offend the
egalitarian and antisexist principles
of our staffers.
problems can occur, while complaints can be raised about literally
Now the Ombudsoffice sincerely
would like to help you, the unknown student, out, but we have a
problem (or maybe it's more of a
complaint) — you have to come and
see us before we can help you. So
do us a favor — come and see us.
Gray McMullin
Joni Mar
John Anderson
Tim Sottile
Steve Henderson
Jean Watters
Rod MacRae
Vicki Wilton
Nazima Mohammed
Trish McKeen
D'Arcy Davis-Case
Eugene Labiche
Directed by Arne Zaslove
(Previews Nov. 11 & 12)
8:00 D.m.
(Thursday Matinee, November 19 at 12:30 p.m.)
Student Tickets: $4.00
Box Office * Frederic Wood Theatre * Room 207
Support Your Campus Theatre
Perm Sale
This coupon worth $10
for any DULCIA Perm
4605 West 10th Ave., 228-9345
Southern Comfort
starrina Keith Carradlne Powers Boothe V^
«a*™,™,„„„<«,,a                                                                B.C. DIRECTOR
SHOWS AT 2, 3:46, 5:40, 7:40, 9:40	
TIME <^&
In 1971 "D. B. Cooper"
ODEON AT 2:30, 5:40,
7:20, 9:46
DUNBAR 7:30. 9:40
682  7468
DUNBAR at 30th
I from a 727 with $200.000,
I and vanished without a trace. Why he did it no one know? i ►>
But you can bet he was laughing all the way to the bank'
6»5-6m SHOWS AT 2, 4, 6, 8, 10
SHOWS AT 2, 3:60. 6:40,
7:40. 9:40
I'miled. adminance il urtde' 18
CAMBIE at 18th
SHOWS AT 7:30, 9:30
A filmbylSTVAN SZAB0
SHOWS AT 7:30, 9:30
N ^ B.C. DIRECTOR 4375  w- '°,h
7 0 7   W. BROADWAY
SHOWS AT 7:46, 9:30
T+.W+.W- m. l, m-wm.   . . m. n . . .— REX REED. N.Y. DAILY NEWS
BREAKER MORANT      Judith crist, Saturday review
CM4TUHEJ     shows at 7. si
874-1927 Page 20
Friday, November 13,1981'
Birds battle Bears for title
The UBC football team, in its
biggest game in two years, has what
seems a simple task ahead of it: all
the 'Birds have to do is beat a team
it has already beaten twice this year.
Tonight at Thunderbird stadium,
in a 8 p.m. start, UBC will host the
University of Alberta Golden Bears
in the Western Intercollegiate football league final.
In the two regular season
meetings between the clubs, UBC
came out on top by the scores of
15-10 here on Sept. 11, and 27-23 in
Edmonton on Oct. 17.
Even though UBC won both
games, 'Bird coach Frank Smith is
expecting a tough game. He said it
is not easy beating a team three
games in a row.
As well, UBC's top ground
gainer, Glen Steele, is still
hampered by an ankle injury picked
up two weeks ago in the last game
of the season. Although Steele will
not start, Smith said he will
definately see action.
Alberta's losses to UBC were its
only two of the season as the Bears
finished with a 6-2 record. UBC
ended 7-1 with the single loss coming against Saskatchewan in the
first game of the year. This is the
best record a UBC team has ever
had in the regular season.
The last time these two teams met
in the WIFL final was in 1979 when
both teams tied for first at 5-3.
Alberta won the playoff 28-17.
UBC's best playoff performance
to date was in 1978 when the 'birds
won the league, beat Calgary in the
league final, downed Wilfred
Laurier in the Western Bowl and
were runner-ups to Queens in the
national final.
The western league all stars were
announced this week and Alberta
and UBC both had nine players
picked. Smith also was named the
coach of the year.
Those chosen from UBC's
defence were linebacker Mike
Emery, Mark Beecroft, Bernie
Glier and Dave Singh from the
secondary, and defensive lineman
Jason Riley. The offensive players
were guard Pietr Vanden Bos,
tackle George Piva, tight end Rob
Ros and running back Glen Steele.
Steele and Ros are two of the six
first year players that Smith has
been starting all season. There are
five rookies on the offence, including starting quarterback Jay
Gard. The freshman on the defence
is Bruce Barnett.
Steele's injury could prove to be
one of the more crucial parts of the
game. He is the top rusher in the
country and a integral part of
UBC's game plan. In the first two
games against Alberta it was UBC's
ground game which was most effective. It averaged almost 190 yards a
game of which Steele's share was
The other top rusher was Peter
Leclaire who ran for three majors in
those two games. Smith will be converting tight end Pat Cantner into
Leclaire's backfield partner.
Alberta's running game is
anemic; it has only totalled 152
yards in the two games, the Golden
Bears offence is centered around
the arm of quarterback Jamie
Crawford who has thrown for 539
yards against UBC this season.
While Alberta does not really
have a rusher it does have an excellent receiver in Peter Eshenko.
Eshenko is the top receiver in the
West and he has gathered in 14
passes for 214 yards against UBC.
The other Bear receiver who can
burn   them   is   Troy   Ciochetti.
Ciochetti caught a 64 yard
touchdown bomb in the first UBC-
Alberta game.
The match up between Alberta's
offensive power and UBC's defence
should prove the deciding factor in
the game. If the UBC defence plays
as well as it has most of the season
then UBC should be in good shape.
Other than the injury to Steele,
UBC is going into the game fairly
healthy. Alberta will be missing
linebacker Ron Lammers as well as
offensive linemen Ben Der and
Howard Froese.
fIntrasports     J
In the final of the division two
touch   football   league  the  Betas
downed the mechanical gears 7-1.
Racquet sports
Phil Lee Wing and Lynda
Hydamaka defeated Michelle
Williams and Dave Cribbs 2-0 to
win the mixed racquetball championships. After a existing 21-19
first game, Michelle and Dave ran
out of wind and got blown out of
the second game 21-8.
In the women's squash final Jean
Murdoch beat Martine Connoly
21-7 and 21-8. Both Jean and Mar-
tine belong to Kappa Kappa Gamma so they did not care who won.
Jane Miller and Jane Murdoch tied
in the consolation round.
Ice Hockey
In division one the current
leaders are Law and Gage, both
with 3-0 records. In division two,
too many teams to name are tied for
first, but no gears or frat boys. And
division three, no one cares.
The Thunderbirds will host the
University of Alberta tonight at 8
p.m. before no fans as they will all
be at the football game, and on
Saturday at 8 p.m. in the Thunderbird winter sports complex. These
two teams met in Edmonton two
weeks ago and the 'Birds were
blown out 13-2 and 10-5.
The UBC men will be competing
in the Simon Fraser Tip-off tournament. The other two teams competing are the University of Victoria
Vikings, the current national champions, and Trinity Western College.
If UBC and SFU both win or lose
their opening games then they will
meet in the second round and will
be able to play the deciding game of
the Buchanan Classic, which is currently tied at a game each.
The women's team is opening its
Canada West season in Edmonton
with a pair of games against the
University of Alberta Pandas UBC
is not expected to win the league'
this year. They hope to win a game
The junior men's and women's
teams will be playing Langara at
Vancouver Community College.
The men's Fall invitational starts
tonight. No one told us who they
play but it continues Saturday morning at War Memorial. The
women's team will be playing
Saturday afternoon and Sunday at
4 p.m. Again no one told us who
they are playing and it is to late to
phone Sandy Silver and find out.
These matches also take place in
War Memorial.
The second and third teams will
be playing the Trojans at UBC,
Saturday at 12 and 1:15 p.m.
The women will host Wesburn
Sunday at   10 a.m.  on  Mclnnes
The men's team will host the
University of Portland this Saturday from noon to 5 p.m. and on
Sunday from 10:30 a.m. to 2:30
p.m. in the Armories.
The black sheep of Canadian liquors.
Soft-spoken and smooth,
its northern flavour
simmers just below the
surface, waiting to be
discovered. Straight, on the
rocks, or mixed, \ukon Jack
is a breed apart; unlike any
liqueur you've ever tasted.
Concocted with fine Canadian Whisky. Friday, November 13,1981
Page 21
Cut From Education
And Health By Feds
Almost $6 billion will be removed
from federal funding for provincial
post-secondary eduction and health
programs over the next five years,
federal finance minister Alan
MacEachen said Thursday.
Citing a need to "achieve federal
fiscal restraint targets,"
MacEachen told the House of Commons Thursday night that $5.7
billion have been removed from the*
established programs funding
scheme in the new federal budget.
MacEachen claimed provincial
government concerns that the cuts
would seriously threaten the survival of post-secondary institutions
are "groundless."
An all-party study group, with a
majority of Liberal members, warned MacEachen earlier this year that
plans to cut $1.5 billion in transfer
payments per year would be
disasterous to provincial education
and health programs. The committee said the programs were already
stretched to their financial limits.
Both the Alma Mater.Society and
UBC president Doug Kenny had
made presentations to the committee.
"(Making presentations to the
committee) was a waste of time,"
AMS external affairs coordinator
James Hollis said Monday. "They
had made up their minds before
Hollis said MacEachen had initially set-up the committee to
"rubber-stamp" his planned EPF
cuts. When the committee recommended otherwise MacEachen ignored the results, Hollis said.
MacEachen said he is asking no
more of the provinces in ways of
financial constraint than he is of the
federal government.
The grants were never intended to
be used for provincial educational
and health programs MacEachen
said. The funding scheme started in
1972 to compensate for tax changes
started that year.
The federal move promises to
place an even tighter strain on provincial government funding of
universities. The cuts could lead to
tripled tuition fees student leaders
warned when the planned cuts were
first announced.
Currently the majority of UBC's
funding comes from the federal
government through the EPF
Not Let Arts
Senator Into Meeting
The restriction of students from
Monday's meeting between president Doug Kenny and the arts
faculty has heen attacked by the
new arts student senator.
Lisa Hebert said Tuesday, arts
dean Robert Will told her she could
not attend the meeting because she
is not a student representative of a
"I've got a responsibility to
students to get to the root of the
problems faced by this university
and when that knowledge is not
open it's difficult to get anything
done," she said.
She added, "I think it's important to have these meetings open to
ensure that the faculty and students
hear the same story."
It is ironic that at the meeting,
faculty complained to Kenny of inaccessibility to important decisions
she said. By barring students from
faculty meetings, the faculty put
students in the same position they
complain of.
Bus Meeting Draws
Foes And Many Friends
West King Edward residents
don't want a bus route in front of
their homes but 12,000 others do.
The Little Mountain
neighborhood house presented
Vancouver city council's environment and traffic committee with a
petition supporting a new
crosstown route from Burnaby to
UBC along the boulevard Thursday
night at Prince of Wales secondary
The meeting was the second of
two designed to obtain resident
reaction to the proposed route
scheduled to go into service in June,
Speaking in favour of the route
were commuters who daily travel
crosstown to UBC, east to the B.C.
Institute of Technology or to points
in between such as Shaughnessy
hospital and the Little Mountain
neighborhood house.
The main opponents to the route
were residents between Granville
and Dunbar many of whom would
have bus stops in front of or near
their property.
Residents complained that the
new route would lower property
values, and cause excessive noise
and air pollution.
Some residents also complained
that the new route would encourage
illegal basement suites and attract
students into the single-family
Commuters, represented by
several community organizations,
the Hospital Employees Union, the
UBC chaplins and some local
residents, cited travel times by bus
of an hour >vith two transfers for a
journey that would take only 10
minutes as the main advantage of
the direct crosstown route.
... you're on the Provincial Voter's List.
To have the right to choose,
you have to register to vote.
It's easy. Just contact your nearest
Registrar of Voters or Government Agent.
But don't put it off. Do it today.
And have a choice in tomorrow.
Province of Chief Electoral
British Columbia   Office
learn about us, listen to our major resource... our people.
Our primary resource — the people that make up our company are best qualified to tell our story. Here is what some of them have to say about our integrated
Hudson Bay Mining and Smelting operation in northern Manitoba:
"With some major companies, a designer's scope can be quite
limited. But in Flin Flon. I've been involved with many different
projects right from design to construction. I've learned a
good deal about mechanical work as well as extending my
abilities in civil engineering "
^di+anced, Ezqu/pntent
"Right now we have true state of the art" equipment.. the
newest computer equipment you can buy and the newest
software to go with it. Soon, there'll be terminals all over the
plant. Engineers and other people will have a line from their
desks right to the computers. There's lots going on..
lots of new stuff!"
Hudson Bay are diversifying into many fields. They bought
Tanco They're getting into oil and broadening their base in many
areas. It seems like a strong company to me.
I'm proud to be part of it."
"Even when I came to Flin Flon for a job interview, I was
impressed at how quickly people moved ahead in this company.
In other places, you might be kept in the same spot for several
years. But here, I've had four different engineering positions in
the past two years. I've moved from Research to Processing,
then to Production Sampling and then to Management.'
"Hudson Bay is trying to develop a good resource base of
technical people. They are spending a good deal of money in
training us and they're giving us a lot of their time I've been
working with some very talented people and have been able to
gain a lot of good experience very quickly. In fact the experience
I've acquired here in three years could have taken me ten years
or more to obtain elsewhere"
"Flin Flon really grows on you. Besides challenging jobs, we
enjoy exploring all the lakes up here. I also get into tennis and
swimming in.the summer and I go skating, cross-country skiing
and curling in the winter. The people up here are very friendly,
too. I grew up in Toronto and there's quite a difference.
It's a nice change."
Over 2,500 people work for Hudson Bay Mining and Smelting in Northern Manitoba alone. To learn more about us, just listen to what they say.
Our Recruiters are on Campus Nov. 20,1981.
Contact your Career Counselling office
for times and location. Page 22
Friday, November 13,1981
Tween Classes
Thundwtwd footbal, 7:» p.m., tha Wnwn In-
nrcoDagins Footba* championahlp, tv* radio
broadcast from Thunderbird stadium. Jo* Marsh
does tha play-by-play.
Datelina International, 3 p.m., focuses on tha
World Busimwa Conferenca with Julia Schmidt
Forum on SoHdamoee, a Polish union for tha CIA
and bankers, 7:30 p.m. SUB 211.
Happy hour. 4 p.m., Lutharan campus cantra. i
Chaap refreshments and bad jokes.
Information table, aH day, in tha SUB foyar. Gat
your aocrad and socialist calendars.
An hour of French conversation, noon, main
lounge International Houae.
Follow-up on tha Viennese waltzee, noon, SUB
Information table, noon, SUB concouraa. Literature on the evolution venue creation issue.
Debate, Defence of CaHgule, 8:15 p.m., Buchanan penthouse.
Jume, the Friday prayer, noon, tower lounge Irt-
tarnetionel Houae.
Marxist literature and discussion, noon, SUB
First forum in a sarise on Imperialist War, noon,
SUB 211.
Someone named MacGWveray lectures on his
research, noon, IRC, room B7S. Wa wish wa
could give e Httle mora information, but that la all
Making Waves, 4:30 p.m., Joe March looks at
legislation to ban the leg-hold trap.
Behind Four Wane, 3 p.m., features an exemi-
netion of rental agencies in the GVRD. Hosted
by Daryl Zacharko.
Inttadub racing, 1 p.m., Jericho sailing centre.
Square dance, 8 p.m., SUB ballroom.
Songs from around the world, 7:30 p.m.. International Houae.
Laughing Matters, 4:30 p.m., cable fm 100. This
edition is on Sports Car Drivers.
Chinese chess tournament. 10 a.m., SUB 212.
SUB renovations committee meeting, 3 p.m.,
SUB 280. Open meeting for anyone interested in
renovating SUB.
General meeting, 10:30, gym E, Osborne centre.
Jsn Lancaster of CCCA speeks on Choice on
abortion, noon. Law building.
Offbeet, 7 p.m. Cable 100 fm. A comic roundup
of the week's offbeat news.
Making Wavea, 4:X p.m. Don Plant looks into
the future of NASA.
Melting Pot, 3 p.m, cable 100 fm. Harry Hert-
scheg interviews Betsy Johnson about UBC's
Museum of Anthropology.
General meeting, noon, SUB 115.
Co-rec drop-in badminton, 7:30 p.m., Osborne
centre, gym A and B.
Science and Ethics discussion group, noon,
Hennings 304. This week, a report on Conference on Fsith, Science and the Future.
Information table on the evolution versus creation issue, noon, SUB concourse.
General meeting, noon, International House
Thunderbird Sports Report, 5 p.m., Brenda
Hughes highlights CIAU national field hockey
A Subfilms
Thurs., 7:00
Fri., 7:00
Fri., 9:30
Sat., 7:00
Richard Pryor:
Sat., 9:30
Cheech & Chong's
Next Movie
Sun., 7:00
I The Blues Brothers
$1.00 PER SHOW
championships, and other sports action at UBC.
Aintaga.  Radio drama especially written for
This week. Obscene, written by creative writing
student, David Corcoran.
Gay Issues, 3 p.m., cable 100 fm.
Radio Show cable 100 fm. Out... On Campus.
Organizational meeting, noon, SUB 237.
Steering committee meeting, aH welcome, noon,
SUB 125.
Rim,    Encounter   With   Jupiter,    5:30   p.m.,
Geography 140.
Video presentation on human settlements and
housing, noon, library processing centre 306.
Discussion on First Corinthinians, noon, SUB
213. Everyone is welcome to discuss basic Chris,
tian principles applied to daily living.
Final registration for women's broomball and
men's Buchanan badminton — round II, 4 p.m.
War Memorial gym, Rm. 203.
Poetry  reading,   noon,   Buchanan  penthouse.
Dale Zieroth will read from his work and Theresa
Kishkan will read from her work. Free and all
Organizational meeting for participating in racquet teem sports noon, SUB 117.
Doug Sanders speaks on Nicaragua, noon. Law
building 180-82.
General meeting, noon, SUB 216. All members
are urged to attend.
|       Hot Flashes       |
'Bird* n Bears
tfgfif If ovf
Football I What a great sport —
far more violent than hockey and
the players don't even have weapons. They use their hands and
So don't miss the big game, the
WIFL championship tonight at 7:30
p.m. at Thunderbird Stadium. Tune
in to all the blood and gore on
CITR, cable 100 fm, where Joe
March will provide a play-by-play
account and Phil Keeber and Ron
Burke will put in their two cents
And if you happen to be in Edmonton you can catch the CITR
broadcast relayed there. UBC's
gonna knock those cowboys from
the University of Alberta right off
their rigs.
Staph meef
Potluck dinner for The Ubyssey
staff. With some of the chefs on
this rag we'll need both pot and
luck to get through this event.
Dinner is at 7 p.m. Sunday at our
beloved Glen Sanford's house. The
dinner is followed by, undoubtedly,
the most important staff meeting of
the year.
If you don't know where Glen's is
drop by the office and ask someone
who does. And let someone on the
editorial collective know what dish
you're bringing too.
We can't live on pot and luck entirely.
Got the trots?
Whatl The CIA and multinational
bankers are involved in a polish
company union. Well, it is about
time. This ought to make them
shine after all the dirty dealings
they've been involved in. The water
will bead on their top secret dossiers like spring rain on a Lincoln
contin. . . .
Ohl It's a Polish union, called
Solidarnosc and I can get informa
tion from the Trotskyist League
club at a forum tonight in SUB 211
at 7:30 p.m.
Creation fabled
"I'm right." "No you're not."
"Yes, I ami" "No, you're not". . .
Don't all discussions end this
way? Most people can't argue any
more so the great issues of mankind
end up as free-for-all sandbox
Now we have CAUSE (Citizens
Against Undermining Scientific Education). They've got an information table on the great and terrible
evolution versus creation debate,
today at noon in the SUB concourse.
Wafer hotkey
Have you ever wondered what
the demented people from the UBC
insane asylum do on Sunday
Why, they play underwater
hockey of course. Yes folks, for
those who can't skate, or those of
you who enjoy pushing a three
pound steel puck along pool bottoms, underwater hockey is just the
sport for you.
Actually, B.C. is the Canadian
and world champion of the sport,
which grows in popularity every
year. The practises for the UBC coed team are held Sunday nights at
10 p.m. in the aquatic centre.
All crazy people, including
Horatio, are invited.
Roti—Curry Chicken—Beef—
Stew—Poulourri Rice W Peas
Take Out— Catering— Delivery
Tel: 876-5066
Open Tuesday through
Sunday 11:30 a.m.-10 p.m.
922 Kingsway - Opp. ICBC
12:30 p.m. at the
Come out and hear the
Supermouth 1981 Debate
on the resolution
"that the strength of the university lies in
the humanities and sciences, not the professional schools"
Prof. Resnick, Bill Tieleman, Arts
the Debating Society
Sponsored by the Debating Society
and the Arts Undergraduate Society.
Ombuds Office
Come See Us
Room 100-A (Main Floor) S.U.B.
Phone 228-4846
A Licenced Lounge!
More Office Space!
A Park Reserve!
What would you like to see done with the
UNUSED space in SUB?
There will be a meeting on Sunday, Nov. 15
at 3:00 p.m. in SUB 260 to discuss this matter. All interested persons are invited to attend.
bbo. AowttewM oaya W. <S ami BPo.
iimKmmB ■Of an not aCCwOWQ By myirXMM WW Wm frnfrnM Ml
mNmtm. Deedttnak W:30*.nx Omtky tmfotw pubBettion,
Publications OOo% Boom 2*1, S.U.8., UBC, Van., B.C. V6T2A5
5 — Coming Events
60 — Rentals
Free Public Lecture
University of Toronto
Prof. Crispo is a leading
authority on Canadian industrial relations.
Saturday, Nov. 14
at 8:15 p.m.
60 - Rides
66 — Scandals
BEAT THE Friday the Thirteenth Blues at the
GSA Folk Night, Friday, Nov. 13 at 8:30
p.m. in the Graduate Student Centre
Garden Room.
70 — Services
MODE COLLEGE of bartering and hairetyl-
ing. Student hairstyle, $8. Body wave, S15
to $25. 601 W. Broadway, 874-0633.
80 — Tutoring
85 — Typing
10 — For Sale — Commercial
13, 7 to 10 p.m. and Sat., Nov. 14, 11 to 4,
University Hill Elementary School, 5395
Chancellor Blvd. Books for all tastes and
11 — For Sale — Private
SPEED Gitaine Tandem bike. Quality
components. Accessories. Extra wheels
and rims. Excellent condition. $650.
228-8588 anytime.
16 — Found
20 — Housing
UPSTAIRS ROOM in quiet co-op house. 10
min. to campus, near bus and shopping.
Laundry, fireplace, etc. Susan/Judy,
26 — Instruction
30 — Jobs
DEPENDABLE, confident students to handle
Imported Giftware. Commission basis with
bonus. Interested please phone 270-7884
for details.
36 - Lost
FAST AND ACCURATE typist available
for essays, term papers etc  872-2898.
EXPERT TYPING: essays, term papers,
factums, letters, manuscripts, resumes,
theses. IBM Selectric II. Reasonable rates.
Rose 731-9857.
TYPING: $1 per page. Legible copy. Fast,
accurate, experienced typist with IBM
Selectric. Gordon, 873-8032 (after 10a.m.).
TYPING SERVICE for theses, correspondence, etc. Any field. French also available.
IBM Selectric. Call 736-4042.
campus. 266-5053.
ESSAYS. Theses, Manuscripts, Resumes.
Fast, professional typing. Phone Lisa,
873-2823 and request our student rate.
TYPING — Special Student Rates. Fiftness
& Cameron Public Stenographers, 5670
Yew Street, Phone 266-6814.
EXPERIENCED TYPIST. Resumes, essays,
theses, letters, etc. $1.10/page. Call
732-3647 after 6 p.m.
TYPING ON CAMPUS. Fast and accurate.
Papers under 50 pages. $8.50 an hour or
$1.25 per page. Phone 224-6604.
LOST  an   opal   ring   of  great  sentimental
value. Reward. Ph. 263-1229 (Joanne).
90 - Wanted
40 — Messages
PRACTICAL acupuncture, moxibustion,
home study course. P.O. Box 25676, Vancouver, B.C. V6M 4G9.
INVESTOR DESIRES to meet electrical
engineer on revolutionary concept to form
company. Mr. Pelman, 669-7848.
99 — Miscellaneous Friday, November 13,1981
Page 23
MON. Wet "10" T-shirt
TUES. Whip Cream
WED. Wet Jock
THURS. Ladles Night
Two Bands
Fri. and Sat.
315 E. Broadway 879-4651 Free Parking
1450 S.W. Marine Dr.
<JHie GUieBljtre (EIjeehic 3nn
A .ErnOittnnal tnqliBh Ktutmirnnt
> Dunbar at 30th
Plus complete Menu Selection
\ of Salad, Sandwich and
\ House Specialtms
• Open: 11:30 - Midnight
/ Monday thru Saturday
Fully Licensed Premises
'The Cheese" Your Local
a»»»M>m» see—
• Salad Bar  • Ribs  • Lounge
Spinach Pie   • Mouaaka   •  Lamb
•  Prima Rib   •  Pius
Licensed Lounge
Free Delivery
Open Daily from 11 a.m.
SUNDAY from 4 p.m._
4450 W  10th Ave. '
224-3434 224-6336
Greco-Roman Cuisine
7 Days a Week: 5 p.m.-1 a.m.
Fri. and Sat.: 5 p.m. to 2 a.m.
FREE fast delivery/
4510 West 10th Ave.
UBG GaiRpas
f    Pizza
Steak & Pizza — Lasagna
Spare Ribs — Ravioli
Chicken — Greek Salads
Fast Free Local Delivery
224-4218 - 224-0529
Hours   Mon -Thurs.   11.30 a.m.-2:00 p.m ,  Fn.
11 30 a m   3.00 p.m    S.it   4 00 p m   3 00 ,i m
Sun   4 00 p m   1:00 a m
2136 Western Parkway
Give yourself a treat —
eat out tonight at one of the
fine restaurants advertised in
The Ubyssey!
While still keeping to our
traditional cozy Greek
atmosphere, we have now
expanded in order to accomodate
your Wedding, Birthday, Party,
lunch or dinner. You'll be taken-
with the Full Array of our
delicacies served to your banquet.
We even take care of the Cake!
2272 W. 4th Ave.
11 a.m.-1  a.m.  Monday to Saturday 4-11  p.m.  Sunday 736-2118
Ladies Free Dance
Fri., Nov. 13th
David Raven
Fri., Nov. 20th
Maurice Er The Cliches
Sat., Nov. 21st
Buddy Guy Er Junior Wells. Fri., Nov. 20th
A Night In Old Vienna, Thursday, Nov. 27th
The Equators, Wed. Dec. 2nd
Murray McLauchlan, Fri., Dec. 4th
Rod Stewart, Mon., Dec. 7th
All Tickets available at
YOUR AMS Box Office.
Vancouver's #1
New Wave Club
175 Seymour St.
-lisa >theoue \*8f'
X-rated Lingerie and
Give-away Night
Nov. 17. 1981
645 Hornby 681-9271
Proudly Presents
Under New Management
For Appointment Call
801 W.Georgia 681-5615
Lower Level
(Self Serve
5732 p
Eat In and Take Out    j£
4:30 p.m. to 9:30 p.m.   ?**-
PHONE: 224-6121 ft
Great Sandwiches,
Fabulous Desserts,
Licensed Premises
Variety is the spice of life —
try one of the ethnic restaurants
shown on this page!
Luncheon Smorgasbord
Authentic Chinese Cuisine
Mon.-Fri. 11:30*00 p.m.
Sundays and Holiday*
4:00 p.m.-9:00 p.m.
2142 Western Parkway
U.E.L. Vancouver, B.C.    i
(Opposite Ch«vron 8t***lohl
1006 Granville
With The Pit
That Monday Night
Two Bands
Cube OPS
Remember the audience is
the judge and at no cover it's
an unbeatable bargain.
Introducing the new hamburger from the DAIRY QUEEN
BRAZIER store. In a new "six to a pound" size that really
gives you some meat for your money. Instead of a banquet of
You see, while other burger chains
get as many as ten hamburgers from a
pound of beef, we get only six. And
that gives you "more burger than
bun." A burger that's tender,
. , deliciously-Gooked.   Every   time.   The
htOTIOt        new    burger    from    DAIRY    QUEEN
2601 W. Broadway
Queen Page 24
Friday, November 13,1981
The CS508 features Dual Vario-belt drive
which assures a high degree of speed, accuracy and absence of drive system vibration. Semi-automatic with ULM tonearm and
comes with ULM 52 cartridge.
I quality blank
| cassette tape
I allows clear
I wide-range
I recording
I with low
■ distribution.
Record Cleaning System
The Discwasher]
system is the
superior record
care device that |
cleans micro-
dust and fingerprints off record I
surfaces. Feat-    r
ures a patented
directional fibre
and exclusive D41
fluid. Improve
sound and prolong your records' life.
• lnjfM
For complete recording flexibili-
Ity the Accubias adjust fine
tunes the TA2050 for each tape
you use. Other features: soft
touch controls, wide range peak
meters and permalloy
record/playback heads.
The T617 AM/FM Cassette player gives you super fidelity and
outstanding tuner section, and the ultimate convenience of
auto-reverse   operation.   With   the
V102's    you    get    solidly    designed
speakers that deliver a full range of
sound. Attractive padded, perforated
grilles that can be mounted in almost   ^^■^■i ~~_W installed
any location    -^.tm     *-*i    km   package^
| An ideal system wherever
jspace is tight, the 2-way
R82 offers fine performance with bass response
{that belies its modest size.
Recommended    for    use
; with amplifiers or receivers
rated from 10 to 60 watts
RMS per channel.
9427 BI
A deluxe under-dash cassette player with auto-reverse plays
both sides of tape without flipping it over. Locking Fast-
Forward /Rewind separate Bass and Treble, Eject. Balance control. Small enough mount out of sight in your glovebox! With
the V380 Powerplay Twin surface mount
speakers you get higher efficiency and
power capacity. Horn loaded dome high
frequency and black and chrome grille.    ■    ^^M '^Minstalled
Rated at 20 watts      I     m     M package!
"       "»        **;***•» ■ »•
The T500 AM/FM cassette player is designed
especially for most import and X body cars. Features
locking fast forward/rewind, local/distant control
and power-off eject. Practical, solidly designed,
twin flush-mount 9427B speakers
have hemispherical dome
radiator for wider frequency
556 SEYMOUR STREET, 687-5837-2696 E. HASTINGS STREET, 254-1601


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