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i 2S aS ee SO a a i ri an St al a aie( ee es at Fi as aa 7 ExeVOLUME V_WINTER, 1961 Se NUMBER 1TABLE OF CONTENTSCONTRIBUTORTS NOTES . eeFEATUREInterview With Dr. George A. Buttrick a AFICTIONLeaves by Crocker______ : = : 15Circus by Jacgucline D. Draughton...- =ESSAYSA Metamorphosis In Poetry by Milton G. Crocker___....______.Faded Grey, Faded OverhallsFading Promise? byJ. Db. Grimes tlt Be AZPOHTRYAn Elizabethan On Seeing A Falcon by Gen Germanne =OResponsibility by Sam Braswell________-_ eoSeaboard by J. Alfred Willis. SoThe Sage by b. tolson willis, JR. ee 11Visitor by Sue Ellen Hunsucker__._ 16Time by Sue Ellen Hunsucker____. " " 16Avalon by M. Gaines = : ee 17The Playeround by b: tolson willis, JR. = 22.Marriage of the Hours by b. tolson willis, JR..__---_-___---. ee ZoSolitude by b. tolson willis, JK. = = ee ZeARTThe Graphic Aris 24REBEL REVIEW ___. a 28Reviews 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 thePublications Board of East Carolina College as a literarymagazine 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 officesare located at 30614 Austin Building. Manuscripts and artwork submitted by mail should be accompanied by a self-addressed envelope and return postage. The publishersassume no responsibility for the return of manuscripts orart work.Ze See A io eg ee ?

STAFFHditorUS DANIEL GRIMES~Business ManagerDAVID SMITHAssociate EditorJ. ALFRED WILLISBook Review EditorSUE ELLEN HUNSUCKERExchange EditorCAROLISTA FLETCHERAssistants to the EditorGEORGE GARDENERMILTON G. CROCKERArt StaffAL DUNKLEBoB SCHMITZLARRY BLIZARDAdvertising ManagersRONALD WATSONBos AVERETTETypists ©JANE TEALorculationAlpha Phi Omega FraternityNational AdvertisingRepresentativesCollege Magazines Inc.West 42nd Streetork 36, New York

ai ewecmee ~ FERS 25 sa Sa ae " "" neiibiiaeiiae "sg pista x Se ee eee SES ESS IST Skee SLE SS ee See RS PEE GS FS Ee aT aes .i eeEDTOR)&LProbably the most difficult assignmentfaced by the college magazine is the estab-lishment of a point of view which has anydegree of sustained consistency. Two prin-cipal reasons for this difficulty exist: Theamount of material available to the maga-zine is limited, and each year its editorialpolicies are subjected to the caprice of anew editor. Even in cases where the de-parting editor has been able to choose andtrain his successor, there is no guaranteethat the viewpoint will be the same. Theyouthful mind has a marvelous propensityfor inconsistency. Consequently it is nearlyimpossible to establish a viewpoint for morethan one year. The incumbent staff hasattempted to define its policies.We are convinced that our point of viewshould be centered in our interpretation ofthe title of the magazine and the region inwhich the magazine exists. Whatever itsoriginal 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 notthink that Communists have infiltrated andFALL, 1961corrupted our federal or state governments ;nor do we, like the old hillbilly, swaggeraround with a stick on our shoulder and say,oT dare you!The REBEL is rebelling against theSouth, but this rebellion is not only against,it is for the South. It is a rebellion againstthose forces in the South which helped tocreate and have helped to sustain the pov-erty and ignorance of our region. We rebelagainst the stilling breath of the past andthe bulldog bigotry and conservatism of thepresent. We rebel for a brighter future,not just in our cities, but in the rural areas.We rebel today so that tomorrow we mayride through eastern Carolina and the ruralareas of other states without seeing fieldsblanched in the sun, and wrinkled old menon tumble-down front porches depending onGod-knows-what to put food on the tablebecause they are too tired to work land thatis as withered as the men themselves. Wehope that it will be our privilege to makesome small contribution to a future we be-lieve is coming. And what better place tobegin than in a college that itself had region-al and rural beginnings"sanctuary of con-servatism. THE EDITOR5)SES A Se SPee Se ee ae Reese SSD HSER ELS PTE STS PS IST rae R TTS ISS we ife nel ec dea tar or aE RE� A I Ss DLE re MOTTA oe Re et OP ne TE GT one Re DE fey deg Md MOE cacaoaa as SEB 0 BO BPEL EA CREA LEA AEE BAS ARE AE AR TIS a se ee Se ee ee " Be ie ee ee ee ee eS eS ee oes # See oe SSes ae ~ = OSB BE SR SP EEA EE EIR, NK a BAN Os AP ENS titan Ble a a a I i ee eG en ee eae ee ee ae a:. S SMO Rs Se He Babin Me Re Se HS eS SURES RSPEI S a % = ee

a ee ay ea ae a waqsrazeeee "» Doid{ 1olOUSgiveDr. George Buttrick, author and lecturer, visit-ed the Hast Carolina campus in early October.He made a serves of appearances on campus andallowed time for an interview with the Rebelstaff. We feel that he has appraised some of theleading religious questions of today with candorand understanding.One of the leading theologians in America, Dr.Buttrick has written Jesus Came Preaching, TheChristian Faith and Modern Doubt, Faith andEducation, and Biblical Thought and the SecularUniversity. These books deal with the collegestudentTs approach to religion.Dr. Buttrick, who graduated from VictoriaUniversity 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 engagedas a Danforth Lecturer."Spa eee cert: scaceeees tears serrate epee ~ ~i contact si seuSS eeSNe eenhterview WithDR. GEORGE A. BUTTRICK1. Would you comment on any current religiousrevival?I donTt think there has yet been a real religiousrevival. It isnTt any revival of great faith, but arevival of religiosity. At its best, it is a revivalof 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. Churchattendance 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 greatdisaster. Before you judge, consider the motivesfor young men enrolling. This decrease may con-ceivably be a good thing.2. What do you mean by ofaith�? IsnTt ittrue that in the actions of faith one can only goso far before he begins to practice oblind faith�?I tried a definition of faith this morning"themovement of our finite life toward an infinitesource of infinite beginning. In other words, ourcare for God is the faith of modern theology.There is, of course, a place where faith becomesadventure, and you cannot prove it, but I donTtthink it is ever completely blind; there has to bea risk, but this is true of everything wedo. Every-thing is an act of faith. You cannot walk acrossthe road without a mark of faith. Even secular-ism is a form of faith. Secular comes from theLatin meaning oof the age.� Man is a secularcreature"of time and experience. Life is anexperience. Man may be very startled thirtyseconds after death.THE REBEL

in only goODF)DPnt pbbf s ~aa sf=, ks > = 7 = + = FQ " t s x Saki + sy es _commences ~j caveat ay, eae SSa All EARLE wl Fane ht "CS~ota a eee ae ae aa ete leat Tvac Seige eS ea a sk cals nS Sig ala Ri ac lg oe3. Do you believe that most present day re-ligious advocates are apologetic"on the defen-Sive?This varies from church to church. The basicword oapologiaT means the setting forth ofreasons and bearing witness for. Many are set-ting forth reasons for their faith, but high re-ligion is never apologetic or coercive. One cannotforce or print it on anybody. Neither an apolo-getic nor coercive faith was centered in Jesus. ido not apologize for my religion.The men I find teaching religion in the collegesare among the finest men in our household offaith. They can hold their own scholasticallywith other professors and are also respected forwhat they are.4. What exactly do you mean by ohigh re-ligionT�T?oHigh religion� to me is Christian faith deeplyfounded and conceived. Biblical faith involvedthe Old Testament. The danger of an outright,fundamentalist, affirmative faith is that it maybecome coercive. This is especially true wherethere are rebels against religion. Often you findcoerciveness in the name of religion, and true re-ligion is never coercive.Now skepticism never comes from the brilliantmind. Or at least not necessarily. Questioningalways begins in a life situation. For example,children rebel against their parents and oftenwith 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. Thisrebellion begins unconsciously at the age of two,and when a child rebels against his parents, herebels against the religion they embrace but donot practice. Even the New Testament does nottell you to obey your parents without qualifica-tion. It tells you to obey your parents within thelaw of the Bible.It is the same in the church. A creed is a set ofpropositions, and man frequently rebels againstpropositions. When he reaches college age, onesees results of this.5. Stewart Chase wrote The Tyranny of Wordswarning of the ambiguity in language and theproblem this presented in communication. Howdoes this problem affect theology?Of course, ambiguity in the definition of wordsis a problem in theology. We confront the prob-FALL, 1961lem of semantics. Biblical faith isnTt philosoph-ical; it isnTt a set of rules. The Bible is a book ofhistory, and Biblical faith is symbolic. There wecan partially avoid the problem of semantics. Wecan always argue against a creed, but somethingbetter than a set of propositions is hard to argueagainst. When it says in the Creed that Jesus isseated at the right hand of God, the father Al-mighty, it is not probable that it actually meansGod has a right hand or is seated on a bench; sothis point, if fundamentally accepted, is fallible.But one would find it hard to argue against theway of life of St. Francis. Modern philosophyitself is centered in the meaning of meaning.Since words are supposed to compose truthsomewhere close to reality, I think Stewart Chaseis right. There is always the problem of com-munication. One of the reasons for the differenttranslations of the Bible, recently the New Eng-lish Translation, is because we have more andbetter manuscripts. We also know the nature ofGreek and Hebrew better. You see, the NewTestament is vernacular Greek. Furthermore,Elizabethan words have changed meaning. Whenone is translating from vernacular Greek intomodern English (through Elizabethan English)there is a double problem of semantics"Greekand English.6. You were interested earlier in the fact thatwe have a Director of Religious Activities. Isthat not a common practice in other state-support-ed institutions?There is a less likely chance of finding them onthe campuses of state-supported institutions. Thisvaries"this rule does not necessarily follow. Oneof the largest departments of religion in theUnited States is at Illinois. However, you are morelikely to find this practice in the South. South-ern religion has more warmth and less socialconcern. In New York, for example, they seemto shy away from religion. They have rich socialconcern but are colder.7. Do you think Marxism has been one of themost 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 indeedbe an outright denial of religion. Matter comesbefore man in their creed. Man is behind all mat-ter. Marxism doesnTt deny freedom of will butadheres to the premise that the will is free onlyto function in matter. Its followers believe in2 ~ a ERB NC RE BEALS SA NERA EAA CECT EAS BALE SERGI TER Bt BOLT EE ENE BNE RARE SI Bt ENT i i a ra ea ee Ss ee a

work and profit for the state. Both Marx andFriedrich Engels were left wing students ofHegel. This is almost an outright degree of re-ligion.Marx had a fierce compassion for the oppressedand equal hatred for the oppressor. It is impossi-ble to rule this indignation out. We canTt say thisis totally unreligious.Marxism, in fact, has religious overtones. Ithas a vaguely religious Messiah"Karl Marx. Itsworld is communism; the kingdom of God is onearth. Its Bible is the Manifesto; its High Priest,Lenin. Sin under this belief or creed is privateproperty. Its confession is work. It has beensaid that its heresy is Christian faith. But thisgrotesque distrust of creed faith is not a basic,outright denial of religion.Communism began in Russia during the FirstWorld War. It spread after the Second WorldWar in places of desolation. It was most active,even in America, after the Second.On its practical basis it is just a state. It islikely to grow wherever there is poverty andneed"in Calcutta, 1,000,000 people are sleepinghungry and homeless on sidewalks"these peoplewill certainly try Communism; they have nothingto lose.On its philosophical, naturalistic basis, it can-not be sustained at all. It is against reality. Itwill have its day and cease to be. It will give wayas inevitably as Marx felt the capitalistic societieswould give way.We cannot, however, compete against commun-ism unless we know what it is. Students shouldbe required to study it; to read the manifesto;Engels; to know communism. Most Americansare against communism, but they donTt reallyknow what it is.8. What questions have you been asked mostfrequently by students?I get different questions in public than I get incounseling. Usually in counseling there is a bondfor a deeper question. In the public assembly Iget innumerable questions about pain and suffer-ing. Students are frantically concerned aboutArchie MacLeishTs oJ. B.�T; there are many ques-tions about life after death. The most used wordis oprove.� I am continually being asked tooprove it.�T A student must have doubts or hewill never have a really fine faith"every studentmust wrestle his way through this problem, butI dislike being asked to oprove it.� There is noabsolute proof for any of the fundamental ques-tions, and our society is too dependent upon whatit terms scientific proof. Even science, on itsmost 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, youTllget questions about integration. In Harvard andRadcliffe, I get the problem of sex and marriage.I am tremendously impressed with students inthese channels. Students are more realistic thanthey were when I went to college. Their questionsare right out in the open, whereas students usedto be afraid. Now they come to my office at Har-Vard and say, oDoc, | goofed.� Then I say thatit 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 askthese questions"would not have been so honest.In so many of the questions today, we not only aremore open, honest and more oreal.T�T We are nolonger captious. I used to get silly questionsabout which came first, the hen or the egg. Now,questions are quite realistic. They are deep. IfI were asked to put my finger on one or two orthree 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 Itake good cheer. I am fond of the skeptic"he ishonest. It is always very easy to come upon falsepiety. That is one of the nice things. I donTt findtoo much false piety among students and it givesme hope.6THE REBELpeeak a cele eta ep ee a eet

ce eeMSS SSSRCE EE EE ET aa ee ae BOR a aaa=ee Se ee ee eeBS a eM we oaA METAMORPHOSISIN POETRYBy MILTON G. CROCKERThe Cantos of Ezra Pound are nearing comple-tion, and, although it is extremely difficult tojudge their full import and impact at this earlydate, it seems necessary that more critical workregarding their true nature should be undertakenby students and teachers of literature. It has beenthe custom to look askance at the eccentricitiesof the omodernist� poet, Pound. Yor us, theschool of ~~new criticism�? which Eliot emphasizes,the critical school of thought wherein the individ-ual is completely separated from his work"stillhas something to impart when he, Eliot, can yetapply his original 1932 statement, oHonest crit-icism and sensitive appreciation is directed notupon the poet but upon the poetry.� In the caseof Mr. Pound, those unversed in this onew criti-cism� have been able to stultify a great deal ofcritical opinion on the Cantos by calling him atraitor. There has been a veritable army of schol-ars who have been frightened away from the textof the Cantos, although not all his critics are such.Some of these individuals have only glanced atthem superficially, dismissing them as the uncom-municative babblings of a multilingual madman.To the mildly curious, to the untrained, and tothose accustomed and dedicated to metric, rime,and ordered rhythm, the Cantos may seem atfirst only a hodge-podge of words and phrasesthrown upon the page in carelessness and dis-FALL, 1361order. 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 issuperfluous. Each section is relevant to the de-velopment of the epic in its entirety.These sequences must be approached with therealization that they are the culmination of a longlife of training and education. They are not afirst step, but one nearer the top of an ever-ascendant ladder. They are the result of muchpractise and a complete mastery of poetic tools.A familiarity with earlier works, with his pre-ceding criticism and poetic form, as backgroundmaterial is necessary.The first step begins in 1909 with the first pub-lished volume of PoundTs verse, Personae. Herethe reader versed in lyricism will find adequatematerial to appease himself, for the poems inPersonae are beautiful and melodic in their com-position. The 1926 volume by Boni and Liveright,New York, contains all the important selectionsfrom the earlier collections, all of which Poundwanted to maintain in print at that date. It in-cludes texts of the important oHomage to SextusPropertius� and oHugh Selwyn Mauberly.�� Con-sulting it, the observing reader will recognize agradual progression and maturity of technique ashe advances from the beginning poem oThe Tree� :7

oT stood still and was a tree amid the woodKnowing the truth of things unseen before;99to oHomage to Sextus PropertiusT�T66oT . . . come first from the clear fontBringing the Grecian orgies into Italy,and the dance into Italy,99eThis is, of course, based primarily upon Prop-ertiusT Elegies but is imbued by Pound withhumor. For example:66¢What sacred fountain did ye drink?�becomes6¢What water has mellowed your whistles?99eAs Hugh Kenner notes, oA close study of thetechniques of oHomage to Sextus Propertius� isrecommended to anyone who finds undifferentialmuddle in large blobs of the Cantos. These de-vices for organizing verse by shifts of textureand tone are central to PoundTs mature poeticpractise.�TThus, ooPropertius� holds an important place inPoundTs poetic development, but it is ~ooHugh Sel-wyn Mauberly� which most clearly demonstratesfor the student the poetic practises and principlesas they are now being utilized in the Cantos.oMauberly� is a series of ~oinner-connected�poems which Pound dedicated as a ofarewell toLondon.� Even the novitiate will recognize theautobiographical quality of the work. Thereexists, however, more to the work than the termautobiographical would at first connote. Poundis outlining, not only for himself, but for thewould-be artist, the artistic precepts which mustbe followed, and the avarice and adviser usurywhich will oppose him:oMr. NixonToIn the cream gilded cabin of his steam yachtMr. Nixon advised me kindly, to advancewith fewerDangers of delay. ~ConsiderLae be)Carefully the reviewerT.orAnd 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 isa vast difference between these rhyming versesand the ones found in the earlier Personae volume.We are reminded that Pound declared in the 1917essay, oA Retrospect,� that:o__In the spring or early summer of 1912,~H.D.T, [Sic] Richard Aldington and myselfdecided that we were agreed upon the threeprincipals follows:1. Direct treatment of the ~thingT whethersubjective or objective.2. To use absolutely no word that does notcontribute to the presentation.3. As regarding rhythm: to compose in thesequence of the musical phrase, not insequence of a metronome.�And Pound has also explained to us what he ex-pected ~ooMauberly� to exemplify for the world ofarts and letters:oAs to twentieth century poetry, and thepoetry which I expect to see written duringthe next decade or so, it will, I think, moveagainst poppy-cock; it will be harder andsaner; it will be what Mr. Hewlett callseee fo)~nearer to the boneT.And this is exactly what he has carried throughin ~oMauberly.� The edges have been shearedfrom the body of the poem and there finally existsno ornamentation whatsoever. We are confront-ed with valid and conclusive images which almostseem to leap from the page, to resound as stoutlyas a Wagnarian chord, and then in the next phrasewe hear the delicacy of a Debussian waltz in themusical and minute phrasing.Compare the ~Mr. Nixon� sequence with oEnvoi�(1919):~ooGo, dumb-born book,Tell her that sang me once that song ofLawes:Hadst thou but songAs thou hast subjects known,Then were there cause in thee that shouldcondoneEven my faults that heavy upon me lie,And build her glories their longevity.�The student must not, however, think that eithertutorage, autobiography, a necessity for self-clarification, or a cynical, pessimistic concept ofthe function of art in a world beset by material-ism is the containment of the work. The problemTHE REBELDear�

" :aint ae ee ee foe ee ae ee re a eee ag RES aera ze Sak ey SSS es FILO SFA LEE _" Tae:~ aa. *S ARSENE SSL AE STEERS EE EN Se EE SRE PSE IS PS PSS eee Sears pits,in comprehension of ~oMauberly� and the centralproblem in comprehension of the Cantos is thatthe work must be viewed on many different levelsof perception. ~Mauberly,� as a work of poeticart, is quasi-autobiographical; yet he becomes acompletely separate entity later in the poem.oMauberly� is not Pound, any more than oMr.Nixon,� or oBrennenbaum� is Pound. And yet thecomplete poem, taken as it 1s, inner-connectedthroughout, is all of these.The reader may realize from the precedingquotes the close relationship which exists be-tween these two fields of writing as Pound viewsthem. And it becomes apparent that his abilityto utilize those theoretical factors which he ob-serves in his prose writings has been highly suc-cessful. The testing ground of any theory is itsworkability, and Pound has been able to bothimprovise and utilize his own theories to a superbdegree in his own poetry. Consider, for example,his deep and abiding interest in the metamorphicprocess: in Personae he had written:oT stood still and was a tree amid the wood,99and 1f £912;oThe tree has entered my hands,The sap has ascended my arms,The tree has grown in my breasta)and then in Mauberly�T:oDaphne with her thighs in barkStretches toward me her leafy hands,�The metamorphic process has taken place with-in the poet, evolving completely, and it now existswithout the ornamentation with which it wasearlier concerned. The phrases, although concen-trated in the same basic precepts, have taken onthe order of the metamorphic process itself. Theyare cold, clipped, and impersonal. They reflectnot only a poetic maturity, but a more consciousgrasp of the intellectual faculty in Pound. Poetryexists, he tells us, as more than the mere creationof a personal intellect. It exists as a separateentity, plausible and palpable to the vision andexperience of those courageous enough to exploreit. In the metamorphic process, the intellectualand poetic has actually occurred. For this reason,Joyce KilmerTs oTrees,� will be overwhelminglyembarrassed and disappointed in the Cantos. Justas Joyce liberated the novel from a stereotypedsense of opurpose,� ostory,� or oplot,� so hasPound liberated poetry from the wilderness thatsurrounded it in the latter nineteenth and earlytwentieth century, the impotent worlds of rhetoricand excess verbage. It is small wonder thatJoyce, Eliot, and Yeats, three of the most widelyrespected men of letters in the twentieth century,acknowledge a tremendous debt to Pound. With-out his liberating influences, neither the greatworks of these men nor the critical school of Eliotwould have been possible; and neither would theCantos 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 agroup of junior executives owho were sent to theUniversity of Pennsylvania to acquire a liberaleducation. While there, they were compelled toread literary works from various ages and onvarious levels of difficulty"from, for example,the oOdyssey� of Homer to the Ulysses of Joyce.Of all the works they read, the one which mostsuccessfully defied their efforts toward compre-hension was PoundTs Cantos. This despite thefact that commentary was supplied by one of thenationTs leading Pound scholars.� The readermust not expect immediate and soul-shakingenlightenment, a sartori akin to GautamaTs.W. B. Yeats records in oA Packet for EzraPound� that Pound once said of the Cantos:oThere will be no plot, no chronicle ofevents, no logic of discourse, but two themes,the descent into Hades from Homer, a Meta-morphosis from Ovid, and mixed with thesemedieval or modern historical characters.�and the design which he promulgated in the1920's:oRather like, or unlike subject and re-sponse and counter subject in fugue.A. A. Live man goes down into world ofDeadC. B. The ~repeat in historyTB. C. The ~magic momentT or moment ofmetamorphosis, burst thru from quotidienit must be viewed objectively and coldly and with- [Sic] into ~divine or permanent world.Tout 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 9Pee 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 oS4 : 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 raaiciage ee eeSeosteseriaametses= "nwith a paraphrase of Homer. Through the restof the poem, we alternately journey through re-spective sections of Hell and Purgatory and are, atlast, delivered conclusively into Paradise withthe oRock-Drill Cantares.�� The metamorphicprocess begins on an individual level in the sec-ond Canto with AcoetesT conversion by Diony-sus. It appears again and again throughout theCantos 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 indealing with them at the same instant (or simul-taneously).What Pound has really said in the Cantos isthat there is no real worth in our present Ameri-can civilization. America, according to him, is agreat cesspool where the cast-offs and the debrisfrom all the great traditions of the East and ofEurope have accumulated. In the Adamsoniantradition of early United States history and poli-tics, he recognizes the only true spirit of tradition,culture, and civilization which this country hasever produced. He is directly concerned withcreating order out of chaos. But he believes thatthe order which has arisen here and in Englandis of a usurious type. And it is legitimate forPound to call the Cantos a o~tale of the tribeT onthese counts alone, for they embody manTs at-tempts, from the vague beginnings of recordedtime to now, to rise above his environment, tocreate out of the chaos something valid. It isPoundTs assertion that man has failed gloriously,not because of any weakness within himself, notbecause the chaos is impossible to reconcile, butbecause the evil, the usurious, the parasitic, haveseized control of manTs mind and made him believein myths. The Cantos are an astoundingly beau-tiful record of that glorious failure.An ElizabethanOn Seeing A Falcon(A recent translation of the early eighteenthcentury poem of Batard De Soleil)A dark and noble falcon I have seenOn 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 brightAnd blinding colors. From script on hateful pageThe 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 cameTo 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.10GEN GERMANNETHE REBEL

ResponsibilityI prayed to God a deityApart from me, a part of meNo answer came"it made me seeThe only God I had was Me."SAM BRASWELLSeaboardOnce in this never land of life and worldI took a sailing ship of sealing waxand spider taxand a lop-sided axAnd down to the Seas againto the lonely sea and shoreand all I get is a whaleTs kick and a musty oar?dusty whore"J. ALFRED WILLISChe SageI have labored longetching my simple symbolson tablets of wind swept sand"symbols and sandebb and flowon the whim of the wind.Strong is the desiredriving my frail reed penshaping cuniformson low tide clay.b. tolson willis, JR.FALL, 1961

rADEDGREY, FADED OVERHAULLS--FADING PROMISE!By JUNIUS D. GRIMES IIIWith the advent of the Civil War Centenniallast year a largesse of prose, concerned with theproblems of the nation and especially with theSouth, has been published. A majority of itdefames the South and its people. Some of thematerial has been optimistic. These optimisticworks give much credit for their optimism to theorevolution� in the South since 1920 and theystress the need for continued revolt againstoSouthern traditionalism� if the South is toprogress. But the rebellion against traditionalismcan be as harmful as extreme traditionalism. Wefear that perhaps the South has gone too far.We rebel, but we do not deny or repudiate.Before we can understand the complexities of ourown age, we must understand and appreciate ourheritage. But to understand the Southern her-itage is not to be blinded by it"nor is it to denyit. We have a responsibility to the memories ofmen like Jefferson and Lee. This responsibilityis not to deify, but it is one which we cannotdeny. The responsibility is to attempt to progressas they attempted to progress. This lesson of theSouthern legacy is one with which every South-erner should be familiar. It was only when thestatus quo became a thing to preserve at all coststhat 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 eversince endured the recrimination of other sections.Equally important, it lost many of its leaders andable-bodied men. It is in danger of losing its lead-ers and manpower once more. Perhaps we have12revolted against our past. The South is no longermerely a region of antiquarianTs legends, but wehave inherited from the generations since theCivil War the tendency to distrust difference.And no matter how we rebel against the past,progress is difference. If our focus is not towardthe past, it is still not as progressive as it shouldbe. 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 housewhich is heated by a relic of a stove, and the houseis permeated by the heavy odor of pork and vege-tables. The oliving room� of the house is in thefront. Several chairs squat around a broken-down television set which Willy bought (for onlyabout two times its retail value new) from asecond-hand dealer. (This is quite fair. Afterall, he is paying for the television on time andsome oarrangements� had to be made.) Thechairs are covered with material that looks verymuch like faded print flour sacks, and on the wallhang three or four sparkly signs"oGod Bless OurHome,� or maybe even oJesus Saves.� Yes, Willyis a fundamentalist. He takes his religion seri-ously. On the other hand, his religion simplyotakes� him.Ours is a mechanized age, so Willy cultivateswith a tractor instead of mules; and he drives ashiny 1955 Ford for which he was exploited onlythree years. Each Saturday afternoon, he andhis family of nine, ranging in age from three toTHE REBEL|~lilAU

WHYiss} *ySet SeteSe~ 2 BB eRe cae ah RR ch Sa ae Se Ee ES a ciphidniveumne repeat oesid atts Raine ari amenitiesiniteee meetin - . iia :1 Ee TE eee a aa FE a NE eS SEE ER PODS Fe FEE PGT Ra Seesnineteen and dressed in their finest mail orderpants 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 frontof the opicture show.� In two words, Willy Alli-good is poor and ignorant.One Saturday during his visit to town Willyhears something new. A northern corporationwishes to buy the mineral rights to the farmlandsurrounding the town. The corporation thinksphosphate deposits may be beneath the soil. Inthe course of the day Willy hears much pro andecon about the corporation; when he gets homehe is confused.The next Wednesday a representative of thenorthern corporation visits Willy at his farm. Hecomes out into the sandy field where Willy is plow-ing, and they stand and talk"mostly the northernfellow talks and Willy listens. When the manleaves, 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. Thenorthern corporation wishes to buy the mineralrights to Willy AlligoodTs land and they have of-fered him more money for something called anoption than Willy clears in a year.But Willy Alligood doesnTt know what phos-phate is, and all the manTs talk about mineralrights and options, and all his assurances thatany phosphate found can be mined without theleast harm to the surface soil leaves Willy in astate of turmoil. From all this he discerns onlytwo things: He understands that the man wantsto mine some mineral that is under his property,and to Willy omine� means to dig holes. He alsounderstands that the man is odifferent�, anddifference is a thing to distrust.Willy is not alone in his dilemma. All theWilly Alligoods in the area face the same confu-sion. In desperation Willy Alligood turns to aneighbor. This neighbor has several large farmsand the respect of his community. Willy listensas the neighbor tells him terrible stories about theoundesirable elements� the northern corporationwould bring if it came; and he shudders when hehears how the river is close to land and if othoseNortherners� dig holes under the ground thewater will seep in and the land will fall into theholes. Willy couldnTt understand, even if anybodybothered to tell him, that his wealthy neighboremployes a large labor force and that if the phos-phate mining operations were set up there wouldbe new work for many people, and he would beFALi, 1964so fees oeforced to pay higher wages. Willy wouldnTt knowwhat oconservatism� means any more than hewould know what otheology� means; but he un-derstands what it means if his land falls in theriver, as he understands the ofire and eternaldamnation� spewed at him from the pulpit everySunday. And one more thing Willy knows now.He isnTt about to sell his land to those outsiders.Thus the Willy Alligoods, in their fear andignorance, deny themselves a possible salvationfrom strangulating poverty. They deny theirsons a chance to earn good wages and maybe evena chance to go to college. Their sons who donTtgo to college leave the South to make enoughmoney to live like other Americans. And if, bychance, Willy AlligoodTs sons get to college andget a degree, they go to work for the northerncorporation that Willy has denied entrance intohis land"they go to work for it in some placeWilly Alligood never heard of. Willy Alligood hasnot only denied himself, he has denied the Southand the people of the South an equal chance. Hecontinues to deplete the soil growing crops nobodywill buy, and the exodus of the opportunity-seek-ing youngsters continues. And Willy AlligoodisnTt found only in Eastern Carolina. He is Dal-las Hart in eastern Kentucky, or Henry Beau-champ in the Louisiana bayou county, or GradyEvans in north Georgia.However, we are not content to rebel onlyagainst those elements in the South, both con-ceptual and physical, which suffocate it. We rebelalso against those critics of the South, within itsregional boundaries and elsewhere, who deny thewill and ability of the region to progress. Thosewho, by these very denials are seemingly intentupon 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 andbeyond help, and which is fanatically certainthat the sensibilities of everyone else should bethe same. It is this group which would not callWilly Alligood poor and ignorant. To them he isthe degenerate South. He is lazy, shiftless, in-bred, and frankly ~not worth the powder andshot...� These individuals aid and abet theignorance and poverty of the South by refusingto acknowledge any aspects other than these. Ifthe crimes of the reconstructionist against theregion were crimes of commission, the currentpsuedo-objective denials of any, other than degen-erate elements here are equally crimes of omis-sion. Specifically, we refer to those literary13~orer ORES PNAS eR Ah ep S Lens ese AP SUTRA DST OTET CSET LETS Be NOTE RSS LG SPS ETERISLT yuolie cen me ee ee eg ig Ne as a ene eee eee, aMpace et =~ aPA

Leet mneae stantial lee aaemeletseDAsOseritics who will instantly recognize and almost in-variably applaud any author who condemns theSouth and tells us we are a poverty-stricken, de-generate, disgusting region whose hopes were deadbefore they were born. ~These men, who recog-nize only the portions of Southern writing whichrender the South in depraved cliché, are as guiltyof retarding our faltering advances as are thosein the South who refuse to recognize anythingexcept a glorified dream of a non-existent statusquo. In their refusal to acknowledge any exceptour degenerate and reactionary elements theyhave invalidated entirely too much attemptedprogress. It is these men, and WillyTs neighborwho 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 onethat accepts blindly (or profitably) the somewhatdreary but nonetheless necessary and entirely sat-isfactory status quo, and the other that sees onlygy HSiNyLASaeeee " A" - S.a -�"� i ="" ee"-- Ee ~ ~oa, ~ s2 ~, ae14> HelSY i% NY \ iecurrent degeneracy and squalor, and complete,absolute debilitation"the element that sees noth-ing wrong and the element that sees nothingright. We believe that there is much in our her-itage which needs to be understood and of whichwe can be proud, and we believe that our futurehas its hopeful aspects. The South has both thewill and the intelligence to recognize the truevalue and responsibility of its heritage, thelimitations of its present circumstances, andthe intense need for liberal and honest progress.It has both the will and ability to build uponthese evaluations and rehabilitate itself educa-tionally, politically, economically. It will notonly endure. It will again be equal. Only whenwe have a strong South can we have a trulystrong nation. So long as one section of ourcountry is retarded, then the country itself isweaker. And never in our history has there beena greater need for a strong, unified country.eee1 iia |SN. ye\\ i\y SST GeeTHE REBELa3s:aAyihyalK

must understand why Marcel did it. You mustHow can I say to you,an obsessedYouTouunderstand"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 ladentrellis of the vineyard I saw that he held a leaf in hisNi 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 bowelss of the shady trellis of the vineyard; and heand 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 theleaf: this is the eye of the world; this is the beginning;in the beginning, God made leaves"this is grapes beingborn, grapes, and trees, and sons and daughters, and3 " owers"and (holding it up again) this is the shape of thethis is the grape, the wine, the son and daughterthis is grass and skya hills ad the eds drink oF mid-summer"� Hefel the grape and we walked on into the furthernessbf the garden; but he still clutched the leaf.You see, he was older than [; that is easy enough torecognize, but only a few years actually, in seasons. Itwas only that he was very old in the heart; and (even atthat 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 thesounds of the world waking up from sleep; and lookingdown into the garden and the orchard, down to where thebeautiful 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 laterwhen he had the final revelation, that he took me with him;and we went down into the hills, way out to the ruins ofsome old negro shanty; he took me with him again, tookme 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 bowersheld 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 thehills; then autumn; and then winter; and other springwill come, and the leaves will give birth to the world.you understand?�oYes. You are leaving. These are the seasons of dieheart.�oVes"the seasons of the heart"�And that night I wept a long while. Because he hadwalked to the blackened stump of a tree and touched it;a thunder-struck tree, burned, and split almost completelydown the center, scarred and warped and twisted; and yet,it still bore a small bower of leaves on each side in thespring sunlight. And he said, oOut of the leaf comes forththe body; and out of the body comes forth the leaf.�And so I wept; and in the night the rain fell softly oncethe singing rain beneath the singing sky; and it stopped.gone; knew that he had gone with the rain and. thatssinging soul went by; free, and no longer tired.When they found the husk of him beneath the darkenedshadow of the tree in the rays of the morning sunlight, ofcourse, they wailed and lamented, but I"ah! they thoughtthey had found him"the true him"but I knew"I knewwhere he was; yes, I wept, but because I was lonely. 4Marcel was gone to the forest wind with three feet of }yellow cord and a borrowed brown horse. They say thathe was gone before the sun went down; say that the nightrain didnTt soothe him on his way. I donTt know. I donTtthink so. I think he sat for a long time there in theevening rays, on the back of that borrowed horse; sat and) ismoked and watched the last light die across the breadthof the western sky. And he climbed down and ground thatcigarette out carefully, pulled the paper open and scatteredthe tobacco out into the evening wind and balled the paperup and put it in his pocket and remounted and rode thdark horse and three feet of yellow cord up into the thicpart of the enchanted forest, the greenest part, where theTwind is always mid-summer.Yesterday, I took Eugene to the garden; and I said td 7him, o"this is the shape of the leaf"� and he understog4; 7and believed; and this morning when I looked down frothe window of my room, when I looked down into Ahegarden and the trees of the orchard, beneath the trées of: eethe orchard, walking beneath the trees in the early morningsunlight of the garden, I saw my father, dead /these cig,long summers" | \ ~4= "CHOCKEB

POETRYVisitorThe earth is so closeTo the sky that in theShadows they formAn invisible union.In the stillnessThe crepe myrtleDroops sleepilyAnd a thousand tiny soundsFall muted to the earth.Shadows linger aboutThe yard while theChildren gather their toysAnd their laughter hangsOn the air only toDisappear with a whisper.The world is waiting.Silent and still it waits.I am not as patientAs the world is.Hurry, night!Lift your damp wingsAnd sweep across the sky!A sudden breeze stirsAnd whispers, oNightTs coming!�There is quietness about.Night is here.16CimeMoments I have spent with you,Known life, dreamed dreams,Reached out and touched a cloudTo find it only snow white clay.I wish I were a travelerAnd could leave the world behind.Fourth of July love takes me in, comforts me"And in that summer day I hear explosions andhappy songsTill darkness comes, flags come downAnd silence fills my little world.Then I am alone.I have come so close to day and nightTo shadows and old menTs dreams,Felt their lives and deaths,Known torment and God and pain.I wish that I could live one dayAnd hold it close and never die.Sue Ellen HunsuckerTHE REBEL

kerA segait TREATS. PPR SEAT ENA SESE NE SELES aE ERE EE RS EIEN OTS FAAS SEO ET TEST OMEN SAP ONL RAMs MAES S ESSnAvilonbyM. GainesAnd we have comeout of the maelstrombearing a packet of dry seedspod ticking pairsand a white lettertwo round robin rain dropsin a diskand sweeter than summer Sundaysand the fire that gives no lightthe fire that gives no heatfrom no land of second chanceno lily led landof satiated green hunger ;the mist laybetween the mountainslike a fold of soft silk handkerchiefswept out from some godor ghost hand;FALL, 1961IIAbove the shorethe great gray sea birds screamand we ask sea weed and windwhy we have comeout of what way have we comeand fear stretchingchic soft its long loinsunder the shadow of tablesand it was April againApril of the soft thighsthe girl, the nameand the month of rainand we were borne outthrough arches of treesseas of cloudsgalaxies and pale deserts of nymphspast ghost glimmers in the long eveningsand we have seen Elysium standElysium standing alonenor tower-topped towns stood thenand sea birds screamrise ghost gray through the fetid airand watchedthe barge go down to Camelotbearingthree white maidensand a rusty sword;And seen or heard in the morningshim turn once in his long sleepand mutter a namewhere the wild sea GodTs twistin the hairTs white wavedead and drifting a dreamof spume and sea shelland the sun on a magic swordMerlin and the lean-hearted windblowing the blue-flagged wallto drown in mellow winesof sea windIlSoft-siftingssand and maiden-hair and the moonand round wafer of the sunend come in a hot dayand into the candle flamea whispering white mothand cheshire hands must try the belland cheshire faces on the stairand cheshire smiles were at the doorand all the while the shadesand shadows on the walkraising their heads in question.iesee ceSieduaieas ee ea

Sell ESSE SERS Sh SSE SISA REESE SEA SETI EASES Or ee oe Fh+.A ES \ oC. eeLarge yans were rolling into Fishton.�A hugetent was being erected in the vacant lot M@xt tothe Presbyterian Church. Complicated networksOf electric lights were being strung on woodenPoles under the tent skeleton. People stood andmilled 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 $taéksof félding chairs were waitime fo be put msidethe tant. Sawdust®was being scattered under thetent frameHomer saw this activity on his way home fromschool. Thinking about a circus being in townexcited him. At last he would be able to see areal tiger! He galloped home to ask Ma if hecould watch the men work for a while. Maybehe would get to see them feed the animals.Ma let him go, with instructions not to staytoo long, to keep out of the way, and not to askfoolish questions. Homer watched every movethe 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 single50 mMZ="-FmMenoNpPezyortzoacrrzoTHE REBEL

8is a3 SS ape pat. o), RB Z a ake Tot Eos) Us * pollyiwat o ee ¥ ,- ae. A :e } Vy : .we \ ~ . ~ ~LY t = os~i c . ~. eg WR gg :ig Fa ay ~iuF a - ~-a hs PS ol Ssoty,tiger, Homer sauntered over toward a soft drinkstand. He met a friendly carpenter who gavehim a piece of chocolate candy and asked him hisname. The man was very nice, in HomerTsopinion.oHomer!� yelled someone. oHomer McCoyBrown, come here this instant!� That could beno one other than Ma. She used his full name injust that tone whenever she meant business. Shewas now hurrying toward him, very excited andupset about something. She seized his hand andjerked 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 gonear that awful place again! ThereTs no tellingwhat those crazy people might do to you!�oBut, Ma, itTs got to be a circus! If it ain't acircus, what is it? Huh?TBut Ma gave him no answer to his question,and Homer was a very puzzled boy. It just hadto be a circus. And why had Ma been so mad athim for going down to watch? First she let himgo; then she came running after him, forbiddinghim to return. Oh, well. ThatTs the way grown-ups were. But he would find out for himself, ifhe could get away from the house long enough.He slipped away from the house that night andwent 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 schooland 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 asday. People were milling around outside, smok-ing, or drinking Pepsis, or eating candy. Homerand Joey bought a Pepsi and went into the tent.A thousand chairs must have been inside. Theywere neatly lined up from one side to the other.At the front was a small stage with more chairsFALL, 1961on it. In front of the stage, a long, wooden benchhad been placed; and a piano was at one end ofthe bench.Homer and Joey sat down on the back row, slid-ing to the corner so that no one would see themand make them leave. Soon the people outsidestarted coming in, and most of them went to thefront and sat down. The boys decided that goingnearer to the front would be safe for them, so upthey went.A woman wearing a purple hat sat down infront of Homer. The hat had a long red featherwhich curled down to her pudgy chin, forminga 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 itdidnTt scare away all the fish.Soon a group of solemn men marched on thestage and sat down. Each of them carried abook and wore a long black dress. They lookedso strange to the boys that they laughed aloud.The woman in the purple hat turned around andsaid, oWill you boys please shut up? You'reblaspheming men of God.� Joey and HomerdidnTt know what she was talking about, so theyjust said, oYes, MaTam.�TOne of the men in a black dress stood up andheld up his hands. Everyone stopped talking andstood up, so Homer and Joey stood up, too.oBrothers and sisters,T said the man in theblack 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 tailand 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 sinand iniquity thatTs in this here place. We'reagonna help you folks prepare for that GreatLe

Judgment Day which is adrawinT nigh. And, myfriends, here is the man who God has sent to dothis, 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 andyelling, so Homer and Joey clapped and yelled,too. The big man held up his hands, and thepeople stopped clapping and yelling and sat down.Then he came to the front and started talking.oBrothers and sisters,� he began, ~o~WeTre mightyglad to have each and every one of you here withus this eveninT. We have felt for a long time thatwe would come to Fishton and help the goodChristians out in their fight against the enemy.We're agonna put Satan on the run. GodTs agonnaput his foot down on the devil and let the spiritmove here in this town. And to start this herecampaign off, ITm gonna ask Brother Frank tolead us in a fine hymn.�The man in the black dress went down to thepiano and started playing. Everybody stood upand started singing. Homer and Joey didnTt knowthe song, so they just stood. Everybody startedclapping and yelling, and a few people starteddancing up and down the aisles between the rowsof chairs.oAre we Tspose to do that, Joey? Gee, this isa funny circus. ITve never seen one like it. Haveyou?�oHeck, no; but itTs been fun so far. LetTs justwait around and see what everybody else does.�The people soon stopped dancing and went backto their seats. Finally, the singing and yellingstopped and everybody sat down. The big mancame back on the stage and started talking again.oNow, brothers and sisters, before I deliver themessage tonight, we have gotta take the offerinTof the eveninT. Just give as you feel led, and theAlmighty will surely reward you at the end oflifeTs journey. Remember what Malachi saidabout bringinT your tithes and offerinTs into thestorehouse and gettinT your shower of blessinTsin return. God needs your dollars! [Pm gonnaask four of the good brethren behind me to passthe cups around.�Four of the men in the black dresses came downfrom the stage with tin cups in their hands.People started dropping money in the cups andpassing them on down the rows.oHey, Joey, you got any money?three pennies.�ToNo, I ainTt got any. You gonna drop them inthe cup?�oYeah, they may run us out if we donTt. Here,I only got20you drop in one, too.�When the cup came by, they dropped the pen-nies in. The man in the black dress gave theman odd look and passed on to the next row. Afterthe money had been collected, the men took it upto the wooden bench and counted it.The big man came back on stage and began.oBrothers and sisters, bear with me while Itake my text from the seventh chapter of ~Gen-esis,T which is that dear old story of the flood.�THe read for a while, closed the book, and con-tinued.oHere, my friends, we have that old, old storyof Noah and the ark and the flood that God sentto destroy all mankind. Why, brothers and sis-ters, did He choose to destroy that which He hadcreated in His own image? Why did He destroythe lovely, beautiful world that He had made insix days? ITll tell you why, my good friends. Godlooked down on this old sinful world one day andsaid to Gabriel, ~It looks as if Satan has the worldin his clutches. ITm agittinT tired of the sin andiniquity and lyinT and stealinT and fornicatinT andgamblinT and killinT and the marryinT and givinTin 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, mygood friends. Yes, God was sick and tired of thesin in the world, just as He is tired of it now.One of these days HeTs agonna rain down hellfireand brimstone, and may He have mercy on yoursoul 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 arkso 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 hisfriends and neighbors that a flood was acominTand for them to likewise prepare for that day.But the neighbors, they just laughed at Noah andsaid, ~Look at that old fool Noah. He says a floodis acominT and we should build an ark. Crazy inthe head, thatTs what he is. Maybe we ought todo something with him.T But old Noah, he didnTtpay them any mind when they laughed, scorned,and ridiculed him. He just kept on abuildinT theark and atrustinT God.�oHave you ever heard anything like it, Joey?�oHeck, no. Do you reckon heTs telling the truthabout a rain of fire coming?�oOf course not, you dunce! HeTs getting paidfor telling his story, ainTt he? DidnTt we give himthree pennies to hear him?�oYeah, I guess so.�THE REBEL

~\THE Rpse,D> ielam J iyawevcss * 22a Sew SESS SES eS Se SS ESS SEN FSGS FR SE SR ar ae eeewe RESETS pre hea eich 5 eT :- ao ~a " remanence sae erThe big man was screaming now.o. . . and God rained down gallons and gallonsof water for forty days and forty nights. Thetrees were covered, the mountains were covered,and the whole earth was covered. All the livinTcreatures were drowned in this vast flood of waterthat God had sent down. Oh, my friends. I cansee it now. As the flood waters started creepinTup to the back doors and the people started mov-inT up to higher ground, what a time there musthave been! I can see them abanginT on the doorof the ark apleadinT with Noah, ~Please, Noah, letus in. WeTre agonna drown unless you help us.TBut old Noah, he had instructions from the GodAlmighty not to take anybody along except hisfamily. And he had warned them, but they laugh-ed in his face. He had his orders from the GreatOne above, and he was not aturninT back.oYes, my friends, thatTs exactly whatTs agonnahappen to some of you asittinT under the soundof my voice tonight. You'll go away from heretonight adoubtinT what ITm tellinT you and acallinTme a ~Holy RollerT under the breath. Well, myfriends, ITd rather be a Holy Roller arollinT intothe gates of pearl than a sinner slidinT into theblack pits of Hell.�The big man was enjoying himself. His facewas a scarlet mass of flesh, and drops of perspira-tion trickled down his crooked nose, dripping onhis shoe tops. He had removed his jacket longago; his shirt was unbuttoned at the collar; thecanary tie flew and jerked with spasmodic motionsas he sereeched at the congregation.oHey, Joey. Look at him. HeTs foaming at themouth! Do you sTpose heTs going mad? Huh?�The woman in the purple hat turned aroundand ordered, oBe quiet! Listen to him!� Mutter-"ing something about olittle heathens,� she turnedher attention back to the big man.Homer and Joey didnTt know what to make ofthe situation. The big man kept screaming, yell-ing, and jumping around. Occasionally he would "punctuate a statement by slamming his fist downon the pulpit or by stamping his feet. The peo-ple around them kept yelling, oAmen, Brother,�and oHallelujah, preach it, Brother,T and a fewpeople started dancing again. Homer and Joeyhad never seen anything like it! They watchedwith fascination, wondering what this strangebehavior was.Then the woman in the purple hat commencedto dance. The hat bobbed up and down with hermovements. Finally losing the battle to stay onher head, it fell into the aisle and rolled down tothe next row of seats. The red feather had beenerushed 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 AEFinally, the man in the black dress went to thepiano 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 voiceis over the fires of Hell right this minute. Hemay be snapped out into eternity at any momentwhere he will have to meet his Lord and have togive an account for himself and his sins. Wherewill you go, dear sinner? Ill tell you where you'llgo, if youTre not prepared to meet your Master.You'll go straight down to Hell where thereTseternal fire and weepinT and wailinT and gnashinTof teeth. WonTt you come tonight and be savedfrom eternal punishment in Hell? What if yourdear little child, or your dear husband or wifewere to be taken away from you? What if yourcar should meet with an accident before you reachyour home tonight? Oh, God! My friends, youdonTt 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 Godis acallinT you. WonTt you come and get readyfor that dark journey over the River of Jordan?�People started moving toward the long woodenbench at the front. Some were screaming, somewere dancing, some were moaning, and many wereweeping hysterically. The man in the black dressat the piano started playing louder and faster inhis efforts to be heard above the other commotion.A chant was started, and it spread all over thetent. The woman in the purple hat had gonedown 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 knotof fear in this throat and nodded assent.They edged their way down the row of seats tothe aisle, glancing over their shoulders to see ifanyone would try to stop them from leaving. Thenthey ran up the aisle and out of the tent. No onehad noticed their exit. At last they were safelyon 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 upto!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 neversquealed, have I. But I still donTt know whatthat was.�Tatnie Rese sels Lebo Rs AES UAT DSL STENTS DELETE EO NS TE EESee a Ne ee ee ee ee ee ee a

*ats ies¥~ The Sand BoxIn the shifting sandsof a sand boxgreat plans are laid ,in maps of toys arrayed.And the sand man gleanscourt jesters"kings and queensin Buster Browns and pinafores.And in the morning ,who can tell awhether dollie SSwas buried undera blue sail boator a yellow spade.~wee IL The Stide ~~ Rung after rung.of steeled steps} J toward the topknee socks andknickers from downthe blockstrain toward the top.All the long daydown the dark way.White knuckles on the rail,scuffed toes in the breechteeter at the topand endless lines behindwonTt stop"canTt stop.All the long daydown the dark way.5 0 ters~yee ee 4 WAYSSlickily sad as a ducklesspark pond and thesame sterile breeze slapsthe face"tobogganed intangled legs"and no oneto set the pace.All the long daydown 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 eeeMarriage of the HoursI stood beside a green briar bushAll cast in morning jewelsAnd wept for morning"green and clear,Briar and branch as one.I kissed a maid by a green briarBush all cast in evening pearlsAnd cried for evening"pale and pure,Leaves and lips as one.I dreamt a dream by a green briarBush all cast in fleeting sighsAnd woke for finding"sun and shade,Dreams and dawns as one.b. tolson willis, JR.SolitudeThese are the hollow hoursThe hands slouch around the clockThey are coming| I hear them comingThose shuffling steps on the stair: Those same muted cadences3 Lifting, swirling from step to steprail, | And]eocl e Standing at the top| Look down the darkened ascentAnd wait.No need hands"Fumbling for the light switchNo needItTs only the regularsThey well know the wayHow well they know the way.4 b. tolson willis, JR.a FALL, 1961oeMix gee a a Oe a i Og lin OO A eI = eSa 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 : ReSe ee ee ee eee oS See SF Set eS es EeSILK SCREENSerigraphy or silk screen-ing is mainly a commercialprocess. Basically it is a sten-cil process whereby the inkis osqueezed� through a sten-cil painted on the silk andtransferred to the object be-ing worked on"in this casepaper. Each color must beprinted independently. Anendless variety of colors maybe obtained by using trans-parent and opaque paints.

niteTHE INTAGLIO PROCESSareas,below the sur-eSs,a metal plate are printedprocintaglioand linesIn thetextures>face ofEtchings, en-and drypointsof paperon a sheetaquatintsare all part of the?gravingsio process.intag|process offers an un-I feel thisited opportunion andty for experimen-11VIm]ty; I enjoy theinvolveding the final print.1creattattjusical processestechnas much as pull

The process of creating woodcut prints is con-cerned chiefly with a plank of wood, an artist, andan idea. The design is drawn on the surface ofthe wood with ink and brush. The uninked por-tions are then cut out with the aid of carvingtools, leaving the design in relief on the board.Printing ink is rolled over the board and a printis made on paper.The woodcut print is noted for its stark, boldlines and shapes. It is an ideal medium when theartist wishes to express his idea with forceful-ness and clarity.

|i:|Lithography is uniqueamong the graphic processes.In the intaglio and reliefprocesses a great deal of workis required to cut or etch awayareas that will develop theorganization of our content.In lithography we draw di-rectly on limestone and theedition 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 elt4 ! 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 aRalae 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 aadoct sieran a on 2 ; 5 | Pi""" AY 3iNG Fh9 ea5)o row relthat a bC0) telhelvhereeurlouanh IProgressive Revelation And other dandy didactics: lawyers, priests, doc- So whentors, politicians, and newspapermen are othe downTropic 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 ee4 Poblicatous, Ine. 405. world.� These revelations are endless, cloaked the celt| in cliches and frequently composed in dithyrambs, | mount n7 GE EES seg haa ues Giga Sie Easy for bearded readers with flutes. His descriptions nearestTi Miller accosted the Western World with his sordid are astounding. Take, for example, Paris: hings Wi1 and formless autobiography, Tropic of Cancer.An eternal city, Paris! More eternal thanFor all these many years, Americans have largely Rome ives ap loudorous Gran Nineveh. ~The Welch byremained excluded from his redemptive world. very navel of the world to which, like a blindBut now in the dawn of the so-called osophisticat- and faltering idiot, one crawls back on handsed sixties,� the morality bans have been lifted and and knees. And like a cork that has driftedGrove 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. acompiles, and comments on, an assorted general- onization 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 Posta rhino, only the shadow of his foremost protru- erected over a hollow pit of nothingness. Southersion visible. And if we have nothing better to do this shyae 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 afor example), we are trampled upon and cast rface first into the depths of the worldTs oldest pln ne a0 Were are BO sizks, no trees, no receivedmarket. From there, all seems greenish and dis- " ee outstandtorted, the objects about us encased in slime and _ Add it, subtract it, divide it, and multiply it, or | Thedecay. Suddenly Miller reappears, but this time just leave it to stand on its own"and the sum ow'sin the form of a giant piranha fish, heaping banal- total of Tropic of Cancer is exactly nothing. Theeffect is that of a canvas-top revival meetingities and insults upon us, circling closer and closer. h a author hWe are told that here the great wish is to flow on. where new converts address the congregation in their wrTo 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, ihe 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 areand where weTre going and proceeds to digressallegorically 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 " Ngit. prophet, but he offers no clue in the epistle that is | i sShould 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 Ansion 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 Ne28 THE REBEL tanALL, ]

� Malloot Ngcomeneday ji |pepe_ enBe a aa Si EEDA BOS BELA DEE AT BAS itl eR RE cite SB BOE LR LVS we CAB Bre ae ENEee 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 REYwrite an introduction to this. And then anothercan introduce that, and another and another"and it can go on and on, offering all sorts of in-teresting possibilities. Quite seriously, that ishow religions are started and Shapiro proposesthat a Bible be compiled from the works of Miller,so I tender this suggestion in good faith, onlytrying to help.And why not? In this age of social revolution,where reformists garner followings with suchcurious ease, a body is pronounced a know-nothing"a reactionary for taking an unfavorable stand.So when oBrother KarlT tosses the Gideon Biblesdown the laundry chutes, and Norman Cousinsproclaims that we have grown up and can attendthe celebration feast at Big Sur, I, too, shallmount my flagstaff and, hand in hand with thenearest whore (who will be most any gal, becausethings will have changed), skip off on a pilgrim-age to the masterTs feet, dragging, say, RobertWelch behind me."GEORGE GARDNERThe Romantic ComediansThe Romantic Comedians. By Ellen Glasgow. Garden City.New York: Dolphin Books, Doubleday & Company, Inc.1961. (first published by Doubleday, Page & Company in1926). pp. 274.. 3.99.Postwar conflict of morals in the fictional oldSouthern town of Queensborough is the theme ofthis short novel by Pulitzer Prize winner, EllenGlasgow. A native of Richmond, Virginia, andauthor of twenty-two novels, Miss Glasgow hasreceived several honorary degrees and awards foroutstanding writing.The Romantic Comedians, one of Miss Glas-gowTs trilogy that took place in Queensborough,was written about her native Richmond, but theauthor has taken the liberty ~~of calling things bytheir wrong names which is common to all man-kind, though it would appear to have reached itshighest expression in the Southern breed.� Al-though the main element involved in the writingof the novel was humor of a satirical nature, MissGlasgow is quick to inform the reader that thestory sets a tragic mood.Judge Honeywell, the main character, is stilltrue to the fiction of the old oSouthern gentle-man,� even though the novel takes place afterWorld War I. The Judge, recently widowed andsearching for happiness which he believes to beassociated with youth, marries Annabel Upchurch,who had been disappointed in her first love andwho would orather have money than anything inFALL, 1961the 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 withAmanda Lightfoot but had never oyielded totemptation.� Now that Cordelia is dead, he cannot picture himself being oromantic about a belleand beauty of another period,� and his affectionturns to young Annabel.The result is a tragicomedy written around thejudgeTs inability to grow old with his generationand 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 beenclassified by Miss Glasgow as a comedy of man-ners. There are excellent characterizations, andthe reader understands the character throughMiss GlasgowTs ability to let her characters speakfor her. The author has related the ancient storyof love between the young and the old in a digni-fied Southern setting with slight exaggerations,but more important, with an ample amount ofwarmth and humor."SANDRA HUNSUCKERThe Civil War in AmericaThe 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 historianAlan Barker may have started a new trend inaccounts of the great conflict. In dealing with thisperhaps often overwritten subject, he combinesimpartiality and conciseness with adequate pres-entation of the war from both southern and north-ern viewpoints. His examination of the causesof the war and their effects through the Recon-struction period is thorough. Neglecting themined-out military history of the war, the authorlimits himself to a clear and precise statementof 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 somany books on the Civil War.The book originated from a series of lecturesthat Mr. Barker gave at Cambridge in 1955. Theselectures were a guide for the undergraduate study-ing of the Civil War. At Eton in 1956, the CivilWar was taught as a special course. Mr. Barkerwrote the first half of the book to serve as an29ies 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 CivilWar history is greatly overwritten in America,it is greatly underwritten in England.The Civil War in America is a brief account ofthe period before the Civil War, the actual war,and Reconstruction. As far as it being an under-written subject in England is concerned, it mightbe so. Mr. Barker is, however, insuring that atleast it will be a well-written subject."RONALD WATSONA Short Life of KierkegaardA Short Life of Kierkegaard. By Walter Lowerie.York: Anchor Books, Doubleday & Company, Inc.pp. 226. $.95.New1942.Walter Lowerie introduces the casual reader,by a series of montage shots, to Copenhagen andto one of the foremost philosophic figures of thenineteenth century. Lowerie is a stranger neitherto the philosophy nor the theological accomplish-ments of Séren KierkegaardTs life and works. Hehas edited a biography of the philosopher prior tothis one, done numerous translations of Kierke-gaard, and has written several theological worksof his own. He once held the rectorship of St.PaulTs American Church in Rome. These areadequate justifications for his intended analysisof the philosophy of Christian existentialism.However, there are shortcomings to LowerieTsapproach to KierkegaardTs writings. He imbuesconcise theological and historical factors involv-ing the philosopherTs personal metamorphosiswith childish idealism. The overlying effect is abreakdown in continuity and a foundering insomewhat obscure, sometimes irrelevant, andsometimes unproven facts.Although Soren Kierkegaard first revoltedagainst the church, then later returned to its se-curity, the reader of LowerieTs biography willencounter only a shallow, idealistic, Christianconception, based upon some documents and writ-ings as the reason for both KierkegaardTs heresyand his reaffirmation of faith. The erudite read-er will find this impossible to believe. Factorsmore important than those which Lowerie hasemphasized were involved. In order to concen-trate his attention upon the spiritual and ideal-istic side of KierkegaardTs nature, Lowerie hasoverlooked these factors.Soren Kierkegaard was born in Copenhagen onMay 5, 1813, lived there his whole life, and diedon November 4, 1855. As Lowerie notes, he wasaccompanied at his demise by ~~a popular demon-30a ee Re P SL POET OTE SEE ESD SBE STF GS PS PFT EI OS THT TT ET ST ST STOstration 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 ageof seventeen, intent upon theological study. With-in a short period of years, he lost most of hisfamily and began to see portents of his own endat a very young age. At the age of twenty-onehe suffered a great cataclysmic soul-shaking,which Lowerie has classified as othe great earth-quake.�Out of this ogreat earthquake,T KierkegaardTsthought generally turned away from the churchand the theological thought of his day. He latercame to a reconciliation between Christianity andphilosophy, out of which he grew to be what isregarded today as the first and foremost exponentof Christian Existentialism.What Lowerie has overlooked seems to be thepsychological implications involved in SorenKiergegaardTs actions. While Lowerie bases allhis findings on what is written in the philosoph-erTs texts, he seems to completely ignore the factthat Kierkegaard was undergoing tremendouspsychological strain, that his own death appearedimminent to him, that he was an idealist to thepoint of being saintly irresponsible.Ironically enough, in spite of the shortsightedviews taken by the author, in spite of some fan-tastic conclusions drawn from presenting acts andworks out of context, Lowerie has fulfilled his pur-pose"to make Kierkegaard available and com-municative to a larger segment of the people, tothe layman; and the layman, the theologian, theBaptist missionary, not the philosophy student,will be attracted to his finishing texts, to the docu-mentary olast words� of Soren Kierkegaard"oGod is love.� "ptafiThe New AmbassadorsThe New Ambassadors. By Edwin Gilbert. New York:J. B. Lippincott Company. 1961. 332 pp. $4.95.Edwin GilbertTs recently published novel, TheNew Ambassadors, presents to the reader a newapproach to an old idea"the idea that the pro-gressive American is continually striving to~ooAmericanize� the world.Gilbert, an already established novelist, haslived in Paris for more than two years; he has,therefore, been an eye-witness to the surge ofAmerican commercialism evident in France, asin all of Europe. He defines these onew ambassa-dors� as the progressive businessmen who hopeTHE REBEL(j/pyTyAull

vassadorsy 444ee ee ee es eee Cgto transpose Paris into a modern American citythrough commercial enterprises that are profit-able to French, as well as American industries.GilbertTs hero, Mike Stoddard, who is a salesand industrial engineer, may be a typical Ameri-ean abroad, but it is doubtful that he is the typicalAmerican at home. In Paris, he is the leader ofall the oambassadors.� They flock around him,eager to have the distinction of knowing Stoddardand of being seen with him. He is a demigod,intent on owning the city and on using it to suithis progressive nature. He is in many ways care-less; he is accident-prone; he fails to renew hisvisa; he owes money to his government; he is al-ways late.On the other hand, he is an excellent salesmanand engineer, and he handles what he considersto be important business matters efficiently. Heis a gentle, sympathetic man with a pleasant per-sonality. He is inconsistent"a quality whichadapts him to the plot, but which causes the read-er to question his credibility.Gilbert seems to understand Stoddard only inhis conception of him as an ambassador. Thereader can hardly imagine this modern Americanas a character capable of the transition he makeswhen confronted with French ideals.Of course, Stoddard is not the only onew am-bassador.� They come to Europe with a varietyof occupations and under many different circum-stances. Most of them, however, are less aggres-sive than Stoddard and appeal to the reader asmore typically American.In this novel there is a touch of French influ-ence that reveals the more unfortunate qualitiesof Americans. Danielle, StoddardTs French lover,represents this influence in a warm, sensitivemanner. Through her, the author contrasts char-acteristic French traditionalism and Americanmodernism. Danielle acknowledges her obliga-tions to her family and to her way of life morekeenly than does Stoddard,: who seems to ac-knowledge no obligations except to himself. WhenDanielle finally makes a choice between love andobligation, she does so with remarkable realism.While her choice may not be the more favorableone from the American point of view, it is, never-theless, admirable. :The New Ambassadors is a novel based on adelicate subject. Although the plot sometimesmoves slowly and in places reads like a newspaperarticle, it is an intelligent, impressive account of agroup of Americans who learn to alter theirconcepts of progress in the face of true tradition-alism.StaffFALL, 1961OSE... 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 RIELSE LESS EER EROS FAS PEE SS RE¢LOT GPL RAAT CNS REO S TS: i a pelaCONTRIBUTORS NOTESMilton G. Crocker, alias Crocker, alias M. Gaineswas the winner of second prize in last yearTswriting contest. He is a sophomore from Vir-ginia, and we used the aliases to add mysteryto the table of contents.Jacqueline D. Draughton is a Senior from Fay-etteville, N. C. She is being published for thefirst 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 thepoet wishes to remain anonymous it is OKwith US. =J. Alfred Willis is on the staff and is a Seniorfrom about every place we can think of. Hevehemently denies relationship to the other Mr.Willis among the contributors.b. tolson willis, JR. is a Senior from ElizabethCity, N. ©. The printine of the name is apoetic affectation, but he likes it so who are weto quibble.Sue Ellen Hunsucker is a member of the staffand several of her poems were published lastyear. She is a sophomore from Winterville,NG.George Gardner, Sandra Hunsucker, Ronald Wat-son, and Sam Braswell are students at EastCarolina 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 ofGraphic Arts.Larry Blizard is a Senior Art major from White-ville, N. G.olFe a ee Oe Ho Cae eRe Re a a Se eeoe

Fens ES r "" - = == " oe meio 5 > - a oSS * é ee RR =s ke See = oa - Pte = = c= SSS s =~ SSS = .See oe Ss Ce Se ee 3 Se ee Se SS SE ee REESE SE SESE SER SE SESE = aeStudent Supply Storesoinst Jn Service�On the CampusWOU Cela 2 :GREETING CARDSAOL tre SUPPLIESOT Ee Or bLAZERSSOFT GOODSPAPERBACKSSIATIONERYWright Building and South Dining Hall Ground Floorghey, Ro et ek le i i ES eh Gor Say32THE REBELNa_"Sees ne

PRYipee? Sere EE See ARSE RSS ERE ERS EE LEE EEN LOTS FO PETS eRLEAT NEMA LIP ATL RSS EMEA SL SNS OCS MSL T EES LSR SEER ELEC EELS LE LS TET ey ei bed a, al eelsHE Gampus CorneroDEDICATED TO...A YOUNG MANTS TASTE�Remington Standardand PortableTypewritersFifth & Cotanche Sts. Fifth StreetGREENVILLE, NG.Greenville, N. C.1 VE BEEN RENTING MY FORMNALS At 2.For Years!Whenever | need a full dress suit, tuxedo or summer formal,| can count on getting it freshly cleaned and expertly fittedfrom BELK-TYLERTS.TRABDE-MARE ees. v. 3. OAT. Ose.COCA-COLA BOTTLING COMPANY, GREENVILLE, NORTH CAROLINA/AoFirst InOlde Comune Hroye choice spot for...�steaks, seafood, andFashionsTTGreenville, N. C.better lunchesye best in DixieFALL, 1961iS ah ah i Se 42 he RA BSW ie RN SA SE AS. aL AE BGA GBB SH A DER Sat EYE NG ap ANE HRI TEND ALLE Et 2 IE IG ASR AM EE EE LGD BITE BEES BEE IDEAL EEL EGE LD EB ER DERE A NEL, ENE EE EA LE EINES DOT GIN RIA BS SDE ROES IS GSS "

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