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VOLUME V_

WINTER, 1961 Se NUMBER 1

TABLE OF CONTENTS

CONTRIBUTORTS NOTES . ee
FEATURE

Interview With Dr. George A. Buttrick a A
FICTION

Leaves by Crocker______ : = : 15

Circus by Jacgucline D. Draughton...- =

ESSAYS

A Metamorphosis In Poetry by Milton G. Crocker___....______.
Faded Grey, Faded Overhalls

Fading Promise? by

J. Db. Grimes tlt Be AZ
POHTRY
An Elizabethan On Seeing A Falcon by Gen Germanne =O
Responsibility by Sam Braswell________-_ eo
Seaboard by J. Alfred Willis. So
The Sage by b. tolson willis, JR. ee 11
Visitor by Sue Ellen Hunsucker__._ 16
Time by Sue Ellen Hunsucker____. " " 16
Avalon by M. Gaines = : ee 17
The Playeround by b: tolson willis, JR. = 22.
Marriage of the Hours by b. tolson willis, JR..__---_-___---. ee Zo
Solitude by b. tolson willis, JK. = = ee Ze
ART
The Graphic Aris 24
REBEL REVIEW ___. a 28
Reviews by George Gardner, Sandra Hunsucker, Ronald Watson,
and Staff.

COVER by Al Dunkle.

THE REBEL is published by the Student Government As-
sociation of East Carolina College. It was created by the
Publications Board of East Carolina College as a literary
magazine to be edited by students and designed for the pub-
lication of student material.

NOTICE"Contributions to THE REBEL should be direct-
ed to P. O. Box 1420, E. C. C. Editorial and business offices
are located at 30614 Austin Building. Manuscripts and art
work submitted by mail should be accompanied by a self-
addressed envelope and return postage. The publishers
assume no responsibility for the return of manuscripts or
art work.

Ze See A io eg ee ?

STAFF

Hditor

US DANIEL GRIMES

~Business Manager
DAVID SMITH

Associate Editor
J. ALFRED WILLIS

Book Review Editor
SUE ELLEN HUNSUCKER

Exchange Editor
CAROLISTA FLETCHER

Assistants to the Editor
GEORGE GARDENER
MILTON G. CROCKER

Art Staff
AL DUNKLE
BoB SCHMITZ

LARRY BLIZARD

Advertising Managers

RONALD WATSON
Bos AVERETTE

Typists ©
JANE TEAL

orculation

Alpha Phi Omega Fraternity

National Advertising
Representatives
College Magazines Inc.

West 42nd Street
ork 36, New York

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Probably the most difficult assignment
faced by the college magazine is the estab-
lishment of a point of view which has any
degree of sustained consistency. Two prin-
cipal reasons for this difficulty exist: The
amount of material available to the maga-
zine is limited, and each year its editorial
policies are subjected to the caprice of a
new editor. Even in cases where the de-
parting editor has been able to choose and
train his successor, there is no guarantee
that the viewpoint will be the same. The
youthful mind has a marvelous propensity
for inconsistency. Consequently it is nearly
impossible to establish a viewpoint for more
than one year. The incumbent staff has
attempted to define its policies.

We are convinced that our point of view
should be centered in our interpretation of
the title of the magazine and the region in
which the magazine exists. Whatever its
original intentions were, the current REB-
EL is rebelling. We hope it is not rebelling,
as too frequently happens with college pub-
lications, in the Beatnik sense of the word"
aimless rebellion purely for the sake of re-
bellion. We are not anarchists; we do not
think that Communists have infiltrated and

FALL, 1961

corrupted our federal or state governments ;
nor do we, like the old hillbilly, swagger
around with a stick on our shoulder and say,
oT dare you!

The REBEL is rebelling against the
South, but this rebellion is not only against,
it is for the South. It is a rebellion against
those forces in the South which helped to
create and have helped to sustain the pov-
erty and ignorance of our region. We rebel
against the stilling breath of the past and
the bulldog bigotry and conservatism of the
present. We rebel for a brighter future,
not just in our cities, but in the rural areas.
We rebel today so that tomorrow we may
ride through eastern Carolina and the rural
areas of other states without seeing fields
blanched in the sun, and wrinkled old men
on tumble-down front porches depending on
God-knows-what to put food on the table
because they are too tired to work land that
is as withered as the men themselves. We
hope that it will be our privilege to make
some small contribution to a future we be-
lieve is coming. And what better place to
begin than in a college that itself had region-
al and rural beginnings"sanctuary of con-
servatism. THE EDITOR

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Dr. George Buttrick, author and lecturer, visit-
ed the Hast Carolina campus in early October.
He made a serves of appearances on campus and
allowed time for an interview with the Rebel
staff. We feel that he has appraised some of the
leading religious questions of today with candor
and understanding.

One of the leading theologians in America, Dr.
Buttrick has written Jesus Came Preaching, The
Christian Faith and Modern Doubt, Faith and
Education, and Biblical Thought and the Secular
University. These books deal with the college
studentTs approach to religion.

Dr. Buttrick, who graduated from Victoria
University in his native England, has been award-
ed a D.D. degree by ten leading American col-
leges. Now a member of the staff of Northwest-
ern University, he has this winter been engaged
as a Danforth Lecturer.

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hterview With
DR. GEORGE A. BUTTRICK

1. Would you comment on any current religious
revival?

I donTt think there has yet been a real religious
revival. It isnTt any revival of great faith, but a
revival of religiosity. At its best, it is a revival
of wnterest in the Christian faith. At its worst,
many go to church because of prevalent insecuri-
ties. Whatever it is, it is past its crest. Church
attendance has decreased, and there is now a de-
crease of 5% to 7% in enrollment in seminaries.
This, however, does not appear to be any great
disaster. Before you judge, consider the motives
for young men enrolling. This decrease may con-
ceivably be a good thing.

2. What do you mean by ofaith�? IsnTt it

true that in the actions of faith one can only go
so far before he begins to practice oblind faith�?

I tried a definition of faith this morning"the
movement of our finite life toward an infinite
source of infinite beginning. In other words, our
care for God is the faith of modern theology.
There is, of course, a place where faith becomes
adventure, and you cannot prove it, but I donTt
think it is ever completely blind; there has to be
a risk, but this is true of everything wedo. Every-
thing is an act of faith. You cannot walk across
the road without a mark of faith. Even secular-
ism is a form of faith. Secular comes from the
Latin meaning oof the age.� Man is a secular
creature"of time and experience. Life is an
experience. Man may be very startled thirty
seconds after death.

THE REBEL

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3. Do you believe that most present day re-
ligious advocates are apologetic"on the defen-
Sive?

This varies from church to church. The basic
word oapologiaT means the setting forth of
reasons and bearing witness for. Many are set-
ting forth reasons for their faith, but high re-
ligion is never apologetic or coercive. One cannot
force or print it on anybody. Neither an apolo-
getic nor coercive faith was centered in Jesus. i
do not apologize for my religion.

The men I find teaching religion in the colleges
are among the finest men in our household of
faith. They can hold their own scholastically
with other professors and are also respected for
what they are.

4. What exactly do you mean by ohigh re-
ligionT�T?

oHigh religion� to me is Christian faith deeply
founded and conceived. Biblical faith involved
the Old Testament. The danger of an outright,
fundamentalist, affirmative faith is that it may
become coercive. This is especially true where
there are rebels against religion. Often you find
coerciveness in the name of religion, and true re-
ligion is never coercive.

Now skepticism never comes from the brilliant
mind. Or at least not necessarily. Questioning
always begins in a life situation. For example,
children rebel against their parents and often
with good reason. Parents may be indifferent,
dominant or possessive; yet claim to be religious.
Children will rebel against parents that are domi-
nant or possessive, aloof or indifferent. This
rebellion begins unconsciously at the age of two,
and when a child rebels against his parents, he
rebels against the religion they embrace but do
not practice. Even the New Testament does not
tell you to obey your parents without qualifica-
tion. It tells you to obey your parents within the
law of the Bible.

It is the same in the church. A creed is a set of
propositions, and man frequently rebels against
propositions. When he reaches college age, one
sees results of this.

5. Stewart Chase wrote The Tyranny of Words
warning of the ambiguity in language and the
problem this presented in communication. How
does this problem affect theology?

Of course, ambiguity in the definition of words
is a problem in theology. We confront the prob-

FALL, 1961

lem of semantics. Biblical faith isnTt philosoph-
ical; it isnTt a set of rules. The Bible is a book of
history, and Biblical faith is symbolic. There we
can partially avoid the problem of semantics. We
can always argue against a creed, but something
better than a set of propositions is hard to argue
against. When it says in the Creed that Jesus is
seated at the right hand of God, the father Al-
mighty, it is not probable that it actually means
God has a right hand or is seated on a bench; so
this point, if fundamentally accepted, is fallible.
But one would find it hard to argue against the
way of life of St. Francis. Modern philosophy
itself is centered in the meaning of meaning.

Since words are supposed to compose truth
somewhere close to reality, I think Stewart Chase
is right. There is always the problem of com-
munication. One of the reasons for the different
translations of the Bible, recently the New Eng-
lish Translation, is because we have more and
better manuscripts. We also know the nature of
Greek and Hebrew better. You see, the New
Testament is vernacular Greek. Furthermore,
Elizabethan words have changed meaning. When
one is translating from vernacular Greek into
modern English (through Elizabethan English)
there is a double problem of semantics"Greek
and English.

6. You were interested earlier in the fact that
we have a Director of Religious Activities. Is
that not a common practice in other state-support-
ed institutions?

There is a less likely chance of finding them on
the campuses of state-supported institutions. This
varies"this rule does not necessarily follow. One
of the largest departments of religion in the
United States is at Illinois. However, you are more
likely to find this practice in the South. South-
ern religion has more warmth and less social
concern. In New York, for example, they seem
to shy away from religion. They have rich social
concern but are colder.

7. Do you think Marxism has been one of the
most powerful forces in undermining religion?

In its philosophical basis, it is sheer naturalism,
and Marxists report an outright denial of all re-
ligion. On this naturalistic basis, it would indeed
be an outright denial of religion. Matter comes
before man in their creed. Man is behind all mat-
ter. Marxism doesnTt deny freedom of will but
adheres to the premise that the will is free only
to function in matter. Its followers believe in

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work and profit for the state. Both Marx and
Friedrich Engels were left wing students of
Hegel. This is almost an outright degree of re-
ligion.

Marx had a fierce compassion for the oppressed
and equal hatred for the oppressor. It is impossi-
ble to rule this indignation out. We canTt say this
is totally unreligious.

Marxism, in fact, has religious overtones. It
has a vaguely religious Messiah"Karl Marx. Its
world is communism; the kingdom of God is on
earth. Its Bible is the Manifesto; its High Priest,
Lenin. Sin under this belief or creed is private
property. Its confession is work. It has been
said that its heresy is Christian faith. But this
grotesque distrust of creed faith is not a basic,
outright denial of religion.

Communism began in Russia during the First
World War. It spread after the Second World
War in places of desolation. It was most active,
even in America, after the Second.

On its practical basis it is just a state. It is
likely to grow wherever there is poverty and
need"in Calcutta, 1,000,000 people are sleeping
hungry and homeless on sidewalks"these people
will certainly try Communism; they have nothing
to lose.

On its philosophical, naturalistic basis, it can-
not be sustained at all. It is against reality. It
will have its day and cease to be. It will give way
as inevitably as Marx felt the capitalistic societies
would give way.

We cannot, however, compete against commun-
ism unless we know what it is. Students should
be required to study it; to read the manifesto;
Engels; to know communism. Most Americans
are against communism, but they donTt really
know what it is.

8. What questions have you been asked most
frequently by students?

I get different questions in public than I get in
counseling. Usually in counseling there is a bond

for a deeper question. In the public assembly I
get innumerable questions about pain and suffer-
ing. Students are frantically concerned about
Archie MacLeishTs oJ. B.�T; there are many ques-
tions about life after death. The most used word
is oprove.� I am continually being asked to
oprove it.�T A student must have doubts or he
will never have a really fine faith"every student
must wrestle his way through this problem, but
I dislike being asked to oprove it.� There is no
absolute proof for any of the fundamental ques-
tions, and our society is too dependent upon what
it terms scientific proof. Even science, on its
most fundamental basis, relies on faith.

In religion or social theory, you get the inter-
racial problem and the problem of war and peace.
Wherever the college is, North or South, youTll
get questions about integration. In Harvard and
Radcliffe, I get the problem of sex and marriage.
I am tremendously impressed with students in
these channels. Students are more realistic than
they were when I went to college. Their questions
are right out in the open, whereas students used
to be afraid. Now they come to my office at Har-
Vard and say, oDoc, | goofed.� Then I say that
it is more important to know why they goofed"
we can always find out later what the goof was.

When I went to college, we were afraid to ask
these questions"would not have been so honest.
In so many of the questions today, we not only are
more open, honest and more oreal.T�T We are no
longer captious. I used to get silly questions
about which came first, the hen or the egg. Now,
questions are quite realistic. They are deep. If
I were asked to put my finger on one or two or
three hopeful features in our disheartening time,
I would say the openness of mind, the honesty,
and the serious concern of the student generation.

Actually, I like you students very much, and I
take good cheer. I am fond of the skeptic"he is
honest. It is always very easy to come upon false
piety. That is one of the nice things. I donTt find
too much false piety among students and it gives
me hope.

6

THE REBEL

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A METAMORPHOSIS
IN POETRY

By MILTON G. CROCKER

The Cantos of Ezra Pound are nearing comple-
tion, and, although it is extremely difficult to
judge their full import and impact at this early
date, it seems necessary that more critical work
regarding their true nature should be undertaken
by students and teachers of literature. It has been
the custom to look askance at the eccentricities
of the omodernist� poet, Pound. Yor us, the
school of ~~new criticism�? which Eliot emphasizes,
the critical school of thought wherein the individ-
ual is completely separated from his work"still
has something to impart when he, Eliot, can yet
apply his original 1932 statement, oHonest crit-
icism and sensitive appreciation is directed not
upon the poet but upon the poetry.� In the case
of Mr. Pound, those unversed in this onew criti-
cism� have been able to stultify a great deal of
critical opinion on the Cantos by calling him a
traitor. There has been a veritable army of schol-
ars who have been frightened away from the text
of the Cantos, although not all his critics are such.
Some of these individuals have only glanced at
them superficially, dismissing them as the uncom-
municative babblings of a multilingual madman.

To the mildly curious, to the untrained, and to
those accustomed and dedicated to metric, rime,
and ordered rhythm, the Cantos may seem at
first only a hodge-podge of words and phrases
thrown upon the page in carelessness and dis-

FALL, 1361

order. They may appear to be complete and in-
complete phrases which make absolutely no sense,
but this is untrue. There is no sequence, language,
or image used in the body of the Cantos which is
superfluous. Each section is relevant to the de-
velopment of the epic in its entirety.

These sequences must be approached with the
realization that they are the culmination of a long
life of training and education. They are not a
first step, but one nearer the top of an ever-
ascendant ladder. They are the result of much
practise and a complete mastery of poetic tools.
A familiarity with earlier works, with his pre-
ceding criticism and poetic form, as background
material is necessary.

The first step begins in 1909 with the first pub-
lished volume of PoundTs verse, Personae. Here
the reader versed in lyricism will find adequate
material to appease himself, for the poems in
Personae are beautiful and melodic in their com-
position. The 1926 volume by Boni and Liveright,
New York, contains all the important selections
from the earlier collections, all of which Pound
wanted to maintain in print at that date. It in-
cludes texts of the important oHomage to Sextus
Propertius� and oHugh Selwyn Mauberly.�� Con-
sulting it, the observing reader will recognize a
gradual progression and maturity of technique as
he advances from the beginning poem oThe Tree� :

7

oT stood still and was a tree amid the wood
Knowing the truth of things unseen before;

99

to oHomage to Sextus PropertiusT�T

66

oT . . . come first from the clear font
Bringing the Grecian orgies into Italy,
and the dance into Italy,

99
e

This is, of course, based primarily upon Prop-
ertiusT Elegies but is imbued by Pound with
humor. For example:

66¢

What sacred fountain did ye drink?�

becomes
6¢

What water has mellowed your whistles?

99
e

As Hugh Kenner notes, oA close study of the
techniques of oHomage to Sextus Propertius� is
recommended to anyone who finds undifferential
muddle in large blobs of the Cantos. These de-
vices for organizing verse by shifts of texture
and tone are central to PoundTs mature poetic
practise.�T

Thus, ooPropertius� holds an important place in
PoundTs poetic development, but it is ~ooHugh Sel-
wyn Mauberly� which most clearly demonstrates
for the student the poetic practises and principles
as they are now being utilized in the Cantos.

oMauberly� is a series of ~oinner-connected�
poems which Pound dedicated as a ofarewell to
London.� Even the novitiate will recognize the
autobiographical quality of the work. There
exists, however, more to the work than the term
autobiographical would at first connote. Pound
is outlining, not only for himself, but for the
would-be artist, the artistic precepts which must
be followed, and the avarice and adviser usury
which will oppose him:

oMr. NixonT

oIn the cream gilded cabin of his steam yacht
Mr. Nixon advised me kindly, to advance
with fewer
Dangers of delay. ~Consider

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Carefully the reviewerT.

or
And give up verse, my boy,
ThereTs nothing in it.�

SR ee ae SSeS STR SSS Ee ae Peers e See reTacetitare age .

The poem is developed through a series of se-
quences which are written in rhyme, but there is
a vast difference between these rhyming verses
and the ones found in the earlier Personae volume.
We are reminded that Pound declared in the 1917
essay, oA Retrospect,� that:

o__In the spring or early summer of 1912,
~H.D.T, [Sic] Richard Aldington and myself
decided that we were agreed upon the three
principals follows:

1. Direct treatment of the ~thingT whether
subjective or objective.

2. To use absolutely no word that does not
contribute to the presentation.

3. As regarding rhythm: to compose in the
sequence of the musical phrase, not in
sequence of a metronome.�

And Pound has also explained to us what he ex-
pected ~ooMauberly� to exemplify for the world of
arts and letters:

oAs to twentieth century poetry, and the
poetry which I expect to see written during
the next decade or so, it will, I think, move
against poppy-cock; it will be harder and
saner; it will be what Mr. Hewlett calls

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~nearer to the boneT.

And this is exactly what he has carried through
in ~oMauberly.� The edges have been sheared
from the body of the poem and there finally exists
no ornamentation whatsoever. We are confront-
ed with valid and conclusive images which almost
seem to leap from the page, to resound as stoutly
as a Wagnarian chord, and then in the next phrase
we hear the delicacy of a Debussian waltz in the
musical and minute phrasing.

Compare the ~Mr. Nixon� sequence with oEnvoi�
(1919):

~ooGo, dumb-born book,
Tell her that sang me once that song of
Lawes:

Hadst thou but song

As thou hast subjects known,

Then were there cause in thee that should
condone

Even my faults that heavy upon me lie,

And build her glories their longevity.�

The student must not, however, think that either
tutorage, autobiography, a necessity for self-
clarification, or a cynical, pessimistic concept of
the function of art in a world beset by material-
ism is the containment of the work. The problem

THE REBEL

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in comprehension of ~oMauberly� and the central
problem in comprehension of the Cantos is that
the work must be viewed on many different levels
of perception. ~Mauberly,� as a work of poetic
art, is quasi-autobiographical; yet he becomes a
completely separate entity later in the poem.
oMauberly� is not Pound, any more than oMr.
Nixon,� or oBrennenbaum� is Pound. And yet the
complete poem, taken as it 1s, inner-connected
throughout, is all of these.

The reader may realize from the preceding
quotes the close relationship which exists be-
tween these two fields of writing as Pound views
them. And it becomes apparent that his ability
to utilize those theoretical factors which he ob-
serves in his prose writings has been highly suc-
cessful. The testing ground of any theory is its
workability, and Pound has been able to both
improvise and utilize his own theories to a superb
degree in his own poetry. Consider, for example,
his deep and abiding interest in the metamorphic
process: in Personae he had written:

oT stood still and was a tree amid the wood,

99

and 1f £912;

oThe tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast

a)

and then in Mauberly�T:

oDaphne with her thighs in bark
Stretches toward me her leafy hands,�

The metamorphic process has taken place with-
in the poet, evolving completely, and it now exists
without the ornamentation with which it was
earlier concerned. The phrases, although concen-
trated in the same basic precepts, have taken on
the order of the metamorphic process itself. They
are cold, clipped, and impersonal. They reflect
not only a poetic maturity, but a more conscious
grasp of the intellectual faculty in Pound. Poetry
exists, he tells us, as more than the mere creation
of a personal intellect. It exists as a separate
entity, plausible and palpable to the vision and
experience of those courageous enough to explore
it. In the metamorphic process, the intellectual
and poetic has actually occurred. For this reason,

Joyce KilmerTs oTrees,� will be overwhelmingly
embarrassed and disappointed in the Cantos. Just
as Joyce liberated the novel from a stereotyped
sense of opurpose,� ostory,� or oplot,� so has
Pound liberated poetry from the wilderness that
surrounded it in the latter nineteenth and early
twentieth century, the impotent worlds of rhetoric
and excess verbage. It is small wonder that
Joyce, Eliot, and Yeats, three of the most widely
respected men of letters in the twentieth century,
acknowledge a tremendous debt to Pound. With-
out his liberating influences, neither the great
works of these men nor the critical school of Eliot
would have been possible; and neither would the
Cantos have been possible without the cold meth-
odical analysis of this composite of modern art,
the onew criticism.�

Clark Emery has cited, concerning the Cantos,
in his book, Ideas Into Action, an example of a
group of junior executives owho were sent to the
University of Pennsylvania to acquire a liberal
education. While there, they were compelled to
read literary works from various ages and on
various levels of difficulty"from, for example,
the oOdyssey� of Homer to the Ulysses of Joyce.
Of all the works they read, the one which most
successfully defied their efforts toward compre-
hension was PoundTs Cantos. This despite the
fact that commentary was supplied by one of the
nationTs leading Pound scholars.� The reader
must not expect immediate and soul-shaking
enlightenment, a sartori akin to GautamaTs.

W. B. Yeats records in oA Packet for Ezra
Pound� that Pound once said of the Cantos:

oThere will be no plot, no chronicle of
events, no logic of discourse, but two themes,
the descent into Hades from Homer, a Meta-
morphosis from Ovid, and mixed with these
medieval or modern historical characters.�

and the design which he promulgated in the
1920's:

oRather like, or unlike subject and re-
sponse and counter subject in fugue.

A. A. Live man goes down into world of
Dead

C. B. The ~repeat in historyT

B. C. The ~magic momentT or moment of
metamorphosis, burst thru from quotidien









it must be viewed objectively and coldly and with- [Sic] into ~divine or permanent world.T
out the haze of emotion cluttering its surface. Gods, ete.�

It is, therefore, easy enough to say that the |
reader who expects to find an equivalent to oIdylls Pound has used these methods to tell ~~a tale of |
of the King� by Tennyson, or to the niceties of the tribe.� The epic begins, appropriately enough, |

LHe }

|

|

|

|

1 oprobletl |

rue pest | FALL, 1961 9

Pee eee Se PR Pete Boa Tf ee ene SS atoms sah Oe pete ee eS Fea tc ae é Se ee ee oS 5 a SS en. on =e e ¢ ~
~Seaaies on BL RA ie Bae Si SI SF ER EA EAL ALE MEMES BAS ile AEE AIO CL a A OL LE GOL ARE AE OL AA AEE ALR LL E JOO LORE OE BO Lie Sg ea eB a ge ee ee Sa ge ee Re

. ee a a Z 7 SCN ED. Re AE EEE AOS 2 BEBE SLR at EEE LR LY RSI ip ONES IEE BONERS ma pete, ane ii ae a sl a ga wae ee ee eS ee oS
4 : Sate at Be . RES ERS RCS BIS io Dior ay ec ills BS Bie: HE en ae ie SG eee es een BRO iG ar ev ay wie BS LEN Sa PIs sssa. Y ?

ciao ea besos anaes adn raaicia

ge ee ee
Seosteseriaametses

= "n

with a paraphrase of Homer. Through the rest
of the poem, we alternately journey through re-
spective sections of Hell and Purgatory and are, at
last, delivered conclusively into Paradise with
the oRock-Drill Cantares.�� The metamorphic
process begins on an individual level in the sec-
ond Canto with AcoetesT conversion by Diony-
sus. It appears again and again throughout the
Cantos on varying levels of experience.

The difficulty already mentioned, that is, deal-
ing with Pound on simultaneous levels of diffi-
culty and interpretation, is manifest in the Cantos.
We are concerned with history, art, religion, eco-
nomics, and political philosophy as they inter-
relate with one another. The difficulty lies in
dealing with them at the same instant (or simul-
taneously).

What Pound has really said in the Cantos is
that there is no real worth in our present Ameri-
can civilization. America, according to him, is a
great cesspool where the cast-offs and the debris

from all the great traditions of the East and of
Europe have accumulated. In the Adamsonian
tradition of early United States history and poli-
tics, he recognizes the only true spirit of tradition,
culture, and civilization which this country has
ever produced. He is directly concerned with
creating order out of chaos. But he believes that
the order which has arisen here and in England
is of a usurious type. And it is legitimate for
Pound to call the Cantos a o~tale of the tribeT on
these counts alone, for they embody manTs at-
tempts, from the vague beginnings of recorded
time to now, to rise above his environment, to
create out of the chaos something valid. It is
PoundTs assertion that man has failed gloriously,
not because of any weakness within himself, not
because the chaos is impossible to reconcile, but
because the evil, the usurious, the parasitic, have
seized control of manTs mind and made him believe
in myths. The Cantos are an astoundingly beau-
tiful record of that glorious failure.

An Elizabethan

On Seeing A Falcon

(A recent translation of the early eighteenth
century poem of Batard De Soleil)

A dark and noble falcon I have seen

On wings that stroked the timid wind in flight.
A hunter, wild and free with eyes as keen,
And quick to spot a prey, as they were bright.

The quilted trees below came up in bright

And blinding colors. From script on hateful page
The falcon came"as moths must fly to light,

A player must take his turn upon the stage.

I watched this bird, I softly spoke. It came

To touch upon the arm I held in wait.

Few men, in their short time, can make this claim;
And I can only wonder at such fate.

But at one touch I flinched; It flew from me.
Perhaps itTs best a falcon must fly free.

10

GEN GERMANNE

THE REBEL

Responsibility

I prayed to God a deity

Apart from me, a part of me

No answer came"it made me see
The only God I had was Me.

"SAM BRASWELL

Seaboard

Once in this never land of life and world
I took a sailing ship of sealing wax
and spider tax
and a lop-sided ax
And down to the Seas again
to the lonely sea and shore
and all I get is a whaleTs kick and a musty oar?
dusty whore

"J. ALFRED WILLIS

Che Sage

I have labored long

etching my simple symbols

on tablets of wind swept sand"
symbols and sand

ebb and flow

on the whim of the wind.

Strong is the desire
driving my frail reed pen
shaping cuniforms

on low tide clay.

b. tolson willis, JR.

FALL, 1961

rADED

GREY, FADED OVERHAULLS--

FADING PROMISE!

By JUNIUS D. GRIMES III

With the advent of the Civil War Centennial
last year a largesse of prose, concerned with the
problems of the nation and especially with the
South, has been published. A majority of it
defames the South and its people. Some of the
material has been optimistic. These optimistic
works give much credit for their optimism to the
orevolution� in the South since 1920 and they
stress the need for continued revolt against
oSouthern traditionalism� if the South is to
progress. But the rebellion against traditionalism
can be as harmful as extreme traditionalism. We
fear that perhaps the South has gone too far.

We rebel, but we do not deny or repudiate.
Before we can understand the complexities of our
own age, we must understand and appreciate our
heritage. But to understand the Southern her-
itage is not to be blinded by it"nor is it to deny
it. We have a responsibility to the memories of
men like Jefferson and Lee. This responsibility
is not to deify, but it is one which we cannot
deny. The responsibility is to attempt to progress
as they attempted to progress. This lesson of the
Southern legacy is one with which every South-
erner should be familiar. It was only when the
status quo became a thing to preserve at all costs
that the South faltered. It fought a war to pre-
serve a status quo which its leaders knew was ideo-
logically untenable; it lost that war, and has ever
since endured the recrimination of other sections.
Equally important, it lost many of its leaders and
able-bodied men. It is in danger of losing its lead-
ers and manpower once more. Perhaps we have

12

revolted against our past. The South is no longer
merely a region of antiquarianTs legends, but we
have inherited from the generations since the
Civil War the tendency to distrust difference.
And no matter how we rebel against the past,
progress is difference. If our focus is not toward
the past, it is still not as progressive as it should
be. Ignorance, poverty, and conservatism, per-
sist as stultifying influences in the South.

These elements are exemplified in the circum-
stances of Willy Alligood, a small farmer in east-
ern North Carolina. He lives in a frame house
which is heated by a relic of a stove, and the house
is permeated by the heavy odor of pork and vege-
tables. The oliving room� of the house is in the
front. Several chairs squat around a broken-
down television set which Willy bought (for only
about two times its retail value new) from a
second-hand dealer. (This is quite fair. After
all, he is paying for the television on time and
some oarrangements� had to be made.) The
chairs are covered with material that looks very
much like faded print flour sacks, and on the wall
hang three or four sparkly signs"oGod Bless Our
Home,� or maybe even oJesus Saves.� Yes, Willy
is a fundamentalist. He takes his religion seri-
ously. On the other hand, his religion simply
otakes� him.

Ours is a mechanized age, so Willy cultivates
with a tractor instead of mules; and he drives a
shiny 1955 Ford for which he was exploited only
three years. Each Saturday afternoon, he and
his family of nine, ranging in age from three to

THE REBEL

|

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AU

WHY
iss} *y

Set Sete

Se

~ 2 BB eRe cae ah RR ch Sa ae Se Ee ES a ciphidniveumne repeat oesid atts Raine ari amenities

init
eee meetin - . iia :
1 Ee TE eee a aa FE a NE eS SEE ER PODS Fe FEE PGT Ra Sees

nineteen and dressed in their finest mail order
pants and frocks drive into the nearest town.
Here they spend their afternoon of orecreation�
shuffling along main street, gazing in store win-
dows, or congregating with their friends in front
of the opicture show.� In two words, Willy Alli-
good is poor and ignorant.

One Saturday during his visit to town Willy
hears something new. A northern corporation
wishes to buy the mineral rights to the farmland
surrounding the town. The corporation thinks
phosphate deposits may be beneath the soil. In
the course of the day Willy hears much pro and
econ about the corporation; when he gets home
he is confused.

The next Wednesday a representative of the
northern corporation visits Willy at his farm. He
comes out into the sandy field where Willy is plow-
ing, and they stand and talk"mostly the northern
fellow talks and Willy listens. When the man
leaves, Willy is faced with a dilemma. The prob-
lem of phosphate deposits is no longer one to dis-
cuss on the street corner in his free time. The
northern corporation wishes to buy the mineral
rights to Willy AlligoodTs land and they have of-
fered him more money for something called an
option than Willy clears in a year.

But Willy Alligood doesnTt know what phos-
phate is, and all the manTs talk about mineral
rights and options, and all his assurances that
any phosphate found can be mined without the
least harm to the surface soil leaves Willy in a
state of turmoil. From all this he discerns only
two things: He understands that the man wants
to mine some mineral that is under his property,
and to Willy omine� means to dig holes. He also
understands that the man is odifferent�, and
difference is a thing to distrust.

Willy is not alone in his dilemma. All the
Willy Alligoods in the area face the same confu-
sion. In desperation Willy Alligood turns to a
neighbor. This neighbor has several large farms
and the respect of his community. Willy listens
as the neighbor tells him terrible stories about the
oundesirable elements� the northern corporation
would bring if it came; and he shudders when he
hears how the river is close to land and if othose
Northerners� dig holes under the ground the
water will seep in and the land will fall into the
holes. Willy couldnTt understand, even if anybody
bothered to tell him, that his wealthy neighbor
employes a large labor force and that if the phos-
phate mining operations were set up there would
be new work for many people, and he would be

FALi, 1964

so fees oe

forced to pay higher wages. Willy wouldnTt know
what oconservatism� means any more than he
would know what otheology� means; but he un-
derstands what it means if his land falls in the
river, as he understands the ofire and eternal
damnation� spewed at him from the pulpit every
Sunday. And one more thing Willy knows now.
He isnTt about to sell his land to those outsiders.

Thus the Willy Alligoods, in their fear and
ignorance, deny themselves a possible salvation
from strangulating poverty. They deny their
sons a chance to earn good wages and maybe even
a chance to go to college. Their sons who donTt
go to college leave the South to make enough
money to live like other Americans. And if, by
chance, Willy AlligoodTs sons get to college and
get a degree, they go to work for the northern
corporation that Willy has denied entrance into
his land"they go to work for it in some place
Willy Alligood never heard of. Willy Alligood has
not only denied himself, he has denied the South
and the people of the South an equal chance. He
continues to deplete the soil growing crops nobody
will buy, and the exodus of the opportunity-seek-
ing youngsters continues. And Willy Alligood
isnTt found only in Eastern Carolina. He is Dal-
las Hart in eastern Kentucky, or Henry Beau-
champ in the Louisiana bayou county, or Grady
Evans in north Georgia.

However, we are not content to rebel only
against those elements in the South, both con-
ceptual and physical, which suffocate it. We rebel
also against those critics of the South, within its
regional boundaries and elsewhere, who deny the
will and ability of the region to progress. Those
who, by these very denials are seemingly intent
upon the ultimate strangulation of the region"
morally, educationally, politically, and economic-
ally. We refer to that group which manifestly be-
lieves that the South is completely degraded and
beyond help, and which is fanatically certain
that the sensibilities of everyone else should be
the same. It is this group which would not call
Willy Alligood poor and ignorant. To them he is
the degenerate South. He is lazy, shiftless, in-
bred, and frankly ~not worth the powder and
shot...� These individuals aid and abet the
ignorance and poverty of the South by refusing
to acknowledge any aspects other than these. If
the crimes of the reconstructionist against the
region were crimes of commission, the current
psuedo-objective denials of any, other than degen-
erate elements here are equally crimes of omis-
sion. Specifically, we refer to those literary

13

~

orer ORES PNAS eR Ah ep S Lens ese AP SUTRA DST OTET CSET LETS Be NOTE RSS LG SPS ETERISLT yuo
lie cen me ee ee eg ig Ne as a ene eee eee, aM

pace et =~ a

PA

Leet mneae stantial lee aaemeletseDAsOs

eritics who will instantly recognize and almost in-
variably applaud any author who condemns the
South and tells us we are a poverty-stricken, de-
generate, disgusting region whose hopes were dead
before they were born. ~These men, who recog-
nize only the portions of Southern writing which
render the South in depraved cliché, are as guilty
of retarding our faltering advances as are those
in the South who refuse to recognize anything
except a glorified dream of a non-existent status
quo. In their refusal to acknowledge any except
our degenerate and reactionary elements they
have invalidated entirely too much attempted
progress. It is these men, and WillyTs neighbor
who are greatly responsible for our predicament.
Willy did the only thing he knew and understood
"he stayed put. They know better.

Thus we rebel against both elements; the one
that accepts blindly (or profitably) the somewhat
dreary but nonetheless necessary and entirely sat-
isfactory status quo, and the other that sees only

gy HS
iN

y
LAS

ae
ee
e " A
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oa, ~ s
2 ~, ae

14

> Hel
SY i
% NY \ ie

current degeneracy and squalor, and complete,
absolute debilitation"the element that sees noth-
ing wrong and the element that sees nothing
right. We believe that there is much in our her-
itage which needs to be understood and of which
we can be proud, and we believe that our future
has its hopeful aspects. The South has both the
will and the intelligence to recognize the true

value and responsibility of its heritage, the
limitations of its present circumstances, and
the intense need for liberal and honest progress.
It has both the will and ability to build upon
these evaluations and rehabilitate itself educa-
tionally, politically, economically. It will not
only endure. It will again be equal. Only when
we have a strong South can we have a truly
strong nation. So long as one section of our
country is retarded, then the country itself is
weaker. And never in our history has there been
a greater need for a strong, unified country.

eee
1 i
i

a |
SN. ye

\\ i
\y SST Gee

THE REBEL

a

3s

:
a

Ay
ih
yal

K

must understand why Marcel did it. You must
How can I say to you,
an obsessed
You

Tou
understand"yet how can I tell you?
NY 1 ~This is Marcel, young, blond, cultured, etc.,
, 3 man, a haunted man?� How can I say that to you?
, would have to know him to understand.

\Nes Once, I remember"we were walking through a garden;
a and as we passed beneath the leafy shade of the laden

trellis of the vineyard I saw that he held a leaf in his
Ni hand; and we stopped and he plucked"it was summer, late
; A \summer, when the grapes are ripe and dark and sweet"
\ summer, ah! the late summer of the life is sweet also"
\ ahd he plucked a grape, a single grape from the inner bowels
s of the shady trellis of the vineyard; and he
and held it up to me, for me to see;
one beside the other; then he low-
ered the grape first and began; o"this is the shape of the
leaf: this is the eye of the world; this is the beginning;
in the beginning, God made leaves"this is grapes being
born, grapes, and trees, and sons and daughters, and
3 " owers"and (holding it up again) this is the shape of the

this is the grape, the wine, the son and daughter
this is grass and sky
a hills ad the eds drink oF mid-summer"� He
fel the grape and we walked on into the furtherness
bf the garden; but he still clutched the leaf.

You see, he was older than [; that is easy enough to
recognize, but only a few years actually, in seasons. It
was only that he was very old in the heart; and (even at
that time) very tired, I believe; very tired, but still mov-
- ing his body erectly. Can you realize what it means to be
%®\ old only in the mind? It means that you must measure the
® \\iength of the arch of each day by the thumping of your
: ves it means you must watch the birds who scud across
~the sky; you awake in the mornings and listen to the
sounds of the world waking up from sleep; and looking
down into the garden and the orchard, down to where the
beautiful growing is taking place, you see your father,
\ your very own father, dead these eight long summers, walk-
ing underneath the trees in the morning sunlight.

And that was why, on that April morning, morning later
when he had the final revelation, that he took me with him;
and we went down into the hills, way out to the ruins of
some old negro shanty; he took me with him again, took
me so that I would know what to do when the time came,
.. and he said to me, o"this is the shape of the leaf"do you
\% \remember ?�
me oYes,� I said. oThis is the eye of the world"�

oVes, And remember this"in the beginning"long be-




\jof the bowers
held it up to the light,
then he held the leaf;










fore man"was the leaf. We intrude in the sylvan silence,
soon, it will be mid-summer; white clouds will go over the
hills; then autumn; and then winter; and other spring
will come, and the leaves will give birth to the world.
you understand?�

oYes. You are leaving. These are the seasons of die
heart.�

oVes"the seasons of the heart"�

And that night I wept a long while. Because he had
walked to the blackened stump of a tree and touched it;
a thunder-struck tree, burned, and split almost completely
down the center, scarred and warped and twisted; and yet,
it still bore a small bower of leaves on each side in the
spring sunlight. And he said, oOut of the leaf comes forth
the body; and out of the body comes forth the leaf.�

And so I wept; and in the night the rain fell softly once
the singing rain beneath the singing sky; and it stopped.

gone; knew that he had gone with the rain and. thats
singing soul went by; free, and no longer tired.

When they found the husk of him beneath the darkened
shadow of the tree in the rays of the morning sunlight, of
course, they wailed and lamented, but I"ah! they thought
they had found him"the true him"but I knew"I knew
where he was; yes, I wept, but because I was lonely. 4
Marcel was gone to the forest wind with three feet of }
yellow cord and a borrowed brown horse. They say that
he was gone before the sun went down; say that the night
rain didnTt soothe him on his way. I donTt know. I donTt
think so. I think he sat for a long time there in the
evening rays, on the back of that borrowed horse; sat and) i
smoked and watched the last light die across the breadth
of the western sky. And he climbed down and ground that
cigarette out carefully, pulled the paper open and scattered
the tobacco out into the evening wind and balled the paper
up and put it in his pocket and remounted and rode th
dark horse and three feet of yellow cord up into the thic
part of the enchanted forest, the greenest part, where theT
wind is always mid-summer.

Yesterday, I took Eugene to the garden; and I said td 7
him, o"this is the shape of the leaf"� and he understog4; 7
and believed; and this morning when I looked down fro
the window of my room, when I looked down into Ahe

garden and the trees of the orchard, beneath the trées of: ee

the orchard, walking beneath the trees in the early morning
sunlight of the garden, I saw my father, dead /these cig,
long summers" | \ ~4

= "CHOCKEB

POETRY

Visitor

The earth is so close

To the sky that in the
Shadows they form

An invisible union.

In the stillness

The crepe myrtle

Droops sleepily

And a thousand tiny sounds
Fall muted to the earth.
Shadows linger about

The yard while the
Children gather their toys
And their laughter hangs
On the air only to
Disappear with a whisper.
The world is waiting.
Silent and still it waits.

I am not as patient

As the world is.

Hurry, night!

Lift your damp wings
And sweep across the sky!
A sudden breeze stirs

And whispers, oNightTs coming!�
There is quietness about.
Night is here.

16

Cime

Moments I have spent with you,
Known life, dreamed dreams,
Reached out and touched a cloud
To find it only snow white clay.

I wish I were a traveler
And could leave the world behind.

Fourth of July love takes me in, comforts me"

And in that summer day I hear explosions and
happy songs

Till darkness comes, flags come down

And silence fills my little world.

Then I am alone.

I have come so close to day and night
To shadows and old menTs dreams,
Felt their lives and deaths,

Known torment and God and pain.

I wish that I could live one day
And hold it close and never die.

Sue Ellen Hunsucker

THE REBEL

ker

A se
gait TREATS. PPR SEAT ENA SESE NE SELES aE ERE EE RS EIEN OTS FAAS SEO ET TEST OMEN SAP ONL RAMs MAES S ES

Sn

Avilon
by

M. Gaines

And we have come

out of the maelstrom

bearing a packet of dry seeds

pod ticking pairs

and a white letter
two round robin rain drops

in a disk

and sweeter than summer Sundays
and the fire that gives no light

the fire that gives no heat

from no land of second chance

no lily led land

of satiated green hunger ;

the mist lay

between the mountains

like a fold of soft silk handkerchief

swept out from some god

or ghost hand;

FALL, 1961

II

Above the shore

the great gray sea birds scream

and we ask sea weed and wind

why we have come

out of what way have we come
and fear stretching
chic soft its long loins
under the shadow of tables

and it was April again

April of the soft thighs

the girl, the name

and the month of rain
and we were borne out
through arches of trees
seas of clouds

galaxies and pale deserts of nymphs
past ghost glimmers in the long evenings

and we have seen Elysium stand
Elysium standing alone
nor tower-topped towns stood then
and sea birds scream
rise ghost gray through the fetid air
and watched

the barge go down to Camelot

bearing

three white maidens

and a rusty sword;

And seen or heard in the mornings

him turn once in his long sleep
and mutter a name
where the wild sea GodTs twist
in the hairTs white wave

dead and drifting a dream
of spume and sea shell
and the sun on a magic sword
Merlin and the lean-hearted wind
blowing the blue-flagged wall
to drown in mellow wines
of sea wind

Il

Soft-siftings
sand and maiden-hair and the moon
and round wafer of the sun
end come in a hot day
and into the candle flame
a whispering white moth
and cheshire hands must try the bell
and cheshire faces on the stair
and cheshire smiles were at the door
and all the while the shades
and shadows on the walk
raising their heads in question.

ies

ee ceSieduaieas ee ea

Sell ESSE SERS Sh SSE SISA REESE SEA SETI EASES Or ee oe Fh

+.






A ES \ oC. ee
Large yans were rolling into Fishton.�A huge
tent was being erected in the vacant lot M@xt to
the Presbyterian Church. Complicated networks
Of electric lights were being strung on wooden
Poles under the tent skeleton. People stood and
milled around watching. Men were hammering;
Sawing, climbing poles, and yelling at each other.
Candy, peanut, and soft drink trucks rolled in,
left their goods, and rolled out again. Tall $taéks
of félding chairs were waitime fo be put mside
the tant. Sawdust®was being scattered under the
tent frame

Homer saw this activity on his way home from
school. Thinking about a circus being in town
excited him. At last he would be able to see a
real tiger! He galloped home to ask Ma if he
could watch the men work for a while. Maybe
he would get to see them feed the animals.

Ma let him go, with instructions not to stay
too long, to keep out of the way, and not to ask
foolish questions. Homer watched every move
the men made as they worked. They kept bring-
ing poles and light fixtures from the big trucks.
Growing discouraged, for he had not seen a single

50 mMZ="-FmMenoNpPe

zyortzoacrrzo

THE REBEL

8

is a

3 SS ape pat. o)
, RB Z a ake T
ot Eos) Us * poll
yiwat o ee ¥ ,
- ae. A :
e } Vy : .
we \ ~ . ~ ~
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ig Fa ay ~i
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a hs PS ol Ss
oty
,

tiger, Homer sauntered over toward a soft drink
stand. He met a friendly carpenter who gave
him a piece of chocolate candy and asked him his

name. The man was very nice, in HomerTs
opinion.
oHomer!� yelled someone. oHomer McCoy

Brown, come here this instant!� That could be
no one other than Ma. She used his full name in
just that tone whenever she meant business. She
was now hurrying toward him, very excited and
upset about something. She seized his hand and
jerked him along with her.

oMa, canTt I stay Ttil they bring out the tigers?
Hun? Can i7�

oThat is not a circus, Homer. And donTt go
near that awful place again! ThereTs no telling
what those crazy people might do to you!�

oBut, Ma, itTs got to be a circus! If it ain't a
circus, what is it? Huh?T

But Ma gave him no answer to his question,
and Homer was a very puzzled boy. It just had
to be a circus. And why had Ma been so mad at
him for going down to watch? First she let him
go; then she came running after him, forbidding
him to return. Oh, well. ThatTs the way grown-
ups were. But he would find out for himself, if
he could get away from the house long enough.

He slipped away from the house that night and
went to see Joey. Joey wasnTt afraid of anything!
If anybody would help him, it would be Joey.
They were in the same fifth-grade room at school
and had been friends since the first grade. Sure,
Joey would go. Off they started toward the tent.

When they arrived the place was as bright as
day. People were milling around outside, smok-
ing, or drinking Pepsis, or eating candy. Homer
and Joey bought a Pepsi and went into the tent.

A thousand chairs must have been inside. They
were neatly lined up from one side to the other.
At the front was a small stage with more chairs

FALL, 1961

on it. In front of the stage, a long, wooden bench
had been placed; and a piano was at one end of
the bench.

Homer and Joey sat down on the back row, slid-
ing to the corner so that no one would see them
and make them leave. Soon the people outside
started coming in, and most of them went to the
front and sat down. The boys decided that going
nearer to the front would be safe for them, so up
they went.

A woman wearing a purple hat sat down in
front of Homer. The hat had a long red feather
which curled down to her pudgy chin, forming
a scarlet semi-circle on her face. Nudging Joey,
Homer pointed at the purple hat and they giggled.
Gee, that ought to make good fishing bait, if it
didnTt scare away all the fish.

Soon a group of solemn men marched on the
stage and sat down. Each of them carried a
book and wore a long black dress. They looked
so strange to the boys that they laughed aloud.
The woman in the purple hat turned around and
said, oWill you boys please shut up? You're
blaspheming men of God.� Joey and Homer
didnTt know what she was talking about, so they
just said, oYes, MaTam.�T

One of the men in a black dress stood up and
held up his hands. Everyone stopped talking and
stood up, so Homer and Joey stood up, too.

oBrothers and sisters,T said the man in the
black dress, oSince this is our first night in Fish-
ton, Tm gonna tell you right off what our pur-
pose of being here is. With the help of the Al-
mighty, weTre agonna take the devil by the tail
and sling him clear out of this here town.�

oAmen, brother,� said the woman in the pur-
ple hat.

He continued, ~~WeTre agonna clean up the sin
and iniquity thatTs in this here place. We're
agonna help you folks prepare for that Great

Le

Judgment Day which is adrawinT nigh. And, my
friends, here is the man who God has sent to do
this, Brother Percy Jones!�

The tent opened behind the stage and a huge,
red-faced, beefy man stepped onto the platform.
Everybody stood up and started clapping and
yelling, so Homer and Joey clapped and yelled,
too. The big man held up his hands, and the
people stopped clapping and yelling and sat down.
Then he came to the front and started talking.

oBrothers and sisters,� he began, ~o~WeTre mighty
glad to have each and every one of you here with
us this eveninT. We have felt for a long time that
we would come to Fishton and help the good
Christians out in their fight against the enemy.
We're agonna put Satan on the run. GodTs agonna
put his foot down on the devil and let the spirit
move here in this town. And to start this here
campaign off, ITm gonna ask Brother Frank to
lead us in a fine hymn.�

The man in the black dress went down to the
piano and started playing. Everybody stood up
and started singing. Homer and Joey didnTt know
the song, so they just stood. Everybody started
clapping and yelling, and a few people started
dancing up and down the aisles between the rows
of chairs.

oAre we Tspose to do that, Joey? Gee, this is
a funny circus. ITve never seen one like it. Have
you?�

oHeck, no; but itTs been fun so far. LetTs just
wait around and see what everybody else does.�

The people soon stopped dancing and went back
to their seats. Finally, the singing and yelling
stopped and everybody sat down. The big man
came back on the stage and started talking again.

oNow, brothers and sisters, before I deliver the
message tonight, we have gotta take the offerinT
of the eveninT. Just give as you feel led, and the
Almighty will surely reward you at the end of
lifeTs journey. Remember what Malachi said
about bringinT your tithes and offerinTs into the
storehouse and gettinT your shower of blessinTs
in return. God needs your dollars! [Pm gonna
ask four of the good brethren behind me to pass
the cups around.�

Four of the men in the black dresses came down
from the stage with tin cups in their hands.
People started dropping money in the cups and
passing them on down the rows.

oHey, Joey, you got any money?
three pennies.�T

oNo, I ainTt got any. You gonna drop them in
the cup?�

oYeah, they may run us out if we donTt. Here,

I only got

20

you drop in one, too.�

When the cup came by, they dropped the pen-
nies in. The man in the black dress gave them
an odd look and passed on to the next row. After
the money had been collected, the men took it up
to the wooden bench and counted it.

The big man came back on stage and began.

oBrothers and sisters, bear with me while I
take my text from the seventh chapter of ~Gen-
esis,T which is that dear old story of the flood.�T

He read for a while, closed the book, and con-
tinued.

oHere, my friends, we have that old, old story
of Noah and the ark and the flood that God sent
to destroy all mankind. Why, brothers and sis-
ters, did He choose to destroy that which He had
created in His own image? Why did He destroy
the lovely, beautiful world that He had made in
six days? ITll tell you why, my good friends. God
looked down on this old sinful world one day and
said to Gabriel, ~It looks as if Satan has the world
in his clutches. ITm agittinT tired of the sin and
iniquity and lyinT and stealinT and fornicatinT and
gamblinT and killinT and the marryinT and givinT
in marriage. ItTs time to start over again, Gabriel.
ITm agonna send down a flood. ITm agonna de-
stroy all mankind.T And thatTs what He did, my
good friends. Yes, God was sick and tired of the
sin in the world, just as He is tired of it now.
One of these days HeTs agonna rain down hellfire
and brimstone, and may He have mercy on your
soul if youTre not prepared.�

The big man paused, wiped his dripping fore-
head, and surveyed the assembly of people.

oAnd God had the good Noah to build an ark
so he and his family might be saved from the de-
struction that was about to come. Oh, my friends,
I can see it now. God told Noah to warn his
friends and neighbors that a flood was acominT
and for them to likewise prepare for that day.
But the neighbors, they just laughed at Noah and
said, ~Look at that old fool Noah. He says a flood
is acominT and we should build an ark. Crazy in
the head, thatTs what he is. Maybe we ought to
do something with him.T But old Noah, he didnTt
pay them any mind when they laughed, scorned,
and ridiculed him. He just kept on abuildinT the
ark and atrustinT God.�

oHave you ever heard anything like it, Joey?�

oHeck, no. Do you reckon heTs telling the truth
about a rain of fire coming?�

oOf course not, you dunce! HeTs getting paid
for telling his story, ainTt he? DidnTt we give him
three pennies to hear him?�

oYeah, I guess so.�

THE REBEL

~

\

THE Rpse

,
D> ie
lam J iy

a
wevcss * 22a Sew SESS SES eS Se SS ESS SEN FSGS FR SE SR ar ae eee

we RESETS pre hea eich 5 eT :
- ao ~a " remanence s

ae er

The big man was screaming now.

o. . . and God rained down gallons and gallons
of water for forty days and forty nights. The
trees were covered, the mountains were covered,
and the whole earth was covered. All the livinT
creatures were drowned in this vast flood of water
that God had sent down. Oh, my friends. I can
see it now. As the flood waters started creepinT
up to the back doors and the people started mov-

inT up to higher ground, what a time there must

have been! I can see them abanginT on the door
of the ark apleadinT with Noah, ~Please, Noah, let
us in. WeTre agonna drown unless you help us.T
But old Noah, he had instructions from the God
Almighty not to take anybody along except his
family. And he had warned them, but they laugh-
ed in his face. He had his orders from the Great
One above, and he was not aturninT back.

oYes, my friends, thatTs exactly whatTs agonna
happen to some of you asittinT under the sound
of my voice tonight. You'll go away from here
tonight adoubtinT what ITm tellinT you and acallinT
me a ~Holy RollerT under the breath. Well, my
friends, ITd rather be a Holy Roller arollinT into
the gates of pearl than a sinner slidinT into the
black pits of Hell.�

The big man was enjoying himself. His face
was a scarlet mass of flesh, and drops of perspira-
tion trickled down his crooked nose, dripping on
his shoe tops. He had removed his jacket long
ago; his shirt was unbuttoned at the collar; the
canary tie flew and jerked with spasmodic motions
as he sereeched at the congregation.

oHey, Joey. Look at him. HeTs foaming at the
mouth! Do you sTpose heTs going mad? Huh?�

The woman in the purple hat turned around

and ordered, oBe quiet! Listen to him!� Mutter-"

ing something about olittle heathens,� she turned
her attention back to the big man.

Homer and Joey didnTt know what to make of
the situation. The big man kept screaming, yell-

ing, and jumping around. Occasionally he would "

punctuate a statement by slamming his fist down
on the pulpit or by stamping his feet. The peo-
ple around them kept yelling, oAmen, Brother,�
and oHallelujah, preach it, Brother,T and a few
people started dancing again. Homer and Joey
had never seen anything like it! They watched
with fascination, wondering what this strange
behavior was.

Then the woman in the purple hat commenced
to dance. The hat bobbed up and down with her
movements. Finally losing the battle to stay on
her head, it fell into the aisle and rolled down to
the next row of seats. The red feather had been
erushed and hung limply over the side.

FALL; 1961

«cs gif BR at is EI SG Et NB Sp AEA BALL AS BAS GAG ALLE AWE CBRE DDE BP BBD EAE EYE NG EDGES BI TEE AE

Finally, the man in the black dress went to the
piano and started playing. The big man had jump-
ed his way down to the wooden bench, still talk-
ing all the time.

es . every sinner under the sound of my voice
is over the fires of Hell right this minute. He
may be snapped out into eternity at any moment
where he will have to meet his Lord and have to
give an account for himself and his sins. Where
will you go, dear sinner? Ill tell you where you'll
go, if youTre not prepared to meet your Master.
You'll go straight down to Hell where thereTs
eternal fire and weepinT and wailinT and gnashinT
of teeth. WonTt you come tonight and be saved
from eternal punishment in Hell? What if your
dear little child, or your dear husband or wife
were to be taken away from you? What if your
car should meet with an accident before you reach
your home tonight? Oh, God! My friends, you
donTt know when you'll be snatched out into eter-
nity. Are you ready? Are you ready father,
mother, sister, brother, young men, young women?
Please come now, dear sinner. Come while God
is acallinT you. WonTt you come and get ready
for that dark journey over the River of Jordan?�

People started moving toward the long wooden
bench at the front. Some were screaming, some
were dancing, some were moaning, and many were
weeping hysterically. The man in the black dress
at the piano started playing louder and faster in
his efforts to be heard above the other commotion.
A chant was started, and it spread all over the
tent. The woman in the purple hat had gone
down to the bench leading two other women.

Homer and Joey sat glued to their seats, fasci-
nated and terrified. Grabbing Joey, Homer whis-
pered, ~o~LetTs get out of here before they get us.�
Joey, who was afraid of nothing, swallowed a knot
of fear in this throat and nodded assent.

They edged their way down the row of seats to
the aisle, glancing over their shoulders to see if
anyone would try to stop them from leaving. Then
they ran up the aisle and out of the tent. No one
had noticed their exit. At last they were safely
on the street.

oWhee! We made it,� said Joey between gasps.

oYeah. That sure was a funny circus, won't it,
Joey? What do you reckon them people are up
to!

oHeck, Homer, you Tspeck me to know every-
thing? That wonTt no circus, thatTs for certain.
Listen, if you get caught, donTt you snitch on me.
Do you hear ?�

oT ainTt gonna snitch on you, Joey. I ainTt never
squealed, have I. But I still donTt know what
that was.�T

at

nie Rese sels Lebo Rs AES UAT DSL STENTS DELETE EO NS TE EES

ee a Ne ee ee ee ee ee ee a

*

ats ies
¥

~ The Sand Box





In the shifting sands

of a sand box

great plans are laid ,
in maps of toys arrayed.

And the sand man gleans
court jesters"kings and queens
in Buster Browns and pinafores.



And in the morning ,
who can tell a
whether dollie SS
was buried under
a blue sail boat

or a yellow spade.

~wee IL The Stide ~



~ Rung after rung.

of steeled steps
} J toward the top
knee socks and
knickers from down
the block
strain toward the top.
All the long day
down the dark way.

White knuckles on the rail,
scuffed toes in the breech
teeter at the top

and endless lines behind
wonTt stop"canTt stop.

All the long day

down the dark way.

5 0 te






rs
~yee ee 4 WAYS

Slickily sad as a duckless
park pond and the

same sterile breeze slaps
the face"tobogganed in
tangled legs"and no one
to set the pace.

All the long day

down the dark way.

THE REBEL

SELES ELLE EEE ES EEE FETS FE PETE RTT STL SST EA Sa TS LE Say SS PS PLP Ieee eS Lee ae ae eee rere ey eee




Marriage of the Hours

I stood beside a green briar bush

All cast in morning jewels

And wept for morning"green and clear,
Briar and branch as one.



I kissed a maid by a green briar
Bush all cast in evening pearls

And cried for evening"pale and pure,
Leaves and lips as one.







I dreamt a dream by a green briar
Bush all cast in fleeting sighs
And woke for finding"sun and shade,
Dreams and dawns as one.

b. tolson willis, JR.

Solitude

These are the hollow hours
The hands slouch around the clock
They are coming
| I hear them coming
Those shuffling steps on the stair
: Those same muted cadences
3 Lifting, swirling from step to step
rail, | And]
eocl e Standing at the top
| Look down the darkened ascent
And wait.
No need hands"
Fumbling for the light switch
No need
ItTs only the regulars
They well know the way
How well they know the way.

4 b. tolson willis, JR.



a FALL, 1961

oe
Mix gee a a Oe a i Og lin OO A eI = eS
a acd og (BPRS BEBE EAGLES RBBB LAL ALE DELS EE EAL BDL ALD HF SS COS aS ISS RST oet SOR SS Pie Bie Bin Wie BS ithe GS Se Rod ie RR

== a et ee eee eee gk so = - re 2 ee YEP ge Ss on -" ene : Re
Se ee ee ee eee oS See SF Set eS es Ee

SILK SCREEN

Serigraphy or silk screen-
ing is mainly a commercial
process. Basically it is a sten-
cil process whereby the ink
is osqueezed� through a sten-
cil painted on the silk and
transferred to the object be-
ing worked on"in this case
paper. Each color must be
printed independently. An
endless variety of colors may
be obtained by using trans-
parent and opaque paints.

nite

THE INTAGLIO PROCESS

areas,
below the sur-

eSs,
a metal plate are printed

proc

intaglio
and lines

In the

textures

>

face of

Etchings, en-
and drypoints

of paper

on a sheet

aquatints
are all part of the

?

gravings

io process.

intag|
process offers an un-

I feel this
ited opportun
ion and

ty for experimen-

1

1V

Im

]

ty; I enjoy the
involved
ing the final print.

1

creat

tat

t

jus

ical processes

techn

as much as pull

The process of creating woodcut prints is con-
cerned chiefly with a plank of wood, an artist, and
an idea. The design is drawn on the surface of
the wood with ink and brush. The uninked por-
tions are then cut out with the aid of carving
tools, leaving the design in relief on the board.
Printing ink is rolled over the board and a print
is made on paper.

The woodcut print is noted for its stark, bold
lines and shapes. It is an ideal medium when the
artist wishes to express his idea with forceful-
ness and clarity.

|
i
:
|

Lithography is unique
among the graphic processes.
In the intaglio and relief
processes a great deal of work
is required to cut or etch away
areas that will develop the
organization of our content.

In lithography we draw di-
rectly on limestone and the
edition of impressions is pull-
ed from the same drawing.

Beyond the initial draw-
ing, lithography requires pa-
tience and a thorough under-
standing of the technical as-
pects of the medium.

eeeee. as RES EPES EEE ILE RE REL EG AF PEAES AIRS D SEPARA BOR SAREE SSE 2 BABA DUE REL LED ED EEL IE LEALIE LE ELEE DEE LDN LS LEE LEA Ree Fe Sa POP TOTES ST RS IES Peg Heys Se reer yes ete cette e set he elt

4 ! és 4 yi :
i A j ; t
: a a rea ~ seadu genet doaces cia aeee ee Se ee |
Se a a NT NETS TORN RAI SEO se rpms sodas ees TC Sc ASIA SOS AOS: eta aR

alae catagories Selena ecco setk eines atm MAME UN eae ARES NOR UR arama et cree eet brren orc heaenen CaN TEA Sam PORE? : i ; q aad
oct sieran a on 2 ; 5 | Pi
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i

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9 ea

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eurlou

anh I
Progressive Revelation And other dandy didactics: lawyers, priests, doc- So when
tors, politicians, and newspapermen are othe down
Tropic of Cancer. By Henry Miller. New York: Grove ck wae ac ea ce op tlc culse of the vroclain

| Press, Inc. 1961. 318 pp. $7.50. Also published by McFadden 4 - 2 8 E 7 ee
4 Poblicatous, Ine. 405. world.� These revelations are endless, cloaked the celt
| in cliches and frequently composed in dithyrambs, | mount n
7 GE EES seg haa ues Giga Sie Easy for bearded readers with flutes. His descriptions nearestT
i Miller accosted the Western World with his sordid are astounding. Take, for example, Paris: hings Wi

1 and formless autobiography, Tropic of Cancer.

An eternal city, Paris! More eternal than

For all these many years, Americans have largely Rome ives ap loudorous Gran Nineveh. ~The Welch by

remained excluded from his redemptive world. very navel of the world to which, like a blind
But now in the dawn of the so-called osophisticat- and faltering idiot, one crawls back on hands
ed sixties,� the morality bans have been lifted and and knees. And like a cork that has drifted
Grove Press has premiered our salvation for $7.50 to the dead center of the ocean, one floats :
and McFadden Publications has made it available here in the scum and wrack of the seas, list-
: : less, hopeless, heedless even of a passing The |
in paperback. In the course of 318 pages, Miller Columbus. a
compiles, and comments on, an assorted general- on
ization of whores, derelicts, perverts, and more New York City is resolved in a more concise man-
whores. ner.

He charges at us across the opening page like Stupendous. Bizarre. Baffling. A whole city Post
a rhino, only the shadow of his foremost protru- erected over a hollow pit of nothingness. Souther
sion visible. And if we have nothing better to do this shy

ae Even the universe is not beyond description;
lik d th d i tcht " :
ise © ee ae Curren emiion o= }) oeeuiower, in fact, it has dwindled somewhat"o~it is only a

for example), we are trampled upon and cast r
face first into the depths of the worldTs oldest pln ne a0 Were are BO sizks, no trees, no received

market. From there, all seems greenish and dis- " ee outstand
torted, the objects about us encased in slime and _ Add it, subtract it, divide it, and multiply it, or | The
decay. Suddenly Miller reappears, but this time just leave it to stand on its own"and the sum ow's

in the form of a giant piranha fish, heaping banal- total of Tropic of Cancer is exactly nothing. The
effect is that of a canvas-top revival meeting

ities and insults upon us, circling closer and closer. h a author h
We are told that here the great wish is to flow on. where new converts address the congregation in their wr

To flow on, like all the sundry fluids that are unknown tongues. One feels as if caught in an kind. ¢]
versified on mensroom walls and in little blue explosion of a septic tank. And then Miller se hic!
books of mad embalmists"as with great gusto turns to the rostrum, claiming AQ alliances, i
he names the qualities that make up othe great sponsibilities, hatred, worries, prejudices, or pas-
flow.� If by now the readers is transfigured, sion. An avowed neutral, he asks who we are
and where weTre going and proceeds to digress

allegorically or otherwise, Miller submits that the | story «
phenomena can be oconstipated by words and on art and life. | Ina,
paralyzed by thought.� Exactly where this puts I am sure that Karl Shapiro can explain this |
one is not clear, but you may want to remember apparent contradiction, for he is MillerTs chief " Ng
it. prophet, but he offers no clue in the epistle that is | i s
Should you want to complete the treatment, you included as an introduction to the book. Frankly, | ae . "
learn that life is oa lunatic asylum with permis- I didnTt understand Mr. ShapiroTs introduction, stn An
sion to masturbate once a week.� ~Masturbate oThe Greatest Living Author.� Perhaps some =
once a weekT is MillerTs metaphor for a day off. lesser disciple of the Miller cult will someday the Ne
28 THE REBEL tan
ALL, ]

� Mall

oot Ng

come
neday ji |

pepe

_ en

Be a aa Si EEDA BOS BELA DEE AT BAS itl eR RE cite SB BOE LR LVS we CAB Bre ae EN

Eee ad ss a en ae a ao _ """""""""""" . ¥
Ex poses he ee ek Fee R eee ae Be aE Sa a EEE RNS PS Pe Ee eee Se eT PENS REY

write an introduction to this. And then another
can introduce that, and another and another"
and it can go on and on, offering all sorts of in-
teresting possibilities. Quite seriously, that is
how religions are started and Shapiro proposes
that a Bible be compiled from the works of Miller,
so I tender this suggestion in good faith, only
trying to help.

And why not? In this age of social revolution,
where reformists garner followings with such
curious ease, a body is pronounced a know-nothing
"a reactionary for taking an unfavorable stand.
So when oBrother KarlT tosses the Gideon Bibles
down the laundry chutes, and Norman Cousins
proclaims that we have grown up and can attend
the celebration feast at Big Sur, I, too, shall
mount my flagstaff and, hand in hand with the
nearest whore (who will be most any gal, because
things will have changed), skip off on a pilgrim-
age to the masterTs feet, dragging, say, Robert
Welch behind me.

"GEORGE GARDNER

The Romantic Comedians

The Romantic Comedians. By Ellen Glasgow. Garden City.
New York: Dolphin Books, Doubleday & Company, Inc.
1961. (first published by Doubleday, Page & Company in
1926). pp. 274.. 3.99.

Postwar conflict of morals in the fictional old
Southern town of Queensborough is the theme of
this short novel by Pulitzer Prize winner, Ellen
Glasgow. A native of Richmond, Virginia, and
author of twenty-two novels, Miss Glasgow has
received several honorary degrees and awards for
outstanding writing.

The Romantic Comedians, one of Miss Glas-
gowTs trilogy that took place in Queensborough,
was written about her native Richmond, but the
author has taken the liberty ~~of calling things by
their wrong names which is common to all man-
kind, though it would appear to have reached its
highest expression in the Southern breed.� Al-
though the main element involved in the writing
of the novel was humor of a satirical nature, Miss
Glasgow is quick to inform the reader that the
story sets a tragic mood.

Judge Honeywell, the main character, is still
true to the fiction of the old oSouthern gentle-
man,� even though the novel takes place after
World War I. The Judge, recently widowed and
searching for happiness which he believes to be
associated with youth, marries Annabel Upchurch,
who had been disappointed in her first love and
who would orather have money than anything in

FALL, 1961

the world.� Before his marriage to Annabel,
Judge Honeywell had been married to Cordelia,
who had permitted him to have two English wal-
nuts each night after dinner for thirty-six years.
During these years, he had been in love with
Amanda Lightfoot but had never oyielded to
temptation.� Now that Cordelia is dead, he can
not picture himself being oromantic about a belle
and beauty of another period,� and his affection
turns to young Annabel.

The result is a tragicomedy written around the
judgeTs inability to grow old with his generation
and his refusal to accept reality. AmnnabelTs ac-
tual physical revulsion of him makes the Judge,
who is old enough to be her father, appear ridicu-
lous.

This swift moving, well written story has been
classified by Miss Glasgow as a comedy of man-
ners. There are excellent characterizations, and
the reader understands the character through
Miss GlasgowTs ability to let her characters speak
for her. The author has related the ancient story
of love between the young and the old in a digni-
fied Southern setting with slight exaggerations,
but more important, with an ample amount of
warmth and humor.

"SANDRA HUNSUCKER

The Civil War in America

The Civil War in America. By Alan Barker. Garden City,
New York: Anchor Books, Doubleday & Company, Inc.
1961. pp. 166. $.95.

In The Civil War in America, British historian
Alan Barker may have started a new trend in
accounts of the great conflict. In dealing with this
perhaps often overwritten subject, he combines
impartiality and conciseness with adequate pres-
entation of the war from both southern and north-
ern viewpoints. His examination of the causes
of the war and their effects through the Recon-
struction period is thorough. Neglecting the
mined-out military history of the war, the author
limits himself to a clear and precise statement
of the importance of slavery, economic position,
and society in hastening the advent of war. Com-
mendably evident throughout the book is an ab-
sence of the bias and prejudice common to so
many books on the Civil War.

The book originated from a series of lectures
that Mr. Barker gave at Cambridge in 1955. These
lectures were a guide for the undergraduate study-
ing of the Civil War. At Eton in 1956, the Civil
War was taught as a special course. Mr. Barker
wrote the first half of the book to serve as an

29

ies iE ia ae a oa Ba eh Rie ESBS EES EAE Es Sig Be He Beas BOR HAM se See PS SASS: a ee eee . od "

coe page arrng ae Se ie BFL DATER ELLE SOLER ODED! NOTED LOGS OILERS

introduction to the course. He was then encour-
aged by friends to finish the book. Although Civil
War history is greatly overwritten in America,
it is greatly underwritten in England.

The Civil War in America is a brief account of
the period before the Civil War, the actual war,
and Reconstruction. As far as it being an under-
written subject in England is concerned, it might
be so. Mr. Barker is, however, insuring that at
least it will be a well-written subject.

"RONALD WATSON

A Short Life of Kierkegaard

A Short Life of Kierkegaard. By Walter Lowerie.
York: Anchor Books, Doubleday & Company, Inc.
pp. 226. $.95.

New
1942.

Walter Lowerie introduces the casual reader,
by a series of montage shots, to Copenhagen and
to one of the foremost philosophic figures of the
nineteenth century. Lowerie is a stranger neither
to the philosophy nor the theological accomplish-
ments of Séren KierkegaardTs life and works. He
has edited a biography of the philosopher prior to
this one, done numerous translations of Kierke-
gaard, and has written several theological works
of his own. He once held the rectorship of St.
PaulTs American Church in Rome. These are
adequate justifications for his intended analysis
of the philosophy of Christian existentialism.

However, there are shortcomings to LowerieTs
approach to KierkegaardTs writings. He imbues
concise theological and historical factors involv-
ing the philosopherTs personal metamorphosis
with childish idealism. The overlying effect is a
breakdown in continuity and a foundering in
somewhat obscure, sometimes irrelevant, and
sometimes unproven facts.

Although Soren Kierkegaard first revolted
against the church, then later returned to its se-
curity, the reader of LowerieTs biography will
encounter only a shallow, idealistic, Christian
conception, based upon some documents and writ-
ings as the reason for both KierkegaardTs heresy
and his reaffirmation of faith. The erudite read-
er will find this impossible to believe. Factors
more important than those which Lowerie has
emphasized were involved. In order to concen-
trate his attention upon the spiritual and ideal-
istic side of KierkegaardTs nature, Lowerie has
overlooked these factors.

Soren Kierkegaard was born in Copenhagen on
May 5, 1813, lived there his whole life, and died
on November 4, 1855. As Lowerie notes, he was
accompanied at his demise by ~~a popular demon-

30

a ee Re P SL POET OTE SEE ESD SBE STF GS PS PFT EI OS THT TT ET ST ST STO

stration which almost degenerated into a riot.�
His life was marked by alternate periods of dark-
ness and despair, which inevitably led him to-
ward, away from, and then back to, Christianity.

Kierkegaard entered the University at the age
of seventeen, intent upon theological study. With-
in a short period of years, he lost most of his
family and began to see portents of his own end
at a very young age. At the age of twenty-one
he suffered a great cataclysmic soul-shaking,
which Lowerie has classified as othe great earth-
quake.�

Out of this ogreat earthquake,T KierkegaardTs
thought generally turned away from the church
and the theological thought of his day. He later
came to a reconciliation between Christianity and
philosophy, out of which he grew to be what is
regarded today as the first and foremost exponent
of Christian Existentialism.

What Lowerie has overlooked seems to be the
psychological implications involved in Soren
KiergegaardTs actions. While Lowerie bases all
his findings on what is written in the philosoph-
erTs texts, he seems to completely ignore the fact
that Kierkegaard was undergoing tremendous
psychological strain, that his own death appeared
imminent to him, that he was an idealist to the
point of being saintly irresponsible.

Ironically enough, in spite of the shortsighted
views taken by the author, in spite of some fan-
tastic conclusions drawn from presenting acts and
works out of context, Lowerie has fulfilled his pur-
pose"to make Kierkegaard available and com-
municative to a larger segment of the people, to
the layman; and the layman, the theologian, the
Baptist missionary, not the philosophy student,
will be attracted to his finishing texts, to the docu-
mentary olast words� of Soren Kierkegaard"

oGod is love.� "ptafi
The New Ambassadors
The New Ambassadors. By Edwin Gilbert. New York:

J. B. Lippincott Company. 1961. 332 pp. $4.95.

Edwin GilbertTs recently published novel, The
New Ambassadors, presents to the reader a new
approach to an old idea"the idea that the pro-
gressive American is continually striving to
~ooAmericanize� the world.

Gilbert, an already established novelist, has
lived in Paris for more than two years; he has,
therefore, been an eye-witness to the surge of
American commercialism evident in France, as
in all of Europe. He defines these onew ambassa-
dors� as the progressive businessmen who hope

THE REBEL

(j/pyTy
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vassadors

y 444

ee ee ee es eee Cg

to transpose Paris into a modern American city
through commercial enterprises that are profit-
able to French, as well as American industries.

GilbertTs hero, Mike Stoddard, who is a sales
and industrial engineer, may be a typical Ameri-
ean abroad, but it is doubtful that he is the typical
American at home. In Paris, he is the leader of
all the oambassadors.� They flock around him,
eager to have the distinction of knowing Stoddard
and of being seen with him. He is a demigod,
intent on owning the city and on using it to suit
his progressive nature. He is in many ways care-
less; he is accident-prone; he fails to renew his
visa; he owes money to his government; he is al-
ways late.

On the other hand, he is an excellent salesman
and engineer, and he handles what he considers
to be important business matters efficiently. He
is a gentle, sympathetic man with a pleasant per-
sonality. He is inconsistent"a quality which
adapts him to the plot, but which causes the read-
er to question his credibility.

Gilbert seems to understand Stoddard only in
his conception of him as an ambassador. The
reader can hardly imagine this modern American
as a character capable of the transition he makes
when confronted with French ideals.

Of course, Stoddard is not the only onew am-
bassador.� They come to Europe with a variety
of occupations and under many different circum-
stances. Most of them, however, are less aggres-
sive than Stoddard and appeal to the reader as
more typically American.

In this novel there is a touch of French influ-
ence that reveals the more unfortunate qualities
of Americans. Danielle, StoddardTs French lover,
represents this influence in a warm, sensitive
manner. Through her, the author contrasts char-
acteristic French traditionalism and American
modernism. Danielle acknowledges her obliga-
tions to her family and to her way of life more
keenly than does Stoddard,: who seems to ac-
knowledge no obligations except to himself. When
Danielle finally makes a choice between love and
obligation, she does so with remarkable realism.
While her choice may not be the more favorable
one from the American point of view, it is, never-
theless, admirable. :

The New Ambassadors is a novel based on a
delicate subject. Although the plot sometimes
moves slowly and in places reads like a newspaper
article, it is an intelligent, impressive account of a
group of Americans who learn to alter their
concepts of progress in the face of true tradition-

alism.
Staff

FALL, 1961

OSE... imine ea ie Sah iB St A hs BIA AES I AS a OR SW BBE BA POLE AE EVE NT te BANBE ETS IE TENE CLL RIE

LSE LESS EER EROS FAS PEE SS RE

¢

LOT GPL RAAT CNS REO S TS: i a pela

CONTRIBUTORS NOTES

Milton G. Crocker, alias Crocker, alias M. Gaines
was the winner of second prize in last yearTs
writing contest. He is a sophomore from Vir-
ginia, and we used the aliases to add mystery
to the table of contents.

Jacqueline D. Draughton is a Senior from Fay-
etteville, N. C. She is being published for the
first time in this issue of the magazine.

J. D. Grimes III is the editor and this is his sec-
ond appearance in the contents of the magazine.
He is a Junior from Washington, N. C.

Gen Germanne is obviously a pen name, but if the
poet wishes to remain anonymous it is OK
with US. =

J. Alfred Willis is on the staff and is a Senior
from about every place we can think of. He
vehemently denies relationship to the other Mr.
Willis among the contributors.

b. tolson willis, JR. is a Senior from Elizabeth
City, N. ©. The printine of the name is a
poetic affectation, but he likes it so who are we
to quibble.

Sue Ellen Hunsucker is a member of the staff
and several of her poems were published last

year. She is a sophomore from Winterville,
NG.

George Gardner, Sandra Hunsucker, Ronald Wat-
son, and Sam Braswell are students at East
Carolina College.

Al Dunkle is a Senior Art major from St. Peters-
burg, Florida.

Bob Schmitz is a Senior Art major from Erie,
Pennsylvania.

Jean Butler is a transfer student in the Art De-
partment from American University.

Sexauer is, believe it or not, an instructor of
Graphic Arts.

Larry Blizard is a Senior Art major from White-
ville, N. G.

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See oe Ss Ce Se ee 3 Se ee Se SS SE ee REESE SE SESE SER SE SESE = ae

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THE REBEL

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FALL, 1961

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THE REBEL

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THE REBEL