215 15 4134 https://omeka.wilkes.edu/omeka/files/original/df6c4fec0d7a50e97de6012b773629ba.mp4 6140fd295e114cfb7e7a2218d24a213b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Theater Department Collection Subject The topic of the resource Theater; Performing Arts; Wilkes College; Wilkes University Description An account of the resource The Theater Department collection contains photographs, programs, correspondence, and film related to Bucknell University Junior College, Wilkes College, and Wilkes University's Theater Department from 1940s through the present day. Also contained within are films related to Performing arts Gala and anniversaries of the Dorothy Dickson Darte Center, featuring an interview with Darte's granddaughter. Creator An entity primarily responsible for making the resource Wilkes College; Wilkes University Marketing and Communications Date A point or period of time associated with an event in the lifecycle of the resource 1940s-present Format The file format, physical medium, or dimensions of the resource Film Type The nature or genre of the resource Photographs, Manuscripts, Programs, and Film Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 20th anniversary Gala of the Dorothy Dickson Darte Center, featuring an interview with Dorothy Dickson Darte's granddaughter, 1985 Subject The topic of the resource Theater; Performing Arts; Dorothy Dickson Darte Center; Wilkes College Description An account of the resource A film of the 20th anniversary Gala commemorating the anniversary of the Dorothy Dickson Darte Center in 1985. Featured after the ceremony is an interview with Dorothy Dickson Darte's granddaughter. Creator An entity primarily responsible for making the resource Wilkes College Marketing and Communications departent Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource Mp4 Type The nature or genre of the resource Film https://omeka.wilkes.edu/omeka/files/original/7cc2fe34ea52da17db0db85ad4e6d273.mp4 bab5a52b3f836bd48922d820ba05298c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Norman Mailer Collection Subject The topic of the resource Norman Mailer; Wilkes University Creator An entity primarily responsible for making the resource Norman Mailer; Wilkes University Marketing and Communications Format The file format, physical medium, or dimensions of the resource PDF, MP4 Type The nature or genre of the resource Manuscripts, Drafts, Correspondence, Film Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Norman Mailer's lecture visit to Wilkes University, 1992 November 19 Subject The topic of the resource Norman Mailer; Wilkes University; Creative Writing Creator An entity primarily responsible for making the resource Marketing and Communications Date A point or period of time associated with an event in the lifecycle of the resource 1992 November 19 Format The file format, physical medium, or dimensions of the resource MP4 Type The nature or genre of the resource Film Description An account of the resource A lecture visit by Norman Mailer at Wilkes University on November 19, 1992. https://omeka.wilkes.edu/omeka/files/original/02bf5ee462c9b27009d0b2a83059b3bf.pdf 800527797d14d1a817e9ebe15c4506a2 PDF Text Text �DOROTHY COLLINS, “The Sweetheart of Lucky Strike,” BLOOMSBURG STATE TEACHERS COLLEGE says: FOOTBALL PROGRAM Be HappyGO LUCKY! LUCKIES TASTE Published by the Office of Public Relations JOHN A. HOCH Director of Public Relations National Advertising Representative Don Spencer Company, Inc., New York, N. Y. AS THE WHISTLE BLOWS A brand new Bloomsburg State Teachers Col­ lege football team makes its 1952 debut under the lights at Athletic Park tonight, and Husky fans have their first opportunity to see the handiwork of the Maroon and Gold eleven’s new head coach, Jack Yohe, who served as Glenn Killinger’s assistant at West Chester for the past five years, replaces Bob Redman, who drove the Husky dog sled during the past five seasons Yohe, a confirmed disciple of the “T” forma­ tion, has come up with a bunch of fleet backs who run like the proverbial scared rabbits, and a rugged gang of linemen who are reportedly tougher than last year’s crack forwards. Knock­ down and drag-out scrimmages have indicated that the 1952 Huskies will ask no quarter and give none. Win, lose, or draw, this year's out­ fit is a scrappy ball club, ready to trade blocks and tackles down to the last whistle. Although many of last year's veterans will be answering the starting whistle tonight, at least two Freshmen gridders will be in key spots at the kickoff. Mike Lashendock. 148-pound Kulpmont yearling, will likely get the nod at quarterback in the Huskies deceptive "T"-powered offense, while hard-hitting Tony DiPaolo. 1951 Berwick High School captain, will prob­ ably be the starting center. Both lads cap­ tained their high school clubs to outstanding records last year. LS/M. FT- Lucky Strike Means Fine Tobacco COM,, Th« amirican tobacco company Otherwise, the starting Husky line lists Russ Verhousky and Charley Brennan, both Seniors and All-State prospects at ends; John Ncmetz, 1951 All-Teachers’ selection, and Don Thomas. 230-pound soph, at the tackles, and Ardell Zeigenfuse and Joe Glosek, at the guards. In the backfield, Coach Yohe will likely pick Bob Rainey and Bernie Mont for the halfback spots and Banney Osevala for the fullback duties. Fans should keep their eyes pealed for sev­ eral potential stars among this year’s Freshman crop — Jimmy Browning, lightning-fast Me­ chanicsburg ball-toter; Bob Bottorf, hard-run­ ning 165-pound full back from Bellefonte: Tom Shuey, a rugged tackle from Coal Township, and Tom Persing, an outstanding guard from Shamokin. Senior Dave Linkchorst will spell Lashendock at quarterback, while Fran Bidelspach, the Huskies’ 1951 All-Teachers guard from Sun­ bury, is slated to see action on the defensive unit. Space does not permit the mention of other Husky stars, but before the game is over Maroon and Gold fans will have seen most of them in action. Little is known of the strength of this year’s Wilkes College bail club, but Coach George Ralston always fields a tough, wel’-drilled. eleven that doesn't know the meaning of the word. "Quit.” The Ctlcnels will be using their usual single-wing form.non plus the "T" . and the key men to wsteh. will be Russ Pieton. former Hanover Township ace and A”-lIarm. Corps fullback for the past two seasons, and little Eddie Davis ths cn.-.im. Fly.-.curb Hj.lt School standout. Pictor. -mil b. .1.. ur-.-u..;..rthe-center on the "T” and fir; most ci rb.c Blue and Gold aerials. Coach Ralston says 1-. 'arks e.-.ds backs, but Bloomsburg s troubles are mostly gm.t.-y anybody's ball game . . . AS THE WHISTLE BLOWS: i �Here’s an All-American Team that’s never been beaten for value! Amoco-Gcs —lhe original special motor fuel Permalube Motor Oil — Amoco Approved Amoco Tires & Tubes — cleans as it lubricates Lubricants the tires experience cu'l! Amoco Batteries—extsp-oweres for exlra-fosl starts Everything you need for your car One star player never won a championship all by himself. He needs ten ether men, working with him as a team. And teamwork is what you get when you make it Amoco all the way. Motor fuel, motor oil, lubricants, tires, batteries and acces­ sories—every Amoco product is a champion. Together, they make a perfect team for your car—and give you more motoring satisfaction at less cost. CHECK THE RECORD Bloomsburg’s 1952 Football Schedule (with score of last meeting) 1952 Last Meeting Date Opponent Year BSTC 9/27 fWilkes .1951 10/4 "Mansfield STC .1951 20 10/11 Trenton STC .First meeting 10/18 Scranton University First meeting 10/25 California STC .1932 Cancelled 11/1 "New Haven STC .First meeting 11/14 West Chester STC .1951 16 11/21 Lock Haven STC .1951 35 t At Athletic Park. * Home games at Mt. Olympus. AMERICAN Oil COMPAiiY -from Maine to Fiorica „ Zeigcnfu.e. fronci. BidcUpach^ yn J01™' �Huskey Seniors Meet New Coach Gene Morrison, Ardell Zeigenfuse, Charles Brennan, Russ Verhousky, Dave Linkchorst, and Coach Jack Yohe. Harvcy Boughn;ri �Compliments Oldest Bank in Columbia County Compliments of Founded 1864 Compliments BLOOMSBURG PROFIT through regular SAVING NORTH BRANCH BANK- of COLUMBIA The First National Bank BUS COMPANY TRUST CO. Milco Undergarment Bloomsburg, Pa. Bloomsburg, Pennsylvania "The Bank on the Square" Company Bloomsburg, Pa. Member Federal Deposit Insurance Member F. D. I. C. Corporation I. OLYMPIC, Inc. Compliments We specialize in Prescription filling and ATHLETIC of take pride in our profession Housenick Motor Co. EQUIPMENT RITTER’S RECONDITIONERS STATIONERY Pure Drugs Stroudsburg, Pa. Fresh Candy [FORD) FIFTEEN YEARS w "THE HOUSE OF SERVICE" ALWAYS OPEN Bloomsburg, Pa. Office Supplies - Equipment Our Own-Made Ice Cream OF DISTINCTIVE SERVICE MOYER BROTHERS “Marty" Baldwin, Mgr. Your Prescription Druggists Stroudsburg, Pa. Since 1868 Phone 1200 Phone 430 ART BLEWITT, Cent. Penna. Rep. j Books - Magazines - Papers 112 E. Main Street Phone 675 �OFFICIAL SIGNALS ADOPTED BY NATIONAL COLLEGIATE ATHLETIC ASSOCIATION I. OFFSIDE HUSKIES' HEAD MAN Jack Yohe, the Huskies’ new football coach, is widely known in Teachers Col­ lege athletic circles, and local sports fans will get to know him much better as the 1952 grid campaign moves into high gear. Five years as backfield assistant to Glenn Killinger, the veteran West Chester foot­ ball mentor, have given the thirty-seven year old Husky tutor a wealth of exper­ ience in Teachers College football which should prove valuable in his new post. Yohe succeeds Bob Redman, highly successful Husky grid coach of the past five seasons, who resigned early in May to accept the head coaching post at East Orange, N. J. High School. It was during Redman’s tenure that the Huskies became a power in Penn­ sylvania collegiate football, romping to 38 victories in 42 starts and posting unbeaten, untied records in 1948 and 1951. © dsgs 22. TLME-CUT see /A 2. ILLEGAL POSITION OR PROCEDURE 9 © 2. ILLEGAL MOTION OR SHIFT J4. DELAY OF CAME 5> PERSONAL FOUL CALL C-AD. Yohe learned his football lessons at Jersey Shore High School so well that he became one of the best backs in the history of Lock Haven State Teachers College, where he graduated in 1938. He began teach­ ing and coaching at Biglerville High School following his graduation. IF HA’.T IS MCVS3 RC‘J S.’CE to s~e. touchllck 6. ROUGHNESS PILING ON World War II interrupted his career in 1942, and he served with the U. S. Navy for a period of 46 months, being separated in 1946 with the rank of Lieutenant Following his separation, he taught for one year at Upper Merion before accepting an assignment at the West Chester State Teachers College as assistant football and basketball coach. A confirmed “T” formation man, Yohe hopes to convert the single­ wing-minded Huskies to a “T” generated machine, but the personable young mentor is quick to state that variations will be made in the sys­ tem to fit available personnel. He is known as a stickler for funda­ mentals and conditioning—two hallmarks of Bloomsburg football since 1946. Jack, who is married, is the father of a future Husky guard—fouryear old Gary. The new Husky coach holds a master’s degree from Temple University where he is slated to complete all the requirements for the degree of Doctor of Education in the near future. " 'a 13. CRAV.NC KEEPING Huge screen, beautiful compact cabinet and on-the-spot picture realism —it's G-E Model 21T4. Go into a huddle with your dealer—fast. Ask him to demonstrate the features. 6. ROUGHINC KICKER wtf.Atti fas* PENALTY fecux:? KO FLAY Of NO SCORE When you can't get to the game, the next best thing is G-E Model 21T4I IB. BALL ILLEGALLY TOGO NICKED OR BATTED § 9. UNSPORTSMANLIKE CONDUCT HNSIVE holding ILLEGAL USE OF HANDS AND ARMS vN 11 INTENTIONAL GROUNDING A AL A '' ILLEGALLY PASSING OR HANDING BAH FORWARD & Mb 14. FORWARD PASS OR KICK CATCHING INURIKiKCfi IX INtllCiME RKiiYTS B0WN l.liB ON PASS H. B. LOW & SON, 8NC. 63 E. MAIN STREET PHONE 1027 BLOOMSBURG, PA. �BLOOMSBURG STATE TEACHERS COLLEGE WILKES COLLEGE 1952 FOOTBALL ROSTER 1952 FOOTBALL SQUAD Pos. Age Ht. Wt. Anthony DiPaolo, ’56 c 18 5-7 41 Ralph Verano, ’55 B 20 5-7 44 Len Starr, '56 B 17 5-10 45 John Mihaly, ’56 T 18 5- 11 46 Donald Thomas, ’55 T 19 6- 2 21 5- 10 170 160 170 200 220 210 200 150 190 170 150 160 185 165 175 165 175 165 180 200 200 185 165 NO. 40 PLAYER 48 Ted Rainey, '55 B 49 John Angus, ’55 B 20 6- 0 50 52 53 Mike Lashendock, ’56 B 18 5- 9 Joe Zahora, '53 B 24 6- 2 William Ellinger, ’55 E 19 6-1 54 James Browning, ’56 B 18 5-10 55 Eugene Morrison, '53 E 21 5- 10 57 Charles Skiptunas, ’56 C 17 6- 2 59 James Starr, ’56 G 18 5-9 61 Robert Rainey, ’55 B 19 5-9 62 Bob Bottorf, ’56 B 18 5- 8 63 Robert Van Gorder, ’56 C 21 6- 0 65 Barney Osevala, '54 B 21 5- 11 67 Rodney Kelchner, ’56 E 18 6- 0 69 Francis Bidelspach, ’55 G 18 5- 11 71 Floyd Williams, ’54 T 20 6- 2 73 Thomas Shuey, ’56 T 17 6-1 74 Richard Caton, ’56 B 17 6-1 75 Russell Verhousky, ’53 E 24 6-0 76 Moritz Schultz, ’56 E 17 6-1 77 Thomas Persing, ’56 G 20 5-10 78 Edward Connolley, ’55 C 18 5- 10 79 Sammy Bell, ’56 B 18 6- 0 G 19 6-0 80 Joseph Glosek, ’54 82 David Linkchorst, ’53 B 24 5- 10 83 Charles Brennan, ’53 E 20 6- 1 85 Bernie Mont, ’54 B 20 5- 11 87 Ardell Zeigenfuse, ’53 G 24 6- 1 90 John Panichello, ’55 T 21 6-1 91 Merlyn Jones, ’54 G 20 5- 10 175 175 180 175 170 190 165 190 180 200 210 210 210 NO. Home Town Berwick Shamokin Shenandoah Berwick Shamokin Johnstown Mt. Pleasant Kulpmont Coaldale Shickshinny Mechanicsburg Bloomsburg Kingston Williamsport Johnstown Bellefonte Endicott, N. Y. Shamokin Bloomsburg Sunbury Ashley Coal Township Berwick Coaldale Plains Shamokin Danville Williamsport Coal Township Shenandoah Towanda Lehman Ashland Glenside Wilkes-Barre 95 John Nemetz, ’54 T 22 6- 0 96 Claude Rumer, ’55 G 19 5- 10 98 Charles Pope, ’55 18 6- 1 190 190 Hatboro E 99 Ronald Couch. '55 T 21 6-0 200 Tamaqua Shamokin Conyngham 'I PLAYER Home Town Pos. Age Ht. Wt. Bill Foote, ’54 John Aquilino, ’54 Robert Fay, ’54 B G G 21 20 20 5-10 5-9 5-10 165 185 167 Wilkes-Barre Flushing, N. Y. New Rochelle, N. Y. 9 10 11 John Tkash, ’56 George Elias, ’53 Vincent Slavisto, ’54 B B B 17 20 25 5-8 5-11 5-10 150 180 180 Plains Wilkes-Barre Ashley 12 14 15 Joseph Veroski, ’55 Russell Picton, ’55 Jack Curtis, ’55 B B B 19 24 22 5-10 5-11 5- 9 175 175 150 Plymouth Hanover Wilkes-Barre 16 18 19 20 Phil Baker, ’56 Ed. Gritsko, ’53 Fred Grieshaber, ’55 Bill Morgan, '53 B E B E 18 24 24 21 6- 0 6-0 5-11 5- 10 175 185 185 155 Ithaca. N. Y. Nanticoke Wilkes-Barre Shavertown 23 24 25 Bob Gillis, ’55 Eddie Davis, ’54 Al Wallace, ’54 T B G 18 20 23 6- 0 5-10 5- 9 195 175 152 Plymouth Plymouth Plains 27 29 30 John Milliman, ’54 Henry Reep, ’56 Jacob Kovalchek, ’54 E C E 19 19 21 6- 1 6-1 6-1 180 170 170 Genoa, N. Y. Plains Wilkes-Barre 32 38 41 Andy Sofranko, ’54 Joseph Wilk, ’56 Allen Jater, ’54 T T E 23 18 22 5-11 5-11 5-9 230 185 160 Wilkes-Barre Plymouth Ventnor, N. J. 44 49 Norman Chanoski, ’55 Walt Chapko, ’55 B E 18 20 5-9 5-8 156 160 Wilkes-Barre Wilkes-Barre 60 61 62 Joseph Kropinicki, ’53 Clifford Brautigan, ’56 Cornelius Boyle, ’54 B T E 20 17 20 5-7 5- 10 6- 2 165 180 180 Plains East Orange, N. J. Buttonwood 63 64 Leo Solomon, ’53 Glen Carey, ’56 T C 21 18 5- 10 6- 1 180 165 Wilkes-Barre Swoyersville 65 66 67 Gene Snee, ’53 Dan Pinkowski, ’53 Frank Radaszewski, ’53 G G T 23 22 5-11 5- 11 21 6- 1 190 180 183 Edwardsville Nanticoke Wilkes-Barre 68 69 Ronald Fitzgerald, ’55 George Yanuk, ’56 C C 19 20 6-2 6-0 172 175 Wanamie Larksville 70 71 George McMahon, ’53 Ray Tait, ’54 E T 23 21 6-1 5-10 180 210 Wilkes-Barre Wilkes-Barre 72 73 Bob Dymond, ’55 Ed. Edgerton, '53 B C 19 20 5- 10 6- 0 159 192 Wilkes-Barre Plains 74 80 Jerome Wright, ’56 Warren Reed, ’56 G B 22 17 5- 9 6- 1 195 170 Glen Lyon Wyoming 81 82 Paul Gronka, ’56 Leonard Brozoloski, ’56 E E 17 17 5- 8 6- 1 155 170 Nanticoke Plymouth 83 David Hughes, ’56 Howard Gross, ’56 Charles Anderson, ’55 B 21 21 22 6-0 175 180 Wilkes-Barre Duryea Flushing, L. I. 2 5 6 C B 6-0 5-7 145 �THE ALUMNI ASSOCIATION IS ALWAYS INTERESTED IN THE ATHLETIC u TEAMS AT THE COLLEGE 'I Husky Ends Get Together First row: Rod Kelchner, Moritz Shultz, Dick Caton, Bob Bloskey. Standing: Charles Brennan, Charles Pope, Gene Morrison, Bill Ellinger, and Russ Verhousky. CARPETS OF BEAUTY . . . ... a roof over your head — Woven by Magee — The Magee Carpet Co. the first step to smart decorating and gracious living. Husky Tackles Get Lowdown John Koch, Floyd Williams, John Nemetz, John Panichello, Tom Shuey Coach Hoch, Joe Shemanski, Don Thomas, and Richard Ishler Bloomsburg, Pa. �WHIM "The VOICE of the HUTCHISON AGENCY SUSQUEHANNA VALLEY" INSURANCE on your Dial ®©(Q; on. yz — yy_~ 777-J Tops in Sports Worth Listening To irtgrtirt I Couch Yohs Meets Managers I i i i i i -rscs .’arc Yore plans ec-cipmeni with Eddie Confer, head manager, £—i Acme Garinger, Sophomore assistant. SHENK and. TITTLE SCHEDULE 1952 Sat^rcay. &eptember 20 ^atr-'day. Septemher 27 Home Saturday. Ott&ijer 4 Manafield STC Homecoming Sstcriay October II Trenton, N. J, STC Away Scranton University Av/ay California STC Away New Haven, Conn. STC Home *3eT~cay October Sator-fay OC-ooer 25 Set.r-fay Noverrezr I '-at..--fay ■y. .y , i I i Open Wilkes College -.•er.-.-zc % ,.. .z . ■ ■ 2; "EVERYTHING FOR SPORTS1 313 Market Street Open PLAY MORE . . . LIVE. IONOLS West Chester STC Lock Haven STC Away tfCgtrt i t — �MEET YOUR FRIENDS BART PURSEL At Bloomsburg, Pa. Below-the-Square LETTERMAN’S BAKERY, INC. EPPLE Y’S Dress Clothes - For MEN and BOYS SODA — LUNCHEONETTE SERVICE “Bakers of the Master Loaf” Works Clothes - For Better Wear DRUGS — COSMETICS Dry Cleaning and Pressing TOBACCOS 4th and Market Streets Bloomsburg, Pa. We Rent Formal Clothing Eppley’s Drug Store Main and Iron Sts. You Can Always Do Better at BART'S FOR YOUR AFTER-GAME Outfitters for the Huskies . . . TREAT Bring Your Friends BAUM SPORTING GOODS To SPECIALISTS IN SCHOOL & CLUB ATHLETIC EQUIPMENT GIALAMAS5 BABEBALL BASKETBALL FOOTBALL ■TGCCEP VOLLEYBALL TENNIS PHYSICAL EDUCATION EQUIPMENT Third and Market Streets SUNBURY, PA. It’s Just a Step to Friendly Sears Store And what a grand convenience to have Sears right in the neighborhood. You're sure to meet your neighbors at Sears . . . the big chock-full-of-value store that's so easy to reach. Plenty of FREE PARK­ ING. open Saturday 'til 9. Mail and Phone Orders. Sears doltar-saving bargains are just a minute from your front door. Satisfaction Guaranteed or your money back Tel. Bloomsburg 120 ICE CREAM - CANDY SANDWICHES GI ALAM AS’ �MCBILOIL MILLER ZEISLOFT BLOOMSBURG & SON MILLS k=L.~ ares - Elide Batteries netor 5 General Repairing ~= 7T-?ng & Lubrication Incorporated 5 Kcri Sts ROCK’S THE WAFFLE GRILL HOME OF FINE FOODS Sperms ?. yfafawi, Prop, Cor. East and Filth Streets Bloomsburg, Pa, �New RCAVlCTOR super Personal portable radio The RCA \ ictor Si Super '’Personal” Portable Radio in a -------smartrplastic cabinet,only o ---------------------6r high, 9r 'wide and 2lir deep, four choice c’ of six colors. Model 23400, $29.95 (less batteries). GOLDEN GUERNSEY MILK America’s Table Milk SNYDER’S DAIRY Seventh and Iron Streets BLOOMSBURG ■plugs 10 times longer without changing batteries Long, long life. Secret of this port­ able’s extra playing hours lies in its brand-new RCA batteries. A sensation­ al new development adds up to tai times more listening time. And you save money, of course, be­ cause batteries need replacement far less often. New Battery "Life Saver" Switch lets the batteries "loaf" in areas where reception is strong. Plays instantly—no pre-program warm-up needed. Completely self-sufficient—"builtin” antenna operates without your having to lift flaps or lids. Automatic volnme control keeps volume smooth and steadv. No bigger than a book, it weighs only 3L lbs., has wonderful tone. V> hen you can’t be at the game, follow the play, wherever vou are. on the Super "Personal” Portable. It's at your nearest RCA Victor dealer's now! For Home Delivery—Phone 441 @ rcaVctor Tints. Qyi I V Division of cf Radio Conxs Corporation of America WIEDENMAN & CO.. INC. MARKET SQUARE BLOOMSBURG. PA. PHONE 700 orld Leader in Radio ... First in Recorded. Mesic . . .First in Television �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumni Magazine, 1947-present Subject The topic of the resource Alumni Relations Description An account of the resource <p>An archive of Wilkes University Magazine, from 1947-present. The magazine went through various names including <em>Wilkes Alumnus</em>, <em>Wilkes Quarterly,</em> <em>Wilkes Universe</em>, and the current title, <em>Wilkes Magazine</em>. Some editions for the <em>Wilkes Universe</em>, will have multiple issues within the file record. Our holdings may be missing editions for certain years due to having no physical copy within the collection. </p> Creator An entity primarily responsible for making the resource Wilkes University Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1947-present Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Football Game Official Program, 1952 September 27 Subject The topic of the resource Football; Athletics; Wilkes College Creator An entity primarily responsible for making the resource Wilkes College Date A point or period of time associated with an event in the lifecycle of the resource 1952 September 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Football program https://omeka.wilkes.edu/omeka/files/original/05e7029e34460c04c7d616677e41bd23.pdf 0c466b066cbfa334f7de92327c4b1c5b PDF Text Text WILKES COLLEGE BULLETIN o JULY 1952 No. 3 �CONTENTS SeUt&iA Window. .5-j.April found us in Cleveland ,■the thirty-sixth annual conattefon of the American College ve?y° Relations Association—an afthat broadened the view from window considerably. From the Editor's Window acter for a fee, or create them with one or two stories." The Principal Herself If that is true—and we're persuad­ ed it is—you can't sing and celebrate the College as we know you wish to without being mlvmied. vvnat ot the 5 principal herself, then? How has she fairs too often played second fiddle behaved since the last issue of the 6 —necessarily *so_ ' to • > our "" publicity —i-i-— Bulletin? Is recognition due her—and The "convention served to has she received it? Is she growing function. **— — 8 ’ r- off -« publicity —jn wisdom and stature? take the emphasis and drive home the truth that alumni The events of the past few months, 8 work cannot be divorced from public we believe, justify an affirmative relations, that you are just as deep answer to all those questions. in this fascinating business of PR as 8 we news grinders are. First of all, the College continued to play an active part in community 10 Definitions of the relatively new affairs, making it abundantly clear term "public relations" are of course that her independence had not led 10 legion, and a number of them were her to cut herself off from the con­ bandied about at the convention. The cerns of Wyoming Valley. Sponsor­ ir we liked best was an earthy ’fl Statement that Harold K.Sc £elll g^ ing the second United Nationalities Pageant, a remarkable demonstra­ executive secretary of the Ohio tion of community solidarity; under­ 12 XSw meSSH taking ming Valley Philharmonic Orchestra, the reorganization,^ Wyo- A Look at Ourselves Town Meeting Debating at Wilkes May Alumni Meeting Valley Symphony Nationalities Pageant Farmer Dance New R. M. Course Fifth Commencement Alumni Award 13, New Education Courses I-? With the Faculty 15 Olshefski Returns 16' The Sports Picture 18 Beers on Burr 22 i "Ths Old Familiar Faces„ 26 f I Published r-— Octobfcl Wilkes-Bane r jd-d®5’ ; rJ, 2- 19*1. at theAllege. pAugust 24, 1„, 912 Pennsylvania. Entered as seco11 ad °! : ■ „ wllk6s.B( - as amended by ■3arre, Pennsylvania, under ---- l_°Ct 0{ August 4. 1947. mLY, 1952 s I Vol. I. the Association. "Public relations, he said, "is simply being good and then making damned sure people find out about it." If, in other words, we at the College do our job, you can be the best of missionaries by just telling the truth about your Alma Mater. We aren't likely to build and maintain a solid reputation without your help. a full-fledged symphony; cooperat­ ing with a local American Legion post in bringing "America’s Town Meeting of the Air," the most famous of radio forums, to the South Frank­ lin Street gymnasium; holding a second Careers Conference as well for area high school students as for her own undergraduates; opening her science classrooms and labora­ tories to student nurses from four local hospitals; offering a C. P. A. re­ view course — all these activities pointed up Wilkes' ever-increasing interest in satisfying community We liked also what another Cleve­ land speaker, Kenneth G. Patrick of General Electric's Public Relations Services, had to say about PR. Holdlng that a successful PR program is made up of a lot of little things that °mer people (who better than the alumni?) must do for the "specialist, e stressed . the principal himindividual, company, or col■ what he does every day, he lives, and whether he has shaved himself over a long period. °u cant hire reputation and char- needs. Looking at the picture the other way round, we may doubt whether Town Meeting would have come here—or whether Carl Conner, auth­ or, editor, and authority on American folklore, would have taken time last January to conduct a workshop in research methods for students in our 3 �. hisW advapiif the College rad not al­ COX established serm- ert of repuSo^he right jtside Wyo“lL we be accused rf ma^So“ coSon that there is mumty affal ® college that sees seems to us that a coneys itself as a part of a community, that encourages its students not to ignore that community but to recognize its importance and the desirability of making places for themselves in 1L is performing a service all too often neglected these days. But what is even more important is that Wilkes has not forgotten, m the recent spate of activities, her principal business. She is still seek­ ing to provide her students with op­ portunities to receive a sound educa­ tion, to develop all the powers of their minds. Now that the University of the State of New York has granted us provisional accreditment of our accounting course, all our curricula have the approval of three accredit­ ing agencies: the University, the Pennsylvania Department of Public Instruction, and the Middle States Association of Colleges and Second­ ary Schools. And our faculty have not left off striving towards the realiz­ ation of the liberal arts ideal, which effort has brought us and continues to bring us the only kind of recogni­ tion worth having—the kind we all desire for the College. In sum, this has been a good a good year, a very good year. Go ye thereOF OBJECTIVES Attending fund-raising sessions in Cleveland set us thinking about the objectives of Wilkes College Alumni Association. Do we have any? If so what are they? Y' ' Ringer that we are, we rm>u — swer ourselves only in general, Loyalty to their college as desire to continue the pleasant ciations of four golden years^.,Ssso. relive a portion of those years to a month or so, it seemed to us° most alumni to organize. Wilkes alumni living in WyGrnValley, we went on (there being 3 one about to challenge our conc’° sions), can enjoy "laughter and 2' love of friends at their months meetings and demonstrate their 1OJ. alty by cheering at the homecominq game and awarding a trophy or tWo' But what of their scattered brethren’ What are the possibilities of estab-1 lishing Wilkes clubs in, say, Phila­ delphia and New York? What about an alumni fund, the lack of which we deplored in the January issue oi the Bulletin? gv^^"s,udYOf "Hold, enough!" we admonished ■ ourselves. "Best we ask the alumni. Perhaps—though we don't for a mo­ ment believe it—they feel they owe the College nothing and have niA xj’ wish to get together for auld lanj syne." Accordingly we are soliciting ex­ pressions of your opinions on clubs , and funds. Won't you write to us— remembering, of course, that interest • alone is not enough: the requisite or­ ganization requires time and work. THE COVER Second United Nationalities Pageant i (See story on page 10) Top: Polish dancers; Welsh choir Center: Russian chorus; Greek dancers Bottom: Last-minute briefing; the audience with perform In terms of worldly success, the S?T graduate is very well * we're all tremendous- 'off In 1947, when the median income of Amencan men was $2,200, the col­ Let's face • ourselveS. For that lege men surveyed had median . interested without comment earnings of $4,689 (median being that *> permission o! the point at which half the incomes were -bul Excerpts from a report by above and half below). Even more a**0' Bentock-Smith, director for impressive, the census figure in­ William . the American Alumni cludes interest on savings and in­ "They Went to College," come from dividends, etc., but the survey figures does not. The median total family income for the college man was $5,386. Even the 26 percent hTq%kTthiSMhe1CcSege graduate of the graduates in the less important jobs were doing better than com­ thing 1 likely to be a married busi­ parable people in clerical, sales, and nessman about 37 years old, with at manual work throughout America. n \ «np child, a home-owner in a The financial success of the col­ city5 or town in the East or the Mid­ west- He may very well come from lege men can be judged partly by a college family; he more than likely the jobs they hold: 53 percent are in worked his way through college, in business; 16 percent are doctors, whole or in part; and whatever else lawyers, or dentists; 16 percent are he may be, he is pretty well off m teachers; 9 percent are in the Govern­ comparison with the rest of his fel- ment; 4 percent are ministers; 1 per­ low countrymen. He's very conserva­ cent is in the arts; and 1 percent tive in his political opinions; he be­ are scientists. The big money-earners lieves firmly in American participa- are the doctors, more than half of Aon in world affairs; he's tolerant on whom earned $7,500 or more at the Vacial and religious issues; he's a time of the survey. The least pros­ Protestant and thinks that religion perous group were the ministers and has something to offer this material­ the teachers; their median of $3,584 istic age; he claims to go to church was below even the manual, sales fairly regularly. He normally votes and clerical workers in the college Republican but has a tendency to­ graduate sample. ward political independence. If he The college man is also a family had to do it over again, he would go man. Not only do college men mar­ back to the same college from which ry more generally than the average he graduated and his only change of American, but they stay married. mind about the place would prob­ This fact, Mr. Havemann (the author ably be in the courses he took. of the study) indicates, should be reOur composite portrait turned out commended to young women who are hesitating between a college be male because there are more student and a non-college wage­ ch lrn' tbe subject were female, she would, it is pleasant to report, be earner. The college graduate's matrimothe lrne housewife with many of her social characteristics as. nial possibilities run in direct propor­ verv a ?, COunterpart. She's doing tion to his worldly lar -at Carriage; she's a regu- earns $7,500 or more, he! Pr°b°blJ C1P°nt bi civic and social get married no matter where het Uves the nniT' sbe exercises her vote at but if he earns less than $3,000 his an intort ancd is having just as full matrimonial possibilities.run i career 1 ectual as the college verse ratio to the size o the town ^ide^bb^^*?., Presumably^ a he lives in. The smaller the town m II �Referring to the then new sim ^ predecessor once cooked a news release beginning with lhe conundrum "When is a gymnasium no?a gymnasium?" To his catalogue of answers we could, now add, "When it's a town hall. So it was on a grand scale the evening of March 18 when Wilkes and American Legion Post No. 1J/, Wilkes-Bane, played host there to "America's Town Meeting of the Air," world-famous radio forum, and a near-capacity audience heard and questioned two speakers of interna­ tional reputation on a timely and lively public question Carrying on a "discussion from two points of view" on the topic "Should We Fear the New Germa­ ny?" were news analyst Cecil Brown, author of Suez to Singapore, and Dr. George N. Shuster, president of Hunter College and former U. S. land commissioner for Bavaria. Moderator was Dr. Clarence R. Decker, presi­ dent of the University of Kansas City (another community college). From the alumni point of view, not the least important aspect of the pro­ gram was that it carried the name and fame of Wilkes and Wyoming Valley into millions of homes in the United States, Alaska, Hawaii, and Europe. Nearly 300 ABC stations -he Pr°9ram nationally, overS^V°1Ce °f Amenca beamed it „? and community owe John I ciabli\de? °f g^Ide to J hn I- Chwalek, director of placeSe worid m?atld ne9otiati°ns for “i® World-Wide broadcast last fall SXpr^ Brown Supped Affirmative view for murder," Cecil Brown o I broadcast proper with theP611ed th’ that a rearmed Germany^6^ constitute a great gamble ny's past conduct, he Sa'id gives us reason to beliey' nardl- ' seriously interested in the def 15 Western democracy. Ieuse oj ’ A German alliance with RUs i argued, is as strong a possibiln1Ct' as great a danger as a -Yaild of Nazism. "It would be much to n' sia's advantage to effect a u -his™ I union oj her raw materials with Germ —ian in. dustrial might," he said. "Russia's basic effort," he contin ued, "must be to keep Germany frOm ' joining the North Atlantic Treaty dr ganization." It would satisfy Russic to neutralize Germany, he pointed out. Dr. Shuster, who recently returned to this country from Germany, where 1 he served with the McCloy entour­ age, held that America can defend her interests in Germany by winning good will and advised against erec^ ing a foreign policy based on dis trust. To his contention that "Germany is the most anti-Communist country’ in the world—and there is no evidence that the Germans would modi­ fy that basic position," Brown replied he was "not on sure ground in em­ phasizing German hatred of the Communists. Anti-Communist reg- . imes in the past have made deals \ with Russia," he stated, adding tha I the attitudes of the German people will not be important if another dem agogue arises in their midst. Warm-up Period Stimulating ( ; Though the Town Crier's bell didn < | ring till 9, members of the audienc began formulating questions f°r speakers shortly after 8, when Mo^ erator Decker, playing the gadflygan to draw them out on th® ejLi Ring's topic. He did such a master^ job that large numbers of them queued up at hand microph0.11 missed some of the and observations. T aues-ion be3‘ / the SO’S.nPnv>ip'B™ four Le Western democracies "PernaP" ± - . include German regim-ghi sG' Western European army, ^nst not allow Germany to buttbe/ her divisions again, he added that the Western build up warned- ne 5tS i?° powers should take a tougher line with Germany, holding "the Ger­ mans are accustomed to taking or­ ders." The splendid turnout apparently pleased Town Hall, producer of the pregram, as much as it did us. Ac­ cording to latest reports from Presi­ dent Farley and Mr. Chwalek, the Town Crier and his retinue will be with us again next year. �'Mun "Wide Recayidtiw “ ■■ spring. Of sup^-J,^1 The affirmative spealfo • eras and Roxie Rev^nl ?'N best in their first se ds' at th ‘ legiate debatina H °n °1 'ned LeMoyne, bowed to Union. Theirand Utica !bacase scribed by four toum °Se Was ds °s the "'best best affirmal^e 2ont jud afta^E* . S the question ('Resolvedtl9 UrnGr‘t 0', "’--IvedtSaS eral ™I Government e.mSent Should sh°ukl O Red­ Permanent Program of p^^’Lte Q Wage Control') we have e h6 Qn'he, Dr. Kruger's hones”■ -' ever ^er beard? Murtha's securina £ es of ?Davis avis lege among the 28 Ln °r tlle Col" peting for national I" ull°ns c°®‘ ’ Point April 23 throuah 2*62 Wesed when Davis sufferer? !re dash‘ 1 Having competed against a re­ doubtable array of distinguished ad­ . versaries, the College’s varsity de­ baters wound up a remarkably suc­ - - with a recessful season this spring cord of 26 victories and eight defeats, Two important tournaments, the one sponsored by the Debating Association of Pennsylvania Colleges at Lehigh University and the annual Brooklyn College competilion, found the Wilkesmen making their most spectacular showings. After establishing the only undeF feated record among the 30 colleges ---'at in an automobite ^2^ --------------------participating in the tournament Lehigh, the Wilkes four, accompa- mishap forced Doris Gates 4 ■ ■ med by their coach. Dr. Arthur N C°Ue9e- *° b«fin Ar vZ the ^nglish department, debating career at an affair of n lI Ferdinand Liva conducts Schubert's Fifth Symphony in B-flat major at the first concert of Wyoming Valley Philharmonic Orchestra in April —3 — less moment than the first tr» ,T!td “?ht, De' Eastem Forensic AssX ' Thanks to a unique community assisted by John G. Detroy, chairman in r r,lnce!on- Sbe came throuah ?n-C?pUaI,style' enabling Wilkes 11 ■movement sparked by the College, of the music department and asso­ finish sixth among the 27 teams en- ' Wyoming Valley at long last has a ciate conductor of the Philharmonic, symphony of its own. Called Wyo­ was rehearsing an orchestra of ap­ tered in the competition. ming Valley Philharmonic, it pre­ proximately 70 pieces. The profes­ Murtha, who has since received the Dean s Scholastic Award to high- < sented its first concert in the College sionals agreed to join the group a gymnasium April 28—to delight an couple of weeks before its first con­ est-rankmg man in the class of '52, audience of some 900 persons. cert. P,a?ed sbdb in discussion sessions ; at the Princeton tournament. 1 V 1 ! ° rches,ra had its beginnings Once rehearsals were under way, 'he elements'vlctory $1£ind °£ ■ast fall m conversations between local music-lovers undertook the for­ ‘ e, °cuhy the music department mation of a supporting group, Wyo­ s4tct&.ai<i ^eeecae , . jdinand Liva, Scranton violin- ming Valley Philharmonic Society. and ,Part;time teacner teacher in in the the The more active of them put in long l rfdaiee T , , A1 °f Music at the College. When hours making phone calls and per­ th °n alumni who turned out for xr' Liva u.--------:-------conrhiL a voluntas v°lynteered his services as sonal visits in an effort to sell Society Association's May meeting in its int ?-r' 'he College announced memberships at five dollars each. , ,ase Hall were treated to a delightnv °n°f orUanizing a sympho- Several weeks before the April con­ ful talk te’ur rTn^led to absorb both the ama- cert, Dr. Farley reported that enough total points kept the 2!°* based °n book “ on the detail of writing a by Mrs. Gertrude Marvin ' the nre Phy out of the ca2 ^la1ment troProfessional elements of subscriptions had been sold to en­ uxeci. WillicimS' acting dean of women. able the orchestra meet concert ex­ Sou,h penses—and that without any formal nar>aS Williams, a former newswas fr°m talented amateurs organization of the solicitors. nS, rW?man' traced ibe joys and her oT?e?ate- A considerable num­ writer °f °udlo{ship from the time a The Family Membership rents qp1 v school and college stu­ he w btsphation to the day Contemplating more thorough or­ mer an as well as storST lnt° a second-hand bookmannand picks up a copy of th15 > ?hose embers of the community ganization for next season in the PhaS XPUS for 4° centsPyShe eny lent in iSIruments had long lain si- hope that the orchestra might pre­ aPPeared1irCS drawers or closets, sent a series of three concerts, con­ and hXd autbor's habits of work 5r°Ur> nT. j - 'be first meeting of the cert-goers who had agreed to serve Nations with his publisher. "**l**i^^^ ' 8 - - and m no time cd all Mr. Liva, i (continued on page 22? J r* aj bS Sjw i?5 a!,empt *°drive AEd"preCoE’ives I r 9 ■ -- I �Saute I-laving to an appreciative audi­ ence of some 4,00(1 persons, repre­ sentatives of ten of the national groups that have made distinctive contributions to the life of Wyoming Valley presented the second United Nationalities Pageant in the College gymnasium March 30. The impressive spectacle drove home the message that America is cn attempt, potentially a successful cne, to realize a dream of freedom common to all men of all nations. Tied in with local observances of International Theatre Month, the pa­ geant was also a convincing demons ration that the theatre promotes in­ ternational understanding. Jews, Negroes, Greeks, Swedes, Slovaks, Syrians, Poles, Lithuanians, Welshmen, Russians—all were there, apparently having the time of their lives. Their offerings ranged from powerful liturgical music to light­ hearted folk dances. Individual performances were woven into a meaningful whole by Alfred S. Groh’s verse script, which showed rare understanding of the peopies represented in the pageant. Miss Charlotte Lord, G. A. R High School English teacher, did a skillful job as narrator. mSLrj“bers 01 Mdience Pyam as by th’e colMul and“uth ap'pe^d Bo“m 0“? Perio“>- United States thP reared ln the nevertheless as ademas^he? X”® m performing the old elders dances of their K J? i ?ngs and attesting to the^won^5^ds'a fact of cultures. nderful continuity It would be a difficult -rv | task to try to determine whiS1'^-turned in the best performer^ signifies is that each suc-eA'^ making a peculiarly appxo^ tribuiion to the total effect was one of considerable beauv??' dignity. ! 2’- ( „,ce and finance at the Colof c01^ Bunn is working out a cur- require advanced lege, Mr. retaH training designed to on-the-job training riculuu1 ; rqe numbers of Wilkes ized fields as adver enable - tQ find attractive work tfitruu - * stores Ms In ^ ‘Wyoming Valley and to proT” addition ------vide local ^L. ufc J™ '» “raying on their sorael famibar aspect of students win'?’ C°“«ge. retailing within c.toreswith withevery competent perretailiagset up for difeusrion .‘V’”1™'® iel familiar _ The new instructor has explained exPenences and problem?^ Store "Da One of the year's most su alumni events was the As^- farmer dance in the Cofc"5> sium May 9. "ymna-, A committee headed by JeaKocyan and Tony Wideman went"' work at least a month before the dance in an all-out effort to "sell' it to townspeople and local alumni One of the group's biggest jobs con­ sisted in helping an alumni office publicist who feels there is so much and no more one can say about a bam dance to see new angles. Ray Jacobs and June Search her charge of the chuck wagon; Eleanor Kryger and Loretta Farris looked al­ ter tickets; Jack Karn arranged for the "orchestra,'' and Jack Feeney, we un­ derstand, was the committee s pub licity man. Slim Barton and his Wanderers manned the fiddles and washboards, , and caller Carl Hanks, Jr. jushiiea his popularity in hayshaking erre e • hereabouts. Some 125 couples tended the dance. instructor has explained course by be thesimilar University^ the program will to the ^Training. course offered by the University of Pittsburgh's bureau for Retail TrainingResearch in which he took his Master of Letters in Retailing. Its sueMaster of Let! cess depends largely on the whole­ -----hearted cooperation of community was Bratn RPf aslsS^'0,^' ' > Cai man. ager of theoperator Valley Camn Company, o? a r—3 Company, operator of1 aa rchain of coal-mining stores in Pennsylva­ nia and West Virginia. He earned a Bachelor of Science degree, with a major in merchandising and adver­ merchants. tising, at the University of Idaho be­ Seeking the closest possible rela­ fore undertaking graduate work at tionship between classroom work Pittsburgh. and actual experience in retailing, A first sergeant with the Corps of Mr. Bunn hopes to arrange for his students to spend part oi their time Engineers during World War II, he observing and working under super- spent 40 months in the South Pacific. tyuen cl Appointment of Verne A. instructor in retail merchandising the beginning of the spring semeS in- | a* lor 'he success heralded a long-range progrc®1 Partridge, direcfc ofT. ? Robe« W. tended to benefit both Wilkes ties at the CollecTe JL dent achvients and the community. * efio^ of the Together witil Dr. Samuel Rosenberg, chairman of the divis*0 10 .< of the student work exhibitedI at a Fitzgerald, John ^oth ,6 CoUege s junior art committee displays some are: Byron Phillips, Pat 1_ Merry Slavin, Michael Thaler, and Day °Pen bouse. First row, left to right, Mrs tr ’’ Cmd Leonard Majikas. Second row: Frank Alexis, sw I ’ Welton Farrar. (I 11 �Distinguished Social, to Speak Principal speaker at a mencement will be Dr. WillCorc. ing Ogburn, Sewell L tinguished Service Profes^!^ ciology at the University of ri? S°He has chosen "Four CharaeS — of Your Future" as his top£StlCs ’ DR. WILLIAM F. OGBURN As we go to press, Plans *or the College's fifth commence ment, 9 which willannual be history by the­ time this reaches you, are almost complete. Scheduled for 8 p. m. June 9 in the gymnasium, the affair will mark the conferring of degrees and certificates upon some 150 members of the class of 1952. Included among the gradu­ ates will be 16 alumni who left us last August and 29 more who finish­ ed up in January. It is pleasant to report that this year the Alumni Association has solved for the graduates the peren­ nial problem of where to go after commencement. Remembering their own bewilderment, local members of the outfit have decided to welcome 52s to the Association by holding a reception-dance for them in the Am­ erican Legion Home, North River Street, immediately following the ex­ ercises m the gymnasium. Gradu- e?ceSetSeCted t0 Pr°Vide nothing ments Presence and refresh- Acw-fring *° °ean Ge«-ude M„ vin Williams, who has knownT Ogburn for some time, it was he developed the concept of "c • lag." A prolific writer on socioloq^S economic, and statistical subjects u ' is the author of a number of te? books regarded as standard in the field of sociology. Two of them he found in use in some 20 colleges and universities of India, where he spent the past year lecturing as a Fulbright i exchange professor. Long active in public life, the speaker has served under three pre^ sidenls—Wilson. Hoover and Boss.f veil n. He was head ot the cost c' living department, National War Labor Board, 1918 to 1919, and dir­ ector of research for the Presidents I Committee on Recent Social Trends, 1930 to 1933. Under Roosevelt he i was also associated with the N. R- A I Dr. Ogburn says he likes to think of himself as an "appraiser of na tions and national welfare. As . member of a team, he studied soci trends in France following W0 ) War I, and later undertook to ao same thing for China. Unoftciauyhe adds, he has been ' , similar ideas on India." Next ye he goes to Oxford, England, ' professor of sociology C°llege‘ • rsitYA graduate of Mercer Umv®^ of which later granted him a Doc Laws degree, he earned his .( ., f and Ph.D. at Columbia Um t The University of Chicago ,g a second LL.D, upon him m j gtr | Before becoming professor Of' Washington. Washington Former at °* SociologUndent off the American SociolcgP16]5 Society, he is a member of the national Statistics Institute and ^population Association of Ameri­ ca- Award Winners Following Dr. Farley's conferring ( degrees, department heads will c ,sent awards to outstanding stu­ dents in their departments. Two awards in the Division of Commerce and Finance, the Dobson Medal to the highest-ranking gradu­ al in accounting and the Journal of Commerce Award to the C. and F. graduate whose performance in his field of concentration has been ex­ ceptional, will go to Donald Royal Law, son of Mr. and Mrs. Royal E. Law, West Pittston. Active in a num­ ber of Wilkes clubs, Don is treasurer of the class of '52—and why not? A new accounting award, estab­ lished ---------by ,/ the , _ Pennsylvania , .. . Institute . -n fe* Certified Public Accounlams. will be presented t„ to W.lltam William Georae George NelNel­ son. The son of Mr. and Mrs. N. E. Nelson, Dallas, Bill has been a mem­ ber of the band and the Economics Club. The oldest Wilkes award, the En­ gineering Medal, will be presented by the faculty of the Engineering De­ partment to Bernard Patrick Zapotowski, who completes the two-year course in engineering this spring. One of the students who helped re­ organize the Engineering Club dur­ ing the past year, he is the son of Mr. and Mrs. Louis Zapotowski, Wilkes-Barre. Charles Klein Gloman, 3rd, editor 0 the Beacon since February, will receive the L. J. Van Laeys Medal or proficiency in journalism. The son Mr. and Mrs. Irving Gloman, rums. Chuck has also been a year­ book man and, briefly, an actor with tiUe n* Curtain. He leaves us to join e_®T?d^or^al stcrff of the Plain Speak­ er- Hazleton. - - ft Ttecned ✓ < Here, to our mind, is the best news of the semester: Jane Williams Salwoski, long a very present help in time of need in the alumni office, will receive the Alumni Association's Outstanding Graduate of the Year award at the fifth annual commence­ ment June 9. Established by members of the Association last year as an enduring symbol of their attachment to Wilkes, the award is presented annually to the graduate who, in the opinion of a special faculty committee, has made the strongest contribution to the life of the College. Members of this year's committee were: Dr. Charles B. Reif, chairman of the biol­ ogy department; Dr. Hugo V. Mailey, chairman of the department of political science; Robert W. Part­ ridge, director of student activities; George F. Ralston, dean of men, and Mrs. Gertrude Marvin Williams, act­ ing dean of women. It seems singularly appropriate (continued on page 17) JANE W. SALWOSKI (continued on page 25) 13 �t,h, designed to “prep™ V 'Kext This spring marked further expan­ Robert E. Moran ’ sion of the College's teacher-training at the College and former * * *4 facilities. instrumental music in the The Pennsylvania Department of hm^ member. SC??°ls' and's^3^ Public Instruction authorized Wilkes The' course in but;^31- fac-jU11’ ! to offer courses in music and busi­ will be directed by Misfc^^a.| ness education, making available to aspiring teachers five different pro­ hon assistant professor oM- | grams in education. The other three studies In addition to training I are: elementary education, second­ ers in the new program, she £ > ary education, and the recently ap­ tinue to offer courses lerrrtT 4 I proved course in nursing education degree of Bachelor of Sh 9' intended to train instructors, head Commerce and Finance, withn^ in nurses, and supervisors for hospitals * and schools of nursing. Beginning or in secretarial studies and ♦ in September students may register duct two-year programs in stenography and secretarial ”ud£‘ for any one of the courses. The music department will fiC John G. Detroy, chairman of the wise retain its A.B. course and iu department of music, will administer two-year program. 5 i J f AO 1 ( I * F jury were such nationally known painters and sculptors as Eugene Speicher, Isabel Bishop, John Carroll Hobart Nichols, Roy Brown, Robert Philhpp, Cecil Howard, C. Paul Jennewein, and George Lober. certification as teacheS'1'1"'-^^ ♦ I li THE 1952 Wiiii c 4 ) I J T i I ci 2 t f / f .« I Cheers for Morris Six ° T ^orTis, director of admisHerberi ,-^ a.s{rar at a{ the the College College reaistrar 1 r—s sions ari had the signal Mhonor ofr since ' distinguished Service Distinguished receiving the Young Man of the Av' ardt°She' 14th annual dinner of Year cn* Wilkes-Barre Chamber of Commerce t The 1934 Pulitzer Prize winner__ who, by the way, is offering courses in basic art, landscape painting, and lettering and layout this summer— has had considerable experience on art juries. He was a member of juries of selection at the New York World's Fair, 1939 to 1940, and for National Art Week, New York, 1941, and a member of the jury of awards for the Society of American Etchers in 1937. in February. The citation accompanying the rd read in part: His service au aL self has been outstanding. In “ddiiioii to carrying the burden of imposition at W.lkes College in a Sne in the history of the college ,„hen its greatest period of expansion was at hand, he has borne trie re­ sponsibility of a family and served numerous community projects which have benefited the entire Valley." It went on to mention an al­ most astronomical number of speci­ fic civic and charitable activities to which he has given and continues lo give time and effort. Lakeside Summer for Elliot George F. Elliot, instructor in eco­ nomics, has received a study grant from Case Institute of Technology, Cleveland, enabling him to spend six weeks in the Ohio industrial cen­ ter this summer studying problems in contemporary economics under six of the nation's leading economic thinkers. b Some time later Mr. Morris's phiz cegan to appear on posters he de­ scribed as "half as big as the door to Chase Hall" over an outsize ap­ peal to members of the Pennsylvania Junior Chamber of Commerce to "Join the Chorus for Morris." In the laboratory phase of the pro­ gram, called "Economics in Action," he will visit industrial plants and business offices to investigate the ap­ plication of economic theory to busi­ ness practice. He will also examine industrial methods of teaching eco­ nomics to employees with a view to adapting them for use in Wilkes classrooms. One of 50 college teachers -select­ ed from a group of nearly 300 ap­ plicants for the study grants, Mr. Elliot will be provided with board, lodging, tuition, textbooks, and travel expenses. They did just that: at a late April convention in York he became their president. In tendering our heartiest congratulations, we can’t help won­ dering whether the coming political conventions will force us to adver­ se for an admissions director in the next issue of the Bulletin. Q Toole on Art Jury Detroys to Go South John G. Detroy, who taught piano and theory at Blue Mountain Col­ lege, Miss., before coming here to head the School of Music last Sep­ tember, will return to that sunburnt state this summer to teach at Mis­ sissippi Southern College, Hatties­ burg. He will be accompanied by his wife and his sturdy son, Douglas. . director of our School of Detir^H Cchhal B. O'Toole, had the dis10->n serving on the jury of tinriar(:J3 a* 127th annual exhibiNational Academy of DeAprifrz ew Y° r'k March York March. 27 through 1MBa Ecm ■ 14 — AND I—ThirH^nn Second row: Lois Sha''' Third ihird row: Carol Reynar. LudIle Heese. a menrber of the select diinp Mr- O'Toole helped deter­ in 2-me disposition of some S8,000 zes- Serving with him on the (continued on next page 15 �And Morans We other full. Robert E Morantake his to e instructor in t0 the 5e and very young^daug rut-ing in 14 months as . , gan- P4he general Staff Color*public-information the degree of Midwest this Educatan a. Northwestern University. ed John J. Riley and erce9gnd *3(^*0^ the faculty this spring. rEea Stanley J- ^oung, wh° rePlaced_ tut. Rileyrnme as an instructor m from ec M to the College S,"» C. where he tad served during 1951 as an industrialrelaiions analyst wnh the Wage at bilization Board. Following a stint at the University of Georgia, the new instructor enter­ ed the Army in 1944 and traveled ex­ tensively in France, Germany, Swit­ zerland, and England. Discharged in 1946, he enrolled in Washington Uni­ versity in his home city, St. Louis, and received his A. B. in economics there in 1949. He earned his A. M. in economics at the University of Penn­ sylvania, where he has since done graduate work in industrial relations. Mr. Laggan's successor is Miss Cecilia V. Tierney, instructor in busi­ ness administration, who taught ac­ counting at Syracuse University be­ fore coming to Wilkes. A A n j the University of Delaware, where awarp UC ke °* she served as an instructor in ac­ counting from 1947 to 1950, she has pursued graduate studies in the Eve­ ning School of Accounts and Fin­ ance, University of Pennsylvania, and in the same institution's Wharton Graduate Division, in which her M. B. A. is currently pending. VM^ltJ1ou19h tbere aPPeared to be little likelihood of her taking over Mr. Laggan's duties as wrestling coach, her hockey, speedball, basketball archery, and bowling experience al Delaware led us to suppose the senior girls would find a formidable opponent in her at the annu™Sentr sta* Korean war had l^egun S*- n.' he reached Tokyo, by *eoromised public-information Nc* s P1 , given to a man on billet had me fighting started, the S?c‘-n general headquarters ar0*^," assignment to Stars and r<Mea which he subsequently serv^(rr^l monthse Following three months on the F -'city desk in Tokyo, he went as a correspondent, joining nN troops on ’.he Hungnam beachin December, 1950. He also saw Son with the 25th Division, Eighth Armv Headquarters, the 10th Corps, and the British 29th Brigade. Re returned to the Stars and Siripes news desk in May, 1951, only to find Japanese linotype operators almost as troublesome as the enemy in Korea. "We had to spell out every­ thing for them,” he said, "and often had to pull as many as half a dozen ft[alley proofs." " Muttering something about 'pas­ sive resistance," he disclosed galley proofs of the Nippon Times, Englishlanguage Japanese daily set by Jap­ anese operators in the same plant, were always "much cleaner” than the Army paper's. One of the biggest jobs the seven­ man S. and S. news staff undertook during Norb's service was printing a complete list of nearly 4,000 prison­ ers of war last December. "It was the sist^d COPy'readin9 Job ever»" *e hi- MISS CECILIA V. TIEriNEY Spectacle next spring — until ---- 1 we I learned a day or two ago that u1Ui oi.-j sh^ has accepted a position1 as as a a travel trnvpi.­ ing auditor. Pity. Norbert vjisneisKi, Olshefski, '51, man di, the me raw* n^— 10 dreamed up up the me long-popular Beacon press conference, turned up the other day with a fascinating account of his experiences as a sta reporter for the Tokyo Stars and Stripes, Army daily. A Glen Lyon native. Norb became news editor of the Beacon and a member of the Student Council be­ fore withdrawing from the College m 948 to join the Army. Upon completing an intensive si* week course in Army public-infamm non work at Carlisle, he was assign' P to the Arkansas Gazette, Li ’■ ock. Ark., where he served aS vvxxeit^ lie Stlivcu — 0 general ireporter cpuner lor for three month3' V _ went _ . r _ —Leaven .ranFrom there he to Fort 1 ?, / ' [ i i ; 1 \ Jn Norb s pocket was one of his ost valued possessions — a front ALUMNI AWARD (continued from page 13, that the alumni award this year should go to the woman who pre­ pared for publication, up to the be­ ginning of this semester when stu­ dent teaching started to occupy a considerable part of her time, most of the news appearing in what used to be the "Alumnotes" and is now "The Old Familiar Faces" section of the Bulletin and who got off notices cf monthly meetings to Wyoming Valley members of the Association. Fact is, she has been a mainstay of the alumni office ever since Reese Pelton's time. As president of an exceedingly active Theta Delta Rho during the year just past, Jane was prime mov­ er in effecting a change in the soror­ ity's constitution intended to assure the group a genuinely interested membership selected by democratic means. Under her leadership the or­ ganization seized every opportunity to serve the College's various "pub­ lics," thereby assisting PR immeasur­ ably. Jane also found time for Cue n Curtain, which awarded her a ser­ vice key at its annua] banquet this spring; the Education Club, the girls, basketball team, the Sociology Clue and the now defunct Water Fads'. Her name is listed in Who s •‘ ar among Students in American -.c. leges and Universities ana Axer.can Student Leaders. .'< .’.o', ts e • f..' more important, she has a.: .' a very creditable acaaennu* throughout her four years a; S' °? the sPecial "Olshefski Edi- A part-time YMCA exr.p. ing part of her college ac has spent the pas’, sc . a;a. at the Georgetown Seine-.-.: as a waterfront v.c:cto teach English in the cub of Pennsylvania she > casting about tor a b'. <" of Stars and Stripes prepared er„a Pacing tribute by his co-work& m the Tokyto newsroom. Unwilling t to trade his Army exPenence "for anything," Norb ex­ Poets a discharge in July. Having forked nights with the Associated Preess during his last months in Toky°» 3 hen hopes to find a job with one the wire ■ services in this country. Jane is the dauchfe: o. ' tha Salwoski Wilkes ?ar e 16 17 �VlamoHiC TV™*™ 'W"'h 'Mitk By DALE WARMOUTH, ‘54 Off to a start as cold as the v, er at the season's beginning, Partridge's baseball squad go ing ?ate to show great potencies -for next year. The youngWilkes team was racked by such hareI hitting outfits as Bloomsburg, Ithaca College and University of Scran.on in its 1952 diamond wars, but came around in the second half of the campaign. It was a reverse on last season s team which started hot and ended cold, but then the current nine was as green as the outfield at Kirby Park. There just weren't enough vet­ erans to go around, but even the rookies showed plenty of promise by mid-May. The team, holding the baseball spotlight all by itself now that the Monarchs have dropped the game and the Wilkes-Bane Indians call Reading their home, opened against their Lackawanna County rivals, University of Scranton, to begin a 14game schedule. The total number of set-to's was further reduced when rain canceled two of the big games just before finals. The Scranton Royals cracked out eight hits off sophomore George 'Mo' Batterson to take the Colonels 5-1. Two days later a visiting Bloomsburg team shut out the Wilkesmen 9-0 by virtue of Bill Creasy's one-hit game Third-sacker Eddie Davis managed “ bmgle ,in the nmth inning to spoil the victor s no-hitter. y person was pitted against Wyonung Seminary the following wJek the Knights but i6’6 TUnawaY over AvreaS it b SUig Pitcher Tom High-flying Ithaca College, now Colonels endAttd trip­ ed tb<L-artwick 8-6 in a- hard-fought pi-’1-? jX-ing which the victors got 16 J ---- , ne By PAUL B. BEERS, 'S3 hctt*e opposition's opposdior nine..ned out A tough schedule, lack oi c.ass . •^*5 to Wilkesxnen were rained out Vfilkesmen wer st {or. the heavier weights, and a * o occasions, for- teied rough breaks a.,' comrccasions, both both against g nn on - foes- The The first first was was a night ig51 y College,' and the. season only a fair one. ; ce tec^. ^ablXith Ithaca1 Coh^ Blooms A so-so Lycoming Colic.son's finale at Bloomssqueaked through to a 6-4 evicto*. seasons hn record stands three wins, one ...c. ?G was saving his Kirby Park, and it looked as f•JrYat ' John Jota Milliman, for “ld siX 1OS3CSthe Colonels would never see vi< sK°ng!-hsh Wfih his revised infield mfield Jimmy Laggan-S highly sucin '52. Len Batroney got his hiS1CflfryA >ved crew in these i m p rC)V ed out m the feam of the year Defore ^sround-trip knock of his " collegial' conegi^ and an ^Ppoked as though thougn neither a ed on him when he opened career in this game. ,e ^dd ld be able ..to breeze through PastUre PP campaign just over. Giaaua• "P the ond transfers left him Down at East Orange, N. J., Wilkes ’ ^thetH011b*161 eaS-' ' victories. victories. perked up and played one of the , ‘ Come with deep holes to fill. But lor some best games ever seen in college ball Thing5 „„ fine incoming freshmen the team The 1953 season, which depends against the Upsala Vikings. Although would have had no chance at all. a great deal on Uncle Sam's attitude the Wilkes nine had eight hits and ioward college students, shows more played a nearly perfect game, in­ Rookie Bob Reynolds came to than a little promise for the nine. Coach Laggan’s aid and in the end cluding three double-plays, Upsala Graduation riddled the 1951 team, turned out to be the most successful came out on top 2-0. But from there on, it was Wilkes College against all I depriving it of the services of such wrestler on the squad. Filling in the stalwarts as infielder Al Molosh, out­ 123-pound spot, the same position his opposition. fielder Don Blankenbush, pitcher brother had held the year before Led by Batroney, newcomer Jim Chet Molley and catcher Joe Des- rough Robert won six, tied one, and Moss Moss and and Eddie Eddie Davis, Davis, all all oi oJa ^hak But Bob Partridge has a young jost two He got himself two pins and whom got home runs, the ColonelT ^eam COming up. He loses no regular {wq deiaults. scampered roughshod over Lycomthrouah the diploma route this year. ing College and three pitchers to a Switching baseballwise Joe KropiewJim Ward, another rooci1951 style score. Every man hit safe- . nnicki -ckj to shortstop post 130-pound position. A cha~ to tBe the shortstop post proved proved ly in the tilt. to be a boon to the current squad. M. C. A. wrestler, he showed his . He was replaced as catcher by Joe class with a seven-three record, in­ Back at Kirby Park, Wilkes squeez­ ’ Wengyn, who may prove every bit cluding four pins. Old reliable Phil ed out a 13-12 victory over Strouds­ as — goodJ as Kropie by the time he Husband advanced one notch to the burg STC in the tenth frame of a gets a bit more experience. Boston's 137-pound class, winning four, losing rainy game which halted by the ' icn wasin9 naiiea F7™e Thee,vy ?oeca!s Sa’nd'Tetaintag the honor of being elements once. L.y - ■ - — one ofi^rH^^.workina the hardest-working Colonels Colonels Eddie Davis rounded out the infield ------happen in that game. The locals ever to don the Blue and ijold. in '52 to make a sweet combination. went run happy in the fourth inning The outfield remained a bit green which and piled up an 8-2 C 2 lead, 1 ’ -1* the Captain Charlie Thomas finished and shaky but came along nicely. out four years of wrestling ten Wnkes Stroud's batter's soon bxuuiv^. eradicated — to Chuck Anderson, Norm Gates, Walt in the 147-pound spot. The former Ao end of take a 10-8 advantage. A/ At the o the ninth, the score stood tied 12U2, 12-1 , j Chapko, and Joe Trosko were the Forty Fort star netted o. five live rand in the extra inning, catcher Joe ■ boon-dockers who hope to work up cord for that difficult weight into the Don Blankenbush tradition. Wengyn rapped out a hit which whic So every Newcomer Joo Yanovitr. • ■> Speaking of Blankie, it was a real drove in the winning run. rssve one went home for supper two houis eat to have him back as a spectator pounds, was aspecic, >ly Wrestling all muscle s e. °r several home games. The 1951 Yanovitch, a touch -e . < . <? C \ ( \ Was a terrific little centerfielder, Again the Partridge Panthers ■- .v. •' nd his presence on the bench as an for Coach °m behind to wipe out Harpur immediately • ’ e - ■ ‘ nnmus was a morale booster. Me 8-6 at Endicott, N. Y„ but fa]^ fancyH'-ho ’ d tur ■ •’ ed at -Selinsgrove to drop aIJJ 11 Batroney came out on top in >^yJUVe io mup VL •a- 7-6 J g ..g I this six (out IP' Old " ' ■' TT__r ___________ dfiSP 11 Susquehanna University/ desp^ ( j . A------ -‘VAXiuu. Mill VC1OH] / — J year s batting race and was also a blg four-run spree in the early Pu ■continued on page 2S> the home of ex-Wilkes nilf4, f Pitch, Zigmund, was the next outfi* the Colonels' measure. fiS 7-to *4 ' used to slap Ithaca down at9' v,h-. . intervals, did not pitch former Alma Mater but coached * base during the tilt which end a lop-sided Cayugan victory ' Ici the . aAlOr .r ... Then theupbeat by On an 1« A bVAAAM.*- I - ------------ — I ‘ ■ �of both sides, by five PAST MATSTERS tion of squaring things with ▼ I riverside rivals but were*ith short—to the tune of a lopsided score in which Captain Bob Ba 1 t and his cohorts scored at will By JACK CURTIS, '55 delphia College of Pharmacy Coach George Ralston's Colonel Science provided the opposi^' , eagers closed the 1951-52 campaign the' W'll^"’ with an impressive 82 to 73 win over mikes> gymnasium in a “• 1 played beforet a large gathering J g East Stroudsburg State Teachers Col1 lege at the Pocono Mountain City on ’ ■ > harma C y J school'i on alumni. Much to the disapn s o’Regional ■ -;nj;, — a Hh jointmer l( of the partisan fr^nti partisan Philadelphia rooteiB I March 8. the Wilkesmen ran wild, It was the second victory of the their highest score of the piling np season over the Poconos for the Colo­ in winning 95-54. campaign I nels, who had previously emerged victorious from a Wilkes-Barre , --------------.• scrap r Jhe Lycoming game presented as. I -1_ with their towering opponents, racK- other picture as the locals went down ‘ ina uo a new collegiate foul-shooting for the second time to the Billporters ' re9ord, 74-63. New York State Technically (continued from page 19) haU *° The The 167-pound position was a one to fill all season. Two nova minute ana a .mea like a tough tough one -eriod that seemed 1 the South jce gra ppiers. Bill Faye and Dave Wi* ■o Ralston's men- three-point .L. Whitney, took over the spot for took over Monarch Coach Laggan, but pld? to jt n five held a Athree-point but neither could make off with a win. For all that, Then it happened, x*------e\'fouled near his team's basket they must be given credit for lor plugplug­ Xj was awarded two shots. He ging and spirit; it's just that college “ade both, bringing the score to 71- wrestling is much too/difficult difficult to pick ind ’f“= -_Wilkes. With several wild sected® lCjs to go, the Monarchs put on a up in one season. Bob Javer, last season's freshman onds to ’hich g°-, the scrapping Colonels whiz, was hot again this year, win­ after time to break up, but freeze wlthe game wen, dc—n in the record ning six and losing four in the 177tried li^a;eVdown pound billet. Like Yanovitch, he ■ as King's 75, Wilkes 72. books asthat, — the basketballT season wrestles with all the fury of a tiger. His meanness and savage body con­ Kutztown After t— i. its course. I! tacts got him four sweet pins. quietly -ranexhausted Colonels an Ray Tait filled Coach Laggan's found mark the the < following evening to heavyweight position. He won two easy 61-46. m< Wilkes 1bounced back to , , ,, year i1951-5Q[;i co as na stitute an--oh-so-close- tilt .... atat The basketball , copped vr------a last-minute win In­ j - College in and lost five. whole proved a fruitful one, especial­ Binghamton 83-82, in which tempers The team's record shows another take Harpur ly from the standpoint of the fans. of both teams ran hot and furious, i unset 75-73. win over King's. The Colonels The Colonels thought that they i The final home game was auog-er have yet to lose to the Monarchs' The Stroudsburg tilt put the finishing tough one which the Hartwick Co*touch to a season which saw the should have won the game, but the matmen, and now that King's is giv­ Blue and Gold notch nine wins New Yorkers and officials prevailed. I S quintet won 80-66 to tnumph ing up wrestling, that record is like­ Bloomsburg's Huskies came to town . over the locals for the second time against 14 defeats, not a bad record ly to stand for some time to come. considering the stiff competition they on February 20 and handed Wilkes during the season. an 83-68 setback, but the big King ‘ s The other two wins were gained faced. The big factor was the team's Followed by a loyal delegation of at the expense of Swarthmore never-ceasing effort to win. "They game was next and the Colonel” rooters, most of them on the a.s.afi and East Stroudsburg. We tied La­ played to win each ball game from figured that they would make up for 1 to side, the Colonels journeyed start to finish," stated Coach Ralston the three straight losses by downing of the fayette. Our defeats were dealt us by Stroudsburg for the last game cl the Monarchs. at the end of the season, "and our year and took over the mountain top-flight wrestling schools — Cort­ I land, Ithaca, West Chester, Lock record was a far cry from last year's at I Played at the King s gyn1 men 82-73. ’ Haven, Millersville, and a newly when we won only five and dropped -— Vaughan ’s Corners, Kingston, the j Wilkes was fortunate enough to 22." Wyoming Seminarysecond Wilkes-King's encounter pro- ' have a lot of standout players dur­ strengthened nine. We opened the season with big of the ye®We left off in the last issue of the ing the season. Several records were Cortland, losing by just one point Bulletin with the SusquehanZrT n1" nised to be the 9ame erst r , Uni- Pre-game publicity created [ an intercracked: Bob Benson accumulated collegia versify game. The Colonels buzzed 899 points in three years of basket­ rastaba^gX^Ms “ama. "Can down the .river It U Zvliu: ball to set a new all-time individual buzzed right back from after the taking an W1'.kes s,ar wi,h the toU- fast «osy_66-62 decision Cm, ? I tally, hen Batroney continued a " next ’ day ion from the Crusad'­ 9ation °f eagers King's will put on the Ralstonr/ scorching pace throughout the year victory over ers. The i — * 1 °n * Easton °wE *lo°r?” was the question asked i o score a total of 439 points. While tie in the same manner. took it . am ed... to a flashy Lafr/6 tbe 3,000 fans crowding into the Prospects for next season are no: his pre-game mark fell somewhat they succumbed too clear. Coach Jim Laggan who ette College below Phil Sekerchak's 19.62 aver­ ^nsllel KT one in the stands would STC pulled age in 1948-59 campaign, it was a must be credited with splendid work --- '<.a turn-about and unsetd No _ ,record in total points. these past seasons, has left Wilkes the tired Wilkf ew sc°ring able asset - —- and a new coach has not ye*, been second meetingrrvO.^^tahieere *en £■ f the" atai ^obn Nlilliman proved valu- named. Since graduation robs or.: .ecaH9 in rebounl anda^ed time, at Mansfield, ^in lai! bddie Davis, comyoung 1951-52 team ot Charl.e walked off with a decisive decisivi 73-43 a anwin. ail' nio^e aj2-point lead at halftime. The The first encounter had beenwian all- gamp^ Wilkes rooter thought the p. . 111 rebounds.season, Eddie Davis, nnina also was a young Thomas alone, it stands a nice Thomas WilVae- affair, ~a. - the coione}s , Wilkes 9 Was the bag-but it was bl bio ivll-c 111 tne season< arso woo xx chance of improving next yea86-58 here. the netg SWlshing the ball through chance ai^ °ns^over- Playing oh head But chances of a winning season de­ — uvei. riuyxxA'j +hetf pend largely on the incoming iiesb. Wllkes' alone, neiabKthe- Colonels ----- crept C up ™ Susquehanna can 011 , a]f I utes^ Captain Bob Benson graduto Bane on Februarycame 6 men. May they all be mat monsters — -nand S nn g . rivals in the secona n-neighborina secon with the into arlv m tKa neriod led, t° 3X?, £'^steS! 9y"' ! i 7 U.1C UCLD XXXXVX x. 21 �On 1 Enspiriting Expvriviu »’ IlM • > ■ rheAnconcert itself was deeply n..i concert itself was . h-ing, making everyone i<?ni..|o|y WPtP Mt making everyone cilivp » H >'-» l^ected with Wilkes proud to fh>r>I ;ted with Wilkes prov t1the College beh.nd '“.CH* '5 • '< ' College was was .be 1’ » su.b ,, minor, a»v’ enture. The enthusiasm of Mr. Livo. Wilk The enthusiasm ~ dynamic conductor, c: and the mem Zandarski, ter-nr, bers of the>conductor, then 90-piece orchestra utrd an effc-v ! o‘ ? '<• < then f \ ’ was s0 infecdous in tin* Grand Seen" <■/ >e Co; .3 that that satisfaction stemmed as much from a ... ich from a realization iion from Verdi’s "Aida," ;ymphony could become the high point of the eiJire co .o of what the s; J — A chorus of 80 voices, mad- ••*;> of aS from what it was. the College Choral Club, the Scro;.But what it was was graifiyinq ,d offering, too. After the group's second " ton Community Society Chorus. a.,o in B-fla* the Kosciuszko Glee Club of ScrarSchubert's Fifth Symphony ton and perfectly controlled by Mr. major, it became apparent to the lishad, in a Liva, joined with the orchestra and teners that the conductor elded a hetero- the soloists in climaxing the musical few months' time, wc. ’d. entalists ingeneous band of instrum' event. to a responsive unit. • (The following piece first appeared in Paul B. Beers Varsity Limn" ccluixqj in Beacon. With Paul's permission we reprint it here as a perfe-tly SWeI1 v/ay 0{ _ . to Reqgie Burr of the gym. who will not soon be forgotten by recent gradum^5^ | I r - -Ed.) ' 05 C^» 1 It's nothing that you can put up in big black headlines or stories for, but Reggie Burr is leaving Wilkes and many f0]ks Write 1^. Some of the big black headline stuff is soon forgotten, but the lit?6 S0lt7 ' of a guy named Reggie Burr will be brought up countless times in ' lockerroom next season and many seasons afterwards. Maybe wVk^ I say something about the old guy. v e bettSl I I remember three years ago when soccer first started at Wilkes h two or three days before the opening game and Partridge had the J- 1 listening to a little bit of blackboard oratory without a blackboard. At tk ’ | end of his comments he said, ' Oh yes, you fellows all know Reggie B ■ there. He's my new assistant coach now. No pay or nothing, Reggie likes the game. Come here and say a few words, Reg." Reg took his sW ' der off the goal post, adjusted that mothy cap he has somehow worked u; I I a reverent feeling for, and took a step or two toward the group. "I'm nci going to say much, Bob's the coach. I'll just come around and try to help ■ I you boys out." ( I That put Reggie Burr and Wilkes College together. A year later he go: I a job as head janitor down at the gym. The old boy went at the job with . I I great enthusiasm, keeping the place in tip-top condition and adding lots o! I new friends outside of the soccer team. Now he plans to give up that | I and head for Buffalo, where he figures he can do better. ' ’ I As I said, this is nothing that you can put in the headlines. Still you I can't pass over the guy named Reggie Burr and some of the stuff he has 1 done. Like the time down at Franklin & Marshall two years ago. The team f went into the final quarter with a 2-2 tie and on the downward side of the I hill. Everything was pointed for the outfit's first victory, and everybody uas . I a bit on edge. There was a poor referee decision and Reggie went charging I Two guys had to hold him on the edge of the sidelines while he relate I 1 e re^eree lys stout opinion. Later this caused a couple of parties to vi that some of the Wilkes athletes had half of the fight that Reg had. A ; a ^ls stories and his wonderful Burrian manner of phr > just the guy, Reggie Burr. But you BUt Se atK^ '7 ALLEY SYMPHONY (continued on next page' 22 I ■■ ■ ■ ■ ■ -- ■ ■ ■ - '*1 V. fl 41 >? 4 J ' dren's concert, which could (continued bom page 91 scheduled this season, tri® 0{ as the Society's executive committee Membership reflected the con oWth next year met two or three weeks the Society for the musical Syey( beiore the concert to take a decision of the young people of the j jn believed to be unique in the history who, like all the rest of us, s a of symphony orchestras and the danger of becoming mere P j0 groups that support them. viewers and listeners re^^^mniit' They voted to admit to the first nothing for themselves. The c concert, on a single membership, tee also decided to sell Family a family of four—father, mother, and berships at six dollars eacillC_er ts. eristwo children. A substitute for a chil- season for, it hoped, three con ' >| ■ AI A \ I j j | I J ■1 ••• , - ■ ■ ■ I c — B i 1 . ■ ‘ V I_eit tQ ^E GUY, REGGIE BURR. HELPS THE BOYS "GOT" ^ollison, and^ ^>au^ Beers, the delighted author of the piece opposite' Pres 23 •?. . �UM A LOOK AT OURSELVES (continued from page 5) the popular opinions about I women, for there was no difference in marriage-ability which the less wealthy graduate the ones who got very good lives, the more likely he is to marry. the all-around girls, or the girCVwere "big women on campus.-^' * "Our graduates are not notably prolific," Mr. Havemann reports. "It group that seemed to have the chance of‘ matrimony were the is obvious that the vast majority are .— who just ! practicing birth control and that they _ _____ .f. i-L- ‘V- -=-; ?.-------- -----------------------------campus activities sat there" and got tend to limit the size of their families verY good marks s nor participate^ b” their *1'"- ”:-------„„2 ' by £ome and^bAverage While there are manthe town they hey live in. all Theour average mar. maids in every age grou number of chdd which begraduates than among i 1 ouris mar™anT niore old|' maids in --------- man among Fh^pS’, «on - large, — there is a sharp dift <tion at ence in the direction of the tre^ Among the general population £ ' direction is downward from 25 J •• . cent in the group under thirty, to? lj The Distaff Side percent in the thirties, to 8 percent iThe picture of the woman gradu­ the group over forty. The college figure drops sharply in the twenty­ ate is not nearly so favorable as that thirty age group, rises noticeably k I of the man, in both matrimonial situ­ the forties, and then spectacularly ation and earning power, although there are signs that a college career among those in the fifties. The older * is no longer an "education for spins­ generation of college woman "car her weight on the side of spinster- I terhood.'' hood"; today's college woman is q, The Time survey revealed that different breed. |i nearly one out of every three women r every three college graduates was unmarried In the matter of remuneration is -■» was i — (31 percent to be exact). This figure found the biggest difference between ____ _____________ xxcuveeu exact). “ —1 compares most unfavorably with the mo*-' men ** and women graduates. The col- . with the lege T13 percent unmarried ably among woman's median income is American women as a whole. Mr.> $2,689, J, compared with the mans Havemann speculate* - ’iength ^ecz^ phZno CUlaleS at some r-.vo out of every three col- f on this . o^yges career women less °^ non and suggests ^an S3,000 a ; , are I earning r many reasons, among them the the, co nnn r, compared with ry of Dr. Paul Popenoe, the sociolo ­ '°- I4 Percent of the male ^graduates. ■’ gist, who feels that there is a "wide­ There are practically no college spread tendency of women to seek — “ ""P ' wom en in the ......................... women is the high salary brackets, j to marry above their own level, and income Although the college career woman5 s of men to seek to marry below." income is two and a hall times be I Mr. Havemann found that the like­ ter than that of the U. S. worMS lihood of marriage varied among woman. asserts woman asserts Mr. Mr. Havemann, hgious groups. Only 23 percent "compared with the Old Grads, the)’ ' rethe Jewish women graduates j of were nowhere." unmarried compared with 31 Were Part of the answer is in *e the g job among the Protestants < ui percent situation, and Mr. Havemann of^ cent among the Catholics. and 48 per. many other possible reasons. Th survey also showed that th< ?erSg c°nelati°n between ; college career career w woman? couege °Ttn fee5-b- was teacher (59 percent reported r1. „ c earninc spins- the field of education); ord ^ . nd d ! education); only 26 pf■> — r cent are in the business field. bare 6 percent are in medicin6' in America. But nevertheless onmen every matter, except the production large families, they are doing quite well." 24 three of the highest in do not seem to have any effec‘ on deutisiryyour later satisfaction or dissa-.stacSessions. faying ProL iicn with your alma mater. cs show that the former r The stahstics, The men who make the A’s but "doing pretty well at coIj'e?ne—and, in every’ respect ex- seldom engage in campus activities outside the library make the most ^^the number of children, has a cep‘ "cfable married life than the money—more even than the all^raqe woman, xAnv theoretical aroYnd stud^ ,who maY b® Picked .2 i a as the most likely to succeea. CV r-_ that college might make fcrnan unfit for matrimony seem to thoroughly dispelled by the facts." And what of those who try to mix home and a career? Mr. Havemann develops the hypothesis that "once a working wife, always a working wife." vuc has The woman college graduate who a child early in marriage is who has to a go child early in marriage is unlikely back to work and with each succeeding child, the chances of job-holding decrease further. "Motherhood and careers prove to be quite incompatible. Motherhood militates against the career—and the job militates against motherhood . . . In general, and on the basis of what we have measured, it appears that ^e average graduate who tried to be ®>th wife and career woman is not fully successful either way." Some More General Conclusions In answer to the statement "Reli­ gion has little to offer intelligent scientific people today," 91 percent oi the Catholics, 84 percent of the Protestants, ------and 56 percent of the ---------Jews disagreed. Churchgoing, as might be expected, was mos, pre , ■'ent among t) lent ” five cjmong Catholicthe Catholics; four out of ten Catholic : men and nine out of „eck OI nearly everyattended «ee^.F°every teJ women Protestants, it was seven °u* it was of ten• men and four out seven of fiveoutworn men , and out of never five women. Nearly halffour of the Jews att ^d- a»d °ne °Ut °*;ws never attendY one out of eight rarely at' 6 ’ aeneral contended. Here are s°m? “^r^Xemann: cluHere slOnSare reached Mr.general Hav some by other con­ tusions reached by Mr. Havemann: _ The higher the grades you get in college, the more satisfied you are ukely to be with your college career. The number and intensity of the extracurricular activities you engage (continued on next page- A 25 FIFTH COMMENCEMENT (continued from page 13) Another new honor, the Chemistry Award, willdaughter go qo to of Priscilla Pricrillr, Mary m Swartwood, Mr and^Mr? Swartwood, daughter ofWilkes-B^re Mr. and Mrs. George F. Swartwood, who, as the highest ranking woman a I , Class of ’52- received the Dean's Scholastic Award at Theta Delta Hhc s Junior-Senior Buffet this spring. One of the most active girls in the class, Pris has found time for Theta Delta Rho, the cheerleading squad, the German Club, the Chemistry Club, and the Student Council. An account of the alumni award to our Jane may be found elsewhere in this issue. DIAMOND WARRIORS (continued from page 19) the pace-setter in runs, assists, extra­ base clouts and stolen bases. The Georgetown ace seemed never to let up. varsity in hitting, but he By points. Marsh Karesky led the comer ’ 1 ’ was a latelve him and needed 9 . one more game vc blxxi enough to put average, despite a Phim in the officially. He had a phenomenal in *e batting box. ------- debut Eddie Davis had a rough Yea far as hitting goes, an Qccounted for ,269 average. H though also ^P^Sudsburg. driving an error against &u in three runs. t �z* ff Again we thank Tony Wideman, '49, ably assisted this time by Dan Williams, president of the Association, for the news we pass along herewith. We were particularly glad to see classes indicated in Tony's copy. 1939 BERNARD L. GREENBERG, who withdrew in ’39 to enter Oberlin College and is now abroad, has the most fascinating address we've heard lately Garden Hose Hotel, Cam­ bridge, England. 'Twould be absolutely wizard if he'd pop over an account of punting on the Cam for the Bulletin. 1940 Mrs. William C. Davis, the former GENE­ VIEVE BRENNAN, is living at 256 James Place, Havertown. Pa. 1942 A letter from Mrs. Harold Dunham, the former MARION THOMAS, contains an invi­ tation to Nantucket-bound alumni to visit her at her home in Swain Street, Nantucket, Mass. JOSEPH FARRELL was recently admitted to the bar in Luzerne County, Pa. 1944 Mr. and Mrs. Robert M. Thomas (classmates knew Mrs. T. as RUTH EVANS) have moved to Claude Street, Dallas, Pa. Ruth's husband is football coach at Dallas Township High School. Now associated with the Cornell Medical Center, New York City, LOUISE hazeltine expects to spend the summer in Europe. Her present address is 1320 York Avenue, New York 21, N. Y. LORETTA LunriiA FARRIS, FARRIS, one of the most active local members of the Association, has been appointed to the teaching staff of the Swoy­ ersville, Pa., schools. Reporting that Frances, Steve 3rd, and he are fine, STEPHEN WARTELLA sends us his present address: Captain Stephen Wartella, Jr., (MC) USAF, 2794th Medical Group, Kelly AFB, Texas. 1945 JEANNE KOCYAN presented an account of her summer tour through Europe at the Janu­ ary meeting of Wyoming Valley alumni. "Cookie" left Wilkes-Bane last June to board the U. S. Constitution for its maiden voyage to Gibraltar. Following a summer session at the University of Madrid, she bade Spanish Student Tours, Inc., farewell and went touring on her own, visiting France, Italy, Switzerland, Belgium, Holland, and England. She returned to this country by plane November 1. BETTY MARLINO, now teaching commercial subjects at Lykens, Pa., may accept a similar position at Hatfield. Pa., in the fall. Another '45 who has found her way into the Groves of Academe is JUNE SEARCH, who is an instructor in Spanish at Wyoming Sem­ inary, Kingston, Pa. JOSEPH SLAMON. 1947 who recently passed his 26 C. P. A. examination, is associated firm of Joseph Williams, Wilkes-Ba 1948 Mrs. Gertrude Marvin 'Williams ar of women, has had a letter MIKULEWICZ. a former journalism®?0^’ hers who is now teaching journalism U-■ cott, Arizona. A loyal Wilkesman, heh PtC; terested one of his students in ent/,College in September. ln9 ftt RAY MECHAK has been appointed promotion manager of the Lauback Easton, one of the Allied Stores Thre<.' of work with AL EISENPREISS. '42. in roy's here has groomed him for the job°pC' is married to the 'ormer IRENE KONIECKO i « ■ j bv recall tc active duty as "... in‘eIS£n in September. 1950. Spent 16 to Fleet Sonar School SquadFlc. Released to inactive duty GZ KeY , Jhis year. Returned to Syracuse :n foouOty semester. Will complete the ,r. :he for M. S. (Library Science' in lent5’ - Mucfa thanks, George. Keep G'juiremen1953. I ' i 1 ' ■ J iirnRS another active 'local alumlAC,?"fA by bv Daytona Mills, Jiployed ----- Inc., Dal- &K.D0UGHERTY_isse 7’mg , ~— j as a teachELLEN BRENNAN, ,'in Salisbury, Md., I---- and the Pennsylvania Economy League in Philadelphia. raUSCHER. formerly with the Deposit ' JAY r11""-’T ', Wilkes-Barre, is now in the 4 Savings Bank. basic training at Bainbridge, Navy undergoing ’'’flatmates PAT BOYD and PAUL THOMAS .„ be married in St. Therese's Church, Wilkes-Barre. July 19. after which date they 1949 ’ ' • will make their home in Maryland. TOM MORAN, former executive alumni retary now on the staff of the Pittsburgh ”' ‘ ELVA J. FULLER is employed as an element. Gazette and wife Jean have crv-school teacher in Beach Haven. N. J. Her announced th t I birth of a daughter. address is Box 3. Beach Haven Terrace. N. J. BOB RUBRIGHT is working as a chemist An assistant in the Biology Department of with Atlas Powder Company Tamaqua. Pa. the College during the past year. WALTER MOKYCHIC Will enter Jefferson Medical We were nonplussed at the Lettermen's Ail School. Philadelphia, in September. College Punch Party this spring when a youth 1951 Dean George F. Ralston had in L. ;tow turned I Our notice concerning U. S. Air Force com­ out to be ANDREW SKUNANICH. who con- « missions fcr alumni, published in the January pleted his engineering work here i.< in --'9. (C.n I ^number of the Bulletin, had a taker in SANfessedly, we had thought he must .: be Lj a cajr • iRD COHEN ■ but something must have hapdidate for admission.) Now’ working tcwai'W hnd in transit. Soon after he called at the his Ph.D. at Princeton, he is a research assit. ciiice to pick up the details we mentioned, we ant in astrophysics there. End a publicity release from Fort George JACK POWELL, who attended Wilkes Iron ■ Meade. Md., which contained the news that '47 to '49, and his wife announce the birth c! he had completed processing at the reception a daughter, Jaclyn Stephanie, who happened / center there and had been assigned to the along April 26. Now living at 10 Ledyard , 101st Airborn Division, Camp Breckinridge. Ky. Avon>.^ XT ---- “--J Avenue, Hartford, Conn., the Powells have > (which our brother-in-law tells us isn't an Air also an older daughter, Lindsay. Force base at all). We wish him well. CHARLES WILLIAMS'S address is 58 Church ETHEL FARLEY SPACEMAN, who spent the Street, Greenwich, Conn.; and ELEANOR 1950-51 college year with us swotting up some KRUTE'S. 505 University Avenue (Apartment education courses, is teachina in the Fairview 3), Reno, Nevada. Schools, Mountain Top, Pa. 1950 -J n JACK FEENEY, an industrial representative BILL GRIFFITH, who gave up the presiden­ °r the Alemite Company, Division of the Stu­ cy of the Alumni Association to accept a po-^ art Warner Corporation, has a territory that tion with the International Business Mac" includes Luzeme County. Company in Allentown, Pa., is living wi ‘ Currently employed as aclaim __ _— adjuster wife, the former GRACE RUFFIN. '52, at with Liberty Mutual Life Insurance Company Northampton Street there. DON RAU, « Washington, D. C„ BOB WILLIAMS writes a fellow townsman, Bill reports. Wn, 's sharing rooms with his classmate Our assistant Dale Wannouth tells us his WARD HOLMAN, who is doing social work Dallas neighbor, ROYAL J. CULP, recent., d Ltly _had °r the government in Arlington, Va. the good luck to sell a car to Miss Clare Richard raiber, tom stine and al iUion of the College faculty. UISHANKO have been admitted to JefferFebruary marked two events of cons?ge Medical School, Philadelphia. They will able importance to JOHN J. SURASH, WD egin their studies there in September. work at Lehigh University was mention® Fifty-one's flutist, VESTER VERCOE, returned the January Bulletin. He received his M-=? . e College in May to hold down the first chemistry and went to work as a chenus air in the flute section (what else?) at the the Duplan Corporation of Kingston. ailJ1ual concert by Bob Moran's band. to our GEORGE F. ERMEL, writesappeal in the for best ^5' [. ROBBINS, Beacon editor last year, was married to Betty Jane Hunt of Wilkesera Union style: "Attendance at GlHd“eiBai School if Library Science at Syracuse Un" trre April 12. Health and long life to 'em. ' „ 1952 BYRON M. PHILLIPS accented a position at Milford High School, Milford S shortly after he left us in February. His wife' die -ormer LaVerne Jenkins of Kingston, and sen Enc joinea hun in March. D-LpUMEA>BREN-AN' n0W work“9 with the Du Pont Atomic Energy Division, Wilmington Del., returned to the campus to present her successor as Cinderella. Isabel Ecker, at the big come-all-ye in May. Last semester's Beacon editor, GEORGE H KABUSK, a February graduate, has landed the job hes been working toward ever since he entered college. A staff reporter (he says that means a cub) with the Harrisburg bureau of International News Service since March 30, he expects to be assigned to the Capitol as soon as he completes his apprenticeship. His wife Gloria has probably joined him by this time. George’s successor. CHUCK GLOMAN, who will receive the L. J. Van Laeys Medal for proficiency in journalism at the commence­ ment June 9, will join the staff of the Hazleton Plain-Speaker after graduation. CHET MOLLEY, who took his A.B. in Eng­ lish in February, is now teaching in West­ moreland High School, Dallas, Pa. While an undergraduate here, Chet was a baseball let­ terman and a member of the Beacon editorial staff and the Education Club. He and Wendell Clark, '53, represented the College at the twentieth annual New York Herald Tribune Forum in New York last October. GEORGE SCHEERS. EDMUND NICKLEWSKI. JOSEPH STUCCIO. and LEON DECKER are among the eight alumni recently admitted to New York and Philadelphia medical schools. Thanks in part to his debate training at Wilkes, FRED DAVIS acquitted himself so well in five hours of interviews with directors of the Third Federal Reserve District recently that they named him to their executive trainina program, giving him an opportunity to be­ come familiar with central banking and to work towards his Master's degree at the Uni­ versity of Pennsylvania. He is one of three college graduates from the Third District, which includes Pennsylvania, Maryland, and Delaware, selected for the program. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumni Magazine, 1947-present Subject The topic of the resource Alumni Relations Description An account of the resource <p>An archive of Wilkes University Magazine, from 1947-present. The magazine went through various names including <em>Wilkes Alumnus</em>, <em>Wilkes Quarterly,</em> <em>Wilkes Universe</em>, and the current title, <em>Wilkes Magazine</em>. Some editions for the <em>Wilkes Universe</em>, will have multiple issues within the file record. Our holdings may be missing editions for certain years due to having no physical copy within the collection. </p> Creator An entity primarily responsible for making the resource Wilkes University Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1947-present Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumnus Bulletin July 1952 Subject The topic of the resource Alumni Relations; Wilkes College Creator An entity primarily responsible for making the resource Marketing and Communications Date A point or period of time associated with an event in the lifecycle of the resource 1952 July Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Bulletin https://omeka.wilkes.edu/omeka/files/original/ff4f85009e5d9f71727bfe7a8146b452.pdf 8e66c89bdf24e6fd2cd4df379d0aff82 PDF Text Text ♦ I homecoming at Thanksgiving i (SEE PAGES 12-13) V°tl OCTOBER 1952 No. 4 �The tdicor s Window ippeal ed o P,°bv ,aX, Dan 7? nkSher man,9en '50,« tha* the W Rh° intelli furnishI dues K°;d Philadelphians" and a closely ■ rente. £have nit group o{ more graduates ■ managed to recent get together, and I . response to our recent cr to our are presently bestirring themselves I n Alumni Association dues 'Alumni ASSI to plan an organization meeting. I ioi ■ gratifying in the extreme. Now Association President Dan I 5 □ wasn't it we - were delighted has ’ well as checks. Williams and a group of local alum’ ’ rn v of the remittance enveEditorials Ses we opened yielded letters full ' nf details. as to alumni addresses welcome, did ni are planning a trip to the City of Another New Building H Activities as as ch< . well our hard-working Brotherly Love to get down to brass Warmouth, '54, in his tacks. The cunent college year may Sch notes, thrice welcome, Local Government of bringing our -nii-h to encourage our ~ ad- see the establishment of the club— Classes in Astant Dale Warmouth, 54, his Hatein and and as the Main Line goes, so goes Smer task of bringing our adNew Trustees dressograph plates up to date and the nation, we hope. tc sWell "The Old Familiar Faces . South River Scene Chase Hall mailers can't venture With The Faculty We are especially grateful to the 1 the confines of the campus carents of alumni in the services beyond these days without being asked, Colonel Teams "How's VU ocP ( enrollment at the College?" , ho saw their way to pay tneii ^ues. To those who enclosed letters ci explanation we have replied; to Happily, the question requires no Homecoming hedging. Classes began September these who did not, we extend our 13 15 with 267 freshmen and transfer warmest thanks herewith. Placement Report on '52 students, as against 179 at the same When our duns produce expres­ time last year, and 374 sophomores E sions of genuine pleasure at hearing and upperclassmen registered. The Umphred Abroad Jrom us—as they did in this instance evening division, which opened the If . same day, reported an enrollment of -we are persuaded that ours is a loyal alumni body. Our summer sol­ Ellis and "Wyoming Valley Central" icitation confirmed us in our deter900. 1° j mination to justify your faith in the over Enspiriting figures, those, and re­ Miller, '48, at Swiss School markable in the light of the nation­ College and the Association. wide drop in enrollment over the past few years and the fact that the Williams' Garden Party i Ex About Oriente College has neither relaxed its theLux time we went to press standards of admission nor begun to _ with the last "Bulletin", which con ­ The Old Familiar Faces enjoy another "veterans boom. Less tained an editorial urging far-flung than a dozen veterans of the fighting a umni to consider organizing Wilkes , clubs in their communities, we had in Korea were admitted this fall. a Vlsjt from Doug MacNeal, '49, who Whether the increased enrollment apprised us of his desire to form just is typical of the national picture this SleYphia area. year or peculiar to the College we Such a club in the FU’ -J diamondL at 0 BARBERING BAILIFF Larry Turpin, '55, polishes a rough scooping cannot now say. We suspect, how­ of*e y his ear), judge < •ticed Not at all miffed by ever, that Dr. Farley may not be far copY Tribunal meeting, while Hon. Lou Steck (pencil behind with a aar cold and PraC f th * su PPli ec f him v out high , of work jons const institution, and short-circuit court, overlooks the freshman felons with a tionin as attributing well to the the sound job e Association's _— Philadelphia-area eye. he facitity is doing in this place as sugBesses of Pmiauu,c^_ and some second-cla5’ , Wilmington alumni, cnm on l based X kw i. Morns. the 0 gestions on organization iolleges. Published quarterly by Wilkes College, Wilkes-Barre, Pennsylvania. Entere c< of admissions, m mgn i nvTwriences of other Mhe experiences — matter October 12, 1951, at the post oihce at Wilkes-Barre, Pennsylvania, replythroughout the East. have no August 24, 1912, as amended by the act of August 4, 1947. that At this writing we stinatoi can i. E r and, inveterate procrasl CONTENTS | <from 1 .1 THE COVER �grams, basic police class and mag­ istrate class, are open free of charge members, "Decay’d *n her to all municipal officials in Luzerne .embers tfc longer rem once did"— County. They are intended to enable Things as she Bell Tele- registrants5 to build up a background .-ent of a waiting to of knowledge to assist them in the ,0 the astonishm* who was performance of their daily duties. phone PR man v Persons enrolled in any one of the residence that now residence seeThe us. stately courses have opportunities to discuss stately departments of education houses the departments c sociology — nractices in the of education the room ----presided over by '-«*** pertinent practicesThey in the neiu Mr by*"-lolewicz of and the local government. willfield receive" the j culture and nursing edu<.^._ cl Slavonic culture pre: department was occupied by Rev. Public Service Institute certificates nW Dorrance most of his upon satisfactory completion of their Symont throughout ' long and distinguished ministry at work at ai the uiv College. _ . lartment Dorrance The basic police class is conduct­ Dorrance furnished a footnote (edThe by City ~ Detective rmnlf Frank Flvnn Flynn of of ,beMiss jFirst and Presbyterian di' Church here. First Pre; Wilkes-Barre, and the magistrate io the Dorrance effect that her grand-uncle’s class, by Alderman Francis Murphy effect inf'--the pulpit of the First (of Wilkes-Barre, predecessor Church was Irish-born Rev. Nicholas « Murray, grandfather of Dr. Nicholas Murray Butler, late president of Board Elects New Trustees "olumbia University. Upon the death of Rev. Dr. Dor­ rance, the property was acquired by Dr. Jesse Thomas, who had married Ellen Miner, daughter of Charles Miner, local historian. When Mrs. Thomas died in 1913 at the age of 99, the house and lot passed into the Possession of her daughter, Mrs. W. ■■ Sturdevant, and her son Isaac, who affected the present division of the house to provide a home for his Old Sturdevant House Purchased by College ------- j College'shome purchase of the fine oldThe Sturdevant on South FrankIm street, Wilkes-Bane, enabled us to don our skull-cap and play the antiquarian in Luzerne County Reg­ istry of Deeds one morning in August. Local lore graciously provided by Miss Frances Dorrance, then librarian ? Hoyt Library, Kingston, Pa and Miss Koehlin of the Wyoming Historical and Geological Society, Wilkes-Barre, supplemented what we learned in the Registry to form one f the most fascinating news stories oi the year—or so we think. xxxw ______ _ building, t°’ The present College which h gether with the land on„ 1841 by LjClllCX* stands, was purchased inDorrance's Rev. John Dorrance, Miss D---grand-uncle, from John L. Butler. 1 e t was once part of a larger trac lot granted by Commonwealth patent □-------- -x r aaCommon 1 <Ww1 1PD5 Butler, pioneer dated 1805 to to Lord Lord L __ settler in these parts. Miss Josephine Hillard of Wes. River street, Wilkes-Barre, who has s nee gone to her reward, could n°‘ be reached for comment at the time the College acquired the house. The last of the Butlers, she had had a brother named Lord Butler Hillard--------- ▼ i T Our difficulty in piecing the story together caused us to walk out of the office muttering Lamb's lines about prim Betsy Chambers", who, married daughter. The north half of the home, the part purchased by the College, was occupied by Miss Jessie Thomas Sturdevant up to her death last year. 1 *- : • r. -''6 . ||| 4 WO Dr. H. V. Mailey Briefs '■I:.. Burgesses In addition to supervising the three V/. M. ROSENFIELD hon. courses in the essentials of local gov­ Election of four new Wilkes trus­ ernment offered at the College this summer brought the ■ a ofthe i°ur fall by the Public Service Institute tees during of the Pennsylvania Department of beard's totalthe membership to 28. during Elected were: Mrs. Paul Bedford, Public Instruction, Dr. Hugo V. Mailey, chairman of the political Wilkes-Barre; William L. Conyng­ ^science department, is conducting ham, Chase Comers, Pa.; Hon. Wil­ e class for borough and township liam M. Rosenfield, Towanda, Pa.; officials. His course andJ ,l, the° other other two pro- 5 �.,^/TH THE FACULTY University of Pennsylvania Law. He is now president i?001 the 42nd Judicial District, Tq.?^ ) ‘ A native of Yugoslavia, she was long beent active “ founded He has served as associat?^ She founded Members cf the "University of Pennsvl^ 0 Shut-Ins Club, Inc., Miss Jessee. Lav/ Review," Bradford CoUrC^-1 to L~ — Ruth . and he Wheel Chair Club, Inc greb, where her father. Dr. Vladimir In addition [ppointment as head of the district attorney, member of < '?• ' which lends wheel chairs and walk­ Keslercanek, is professor of Creation whose a; ’ --education program was trict Attorneys' Association of ers free of charge to persons who ne w nursmgiced in a recent issue of the and Russian. She was serving as a sylvania, Bradford County clerk in the Zagreb library when the cannot afford to rent or buy them. announce- : teachers joined mander of civilian defense defend du?' Nazis forced her into a labor batta­ -Bulletin , four new Having proved the need for such a the beginning o fthe -Bull etir‘. the faculty at t-.c ’ Word War II, and secretary. I secrefarv service here, she has been instru­ lion. the I-__ president of the Bradford Count,, ?While working for the Nazis in the mental in forming similar clubs in fall term. They are: Dr. William H. Fisher, Association. “C: . Alps, she met Dr. Vujica, who had other cities. named assistant professor of educa­ been imprisoned for publishing anti­ A member of Phi Beta KapDa .. Sometime president of the ya­ tion; Mrs. Nada K. Vujica, librarian; Nazi articles. They were married in nation's oldest scholastic honn ’ r , rning Valley Playground and Recre­ Joseph B. Slamon, '47, instructor in society, he belongs also to Sli ation Association, she helped estab­ 1946. accounting; and William E. Evans, wood Law Club of the University* Mrs. Vujica succeeds Joseph H. lish three Oldster Clubs that meet '52, assistant in biology. Pennsylvania, Beta Theta Pi Myers, who has accepted a position weekly throughout the year. Acacia fraternities, the Pennsylvania Dr. Fisher, granted an Ed.D. by in the Scranton Public Library. Both Mrs. Bedford attended the old Teachers College, Columbia Univer­ Society of the Sons of the Revoluticshe and Dr. Vujica worked in Brook­ Wilkes-Barre Institute, Norwood In­ sity, is the son of Charles H. Fisher, and the American Legion. stitute, Washington, D. C.; and Miss widely known Pennsylvania educat- lyn, N. Y., during the summer. Mr. Lester, head of Lester Pontier Porter's School, Farmington, Conn. The appointment of Mr. Slamon is who served as president of Kingston, has been an automol She later studied at Columbia and in line with the University of the Bloomsburg Normal School, now dealer in this country for 28 yeau State of New York's suggestion that New York Universities. Bloomsburg State Teachers College, As a special representative of the Wilkes courses in C. P. A. problems Mr. Conyngham, son of Mrs. Wil­ General Motors Corp., he invest- I in the early 1920s. and the like be taught by a C. P. A. liam H. Conyngham, Wilkes-Barre, Born in York, Dr. Fisher attended gated automobile possibilities in his 1 and the late Mr. Conyngham, is sec­ schools in West Chester and Blooms­ He was certified last May. native Poland in 1928. His study led retary-treasurer of Eastern Pennsyl­ burg until his father became presi­ After receiving a Bucknell degree to the establishment of an assembly vania Supply Co., and Hillside in 1947, he entered the accounting dent of Western Washington College plant in Warsaw. department of the international Gen­ Farms, Inc.; a director of the First x Education, Bellingham, Wash. Active in Wilkes-Barre and Kinc eral Electric Company and under­ After finishing high school in Bell­ National Bank of Wilkes-Barre and ton civic organizations, he serve., ingham, he entered Western Wash­ took graduate studies at La Salle Ex­ Wilkes-Bane General Hospital; and a vestryman of St. Stephen's Episco­ as civilian defense chief of transport­ ation in Kingston during World War f ington but transferred as a junior to tention University. pal Church here. the University of Washington, Seat­ II. He is president of the Kingston tle, where he later received both his A veteran According to "The Dallas Post", he Businessmen's Association, president service with is also a Jackson Township volun­ of the Tatra Club of Wyoming Va.A.B., and Ed.M. degrees. teer fireman, president of the Penn­ States durinc ley, a trustee of the Kosciuszko He has taught in Washington high sylvania Milking Shorthorn Breeders' to continue Foundation, and a director of Wyo­ schools, Fieldston Ethical Schools, ing in Wilkes-Barre, his home, 551and bourn Association, and secretary-treasurer street, confessedly New York City; Eastern Washington ming Valley Motor Club, Communi­ of the Cow Testing Association. I hopes to find some clients among College of Education, Highlands Uni­ ty Chest and Northeastern Pennsyl­ alumni in business and the profes­ Prior to entering Yale University versity, N. M., summer sessions, and vania Heart Association. in 1938 he attended Wilkes-Barre Temple University, where he was in­ He has also participated in Wy° sions. Acadaemy, Wyoming Seminary, ( structor in education up to June, 1952. Connecticut ming Valley Industrial Fund, Re Mr. Evans attended and the Hotchkiss School, Lakeville l3 enrollWesleyan University before Cross, and YMCA campaigns. Mrs. Vujica, who became associ­ Com. He took his degree at Yale in succeeds xxx ... 1947 ing at the College. He sue^— Honored by Pontiac and Gener ated with the library staff in Walter E. Mokychic, '50, as instructor ing M. Motors as an outstanding dealer when her husband, Dr. 1Stanko ----- ' Commissioned ensign, USNR, in ■3 teach 1950, he is president of Wyoubj1? January, 1943, Mr. Conyngham Vujica, joined the faculty to in biology. philosophy and religion, attended Valley Automobile Dealers' Assocserved two years in the Pacific r and religion, Henderson Resigns Marywcod College, Scranton, during Charles N. Henderson, long asso­ ^he 1951-52 academic year to work ciated with the College s School of academic year 'Ward a Master's Music, has left the Valley to become Master's degree degree in 1 library service. She ’received -arrived the t— degree nd Tosenh F. Lester, Kingston, Pa. last June. 7 �minister of music at the Church of the Covenant (Presbyterian}, Erie, Pa., a congregation of 2600 members. In addition to teaching at Wilkes, Mr. Henderson served 13 years as organist and choirmaster at the First Presbyterian Church here. He was also conductor of Wyoming Valley Oratcria Chorus and the Singers' Guild of Scranton. conduct the orchesti famous San CarL [ra of Naples, !®s/ in in its itsl°stCcPperc£^crk Enthusiastic Gridders Given at Pozzun^P^M' ' W" r cert. C outside de Naples, Napies, his his jr,rn4res^.4 pign 'T for Opponents operatic as well wcrks, the stars of _ k Both our minions having fallen viccompany joining with the {o the autumnal madness they iim tc treat in print—one with Rals­ for the occasion. try, men and the other with Part­ ton's Blackduck Brannigan With him go his wife, the former ridge's, -idge's. there's nothing for it but to The third national Survey;,., Jane Sadler Curtis, sometime dean laV aside our editorial shears and •------ MCU11 inr BW ■ of oi women at the College, and daugh dauqh-­ Teachers' Conference, heldSu •a <e a baffled look at the gridiron. tprc Sally CJ^.-lbr and Ann. n.... duck, Minn., in August, saw Croir. ters, j4o easy easy task, either, for as Dr. F. J. No well E. Thomas, instructor in engin. j Davies has suggested, one can’t Bare Without Baron eering, named to the chairmanship ! ieuiral about such things. be neutral of the committee on junior colleges The last time we ventured into this and —J technical schoolsjunior of thecol], Amerlterra incognita — to the extent of ls the Ai can Society for Engineering Educaphoning Western Union at the end tion. of each quarter in last year's WilkesBridgeport tilt—we racked up (How Together with Fenn College and ’ easily and naturally we fall into the Vanderbuilt University engineers, he ‘ parlance of the game!) quite a score was assigned the task of investige \ Jar the Colonels by the simple de­ 4 ing the role of junior colleges an ’ ice of reporting the cumulative re­ technical schools in aiding the ad­ sults of each of the said quarters. vancement of surveyors and civil "The New York Times" and a num­ engineers. ber of other newspapers swallowed the almost unbelievable total, but One of 80 educators from 42 col­ leges and universities attending the we've an uneasy feeling the tele­ five-day conference, Mr. Thomas • graph people haven't felt the same presented a paper entitled 'The Aj j ^towards us since. plication of the Graphic Arts to Fiela To turn to the business at hand, and Office Problems in Surveying." we, duffer though we are, and every­ Written by Harmer Weeden, associ­ one else about the College were ate professor of engineering at Buck- I astonished and elated by the en­ nell University, the paper summar­ thusiastic response to Coach George ized the results of research the two Ralston's announcement of the open­ teachers completed at Lewisburg ing of football practice. About half last summer. a hundred hopefuls and men of FERDINAND LIVA proved mettle showed up the first Mr. Thomas returned to the camp Ferdinand Liva, conductor of Wyo­ day to bask in the warmth of the us fired with enthusiasm for a survey ming Valley Philharmonic Orchestra Ralston beams, which of course were and instructor in violin, viola, and course in surveying, "man's oldes never more brilliant. art." cello at the College, returned from According the best intelligence we his native Italy this fall with a title. Hanover Host to Hall, Heltzel have been able to come by, the In the course of an extensive con­ The Blackduck affair was veUr team, growing more knowledgeable, cert tour, he presented one concert small beer compared with the Dan has lost none of its opening-day before "a lot of dukes and counts mouth College conference of the keenness. To be sure, it dropped its and commendatores," he explained. American Society for Engineering September 27 opener to Bloomsburg "They thought my name looked too Education, which Voris B. Hall, chain 32 to 12. But that is hardly a matter bare as it stood," he said, "and there­ r for surprise, seeing that the peda­ fore made me a baron." man of the engineering and physic­ I departments, and Edward N. Heltzelgogues last season won the PennWhat pleased him more than the “^sylvania State Teachers Conference assistant profesor of engineering, a title, however, was an invitation to tended in June. Both Wilkesmen took ■itle with a record of seven victories and no defeats; and our men, who r (continued on page 11) need a good deal more than a 8 mighty forward wall falling on them to persuade them to hang up, have bounced back in plenty of time for their press-time contest with Bridge­ port. Even Coach Ralston isn't glum over the initial set-back, and that, as every alumnus knows, is saying something. Both he and "Beacon" editor Ben Beers, '54, have told us the Bloomsburg game was a good one, and we'd as soon take their word as that of anyone else we know. From the local viewpoint, high points in the game down the line were reached when a series of passes to Bill Morgan and Mouse McMahon took Wilkes down to the five-yard line, whence Eddie Davis went over for a touchdown, and when, in the final quarter, ex-Marine Russ Picton, Colonel quarterback, shot a 21-yard pass into the end zone for the second Wilkes score. L > A Still later, Joe Kropiewnicki, form­ erly a stand-out on the diamond, justified our cheering section's trip to Bloomsburg by galloping 90 yards to the BSTC one-yard line. Only a penalty for holding kept the team from scoring again. Coach Ralston officiated at the marriage of the T formation and his long-favored single wing early this season. A marriage of convenience, perhaps, since Picton and Davis, the Colonels' two quarterbacks, are in­ timately acquainted with the intri­ cate working of the T. Among the newcomers who show considerable promise are linemen Cliff Brautigan, Glenn Carey and Gerry Wright, and tailback Davey Hughes. DON'T EXPECT THE NEXT ISSUE OF THE "BULLETIN" IT'S THE CATALOGUE 9 k V �r looked excellent_ in scrimhas who turned m an Allj up at n, should be as the Colonels as „cCd c up against in actual i^Son ThePfullback, the two comPeS- defensive men. are as -her stncuy^ can dig up. acod ®s Bill Mergo. a Girard ex-wrestler Preston O'D iel'a a’d ev-wre, ’ ve»eran, fast, heavy, andL have ' Id will be tne EcklTienarboot. This trio line this Fall^manyabnerb. So the team should win. It has a rough schedule, but then it’s a rough team. Following the Colonel soccer team should be most interesting this autumn. The schedule: Wed^B—East Stroudsburg, away Thur 16—Lock Haven, away Sai is—Elizabethtown, home Wed. 22—Cortland, home Fri 24—Lafayette, home Sat 25—Elizabethtown, away November Sat. 1—Trenton, away — all experienced The balltacte are right: Tcny Bianco. Bill Clausen. Bill Mergo and THE 1952 SOCCER TEAM. First row, left to -- Dean Aivan. Flip Jones, captain: Dick Hawk j Iah Beers. Second row. Mike Lewis. Lefty Kemp - Coach Bob Partridge. Cled Rowlands. Wane-- ; Dick Polikowski and Hank Deibel. Third row. Pres Eckmeder. Red Russin. Manager Larry Turpin, a, ] Blaker. Dale Warmoulh, Jim Moss, 1---------Assistant Coach Bob Moran. When the club runs smack into East Stroudsburg on the 8th, it will be meeting one of the nations ten . top soccer teams but it will be mee. • ing it with the best Colonel team r ] three years. The team has ne • Consistent Losers Confident been stronger in more post of Emerging "On Heavy End" weaker in fewer, more of { =ve By PAUL B. BEERS, '53 ing outfit, more of a stiff defensive club, and possessing more o fg When the Wilkes soccer team trots out to its positions this October 8 up ing spirit. Spirit is a difficult thing at East Stroudsburg, it will be com­ generate in a losing team, mencing its fourth season and still '52 club looks to have Plen}Y searching for its first victory. No opponent will out-hustle he • Three years, 22 games, and no The team that will face ^^nccer wins is a rough lot for any team, the nation's really g°° v-y to but especially difficult for a new­ teams, equal in comparative y sport team in a Valley where the football strongholds such as word "soccer" is more closely asso­ ciated with the boxing game. Twen­ or Princeton, and three more ty-two games and all to show for it nation's average soccer team ' er one glorious tie with Lincoln Univer­ be at least a good average -7 (then ----------axixuxueiuaiherself and even b^®d buIg, sity powerhouse, incidental­ ly ' _ ly) two years ago is ________ something that three rough outfits. East btrou works into a team. It has had its Lcck Haven, and Cortland, m 0( psychological effect on the Colonels, Jhree average elevens, LaiayState. but still Coach Bob Partridge speaks Elizabethtown, and Trenton . teartear for the club when he says that this will see a real good defensive year~ he boys will■ start to -J come out and a fair offensive team. last on the heavv heavy end. Goalie Jim MosS( back from Staunch Soccermen Seek First Victory 10 men- Ben e balL He s been year of JarslJ captalmng through all th encounter m the team m son against Ehzafour years la^ really had a bethtown when ,^rst chance to mak a dosing bUt of thetailgame. Willie minutes oi me c ng Clausen is aehm- , { tke ballHe could be the surp.-s^ g me club. CaptainosiUon of center halfall-important posni soccer back, the X S-time scoring SoX eS^"cSdthe°P' ponents' biggest heada-he. WITH THE FACULTY in general “““““omiJal number of the almost asu and MrTaXnd time to undertake.a aSorieThd Hanover. N. H.. . parking meters. M an<Ld Montreal her new Swing commencea medisome six weeks ™°nowned Mayo Cal secretary at the c a Clinic, she set ou' and nOt so The line is bo* Here is where P Making a linemost of his ^mcmy football— man_o backheld man m ftny much as takes more than * at all has lineman who is and g So, been at it Pr°b°blJn?kas a good considering. V/Orking on. At line, but it will years, is outside right, a vet°o four a Cled Rowlands. At ou ospects is rookie but one of the n r BianCO. ever picked up, swtfty T The inside men. theHank Dick Polikowski,Dea Blaker Deibel, Lefty Kemp, war and Dale Warmouth. da'c?S “S‘hev,aY. Good looking . | ! 11 �Ce?/ are going on to graduate or professicna] schools. , J Chwalek, director of guidjOi and placement at the College, ^wittingly contributed to our alum: notes in making his annual report cnol'acement to the administration. Reviewing the year's work, the placement director said teachers, particularly those certified to teach in elementary schools, were in great­ est demand. "Engineers were also easy to place—and are likely to be for some time to come," he added. Job Problems For Class of 52 Every one of the 79 members of , „ class of 1952 who actively availthemselves of the services of the cifice is now employed, he revealed. Thirty-on© of that number were diiectly placed by the Wilkes bureau, he said. "Although a few of the remainder were entirely on their own in finding jobs," he went on, "most of them are now with firms and school districts with which the placement office has tablished working agreements." For Thanksgiving Continuing, he stated only five of the June graduates are at present un­ employed. They have been unable to accept positions his office has offered them during the past few , ---- 1 /ibuui nau 0! - months owing to summer work comme membership favored the innovaU ■%' ^n’tments, he explained. kon; ^ other half was unw^ng forgo either a tea sim slu. at which the women boarding dents entertained alum buildingmembers last fa heretofore decoration competm Wilkesconducted on the eve of the King's game. lled for Plainly, the situat p[ere jS some sort of compromise.aL President Williams m b the which has been sanctioned , , Administrative Counci . shoulc 1. That homecoming P P sqiving be held during the Than carcely put the question weekend. . 0 me 11 'hone rang. On the line 2. That the dormitory Jonsor a illiams, Association pres­ should be requested to P hoi11 * xoovjcianon pressocial affairand (teafaculty or choco had_ been asked by a for alumni on gaturjdaV' fol a November 15, the day app e# local alumni about the possibility of holding homecoming the Wilkes-King's football g jymr ' at Thanksgiving. 3. That a committee oi r t0 Dr. Farley having been consulted, should judge, immediately Riding the scheme was discussed at length the November 15 tea/ the ueen consulted, was discussed at length at the September 3 executed by stua tOTT,-u_-. meeting of the ^211. decorations 12 The Administrative Council of the College has approved the Associa­ tion's request for a Thanksgiving homecoming. Late in the summer a Philadelphia alumnus called at the alumni office to report that few of the Wilkesmen among his fellow townsmen—those he had talked with, at any rate— would be able to return to the Valley for both a November 15 homecoming and Thanksgiving. He wondered ecoming whether a Thanksgiving homecomronrio—-> ing^was out of the question. . Nine members of the class, he said, are now in military service and 12 ( Rewarding contacts were made during the year with school districts in Maryland, New Jersey and Dela­ ware, and with a number of firms whose representatives had not pre­ viously visited the South River street campus, Mr. Chwalek disclosed. Among the newcomers were: East­ man Kodak Co., Hercules Powder Co., Cities Service Research and De­ velopment Co., American Chain and Cable Co., Pittsburgh Plate Glass Co., Bausch & Lomb Optical Co., Bell Telephone Co., Daystrum Instrument Co., Ingersoll-Rand Co., Wyeth Phar­ maceutical Corp., National Supply Corp., North American Insurance Corp., General Electric Co., Contain­ er Corporation, Campbell Soup Co., Mathieson Chemical Corp., Atlantic Refining Corp., Montgomery-Ward & Co., Baltimore, Md.; Lukens Steel Corp., Armco Steel Corp., Bethlehem Schedule For Saturday, November 15 I , , Homecoming Schedule FRIDAY, NOVEMBER 28 8:30 p. m.—Alumni Dance, sponsored by Student Council, College * -----Ti.iUU.xxixx -x---------Gymnasium, South Franklin Street ; ' t 2:00 p. hi.—Alumni judging of student-executed building decorations |j 8:00 p. m.—Alumni tea, McClintock Hall 8:00 p. m.—(probably) Wilkes-King's football game DON'T MISS THIS ONE! SATURDAY, NOVEMBER 29 5:00 p. m.—Alumni reception and buffet. Hotel Sterling 8:00 p. m.—General meeting of Wilkes College Alumni Association, �new Ensign William Umphred, U. S. Wilkes-Barre; George Liddicote, N. R„ from his home base, the air­ jAmerican Insurance Co., craft carrier USS Coral Sea in the Chester Molley, West, school; Alexander Mediterranean. Average starling Billy finished at Wilkes last Feb­ tai Supply Co., PittsarraSduateds M^Chwalek reported, is ruary and went on to the Naval Offic­ Robert H. Nash, Nescopeck Joto W Murtha jr WesA: & B^on er-candidates' School at Newport, R. ;Ss;Bvron Milford, a month, while no chemist Corp., Elmira, N. Y.; Gerald "/noolst Lc M. Phillips, .pmul I., where he was commissioned last s , c ' n f Schools; Louis Polombo, du Pont placed bY his office is earmng less skie, =kie, Harter high school wwe ■■5^. schoOi." on, De1-' D . on, Del.; Bernard D. summer. than $300 a month. ticoke; Ann Belle Ferrv n 4,1 pel- filming —1®11; ministration ----In his letter Bill says his training *ler*caj Airlines, New York, N. Y • N^* Co- veterans D c .i CenWashingion, D. C.; Rich- here at Wilkes has been a tremend­ In submitting his report the P^°c® Ralston, Nesbitt Hospital K? ment director made public the fol o aiu1 Scripp, U. S. and Indonesia ous help to him in his short Navy ln9ston, | iia a. Trading Corp., New York City; Mario career. "Willie" formerly served as ing list of graduates and their pre aid pU. S. Government; Barton M. career, w uuCiy director and for a sent employers: Rich. I gellani, Smith, Western Electric, Elmira, N. sports publicity director of public relay_; Francis J. Stolfi, du Pont Co., Wil- short time as■ di Louis J. Bonanni, Armed Forces .... — Alma ions at his Ah Mater, and was Plate Glass, Newark, N. J. Ur<^- I jnington, De’.; John J. Yurek, Dela- ’assistant Security Agency, Washington, D G, to Sports Editor John C. ware schools; Frederick E. Williams, assistant to "Sunday Sp John A. Brown, T. J. Brown Co., Ply Bush at the Independent" Jane W. Sa’woski, Newark Cenu mouth; Charles A. Caffrey, Federal schools, for a number of years. N. Y.; Leo D. Slife, £ ' West Pittston schools. Security Agency, Washington, D. U-, Bill's studies here included courses Cas.le. Del., schools; Jeanne Smith Joseph S. Cherrie, Sears Roebuck, in education, which led him to do Scranton; Albert T. Cole, managing Kings on high school; John Strojny some practice teaching and substi­ hardware store in Thornhurst; Geo. Sears Roebuck, Ph;ladelphia; Pns’. Rilly Umphred Sees tuting in the city schools—more ex­ A. Cross, Hercules Powder Co., Wil­ cilia M. Swartwcod, Hercules Po?\ 1 perience that has come in handy for dev, Wilming.on, Del.; Irene Wan ’ mington, Del.; Fred R. Davis, Federal i ito Wolf Hot-Dog Reserve Bank, Philadelphia; JoAnne Schenectady, N. Y., hospital nursery; him. He says the Navy is very thorough E. Davis, Cedarhurst high school. John A. Wolfkeil, Hopewell, N. J., about getting the most out of its men. Long Island, N. Y.; Paul J. Delmore, schools; Jerome K. Yakstis, Bausch g Discovering his flair for journalism, Eastman Kodak, Rochester, N. Y.; Lcmb Optical Co., Rochester, N. Y.; the men ;n blue and brass appointed Boyd Earl, Forty Fort schools; Chas. Mary Jane Brogan, D.D. Trethaway him tc the staffs of the Coral Sea's Co., city; Ruth Ann Carey, Bell Tele ­ F. Eastman, Milford, Del. schools; newspaper and cruise book. His George W. Edwards, Snyder & Co., phone Co., Wilkes-Barre; Carol Reyteaching experience was responsible nar, Daystrum Instrument Co., Arci | Philadelphia. for his appointment as Third Division bald; Eleanor Gorney, Holyoke Hos­ Walter E. Elston, Hercules Powder, pital, Holyoke, Mass.; Elizabeth JaroTraining Officer. Wilmington, Del.; William E. Evans, lim, Robert Packer Hospital, Sayre; I As to his battle assignments, he is Wilkes College; Ann G. Fox, Balti­ Archie F. Aloisantonio, Ingerso.1control officer on a Mark 63 gun more County, Md., schools; Charles Rand, Newark, N. J.; Louise C. Bren­ director and control operator of an < K. Gloman, "Plain Speaker", Hazle­ nan, E. I. du Pont de Nemours & Co., | anti-aircraft gun aboard the giant ton; Romayne H. Gromelski, Eastport, Wilmington, Del.; Albert F. Casper, floating airport. Long Island, schools; Albert M. Gush, Wyeth Pharmaceutical Co., Philadei At present the carrier is docked on Eastman Kodak, Rochester, N. Y.; phia; Joseph M. Deshcak, FredencK, the French Riviera, where Bill says Michael H. Gustave, Marysville, Pa. he is having a wonderful time. His | schools; William G. Hart, Eastman Md„ schools; travels have taken him to Yugosla­ Kodak, Rochester, N. Y.; Helen B Edward G. Donner, Container via, Italy, France, and Sicily. He Hawkins, Wilkes College School of Corp., Philadelphia; Eugene says his ship will stop off at Lisbon, Music; Edward G. Hendricks, East Portugal, on the way back to the Dougherty, National Supply man Kodak, Rochester, N Y • Albert New York City. Joseph A. Faton- > States sometime in October. B. Jacobs Millville, N. J„ schools; Barker and Williamson, Camden, r ■ | The carrier recently entertained Zeney P. Jacobs, Camden Regional Marshal Tito and his staff, and Billy ' nigh school, Lindwald, N. J.; William J-; Charles J. Frederick, ENSIGN W. J. UMPHRED had a chance to get a good look at house Co., Williamsport; the iron-handed ruler. He said Tito (The following account of the recent activi­ Tones, Hazard-Okonite, Wilkes-Ba < from ties of Bill Umphred, '52, was clipped from was Very unimpressive, garbed Donald Kistler, Standard Equip1? nek Curtis' ''Dike Divots" column in the Septhough he was in a brilliant uniform John C. Kirchman, J. C. Pennv Co Co., Wilkes-Barre; Joseph K°c mber 26 BEACON.—Ed.) ew York, N. Y.; Mary L. Lamoreux" Westinghouse Electric Co., Elm^' . 1 Leiter early this of red and white. Lehman-Jackson schools; Donald R* J.; Loren Haefele, Nanticoke 1 We received a letter ■ Ld Bill Umphred, bow and George J. Le™, G™rai Street Branch, Miners National Bd ’ week from our frienc.__ 15 Joseph Leyba, Veterans Admin1311 Steel Co., and the Radio Corporation of America. Electric, Johnson Ciy, N y. p ' P5d^e- i Wolf Hot-Dog ** Y n c» wiAXcan Chain s �"He looked like a tough character to contend with, though," wrote Bill. "I got a good look at him when he came up on the flight deck and stood only a few feet away from me; and later on in the afternoon, I bumped into his entire party in one of the crew's mess halls, where he was enjoying an American hot-dog." Bill hopes to be home about the middle of October and expects to be on hand for the King's game. "Rail-Fan n Rides Hobby Into Print When a letter arrived some time ago bearing a "Wyoming Valley Central Railroad" letterhead and the signature of Bill Ellis, '48, we thought we smelt a news story for the "Bul­ letin." The Wyoming Valley Central sounded about as probable as the Beaver Meadow, Pompanoosic, and Western—especially since the letter­ head carried a sketch of the famed Toonerville Trolley. An inquiry produced tion from Bill that the i an explananameme "Wyoming Valley Central" L is at the moment considerably longer than railroad. He does own -----1 the HO-gage equipment, which he has set up in the basement of his West Pittston, Pa., home, but "the urge to build equipment has been much stronger than my layout-building power," he said. "The set-up at home," Lc tinued, "is non-scenic, full ofhe bi conand merely for testing." - toners, Bill has added three pieces of motive power to his equipment since he started working in Philadelphia. Previously his total powered stock consisted of two model interurban cars. He hopes ultimately to build a complete electric rail set-up. o=,.up. A confirmed "rail-fan" :ail-fari'since he received his f first < electric train one Christmas years '—J ago, Bill has ridden his hobby horse, ( ,e’ « print on at least th. vccabularies of such subjects as geo­ metry and geography. As soon as he masters French, he explained, he will be assigned to one or more of the school's nine grades. Language Barriers i He also looks after a "family" of some seven boys from almost as many countries, doling out their spending money and accompanying them on weekend treks into the mountains.. Next summer he expects to teach at the school's mountain chalet pictures of which looked especially attractive as we sweltered in our Chase Hall attic. 1 • ' Much impressed, the ordered a reprint—"aboutJ-aurel 300 LiCe — 3 copies, ii I remember correctly." Students from Siam, Iran, Mada­ gascar, Indo-China, Egypt, Italy, France, Greece, Turkey, England, and the Bronx attend the school. Bob said. All of them speak French, and many are sufficiently advanced to profit from instruction in English. , A bit later Bill's expanded and r^ vised version of a Scranton Trans.’ Company history appeared in the "Headway Recorder," publication c! , the Washington division of the E. R. A., in which our boy is a wheel here­ abouts. Ar.icles on the Laurel Line that ap- ( pear in the "Wilkes-Barre Record from time to time, Bill added, oftei. include excerpts from his "Head­ "I very conveniently _lights" ipiece. ___ gave themi a copy for their files," he explained. But dig this: "During the spring I got an urge to write an article on the rail movements for the annual ArmyNavy game held here in Philadel­ phia. As such, the research was com pleted and the article purchased by 'Trains and Travel'. According them, it should appear in the Decem ber issue, out about the 15th 0 November. This is a national mag azine, circulation of which I can‘ even guess at—it should run °ve 100,000. Appearing with the article, as faj ....xx xxxc ^^'eveio 1 as «— ^ 1 e, a ? ,can £oaa adjoining Municipal ■ pictures taken at the Stadium rain fellow Wilkes graduate, John Jr." 16 Miller, '43, Hurdles While working in 1947, he began to i these tLine to work and beet ride the lJ * -came interested in the _ ...o history anH enselv .Lu road. His SCo^-W iicn o,' the "Scranton Times" and "Wilk I Record" morgues, chatting rel Line employees, and ar^n the officials of the line into^r ?lrtheir scrapbooks to his inspec.k^ abled him to whip upno^ c. historical research. The article gether with some of Bills own h • egraphs, was published in "Heri lights," monthly organ of the *”nead. Electric Railroaders' Association. j , Before assuming his present posi­ tion, Bob conducted classes in Eng­ lish literature, conversation, and grammar for both regular students and the general public at the Uni­ versity of Genoa, Italy. The adult­ education classes there were spon­ sored jointly by Genoese business­ men and the United States Informa­ tion Service. Some of his evening classes met in a dormitory used as headquarters by the Germans during World War II. Among his students were a trans­ lator who will soon bring out an Italian edition of "Peter Pan" and two businessmen who have since be­ come associated with Socony Vacuum in New York. nOtiiAl I. MILLER Small French and less Italian is io mere cl a stumbling-block to Bob Miller, '48, .han small la in and less Greek was to Shakespeare. The Bard, despite h’s lack of depth in their languages, managed to sur­ pass the ancients in comedy and tragedy; and Bob, similarly benight­ ed (he says), has succeeded in impar.ing instruction to Italian students and French-speaking boys at a Swiss school. Thanks to the urging of Dr. Mary E. Craig, chairman of the English de­ partment, Bob visited us during the summer with an account of his activ­ ities in Europe since June, 1951. Like his present charges, most of his students in Genoa were able to speak a bit of English. American teachers of English, whether they speak Italian or not, are much in de­ mand in Italy today," he revealed. "The language, particularly as we speak it, is needed in business, and very few Italians can understand us. We talk too fast and run our words together." Editor Editor of of "Manuscript" during his student days at Wilkes, Bob was em- Now instructor in English at Ecole Nouvelle de la Suisse Romande, an international private school of strict­ est standards, he has the task of giv­ ing private lessons in English litera-ire and conversation and helping European students about to leave for English schools brush up the English 17 �ployed in the Bureau of Publications at Teachers College, Columbia Uni­; versity, after receiving his Master's degree in English at Columbia's gra­ duate school. Following his arrival in Europe he toured Southern France, Italy, and the German-speaking pari of Switzerland before entering upon his teaching career. On leaving the office he asked us to play our story down. "People make quite a fuss over anyone who's lived in Europe," he said, "but actu­ ally it's just like living anywhere else." He returned to Ecole Nouvelle a week later. Williams Garden Oasis for A/ums all that day, and the gather of the pleasantest of the sii?9' Dan had stood for re-elecS^ spot, he couldn t have lost I d < The Old Familiar Faces’’ The heat of the day havina I thoughts of notebook and guest^ ' I quite from our minds, we ca-'- k ' I just vzho or how many were rn’' SaY 1 But al! the host's chairs, plus | of the Colleges, were woefully “ I adequate. From far and near alu,?' I came—by invitation and rumor U ■ the sweet corn Dan served f ■ whole stir-off was quite something1’ ■ Among the remembered guests I ■ were: Frank and Treveryan Speicher ■ Al Eisenpreis, Ross Leonardi, BiH W Toplis, Tony Wideman, June Search Eleanor Kryger, Jean K. Dougherty and her fiance, Harry and Gloria Fierverker, Bill Luetzel, Joe Reynolds, B Henry Merolli, Helen Hawkins, Bo’\ and Ruth Voelker, Ray Krokosk.,' Evan Sorber, Bill Lawrence, Zosia Glowacki, Bill and Grace Griffith, Jeanne Kocyan, Barbara Noble, Bob Rubright, Tom Brislin, Dr. and Mrs. Charles B. Reif (Mrs. Reif is the form­ er Caroline Hoffa), and Jim and Gloria Foxlow—a list even more in--* adequate than the number of chairs I / i Dan Williams, president of the Association, chose the hottest Satur­ day evening in July to prove that Wilkes alumni, given a proper in­ centive, will turn out in force. His proof took the form of a gar­ den party at his South River Street home. Colored lights were buung throughout the seemingly boundless strung garden for the occasion, and a bar­ The spryer guests rounded out the rel was concealed in every bower. The place was the coolest we'd found evening with square dancing in Hat­ maker's nearby garage. We just re­ 11=^—---- ---laxed and enjoyed it. il I j ■ V Remaining Ga. mes On Grid Schedule Oct. 4, Saturday—Unriversity Oct. 11, Saturday—Ithaca ColLof Bridgeport J i / Oct. 17, Friday—Hofstra Colli—lege Oct. 25, Saturday—Trenton S.lege T. C. |i Nov. 1, Saturday—Adelphi Collet •j Nov. 8, Saturday—Moravian ColL>ge Nov. ]5j Saturday—King's Colli lege lege *-Time to be decided Ivan J. Faik, right, is editor of his post newspaper in Germany. Away 8:15 p. J11Home 8:00 p. rn- Away 8:00 p. m- Home 2:00 p. »■ Home * Home 2:30 p. m. Home * 18 J He entered Wilkes with the class of 1951. I 1942 JOHN C. BUSH and Mrs. Bush are the prop­ erly proud parents of a daughter, Mary Elizabeth, who was bom in Wilkes-Barre General Hospital June 17. One of our predecessors in this office, John is novr sports editor of the Wilkes-Barre Sunday Independent 1946 Quite as welcome as his 1952-53 Alumni welcc ^Association dues was the delightful news­ ——...uu dues letter WILLIAM F. ELLIS, general manager of ne "Wyoming Valley Central Railroad, sent along. He told us, first, that RICHARD W. PLUMMER, '50, having finished his schooling with the International Business Machine Com- pany in Endicott, N. Y., is now with the firm's customer engineering department in Philadel­ phia; second, that JOE TYBURSKL '50, is working in the development and maintenance section of the research and development lab­ oratory of the Philadelphia Quartermaster Depot; and, third, that he himself is an assist­ ant supervisor in the miscellaneous section of the general testing laboratory of the PQD. 1947 TED and ALBERTA NOVAK KILLIAN have announced the birth of their first child, Theo­ dore Francis. Alberta formerly taught in Ply­ mouth. JUNE SEARCH, instructor in Spanish at 19 s �Wyoming Seminary, did her bit for the forces of law and order in July when she helped a Spanish-speaking York Stater accused of steal­ ing S300 from a fellow worker waive extra­ dition at Luzerne County court house. Imme­ diately June explained the extradition proce­ dure to the prisoner, who had been taken from a bus at Tunkhannock, Pa., he assented, and was returned to New York to face a grand larceny charge. "Though round the girdled earth they ream," etc. KEN MALONEY, sent his dues from Saudi Arabia, where he is an engineer with the Arabian American Oil Company. Phila­ telist Dr. Alfred W. Bastress, dean of instruc­ tion and chairman of the chemistry depart­ ment, was pleased as punch. Ken's classmate, JOE CHILORO, who also took his engineering degree at Bucknell in 49, is associated with the Francis Engineering Company, Saginaw, Mich., consulting engin­ eers. Formerly a sanitation engineer in the Pennsylvania Department of Health's WilkesBarre office, he gave his sister, Gloria, in marriage last November thereby earning our eternal gratitude. M. Lloyd Davies is working for the Coxe Stoker Engineering Co. of Hazleton, Pa., as a project engineer. He still receives mail in Wilkes-Baiirre, however. 1949 Lt. (jg) DOROTHY PLZESKATT Navy. Her address is; who now has a fine wife (hter) and baby." Joe, accord­ Nurses' Quarters. Bldg. &3a clipping. Fas taken over the Naval Hospital cf the Sherwin-Williams Paint Bainbridge, Md. DONALD W. PERREGO ■ Wayne. S‘eLecting a discharge in November Cpl. training withL the Fifth Infai the fifth Indiantown Gap, Gan Pa., during infantry the Divi^ \I --EL MALISHESKI, is now stationed at Fort CA1-—uth, N. JLEONARD J. SHETLiNE, who visaed I T'r.nffiO-' looking for fofcs during the past few Mary E. Craig. rig, cha.rman of the Engli* £ ’ 1 DAN SHERMAN and LEO SLIFE, 52, 0Inths, partmen;, during the summer, dropped in •' ' ■ring the ffli been dropping Wilkes catalcaues in cut us in oni his ... vdoinarhis present ha»e ike, i „ No bad idea, that. "Surprising the Vi— doings. j‘' teaching sophomore end junior Em ■^ their warm, of business executives in Jersey and Sebring. Fla., high school. number —folish Delaware<--,who had never heard of the Col­ ‘’the WILLIAM J. LAVELLE has r-, . lege."- Dan says. York City to Washington, D.! ™C„ Ovc‘d hem ■'(It "working with juveniles for tl 1951 it men;." His address: N. T. S„ C HAVER DREX1NGER an auditor for the Washington. D. C. - K «•< 2^. Prudential Life Insurance Co., has spent the major part of the past year on the West Coast. 1950 He works out of the company's Newark office. JEAN K. DOUGHERTY, who taught in SalBOB SWEIGERT, who was a standout on bury, Md. last year, is currently employed rthe Wilkes swimming team back in the days a fifth-grade teacher in Upper Merion pc when the Blue and Gold was making a splash She continues to receive mail at her Wilk£” in intercollegiate aquatics, is currently super­ Barre address. vising East Coast bridge-building jobs for the ART SPENGLER is with the Internationa* American Bridge Company. Business Machine Company in Endicott N. ■ According to a note from his mother. BEN CLEM WALTERS (WACLAWSKI), formerly a 1948 NA is serving with the army in Texas. WHWL, Nanticoke, Pa., announcer, is new DON STALBIRD is stationed at Fort Knox. associated with Station WAEB, Allentown. Pc. Ky.. working as a social-work specialist in the ER. ‘45, in receiving their M. S. degree at Now working with Standard Equipment Cc. neurotic clinic of the army hospital there. His Bucknell’s summer commencement. of Wilkes-Barre is JOHN P. NELSON. Ho lives mother, who lives in Avoca. Pa., was good in Harford. Pa., where his wife, the forme: AL MARKIM (MOSKOWITZ), enough to provide us with the information. VIRGINIA MEISSNER, teaches school. Then "You Can't Take It With You" - t who shone i„ in and "Macbeth" address is Box 104. Harford. at the College, is hooked v- .. up with the cast of the "Space Cadets" TV show First Lt. ROBERT M. CHOPICK of Edwardphia. ----- z in Philadelville. Pa., is serving in Korea as maintc-nanc NORMAN BAUM, officer of the 92nd Chemical Service Co., which an attorney for the U. S. Army Ordnance was recently awarded the Meritorious Unit Pentagon, was ' Procurement Division in the Citation for outstanding service in support :• was recently admitted to practice in the second combat operations during the first six month; highest court in Washington. the United ond SStates of 1952. A veteran of World War II. Bob holds District Court of Appeals for the District of Columbia. „__..Uu»u. After niter practirm~ practicing for a Wilkes B.S. He has earned the Korean Ser­ three years before the District Court, he will be vice Ribbon, the European Theatre Ribbon eligible for admission to the United States Sup­ and the World War II Victory Medal. reme Court. A graduate of George Washing­ BEN DRAGON is associated with the^De­ ton University Law School, he is married to partment of Defense in Washington. D. C. the former EVELYN EICHLER. '46, of Wilkeshigh scorer on the 1949-50 Wilkes basketbau Barre. team, he now keeps in trim with governmen Now employed at the Walter Reed Armysummer softball leagues. Medical Center in Washington, D. C., MILD Army­­ Happy Coincidence Department—The Ji-1? RED ORLOWSKI, recently completed require money order submitted by EDNA SAB ments for the degree of Master of Science in Biology at Bucknell. While studying there she payment of her 1952-53 dues bore the sign ' ture of LOREN HAEFELE, '52, as cashier worked as laboratory technician at the Zieg­ the First National Bank of Nanticoke, Paler Memorial Infirmary. ENSIGN ROBERT D. DIX Another member in good standing, RAY­ We interrupted these jottings l°nU ax’ Another dues-paying mother, Mrs. George MOND S. MARTIN, writes that he 1_ to collect two dollars from STUART COLMAR V. Dix, tells us her son, ENSIGN ROBERT D. Employed by the Okonite Corporation employed by the Brown Instrument Divisit . “ *X, is presently knocking about Paris with Jias been­ Wilkes-Barre, Stu apprised us of the fact « the Minneapolis-Honeywell Regulator Compa fhe U. S. Navy. Officer of the watch aboard ion in of DON SNYDER, '49, has accepted a Pos^y ny since February, 1950. A junior engineer U. S. S. O'Hare (DD889) when the Wasp the panel division, he is concerned with the with the Atlantic City Electric Light Comp^w rammed the destroyer Hobson, he sped his building of wired and piped instrument panels Dean George F. Ralston recently ship to the rescue. What is even more imfor oil refineries, power plants, and the like. us with a note, a clipping from the Aprtanr, perhaps. Bob didn't bum his books His address 4606 Wayne Avenue, Philadel­ Fa., Times, and a letter from William H. Da phia 44. -n he left college. Mrs. Dix assures us he deputy controller of Luzerne County—“J1 M . -aks them out and turns them over whencernmg JOE BRENNAN. Characterized bY ‘J ever he gets home on leave. A true liberal Ralston as "a grand personality, student. -rts man 'twould seem. 20 A former treasurer of the Association. JOHN 21 w. rz di FINK, is employed as an accountant by BakeDick and Co.. Washington. D. C. JOE SULLIVAN, '51, sports editor of the "Beacon" back in the days when TOM MORAN. '49. was editor-in-chief, dropped in just bfeore press time to tell us he has been admitted to the evening course at Temple University Law School, Philadelphia. A West­ ern Union telegraph operator in White Haven. Pa., since his graduation from Wilkes, he is now employed by day in the legal depart­ ment of the Sears Roebuck mail-order house on Roosevelt ave. . . . This will remind him. as we forgot to do, to get in touch with the projected Philadelphia club. How? Write to Doug MacNeal, 3427 Walnut st., Philadelphia. 1952 Having completed half of the Navy's officer­ candidate course at Treasure Island. San Fran­ cisco. in the summer of 1951, STEVE KRUPINSKI received a supply-corps commission upon winding up his second stint there in August. He spent the fag end of the summer at a sup­ ply school in Bayonne. N. ]. With him in California were MIKE LEWIS and ALEX CATHRO, both '54, who will finish the course and (D. V.) take commissions next summer. GEORGE KABUSK, former "Beacon" editor now a staff writer with International News Service in Harrisburg, tells us FRED POLTROCK has been tranferred by Hercules Pow­ der Co. from Kenvil, N. J., to Hercules, Calif. (According to a postal card received by Dr. Alfred W. Bastress, chairman of the chemistry department, he was able to include the Grand Canyon in his "expense-paid tour".) George adds Fred's brother BILL has been sent from Dayton. O„ to an Air Force base in Massa­ chusetts. MARRIA GES Don C. Follmer, '50, to Muriel Ann Smith, Matamoras, Pa., June 21. Frances Elizabeth Trembath, 51, to Raymond H. Ales, '51, Forty Fort, Pa., August 23. Griffith E. Jones, '51, to Hilda Nich­ olson, West Pittston, Pa., December 8, 1951. Patricia Boyd, 51, to Paul Thomas, '51, Wilkes-Barre, July 19. Carol L. Galow, '46, to Lewis A. S. Tomlinson, Wilkes-Barre, September 13. Joseph G. Donnelly, '37, to Dolores Morris, Harveys Lake, Pa., August 23. Norman E. Cromack, 51, to Cath­ erine Kintzel, Kingston, Pa., June 7. Antoinette Menegus, '51, to John N. Shoemaker, '50, Clifton, N. J., July 26. jfl 1 �Rnrbara Joan May, '51, to Robert rConlogue, Wilkes-Barre, July 12. Robert L. Benson, '52, to Shirley E. Robe: t„„ps Kingston, Pa., September 6. ' Cyril M. Kovalchik, '51, to Alice aj-n Valatka, Luzerne, Pa., June. > Leen Ann Jakes, 52, to Edwin L. Johnson, Kingston, Pa., August 19. Dorothy Krizenoskas, '49, to Nor­ bert L. Warenko, '49, Wilkes-Barre, September 6. Theodore W. Lesperance, '48, to Geraldine Pashinski, Plymouth, Pa., Reservation Form For Homecoming (Please complete this form and return it to Robert Rubright, 76 Oak j Street, Hudson, Pa., at your earliest convenience. I' ceive your remittance and send you your ticket. Cost: S3.00 Bob will also rea person.) Dear Bob: Please reserve places for me at the Homecoming Recep- tion-Buffet-Meeting scheduled to be held in Hotel Sterling Saturday |i 1 July. Sidney Falkowitz, 51, to Charlotte Goichman, Wilkes-Barre, July. Frank E. Mayewski, '52, to Otylie Gritsko, Nanticoke, Pa., June 14. Aida Shulman, 51, to Willard Fur­ man, July 13. Donald J. Warakomski, 51, to Mild­ red Bedeski, Nanticoke, Pa., June 14. , Louise Dodson, '49, to Thomas ,pps, '52, Shavertown, Pa., Sep­ tember 13. Stanley Kieszek, 51, to Madeline Rudnicki, Plymouth, Pa., Seotember 13. Mary Lippincott, '51, to Cpl. Albert Smalley, Winchester, Va., late July. Ruth Richards, '48, to Lt. (jg.) John I shbaugh. Long Beach, Calif., June 1* George B. Jones, '48, to LaVina Regers, Wilkes-Barre. Leo E. Smith, '48, to Nancy J. Cur­ ran, Plains, Pa., September 20. evening, November 29, at 5:00 p. m. !: I I nery Range of Luke Air Force Base, Ariz. A student pilot, he had been stationed at the base several months. Bom in Wilkes-Barre, Red was graduated from Meyers High School, where he won letters in football and track and swam in intercollegiate meets. He entered the College in February, 1946, two months after his discharge from the Air Force as a second lieutenant, and became a Bachelor of Science in Commerce and Finance in 1950. The following year he returned to the Air Force. He is survived by his parents, Mr. and Mrs. Ralph N. Weaver, Asbury Park, N. J.; a sister, Mrs. Irene Hom­ ing, Troy, N. J.; and his paternal grandparents, Mr. and Mrs. J. D. Williams of Wilkes-Barre. A detail from Ohmstead Air Field, Middletown, Pa., conducted military rites at the burial in Oaklawn Ceme­ tery. Two of Red's Wilkes classmates, Ed Mamary and Earl Wolfe, were among the pallbearers. Yours sincerely. ■ ENGAGEMENTS I ;l I William F. Apielbaum, '49, to Rosalie Spellman. Lorraine Mason, '54, to Harold Roth. Jerome J—.......J.- Stone, '51, to Dorothy Blanard. '-tUUiU. 5 Carol Reynar, '52, to Robert Hall, deaths Hannah Silverstein, who attended the College during the 1946-47 aca­ demic year, died August 13 at her Park Avenue home in Wilkes-Barre. She had been ill for a year. Graduated from General Hospital School of Nursing here in 1941, she was engaged in private-duty nursing until 1943, when she enlisted in the Navy Nurses' Corps. She served during World War II at Philadelphia Naval Hospital, Farragut Naval Base, Ida., and Bethesda Medical Center, Md. She was discharged as a Lieu­ tenant (jg) in 1945. Later the same year she was granted the degree of Bachelor of Science in Nursing Edu­ cation by the University of Pennsyl­ vania. In the latter part of her career Han­ nah participated in a number of cancer-research efforts. She was serving as an instructor in nursing education at Robert Packer Hospital, Sayre. Pa., at the time she fell ill. '“'First Lieutenant Ralph J. (Red) saver, '50, was killed July 19 when■ his F-81 collided in the air with an­ other F-81 over the Gila Bend Gun- i She is survived by her parents, Jacob and Hannah Finnerty Silver­ stein, Wilkes-Barre. 22 23 ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumni Magazine, 1947-present Subject The topic of the resource Alumni Relations Description An account of the resource <p>An archive of Wilkes University Magazine, from 1947-present. The magazine went through various names including <em>Wilkes Alumnus</em>, <em>Wilkes Quarterly,</em> <em>Wilkes Universe</em>, and the current title, <em>Wilkes Magazine</em>. Some editions for the <em>Wilkes Universe</em>, will have multiple issues within the file record. Our holdings may be missing editions for certain years due to having no physical copy within the collection. </p> Creator An entity primarily responsible for making the resource Wilkes University Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1947-present Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumnus Bulletin 1952 October Subject The topic of the resource Alumni Relations; Wilkes College Creator An entity primarily responsible for making the resource Marketing and Communications Date A point or period of time associated with an event in the lifecycle of the resource 1952 October Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Bulletin https://omeka.wilkes.edu/omeka/files/original/7867c77e713f0d6f3ee26fccf7aa30e2.pdf 9e00d637235dc668efc0a15fb032a48e PDF Text Text Milkes Coll |SS^ED BI-MONTHLY FOR MEMBERS OF WILKES COLLEG - monthly alumni association Wilkes Colleg* Wilkes Dam. Penn.vli ri1Ir tllt....... "• ......... <ln»« ,matter ...... PennSylv.nis, under the Rvl vt AuRtt.t .'4. I?U,' October U. rr amended by the ' • act ot Au^unl I947. . ,isked M-’’" at Wilkes-Bart* F“;‘' i..t At March, 1953 Vol. H, No. 2 oNEfor the post office The high cost of producing u magazine --coupled with the "felt need, " as the Educators say, for hashing things over with you more often than quarterly publica­ tion permits--prompts us to consider substituting a bi-monthly offset BULLETIN in newsletter format for the letterpress booklet. This one, intended primarily for perusal by the Post Office, will determine whether or not our second-class mailing privilege will withstand the change. A writer in the AAC NEWS, bi-monthly publication of the American Alumni Council, submits a newsletter of the sort we mention "would be acceptable to alumni bodies." We await your reaction. ' NEW HANDS AT THE HELM I I Names of Association officers for 1953 were announced by retiring president Dan Williams, BUJC '44, at the Christmas dance, a whopping success in the Manfield Ballroom, Wilkes-Barre, December 26. President is Tom Brislin of the snowy locks, BUJC '41, Wilkes-Barre attorney; vice-president, Loretta Farris, BUJC '44 (Bill Luetzel, '50, who is now working in Philadelphia, actually leaped to veep, but he had withdrawn from the race after the bal­ lots were mailed on the ground major offices ought to be held by Valley residents. ), secretary, Elaine Williams, BUJC '45; treasurer, Tony Wideman, '49 (re-elected); members-at-large, Louise Brennan, '52, Wilmington, Del., and Bill Griffith, 50,^ Hellertown, Pa. ° Now we have a Philadelphia chapter of the Association and clubbable alumni in the New York and Washington areas have asked to be placed on a waiting list, Louise and Bill have their work cut out for them, 'twould seem. All good to the six. h0MECOMING From all indications they've a full year ahead. HASSLE Dan Williams, who presided at the general meeting of the AsSOC^1° ^bers ,ttli»Taurt5^rhon)ecomi„g weekend, had Ms hands lull when heated memte 4ng during the homecoming weekend, had his hands with its neighfesse d to re a ion --1 to know know why why the the College College intended intended to to terminate terminate athletic o bo;r tCr°SS Northampton Street. There were demands for an explanation from the o-------—'ation. �No tall code' - Mde'r set. torth ,C<>“e«« P«Hcy°“ rOundup on b“ .Uborilnated to the primary purpose of the Col g ing based on sound knowledg ■ “e development of critical and constructi,. ,^st >rthe high walked1 un with wxm the me cup again at the Open Wrestling Championships held liege during the Christmas vacation. An up-set victory by Werner Seel over College at the °iake, Case Institute heavyweight and Olympic grappler, gave Gerry Leeman's V piU &erS luable points to edge a strong Cornell squad. jjiath16 ( 1 „art of the activity program at Wilkes Colleege’" the "Athletics are an integral p bject to the policies set by the faculty subject to the policies set by the statement continues, "and as sue q{ Trustees. " These policy-settinj ■ and Board of Trustees. " administration and approved by „neither fair competition nor good tg bo<iies be "neither fair competition says the BRIEF, recognize t ere confined to colleges adhering to SP0rt«< ship in athletic contests if relations S1milar policies. " We have very little difficulty seeing the logic of the College's position, a— and We 1 Pro. E rep. utation we all of us want her to enjoy by refusing to admit she s no match, sportswi, for outfits whose values are not her own. We're persuaded she can well afford to rec. ognize her limitations on that score. I' L If it be objected other colleges on Wilkes' present football schedule haven't the cleanest of noses, we submit the consummation devoutly to be wished cannot be reach overnight. But we've got to make a beginning. CHRISTMAS PRESENTS , C°llege library staff apparently knew what it eep Kirby Hall open throughout most of the Christmas was doing when it chose to recess. Miss Frances Dorrance, formerly in charge of the Hoyt Library, Kingston, and Edward J. Stryjak, '48, chose the slack season to present to the College two welcome book-gifts. Miss Dorrance, who graced our library as circulation and ref­ erence librarian last semester, gave a valuable collection of her own translations of important German reference works works on plant anatomy and pathology, and Ed, who re­ cently took his M.S. at Penn State, at Penn State, a bound copy of his master's thesis on the nervous system of the milkweed bug, the first detailed study of that part of the little chap ever than ever, the Open attracted more than 130 wrestlers from almost 30 YMCA clubs. Frank Bettucci, Cornell, copped the Outstanding colle8eS a Dseveral hV by virtue of his flashing style and fierce competitive spirit. Local ^restler Krufka of Plymouth won in the 177-lb. class while Wilkes' great hope 01ymPiaI1 Bill F°ote went out in the semi-finals with an injury finishing him for the season. 20 years under W-B auspices, t for ----------v Hel , for nd was completely underYMCA the Blue & Gold the aegis the first time,to the gym tournament shifted last War’ an for THE future, promise George Ralston's quintet has played hot-and-cold basketball this season, winning six and dropping eight so far. Lenny Batroney, forward from Georgetown, became the all-time pointmaker at Wilkes early in the season by topping Bob Benson's three-year mark of 783 tallies. Streaking along at a meteoric 21-per-game average, Bart now has 1003 points in less than three seasons. Facing another NCAB leader, Vince Leta of Lycoming, the other night, Len played to the hilt and shaded the Williamsport ace 30-26 in their personal scoring battle. Parker Petrilak is back from Korea to swell the ranks of Wilkes talent. Jim Atherton, Eddie Davis, Joe Sikora, John Milliman, and Marsh Karesky, Batroney, and Petrilak comprise the starting line-up. Without a senior on the roster, it appears Wilkes has the making of a winning squad next year. 1 news of the clubs Ed's gift moved Mrs. Nada Vujica, librarian holding advanced degrees--they must be legion--for ■n, to urge us to ask other alumni tions. Any takers? ”* copies of their theses or disserts- True, the Philadelphia club is all we have so far, but gears will be grinding in Gotham, we hope, by the time this reaches you. Owing to bad timing, a recent at­ tempt to round up a steering committee in New York fell through, but nobody has lost heart. REPORT ON RESEARCH paper on research dintin'^001^^^biolo gi8t8’ gathered in Boston, heard a ‘leer,, .nd hear Dr. Farley on the future of the Colleg 8reatly impressed. According '52, the club met again in January, t0 q Now headed by Fred R. Davis, — their firesides. failed to keep the crowd at LSo ean Reston, who spoke, dirty weather rtIa y it evex ever be rr “aY be.. 529G3 �"The OU Tamihar Faces 147 is a kiln supervisor with the Penn-Dixie Cenie | James H. Rittenhouse, ed to Katherine Hale of Kingsport in l95o j Corp., Kingsport, Tena’ ^SUNDAY INDEPENDENT recently, andthen”' "Wanna See Ike?" asked t e . _ Walters- move to the White House. Formerly a went on to give an account ot gUJC ,41j is nOw a top assistant to junior executive with Standai: 1 agsistant. . .Another oil man, Dave Sherman Adams, the Presid company next month. Now livina i. S.e«»d., BUJC '40, go., to =«"»»*<"’*",o ““/the organisation of a living in New York sSSSF. N.J., be hopes-and >. «ork.ng-to .« S club before he leaves. At the last meeting of Town Hall Associated of Wyoming Valley in the gym we came upon John Milano, '49, who, having received his law degree from John Marshall, is practicing in Chicago. . .A pleasant letter from the former Katherine Vanderlick, '48, conveys the news she is living in Hartford, Conn. , looking after Richard Michael McCloskey, age five months. Her husband, Dr. Edwin M. McC., is specializing in anesthesiology at St. Francis Hospital and Yale University. Quite an accumulation on '50---From Dan Sherman, now living in Collingswood, N. J. , and working for the Philadelphia club, a copy of the RCA SERVICE COMPANY NEWS containing a feature on Ed Johnston, who "invested his GI grant at Wilkes" and later joined Station WBAX, W~B~ Ed's duties, says the article, keep him in the ar lanes throughout Europe, England, the Azores, Africa, and the Middle East. He toe. a hand in the development of a global communications network, and received one in Weisbaden, Germany, where he was recently married. . . Agnes Novak has been ad­ mitted to the Graduate Faculties at Columbia, in biology, according to a hitherto mis laid note from our Professor of Biology, who also tells us Grant Barlow, now with th research division of Abbott Laboratories, North Chicago, Ill. , had an article publish in the November 21 issue of SCIENCE. Quite a feather in his cap, says Dr. Reif. . . ■ George F. Ermel, elected to Pi Lambda Sigma, national library science honorary society before he received his M. S. in library science at Syracuse in January, becan circulation and reference librarian at the College last month. . . William C. Kashatus is serving as an instructor in chemistry at Bucknell, where he's working-toward the Ph. D. . . . George E. Hudock, Jr. has been working with the staff of a blood-center at Fort Jackson, S. C. . . . The Philadelphia club has an interested new member in Lestei Gross, now studying at Philadelphia Divinity School (Episcopal) after a year of secula work. Also studying theology is Art Bloom, T* 51, who has been named assistant at the St. Mark's Methodist Church, Brooklyn, N.Y. With him at Drew is Bob Benson, '52. . . Norb Olshefski, '51, is ______University seminar withof AP Little Rock, Ark. . . . Bill Sabanski, '52, was in the other day with a picture hisinclassmate ______ a Ann Belle Perry and other comely American Airlines stewardesses bundles for flood-strickei Holland; 'twas clipped from a Newark, N. J. , paper.checking Bill hims elf, who is married 0° the former Jean Ryan, '50, is a chemist with Pittsburgh Plate Glass in Newark. marr . • • li-' Dean Williams to the contrary, David Charles Foxlow, born January 27, has not yet been admitted to the College. . .Numerous nuptial notes will have to wait. XVi,Lvs i;u!|ellll ISSUED BI-MONTHLY FOR MEMBERS OF - ---------- --------------- . college alumni association - j bi-monthly by Wilkes College, Wilkes-Barre, Pennsylvania. Entered apublish^ as“ second-class matter October 12, 1951, pOSt office at Wilkes-Barre, Pennsylvania, under the act of August 24, 1912, as amended by the act of August 4, 1947. May, 1953 Vol. II, No. 3 HO® fires burning brightly After entertaining the class of '53 at a post-commencement brannigan in the American Legion Home, North River Street, W.-B., June 8 (far-flung alums home for the graduation exercises or the summer are cordially invited to be on hand to wel­ come the '53s to the Association), the local group will set to work in earnest on preparations for an all-out musical production scheduled for presentation in Irem Temple on the Friday and Saturday following Thanksgiving. Al Groh, '41, director of dramatics at the College, has agreed to direct the big show, likely to be in some respects similar to the well-remembered "All in Fun," Lettermen's show of '49, and Ted Warkomski, '50, to write the music. As no-one who saw "All in Fun" needs to be told, two such collaborators can go a long way towards making the review a resounding success, but only your full cooperation can assure its going over. We've a strong suspicion you'll wish to enter the dates on your calendar straight-way. FURTHERMORE— IF YOU CAN OR ASSIST AL AND HIS STAFF IN DURING THE SUMMER— WON'T YOU WILL REACH HIM. AS YOU MIGHT ACT, SING, DANCE, PAINT SETS, WRITE GAGS, BUILD SCENERY, ANY WAY AT ALL— AND IF YOU HAVE SOME TIME TO SPARE WRITE TO HIM AT ONCE? A LETTER ADDRESSED TO THE COLLEGE SUPPOSE, THERE'S A FEARFUL AMOUNT OF WORK TO BE DONE. The most heartening intelligence to come from the planners so far is that they intend to tie in the show with a genuine effort to make the constitutional provisions for a WILKES COLLEGE LOYALTY FUND mean Rnmath-ing, (is there a need for reprinting the WCAA Constitution?) A committee headed by Attorney Joe Savitz, '48, is selecting class agents, and something like a Blue-and-Gold Derby seems to be in the wind. A. Good Thing, we feel. As you know, the Association's objectives are not purely social. homecoming plans 1953 Homecoming has been tentatively set for the weekend of October 16— «ariy enough to enable OG's to breathe winy autumn air unadulterated by the mists of ay November. 'Twas also felt the October date would be less likely than a November hol’fi "interfere Tri th a Thanksgiving trip to the Valley— to rejoin the family at the ^-day board, perhaps, and to take in the alumni musical, certainly. trv occasi°n will mark Wilkes' twentieth anniversary, and the local chapter will y/'’ with the help of the aforementioned class agents, to cook up reunions. There'll be a Saturday-night game with Hofstra, too. �^OUT THE aiumni-office sine qua non , COMMENCEMENT PROGRAMS CAMPUS I SBS? £ fr^inia Nee1’ vhoTwm succeed Mrs. Gertrude Marvin Williams as dean of wi’ ' V „ about the middle of July. Dr. Neel, who has had considerable teaching and ad®?ntstrative experience in Brazil, has been engaged in editorial and public-relations thmulth s°"othiDg "ore < with the National Education Association in Washington, D.C., for tte past few w°l_.s An able and understanding occupant of the dean's office since the summer of {□51 *MrS. Williams will be sorely missed by the whole College community, rather par­ ticularly j perhaps, by her co-workers in Chase Hall. Her many friends among the NEWS OF THE CLUBS lumni will reioice us in tile knowledge that she intends to resume her spirited teaching of composition and journalism in February, 1954— following an extended and Philadelphia Club, boasts college a mailing list 15o names> ell-earned vacation,,.Fifty-threes have hit on a unique class-gift idea: members of holds The its healthy final business meeting of which the current year at of theover Penn-Sh June 5, at which time officers for the coming year will be installed. Sheld1^*?0 the class are purchasing life insurance, on an individual basis, and assigning por­ tions of their annual dividends to the College. Says class president George J. Morrison, '49, sole candidate for president, will succeed Fred R. Davis'-^? McMahon: "Wilkes is going through a period of expansion, and we've no way of knowing whose leadership the Club has laid sound foundations. If the otherTff-L Undei‘ ^^”a~class bench or bulletin board might have to be pulled down in the name of the same interest Shel has so far shown, there is every reason to bellp^^w from the East will continue to shine. eve ^he light progress." spot of research for us a notion elusive names. If anyone s* The Wilkes Club of New York and Northern New Jersey, we are delighted to report, is now a reality. Some 30 or 32 New Yorkers and Jerseyites justified the hopefulness we expressed in the last "Bulletin" at the Kosciuszko Foundation the evening of May 1, The group heard Dr. Farley, adopted a constitution, nominated officers, and then re­ paired to the Foundation's board room for tea and incomparable Polish cates. Ballots were returned to the Alumni Office, with the following results: president, Bill Sabanski, '52, now a chemist with Pittsburgh Plate Glass in Newark; vice presi­ dent, Dick Scripp, '52, associated with U.S. and Indonesia Importing Co., New York; secretary, JoAnne E. Davis, '52, Cedarhurst, Long Island, teacher; treasurer, Jean Ryan Sp banski, '50, the other half of the Lake Hiawatha, N.J., Wilkes twosome. The officers were installed at a second meeting at the Foundation May 22, which gathering also marked the appointment of Marianne Hofman, '52, as program chairman, Roberta Siva, '52, as Club representative on the Alumni Council, and Sam Eliap, '50, as publicity man. The group projected a purely social gathering to follow the Aldelphi game in the fall and asked us to use this issue of the "Bull a. tin" to urge New Yorkers who have yet to get wind of the Club to drop Bill Sabanski a line at 124 Chesapeake Avenue, Lake Hi­ awatha, N.J. The Club is especially fortunate in having such a handsome and well-appointed meeting place as the Foundation and such gracious hosts as Professor and Mrs. Stephen Mizwa, who are in charge there. The entire group, as well as the College, is most grateful to them and to Jeanne Ko cyan, '45, sometime secretary of the Foundation, who put us in touch with the Mizwas. i u we've devoted a somewhat disproportionate amount of space to these two ° YJ? v +e organization and progress constitute the biggest alumni news -rumMin \ rUS-k da^ ds no^ distant when we'll be giving them even more space: rumblings have been heard in Washington, D.C., and Johnson City, nT One of the outstanding assembly speakers of the year just past was Fred M.Hechinger education editor of the "New York Herald Tribune." Not the least pleasant as­ pect of his visit was his promise to feature the College in his "American Campus" series in that paper. In the course of a recent visit in the City we provided pictures and copy and returned with Mr. H.'s assurance that the article would appear sometime in September, when Wilkes turns 20. We'll keep you informed...Dr. Hoh-Cheung Mui, formerly assistant professor of history, rejoins us in September following a two-year stint of program evaluation with the Voice of America in New York...Dr. Vernon G. Smith, professor of education and chairman of the department since the fall of 1951, is about to leave us to become chairman of the education department at Connecticut College for Women. He will not soon be forgotten...The 1953 "Amnicola," a creditable job showing the influence of Cathal O'Toole, N.A., School of Design director who served as art ad­ viser to the yearbook staff this year, was issued earlier this month, together with a promise of a supplement covering late-spring activities. A day later "Manuscript, the literary magazine, appeared in a handsome blue laid-paper cover. Ably edited toilsomely prepared for photo-offset printing by Dale Warmouth, '54, whom the Alumni Office is proud to claim, the bright little collection of student literary effort car­ ried illustrations in line by students in our growing art department. WARMOUTH ON WILKES AND NCAA RATINGS In its second year as a member of the National Collegiate Athletic Association, Wilkes stands high in the final 1952-53 basketball statistics released this spring. With a record of 10 wins and 12 losses, which in itself shows much improvement over past years, the Colonels and Len Batroney figured among the national leaders in sever­ al places. With 471 points to give him a new College record and an average.of 21.4 per game, Len made 38th place in •individual scoring. He was also number nine in foul-shooting with an 80.5 per cent, making 153 out of 190 free tosses. CRYPTIC NOTE Among the litter on our desk is a piece of note-paper— once, no doubt, an en­ closure— innocent of all writing save the followings "Please change ny address to 210 6th St., S.W., Rochester, Minn." We should like to. But whose? game. The Colonels racked up 1692 points to set a local team per uccuu mark ******-of ---- 76.9 ' tallies . 4* This rave the Raiders number 41 spot on the small-college small-college roster for team of- ----- j o-naoa +.Rr season in �Rilkes -----3 WAS no ROOM IN OUR LAST THE NUPTIAL NOTES FOR WHICH THERE to the union are alumni, the name of the alumnus appears firL j' Unless both partners —marriages F ENGAGEMENTS Stephen Elko, Jr., and Gean D. Gentiie George J. Elias to Nancy M, Royer Elva Jane Fuller and Lester R. Parker Eleanor Gorney to Ensign Richard Siergiej Lovis Froehlich and Virginia Davis Helen Scherff to Robert M. Evans Elizabeth Rutherford and Donald E. Hin^ Edward J. Edgerton to Jeanne Casterline Joseph R. Janowski and Florence Bematow., Paul D. Griesmer to Barbara A. Bcyd Thomas Lasky and Hope Samsel Carl W. Fritzges to Arline Shiner Robert W. Croop and Jean Lipinski A/lc Robert L. Beard to Mary Jane Handley Francis Farrell and Eva Marie Violin! Joseph N. Coplan to Surita Greenberg John D. Dixon and Louise A. Petroski Diane S. Travis to Thomas A. Rose William G. Nelson and Kathleen A. Guyette Allen C. Gery to Joan Kunkle Francis J. Loftus to Jule Marie Loftus Nancy J, Boston to Harold Phillips Beryl A. Colwell and S. Paul Fahringer Robert W. Angelo to Marilyn Jean Eastman Eleanor J. West to William L. Crawford Frances E. Wentzel to Carl R. Dudeck Elaine H, Nesbitt to Philip A. Nicholas Lucille Ichter to Richard L. Bower Marysh Mieszkowski to Antony F, Matarrese ISSUED BI-MONTHLY FOR MEMBERS OF WILKES COLLEGE ALUMNI ASSOCIATION L ',7?_kes College, Wilkes-Barre, Pennsylvania. Entered as second-class matter October 12, 1951, at Wilkes-Barre, Pennsylvania, under the act of August 24, 1912, as amended by the act of August 4, 1947. GENERAL Carl Fritzges, ’52, is employed by Melpar Electronics, Inc., Alexandria, Va,...Wor recently came from the Woodhaven, N.I., Chamber of Commerce that Larry Pelesh, ’50, has been named executive secretary of the Chamber. Keenly interested in the New York Alum­ ni Club, Larry took the trouble to get off a very good letter to all Long Island alum­ ni on our mailing list urging them to attend the organizational meeting. He also of­ fered to secure a hall, sans rental fee, at any YMCA in the City whenever the Kosciuszko Foundation is not available for a meeting of the New York group.. .Torn Morgan, ’51, has just taken an A.M. in English at Columbia, where he plans to begin work on his doctorate in September. n. ■ Mrs. Edwin Johnson, the former Lee Ann Jakes, ’52, taught English and mathematics at Lehman-Jackson High School , where her husband, Ed Johnson, ’51, is a member of the staff, during the spring semester of the current academic year...An announcement re­ ceived by Dr. Farley apprises us of the fact that Donald P. McHugh, ’37, formerly as­ sistant chief, Trial Section, Antitrust Division, United States Department of Justice, is now associated with Thomas H, Carolan in the general practice of law under the firm name of Carolan and McHugh, Bowen Building, Washington, D.C. Karn (Karnofsky), *40, recently returned from an extended stay in Florida, has donated Marie Killilea’s "Karen" to the College library on behalf of the United Cerebral.Palsy Association of Pennsylvania. Persuaded of the importance of educating he public to understand the nature of cerebral palsy, Jack intends to try his hand at a bit of writing on the subject this summer...Now working toward the Master's degree at Columbia Di^ Rutkowski, ’51, exhibited a few of his paintings and ? T7 dUldng the flrst of May...The library's request for Master's VuiiS St ah^SJ^Tteti°nS proffipted 2E- gdward G. Hartmann, '35, to remind Mrs. f , the immigrant " and Dr^ Stern disser‘ta'tion> "The Movement to Americanize oX^Cstei^efen^2 ’38’ forward a of his "The PhiloS- ...... - Vol. II, No. 4 ____ College Bulletin �WITH PRICE WATERHOUSE HOOK1*? Now by the University of^h^State^/Jew^ork11^!^3 been ap" pro^d A permits Ashment have reached financial circles in the City! estab- This recognition prompted representative Pri.. +. v, •nternational accounting firm, aNew York, to visitof thp « w Waterhouse, Jhis spring to talk with John J. Chwalek, director of pikemen? and Dr. Samuel A. Rosenberg commerce and finance chairman, Ind ?o inter­ view outstanding accounting majors. In addition to offering highly attractive to invited 53s William Williams , David W Park and Theodore L. positions Krohn, P.W. the A. College to“paFtiFipFte4iTits internship program. CALCULATED TO COOL YOU OFF is this ancient photograph of Association officers, officers of the Philadelphia Club, and members of the Asso­ ciation's Christmas Dance committee— taken at the Manfield Ballroom last December. Seated, left to right, are: Helen Bitler Hawkins, Fred R. Davis, then president of the Philadelphia Club; Jean Dougher­ ty, treasurer of the Philadelphia outfit; Tom Brislin, Association president; Loretta Farris, vice president; Tony Wideman, treasurer; Eleanor Kryger, and Ray Jacobs. Standing: Dan Williams, then retir­ < ing as president of the Association; Miriam Long, Bill Griffith, mem­ ber-at-large; Bill Luetzel, vice president (as we recall) of the Phil­ adelphia Club; Jeanne Kocyan, Dr. Frank Speicher, M. Lloyd Davies, Marilyn Broadt (now Mrs, Albert B, Jacobs), Ruth Carey, and Al Colmer. FOR A CHANGE, PICTURES Budgetary problems or no, we feel you're entitled to a few pic­ tures at least once a year— if for no other reason than to assure you that the Wilkes campus is still an extraordinarily pleasant place. Hence this issue, tone of which is set by the cover picture of ths commencement procession forming on the flawless sward between Chase and Kirby. The lone figure who appears to be running the show is Dean (formerly Major) George F. Ralston. Perhaps the artiest shot of the uasL?ear.’J it was made from a second-floor window ledge of the library by Eddie Hosage, fearless photographer from Ace Hoffman Studios. According to Dr. Rosenberg, this program enables seniors studying ccounting at approved colleges to gain invaluable on-the-job expe­ a nce in the firm's New York offices. Wilkes will begin to enjoy rience : benefits of the scheme next winter, he says, when Price Waterhouse the expected 1-invite seven or eight undergraduate accountants to is ’( ---1 Nev; to York from the beginning of the Christmas holidays to the work in try date of registration for second-semester classes. Selection February is to be based on grades, recommendations from the faculty, and interviews with Price Waterhouse representatives. THE ENERGETIC ECONOMISTS The Economics Club, headed during the 1952-53 year by Robert V. Croker, Jr., '53, this spring did a workmanlike job on an exhibit en­ titled "Twenty Years of Developing Human Resources," which took first prize in the educational category at the Wyoming Valley Parade of Progress in Kingston Armory. Pictured below with club members Thelma Williams and Steve Toporcer, the display impressively pointed up, by means of photographs, drawings, and neat bar graphs, the growth of the College during the past 20 years, its significant contributions to the community, and its training of leaders and intelligent follow­ ers through a varied program of student activities. The enthusiasm and industry of the group were a real joy to behold. ;pr ERT iAKinGSTon.pn ?i "• THOSE CLASS LISTS AGAIN Dissatisfied with the class lists mentioned : ___ , --. in ourgoing last, over which^inelude only graduates, Dale Warmouth, '54, is currently alL student records to determine who's an alumnus and ' opinion he might submit results of his thankless who isn’t. He’s o? fulfillment of the requirements for his Ph.D. summer job in partial GROWTH of WILKES COLLEGE » 0fe3 .-tA' i! £3 O' -- 1 r I ! II t HfB i •r Er c%; 1 j L1 �IRE sixth ANNUAL COMMENCEMENT effective speakers g2°hsingularly Sanmiai commencement EXST the College at Delivering the baccalaureate address Sunday, June 7 Dr A C Marts, Wilkes trustee and president of Marts and Lundy, New York fi MScial counselors to philanthropic. institutions, advised Jh 109 5V3 ^playing the most exciting game in the world- how to take the pe?°"ality wlth whlCh yOU?.aVe been en(iowed and make of it a person of Maximum value to yourselt , your loved ones, and your generation." He aed the graduates to keep exercising their minds, to ’ to understand Amerfreedom in order to preserve it, and to cultivatei aa deep sense of h fatherhood of God and the brotherhood of man— "the three essential elements in the full development of the individual person. n "WO SPEAKERS yoked by violence together for the sake AN ALUMNUS AND TWO of our layout. Left L_. to right are Edmund W. Sobolewski, 48, Trustee the baccalaureate address this spring, Arnaud C. Marts, who delivered and Dr. John A. Krout Columbia University vice president and provost, who spoke at the sixth commencement. Accounts of their doings and sayings are carried below. , Supporting his second piece of advice, Dr. Marts submitted that tifreedom in this nation needs more vigilance in protection from the careless than from the willful despot. I have never known any politiof~our day who appeared to want to deprive you and me of our cian tdespotic purposes, but I have known some who seriously imfreedom for : perilledl that freedom by careless or hurried use of their authority," he said. In a notably brief and powerful talk at the commencement proper Monday nightt, Dr. John A. Krout, Columbia University vice president and provost,, explained that the "interaction between the American LET'S GET THE GANG TO SING A SONG... to Edmund W. Sobolewski, '48, selected as the recipient of a < fellowship in chemical engineering sponsored by Solvay Process Divi­ sion, Allied Chemical and Dye Corporation. Covering tuition and pro­ viding Ed with a #2,000 cash grant, the award is among 38 such grants offered by Allied Chemical at 26 academic institutions in the United -States and Canada for 1953-54 to aid in developing leadership in tech­ nical and scientific fields. POINTING OUT CAMPUS LAND­ MARKS to her sister Patsy, who expects to enter the College in September, is Mrs. Richard Pierce, '53 , the former Lucille Reese. Together with George Mc­ Mahon , Lucille received the Alumni Association’s 1953 award to the outstand­ ing graduate of the year, while Patsy was given the markedly similar Kate V. Cougle medal at the Forty Fort High School commence­ ment last month. Both awards were made on the ba­ sis of scholarship, lead­ ership ability, participa­ tion in extracurricular activities, and contribu­ tions to the school. For the past two years an instructor in the department of chem­ ical engineering at Syracuse University, where he is working toward his Ph.D., Ed earned his B.S. in chemical engineering at Bucknell in 1950. He served three years with the field artillery in the European theater during World War II. His patron, Solvay Process, is one of six divisions of Allied Chemical and Dye Corporation, one of the nation’s major producers of alkalies and industrial chemicals. „ "i*5nd Joseph W. Chiloro, '47, prize winner in the 561QL. 000 eneral Motors Better Highways Awards Contest. One of thousands of U.S. citizens who submitted essays on "How to Plan and Pav for the Safe and Adequate Highways We Need," Joe won a cash prize of &500 for his suggestions on getting us out of the highway muddle! $ Elected to Tau Beta Pi, ,engineering honorary, at Bucknell, where * degree in civil associated withT S^glna^ ^0^??™^ “ 19^9? - Joe is presently awful lv proud r>T.^..z4 of him— ’ ’» *lrm °f consulting engineers.. We're awfully --------- ■ and so is our mother-in-law, his mother. W �. _ --- - shaped the destiny of .to ”i transplanted Europeans main“ theme of American history the a tie," adding that the tl_ r_*' conquest of a continent by men and women not afraid t0 *isk fUO-i-S 3.-w* them. °Ur of mitues we think so important." -_cs heritage Dr. Krout pointed out, challenges us to be int . SSested observers, practitioners of "the tolerance Of "and individuals dedicated to something nobler than ourselves.* Contrasting the "Christian and humane^ ethic with the On that "justifies all means for the collective end, he told the graduates that they must choose between the two by tens of thousands of tough decisions on your own home ground. The cumulative impact of your decisions will determine what this world will be like for genera, tions to come," he declared. VALLEY ADDED TO GRID CARD I,EBJ Th?0i9^efaSl^onSo?eK:„SValieytihiCSa,'ee fr°” Year all the . sound and fury, ’ ■ even into the letters to the editnr „ ? hysteria, that /A Af!ched e' 1UoJ to maintain a bit of silence on the mmer^?^ 10-al pre3sI Choose relations with the local school, pausing onlv tnf 3evering athrel - very good authority that the rKal™ w± ^at 1 u -it on very guuu ment, in our opinion, the wisdom of th P r ^ n ^ ended as hadJinent, and that, apparent in years to come?riSlnal deCi" P-on "ill will become become increasingly inc The Colonels the the season on the of SeDtsmW oa • The r01e of David open against Goliath of night Bloomsburg State Schers a the , : event. Lebanon Valley is an away game on Oct 3 nth!™ Edule are: Oct. 9, Ithaca, away; Oct. ?7° HoSji' h?«e ’X- ’ ho® 6 gel- 24, Trenton STC, away, Oct. 31, Adelphi, away; Nov. 1?’ BridgeOct port, home, night; and Nov. 21, Moravian, away. ge It It is still a little early to make statements on the 1953 prospects,, and it is certain that the man at the helm of the Ralston Raiders isn’t talking yet. At any rate, a lot of promising material must be rounded up to replace the stalwarts who went their way via the diploma route. Awards Presented Following Dr-Farley^ =o^errlng^f degrees^and^ertificates, George J. McMahon, who made history as the first two graduates to of commerce and finance, presented the Wall Street Journal Student Achievement Award to Theodore L. Krohn, the Dobson Accounting Medal to Michael Herman, Jr., and the award offered annually by the Penn­ sylvania institute of Certified Accountants to co-winners Anthony P. Giusti and David V). Park. ALUMNI BASEBALL TEAM BOWS z. Mr. Voris B. Hall, head of physics and engineering, presented engineering medals to John S. Theloudis— who came to us from the Isle of Chios, Greece, two years ago— and Natale A. Fruci. Carol V. Jones received the Chemistry Award, which was presented by-Miss Catherine H. Bone, assistant professor of chemistry. The L. J. Van Laeys Journalism Medal, given by employees of the Wilkes-Barre Record and presented by Mrs. Gertrude Marvin Williams, assistant professor of English, went to Paul B. Beers, editor of the Beacon during the past year. We print below a portion of P. B. B.’s recent letter thanking us for our "words and words and words" about him, not so much to pat ourselves on the back as to give you a sample of the SFtbe Vm Laeyt\S-a 1<>nS t0“ard d«e™ir‘K'ng the disposition Bob Partridge, playing second base that afternoon, belted a round-tripper in the last inning to bring in three runs and win the ball game. Gum-chewing Bob (no less than 15 sticks a game) usually coaches. Other alums who performed were Fran Pinkowski, Joe Deschak, CharVbirei eixuiiia *«nw xu‘\5h57w _ Joe, Pawlak and 'nail Hendershot . Pawlak started as pitchley Jackson Joe Pawlak and Wal t^.e was replaced by Dean o£ Men George Ralston, whose iron arm er, but was -1 -----;nn17n?s. was good for ten strike-outs in five inn g ..bi”er ’ ’ he didn't have friends wk — GeraTdlne°Flll.hLeorLe"nT9vdl^a^ter J? follows: magna eum laude by the Dean of Men, and~Ldcille Piercefollows: s°holarshiP cup given stance Smith, Thomas M. Voitek" rCUS ™-uSe° aude—laDoris , Con -S®P Gates winner of the scholarshir^TgiTdH^ ^he^F?} ^^^el Lcker, ^SMahon. . ! De*n of WomeH? In the first meeting between the alumni and varsity baseball teams last May at Kirby Park, the latter squad won 7-4, but it took ua ringer to do I. i_. it. The informal set-to, which is to be scheduled yearly, saw the old grads tie the score in the top of the ninth frame after being behind 4-1. Ben Dragon tripled in the eighth, Chet Molley and Jerry Ostroskie doubled to drive freshman Mel McNew from the mound. Jack Semmers rapped out a double against John Mil liman to score Jimmy Davis and tie the score in the last inning. w I �TkeOUFc, I -ljar F^ceS V . ^eSV?^w|js|isi °ur man wa^°uth was men American Board of Internal Medicine has certified n it Organize 1 1’ rises up among the Johnson Ci?s n2 a club- If ’39, as in internal Dr. Kerr an 1 to set the gears grinding. Paul's GP o’ii ed onl Y BtllSii? droP us a M Kerr, '39, as aa specialsit spe? rethrow of the medicine. campus, served „„o ’ 5ob, 1 '53, (XldS thb Price wlterhous, J' ’ H 9af5ues “ re offTce“is within a scalpel s owing his graduation from J se' ft line t an AUS Medical Corps.captain follow f d Mercy Hospital, li^i ’doesn ’t know what our right hand is doi™ F°u think our left as I h^ d •on Medical College and Internal medicine at 0 • tel Herman, Jr., ’53, Bob Morris ' 52 Phi 1’ k r1 quite ri§ht), V1 T53—John J. Riley7~Fkfr~i^n '50, Joe He has held sPacaal^®S^neral Hospital, Long Island, and has ) Pi I ___________________________ . . _ ... ^x Medicine" ■fjqWgi^Paul, savs Dale, lost no time in~noinfV?T~’ Sayre, Pa., and Que®ns~Generai^ School and Bob Waters, r^oT Lted King's, a college, in softball^ the gLe^a?™^-® post-graduate studies the Graduate c?mpiet 3 had a year von.- of ~-p poet gro-’Z---- jNnwatsecretary of theSchool staff of ofMat General ’ C’ uversitv of Pennsvl vani a . Now secretarv of f-.hp _ 1G inp J def ea . University of Penn^^aa director of the Junior Chamber of 0 league at GE being made up largely of aiFmni r accountmg softBarre'institutions, h! added l?9 "PJeS^enerai ball pital here, he is also American Red Cross. Be it said 1C°mmer __ Ce’uHo5' Barre the Heart Associatio , hi Bruce Robert, who mus ■ 1 in the basic accounting course offered at GE. Herman hiving'™'' we omitted to ^ntion the birth oi who rece?ved hi£s ? i third graduated, only last month, it is apparent that Wilkesmen lost no ■ho been 1in attaining the top of the pole. g^ee1!? absentiayOwing*to-a-pressing appointment with the army at “P_.be I en 10 e n ri time : Fort j Sill, Okla., received his A.M. in English at the Columbia University More about ’53s: Both Bob Stackhouse and Phil Husband are with commencement last month. He completed requirements for the degree at Equitable Life Assurance, the former in Cleveland and the latter in Teachers College, to which he plans to return in the fall to begin Toledo.. .Gene Mason is now associated with Coring Glass, Cumins " , Corning, NN.Y. work on his doctorate. His betrothed, by the way, is Ann Belle Perry, and Ed Gritsko with Scranton Springbrook Water Service Co., Wilkes'52 now a stewardess with American Airlines. According to Dr. Mary Barre. E. Craig, chairman of the English department, Ann Belle will be "grounded, as it were" after the nuptials.. .David B. Whitney, '53, has Jeanne Kocyan, '45, hard at work on the business end of the fall been appointed to the administrative offices of Equitable J4': ance Society, Cincinnati. An economics major, Dave participated in , : alumni show, looked in not long ago to cut us in on summer-study plans Life Assurof several Valley alumni. Her news: It's further work on her Master's astronomical number of extracurricular activities here. His work as chairman of the Student Assembly Committee was particularly notable. an 1 at Columbia for June Search, ’ 45, instructor in Romance languages at Wyoming Seminary; Loretta Farris, '44, Swoyersville teacher, also in­ tends to move closer to her A.M. in Gotham this summer; Gene Maylock, A recently received letter reads like last year's Beacon: "The '47, now after the Ph.D., took an intersession course at N.Y.U. last sergeant had been a girdle manufacturer in civilian life— sort of living off the fat of the land...We had chicken smothered with mush­ month; Zosia Glowacki, '45, availed herself of the Penn State inter­ rooms: the cook was a soft-hearted cuss who couldn’t '■'on” x- kill thsession to bone up on the training of the gifted child. She teaches chickens with an axe, so he smothered them with mushrooms," etc., etc. in Shickshinny. Jeanne herself is off to Barnard to swot up some t bear to kill the The epistler was of course Chuck Gloman,' 52, now "permanently" sta­ TV info. tioned at Camp Atterbury, Ind...Tom Moran, '49, until recently on the desk of the Pittsburgh Post-Gazette, has succeeded John Bush, sometime Philadelphia Club note: According to Jean Dougherty, '50, who is warmer of this chair (as is Tom), as sports editor of the W.-B. Sunday on campus this summer and expects to be teaching in Bucks County come Independent...Tom H. Brain, '52, received a B.S. degree and was comFall, recently elected officers of the Philadelphia Club are: Sheldon ™Faaioned ,a..second lieutenant in the artillery at the West Point L. Morrison, '49, president; John Murtha, '52, vice president; Dolores £h^Sentla3t month QActive in the German Club, the Debate Cot... passeri, '50, secretary; and Bob Perneski, '49, treasurer. Counc11 on u-8- Affairs, and the Golf Clubthe at Debate the Military Council) th^h vi’rJOm f£ent uW0 semestsrs hereabouts...Ed Bogusko '52, was in Pfc. <J. Bernard Schleicher, '51, has been getting first-hand com­ the buxlding the other day, up from Towson, Md^ teaches. bat training in atomic warfare at Camp Desert Rock, Nev., atomic-bomb Proving ground...The recipient of the 1952 Engineering Medal, Bernard £• Zapotowski, '52, attained a distinguished rating during the second semester of the 1952-53 academic year at Purdue University, where he piai s iii ’n is continuing his work in engineering. The rating is based on a gra etoS£manr(wlrmJuehahls yUto'rMch’’"))")°f the pl“ifi1B?ains Point index of five or better out of a possible six point index, zap University last month MarSifn x xJ Lwas 6rantad an A.B. at Drew ^.studying aeronautical engineering...Mr. and Mrs. William ---was a psychology major at dS^ tR ^he former Lois DeGraw, '50, Homer (BUI is a ’43) have been blessed with a daughter, Kim (Kimberley New Y°rk Alumni Club.. .Sheldon * I,. M^!and,?21B are active in the Marie). They're living in Kew Gardens, N. Y.. .^oe Hizn,ajr, W, Philadelphia Club, was graduatedHT^tT^p new President of the ? an impressivesounding title with IBM in Endicott, • •“ De_ pf Optometry, Philadelphia/ J^ne 11 Pennaylvania State College reason for a club up that way.. .Wilkes-Barre YWCA has appointed _e cepted a position in the compSolleH rnfeV* ’53, has aci°res Grabko, '53, to take over its teen-age program. will be concerned with internal anri-itTv,dlV1n1.On o:P Corning Glass. He accepted as a student at the dental Shemo, '52, has been THANKSGIVING!! DON'T FORGET TO PLAN TO BE ON HAND FOR THE BIG SHOW AT cago. Lne dental school of Loyola University Chi- tn, 2 'tp 1 w �____ 3 to, the ’Ben" Beers, the printer, printer, Paul Paul"ben" beers, »5, «53 .. As this0 issue^goesthe Naval Aviation (Tadet ^JUTINNABULATION OF THE BELLS, BELLS, BF,t,tsn uadet program at p±? PoJL is 0 his way to 1"Son ' * editor and .Mll-whlp^earer Jo^th^Beer./^ole, I Fla. Former that Beaconhe editor ana uiai-ru^ w'--* - -------MARRIAGES Ben reports was instructed to bring his golf clubs 3 ENGAGEMENTS 1944 racket along. Nice touch, that.. .Taking courses this summ/1^ ten 1937 Alma Mater is Ed Bogusko, '52, who teaches in Baltimore Co ** ab th^^8 I Pearson to James W. Smith ]Monroe Freed to Celia E. Kluger Glari ce 1946 Taking up pedagogic chores in the same state, is Blanche CrUnt^’ 1940 Ashworth to Lt. Malcolm Smith at Princess Anne.. .Doris Gates and Connie Smith,"both r53T^^S> '?/* * Dorothy Teresinski to John 0. Withey, ’54 Jfery L* 1948 1950 trained as engineering assistants for Bell telephone in Ph?nare bps 1 E Wentzel to Dr. Carl Dudeck, '49 Beverly H. VanHorn to Edward Wheatley, ' We had a delightful talk with Mary Porter, '50, who is witk adelphi e 52 jyanceS 1950 Wilkes-Barre, when we gathered information on the girls f ” in*' 1951 Gearhart to Antoinette Avella Wade W. Hayhurst to Winston Evans release. °r a news Sheldon Martin to Joan Lee Woodruff 1952 Spencer _ q piummer to Jean Weber William C. Johns to Florence Egenski Edgar c Dr. Richard E. Crompton. ’42. has ks?illeg^StanTp hu Ann Belle Perry to Thomas D. Morgan, '51 Thomas Check to Elizabeth Kern Dr. —service and has resumed his practice in Trucksville. . .Stanley HenniL Charlotte Gregory to Raymond Kuhnert 1951 '39 has been promoted to General foreman at Bethlehem Steel Comply?’ Donald N. Besecker to Ruth Ann Haycox ”, Dewitt to R. Carolyn Hoffman Carl _H, plant in Buffalo.. .Slated to go.into the Marines are reservists Cled 1953 Havir to Rev. Luther J. Bajus Rowlands and Ed Edgerton, of this year s graduating class...Old gFads _’ ' ‘’I Rita Martin to William A. Williams, '53 j^hn Sherwood toJoan^Gould may be disappointed to learn that the World Literature textbook, Dorothy Zawacki to Gilbert S. Radovic cording to a recent investigation, weighs only four and one-half pounds 1952 Leo Gavlick is employed by Wilkes-Barre Iron and Wire Works, Inc. 1<iar? Jane Brogan1 to Gerald R. Morris Mary After' receiving his two-year certificate in engineering in 1951. Leo went DEPARTURE Stephen R. Krupinski to Constance Petroski to Lehigh. During a chat at the bus stop recently, he had words of on Diane's. Thoms A. A Rose Rose. Diane S. Travis to Thomas praise for the preliminary engineering course at Wilkes which, he said A paucity of engagements this month Charles A. Caffrey to Mary A. Goobic was top notch preparation for his further studies. leaves us space to observe that we as­ Lt7Brain Lt. Tom H. Brain to Ruth A. Pierce tonished ourself on vacation by taking Barbara C. Close to Edward A. Hann Al Molosh, '52, has been transferred by National Supply Company a decision to accept a teaching job in Pmnk McNelis to Helen Byra to Olney, Ill. The company sent us a quick and courteous reply re­ pastures new. No longer, 0 Burning JoAnn Davis to John H. Kelly cently when we inquired about lost alumnus Gene Dougherty, also *52. Mountain, will the prospect of thy 1953 Gene works in the Export Division and lives in West Englewood, N. J... , shaggy head solace us as we begin our Elaine H. Nesbitt to Philip Nicholas, '51 Reports have it that ex-gridder Jack Jones, '51, will be head football matutinal labors; and long-familiar Marilyn Broadt to Albert Jacobs, '52 coach at Pittston High School. Classmate Olie Thomas, recently dis­ voices will be prisoned in the silent John M. Wager to Mary C. Hendler charged from the army after a long stint in Germany is teaching there pathways of the night. Nancy J. Boston to Harold B. Phillips and is to assist. Jack as pigskin mentor.. .Three pre-dental students William A. Morgan to Clara Ann Evans w 0 received their cert.ifmaton ' ave been accepted by Temple When we faced our now-battered type­ tfyra Kornzweig to Stanley B. Smulyan writer over two years ago to peck out rd D. Bush, David W. Kunkle, Edward J. Edgerton to Jeanne Casterline our maiden editorial for the BULLETIN, £5, recently received his Francis A. Rapes to Anna Mae Umbriac then the ALUMNUS, we chose as a title , ’47, is practicing dentist­ 1955 two years with th? "A Ringer Reports." Our greatest sat­ army dental office Aberdeen, Ruth H. Cook to Robert D. Seely isfaction at this writing is the knowl­ George J. Grevera to Morma Zabiegalski edge that two of our closest associates Patricia Joan Evans to Donald Earl here have always considered us a Wilkes alumnus. So we would always be regard­ ed, and we shall ever welcome news of the progress of the Association. now have time to read the BULLETIN while dialing the College telephone number, which is VAlley 4-4651. We’d like to quote Dr, Johnson's just observation about never doing any­ thing consciously for the last time without a sense of regret, but we can't do that because we expect to use it to bring our classes to a close next year. I �Wh1CollegeJ3u]letin ISSUED BI-MONTHLY FOR MEMBERS OF WILKES COLLEGE ALUMNI ASSOCIATION ' Entered as second-class matter October October 12,1951, 12,1951, “ *. 1' as amended by the act of August 4, 1947. I SHOW AT THE WILKES TABU a^the June^J _ _ _ . by Earl T.mp 13 .inn dinner-dance given _ ... anniversary, which also m^. -53, and Mrs. Kohl on ttheir 25th . wedding daughter Audrey’s graduation Earl's graduation from Audrey’s 21st birthday, and her Stroudsburg State Teacher order: Mrs. Earl, Mrs.and RoberAudrey ’s Kohl, 21st birthday, her 1 i East mother's 70th, are, in ^ual ord — Hawking> ,52> Dean G. F< Ralst( _ . «— v-v> Robert grand. C0aT”S10»M0'5"’ tH'ellto? ofThe BULLFflH, ’and '55. Moran 52' Bill Dean Crowder, G. F. on, jg and Bill Crowder, Gnly Earl, a candidate for the Baptist ministry, a..d L just how difficult- and how rewarding-- the past and fourhis family can know Al Groh, '41, has come close to understanding in ___ • years have been, but verses presented to the Kohls at the dinner: I Which of us is CvLvu without a dream? The things a man decides to do Which of us that does Depend upon his point of view. ’ s not care? Who Of of us that does nvu The places that he seeks to find not as* ask Why and What and Where? On maps, in books, or in the mind Take time and work and rob his sleep— IV The things a man decides to do But there are pledges he must keep up Depend upon a woman, too, And there are vows that go too deep: He has decisions he must make For there are things both seek to That he can never lightly take. know Beyond the Now’ and Here, the Ebb II At forty-one a man can say and Flow; That half his life is used away. Once they resolve how they will spe And if it’s age he reckons by, Their lives, and to what end, Then years alone can testify, There are pledges they must keep Though years alone but tell of time, And there are vows that go too deep Brief chronicle of life sublime; For c~age alone to reckon by. For there is time that some men say They do do not ask what, when, and wn) One can never use away, Since there °re is time, the wise men 5 Once recorded, never spent, That one c-,i. can never use away, That justifies a firmament. Once chronicled 1-l^J is never spent, And there are things he seeks to know That justifies a firmament. Beyond the maps and books— but 0 Once he decides what he must do, Once they decide what they must do These he dedicates his life unto. These they dedicate their lives unv Ill A man works, and a man dreams, And a man does what he must, (These verses were lettered on Pa; And a woman says, I shall wait, i lettered on ment by Mrs. R.W. 1Partridge, orna. And holds his dreams in trust. ed with a rose painted - ’> s moU nted by -Al and framed for presentation./ sentation.) Vol* H' No* 5 September, 1953 t.ffiiVE DUSTED OFF THE WELCOME MAT Two important events vie for top billing in this issue— Homecoming and the Alumni Association1s big musical review "Here’ to Ya." The latter being scheduled for the Thanksgiving week-end we give the nod to Homecoming, October 16 and 17. Chairman Loretta Farris, ’44, has things going smoothly for the annual gathering^ but space considerations prevent our giving more than the highlights here. We trust they are sufficient to bring many, many Alums back for a misty-eyed view of our ever-expand!ng campus and its crop of new faces. We gather right away, from the schedule placed in our hands by Miss F., that busy Dan Williams, ’44, will be as busy as ever. He's chairman of the registration committee, and the cryptic note under Location says "Everywhere." The first thing on the list is a coffee hour which' will be held in the lounges of McClintock Hall from 5 to 6 p.m. on Friday, October 16. At 7:30 a general meeting, devoted first to business, and then to more relaxing things, such as a word of greeting from Dr. Farley, a variety of speakers from the club's membership, refreshments, and dancing to records. Al Groh, ’41, will give the assembled group a preview of "Here* to Ya,11 according to present plans. Having peeped in on early re­ hearsals, we feel that this in itself is incentive enough to attend Homecoming. You'll like what you see, but more about the show later. Saturday is a full day, with its tour of the campus, bigger than ever, and the annual judging contest. The contest always brings out all the dormant talents of dormitory students and various club members, and it makes the campus a gay and bustling place. From 5:30 to 6:30, Alums will be at Kingston House for a cock­ tail hour, following which a buffet supper will be served. The Big Game this year is with Hofstra College Saturday evening at 8:15 at Kingston Stadium. It promises to be one of the best tilts of the season, if it follows the pattern set last year at Hempstead, L. I., where the Flying Dutchmen, a real power in small college circles, squeezed by the second-seeded Colonels in the wan­ ing minutes of a thrilling game. es concerned with Homecoming, In order to help the committees j would you signify your intentions of cf coming by mailing the reservatlon blank found elsewhere ini this t-— issue? We want to meet you aH in our new capacity as ExecSec. ExecSec. �V 'AN SXJITING SHOW -eceived a letter from President ■ Alumni. .have ‘ T'. ’ . kio dntv. coming ‘1? wnion « andytnenIt itannounces asks you the to do y^r which does ‘^^X^’suSees. We wish it were pO8^6 • this time, is still tentatil 0 c cSsen MM but of much oast, but „. a Jgj., ^-or-director GHg naa c cagt lg completeo It ■t'^&miiiar faces, however, some of whom gained1 uS. “A11 ln Pun baok ln 1949- - teamed up with Ted Warkomski, '60, composer of the "An t *-*-e/'’and Bill Crowder, '55, a ^popular chap on his way up ln !-■; -t;7c^-ld.“The talented trio has produced a number of sparkly 7--cb promise to make the show a wonderful treat. From moving0 brisk comic ditties, the songs reveal great spon- 6 t&neitv and charm, and we feel that they are quite in the same league with sene of the hit tunes which have taken Broadway's heart in past years. The script, which takes the campus for its setting, is clever and packed with good lines. The review was conceived as a means to raise money for a schol­ arship fund. A worthier cause, especially in this significant twen­ tieth-anniversary year, could not be found. We hope the Alumni's enthusiasm and faith in Wilkes will pay dividends where they'll do the most good—in the future of some deserving youngsters. Response to Tom's letter has been pleasing, Dipping into the envelopes, we find that the classes of 1944, 1945,, 1948, and. 1950 have taken an early lead In the "donation derby." The class with the best results, as well as the three largest individual contribu­ tors, will receive recognition in the program. People who are actively involved in our show—business manager, director, committee heads and members, actors, chorus members, dan­ cers, advertising people, a battery of others--have been very hard at work a long time. A lot of work remains, and there will be plen­ ty ox sleepless nights ahead. The participants have been kindling a glow Ox pride for weeks now, and it will be at Its glowino-est on the evening of November 28. To achieve the goals-4nd they are am­ bitious ones—that the planners of the show have set we have to °r a11 A1“nl- Root your ALUMNI SURVEY NOTE One of the last major projects undertaken by Jim Foxlow before he left was a twenty-year Alumni survey. A summer’s work went into the preparation of a questionnaire, designed to be complete, objectlve, and—something rare in questionnaires—unembarrassing, ly Jim s plan was fulfilled. Response has been most gratifying.Evident- Time has not been available for a tabulation of the replies, nur random samplings seem to indicate that Wilkes people have bn* 1 very well for themselves. done More about the survey later. c & F STUDENTS TO GREET GRADS The Economics Club, whose prize-winning Parade of Progress -3 pictured in our last, has decided to invite former display was Commerce and t— Finance students to a get-together sometime in the Homecoming week-end, president John Kpnsavage states. Details still have to be worked out, but Interested Alumni may help things along by dropping a postal card to Miss Thelma Williams, Economics Club Secretary, in care of the College. If things turn out well this fall, the C & F gathering at Homecoming could very well be an annual affair. Perhaps other Alumni in various fields could institute like parties. We are open to ideas. CLASS AGENTS APPOINTED 48, The Loyalty Fund Committee’s Chairman, Joseph J. Savitz, ’’48, has presented the office with a list of class agents, appointed by him along with committee members Sallyanne Frank Rosen, *43, and Joseph B. Farrell, ’42. So that you may know who your agents are, the list is included. Agents will receive lists of their classmates as rapidly as we can get them out. Mary Heness Ward, *45 Thomas J. Toole, ’35 Gifford S. Cappellini, *45 Dr. Nicholas A. Lorusso, ’35 Alberta Novick Killian, *46 Dr. Charles T. Connors, ’36 Ruth Kluger Harris. *46 Michael G. Solomon, * 36 Elmo M. Clemente. ’47 Joseph G. Donnelly, ’37 Ralph P. Carey, *48 Reuben W. Rader, ’38 Joseph B. Slamon. *48 Ernest Weisberger, ’38 Edwin M. Kosik, ’49 Robert T. Conway, ’39 James D. Shepherd, ’49 Dr. Robert Kerr, ’39 Charlotte Davis Wentz. •50 Gertrude Jones Davis, ’40 John J. Florkiewicz, ’ 50 John Bush, ’40 Joseph E. Swartwood, ’50 Benjamin J. Badman, ’41 Frank W. Anderson, *51 John P. Finn, ’41 Marita Sheridan Riley, ’51 Mary Pohala, ’42 Vester V. Vercoe, ’51 William Mattern, ’42 Donald R. Kistler, ’52 Nelson F. Jones, ’43 William C. Johns, ’52 Treveryan Williams Speicher, 43 Nancy Ralston Grogan, ’52 Harry Crawford, ’44 Beverly Graham Myers, 44 �I HELLO to SOME, OOOD-BE TO OTHERS Foxlow first occupied this chai* A couple ot Tears ago. first editorial by calling himge-.*8 Alumni secretary. He bega were — close to him felt all along thL a ringer, but tnose of ub who were It was a blow to learn laa^ he was as Wilkesian as they come, to teach. We knew immediately ? that he was going In^“®PolhJfli kindness, and his wisdom. 3 much we would miss his warmth, ms .. a mpits away and the Bulletin is still not rnae I . we misshim for practical reasons as well. Our dy Jamie could go quietly in more directions at once than any man we know! and neggot results. Perhaps we 11 settle into the routine, but now this magazine gives us the jitters. Our only hope is that it ! arrives in time to get you here for Homecoming and that we won't be mournfully kicking October's leaves down River Street with the commit, tee and no one else around. Our collection of Old Familiar Faces must wait until the next number of the Bulletin. Instead, we'd like to give you a brief account of tne Soon-to-be Familiar Faces, wnich include a freshman class of more than 225 students. They come to us from places as far flung as Germany, Republic of Korea, Jordan, and Colombia, as well as WilkesBarre, West Side, Nanticoke, and Brooklyn. ■ s.- I < -X. I1 Ms xix- neen and King of Hearts March 1954 To the Alumni Office, Wilkes College, Wilkes-Barre, Pa. I plan to attend Homecoming during October 16-17, 1953. make reservations for personas). Name___________________ _ ______ _ Addre s s < •W J New on campus also is Dr. Virginia P. Neel, late of Washington, D.C., new Dean of Women, who replaces Mrs. Gertrude M. Williams, who at last report was sunning in Majorca before returning to teach English next spring term. A youthful duo has taken the reins in the Education Department. They are Eugene Hammer and Charles Moore. Dr. Hammer, recently at Columbia University, may become co-ordinator for the Cooperative Program in Educational Administration, if local schoolmen accept the plan. This would make Wilkes the first liberal arts college in the country to serve as a center for CPEA, which now uses such universities as Penn, Delaware, Rutgers, and Columbia. IX S . Please Class. Tickets for all events but the football game are only $2.50. Wilkes College �r T he President's Corner... Officers Of The Wilkes College Alumni Association Report from — The Secretary r Did you ever have the feeling that soni6thin0 : ,..e year 1954 finds us once again installed in missing? That you forgot something and Vet ? 18 can't quite put your finger on it? y 1 You The ■.he Alumni driver's seat." That's the way it is here. belive it would be well to pause and take A meeting is called and the same handful , stockWe of our past accomplishments, present situation people who have been appeanng for alumni se0‘ ZS~ olans for tor the future. sions since Napoleon had an office on East Market and plans During the past year, Association, under the street walk -through •-r the past of year, the Association under the door to awent their assig* -■mable leadership Tomthe Brislin, sponsored a suecapable leaderehip °i T^m Bn^ party, • -------ments.menprankly, men (and women too), it gets down Frankly, men (and women, too) it -=eSS^^aI>^pe'cS Thanksgiving homecoming, ht discouraging. Take a fellow like Sylvester f r*T?Sas dance. All of these events, although MyDoaks. Now he s a broadminded sort of were oror- andd has no benefit "Alums" everywhere,' were n0 objection to being chairman of an affair - x—* •»* r . - faces at our first meetings with l! —j-sni © “A: taw. » squeal. His wife remembers him,* but the*baby in numbers. Thus, our the southwest comer of her crib to remind"her °of ance at meetings. Some ot our once active members Son in atom^afZl b? rep^senta^ves of the she has passed through four years at Wilkes °cmd j become a genuine of stay the alumni associafem b^e she'U member be able to home a^d W more recent classes. Due to the nature of our constiUnion and the youth of our organization, the growth of the Alumni Association is in direct proportion to the growth of the Wilkes-Barre chapter. This chapter the first Monday of every month, September through live in the of W ’yoming k May. Mm, If if you n™ fko vicinity nf W„nmina Valley or are in town that day, we would enjoy hav­ ing you attend the meetings. Growth is often least evident to those closely watching it. However, a comparison of alumni activi­ ties now with those of several years back does re­ veal real growth. We now sponsor six affairs a year in place of the former two; we now have active chap­ ters in New York and Philadelphia in place of the former void, and these chapters are rendering a real service to Wilkes and her graduates. We have every reason to expect new growth p.,. — ... ----- Z Secretary this „ year. We start1 with a new T.Executive no longer shared with the public relations depart­ ment. The files are receiving a long needed house­ cleaning, and alumni mail will get through if you will help us locate the lost and keep us informed of your address and name changes. And, the new year promises a regular Alumni Bulletin which should draw us closer together. Our future plans call for many activities. Many of these are designed to increase our active membership. Once we have accomplished this, we can bet­ ter fulfill our purposes for existing, which are to serve our Alma Mater, to foster and maintain lasting fellow­ ship among alumni, and to provide for the continued growth of Wilkes. We are making plans for more chapters, and we plan to repeat the social affairs of last year with even greater success this year. I shall make reports to you on some of these activities at a future date. We must have as much help as you can give us to achieve all these aims. We need your abilities; we need your presence at meetings and social functions; we need your financial contributions; we need all the informa­ tion you can give us concerning your own personal activities and accomplishments. We need YOU. -J n ,1 - the •’ contentment - * in of her father's efforts. But as of now, poor McDoaks is doing it all. xHe's --------------------one of the "Gallant 20" — a small band _of setders who moved into the first Wilkes building (or “as it the Junior College building) and took a solemn pledge -upon an ojd Bison to report regularly to all meetings of former students. They have fulfilled their commitments (thank heavens, or there wouldn’t , be anyone), but now they have felt the surge of time < and want assistance. It would be most appropriate if the next time YOU receive a card, you dropped around to the I meeting. We can promise you that there will not i be a quiz on the lectures. If you folks who are still residing in the Valley don't show for the next meeting it may be necessary to make a recount of quality credits and it wouldn't be too . J surprising if a few hundred had to come back i because of a mistake made shortly before gradua­ tion. This is not to be misunderstood as a threat. Only the plea has been changed to protect the printer (from going to sleep). I I \ t _ Through balloting that reaching members near and afar, the 1954 officers of the Wilkes College Alumni Association were chosen just before the close of the old year. Shown, left to right, first row: Beverly Meyers, recording secretary; Daniel Williams, president; Loretta Ferris, Alumni Council; Dale Warmouth, college publicity director. Second row, William Luetzel, vice president; Harry Davis, Alumni Council; William Griffiths, Alumni Council; Tom Breslin, Alumni Council; Dr. Doug MacNeal, Philadelphia Chapter; and Joseph Gudaitis, treasurer. As Those Plans Made For New Alumni Chapters Progress In Philadelphia And New York City Show"Each person who leaves Wilkes Colpotential mi 111© U O V61 vill. 1S%Mary Tosline- of 60 Church street, Edwards“d a well-known Wilkes student, Eugene then^nn5 L°ur.el street, also Edwardsville, were and Kina S ,s</.ected by the committee as the Queen 3 I Brown 9prelpn°fUP \are- left to ***, Miss He dance' °f the sororitY-' Miss Naomi Kivler, year's queeTan: Miss ^ncy Batcheler, last f <1 1 First chapters in Philadelphia and New York City are reporting progress and plans Wilkes College Alumni Association at for new growth in the immediate future. its last meeting in Wilkes- Barre announced Interest is reported as high in the two areas plans to activate additional chapters in that have paved the way for branches of Schenectady, Wilmington and Newark the main office in Wilkes-Barre. areas. Williams called for a new show of in­ The new interest was shown when terest in the local group so that all possible President Daniel Williams informed the help from the home club may be given group that a large number of former Wilkes to those members who are anxious to carry graduates are now working in those areas on Wilkes Alumni activities even though and many have written to the alumni of­ far removed from the hub of the organi­ fice seeking information about procedure that should be followed in order to start zation. The Wilkes alumni president at the same chapters. time pointed out to members the value of The addition of those three areas would that having chapters in other cities. bring to five the number of chapters will be handling former Wilkes students. lege and goes to another city is a j ambassador of our institution/’ hes told the encourage group. "It is essential that we er «... former the strengthening of ties between that b? both may students and the college, so that benefit." announced by At the same time it was auuw.____ the alumni office that Tom Moran, recently appointed alumni secretary, uij, wi will n 'visit t;cU both Philadelphia and New York York in i the near obtain suggestions for future in order to ch'.a__ further aid to those of groups. the college alumni A representative «y < a visit to those other office will also pay an interest in expressed «« cities that have exj organizing chapters. �It’s Only A Dream, But Dreams Have Come T 1*116 I ft Wilkes has been built upon dreams and the courage of people who had enough faith in those dreams to work toward their realization. But in order to continue the progress new dreams must replace the accomplishments so as to provide a constant goal. The above models of buildings are but one of the dreams that the administrators of the college have now. Someday, like the Wilkes gym and lecture hall, this dream may also come true. The models are of a proposed building that will provide I1 an audilorum, possible art museum and c* ’* one on the left will cost cr: ______ 2 „ c.ullurai center The — while the on the right will run about SI,000,000. lhe r_ ffir one need building is great so that the college such a to provide the community, as well may continue inVts'5 efforts as its students. finest in facilities and teachings, Another dream .uWi,h come true. that may s >. A team of resarchers working on studies SBMIWM in allergy and immunology have issued re­ ports on their two-year projects at Wilkes College. Two papers have been published M W; by the Journal of Allergy and a third is iff soon to be printed in a university press magazine. Shown above are, left to right, Walter E. Mokychic, now a student at Jefferson Medical College, and Dr. Sheldon G. Cov*^ hen, who conducted experiments that indicated certain types of strepto coccus infections could cause the development of r blood vessel and arterial diseases. The diseases, the researchers found, could be traced to the presence of an allergic conP v dition produced by growth of micro-organ) isms in the bodies of experimental animals. / ■ Dr. Cohen and Mokychic were aided in their role of streptococcus toxin anti-toxin by Dr. John F. Drapiewski, department of pathology at Mercy Hospital, who served as consultant in the study of pathological ■<a>material. Another paper published by the Journal of Allergy was written by Dr, Cohen and Dr. Charles B. Reif, chairman of the de­ partment of biology at Wilkes. Entitled "Cu­ taneous Sensitization to Blue-Green Algae," it deals with a study which found that pigments in some algae or microscopic water plants, were responsible for a type of "Swimmer's rash." A third ’ The researchers state they found nothing ydeahd w'ffi Dr' Cohe“ and IMokyehic __ , in medical literature on allergies that they purchase equipment and set up expertcame from aquatic vegetation, although mental laboratories. much has been done on large variety Theexperiment _ * done cause on a a cutaneous certain chemion streptococcus heart of other plants vzhich al­ «gs . 11 aaminis durffi '1 infections w --a cause * to human bens were underwritten by the Na* lergies. tional Heart Institute and the last by the idy was to ~.«iuaie now resistance, imPurpose of the — -«;«it * T — • — «<uie ana Institute, me last both ay uie For the experiment experiment rpspeciments of vege­ miuffiy --a'“a,e ho1 be -“ * National Microbiological of ”':‘y or — sensitivity might viiQ-obiclogicai Institute, both of tation and water samples were used from which are divisions of the Public Health samples The research project, begun i___ Lake Carey. J ect. beam, tn lg52 Service. supported ' ' by the United States *• uj The experiments on allergies at Wilkes Health Service which provided funds — Public College are under the direction of Dr- She * —wj fo don G.. Cohen, Wilkes-Barre physician. — — tgf IF a \n n Kl a I K N -*a 2**^ K L a I~ ? 'SS "O -W g! _______ 'S 3O Faculty Member Constructs Miniature Campus i Like a modem Gulliver, Stanley H. Wasi­ leski dwarfs buildings on the scale model of Wilkes College which he will soon com­ plete after more than a year of spare-time labor. Constructed on a scale of one-eighth of an inch to the foot, Wasileski estimates that the replica represents more than 1,500 hours of construction. J t The director of the Wilkes evening divi­ sion and professor of mathematics started his project more than a year ago when he made a model of _______ Barre...Hall, in which his office is located. SS-$. s^dytiV60*?60*'^ r WILKES COLLEGE Issued Monthly For Members Of WilkesBULLETIN College Alumni Asssociation ,---- Published monthly by Wilkes College, Wilkes-Barre, Pennsylvania. Entered as second-class matter October 12, 1951. ai the post office ffice at Wilkes-Barre, Pennsylvania, under the act of August 24, 1912, as amende u- •’ » act of August 4, 19 > H College Team Studies Allergies, Immunology i! ■8 ■ He says that he began Chase Theatre soon after that, and as he continued to add buildings to his collection, his hobby had outgrown his own home. At present he is working on the model in Barre Hall. No decision has been made as to its eventual resting place, but if re­ actions of students who stop by are any indication, it will be located where it can he on continuous display. Measuring approximately eight by six­ teen feet, the model is complete right down to the "Please" signs which keep absent- second-class r-“ QS ame»ded by the I minded students from wandering on the grass and the correct number of panes in each window. Only one detail has stumped Wasileski to date, but he will probably come up with a solution. He has not been able to simu­ late the ivy that covers many of the campus buildings. He has tried such devices as green paper on string, but results have not satisfied him. Wasileski estimates that he has used 100 tubes of airplane glue and 30 sheets of artists' board to construct the model. To make trees, he raids his barberry hedge for twigs of the right size and shape and adds sea moss for the foliage. There are 100 trees in the replica. "A large number of people," Wasileski said, "are surprised at the number of chim­ neys we have. It seems to prove that most people never look above the eye level.” There are 49 chimneys on campus, since many of the buildings were homes with fireplaces on each floor. Another observation that Wasileski has made is that many persons have no idea that the Wilkes campus is so big, either in area or number of buildings. Since the col­ lege is scattered along River and Franklin streets, there is no way to see it in per­ spective. Dormitory students are especially pleas­ ed with the model. Almost everyone who has seen it has pointed out his own room to Wasileski. The buildings are, left to right, along River street — Conyngham Hall, president's home, Barre Hall, Butler Hall, Ashley Hall, Chase Hall, Kirby Hall. Along Franklin street, they are — Sturdevant Hall, Pick­ ering Hall, and Gies Hall. Down in the middle of the campus are — biology build­ ing, president's home garage, lecture hall, Butler and Ashley anexes. Chase Theatre, cafeteria and Kirby garage. Out of sight are McClintock Hall, Sterling Hall, Weckesser Hall, Hollenback Hall and the gym­ nasium. Wasileski declares that when he finishes the project, he is going to take a long rest from his hobbies. The next thing he has in mind is a mathematical museum with models of all the instruments used in that science from antiquity. �Just A Few Notes On Old Friends... M. John Monsueir, '52, is a sixth-grade teacher in North Point Edgemere School, Baltimore County. He is studying for his Master's degree at the Univer­ sity of Maryland . . .Other Alumni teaching in Balti­ more County are Victor Koiulak, Roland Viti, and Ed Ecgusko . . . Charlotte Gregory Kuhnert, '52, is em­ ployed by Dr. Sheldon G. Cohen, Wilkes-Barre phy­ sician, as a technician ... Dr. Cohen has been doing research on allergy and immunology at Wilkes through grants made available by the Public Health Service. He was assisted for some time by Walter E. Mokychic, now at Jefferson Medical College. I ■ f John J. Kelly, a salesman for International Busi­ ness Machines, has been helping to arrange an electric typewriter demonstration for commercial teachers and students at the College in March and early April . . . Jerry Yaksiis, now does research for Smith, Kline and French Laboratories, Philadelphia . . .Widely travelled Dave Secunda, has now gone to Bombay, India, for the Standard Vacuum Oil Co. ... Jo Yendrick and Doris Gates, '53, do market re­ search for Alderscn and Sessions in Philadelphia .. . Paul Arthur, is on the editorial staff at the WilkesBarre Record, and Stan Kieszek, is at the Times-Lead­ er. They join journalistic ranks with Tom Moran, '49, and John Bush, '40, at the Sunday Independent to give Wilkes grads a gocd representation on the local newspaper scene. Bringing You Up To Date (through special subscription price, of course) j cOurse) drc a line to the alumni office . . . New York and pCt°P "and phil( delphia members of the association are requ , to contact this office so that we might not 6Stled ' >tify the presidents of your chapter . . . Would like to h tar from other alums who have chapter-making ide^ is. We often wondered why it is that the f0 lettermen of the college never continued their terest after receiving their sheepskins . . . And wh” ever happened to Jack "Chippy" Josephs, who was really the first spark-plug of the lettermen's club? . . . And how about Ralph Connor, who was a real help in organizing the four-year alumni? AND OTHER MISSING FOLKS: Joe Conyngham president of the Student Council about 1946 . . . jOe Savi.z. another who was outstanding as a student representative . . . Elaine Turner, a former Cinderella and member of the student governing body . . . Tom Gilt a member of the '49 graduating class and an officer, to boot . . . And such people as Jack Porter, Peggy Woolcock Porter, Paul DeWitt, Nelson Nelson, Jack'Nelson, Ginny Meissner Nelson, Mary Porter Jerry Munzing, ]im Catnes, Nela Braunstein, Jack Feeney, Armand and Beity Gill, and hundreds of others who can make the difference between suecess and failure of this alumni association. I ] May we count upon your interest in the next local alumni meeting? Huh? Awww, come on, you'll enjoy it! The Bookstore's Millie Gittins reports that she saw Major Howard TrammelL on the TV show "This Is Yom Life" recently. A visit to Dr. Charles B. Reif of the Biology De­ partment turned this note: Lt. Klein Drozdowski is stationed with a Fighter Interception Sguadron and recently joined the "Bluenose Club" when he flew over the North Pole. If our present plans for this particular column are successful future issues of the Alumni News will carry a variety of notes on the happenings of former students . As we stated elsewhere in this issue, though, that will be possible only through your help. But for now here are a few notes on people you know: Vcris Hall, head of the engineering department, has once again acted as chairman of the faculty group that sponsored the annual Science Show ... Dr. and Mrs. Eugene Farley left recently for a two-week vacation in Florida (Miami Beach, in case some of the alums are there) ... If you're interested in receiving weekly copies of the Beacon Recording Plans Nearly Complete; Harmonaires To Appear On Television At presstime, the Harmonaires, campus quartet, stated that they were close to closing a deal by whre records of four Wilkes songs would be cut and press ed' The group must first clear two of the songs it plans to wax with copyright holders and then it wu bs readY for recording it was learned recently. The Harmonaires made their first local appe°r' ance cf the year with new tenor Norm Chanosky in f^e f,°-d on Tuesday, February 16 at the Faculty Wo men S Coffse Hour and were well received. The quartet also appeared on WTVU, Scranton; The quartet also i SundaY< February 21 on the "Roll Back the Rugs Sunday, February 21 ___ 1. • 1 , which features Wilkes alumna Ann Aza • ebrone!™? °m 9’10 eaCh Sunday evening ° lhe show is air6d aired k froi -all the world loves a lover," so we know you Barbara Jane Klein George W. Evans '50 Marvin Slomowitz '50 nt to be brought up to date on our marriages, Maxine Schwarzbarth Francis E. Sajeski '50 -nd babies. Wilkes' alums have been Barbara Ann Peters J’", Bernard Casner these departments, but our list is of Rose Marie Eichorne '52 very busy m -* ...................... Raymond Jacobs '50 incomplete because of the fact that our Eleanore Zannetti necessity > Martin T. Alfano dements are for the most part those clipped Rose Marie Colletti '54 ann°un< Leo S. Wojcikiewicz '54 our local papers, and because we have not al­ Helen Bouika from William Isaacs '54 ways recognized among the list of arrivals those who Hilda Poply John J. Smash '50 should be members of the "Wilkes Stork Club." Marilyn Ann Goham Robert Evans ’52 y/ith your coooeralion cooperation we will with each issue fill Helen Scherff '53 George E. Schlager '56 Margaret C. Williams '55 iut the vacant spots. John Benner Eleanor E. Keller '52 oi Ben Ungar '51 Betty Severe Marriages: Robert D. Mack '52 Irma June Mack Donald Charles Winters '56 J William D. Jones Marilyn Cresswell '54 Elizabeth Whitenight '46 Robert Loeb Stackhouse '53 Louise C. Brennan '52 Albert Peter Nicholas Janet Ann Williams Dr. Stephen Wolf '49 Marilyn Acker William L. Apfelbaum '49 LaRue A. Shoner Alexander Y. Cathro '54 Carolyn Ruth Walling '53 Richard E. Benninger Engagements which may since have become marMarilyn Walizer Carl R. Strye '51 riages: Geraldine E. Stemler Bernard Zielinski William Rybitski Ann Peteah Betty J. Norris '50 Raymond Myers, Jr. '51 Paul Guzzone Doris M. Kirkendall Gwenn Clifford '50 John B. Gallagher, Jr. '51 Earl F. Hill, Jr. '49 June Elin Cease Patricia Rae Cerderberg Leonard Yellalonis Marshall Lurie '54 Lillian T. Clark '48 A. Barbara Fainberg Milton H. Stein '54 John Sellman '54 Jacqueline Becker Thelma Holmberg Robert L. Fisher '50 Irving Abrams '48 Doreen Ann Smith Shirley Sullum Donald Nesbitt Besecker '52 Andrew E. Baltz '54 Ruth Ann Haycox Robert Levin '54 Jane Hugel Edward Wheatly '52 Terese Hayden Beverly VanHorn '50 James Adrian Hartman '54 Charlotte A. Gregory '52 Raymond E. Kuhnert Elizabeth J. Jefferson '53 Lewis H. Conrad '50 Stanley B. Smulyan Myra Komzweig '53 Eleanor T. Vemagis William Morgan '53 Joseph Pasternak Clara Ann Evans Helen Elinski John L. Moore '53 Rev. F. D. Hoffman '51 Joan Prall Joan Williams Donald Jones '52 Rodman DeHart Sally Beth Mason '52 Rosemary Frushon Daniel Pinkowski '54 Lewis W. Culp, Jr. '50 Carmen S. Evans Constance Olshefski '51 John J. McAndrew, Jr. '52 Anthony F. Matarrese Marysh Mieszkowski '50 Mary Lou Meehan Gerald A. Pepe '50 Lt. Peter Maholik, Jr. '52 Lorraine Buczewski Helen M. Acacio David Farrell Margaret Kocker '51 Raymond Tait '54 June Ann Davies Arrivals: The Robert Farleys, daughter, summer of 1953 Keith A. Smith Ann Treslar '51 John Withey The Armin Gills, daughter, Linda Ann Dorothy Teresinski '39 Richard L. Smith '53 The Robert Azgorskys, son, November 21 Jean Bogumil The Don Himlins, daughter, Karen, February 2 Paul D. Griesmer '50 Barbara Boyd Monroe Freed '37 The William Whitebreads, son, November 22 Celia Esther Kluger The Laurence Peleshes, son, Mark Lawrence, Nov. 7 Louis J. Polombo '52 Rose Marie Annabell The Ed Grogans, daughter, Cathy, December 22 Ronald Williams '54 Shirley Transue The Robert Wentzs, son, Robert, October 26 Richard Bower Marilyn Lucillle Ichter '49 James M. Williams 51 The Tom Morans, daughter, Molly, February 5 Carol Rdu James Atherton '54 Nancy R. Schooley '56 P Ji 52903 �night they will play a doubleheader at Meyers High School, the varsity meeting Bucknell Freshmen from Lewsburg, and the second team opposing St Thomas Freshmen of Scranton. In the picture: Front row, left to right—Duncan Thomas, Stanley Thomas, Scott rison, L. Shonowirz, John O'Donnell, manager. John Swengel. stellar guard and captain last year, was not present when photo was taken, nor was Andrew Girmak, of Edwardsville, who matri­ culated at the opening of the second semester at the Junior College. SPORTS___________________________________ ___ THREE SOCCERMEN MAKE TRI-STATE TE/SM The announcement last week that three Wilkes College soccer play­ ers had been named to the All­ Pennsylvania - New Jersey - Dela­ ware team lends added prestige to the Colonel hooters of 1953 — the fellows who made up the first win­ ning soccer team in Wilkes his­ tory. It was announced by Alden H. “Whitey” Bumham, vice chairman of the All-America Soccer commit­ tee and Koo Younsu, Wilkes center halfback, was listed as a member of the second team for the Tri­ State area. Hillard “Lefty” Kemp and Jim Moss gained honorable mention on the squad. Another First It was the first year in soccer’s five-year history at the South River street school in which a member of Coach Bob Partridge’s team has been so elected. Koo, who is a former South Ko­ rean Marine Lieutenant, starred at season at the center halfback slot allowed Coach Partridge to send Flip Jones, veteran back, into the line where his scoring potentiality won Wilkes several games. The selection of Kemp and Moss were pleasant surprises. “Lefty’ is downright fortitude than any other Colonel booter in five years. His never ceasing hustle, which was known to local soccer followers, must also have been noticed by the experts and officials who voted for the team. KOO YOUNSU which is comparable to the quarter­ back post in Amercan football. The son of the Korean Red Cross Oi­ ls considered to have shown more rector, Dr Byron S. Koo, played all over the field and his presence Tended Shutout Moss had the distinction of tend­ ing the Wilkes goal in the team’s first shutout in history -— against Trenton Teachers in the last game of the season. Wilkes won 4-0 and it gave the Partridgemen their fourth and deciding win for that winning season. The West Wyo­ ming native played brilliantly at protecting the Wilkes nets and made save after save to be one of the biggest factors in the team's rise from obscurity. �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumni Magazine, 1947-present Subject The topic of the resource Alumni Relations Description An account of the resource <p>An archive of Wilkes University Magazine, from 1947-present. The magazine went through various names including <em>Wilkes Alumnus</em>, <em>Wilkes Quarterly,</em> <em>Wilkes Universe</em>, and the current title, <em>Wilkes Magazine</em>. Some editions for the <em>Wilkes Universe</em>, will have multiple issues within the file record. Our holdings may be missing editions for certain years due to having no physical copy within the collection. </p> Creator An entity primarily responsible for making the resource Wilkes University Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1947-present Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumnus Bulletins March 1953-March 1954 Subject The topic of the resource Alumni Relations; Wilkes College Creator An entity primarily responsible for making the resource Marketing and Communications Date A point or period of time associated with an event in the lifecycle of the resource March 1953-March 1954 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Bulletins https://omeka.wilkes.edu/omeka/files/original/b7cdc09772521773a50f2975902fdf62.pdf e57b819a81f00b5fff5c81fdb96b65d7 PDF Text Text I EUGENC Sil' Hi fl FMl tY LIBRARY WILKES COLLEGE Report... Summer 1972 t;lO lMion in Damage Estimated ^Operation Snapback' Follows Record Flooding Thursday, June 22, started out just as anv other routine day at Wilkes College. People were inconvenienced by having to don rain gear, but offices and other departments continued work as usual. Even by Thursday evening, when reports indicated that the river level had risen considerably, there was no thought to the possibility that Wilkes would experience the worst disaster in its short history within the next two days. Then it hit, Friday, June 23, at 11:14 a.m. sirens sounded, ending the effort of hundreds of individuals to hold back the raging waters of the Susquehanna, and driving everyone out of the area. By Monday, President Francis J. Michelini and other college officials were on campus, surveying the estimated S1 (Lmrilion in damages and beginning the seemingly endless cleanup procedures Then, just 11 days later -on July 5Wilkes opened its doors tor the resumption of summer school classes, proving to the skeptics and area residents that Wilkes was capable of “snapping back into action again. Qverdl damages remain at the Umated $10-milhon, according to Dr. Michehm, with the hardest hit areas being the library, the Stark Science Hall and the Dorothy Dickson Darte Center for the Performing Arts. „ The music building ___ and the CPA "Operation Snapback" — the name given to the restoration of Wilkes College and experienced $1.5-million in damages to ‘ts campus by volunteer students, faculty .equipment, ._________ ° --- ■ instruments, lighting andand administrators — remains in full operation, along with the assistance of furnishing. many out-of-town students, alumni and Perhaps the hardest hit area on the friends who came into town to see if they campus was the library with over "could help out" $500,000 in book losses. Among the rubble This front end pay loader, driven by of periodicals and deteriorated ceiling Fred Sislo, Moosic, who is with the tiles are Xerox machines and electric and Pennsylvania Department of Highways manual typewriters in the basement of out of Clarks Summit, gets into the swing "Operation Snapback" clearing the the Eugene S. Farley Library. The total of street in front of Weckesser Hall. damage there was $1.5-million. Stark Hall was also hard hit, with close to $2-million in spare electronics parts and other equipment lost. The Institute of Regional Affairs, ““ by'^te Dr. Hugo'V. MaUey": * „ d J* Mosl of was almost totally wiped out. Most of the records /rese£ted aa life records lost lost re represented 11— .time .—•- of — But despite the vast amount of effort suppiied faculty, ' “1 ~“t“by“" students, f"” administrators, volunteers, and alumni, there s till remains a large need for some old.fashion elbow g^se and funds to )ace Wilkes back jnt0 its normally high £tandard of education. New Board /Members Named Dr. Tappa New Dean The appointment of Dr. Donald W. Tappa to the administrative position of dean of academic affairs at Wilkes has been announced by President Francis J. Michelini. The position became vacant almost two years ago when Dr. Michelini was elevated from that post I to the presidency of the J college. M In making the W announcement, Dr. I Michelini said the move 1 was in keeping with the of academic ■<1 ___fej continuing progress on all levels at n. n T progress on Other members of the board of r>.D.W. Tappa trustees are: Admiral Harold K- btarK, Dr. Tappa assumed his new duties honorary chairman; Miss Mary R. Koons, officially on July 1. He previously held honorary member; Reuben H. Levy, the faculty rank of associate professor. honorary member; Thomas n. Kiley, He received his bachelor’s degree from vice-chairman; Joseph J. Savitz, secon Brooklyn College, his master’s degree vice-chairman; Charles H. Miner, r., from Williams, and his Ph.D. from Yale University where he was a teaching and secretary; Fred R- Davis, secretary; Noel Caverly, treasurer, research assistant. Dr. Tappa, a native of New York City, L. Conyngham, assistant treasurer, Benjamin Badman, Jr., Mrs. c ar . came to Wilkes in 1965 as an assistant Btot Cl" Jrcto __ r of biolog)'. He also has been adjunct professor of biology at Temple terms to expire in 1975. They are: University for the past five years in Donald Carpenter, William Conyngham, addition to his full time duties at Wilkes. Richard Pearsall, Frank Pinola, Aaron Parkhurst, and^Hon. Max Rosenn. Weiss and Joseph A. Wienkl. Weiss, a graduate of West Point and the University of Los Angeles, served in the Army from 1943-53. Royer, president of Pfizer International, Inc., is an alumnus of Bucknell Junior College (1939) and riC941Ve<1 h'S BS‘ Degrce from Bucknc11 in The appointment of five new members to the Wilkes College Board of Trustees has been announced jointly by Attorney Louis Shaffer, chairman of the board, and President Francis J. Michelini. New Members are: Norman E. Weiss, Kingston; Mrs. Edward Darling, Kingston; Robert D. Royer, Summit, N.J.; Judge dwin M. Kosik, Moscow; and Robert Jones, Kingston. Six trustees whose terms expired last »«» b„e to. reelec,ed ,o .hree ye.r •Judge Kosik, of the Lackawanna County Court of Common Pleas, is a 1949 graduate of Wilkes with a B.A. in Political Science. Judge Kosik attained his2 _ LL.B, from Dickinson Law School in ! t * 1951 and has served as U.S. attorney from 1953-58. Mrs. Darling is a graduate of Vassar College, the University of Chicago, and Temple University. She served in the The Eugene Shedden Farley uorair suffered severe damage, but most of it was Naval Reserve during World War II. confined to the basement and a portion of the first floor levels. Valuable research Farley Library Jones, president of the United Penn papers, historical,JJ„n data and single file copies of many publications over the college's Bank in Wilkes-Barre, has been a close 36-year history were basement and aApc... destroyed. large portion of the 100,000 volumes still remain. associate of Wilkes College and has served on numerous committees which assisted in the college’s development. �i �Campus Notes umioiiiKi’lii" T ’i'' ’III.,. mid1" unlv 1!1” Mdncli'.'l yollr"" In""„ program . i"', |q,,„.l In WaaltlnU Coiigrcssmiin Du"11’1 ’’ . ld thu sclectio" of (1]C wi,kes„ i, ; win continue 10 who will . tber of the Chemistry I ep1 11C wi|kes mCA. bLontoHoUday.q>on Sot d by M itnlldnv. sponsor the college, hM - ii-.J program beginning in September. The -.all help '-over the cost of the first year of a cooperative program with Hahnemann Medical College. The program will enable •.tudents interested in medical careers to earn both a bachelor’s and a medical degree in six yean. National recognition was accorded two members of the Wilkes faculty with the announcement that they had been selected to join others throughout the country as “Outstanding Educators of America for 1972. Word was received by Dr. Francis J. Michelini, who was accorded the same honor last year, that the tribute had been awarded to Professor George F. Elliot of the Economics Department and Dr. James M. Toole, chairman of the Physics Department. A testimonial dinner was held recently for Dr. Samuel A. Rosenberg, retiring chairman of the Wilkes College Commerce and Finance Department, by a large group of associates and their guests at the Irem Temple Country Club. Dr. Rosenberg, a resident of Shavertown, will continue as a member of the faculty and devote additional time to problems of labor and management in Northeastern Pennsylvania - a field in which he has built an excellent reputation as a business consultant. Headquarters arc currently being established for the Air Force Reserve Officer Training Corps Department, which was recently Alumni‘ ,Association, AssoC‘±2n' November 22-26. Introduced in the current Annual Alumni Thanksgiving 97.„’K, .199 ner person plus Fund Appeal was membership in the Gene Approximate cos twill bt PiianPHoUday is Farley Club. Alumni contnbuting $100ormore tax and servtee Charge. A 1 imate annually to the Fund are eligible for also set for Apd M 2 , and membcrship and they receive an approp^ cost W1H be 5379 P information on these plaque featuring a bust of Dr. Farley as it serv.ee cl'“8“‘ f^m Art Hoover at the Alumni appears on the official college medallion. !n trips is available ft addition, all alumni contributions are stUl R A new program involving the establishment critically needed If you haven’t as yet of a Department of Nursing beginning tn responded to the appeal from campaign September will enable Wilkes to award Bachelor chairman Bob Melson 35 or your respective of Science Degrees with a major in Nursing. The ciass agent, please mail your pledge to the new degree program which recently received Alumni Relations Office today. approval by the Pennsylvania State Board of A full Executive Committee of the Wilkes Nurse Examiners, will be under the direction of Alumni Association will meet Saturday, August Ruth W. McHenry, R.N., chairman of the 26, at Alumni House. A complete report of this Department meeting and the meetings of various A special survey conducted by Michael subcommittees will be available at Worth, administrative assistant to the president Homecoming, scheduled for October 20-22. and a member of the Wilkes economics faculty Two honorary degrees were awarded, Dr. showed Wilkes students contributed Eugene F “S. Farley received the title of President r 4c xirora ctnrrlarl Fcp approximately $2,000,000 to the regional Emeritus and 7*7*77 of. students were singled out for economy in an average nine-month academic special recognition at the Silver Anniversary period. None of the figures included in this Commencement this June. The key speaker, survey take into account millions more in William L. Wearly, chairman of Ingersoll-Rand payments to Wilkes, money spent by the received an honorary Doctor of Science Degree parents on the students’ behalf, part-time and while special guest Congressman Daniel J. graduate students, expenditures made by the Flood was accorded an honorary Doctor of college or faculty salaries and expenditures. Humane Letters Degree. _ Alumni Notes Frederick Brown ’68 - sixth grade teacher, ’64 and Mary Lou Searles Raykovicz ’65 ... A Jefferson Elementary School, Pottstown ... son, 5Sean Christopher, born January 20, to Dr. John J. Liskey ’66 — master’s degree, Penn and qnrl Mrs Mr. Jnbn 66 Dr. Hr Rntita i. nneninv John Rnt-tra Rokita ’66. Rokita is opening State ... Roy Shubert ’69 married to Lydia an office for the practice of periodontics in McOoskey ’65. Shubert promoted to senior Wilkes-Barre. accountant, Price Waterhouse & Co., Dale Resue ’70 received D.M.D., University Philadelphia ... Twins, John Garrett and Jenny of Pennsylvania. Will serve as dentist for two Vanessa, bom February 23 to Wayne ’67 and years at U.S. Naval Clinic in Philadelphia. His Carolyn Oberzut Yetter ’69. wife is the former Bonita Rensa ’69 ... Patricia A son, Steven, born January 6 to Mr. and Cieplic ’69 married Arthur Granito ... Virginia Mrs. Michael Brooks ’71 ... Lonnie Coombs Valentine (Virginia Steckel ’68) - nursing ’70 and Janet Thimm ’71 recently married Coombs is CPA at Haskins and Sells' instructor at St. Mary’s Junior College ... A Wilkes-Barre ... Evelyn Matelski, (Evelyn son, Creighton Wade, born March 27, to Mr. Morenko 67) - recently initiated into Rutgers and Mrs. R. Lawrence Gubanich ’65. University chapter of Kappa Delta Pi, National Frank Cognetti *64 - music teacher, North Honor Society of Education. Plainfield — High School,, N.J. . .. Mark Cohen The following alumni received their master’s ~ c'ted *n Newsweek "ck as one of East’s top degrees in elementary education at June photographers. ' His studio is located at 32 W. graduation ceremonies: Ann Kucek Litz ’68 South St., Wilkes-Barre ... Donna Edford ’70 Linda Seymour Rockwell ’68, Frances - member of technical staff, Bell Telephone Kaminski, 68, Darla Coombs ’68, William Laboratories ... a aaugnter, a daughter, ennsuna Christina Kobevts 70, Marguerite Klinger Woodeshick challotte, bom December 6, 1971, to Mr. and 69, Lynn Johnson ’69, Mary Jezierski Pormeba Mrs- Albert Huber. Mrs. Huber is former Sylvia 69, Jane Westawski Muzyka ’69, and Diane Carstensen ’67. SUru69’ n R'c,iard Mitarnowski ’70 married Jean Ellen Ramsey 69 - master master’’ss degree, degree, Klukosovsky. Mitarnowski is employed by University of New Hampshire ... Hiroko Ito Lackawanna County Board of Assistance .. • 57 __ ---------- 1. ._x .... _ D„x__r*. . jvr^CSCan RC \ sc*e« jy*st to,biology department P®tcr ^*cci ’66 — utoMa^i manager with Leslie 1'UJ Fay, Inc., li uvn ---- ------------------------------------------------wiill JLV&11C n .. r, ~ °op, Pa. gg .. . Robert _ Holliday social o’ ’ Robcrt Bl0wn ’68 - received M.D., Thr ’69 Milton S. Hershey Medical Center. Intern at studics teacher, ----East Islip Islip High High School. Schoc He Rhode Island Hospital in Providence ... A son, married 69 ... married Sharon Sharon Going Going ’*69 ... AA daughter, daughter, Jo^nhnMOS‘|P|h’ LOr? AprU 24’ t0 Mr- and Mrs- n, ‘’ Elaine Bari, 'born August -7, 1971, to Mr. and D°Xy^&k7’. MrS' M“C1'iiCZyk U r°rm“r Mrs. Ronald Silverstein. Mrs. Silverstein is former Claire Handler ’63.. .. Edward Roke ’70 A son Joel Scott, born January 25, to Mark ~ psychology instructor at College 67 and Sandra Wixrlt Bauman ’66 . . .• A,ly- miS,Yriy%d2“' Ho the former Jeanette I I «\ 'lb4"''1 J* “dn’il,ei1 to WUko's-Bar'rc ”Linda i ' Willl “m Kwochl«> ’69 married M n &i ,',bru7„,AM°c. • . . John Mulion '68 Jarph p‘"Ptudi •70 wi ’.a ™ Mill.°,n S' "l'rll'cy M“dlc“' Center. cornntetod"8^ John ’69 and Virginia Hahn Zikor ’70 master’s degrees, Wilkes College ... Robert T. Bond *64 master’s degree, University of Scranton ... Mrs. Victor Oliveira (Catherine Chandler *72) gave birth to Caitlin Alice, John ’72 and Ann Kucek Litz ghter, Regan, February 3 ichardson ’66 - Ph.D. Mary College ... Dr. ’35 promoted to Vice-Chancellor for Academic Affairs at the University of Kansas ... Nancy Ziobro ’72 married George Yurck ... Beverly Carey ’68, Barbara Magalski ’66 and Mary Ann Germaine Vyaskie 70 - master’s degrees, Rutgers University ... Dr. Martin Tansy, Jr. ’60 professor at Temple University ... Louis Bartolini ’69 - married Sharon Garippa. Dr. Theodore Piczak ’50 married Irene Bolesta .,. Mary Ann Baron *70 — master’s degree, Wilkes ... Mrs. Ron Cascrta (Jean Kardos 68) gave birth to daughter, Alison Diane, August 26, 1971 ... Phillip Constantine 68 master s degree, William Paterson College ... Robert Ericson ’66 married Marilyn Carol way ... Leon ’54 and Marilyn Levin eave birth to daughter, Tracy Michele, February 12. Vidlip Chaifetz auluant profenor at ria-Aan Community Colteys, latently elected to the Dictionary of International Biography" “ll appointed mathematlca editor lor Mathematical Alternative*, Inc. . . . Peter Hack lie IJ Hirer Children In New Carrollton. . . ........ii>“;,m n d" ""ri’llmcnti --'• “nd f“Tii«roi‘> E.C..X, »*nS5*«X““?'x |„,, , . >■"!?“ ‘K ' Mr years In the department, Dr. Werner iUcr/'' Dr, Samuel A. Rosenberg who rec,.^ relintiuishcd the ehairmanship after h served for a quarter of a century. “'g Dr. Francis J. Donahoe, professor of phuc at the college, is attending the Gordon RCSc J? Conference held in Tilton, New Hampshire ti? summer on the Chemistry and Physics of spac!S The Gordon Conferences were established t stimulate research in universities, research foundations, and industrial laboratories. Th" purpose is established by an informal ty™. f mceting consisting of scheduled speakers and discussion groups. 6,h ftiiile tea, her, Madison ’’“'Mni, •■psychiatric-social worker I<lalnc whhM( .. '61 ---------Kltki 'SO ’<fl Englhh P.itor, t Inhed , Mi thudllt thunk. Man » Hook, I'., ... . Ku hard Rowland. ’63 G.em Sdiod. L,.,, •" 72 rrwwcil yrailliulf .■■. i-.tulil .Itli, ,,ul ■'•""""Il Unit iduute teailunji i from Wilke. June. 6J a.wuuu- , J amenMark Mark'57 ’57 damMry S“ll,v,nli • - -< associate professor <»l prol.-swr, Unlwrmy of Mithifan. Appointed >'nivei-Uy ,,| s, veiling prolciior, Univertity of MamlrcUer, '" Wodta.i ,, 'U. WotluU.,, employe by (-J.sk . nti d sons I ngland. fot .umincr ...In Krotlck ’71 .uni ■ out3M litm u iit i i....i F Awa..,i"n,l;)rA"R1x;; ..... . . A. Daniel Alters '71 married «i, I Knaulz '72 . . . Michael Philo ■<,?,.'AnnJ V-M.ll. from University of Pennsylvania's''! "f Veterinary Medicine ... a \‘" Patrick, born January t| lo .2 n> Joseph Nihon, 111 •(,>>. Nlhvil u "d *,h'l and science teacher at St. Ann P,,m 1 Lansford, Pa. ... A son, Bruce J,r,, I -, to Bruec *69 and t arot Womelsdo'rf'llrv'■ I <><• llrugel is claims ... .. . tfptevnihoc ■ i,:x ■ employe. .',i jB l»Mlit( '1*^1 xT-von Visits Wakes Sh$4-Million Check h I h i. s ^iioNnXt°on WHkes " president Francis J. Michelini with a warm handshake as presidential aide Frank Carlucci (center) looks on. "Operation Snapback" efforts reaped suc­ cess with the arrive! of President Richard M. Nixon on the V. .ikes College campus and the presents of a check in the amount of $4-mii ■ ented the check di­ President Nixon cis J. Michelini, sayrectly to President ing, "this is one that won't bounce^ Dr. Mike." xxic nicer, was ( The check a first installment, widl n mo with $6-millio So-million ' arrive in the near future, coveringw t estimated loss of S10million caused in J’.iic by the record floodIng of the Susqueha:::na 1 River. "Operation Snapboc __r represents an „„ allaut effort on the part or students and col­ lege personnel who responded to a plea for manpower and elbow grease" from Dr. icielinj in an effort to overcome what pa at irst appeared to be an almost fatal mv to the liberal arts institution. .ffnrl ;Ut>!re sro'rth of the college and the ilieh lr...°i C-ep 'nslRuti°n at its present Jrants fr °f °Peration depends on financial ■'ontributin"1 tederal agencies, alumni "Onerltns- "nd other so"r«s. Or success°n i?nap'’aC^ 'vas terrned a ma' 25t Last n sary Home graduates. Highlij Koch, a ser coming Qut Miss Koch Cardias, Lor2 Pittston; and Homecomin, — the same \ a four-year lii time, the Hon tinned to grot activities for uates. This year w that it market College's recov damages result At halftime game, Dr. Fran TViikes College that four month, sitting under 2S At the Sarin Dinner, the Col lute io the silve Featured speake: chelini on '■‘Will Post-Flood.'' An Ecumenic; Center for the ! Wilkes sH±n' k 5, some 10 days passes LLnimer da>’ and evening U1‘ of the The earl>' return " •’ relies above tb??^ and the fact that facilPhase II Qr - rirst “°ors "ere unharmed. In August when nera!‘?n Snapback began fcPlaced shovel tai,nt buckets and brushes tori« and d? and Payloaders. The derm­ classroom buildings were al(coMtinued on page 6) Out of the tans posited on the Wil lowing the record ha nr. a emerged a ray of hope—as co Learning Center on Last June. Wilke � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Alumni Magazine, 1947-present Subject The topic of the resource Alumni Relations Description An account of the resource <p>An archive of Wilkes University Magazine, from 1947-present. The magazine went through various names including <em>Wilkes Alumnus</em>, <em>Wilkes Quarterly,</em> <em>Wilkes Universe</em>, and the current title, <em>Wilkes Magazine</em>. Some editions for the <em>Wilkes Universe</em>, will have multiple issues within the file record. Our holdings may be missing editions for certain years due to having no physical copy within the collection. </p> Creator An entity primarily responsible for making the resource Wilkes University Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1947-present Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes College Report Summer 1972 Subject The topic of the resource Alumni Relations; Wilkes College Creator An entity primarily responsible for making the resource Marketing and Communications Date A point or period of time associated with an event in the lifecycle of the resource Summer 1972 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Report https://omeka.wilkes.edu/omeka/files/original/adceda551e568f515d42bd165547de17.pdf c8ab812620d444955bbb8bd0e28bf869 PDF Text Text 1 ��Manuscript 2020-2021 Edition Wilkes University Manuscript Society �1947 Foreword With this issue of Manuscript a new publication is launched on the Bucknell University Campus in Wilkes-Barre. Those who have been responsible for its coming into being earnestly hope that through your efforts and the efforts of those who come after you that this magazine will develop into a college tradition of which we may all be proud. The Editors © 2021 by the Wilkes University Manuscript Society. All rights reserved. �The Manuscript Society Editorial Board Advisor Dr. Mischelle Anthony Dr. Chad Stanley Executive Editor Sarah Weynand Co-Assistant Editors Rashonda Montgomery Emily Cherkauskas Layout Editor Jay Guziewicz Art/Copy Editor Haley Katona Social Media/Photo Editor Emily Cherkauskas Spring 2021 Cover Design Haley Katona Editors at Large Jordyn Williams Ashley Wallace Editorial Consultant Sheylah Silva Staff Caitlyn Bly William Billingsley �Dear Readers, At the risk of sounding like a high school/college graduation Hallmark card, I would just like to announce to the world (Wilkes-Barre, to narrow it down): we did it! It is always a big challenge for me to write these little notes because I just want to get right to all of this incredible work. However, I will celebrate our accomplishment by giving a quick outline of what we did this year. First, with a wish to make outreach as safe and effective as possible, we made a Welcome to Manuscript video to (virtually) spread around the Wilkes campus. This was so much fun to make and I believe I can speak for all of us when I say that watching ourselves on camera was one of the hardest things we have ever done. We made a similar video for Banned Books Week in which we expressed that Banned Books authors’ voices never should have been silenced and neither should ours. We used this opportunity to encourage the Wilkes community to share their voices by voting in the extremely important, monumental 2020 election. Also, for the first time, we produced two editions of The Manuscript. When I became Executive Editor, I wanted to use this literary magazine as a platform for Wilkes University’s students to release, to be heard, to be read. That is why we decided to put out a digital edition of Manuscript in support of Black History Month and in allyship of Black Lives Matter. A polished compilation of poetry, art, short essay, and prose that showcased Black voices would be able to be spread around campus and beyond. The submissions we received were incredibly beautiful and we were grateful to have published them. And finally, this Spring edition! The theme is “New Beginnings” because this past year and almost-a-half has reminded us how little control we may have over our surroundings, our health, our government, and our very lives. Many of us pray to start over, many may pray for it to end, and all of us are doing our best with all the wishes in-between, and so we give you this �edition. Art, poetry, prose, the like—I’d like to call these musings new beginnings to a new hope. I neglect to call this a “new normal” because we are forever adapting to whatever life throws at us and many of us have struggled with loss, accomplishment, grief, joy, and all that have changed us even before the pandemic. We have all adjusted to a new normal at some point. So, let’s throw “normal” away. Let this edition bring in a fresh start to whatever our story may be, the ones that lie in the short stories, artwork, and poetic verse. Let’s start anew. Thank you to all that submitted and to all that made this issue possible. Executive Editor Sarah Weynand �TABLE OF CONTENTS First Love - Sam Burgess, Jr. Pg. 12 You’ll Remember Me - Caitlyn Bly Pg. 13 What She Left - Lydia Poer Pgs. 14-15 Gravedigger’s Faith - Sean Schmoyer Pg. 16 Intrusive Thoughts - Darren Martinez Pg. 17 As Is Life - Emily Cherkauskas Pg. 18 philia - jay guziewicz Pg. 19 I Talked to Icarus - Genny Frederick Pg. 20 Light in the Time of Coronavirus - Chad Stanley Pg. 21 Ninak - Sheylah Silva Pg. 22 Vulture - William Farnelli Pg. 23 The Ultimate Insult - William Billingsley Pgs. 24-27 A Lovely Murder - Sean Schmoyer Pg. 28 What Can I Do - Sam Burgess, Jr. Pg. 29 Thinks - Darren Martinez Pgs. 30-31 Mother Nature - Sarah Weynand Pgs. 32-33 My Body Will Never Be Your Home - Caitlyn Bly Pg. 34 �TABLE OF CONTENTS Yani - Ana Perez Pg. 35 Tempest - William Billingsley Pgs. 36-37 Solitary - Lydia Poer Pgs. 38-39 arin means exalted - jay guziewicz Pg. 40 Warrior’s Way - Sean Schmoyer Pg. 41 Mama Pearl - Sam Burgess, Jr. Pgs. 41-44 Window - Emily Cherkauskas Pg. 45 Medicine for the Uncertain Mind - Sheylah Silva Pg. 46 Sunset City - Caitlyn Bly Pg. 47 The Waves of Anxiety - Breanna Ebisch Pg. 48 Parasites - Darren Martinez Pg. 49 August 2020 - Chad Stanley Pgs. 49-50 A Story Most Foul - William Billingsley Pgs. 51-58 Soulmates - Genny Frederick Pg. 59 We Will Serve the Lord - Sam Burgess, Jr. Pg. 60 i learned more from shonda rhimes then i ever would from henry grey - jay guziewicz Pg. 61 Matinee - Lydia Poer Pgs. 62-63 �TABLE OF CONTENTS Love Me in All the Ways My Grandfather Has Loved My Grandmother - Caitlyn Bly Pg. 64 Paraiso En El Caribe - Ana Perez Pg. 65 Browsing Steam on a February Evening Instead of Writing a Paper Due Tomorrow - Darren Martinez Pgs. 66-67 I Swear - Caitlyn Bly The Visit - Sam Burgess, Jr. Pg. 68 Pgs. 69-70 Shake, Sit, Shake, Sip, Swallow, Sit, I promise I’m Sane in the End - Sean Schmoyer Pg. 71 thomas aquinas taught me well - jay guziewicz Pg. 72 Rise - Emily Cherkauskas Pg. 73 Put the Pen Down - Sean Schmoyer Pg. 73 Invitation (snippet) - Mary Oliver Cover ��First Love - Sam Burgess, Jr. When first love came, he stole my heart, and took my breath away. He swore to me we’d never part, until our dying day. It was a fairy tale romance, My prince had come for me. On big white horse with stately prance, For all the world to see. There was no mountain top too high, No sea too deep for him. To rescue me he’d climb the sky, And many miles he’d swim. But love was lost and feelings fade, As fairy tales oft’ do. Through destiny our lives are made, A foregone plan, that’s true. Though years have passed, since we did part, I can’t forget the day. When first love came and stole my heart, He took my breath away. 12 �You’ll Remember Me - Caitlyn Bly You’ll smell me in the day From all the flowers your nose will come across You’ll see me on the horizon The bird with its wings stretched free You’ll hear me in the dark grass The cricket chirp of a symphony You’ll miss me in the morning When you sip your bitter coffee Knowing that no more sugar is left to fill your cup 13 �What She Left - Lydia Poer The first time you saw a dead animal, you couldn’t look away. You knew that as a small, impressionable young girl, you should be reeling away from it, fainting, screaming, but what you did was stare at its small, gored body, innards laid out on the cold concrete, waiting to be stepped on. Hand still grasped on the garage door, you dragged your gaze up to your cat, who was sitting proudly with her paws placed primly in front of her, waiting for you to accept her gift. The fur on her face was pristinely white. You carefully placed your foot on the other side of it, giving the dead mouse its space in death. You scooped up your cat, walked out of the garage, around the house, and went back inside through the backdoor. You didn’t tell your dad it was there because you felt like you were going to get in trouble. She was your cat, after all. You left it there, and when your brother almost stepped on it later and called for you to look at it, you reacted the way you were supposed to. The day after your senior prom, you woke up from a nap after spending the night at your friend’s house, the chlorine smell of her pool still trapped in your hair. You glanced down over the edge of the bed, seeing your cat’s curled spine pressed against the wall, right underneath where you had been sleeping. You stared at her for a beat, a habit you adopted as she got older and older, waiting for her chest to rise just briefly before falling back down. You moved quickly, flinging your legs over the bed, falling to your knees, shoving the side table away. She didn’t budge. Her fur was smooth all but one spot, where one of the dogs had nudged her. You remember having to tell yourself to cry, to show what you were losing after fifteen years. You did not touch her, although now you wish you had, one last 14 �time, but you’re also afraid of how cold she would have been. You leapt from your floor and ran to your dad. He saw you sobbing, and you had to tell him that she was under the bed and she wouldn’t move. You watched from the windows as he went inside and when he came back out, he was carrying a trash bag, cradled in his arms. 15 �Gravedigger’s Faith - Sean Schmoyer The giant walks forward on a sacred quest, Bestowed by a god who cherishes the dead, Putting the lives that were lost to rest. A silent prayer to his ghostly crest, His tribe gone like a severed thread, The giant walks forward on a sacred quest. Heroes welcome him to be their guest, He joins them and takes a tyrant’s head, Putting the lives that were lost to rest. With magic light, he cures on request, Easing the worries of those filled with dread, The giant walks forward on a sacred quest. He learns that feelings should be expressed, Though a loner he starts to trust others instead, Putting the lives that were lost to rest. The god shows signs that he is impressed, Still, it is known that death is widespread, The giant walks forward on a sacred quest, Putting the lives that were lost to rest. 16 �Instrusive Thoughts - Darren Martinez english class nestled in room 300-something a sunny, warm room with a fireplace, never used thought of tossing themself through the kaleidoscope in the middle of stairs delicate, little intrusive thought ghost pains of tibia and fibula tearing through the flesh of the knee the crunch, baked into a splat ensuing scream, from a passerby or other the thoughts begin to ask them questions. Would you die? Maybe you’d make it to the hospital. Do you think the class would miss you? I would. they’re answering their own questions heehee hoohoo charming little sprites, aren’t they? 17 �As Is Life - Emily Cherkauskas 18 �philia - jay guziewicz i am not used to this. i am not used to being listened to to sharing things, instead of holding everything, the mother who watches as her children board a rollercoaster but never climbs on herself. i sit in the back seat, silent, holding my tongue from biting insults while i get called a fucking bitch by someone who once wanted to call me theirs. i am not used to this, so i am sorry if i don’t have the right words to say, or if i apologize too much, or if i expect too much. but i hope you know, everytime i tell you i care, i mean it. heart is so full of a love i’ve never been allowed to experienced before now, and how can i say anything but thank you. 19 �I Talked to Icarus - Genny Fredrick I talked to Icarus on a beach one time. He was younger than I remembered. Funny thing is he didn’t remember his death much. Told me the wax felt kind of nice dripping off his arms. The water and waves reflected well too. It was a dream of course, but after I heard him say that I never was scared of death. I was 15 then, and by the time I turned 17 I was still resistant to its fear mongering. Death was as normal as life. When you were sitting in your mom’s uterus floating around in embryonic fluid you didn’t think of what was coming next. You just sat there growing and changing and listening and feeling and when you popped out, you screamed a little then you were cool. I wasn’t gonna spend my whole life worrying about death, I was gonna scream when I got there then I’d be okay. I hated the classics. We spend years of our life reading what people have read for years. Thesis’s were built on ideas, that were discussed in classrooms, that were written about in books, that were shared by firelight, and still we think that we can come up with a new way to address tragedy. That was the most human thing of all, expecting we can do better when better isn’t even real. 20 �Light in the Time of Coronavirus - Chad Stanley So supposing, We hit the body with light. And I think you said, That hadn’t been checked Because of the testing. And then I said, Supposing you brought the light Inside the body. And I think you said, You’re going to test that Too. 21 �Ninak - Sheylah Silva I asked where you had gone, and you said the stars in my deep brown eyes. I told you to take my hand, wading into the dark: descending to the ocean floor. I lay there alone in the sand, in the salt staring up at the moon’s strange face. I conjure these notions of mine, naming them under the stars wondering if I am looking into my very soul. I have built a home inside my heart; and I will live there, forever. 22 �Vulture - William Farnelli In my mind, the question sounds: Why do you smile when I am around? Do the songs that fall from the sky Distract you from the pain in your side? I’d kiss you if it wouldn’t burn my lips, The face that could destroy a thousand ships, And still, I dream of the scars on your torso As the cracks on your plinth slowly dance a calypso. And if one day your chains are let loose, Or rusted away by the ocean’s abuse, Would you fly with me to where bones lie to dry, Halfway between the sand and the sky? “Put honey and yeast in a keg for me,” Far sweeter the nectar than the sting of the bee. Carry on, carry on, Carry on, carry on. Are we limited by the tools we employ To only accept organs we can enjoy? If only we had a body to spare That could endure this wear and tear. In your black eyes, I find the Sublime, Enough to make me fear at times That I stole your liver and you stole my heart, A curse from the beak that tears you apart. Would having a heart really be a disgrace For a harpy without a human face? “Put Nobody at the helm again,” I’d rather be no one than have the wrong name. Carrion, carrion, Carrion, carrion. 23 �The Ultimate Insult - William Billingsley History tells us of an insult so powerful, it could kill a man where he stood. Throughout history, this insult went by many different names. But at some point during the last hundred years, knowledge of that accursed insult’s deathly words suddenly vanished from the historical record. And today, only a few historians speak in hushed tones about the mythical ‘Ultimate Insult’ and the power it commanded throughout history. But very few take the claims seriously, and those who get too close to the truth are allegedly never heard from again. So goes the legend, of which I would have very much liked absolutely no part of. But my grandpa Maximillian’s dying wish was for me to finally get to the bottom of all this. Why did the Insult disappear? When was it used last? Would the Insult still be as potent as it was a century ago? These were all questions that he bade me investigate. And normally, I would not have bothered, if it weren’t for the fact of how close our families were or this exceptionally enigmatic map that he secretly handed to me on his deathbed. The map was arcane in every sense of the word. The area shown in the map was vague, to say the least. It was a top-down perspective of some village or other— utterly useless without knowing where the map originated from. Even with weeks of research through various mapping tools and satellite data, I was no closer to the answer. Frustrated, I then decided to explore what language or cypher existed on the map itself. It was nothing that I had ever seen in my time, but I was faced with a serious dilemma: should I divulge my quest to anyone else? Was my grandpa’s fear about those who got too close to the Insult actually true? Would I be silenced too? Better to be safe than silenced, I suppose. In order to ensure my own safety, I looked for a public place that I could remotely upload pictures of the text to various websites via flash 24 �drive. However, it was important that this public place also not have very many cameras, as camera logs would certainly be checked if my upload aroused any undue attention. And once identified, that’d be it. Game over. After some searching, I eventually found a newish internet café that had just been set up in a safe part of town. Better yet, they had public booths that would limit how traceable my upload might be. So after scanning the text portions of my map (there’d be no point in uploading the entire map, as it might encourage others to complete my quest for me), I went to the café and uploaded it onto various forums and websites, not really expecting anything. Still, I asked any interested parties to email me at a throwaway email address. Of course, I used a VPN to cover my tracks when I checked that email address too. Weeks went by, and all I received was the usual: junk emails with the occasional edgelord chiming in about the images. On a cautious whim, I decided to return to the café where I had first conducted the upload. And as I parked across the street, I was suddenly hit with a massive bout of apprehension and terror. Not knowing what was going on, I decided to make a swift exit, driving out of the parking lot. To my sudden horror, I saw three armored vans swarm out in front of the café, with roughly a dozen armed men wearing body armor and plainclothes rapidly jumping out the back. Armed with a ridiculous complement of accessories on their assault rifles, they methodologically stormed all of the entrances to the café. Gunfire could be heard, though I know not if they were killed or merely threatened. But in not knowing whether I would be pursued for witnessing this brazen black op in broad daylight, I kept driving. I foolishly had the map tucked inside a hidden area in the car (the glove compartment), but I had to assume that I did not have long. The best-case scenario would be that they weren’t onto me at all. But the worst-case? I had hours, tops. 25 �And so, I stayed on the highway for hours, finally stopping at a gas station for much needed fuel and food. I didn’t think I was followed, but being that the whole point of following someone is to remain undetected, I didn’t want to make any assumptions that would put an early end to my quest. And then my phone chimed in with a new email notification: “LEAVE NOW.” Not needing any more of a warning than that, I immediately left the station. Much like with the café, vans and helicopters soon descended on the station, blocking all of the exits. Shit. I really was being tracked. But how? Why? And who was behind that mysterious tip? A new email arrived: “PULL OVER.” Normally, complying with this would also be a poor decision, but again, if the choice was to be interrogated, silenced, or seeing where this third path led me, it was an easy choice. I found a spot a few miles down the highway and pulled over near a quiet stretch of forest. After a few agonizing minutes of listening to the cars roar by, I received a new email: “ENTER THE WOODS. BRING THE MAP.” As I recovered the map and walked over to the woods immediately adjacent to the highway, I heard a faint whirring sound from above, just seconds before what used to be my car exploded. Looking away from the wreckage of my baby, I resumed my sojourn into the woods. Or rather, I would have, if I were not immediately clubbed as soon as I turned back around. *** I woke up some time later on a strange horse-drawn cart in an unfamiliar snowy locale. My hands were bound, and there was another horse-drawn cart ahead of us on the dirt path. “Hey, you,” a ragged man in front of me cryptically said. Like mine, his hands were similarly bound. Oh no, I thought. 26 � “You’re finally awake. You were trying to cross the border, right?” he said with a gravelly tone of voice that belied his somber awareness of his surroundings. Perhaps he knew. I was speechless. I cast my gaze towards the sky, searching frantically among the rim for something, anything that would dispel this cruel illusion. I was trapped. 27 �A Lovely Murder - Sean Schmoyer His Love A dagger A dagger My heart it now bleeds A wound A wound He has Done To me Sharp Oh how Sharp Blood I see My heart Yes My heart Oh yes I see I see Oh yes My Heart It bleeds My Broken Heart bleed I see I now am A fool My Wound My Wound He Has S lain Me A Lover A Criminal A Murderer You See Was So Deeply In Love That He Has Killed Yes Me 28 �What Can I Do - Sam Burgess, Jr. I’m just a child, What can I do, about the world today? I’m only eight, I can’t relate, Don’t know the words to say. To those who are in power, Who lead us every day. How can I make them listen, How can I make them pray? To our great God, that he end, All wars and poverty. All illness and pollution, Of land, air and sea. They all should stop and listen, This world is in decline. I’m only eight, and I pray to God, That I live to see age nine. 29 �thinks - Darren Martinez im searching for an original thought. if I dig far enough in my every orifice, perhaps I will find something thoughts pass me by, enveloped in a haze of a thousand hybrid cars for a glimpse, occupied with the consecutive thought; What shall I eat for dinner? It’s an essay question. written on my arm, a thousand different answers. cut like runic symbols, still fresh with thin blood starve. order the same pizza you’ve had thrice this week. eat the chocolate pretzels you stole from the convenience store for breakfast, lunch, brunch, linner, and dinner. the sweat gloves cannot grip the pen, the mediator looms over my shoulder Cheating, are we? that wasn’t such a difficult question. come, eat dinner with your family and there she goes. next thought. if you cannot eat, you must love. it sneers at me from below the crank window you’re all filled with objects! so filled! and yet, you cannot think. you’re cold as ice your flesh is burned inside out the postman lost your address, giving your mail to the sweet old lady 30 �that lives next door. why not try to love, . shake that one off, will you? c’mon champ, don’t let it get you down. we’ve got to go deeper still here the thoughts are more primal they snarl, grinding up your artefacts ahh, broken brakes. the sole bane of humanity. come so far, built so much, thought a thousand thinks you’re broken. undeniably. thanks doctor. can he be fixed? why, no who would trade a brain in the wretch for a slug on the street salted, squirming slit his throat while the anesthesia grips his heart he’s probably happier in there 31 �Mother Nature - Sarah Weynand I treasure your birth of tulips and oak, of emerald leaves and sparkling waters; your tender caress of the ocean, your fingers circling about in its depths like you would a sweetheart’s hand, sweeps bikini girls under waves, and your rumbling moans bring us thunder, nails gripping the silk beneath you as your lover leaves sparks with his lips on your collarbone— your choked whisper cracks like lightning and your afterglow cardinal cheeks grant us sunrise. But you are also composer of spiders, snakes, scorpions, who hold us down and cover our mouths as their venom destroys our petals. they wrap us with silk and their smooth bodies hold us and hold us as if they starved for us and sting us with a shrug, when their zip their jeans back up and wipe the blood from their knuckles. it’s in their nature. But if it’s their nature 32 �and you are their mother, how could you let this happen? How could you spoil us with such pleasures and turn your cheek to those who abuse us for them? 33 �My Body Will Never Be Your Home - Caitlyn Bly I can feel your eyes examining me Acting like my body is for sale My chest tightens The thought of disappearing invades my soul Like an insect under a microscope, I am left exposed Here I am completely clothed But in your mind disrobed Your seemingly innocent smile pierces my very being Do not undress me with your eyes Do not ravage me in your immoral mind For my body is not yours to take My body can not be bought nor sold Do not look at me with those unholy eyes My body shall never be your home 34 �Yani - Ana Perez 35 �Tempest - William Billingsley A solitary gale through the moonlit forest, between sleeping oaks, slumbering deer, and past waters of the lake. Along the water’s edge, another arrives, cast out of heaven, and left for dead. Stirred by the wind, she stands up, steadies herself, and leaves the forest. But weaving their grim tapestry, the three Fates are not yet finished, and ever-greater torments await her. A fell wind through the night forest, between twisting canopy, owls on the wing, and over torpid waters. Along the water’s edge, she finds herself, exiled once more— alone again in the abyss. Unyielding, she stands up, staggers out of the forest, and the cycle repeats. 36 �The wheel turns and turns, and once again, she washes ashore— but she does not stand. A familiar gust through the crimson forest, under that oak firmament, among the bodies on the shore— but she does not move. Once more, that gust sweeps through the forest, under the canopy, through the underbrush, and along the lake— and at last, her eyes open. By now, she surely knows, that in leaving the forest, her return is inevitable. But to remain is to embrace oblivion, to surrender to that dark tapestry. So she must stand, no matter what reckonings await her, and leave the forest. Once more, that fleeting tempest cuts through the smoky forest, under burning canopy, over the captive lake, and those who would not stir, guiding her out of the inferno. 37 �Solitary - Lydia Poer It’ll hit me randomly that I’m really alone, not like when I’m by myself in my room (but also like that) but that I’ve never had a boyfriend or a girlfriend or a partner or whatever they want to be called – besides my theater teacher’s son from freshman year of high school who I broke up with after three months, but he’s married to a nice, lovely girl and besides, who counts those short, short relationships? – so sometimes I’ll lay in bed at night and wonder what it would be like to stand in a kitchen with someone next to me helping me chop vegetables for a meal we bought the groceries for together and are making together and will eat together and what it would feel like to stand side by side, barefoot on cold tile, the windows open to let in the warm summer evening air, while they stir something in a pot while I push something around in a pan and then after we would put off doing the dishes so we could watch just a little bit more of the movie I’ve been wanting to see but haven’t had the guts to face alone and even now, I remember what it was like to hold his hand even if it was saturated with fourteen-year-old awkwardness and how he didn’t laugh at me with our friends when I cried at X-men twice, but I wonder what would it be to hold someone else’s hand and get to be in a relationship now that I’m older and would like to say wiser and have better stories to tell because we probably won’t run in the same circles and therefore I can meet even more new people through this stranger who’s just a shadowy silhouette in my head that’s just out of my reach even when I imagine them sitting in the passenger’s seat as I drive home for the weekend or across from me when I’m eating lunch or walking next to me on my way to class and trust me, I’m well acquainted with being alone because it’s been my state of being my entire life, even during those three months, but even though I can’t remember anyone looking 38 �my way, doing a double-take, or seeking me out and it’s hard to consider being together, I imagine what it would be like to put my number on that guy from my friend’s class’s car on a premeditated whim and what it would be like if he called and asked if I wanted to go somewhere, and I’m thinking this as I sit typing in my pajamas, the only other sound being the tinny music lifting out of my computer’s speakers, and that it’s like he only crosses my path when I don’t have time to stop and change my course and then the dull ache will start because I don’t really want to be alone right now. 39 �arin means exalted - jay guziewicz you are poisoned water, the stream I’ve been drinking from for months. the stream that has my insides rotting away, and my teeth decaying, and I know that I should stop taking sips from you, but you say you are clean and you cool my parched throat, and I am just a silly little girl with a god complex who craves the power that you threaten to give me. 40 �Warrior’s Way - Sean Schmoyer Boats rock on the waves Wounded men search every day Seeking one last grave Mama Pearl - Sam Burgess, Jr. Deep in the woods of Tennessee, once did a Midwife live. With gifted hands she healed for free, and endless love she’d give. They called this woman Mama Pearl, and not one Mom to be. Would give birth to a boy or girl, unless Mom Pearl could see, Their life begin upon this earth, with gentle tender touch. She’d christen every precious birth, each one she loved so much. The year was nineteen sixty-four, and one hot summer day. A northern friend came to Mom’s door, here’s what he had to say. “My wife has run away on me, she’s with another man. My child needs constant care cause he, can’t walk as others can. 41 �He’s four years old and he was born, with a deformity. Within six months my son will mourn, my death because you see. I’ve only six more months to live, as cancer’s come to claim. My life, and I am here to give, lil’ Charles and it’s my aim. To have you love and care for him, as you are known to do. And when my final light is dim, my conscience will be true.” “I’ll take your child and give him love, as God will be my guide. He sends his guidance from above, he’s always by my side” Mom rubbed Charles’ fragile legs at night, and then to him she’d say. “Through God’s power and His might, you’re gonna walk one day.” She had her sons pick up the boy, and carry him to springs. Where water therapy brought joy, while pretty robins sing. Melodic music sweet and pure, rhapsodic harmony. By now Lil Charles was very sure, that his new family. 42 �Loved him as though he were their own, yet, Charles would have his doubt. When Mom would smile as she was known, to do at times and shout. “You’re gonna walk one day lil man, when? God will let us know. You must believe and think you can, and on your way, you’ll go.” One day when Charles was nearly eight, it was the first of May. Mom said to him, “It’s getting late, come child, this is the day.” “Come on now Honey, walk to me, that’s all you have to do. The love of God will set you free, it’s now all up to you.” Said Charles to Mom, “Look at my legs, you know I cannot walk. Sometimes they feel like wooden pegs, but every time you talk. You give me confidence and I, will give it all I’ve got. So now I’ll stand and even try, to walk, though like a tot. If I should fall, I’ll try again, you’ve always preached to me. That if at first, I did not win, another try would be. 43 �The proper course that I should take, because the Lord above. Has shown that He will not forsake, those seeking His true love.” The little boy stood on his feet, and looked Mom in the eye. What took place next was hard to beat, it made all present cry. He struggled with each little step, determined look on face. Great Kings of Egypt would have wept, had they been in the place. It seemed as though the Angels sang, the sky was clear and blue. The bells in Heaven even rang, a heart rendering view. At last, he fell into Mom’s chest, about four feet away. They held each other and the rest, mere words cannot convey. It took Charles several months before, he walked with normalcy. His would become a tale of lore, a sight for all to see. Mom passed away in eighty-eight, in peace she left this world. Now souls beyond the Pearly Gate, are healed by Mama Pearl. 44 �Window - Emily Cherkauskas 45 �Medicine for the Uncertain Mind - Sheylah Silva Hot like brush fire, we run through the land whose abundant voice calls us further through the steps of many ancestors. The wood engulfs us in the close and quiet love you find between shaded trees. Aglow in the dim, you then become the moon: shining seemingly from within finally turning back to gaze at me. Selfishly, I would keep you on earth with me – if I could plant your feet in the ground in hopes you might take root and rise into the sky gradually, over time. Until then, look down at me lovingly, here on the mossy ground. For I am small and true and yours, nourished by the dead things you hold inside. 46 �Sunset City - Caitlyn Bly The daylight sparkles in the sky Allowing my body to experience a high The golden hour of life Piercing my body like a knife Satisfaction takes over my soul But soon the sun will set and my chest will no longer feel whole I only spend my days in Sunset City Hopping between these walls of happiness and pity There are chains wrapped around my feet When dusk dissipates, I am overcome with defeat My bones start to ache While my heart breaks Wishing for my sun Waiting for the dawn to come I only spend my days in Sunset City Hopping between the walls of happiness and pity The sun soon awakes And the rope around my frame breaks Blackness no longer lurks instead, brightness sparks The petals of the flower within me unfolds Leaving me with colors bright and bold I survived the night And now better days are in sight Although I only spend my days in Sunset City Endlessly hopping between the walls of happiness and pity I know the sun will always rise And no matter how much darkness I will continue to thrive 47 �The Waves of Anxiety - Breanna Ebisch Take a deep breath, they say. Inhale. Exhale. Count. Everything will be okay, they say. How do they know the constant battle being fought in my mind? Heart racing. Short breaths. Foggy thoughts. Lost in the convincing but untrue statements. Buried under too many emotions. I am better than this, why can’t I be better? Panic sets in. Hands shaking. Tears falling. World crumbling. When will it stop? Please make it stop. The hysterics come to an end only to be replaced by guilt, disgust, unhappiness. Breathe. Breathe. Breathe. The war is over for now. Take a deep breath, they say. Inhale. Exhale. Count. Everything will be okay, they say. Will I believe it this time? 48 �parasites - Darren Martinez bitter, flea-bitten dog dies defending a stale piece of bread with 1, 2, 3 maggots inside August 2020 - Chad Stanley Was this your celebrated summertime? Was this your celebrated summertime? Was this our celebrated summertime? --Husker Du This was not our celebrated summer. Not by or for the packs of feral children on bikes, Shouting defiance at drivers, Tearing bark off of trees, Hoarding snacks. Not for or by neighbors snorting trance at 3am, Blasting coke so loud to wake up half the town (it was a boat offshore, some said, On Facebook). Not for dads by rucking heavy YETIs, full ‘n frosty, To the beach. Not by moms for leasing ponies so critters could canter, In secret. 49 �Down sunlit streets dark cars with darker windows Move slowly, every day, Cruising rentals or houses up for quick sale; Their trunks: filled with cash. An actor is spotted at a gas station (getting gas). It escalates quickly. Instagram goes wild and High-end taco bars are mentioned. No, this was not our celebrated summer, but Of all of all our summers, Was not equally uncelebrated. Where it should have been uncelebrated equally, It was celebrated unequally; Uncelebrated unequally. My summer was split like a clavicle Snapped by the strap of a cooler. Which marked, on my body, my privilege, To set, like a fracture, in my bones. Bones that, unlike others, Heal and still live. This was not a summer to celebrate. This was not a summer to have celebrated. This was a summer to have not celebrated. This was a summer to uncelebrate, And remember. Summertime is always, always on your mind. Summertime is always, always on your mind. Summertime is always, always on our mind. --Husker Du 50 �A Story Most Foul - William Billingsley Once upon a time, it all started when I was born. Fast forward to the day of my seventh birthday. I was going to be seven in a few scant hours. I was seven. Life was good. Or so I thought. No, this isn’t dramatic foreshadowing of any sinister event. This isn’t that kind of story. No, it was at my seventh birthday party that my parents opted to surprise me with something I could have never expected. You know, because I was seven. Because it was my birthday, I was allowed to stay home from school for the day, which was always okay with me. I was able to sleep in and ruin my circadian rhythm just a bit (but it’s not like I knew what that was anyway when I was seven). After that, I went up the hill behind our house and into the woods for several hours playing with whatever woodland critters I could find. As it turns out, those woodland critters were very fast. And did not want to play. My memory of exactly what animals I saw while I was playing in the woods escapes me, but I probably saw a deer. I definitely also saw a bunny. My parents never believed me, but I swore I saw a bear. For some reason, the details were always a little fuzzy. I never did see that bear again. I hope he’s doing well. Nonetheless, I eventually returned home around noon. And I was starving. I was ravenous. It had been quite literally, forever, since I had my last meal. So I cried out to my parents, who had stayed home for the day. You know, because it was my birthday. And I asked them what was for lunch. To my utter horror, they said nothing. No lunch? This was inconceivable. It could not be. It must have been some cruel joke. With my developing mind still calculating the ramifications of no lunch, I asked again. No response, but this time they looked at each other in unison. In retrospect, this part was a little weird. Oh well. So I asked a third time, my hunger gnawing at my very bones like a rat in a bucket in one of those old torture methods. And it was 51 �On this third request that they told me that they were still making my birthday meal and that it was absolutely a secret. Well, telling any seven-year-old that they have some great meal surprise waiting for them is definitely not something you want to tell them if you have any expectation of secrecy. My parents should have definitely given me some generic-branded animal crackers and sent me on my way out of the house. But, they did not. But they did insist I go back into the outside world and play for a few more hours. Begrudgingly, I did. On my way out, my parents assured me that this birthday meal would be ‘to die for’. While again in retrospect, this might be a red flag and particularly ominous, a seven-year-old is not going to be able to ascertain any kind of malicious intent behind anyone’s words. Unless like, they were comically evil. But even then, if your parents were villains, would you be keyed into that knowledge too? Or would you be utterly unawares? Anyway, like I said at the beginning, this isn’t that kind of story. So I entered the breach once more, fearless (and starving). Seriously, if seven-year-old me knew how to hunt and had the means to do so, I would have spent hours trying to catch a rabbit. And if I had been so lucky to actually hunt one successfully in that alternate timeline, I would have absolutely been hit with the existential quagmire that is the value of life. I would have pondered that rabbit’s sacrifice for hours in the corner of the woods. Should I have killed it? What would I have done once I killed it? I didn’t know how to skin a rabbit. I also didn’t know how to cook a rabbit. Or even start a fire for that matter. And once I had finally gotten over the fact that I had slain this poor creature, I’m sure a wolf would have leapt in and stolen my dinner anyway, making the whole endeavor pointless. Sevenyear-old me was not especially good at anticipating the future. And while I did not know how to hunt at seven, I did see a lot of berries and plants that might be edible. And when I say that I was starving at this point, I meant that. So I scaled the hill that sat behind my house and headed back into the tick-infested 52 �woods once more. What else was I to do but wait for my birthday meal and subsequent presents? This time, however, I had brought along my backpack so that I could carry essential food supplies that I would scrounge up in these wild woods behind my house. It was a warm day in late spring, so there were a lot of different varieties of plant life out and about. But good luck trying to convince starving seven-year-old me that eating anything in these forlorn woods was a bad idea. After all, I was hungry. And if I didn’t eat something soon, I would undoubtedly and inevitably become hangry. The final form of any child. In that state, a child is not only mostly stoppable, but they’re also very loud. And if there’s one thing people don’t like, it’s loud children. Anyway, so there I was, collecting random assortments of plants from the woods. I started by collecting some berries of the blue variety. My parents had bought blueberries before, but these berries were of a brighter hue. After all, if apples can be red OR green, why can’t blueberries be two different shades of blue? So I grabbed a few handfuls of these berries and added them to my pack. And though I was rather famished at this moment in time, it was not yet time to devour my picked bounty of berries. Nay, even a seven-year-old needs variety in their foraged cuisine. So I sallied forth, my eyes peering as far as they could see in the woods for items that I could eat. Well, as far as my eyes could see, with some old glasses anyway. After a few minutes of searching and light walking, I found my next delicacy: a red mushroom with a white stalk, spackled with white dots. Or was it a white mushroom spackled with red dots? Seven-year-old me cared not. I like to think that I’m still a fun guy, but I can definitely empathize with my younger self for ignoring the duality of mushrooms in his hungerous state. If he had not been so hungry, my younger self would have undoubtedly pondered this matter further. If they were indeed red spots, would they taste differently from the white portions of the mushroom? Or if they were white spots, would they taste differently from the red portions of the mushroom? And what about the stalk? Would that have an 53 �entirely different consistency? Nonetheless, I collected several of these redwhite mushrooms. They proved to be somewhat tricky to locate given the fact that mushrooms do not grow very tall and I could also not see very far as a wee lad. With the mushrooms added to my inventory, I came to realize that my hunger had been escalated to a higher echelon of hunger: hunger pains! As one might expect of a child on any endeavor, I was not very efficient in my foraging. Indeed, several hours had actually passed while I was on my foraging quest. Surely my parents could have finished preparing my birthday meal in these last few hours? With myself fiending for some of the delicacies in my backpack, but encouraged, I went back home. Which, if you’ve been paying attention at all to my story, you should know wasn’t very far from the woods. So I was there in like five minutes tops. Really, it was pretty quick. Nonetheless, I entered through the doorway and found that someone had turned off all the lights at home. The door was unlocked, which was different. My parents would have definitely locked the door if they were going out. Maybe they finished my birthday meal and were out looking for me? But wait, no. That wouldn’t make any sense if both of them had left. Maybe my dad went out to get some more cigarettes while my mom went towards the woods looking for me? Once again in hindsight, these are all huge red flags. These red flags should have been apparent to any normal-functioning adult. But seven-year-old me was not one of those adults. So I just turned the lights on and scanned the living room. Nothing was really out of the ordinary. Then, I looked over at the kitchen and saw…My parents? Still standing there at the kitchen counter like they had been several hours ago? In typical parenting fashion, my parents simply smiled and waved at their dear boy. Now, I know what you’re thinking: that my younger self was in for a bad time and should have bailed a long time ago out of this story. But what was I to do? They were my parents, and I was hungry, dammit. It was either whatever they 54 �made for my birthday or my foraged foodstuffs. Besides, it was my birthday! What could possibly go amiss? And like I keep telling you, this isn’t that kind of story. Undaunted, I triumphantly walked into the kitchen area. I set my bag down on the table and told them about the berries and mushrooms I had found. Again, they warmly smiled at me as I recanted my second woodland expedition to them. Of course, my expedition’s exposition was all for a singular goal: my birthday meal. I knew this. And my parents definitely knew this. Probably because my stomach growling at that point had become something fierce. It had actually gotten so loud that it caused me to double over in an effort to minimize the sound. Otherwise? I would have never been able to tell my story over that racket. But through some further perseverance and grit, I finished my story as if it were my magnum opus for life. And so, I asked them if they had finished my birthday dinner yet. No response. So I asked again. After a pause, they looked at each other, again in unison. My hungry eyes darted between them as they held their silent stare for several seconds too long. Or, if I knew better, it would be too long. Determined (and hungry), I asked a third time. Their gazes immediately darted back towards me as I repeated my request. With a simple head nod to me and to each other, my mom headed for the living room and my dad approached the fridge. Excited, I hurriedly sat in my chair with great anticipation. And then my mom shut off the lights. My dad’s footsteps approached the fridge. Then, nothing. The anticipation was killing me. But as I began growing anxious, my dad opened the fridge, casting him in an ominous yellow light as he retrieved a plate. Given my short stature at the time, I was unfortunately unable to ascertain what shape my meal might be. Was it a cake like my friends at school had raved about every year? Or maybe a single oatmeal raisin cookie, like the one I got last year? I still remember that meal. I think it was the best cookie I had ever had. 55 � But enough of those halcyon days, I wanted to eat my birthday dinner in the now, not devour my memory of last year’s. As I waited in the darkness, my dad’s footsteps began approaching the table in a measured fashion. As he did that, my mom began locking up our five locks on the door. It was some arcane contraption of deadbolts, chains, and even included a customized 2x4 propped up against the doorknob. What can I say? My parents like to have peace of mind. After all, you never know who’s gonna kick down your front door. Now you’re probably thinking about the windows in my house or some such. But let me assure you that you needn’t worry about if we had secured our windows in a similar manner. This is because my parents sealed up all the windows from the inside, so that it only appears like we have windows. This way, they claimed, would allow my parents to not be disturbed by the morning sun. After all, who was seven-year-old me to argue? Anyway, my trepidation was especially evident as my dad approached the table. He set the plate down and began fumbling around for something. I waited patiently, hopefully with a full complement of silverware on the table in front of me. As my dad found the object he was looking for, my mom returned from the front door and stood behind me, still seated. She quietly placed her hands over my eyes. I heard a scratching sound from my dad’s direction. Scritch. Scritch. Scritchach. A small flame had roared to life and a small amount of smoke had filled my nostrils. At the same time, I heard the plate of destiny being placed right in front of me. Without a word, my mom lifted her hands and bade me to open the dish cover. In the dim candlelight, with both of my parents sitting quietly next to me, my dinner had finally arrived. It was a new dish covering, so there was no way to peer inside without removing it. I looked at my parents again, their gaze ever fixated on me. Or was it my 56 �dinner? Did they want some too? I asked if they were going to partake in my meal. No no, they said, this one was for my birthday. As such, I should be the one to eat it. That sounded good enough to me. Thus, the moment was finally at hand. My dinner. Whatever mysterious cuisine or delicacy it was, it would assuredly be devoured by me in a heartbeat. Unless like, it was broccoli or something. But I’m sure my parents wouldn’t do that to me. Would they? That would be a cruel joke, carried out by only the most nefarious of parents. And after all of this waiting and adventure, surely my parents would reward me in a just manner? So I reached for the dish cover, hands trembling. Whether they were from genuine excitement or as a side effect of my hunger pains, I know not. But nonetheless, I began to lift up the dish cover with all of my measured might. After all, I wouldn’t want to break something as treasured as this dish cover. But as I lifted, the candle was suddenly snuffed out. My dad suddenly stood up. Apparently he had not been expecting this development, because he knocked over the box of matches onto the ground. He began fumbling around for the box and the matches. I set the dish cover back down on the plate. I started to leave my chair to go help my dad, but my mom firmly set her hand on my shoulder. Getting the message, I patiently waited for my dad as he gathered as many matches as he could. So alone I sat, my stomach growling evermore. And at the last, he stood up and began to light another match. Somewhat unbalanced by the night’s sudden developments, my dad took a few more attempts to get a working match lit, even breaking a few in the process. But once again the dining table was lit by the candle and my birthday dinner could resume. cess. But once again the dining table was lit by the candle and my birthday dinner could resume. And as I lifted the cover off once more and peered at the treasure that lay below, I could hear my parents breathing. I hadn’t noticed them get up, or get so close to me that I could hear them breathe. Alright, I told them. This is weird. I’m going to go eat in my room. As I got up from 57 �my chair to take the mysterious dish into my room (and to the much better lighting), my dad suddenly swatted the dish out of my hands. Being pelted at what must have been light speed, the plate never stood a chance. Neither did whatever delicacy lay beneath. It was gone. Reduced to atoms. And though I was devastated and on the verge of tears, all I could think about was… That this was how you get ants. 58 �Soulmates - Genny Fredrick “But we’re soulmates” “And?” “Don’t you think that means we have to be together” “Have to? We don’t have to do anything. I definitely don’t have to do anything. You think of soulmates as a two-person puzzle and you’re the only person I’ll fit with so I have to, I have to. That’s not what soulmates are. Soulmates are the colors blue and white. They look great in the sky together, make everyone who looks at them feel great too. But the cloth I used to stop the blood running out from under your skin last night was white too. That white rag was full of blood red and it sure made me feel more than the sky ever did. Don’t tell me what I have to do. You might think of me as your white but I sure as hell don’t want my soulmate to be blood red.” 59 �We Will Serve the Lord - Sam Burgess, Jr. He suffered so greatly, so calmly, so long, His purpose was noble, His spirit so strong. The nails pierced His flesh, His tendon, His bone, Though no one was with Him, He was not alone. His blood flowed so freely, upon wooden cross, Our lives now eternal, our souls are not lost. When the spirit did leave Him, the curtain was rent, We know why He died, and why He was sent. He was placed in a tomb that was borrowed not new, On the third day He rose, for me and for you. God so loved this world, after all it had done, That He gave up His child, He gave up His son. We really are blessed, this whole human race, We’re saved by His mercy, His goodness, His grace. I know not how others pursue their reward, As for me and my house, we will serve the Lord. 60 �i learned more from shonda rhimes than i ever would from henry grey - jay guziewicz weeds grow in unexpected places, cracks in the sidewalk or an old pair of shoes, and my love for you grew unexpected, shooting out from the muscle of my heart that i thought was nothing but ash. and i love the ground, solid under my feet, as much as you love the ocean, seaweed wrapping around ankles but i will walk underwater for you as you would climb ashore for me. 61 �Matinee - Lydia Poer I’m going to the movies. This means driving myself, the summer sun tanning my legs through the windshield as I maneuver the streets, going down the long stretch of highway to get to the old theater because the new one is too crowded and I’m loyal. I’m going to the movies. Nobody is with me this time. I want to see this on my own – I want to experience this movie to the fullest, without my uncontrollable need to put my hand on the arm of my friend, without the stress of making sure my leg doesn’t press against my neighbor’s, without having to restrain my feelings as I watch the looming, god-sized figures before me. I keep the ticket that the teenage usher gives me, the paper no longer perforated so the edges are rough and quick. I’m going to the movies. I get a soda and some candy and take my seat. The best seat is either the second or third row from the top, as close to the middle as possible. This is so your head isn’t craned back too far, and you can recline your seat, and you are faced only with the next two hours. Under my breath, I sing along with the jingle that tells me that Haynes has got the car (or truck!) that’s right for me. The movie starts and I put my feet up on the empty seat in front of me. This early in the day, there’s no one around except for the older couple closer to the bottom of the stairs. My jean jacket crawls up toward my ears, the denim rubbing against my jaw. I tell myself multiple times to remember that moment, that one shot that seems so perfect and so beautiful, but it’s forgotten almost as quickly as the next shot that seems so perfect and so beautiful. The movie seems like it’s four hours long, time extending without the sun for reference, lost in the space of the movie, but when I look it up, it’s only a few minutes over two hours. 62 �When I leave the movies, I take my trash with me, the thin pink strip of plastic that I tore away to get to the candy riding home with me in my pocket. When I step outside, the sun wraps its arms around me, and I feel warmer and cozier than I ever have. I take off my jacket and move on. 63 �Love Me in All the Ways My Grandfather has Loved My Grandmother - Caitlyn Bly When we meet Sweep me off my feet When your glance meets mine Promise me a love so divine When it’s time to pick out my ring Do not pick the most expensive bling For no matter how small I’ll always keep it close to my heart From my finger it will never part When it’s late and I can’t sleep Hold my hand and start a conversation so deep And when we find ourselves miles away Write me letters to remind me that our love will stay When it’s time to raise our own Make sure I am not left to do it alone When I am disrespected Make sure you object Come to my defense Speak words so intense That the words of vulgarity will never be spoken to me again And then When I am old and gray Grab my hand and take me away Lead me to the dance floor Sway with me so pure Love me until my last breathe Love me in all the ways I deserve to be loved 64 �Parasio En El Caribe - Ana Perez 65 �browsing steam on a february evening instead of writing a paper due tomorrow - Darren Martinez i found the online profile of someone i’d since cut off in the friends list of a service we both used to frequent a sudden door, hurtling down from on high exploding the terrain. dud warhead, tilling the ground through sheer force of will. the gunpowder’s dried up, packed its bags, went to heaven the door brought about a channel a connection that all at once was bungled, constricted, strangulated, murdered i could feed words through the keyhole twist the knob, type in morse code mend broken relationships with men shattered helm to toe I went to typing and my brain’s suggestive text went as edgy as possible, instantaneously. “I hope regret eats your bones.” No, fuck that. “I earnestly, actually hope you’re happy.” Even if I did, it’s not very believable. words cycled in and out, pedaling those pretty mountain bikes that were too tall to let the rider stand still 66 �four hours later, sweat dripped from my brow. if I hit the same keys my perspiration did I likely would’ve typed a more coherent message I resolved myself, took a deep breath, and unfriended may we meet again in the next chat service 67 �I Swear - Caitlyn Bly I swear some nights I hear god He speaks to me from above While the angels descend down And tap on my windowsill I swear some nights I can reach the stars Float up and grasp them between my fingers The madness explodes in me Like bright colorful fireworks I swear some nights I feel completely alive As if I could never die 68 �The Visit - Sam Burgess, Jr. If you don’t believe in angels, you’ve every conceivable right. But I was cast from my own hells, when one visited me last night. With loving hands, she touched my head, then life became so clear to me. The beauty of her insight led, to feelings of serenity. We talked about the problems that, exist across our troubled earth. I asked her why, during our chat, a person’s life has little worth. As fighting all across the world, persists at such a rapid pace. And since “Old Glory” was unfurled, the loss of life from every race. Has caused more “Moms” than I can count, to mourn the bodies of their sons. She spoke, I felt my comfort mount, I was among the chosen ones. She said, “There soon will come a day, when pain and suffering will cease. All creed and races work and play, there will be everlasting peace”. 69 �“The world must look”, she said to me, “at how young children have behaved. And then it will be plain to see, how man’s existence can be saved”. There was a lovely radiance, that glowed when this supreme one spoke. I felt relaxed, no longer tense, I pinched myself, yes, I was woke. As she continued, I was sure, that somehow this would change my life. She delved into my very core, erasing anger, fear, and strife. Too soon her time came to depart, I thanked her for a precious night. She gave me blessings from her heart, and disappeared towards the light. 70 �Shake, Sit, Shake, Sip, Swallow, Sit, I Promise I’m Sane in the End - Sean Schmoyer Whoops! I forgot my medicine, not where it is, No I forgot to take it-this makes the second day in a row. Surely it is fine, I’m sure I’ll be safe. What’s the worst that happens, My hands continue to shake? M-y h-a-n-d-s continue to shake? Nah that’s nothing, Maybe instead I should be concernedAbout the the way my leg never stops moving, Medicine or not. That’s just me, impatient to a T. Wait it seems I forgot about my anxiety. I think that’s why I take it, I think that’s why I shake? No one can seem to tell me-perhaps it’s my mistake. I should know what’s wrong with me, What’s shaking me to my core. Perhaps it’s my stutter taking a new form. I-I-I, I think that might be it. I’ll take that pill when I get home, I stop shaking my leg, I hope my hands calm down, so - I can write - straight again. My computer says I made an error, but I see no mistake. Perhaps I should get my glasses checked? Perhaps I simply shake my-ss-ss-elf to sleep. That sounds much more peaceful-than putting drugs in me. 71 �thomas aquinas taught me well - jay guziewicz i keep my worry coiled tight around my stomach, a constant throb of pain making sure i wake violently every single night, vomit creeping up the walls of my throat. i keep my grief packed into my heart so it always feels full, so i am always empty, but never feel like it. the cremated ashes of every love letter i’ve ever written seep out of my ventricles and travel around my body, a sickening train to remind me of all the loss i have carried. my lungs fill with my guilt, aspirating the muddy shame every time i breath in, shallow enough so i don’t drown, deep enough to have me coughing up red river clay, staining my hands copper, bloody. my body has become a shrine, organs laid out on the altar i have built out of my own mistakes, tucked along vases of bitter yarrow and pitchers of rubbing alcohol, my own summa theologiae. 72 �Rise - Emily Cherkauskas Put the Pen Down - Sean Schmoyer Proud of your self-growth Fingers ache from weeks of work A final poem 73 �74 �Biographies Ana Perez is Digital Design and Media Art major and is graduating in 2021. She has been reading at least one book a month since 2017. Ashley Wallace is an Editor-at-Large for Manuscript and an English major. Last year, we learned that she had 61 digits of pi memorized. Breanna Ebisch is a junior with a Communication Studies major. Her favorite flowers are sunflowers! Caitlyn Bly is a staff member who is an English (Writing concentration) sophomore and a Nursing freshman! She loves everything Disney. Dr. Chad Stanley is an Associate Professor of English and Writing Center Director at Wilkes, who also paints and writes some things. Darren Martinez is a senior English major. In place of a fun fact, he politely requests that all play Shin Megami Tensei IV for the Nintendo 3DS. Emily Cherkauskas is Manuscript’s Social Media and Photo Editor and Co-Assistant Editor. She is a busy sophomore with majors in Communication Studies and English as well as Creative Writing and Women’s and Gender Studies minors. Food and memes are her love language. Genevieve Frederick is a junior with a Double Major in English and Environmental Science. She really likes Bruce Springsteen, which she thinks is pretty unique for someone who isn’t over 50 years old. 75 �Biographies Haley Katona, Manuscript’s Copy/Art editor and Cover Editor, will be graduating in 2023 with degrees in Political Science and English. Her favorite classical piece is Chopin’s Ballade No. 2, Op. 38. jay guziewicz, a rising senior and Psychology major, is our Layout Editor for both the Black Lives Matter Special Edition and the Spring 2021 edition of Manuscript. Jay occupies its time by working, playing Mortal Kombat, or re-watching the 2021 Mortal Kombat movie. It mains Mileena, if you were curious. Jordyn Williams, a senior at Wilkes, acts as Editor-at-Large and majors in English and Theatre Arts. She loves growing plants. Lydia Poer is a graduate in the Maslow Family Creative Writing Program. She loves to keep up with actors - if you name an actor, she can tell you what shows or movies they have been in! Mischelle Anthony, co-advisor to the Manuscript Society, is also Associate Professor and Chair of the English Department at Wilkes University. She teaches and writes poems, and has served on the editorial boards of the Midland Review (now defunct, hopefully not her fault) and Cimarron Review. Rashonda Montgomery is Manuscript’s Co-Assistant Editor and a junior English Major. She absolutely loves fluffy animals. Sam Burgess, Jr. graduated in 1994 with an MBA in Management. He refurbishes computers and donates them to those who cannot afford to purchase one. 76 �Biographies Sarah Weynand is Manuscript’s Executive Editor and will be graduating in Spring 2021 with her B.A. in English. She is so excited to be packing up her books and feline pal, Theo, and moving to Connecticut to complete her Creative Writing MFA at Southern Connecticut State University! Sean M. Schmoyer is a junior and majors in Communication Studies. He was in a speech therapy program for seven years to address issues with speech articulation. After overcoming that he is now a communication studies major confident enough to speak in front of his peers, and on live recordings for T.V. and podcasts. Sheylah Silva is an Editorial Consultant for Manuscript and will be graduating in 2021 with their degree in English. They took their senior quote in high school from Howl’s Moving Castle; now that they are graduating college, they can confirm it holds up. (“I see no point in living if I can’t be beautiful.”) William Billingsley is a Staff Member and will be graduating in 2021 with a degree in Political Science and History. Fun fact: William simply is. Will Farnelli is a junior English major. Fun fact: Will actually can not be killed, and someday will turn into a small wetland. 77 �Art Credits Halloween 2020 Poster Olivia Lombardi 78 �Art Credits ���������������������������������� � ������ ���������� ����� ������� � ����� ����������� ������������������������ ����������������������� �������������� ��������� ���� � �� ������� ­€€ BLACK LIVES MATTER “Beauty was not simply something to behold; it was something one could do.” - Toni Morrison Black Lives Matter Edition Poster 1 Olivia Lombardi 79 �Art Credits MSC & Manuscript Society present a Black Lives Matter digital issue Your voice not only matters; it's essential Submit art, writing, and photography to magazine@wilkes.edu Deadline is 2.19.2020 “Beauty was not simply something to behold; it was something one could do.” - Toni Morrison Black Lives Matter Edition Poster 2 Olivia Lombardi 80 �Art Credits Black Lives Matter Edition Cover jay guziewicz 81 �Art Credits Valentine’s Day 2021 Poster Sarah Weynand 82 �Art Credits sometimes we can only find our true direction when we let the wind of change carry us Deadline: April 2nd, 2021 Submit your work to Manuscript at magazine@wilkes.edu Check Facebook at Manuscript at Wilkes University Twitter at @WilkesMag Instagram at @wilkes_manuscript for submission guidelines Spring 2021 Submission Poster Sarah Weynand 83 �Manuscript would like to extend a hand in thanks to: Deb Archavage, English Dept. Administrative Assistant—You Keep Us Going! Dr. Mischelle Anthony, Manuscript advisor, CEO of “What Slippery Language,” Forever Supporting the Staff Members Dr. Chad Stanley, Manuscript advisor, CEO of “You’re Doing Great,” Also Forever Supporting the Staff Members Jay Guziewicz – InDesign Star, CEO of “Whatever You Need!” The English Faculty & Staff, Supporters and Encouragers of All Who Dare to Submit and/or Join! The Art Faculty & Staff, Supporters of the Cause The Kirby Hall Ghost, we miss you! Follow Us: Facebook: Manuscript at Wilkes University Twitter: @WilkesMag Instagram: @wilkes.manuscript 84 �85 �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Manuscript: Literary Magazine, 1947-present Subject The topic of the resource The Manuscript Society of Wilkes University has been publishing its creative written and visual art magazine, Manuscript, continuously since 1947. Currently, the student-led editorial staff publishes one issue per year, and copies are complimentary. Publisher An entity responsible for making the resource available Wilkes Manuscript Society Format The file format, physical medium, or dimensions of the resource PDFs Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1947-2020 Description An account of the resource The Wilkes University Manuscript is a student-run literary magazine, published by the Manuscript Society since 1947. It is currently published once a year. Individuals may submit creative fiction, creative nonfiction/short personal essays, poetry, photography, drawings, paintings, digital art, and music compositions. Submissions are open to all Wilkes University students, faculty, staff, and alumni. Rights Information about rights held in and over the resource Anyone can read or obtain copies of any of the material for research purposes, but if the researcher wants to quote from the materials, they will need to obtain copyright permission from the <a href="https://www.wilkes.edu/academics/colleges/arts-humanities-social-sciences/humanities/manuscript/index.aspx">Wilkes University Manuscript Society.</a> Type The nature or genre of the resource The Wilkes University Manuscript: Literary Magazine is arranged chronologically. The series ranges from 1947 – present. The magazine is currently published in the Spring only, but has previously been published seasonally, each semester. The series also includes a folder with supplemental materials from the Manuscript Film Society in the 1970s. The folders include a date range which may hold more than one issue of the magazine. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Manuscript, 2020-2021 https://omeka.wilkes.edu/omeka/files/original/f8416b2a53dcb41fe195872a7c35b5cc.pdf f9213c893b2a6d5ae06ef54960fa630f PDF Text Text MANUSCRIPT 2021-2022 -1- ��The Wilkes University Manuscript Society presents Manuscript 2021 - 2022 �1947 Forward With this issue of Manuscript a new publication is launched on the Bucknell University Campus in Wilkes-Barre. Tose who have been responsible for its coming into being earnestly hope that through your eforts and the eforts of those who come afer you that this magazine will develop into a college tradition of which we may all be proud. — The Editors �Mission Statement Te Manuscript Society of Wilkes University has been publishing its creative writing and visual art magazine, Te Manuscript, continuously since 1947. Currently, the studentled editorial staf publishes one issue per year, and copies are complimentary. In preparation for a career in editing, publishing, or creative writing, any Wilkes student is welcome to submit to or work on the editorial board of the Manuscript Society. Staf members critique a variety of creative pieces from Wilkes faculty, staf, students, and alumni. Tis process includes creative workshopping, copy editing, and layout. Wilkes students may elect to enroll in ENG 190B, Project in Writing: Manuscript, for one (1) credit of coursework. Meetings are held during club hours each semester. Monthly, bimonthly, or seasonal campus poetry reading are open to the Wilkes Community and greater public. Te end product is a published, award-winning magazine. ��The Manuscript Society Editorial Board Jay Guziewicz Executive Editor Emily Cherkauskas Assistant Editor Breanna Ebisch Art/Layout/Copy Editor Fen Farnelli Darren Martinez Jordyn Williams Editors at Large Maddy Kinard Jackie Costello Staf Dr. Mischelle Anthony Dr. Chad Stanely Faculty Advisors �Table of Contents Seraphim, an Acrostic - Fen Farnelli Forever - Mya A. Banegas Seasonally Torn - Haley Katona Sedona 1 - Claire Wynne Shoes - Darren Martinez Home at Last - Hannah Simerson A year ago today - Sydney Umstead One Moment in Time - Breanna Ebisch Observer - Emily Cherkauskas A Tale Told of Sapphire Steps and The Aureate Response - Annie Arsenic Ray Of Hope - Sam Burgess, Jr. There are thanks in order - Sydney Umstead losing time - Cas Schiller Astro1 - Tyler Savitski bullat - Darren Martinez Rigid - Haley Katona Games Children Play - Cody Marsh Whitetailed - Tyler Savitski Garden of Secrets - Ashlee Harry horticulture - jay guziewicz April Leaves - Ylonis Grant Poetess of Motion - Sam Burgess, Jr. VIOLET PETALS - Emily Cherkauskas Sketch - Samantha Ann Stanich-Romasiewicz Astro2 - Tyler Savitski Sarah - Mya A. Banegas The Watchman - Maura C. Maros The Glass Clock - Haley Katona Timeless - Emily Cherkauskas Battle Cry - Breanna Ebisch - 10 - 11 - 14 - 15 - 16 - 18 - 19 - 20 - 21 - 22 - 24 - 25 - 26 - 27 - 28 - 30 - 31 - 35 - 36 - 38 - 40 - 41 - 42 - 44 - 45 - 46 - 48 - 50 - 51 - 52 - �Table of Contents (Cont.) Surmonter - Ylonis Grant - 53 Unsetting Sun - Jackie Costello - 54 twilight - jay guziewicz - 56 Grand Canyon 1 - Claire Wynne - 58 No Shame in Defeat - Sam Burgess, Jr. - 59 Treading Water - Maura C. Maros - 60 Valley of Fire 1 - Claire Wynne - 61 The Diet Game: Conditioning the Conditioned Response - Rene Allen, M.D. - 62 Valley of Fire 2 - Claire Wynne - 65 A Brief Description of the Creek Behind the Old Barn on a Hill, where I ofen Wrote when Alone: A Haiku - Fen Farnelli - 66 shape of form of love of - Darren Martinez - 67 Does the Ocean Likewise Fear the Swabby? - Fen Farnelli - 68 glass feelings - jay guziewicz - 69 Is there a way to love me? - Haley Katona - 70 Phototropism - Growth Toward Light - Rene Allen, M.D. - 72 Roses Lightened - Emily Cherkauskas - 74 pwepwepwpe - Darren Martinez - 75 Angry but, a Little Less - Sydney Umstead - 76 Bluebird - Tyler Savitski - 77 Last Night I Cried - Sam Burgess, Jr. - 78 this poem isn’t as quite as important as you think it is - Darren Martinez - 79 Pull the Threads - Jackie Costello - 80 Grand Canyon 2 - Claire Wynne - 81 Prima Materia - Fen Farnelli - 82 - 83 Astro3 - Tyler Savitski - 84 haven - jay guziewicz - 85 Exit - Emily Cherkauskas - 86 Little Braves - Maura C. Maros �Seraphim, an Acrostic - Fen Farnelli Nature’s reverse astronaut, Evicted from the sky, the Earth Pummeled by the Heated form, limbs Intertwined in the ground Like roots tearing Into soil to continue growing Miles deep. - 10 - �Forever - Mya A. Banegas Our love was sof and sweet. I remember how you’d give me fowers before every date. How you’d kiss my forehead sofly in the morning to wake me up. I remember how you would sing to me when I had bad dreams, you always made sure I was never alone. I remember the sweet words that you would mumble in my ear just because. I remember all the many questions you used to ask me just to hear the sound of my voice. I remember how you loved matching clothes with me so that people instantly knew that we were together. You thought it was cute and funny, I thought it was cheesy but you loved it and so did I. I remember the Friday nights we would share laughing and cuddling while eating pizza on the couch and watching a movie. I usually picked the movies and you would groan at all my decisions because you claimed they were cheesy rom-coms but secretly you and I both knew how much you loved them. I would laugh at something funny and I would ask you “are you seeing this” or “isn’t this funny” and you would say “yeah,” but I knew from the tone of your voice that you weren’t really paying attention. So I would turn my head to see you staring at me. I never felt more seen than that. I remember when I would cry you would hold me and tell me everything was going to be ok. And if it was a movie that I was crying for you would chuckle and wipe my tears away then you bring me ice cream and tell me “and this is why I don’t like these types of movies,” then we’d both laugh. I remember how we’d sleep. Me cuddling into your side or falling asleep on your chest then waking up to you on mine. I remember how you’d laugh at all my jokes even if they weren’t funny because you thought that I made a good attempt. I remember how much you supported me in everything that I did. How you celebrated my wins and helped me through my losses. I remember you being nervous to meet my friends and family because you wanted them to like you. You made my mom smile when you ofered to help her cook or clean. You made my dad laugh when you told a joke or made fun of me. You made my heart melt when I saw you playing with my siblings. I remember being told, “he’s a good one” and I replied, “I know.” I remember the fghts and arguments we used to have and how you would leave. But then you’d come back and say “can we talk about it?” I remember no matter how many times I pushed you away you pulled me closer. I remember how you’d give me my space when I needed it but how you’d also recognize when I needed you. I remember you telling me “we never go to bed angry” so you made us discuss all our issues and problems before bed. I remember when I told you that I needed space and I remembered how you looked when I said it. Your eyes instantly flled with tears and you sat down and asked me “Is there anything I could do to fx this?” I told you “no” because it wasn’t you who needed to do the fxing, it was me. You didn’t believe me at frst, you claimed that that was something people always said. But I looked in your eyes, smiled, and kissed you. You asked me if I loved you still and I said “It’s because I love you that I can’t aford to bring you down with me.” Every word of it was true. It would’ve been selfsh of me to - 11 - �let you fade with me. But I wanted to be selfsh for one more night, so I asked you if you could stay and you smiled and said “I wasn’t planning on going anywhere”. Before we closed our eyes to drif of to our alternative realities you turned to look at me and asked one more question “How long will it take for you to come back?”. I looked at you with tears spilling out of my eyes, “I don’t know love. But I promise when I get better, it’ll be you and me forever.” You smiled and we held each other for the last time that night. I remembered all the text messages you would send me every morning. I remember the voicemails you’d leave me telling me about your day and hoping that mine went well too. And if it didn’t you’d say “and if you didn’t have a good day then I’m sorry love. But just know better days are on their way, because where there is a storm there’s a rainbow too. I know that was cheesy but it’s true.” then you’d do that I laugh that I love so much. But slowly the messages and voicemails started to decrease by the day. And it made me sad but it made me happy as well. It meant that you were moving on. No matter how much I love you it would be selfsh of me to ask you to wait when I didn’t know how long it would take. You’d only end up texting or calling if it were a holiday or my birthday and you would even tell me if something big had happened to you. Like a job promotion or booking a fight to your dream vacation that you always wanted. I know that this is taking a while. And love I’m really sorry for that. I know you have a diferent life now and I hope that you haven’t forgotten about me because I haven’t forgotten about you or the promise I made to you that night in my apartment. It’s been a few years since that night. We both have become accustomed to “adult life”. I went to our place, the place where you frst asked me to be your girlfriend and we spent every anniversary thereafer that. I sat down and ordered a nice glass of red wine, it was sweet and savory. I ordered your usual, I don’t really know why since I hate steak but I guess it made me seem closer to you even if you weren’t there. But you were. I notice you sitting by yourself at a table near the far end of the deck by the water. The fairy lights above you were the only source of light that I got since it was dark out, so it was hard to tell but deep down I knew it was you. I waited for a bit to see if anyone else would sit with you or if you were alone. No one came. So I grabbed my wine and my plate and made my way to your table. “Is anyone sitting here?” you looked up at me in shock, as if you couldn’t believe I was there. “No. All yours.” Is what you said next. We talked for a bit and caught up with one another on our lives. Then you asked me what I was doing here. And I told you that I remember how we used to sit at that exact table year afer year drowning in laughter and love, I told you I wanted to feel that again. Then I asked you what you were doing here. And you said “Waiting for you to show up.” I don’t think I ever smiled harder than I did that night. “Well I told you that I’d come back didn’t I.” We smiled and laughed. By the end of the night, we kissed. And just like that, it was you and I again. - 12 - �Now, look at us. Married with kids living the life we both had dreamed of. No matter the challenges that we faced, the hardships that we went through, or where life took us, I always knew that we’d be together in the end. Because you and me, babe you and me were always forever. - 13 - �Seasonally Torn - Haley Katona with you, somehow I felt sof despite the rest I felt the fush of red against my own skin from the quiet of being stared at and every part of me wanted to embrace you like a fower opening, petals blooming I wanted to appear to you as if I was the sea on a summer evening even though you knew I was the sea during a summer storm crashing and striking the fragmented rocks that sharpened and caressed the shore you made me want to laugh grabbing a hold of the door and swinging in between in and out, in and out and stick my tongue out as I ran away while you tried to pick me up I wanted to pick apples for you, tossing those bruised, away and sitting on the ground, hair fying in the wind to tug on your sleeve and pull you down to wrestle in the grass, in the pure sunlit green smile on top of you, like you were the clearest thing I’d ever seen I wanted to hear you teach me anything you had up in your brain, your treasure chest of years that I had not been known clinging to your shirt, in the sof wind of may I don’t think I would’ve ever let you go - 14 - �Sedona 1 - Claire Wynne - 15 - �shoes ---- - Darren Martinez I give Greg a ride home from his job. One Thursday In A Sea of Them, that I’ll ever have of. Greg takes a hit from his vape. He empties the bin to the bathroom. It smells like wet cat. Greg and I were friends, once. I don’t know what we are now, nor care. I give him a ride Because of that Once. Onceness. Debts repaid. Ten marks were lain in the cupholder. Obviously not a cup, but held all the same the brain holes up in the body but my thoughts seem to dance above raw and bubbling, full of a cruelty too much for my body I am here, me, Darren. Smiling laughing absolutely unaware. - 16 - �It’s like my soul checked out Afer I fell on pavement when I was 13, Slipping out through a crack in my skull I look at the road. I look at Greg’s shoes out of the corner of my eye. - 17 - �Home at Last - Hannah Simerson Lately, I have come back home. It has been so long since someone has listened. Truly, wholeheartedly listened. He begs me to talk to Him—about my fears, my goals, my desires. He wants to know. He opened up His doors for me once again. He called me home afer I lef and found a new one. He made a bed for me and kept me warm. He lef my room the way it was before I ran away. He fed me and poured His love right into my heart. He held my head high when I was ashamed to have run away. He said to me, “You came back and that makes all the diference.” - 18 - �A year ago today - Sydney Umstead A year ago today I was still tasseled within your grip The smell of cofee One of my favorite books that I just started reading The hold you had of me, the pain in my face everytime our eyes met A look I once defned as love, but now known as fear You stripped me of a soul of my own I became your walking pradagee A mold of what you defned as a good lover The person I will never get the chance to know, a version of me that has withered away because of your actions I will never know the plan that was made for the girl in that photograph. - 19 - �One Moment In Time - Breanna Ebisch One. A blink of an eye. Two. Your fngers wrap around mine. Three. Is this really happening? It is, it is, it is. Four. Gazes locked, nothing by love. Five. Lips colliding, making sparks fy. One. A blink of an eye. Two. Your fngers wrap around mine. Three. Is this really happening? It is, it is, it is. Four. Gazes locked, nothing but despair. Five. The end has come, this is the fnal goodbye. - 20 - �Observer - Emily Cherkauskas - 21 - �A Tale Told of Sapphire Steps - Annie Arsenic It started with a dinner, plain and simple. Our meal was cooked and fresh, a palette pleaser with no equal. And paired splendidly with a bottle of our fnest drink. But in good company, cups soon run dry, and drink must be reflled. I stood, as best able at the time, and ofered to grab some more. I threw my azure cloak around my back and fipped open our cellar door. I grabbed a pair of candles for light and stepped into the dark downstairs. I fumbled down the frst few stairs and almost lost my stance. The hot wax punished my drunkenness as I swayed it onto my hands. In my stupor, I reached for the rail, only for my elbow to greet a smooth stone wall. Peculiar of course, because I have no stone wall. But in the moment, unnoticeable to an intoxicated me. And down I went. Afer some ten minutes of walking the steps, even I could sense something was odd. I looked out the window and saw in the darkness a range of imposing indigo mountains in the distance. Between them and I, a thousand pillars, wrapped in spiral sets of stairs. But, what fresh hell was this. A window? Mountains? In my basement? It must have been the wine in me, something I’m sure. “I’ll stand perfectly still.” “And I will not move.” Such thoughts comforted me, let me hope I was dreaming. But this was no make-believe. This place, I could smell it, feel it. The cool almost-breeze as it crept up the staircase, which spun and spun under my feet. As I looked around myself, I found my staircase quite like the rest around me. Even behind me, and as up as I could see. I had to understand. So down I kept, being more aware than before. Small markings in the slate walls became apparent, short notes in a script totally unintelligible to me. The window I looked through was - 22 - �repeated down the stairway, giving me occasional glances at this odd world around me as I made my descent. In passing, I almost thought I could see candlelight on some of the other stairways. I was almost at my wake’s end and the bottom still eluded me. When my wax had burned nearly all out, I turned my self around. I shufed back up those sapphire steps for as long, what felt like longer, than I had gone down them. My feet were tired and my spirit ached. The stony hallway felt colder as I climbed and climbed up as if it were to demand I stay. I could not give myself to it. And at long last, partially to my surprise, I came back to my door. I fell through it onto the warm foor of my home. The guests crowded around me and I fell asleep. From what I hear, I was gone for not even a minute. An Aureate Response I heard your footsteps patter on the gilded stone, a rhythm new to break the silence that’s my home. I heard you walk and saw your candle’s light glowing from afar. I tried to see you through the windows but you were too far and focused on your descent. What business you had at the bottom I would never know, because you turned back before you had a chance to show me. I wonder sometimes about the travelers, on these glittering golden steps they always climb. Why not come down to the bottom, is there something they see that I can’t? I’ve lived my life on this foor, and I’ve yet to fnd the trouble that seems to scare them all away. Countless pillars in my sight, no end I see at all. But as the glowing light of candles lowers toward and toward me, all are snufed out or turned back, which I cannot tell. I should learn to look away with both my eyes and hopes. These steppers will not reach me even if they come close. I make peace with my quiet because there is no other way. I wait for the faxen light of another candle, and I wait for another day. - 23 - �Ray Of Hope - Sam Burgess, Jr. Peeking just beyond the clouds, Across the mighty frmament. There is something to behold, I feel it must be heaven-sent. Fighting like a warrior, Whose maiden’s life depends on him. It struggles on quite fercely, While sparkling like a precious gem. Never wavering at all, A splendid sight for one to see. Climbing higher in the sky, In life it is the treasured key. What is this that shines so bright, And allows you and I to cope? The answer is known to all, It is, of course, a ray of hope. - 24 - �There are thanks in order - Sydney Umstead All that summer held used to be a mystery to me I was ignorant to what it felt like to have the sun illuminating of your back Surrounded by warm air and fts of laughter Coming of age, for the frst time in my entire life The sun brightened everything And for the frst time, I realized what it felt like to be alive. - 25 - �losing time - Cas Schiller every day i grow up a little more/i think the bags under my eyes are darker than they were before/and all the girls i went to school with avoid looking at me/sometimes i wonder what they see/sometimes i wonder what you see/will i remember today in six months or is it already gone? why am i trying so fucking hard these days? why am i never wrong? i want to sleep for the next sixty years but i’m carrying her banner and i’m already here i’m not scared of anything. maybe i could use a little fear. i’m not scared of anything. i can’t remember two weeks ago. i’m not scared of anything. my hands are shaking again. heartbeat at a hundred ten/i hate when you ask if i remember when/summer looming heavy starting to afect the tides/and i think i might know why/and i can’t remember why i’m sorry. why are you still here? ‘cause this will never make sense. i say all these words but in the end it’s nothing but pretend. are you a monster too? what’s underneath your skin? is it ants or an anthem? unoriginal sin? - 26 - �Astro1 - Tyler Savitski - 27 - �bullat ---- - Darren Martinez I’m here. Quite alive, I assure you. Unchanged from the last time we met. Though much has come between us since. The world greys, with a wintry beard, it scratches lines for planting in the neighbor’s feld. plants sprout from pods. upon tasting air, they curl up spiders hit by a newspaper wound tightly you smile blighting the earth with light she is drenched, with too many privates not enough towels the tub spills. rocking rolling, the earth’s task since it became Earth. the asteroid that rocked their surface full of your grey matter, and mine too. her crust bubbles like acne pustules life spills forth in the absence of the reaper - 28 - �when the reaper smiles, and lets his Jamaican accent ring forth, I will not smile back. I am unchanged from the last time. My facial structure is a little fatter sure, The birch beer tap a little drier. My pants a little tighter, My hair a little Worse. A bullet in my clavicle, a coupon that the bodega owner honors, but never takes. - 29 - �Rigid ---- - Haley Katona I put people on pedestals too ofen I forget they’re human, born of blood and skin I instead trace my fngers along the edge of marble and ivory in the ridges of my created memory so breathless is the birth, so dense is the destruction, quick in its own life careful not to dirty the white snow to distract from the blood caked on the foor beneath not your shoe, but mine - 30 - �Games Children Play: November 1996: Twelve Years to Fatherhood - Cody Marsh When you’re a kid, you don’t think much of the history of a place. Ofen, the only thing worth knowing about it is the quickest way to leave. And in school, you learn about state history to some degree, but only as much as will be on the end-of-year standardized test which determines whether you’ll move to the next grade, like who wrote “Texas, Our Texas,” which you’ll remember because you share his surname and make up a story that he’s some great grandfather of yours. No one ever talks about the fact that, if you’re in the heart of East Texas, you’re living in Indian country, and so much has transpired here over the millennia—things you’ve been told only happened in other places—and that the land you walk, and the pines and nettle and chiggers, have been nourished by the spilling of blood. Dad took me hunting on leased land in Jeferson County. He and Uncle Roger, my mom’s brother, tended to the small acreage all year leading up to deer season, cutting away underbrush to create shooting lanes, ensuring the box stands were in decent enough shape to hold a grown man’s body weight, placing dried kernels of corn in strategic places so the biggest bucks would become accustomed to grazing in a bullet’s path. Hunting whitetail is a religion flled with sacraments such as these, all pointing to the frst weekend in November—a holy time—when the general season begins and something primal comes alive in its believers. Practitioners become the new Indian braves on vision quests to touch that spiritual aspect of manhood which is seemingly activated only by acts of brutality. I would become such a brave when my frst kill was bagged and tagged. Before the sun was up, Dad walked me through the thicket from the clearing where we’d parked, accompanied by the beam of his Maglite. He carried a Maglite everywhere he went and had several more around the house in places he deemed handy. The Maglite, he said, was the fnest fashlight known to man, and heavy, and versatile enough to be used as a weapon if necessary. And it could not be crushed no matter what you ran over it with, a twenty-six-thousand-pound Mack truck included. He’d tested this, and the Maglite was indestructible, like we were. The fashlight beam bounced of the brush, exposing a walkable path to what would be my box stand. I barely stood waist-high to Dad, and both of us were fully decked out in camoufaged, insulated coveralls to beat the early morning chill, and both carried rifes—he’d outftted me with a Marlin Model 336, a leveraction 30-30, forever a favorite gun for youth hunters. A few summers before, it had damn near blown me backward over the hood of his truck when he took me down to the river bottoms to shoot at cans for practice. I knew for sure my shoulder would turn solid black from the recoil, but there wasn’t a mark on me when I inspected the impact site. This day, I’d be shooting the big rife from an elevated place, which would make aiming easier, and the rail of the box stand would provide the needed steadiness; I could rest - 31 - �my elbow on it, bracing myself as he’d taught me, and wouldn’t mess up the shot. Missing my shot, if I had to take one, terrifed me. How much more useless could a boy be than if he could not hit his target? So I practiced and practiced and could shoot the mouth out of a Pepsi can from twenty yards away, just like my Dad and Uncle, the sharpest marksmen in Angelina County. Uncle Roger had once slit a buck’s throat with a .22 long and lef no holes in its body, salvaging every morsel of meat. That’s the story I remember anyway. And Dad had been trained to shoot by the United States Marine Corps, arguably the most expert killers on the planet. My stand was a forest-green-painted, plywood structure, with a ladder crudely fashioned from twoby-fours, and a roof slanted to keep rain rolling of the back, just in case it started coming down when my trophy buck walked up and visibility was key. Because my legs were too short to reach the frst rung, Dad hoisted me up to it, and I took it from there. A few steps up, and he handed me my rife from his place on the ground. “Now make sure there’s no yellowjackets in there with you,” he said as I cleared the stand’s threshold. Yellowjackets were some of the most feared fying things of my childhood imagination. I’d seen Pawpaw stung by many while he worked in the woods cutting timber to be taken to the sawmills. Our town was altogether a timber town, and everybody worked in logging at some point in their lives, and yellowjackets seemed to be the tiny, crazed creatures who could end a logger’s career—and life—in minutes. My respect for them was healthy, if not exaggerated. “Yes, sir.” The bill of my camoufaged cap drifed down over my eyes, obscuring my vision. I squinted hard and peered from underneath it to check my surroundings before settling down on the permanent bench the stand’s builder had installed. “And check under the bench. You don’t want ‘em gettin’ ya in the ass.” He was right. I didn’t want that at all. When my inspection was complete, and no yellowjackets, spiders, scorpions, or any other critters were found, I sat on the pine bench and adjusted my bulky clothing to get comfortable. “If you see somethin’—and you will—don’t hesitate. Put your scope on him and fre, no secondguessin’.” “Yes, sir.” “When I hear the shot, I’ll come see about ya, so don’t shoot me comin’ outta the bushes.” “Yes, sir.” I could have pissed my coveralls as he walked of toward his own hunting grounds, a spot he’d cleared between two conjoined oaks, where he’d be hidden behind their tangling trunks. Being tough is a lot easier when someone is watching, and pretending to want to kill a deer was being tough. In truth, I couldn’t imagine anything I wanted less than to shoot a deer, but it was a rite of passage for we forest dwellers, and I’d heard stories of Indian hunters eating the heart of a fresh kill to honor its death and partake of its life, and it seemed like something that had to be done. To encourage myself in the pursuit of my game, I envisioned myself standing over the carcass of a massive, downed twelve-point buck, its pulsating heart-thumping between my clasped hands, my face covered in its thick, warm blood—war - 32 - �paint. This image lasted only a few seconds before I began praying in earnest that no deer crossed my path that morning or ever. If I never saw anything, then I wouldn’t have to kill it, because missing—I knew this to my core—was not an option. Maybe an hour passed, and the sun began its ascent above the forest canopy, but it was still dark enough to have to squint to see. I’d spent the past hour daydreaming of baseball and being warm in my bed at home. A rustling came from a stand of brush to my lef. I had shot plenty of squirrels and birds before, and it had never dawned on me that they might be conscious creatures. A deer, on the other hand, being a much larger animal with big, expressive eyes, was another thing. I hoped this noise was a group of rabbits playing, or anything other than what my gut knew it was. Out she came, one hoof falling gracefully in front of the other, snifng and grazing for corn on the cold earth. My heart rate must have tripled at the sight of her and the thought of what was coming next. Dad’s voice played over in my mind— “No hesitation”—so I tried hard to steady my breath, which only seemed to make it heavier. I could hear the blood fowing around my ears. As quietly and slowly as was possible, I raised my rife, propping my elbow against the splintery wood railing, which made an almost imperceptible creaking sound I feared (and inwardly hoped) would startle my prey and send her running. But it didn’t; she remained there nibbling at Dad’s corn. Peering through the rife’s scope, I placed my crosshairs directly behind the doe’s shoulder, where the bullet would tear through her heart, and fred. A perfect shot. The doe’s back legs dropped to the ground and seized violently, her front legs holding her weight. She pushed herself back up into a running position, then lunged toward the tree line. But her attempt at escape was a stumbling race against death, as all four legs began to fail her. Her eyes. I seem to remember them, big and black and fooded with fear, though there was too much distance between us for that memory to be true. The wet blood stuck to her hide, turning it dark as the soil beneath her. Still, she pushed toward the trees hunting a place to die. Dad was making his way to me by the time I reached the forest foor. I heard his boots clopping against the brushy earth. What my next move should be was not clear to me, so I waited by the base of the box stand until he joined me there. “Did you get one?” He asked. “Yes, sir,” I said. “A doe.” Hearing about my kill, pride radiated from his eyes, and his skin turned beet red between the cold and the joy of the moment. His only boy’s frst deer—like it had been his own relived. “I’ll be damned! Hell yeah, son,” he said. “Where’d she run to?” I showed him the spot she fell in, and he inspected the blood on the dried oak leaves, sticks, and dirt. “Clean shot, boy.” He could tell by the blood’s color that I hadn’t hit her in the gut. Of all the possible ways to make a bad shot, gut shooting an animal is the worst, because then the blood is tainted, and the meat will be ruined if you ever catch her. But a gut-wounded deer may never be found because they usually have enough strength lef in them to run faster and farther than you ever could. But my shot had been perfect, and the doe would - 33 - �be easily tracked, her bright red vitality serving as our markers. We found her not even a hundred yards from the clearing laying beneath a crooked oak. We watched for signs of breathing but saw none. “I think you got her, boy.” “Yes, sir,” I said. “Keep your gun on her just in case,” he told me. I raised my rife to waist-level, not sure that I could shoot again if I had to, if she was only laying there playing possum and jumped up to maul Dad and me for our crimes. I obeyed, aiming my rife at the top of her head. Dad took the yellow-covered Case Trapper from his pocket and opened its longest blade. Dad’s knives were always sharp enough to shave with, or use to cut a throat, which would be this one’s purpose today. “Shit,” I heard him say half under his breath. “What’s wrong?” I asked. “Boy,” he said. “That ain’t no doe.” “What do you mean?” “It’s a button buck.” He scratched under the bill of his cap, as though deciding what he should do next. “Hell, let’s get him skint and outta here.” I hadn’t seen the young buck’s antlers just beginning to protrude through the top of his skull. It wasn’t exactly an illegal kill. A licensed Texas hunter is allowed a certain number of antlerless deer each year, but those are reserved for does like the one I thought I was shooting. By defnition, a button buck is less than six months old, and killing one is frowned upon by almost everyone in the woods, and certainly by my Dad who had been so proud of my frst deer until that moment. He placed the blade of his Case to the fawn’s neck, slicing it all the way across. This ritual, some say, bleeds the deer out. To others it’s a spiritual act, releasing the animal’s soul back into the land. For Dad, I think it was just something he did because he was supposed to—a habit and nothing more. The fawn feld dressed and hanging by its slit neck from a hearty pine, Dad’s blade skinned, quartered, and deboned my victim without another word. - 34 - �Whitetail - Tyler Savitski - 35 - �Garden of Secrets - Ashlee Harry Death and decay These are the words used to describe me now. I can no longer age with the surrounding world, that was once my home. I foat in my temporary grave as it drains the remaining life from me. The one that did this to me stares down at my fnal resting place. The scent of fresh dirt that should have flled my nostrils was lost to me from the bloody, metallic waters. I’m lef to wonder if anyone will know of my demise. Will I be missed or will I be scrubbed from their memories? My grim reaper gives me another look once his work is done. My body is slowly pulled from the water’s clutches and dragged in the woods without care. The reaper uses his scythe and I am no longer one. My blood waters my grave instead of boiling with rage in me. I should have listened to the little voice in my head, when the man I trusted revealed his true intentions. - 36 - �He planted the belief for love with his fowery words, to only reveal his danger coated thorns. Without a second glance, he covers me in the earth – I will be his secret, but soon will be revealed, For the world will recreate me - 37 - �horticulture - jay guziewicz i was partially formed when i met you, skin growing over my muscle in broken patches from where i peeled of the parts of the last girl who said she loved me, threw those pieces to the dogs to try and make room for myself. but you came along, told me you loved me, and my raw patches became lakes for you to swim in and my new skin cracked to make way for the blooms of your favorite fower. i made myself into the image of things you loved, in hope i would become one, in hope that you would not want to leave. but you did. you set the garden growing out of my joints on fre, drained the lakes i built for you out my own blood and tears and once again i found myself lef raw, patchy, broken. and now i begin again. i peel of the skin i grew for you - 38 - �and let myself greet a new world tender and sinewy, preparing to shape myself into gardens and lakes once again, this time for myself. - 39 - �April Leaves - Ylonis Grant - 40 - �Poetess of Motion - Sam Burgess, Jr. Gliding cross the dance room foor, Was someone I did adore. Swaying like a branch under the Force of a windy day. Sweet fragrance from her perfumed lotion, Gave me an exciting notion. But I hoped, she wouldn’t approach, For I didn’t know what to say. Rhythmic feet and dressed divine, How I wished that she were mine. Such devotion to an Art, I had never seen. Imitating a wavy ocean, Was this Poetess of motion, A delightful smile, all the while, With warmth and senses keen. When the music stopped my feet were tapping, And everyone did join in clapping, As she began to leave and out the door, Did make her way. Did she take some magic potion, This Poetess of motion? Whether she did or whether not, She certainly made my day. - 41 - �VIOLET PETALS - Emily Cherkauskas “Confused, faking, invalid.” “A phase—a soon-to-die stage.” “Nothing more than a plastic fower,” Spews the venomous doctrine of normativity. The system is said to guide me to the other half. Unfortunately, it appears that I must be lost. Or blind. Or, unfnished? Something isn’t ftting in, But alas, I am caged within the confnes of this lonely world. Is this limbo a supposed form of happiness? Is this a form of liberation? This conformity? This gray, bleak plane—which, suddenly, Is broken by a spirited call of joy. Locks and chains refect the sight Of violet petals falling from every which way, Yet unite together in the wind, leaving a path for me to follow. It might be treasure, it might be nothing—but it is my nature to go forward. Those violet petals will always fy, And only fall to grace the ground Of the once-blocked path I walk through now, Far from compulsory standards that my heart rejects. The sunset rays shine through darkness, Warming my cold and lost soul, Bringing me hope for my once-lost future, As I march toward my desired freedom. - 42 - �As the sun sets, my once-clouded mind awakens. The endless scarlet and orange skies call out, Gartered with the pure white mist of peace, Kissed by the striking felds of violets below. The warm and wondrous landscape Opens its glowing, glistening arms. The opportunity to break free stands before me, A sign of life for the woman I shall be. As I watch the violet fowers blossom, I sit and fnd myself where I am now. The fact that I am me, that I exist, Is not a miracle; it is mere nature. - 43 - �Sketch - Samantha Ann Stanich-Romasiewicz Biting my bottom lip, tasting the dull chapstick lef by your quick kiss, your grey eyes searching, pretending not to know what lies beneath my rising sweater, silent inhales, though you are an expert at shivers and groans that overcome me, you are never lost in my curves, always knowing where your touch should land, always knowing that we can’t, shouldn’t, talk about the sweat stuck to the back of our necks as fngers trace outlines of our shapes, grasping at any available skin, pulling at hair, crashing into each other, tasting ecstasy and salty skin as we fall back onto guilt-stricken sheets that hold the secrets confned in my memory, only to be shaken like an Etch-A-Sketch as you pull me violently, amnesia washes over me, erasing any sign of another love who is mine but not fully one with me as I have given myself up to you once more, falling asleep in the wake of the destruction we have become accustomed to. - 44 - �Astro2 - Tyler Savitski - 45 - �Sarah ---- - Mya A. Bagenas Her name was Sarah. She was my best friend. She wore bright colors and her favorite season was spring because “that’s when the fowers would start to bloom” she would say. She was everyone’s golden child. There is no true defnition of a person so perfect but she was. She made all the parents say why can’t you be more like her and all the kids either wanted to befriend her or hate her. She was the sweetest person you would ever meet and her voice sounded like a lightly feathered pillow. She always wore a lavender scent, it matched her so well. And her smile. That smile that everyone craved to see because it made their day brighter. That smile never lef her face no matter what happened. That smile that so easily hid the cracks that laid deep within her soul. Her name was Sarah. She was my friend. She wore grays and blacks, her favorite season was winter because “it’s cold and harsh just like the world” she’d say. She was troubled. She never listened to anyone anymore, she didn’t care for anything either. She made all the parents question whether their kids should be around her or not. And kids stood away, those who weren’t troubled like she was anyway. She rarely spoke. I almost had forgotten what her voice sounded like, and how it defnitely would not ft the girl I knew today. And her smile. The smile that I looked forward to every day, was gone. No matter what happened that smile never came back. Now everyone was seeing what Sarah’s smile had been hiding. Her name was Sarah. She was my friend. And over time I began to feel the weight of what being her friend meant. It meant waking up in the middle of the night to pick her up from her one-night stand or to get her from jail. It meant worrying 24/7 whether or not that would be the last time you receive a call from her. It meant babysitting her to make sure that she doesn’t do anything that can’t be taken back. It meant losing yourself and losing all connections that you have to the real world because you rather do that than lose your friend. It meant telling her that this was the last time you would bail her out, or the last time you would pay for her rehab because you can’t take it anymore. Because it is taking everything out of you physically and mentally. It’s watching her eyes fll up with tears because she’s fnally realized that she has lost everything. Her name was Sarah. She was my best friend. She was a sweet girl that was tainted by the cruelness of the world. She loved bright colors and warm seasons. She was kind and it was hard not to love her. But she had demons and it wasn’t her fault. She didn’t ask for the life that was given to her, to lose her dad to cancer one year and to lose her mom to an accident the next. It was hard for her. And even afer everything that happened, all the fghts between us and the things she’d done I still loved her. Because - 46 - �we had no one but each other. I remember how much time we used to spend together. Going to the park, chasing each other, playing soccer, and picking the prettiest fowers that we could fnd. She loved picking fowers. And now I pick them for her, sitting with her every Sunday giving her the rundown of all the latest gossip. Her name was Sarah. She was my family. And I wish that I could see her smile just one more time. - 47 - �The Watchman - Maura C. Maros Safety latches mounted on cabinets, monitors listen for every breath. Eyes never far from catching a tragedy, table corners and stairs are worthy opponents. Safety cones line the end of the driveway, training wheels removed. Helmets fastened, peddle to the end of the block, just out of sight. Watch for speeding cars. Bus stop, good-byes, yell, I love you. Wait for school nurse to call, hold your breath. Exhale as she runs down the block, back to outstretched arms. Years later, a car horn beeps, wave good-bye from the doorway. The words Be careful bubble in your throat, door slams close. Silence echoes through the house, imagination plays cruel jokes. The sound of a motor approaches, front door slams with I’m home. Resist the urge to gather her onto your lap. A game of tug-o-war ensues, the trophy- independence. Curfews negotiated, twilight sleep wins until stairs creak. Her shadow lurks in bedroom doorway, Hi, Mom, kiss her forehead, smell her hair. - 48 - �Toss and turn sleepless with worry, college looms like a predator. Waiting to take her. No more slamming doors, announcing her safe arrival home, She must go. Long for her to come back to me, even if she is only twenty feet away. Arms ache to pull her close. - 49 - �The Glass Clock - Haley Katona sitting near the crumbled ivy of seven months’ neglect it rests in the sunlight refecting back to me and in the smoke of my breath, it keeps me awake in the violet night clicking, ticking, until it feels right and I don’t have the correct time set it’s all relative it’s all lack I only see mornings because of the glass I feel 4:04 in the afernoon in my chest sitting near the crumbled ivy and it counts down the wrong hour or one that does not yet tick until the shadows crack - 50 - �Timeless - Emily Cherkauskas - 51 - �Battle Cry - Breanna Ebisch A battle cry. That is how I entered the world. The piercing cry that signifes life, that I was breathing, that brought tears to my mother’s eyes, was a battle cry. Because the fght began when I took my frst breath. But from that moment on, my battle cry wasn’t heard by those who needed to hear. Yet, I push forward and my voice is joined by millions of women from across the world. We have no other option. Our rights are stolen away with simple signatures on legislation. Our earnings are still glaringly unequal. Our bodies are seen as beautiful, as a vessel to create and carry life, but are damaged by violence. And when we scream, the air full of battle cries, whether in triumph or fear, we are ignored. Ignored, silenced, defeated. What will it take for someone, anyone, to notice our endless struggles? A war? A revolution? I’m afraid it’s already begun. - 52 - �Surmonter - Ylonis Grant Being in the same room was stifing, thank god I won’t be trifing. I’m sure in your eyes I’m still a prize, a prize? The anxiety, the guilt, the blade was pushed to the hilt. I refused to make eye contact, it was like I was in a contract, and I couldn’t escape. You demanded attention and I fgured we could stay past collecting our pension, but there was tension. Thinking about it makes my skin crawl. Being in that situation— I no longer ship us together, now I feel light like a feather. Anticipating everytime you would touch me, tensing when you approached, too close, too close. How do I react? Do I say stop? Do I say sorry? I became unresponsive, I froze. Let it pass, let it pass, this can’t last. I didn’t realize how much my past afected my present. I don’t hold any resentment towards you. Had I known, I would have healed more, I’m going to heal more. I don’t want to feel anymore. I don’t want to see it now, but I’ll see more. Please let me go, I’m not the best you’ll ever have. I don’t want to feel trapped, I want to be free, free from the pain, from the trauma, the anxiety. I want to start again. I want to be in control, I’m giving back the heart I stole. Forgive me, for a rose has its thorns and I can’t help but use mine. You can no longer call me yours and I will no longer think you’re mine. It’ll get better with time. I won’t tell you any more lies. I sincerely apologize. A hopeless romantic, who feels undeserving, who’s still understanding the concept of romancing. - 53 - �Unsetting Sun - Annie Arsenic - 54 - �Today, of all days, I put my feet toward the unsetting sun. Afer deliberation day in and out. And so I marched forth to that deathless light. The cold of my breath projects fog to my visor, and I cannot see but a meter. The fog protects me from its damned stare, but no haze could ever fully obscure its light. That light which hammers down upon me as the snow crackles to my feet. The light which the frost itself returns to my eye from below is like the refection of a mirror. How human we were to imagine we could travel beyond its touch. How arrogant, to imagine we could live without its warmth. Through countless hours of travel I wade, hot on its trail. Days(?) perhaps, pass me by as I go. The grass seen though frostings of ice loses some of it’s green. The cold now warms my feet as it licks its chops, hungry. I cannot say I am not surprised; I cannot say I am not afraid. The sun has not set. On my tenth day, time returns to me. The passing of each second is etched into my mind. My mind, like a perfect clock. My legs walk in exact rhythm to each moment. I know when each breath, and the next will hit me, and all thereafer. I know of each minute, a hundred twenty steps. I know of each hour, that same tree, twice. I know of each day, a day of light. The grass creaks like now as it yellows. I wonder if it is so behind me as well. My mission is one of good. Why must it be this difcult? The cold has brought me to numbness, and I am warm for just a moment. I bask in it for twelve-point-three-nine-six seconds to indulge my aching body. On my twenty-eight-thousands-fve-hundred-twenty-third minute, it almost blinded me. Fogged no longer was my visor, for ice had formed where breath once laid. I’d hoped it ofered the same protection, but in its solidity was its weakness. The ice obscuring, protecting, my eyes began to crack. And then it fell. Now in my visor, there was a hole no smaller than a penny. A horrible portal through which that wicked sun could stab and jarr my eye! I must move forward, but this pain is too much to bear, I must stop it. My lef leg is still, and time has no meaning. I knew trusting the warmth would undo me. And now it has swallowed me whole. Aside from my coldened leg, I’ve given four fngers to the cold, if the two lost aren’t to be counted. If only I could reach this sun, I would be healed. I could stop it. Why does it torment me? Why does that tree echo back again? I’ve forgotten the time. I can’t move. The ice has become thick over my visor. The world is dark. My mind is cold. My body is cold. I can still feel the light around me, even without my eye to see it. The sun still stares down at me, cobalt rotten thing. I can see it with my eyes closed, with my mind in silence. I can see it with every fber of my being, shining demonic rays of hate. I want to move further, but the ice keeps me still. - 55 - �twilight - jay guziewicz i’ve been in love with sunsets ever since i was a child, the beginnings of night started with the most beautiful colors i’d ever seen before. pennsylvania hills fooded with oranges and purple, gentle pinks fading into dark night skies. i would try to draw them, laying on the foor, torn up crayola crayons scribbling on scrap paper pulled from trash cans. i saw the most beautiful sunsets down in the south, during that summer, the summer i lived on a bus the summer i felt the most lonely even though i never had a minute alone. that summer, my phone camera roll was flled with pictures of the sky instead of other memories, hazy purple in missouri tiger lily orange in texas. now, looking at the sky from my work parking lot, i think of those color in the south, talk myself out of driving sixteen hours to you, and your sunsets, - 56 - �the colors you must see tucked into the mississippi lowlands. i wonder how similar our skies are, if we see the same palettes or if yours are more bright, and i wonder if i’d ever see them, with you, together, our hands tucked into each other, our faces illuminated by the evening light. - 57 - �Grand Canyon 1 - Claire Wynne - 58 - �No Shame In Defeat - Sam Burgess, Jr. There is no shame in losing, No matter what they say. It’s not the end of the world, And it happens every day. One must not take defeat, As a sign that all is lost. Just lick your wounds and carry on, No matter what the cost. For defeat, you see, is a cleanser, That clears the clouded mind. It enables all to start anew, And leave the worst behind. So, if you’ve hit rock bottom, And you’re full of endless doubts. Always remember, and never forget, It’s where you go from there that counts. - 59 - �Treading Water - Maura C. Maros Arms ache, paddling to stay afoat. Head heavy, struggle to remain above water. Weeds like fngers encircle ankles, in murky depths below, Slipping below, trying to surface, sun penetrates the dark A beacon, follow the light, breach the fat veneer. Gasp for air. Sun blinds, shoreline on horizon. Eyes seeking, a vest, buoy, boat- any lifeline Sinking again, clinging to hope, kick, breath, propel forward. Breathless, crawling on the sandy beach, safety at fngertips. Until next time a riptide, drags me back under. - 60 - �Valley of Fire 1 - Claire Wynne - 61 - �The Diet Game: Conditioning the Conditioned Response - Rene Allen, M.D. One of my patients, Flora, called from the hospital. “Dr. Allen, I wanted you to know what happened. I wanted to gain weight, so I went to a hamburger joint and ate two quarter pounders, large fries, and a milkshake. That was two days ago. Yesterday, I had my gall bladder out.” At 5’3”, she weighed ninety pounds and had been trying her entire life to gain weight. I didn’t even try not to laugh. Fat overload and gall bladder disease— “Flora, did you enjoy the burgers?” “Yes,” she said. “But do you think it was the fries or milkshake that pushed me over the top?” The Diet Game—as a gynecologist, I was always looking at new diets both for myself, who, at a svelte 212 pounds was obviously overweight, and my patients, ninety percent of whom, normal weight or not, wanted to lose a few pounds. Flora had been the rare exception. She had wanted to gain weight. The Diet Game was a game of Try This, Try That. How would this food plan, this nutritional manipulation, these shakes, and supplements be better than the last ones? Realizing I had certain trigger foods I wondered if I could turn of the triggers to make the next diet more successful. I decided to deal with the trickle of candy that came into the ofce, particularly those universal favorite, M&Ms. The problem with M&Ms was that they tickled Skinner’s pleasure centers and triggered Pavlov’s conditioned response. In the Diet Game, they were rainbow yumminess, the perfect reward for passing go at the check-out counter. You could easily hide several in your hand. They melted in your mouth. They were flled with chocolate, and they had the requisite number of grams of sugar to make them sweet and delicious. My patients called them PMS pills. And if you only ate a few and were really good with the rest of your diet, well—conventional wisdom said to not be so harsh with your food you developed obsessions. And twelve peanut M&Ms—Twelve! only had about 140 calories. We kept a dish of them at the check-out counter. I’m not sure who felt obligated to keep the cut glass bowl full. I may have had something to do with it and on occasion, my patients. They brought large bags, poured them into the bowl, then free of guilt, grabbed handfuls for the trip home. Part of the game was to see how long I could go afer having one M&M before I had to have another. It was white-knuckle will power. Once I had an M&M, the remaining candy whispered my name every time I walked to the front ofce. I was particularly fond of the brown ones. “Doc, we’re here for you,” they said, and I responded like Pavlov’s dog. This was about the same time Barry Sears came out with his Zone Diet which promised remarkable results, plus it had the added credibility of Sears being a biochemist. Part of the Diet Game was determining how much food you could eat and lose weight. The best thing about the Zone Diet was the quantities of food—albeit veggies—that you ate to be in the metabolic zone that promised peak athletic performance, a muscular body, longevity, and weight loss. I bought the book and a plethora of green, orange, and purple vegetables. - 62 - �M&MS, however, were an obstacle to entering the Zone. Thinking about Pavlov’s dog, I wondered if I could change my conditioned response whenever I saw an M&M. Winning would be freedom. They would no longer call my name. I would no longer be victimized by a bowl of candy. The transformation ignited one day in a sporting goods store when I saw a pile of slingshots, those Y-shaped pieces of wood with bands of rubber attached to the arms and to a piece of leather into which you put your bullet—a spit wad, a rock, a small orange—anything you wanted to propel through the air toward a target. In a heartbeat, I imagined a red M&M zooming toward—here I faltered. I couldn’t see myself actually hitting someone or something. So, what could I shoot at? The perfect solution came to mind. On impulse, I purchased three slingshots, two for home and one for the ofce, and three bags of peanut M&Ms. That afernoon, I took my son to the driveway and raised the lid on the dumpster which was about twenty-fve feet away. “Okay, this is what we are going to do. We are going to take these slingshots and shoot these M&Ms at that lid where they will splat into pieces and drop into the garbage.” There is an expression that boys get, bafed, mouths open. “Mom, you don’t shoot M&Ms. You eat them.” “You do? Well, I thought I would try this. Look.” I picked up a yellow piece of candy, loaded it into the slingshot and let it fy. It was a lucky shot. It hit the dumpster lid with a loud thwack, and like magic, dropped in. The feeling was incredible. I reached for another one, but not before my son defensively put a handful in his mouth. “No,” I said. “You need to try it. Here.” I handed him one of the slingshots. He shook his head. “Mom.” But he loaded the slingshot and let it go. He obviously wasn’t interested in the dumpster because the candy few past another twenty feet before hitting a eucalyptus tree. We went through two bags of M&Ms. I don’t know how many he ate while I zealously peppered the dumpster, but when we were fnished, I hadn’t eaten a single piece of candy. It was a miracle. The next day I took the remaining bag of M&Ms and a slingshot to the ofce. I explained to my staf we were going to play a game, that I had to get rid of M&Ms and had an idea about how to do it. I am sure we looked ridiculous standing in the parking lot shooting candy at a dumpster lid. But once we started, we forgot about appearances. There were three of us, me, Jeanie, my ofce manager, and Linda, my nurse. Soon, we were venting with each shot. Jeanie said, “This is for the bleep-bleep insurance company that made me fle a claim three times because they kept losing it.” Wham! “Give me another piece of candy.” Linda pulled back on the rubber tubing. “This is for my idiotic ex-husband.” The candy smacked the dumpster lid and broke into pieces. I didn’t say anything, but a surge of anger caused me to pull hard on the slingshot. I let go and the candy shattered. “So there,” I said. We laughed at ourselves, but there was underlying substance to what was happening. Not only were we having fun, but the M&Ms disappeared and with them the craving. Afer that, whenever I saw a M&M, I imagined the sound it made hitting the dumpster lid, WHACK, and the urge to have one went away. - 63 - �At the time I was in therapy for some personal issues, including a desire to lose weight. I told my psychologist about the experiment with the M&Ms. “I’ve been playing this game,” I said, explaining it to him. “I think it’s going to work. I haven’t wanted any M&Ms. What I’ve wanted to do instead is go outside with the slingshot and shoot the dumpster. It’s really fun. You ought to try it.” Then I told him about my plans for the Zone Diet. “I’m excited about this. I think I can do it. You get to eat lots of food.” The fear of not having enough food because of low-calorie restrictions was one reason I had failed in the past. Before I lef, I asked if we could have a hiatus from our weekly visits, so we agreed on a return appointment in six weeks. Since it was the end of May, we talked about vacation plans and set up another appointment for July. I didn’t eat any more M&Ms. I didn’t want any M&Ms. And I ate lots of lettuce and celery, and the requisite amount of protein, and I cut way back on my favorite trigger foods—white bread and four tortillas, and I took all the omega-3s suggested by the diet. I lost three pounds. When I saw the psychologist again, he looked diferent. “Did you lose weight?” I asked suspiciously. “Twenty pounds,” he said proudly. “Afer you talked about the Zone Diet, it sounded so good, I tried it.” He shrugged and held out his hands, palms up in the classical, what-was-I-supposed-to-do pose. He had the bafed look men, and sometimes boys get. I shook my head. “Dumb game. It’s just not fair.” - 64 - �Valley of Fire 2 - Claire Wynne - 65 - �A Brief Description of the Creek Behind the Old Barn on a Hill, where I ofen Wrote when Alone: A Haiku - Fen Farnelli Smashed television Bicycle sans handlebars Half buried in dirt. - 66 - �shape of form of love of - Darren Martinez do courtship rituals come naturally to thee? or do we mirror our favorite flms and tropes and books and novels and novellas and parents and and and and just hope that the object of our afection shares our favorite flm trope blah etc. you know the details whatever love’s innates innards? I don’t know, innards things that demonstrate what love is, such as, like, so, forthwith, wherewithal you know like the warmth of a fellow being gifs ranging between any or old new thing meal prepared special attention efort compassion teaching how many of what? I have many, have had many, will have many if I keep on moving will I ever be satisfed???? life hardly feels real in your arms - 67 - �Does the Ocean Likewise Fear the Swabby? - Fen Farnelli One cannot dread not, The nautical knot Of nocturnal naught, I curse the serene Surface of the sea For these sirens who’ve sighed Of what beneath the waves lies, And avert my eyes As I hear more aye-ayes, Captain says; I comply. Captain says; I comply. The ocean, a sheen Shewn shining ashore, Could scant keep its tongue As I mopped the starboard, For to mess with the mate Who messes with masses Of messes about the estate, Oh how great, For the fates shan’t abate As I portly pad port, Captain calls, “Keep at work!” And the mates shout “Aye-aye!” Captain says; I comply. Captain says; I comply. And when the ship had docked that night, I swifly took fight, abandoned my plight, And set myself right To never go sailing again. I never heard, nor smell’d, nor saw, There may have never been a maw, But praise the Lord And all that’s good That I have not seen it And now never would. So good luck to the mates And their solemn aye-ayes, Captain says; they comply. Captain says; they comply. And from the wind af the af, The Odyssey’s oddities Audit inaudibly, Muses amused mumbling To my bumbling ear Of cephalopod deep, Most extreme of enemies, Squeamish extremities Reach up as I cup both my hands To cover my ears. It is then from the helm That I eye an aye-aye, Captain says; I comply. Captain says; I comply. Just to peek the beaklike maw, Not in awe, for the gnaw Of that natural ‘nought - 68 - �glass feelings - jay guziewicz - 69 - �Is there a way to love me? - Haley Katona socks dripping wet from muddy puddles and footprints that follow my march to the fridge to grab the wine would you love me even in the mascara caked to my freckles would you wash my hair holding my head under the water running your fngers through the strands watching me bend to your form as though I am warm clay for you to sculpt would you let me consume you where no matter how far I reach I just keep reaching and pulling into your chest to reach in to your evaporated soul fnding midnight blues and greys pool where my end becomes yours would you grace me like lightening leaving me patterned and struck and listen to me roar as the thunder does whenever your fame bends to my wick is there a way for love to construct and conquer, captivate and corrode all while letting our souls eat one another alive while it pours and foods outside do we lay against and with one another watching the time though you could kiss me without your eyes closed - 70 - �does that mean you watch your love grab a hold of me or that you are waiting for the explosion of the ticking time bomb of all that’s mine - 71 - �Phototropism—Growth Toward Light - Rene Allen, M.D. My boots crunch through a thick layer of frost and break the predawn silence. It is January and cold enough in Tucson, Arizona I wear a jacket. But cold is something I will remember in July before the monsoons come. Daily temperatures of 112 degrees, and looking at thirsty saguaros, their green-ribbed bodies gaunt and shriveled, is depressing. Recalling that a few months ago I wore a jacket and in a few more months, I will again, helps. Seasons do change in the Sonoran Desert. Eventually, respite comes. A deep salmon color in the low eastern sky dusts the undersides of clouds lef over from yesterday’s storm. Every morning is diferent, the color, the air, the way the gravel sounds underfoot as I make a three-mile loop. But it is always quiet here—so quiet I hear my thoughts. I claim this time, this silent pause between night and day when the sun gathers strength, pierces the darkness, and illuminates the desert in a wash of light. I have been present at this pre-dawn hour countless times when I have written through the night in a room called Purgatory—so named because when we put in a Pergo foor, my four sons chose the name Pergo-tory, which in a heartbeat became Purgatory. But it fts. Purgatory is a place to do penance and make peace with the past. Only it wasn’t my sins that kept me writing in this room long past sunset into the darkest part of the night. The gif and curse of both writing and a room called Purgatory is how they pull truth from my soul and demand of me my fnest integrity. What is written exists. I can hold it in my hands. It is mine. I stop and wait for the sun. My breath comes in bursts of white vapor and my hands are cold and clenched in my pockets. When it is cold like this, I wish I had thought to wear gloves. Winter sunrises are subtle, gentle pulsations, delicate at frst, a nudge of light, a ripple of orange-rose that gradually turns pink, then yellow, until it flls the entire eastern sky. Gold light brushes the tops of the eucalyptus and illuminates priestly saguaros whose arms raise heavenward in morning supplication. There are lessons here about these magnifcent saguaros. In the desert where survival depends on meager inches of rain and the topsoil is only an inch deep, saguaros may live 150 years. Those massive arms begin as tiny buds. In the spring, their heads are crowned with white fowers that are pollinated by bats. Native Americans harvest the ruby colored fruit. When full and tight with water afer summer rains, they may weigh two-and-a-half tons. I had an epiphany about saguaros. A couple of weeks ago, I was walking later in the day—the sun was up, the sky was blue, the clouds were pristine and white. That day was the frst time I really noticed the saguaros. I had been thinking about night things, particularly the anxiety that kept me in Purgatory writing until dawn, how it had been going on for months since I attended a conference on Multiple Personality Disorder and Childhood Sexual Abuse. I went because I had a patient with multiple personality disorder. Ignorance is my enemy. One day, she was dissociative and unresponsive in my ofce. I can tell you frsthand, gynecologists do not like unresponsive patients curled in a fetal position on their exam tables. - 72 - �The conference was fve months earlier at a Scottsdale resort. I had eaten lunch on the patio next to a terra cotta pot of white and pink petunias. It was pleasant and warm, and I hesitated to return to the overchilled auditorium. When I fnally went back, a statuesque woman in a royal blue knit dress was well into her presentation. Marilyn Murray was talking about her book, Prisoner of Another war: A remarkable Journey Healing from Childhood Sexual Trauma. Hers was a story of being gang-raped as a child. She repressed the memory only to recover it years later during treatment for severe depression. Something she said punched a button in my brain that set of intense physiological alarms. My hands shook. My heard pounded and thumped. I felt vitality pull away from my skin and hunker down inside, around my muscles and organs. Inside my head I heard my own physician’s voice, “It’s a panic attack, just a squirt of adrenaline. Nothing here will hurt you. Let it go. Breathe. Come on, it’s only a panic attack.” The panic slowly congealed into my own memories of childhood sexual abuse. I wrote at night in Purgatory and took desert walks at dawn to manage feelings of doom and fear. The psychologist I saw said it was all part of post-traumatic stress disorder—anxiety, depression, intrusive thoughts, fashbacks, disturbed sleep, loss of self-esteem, hypervigilance, a sense of being damaged goods—a massive infection trapped inside thick walls of repression that fnally ruptured. I had always thought saguaro arms grew toward the sky, but I was wrong. The day of my epiphany, I realized many saguaros have no arms. Occasionally, there will be a crested saguaro with a swirl of growth at the top, but it is armless. That January afernoon, my attention was on the mature saguaros that were a hundred years old and had many arms. I was surprised to fnd that on some of them the arms were bizarrely twisted and convoluted, that they seemed to grow toward the earth rather than away from it. Yet, even on the arms that curved toward the ground, the tips pointed up. I did an experiment. I found fve saguaros and looked carefully at their arms. On each, regardless of which way it grew, the tip pointed up, toward the sky. Plants have receptors that respond to light. This phenomenon is known as phototropism which is an orientation or growth toward light. I was amazed that regardless of what had happened to the saguaros, whatever caused the distortions, the tips pointed toward the light. There was a mechanism for correction and continued growth. Estimates are one in three women will be sexually abused at some point during their lives, and though the numbers are underreported, boys are also sexually abused with similar, devasting consequences. Emotional growth, the ability to enjoy life, the agency to make choices about your life, all of these are deformed by childhood abuse, Yet, what I found during those Purgatory nights was a compulsion, call it a phenomenon, to move toward the light—to uncover, illuminate, reveal, disclose, and fnd—truth. I feel great reluctance to face the residual demons of abuse, but the capacity to see clearly, to change course and heal, is intrinsic, and is as powerful as the receptors that direct growth in the saguaros. In the stillness of a winter morning, there is hope. - 73 - �Roses Lightened - Emily Cherkauskas - 74 - �pwepwepwpe - Darren Martinez i Do not Interact with American Reality teleVision i am unWelcome in churches, they lack, missing my brother’s wedding where god consummates the union and fucks my brother’s wife the birthPlace of LoVe? why, the mcdonaldo’s BathRoom where i woke up missing an ear i hired A Man to craf the soundtrack of my life with SynthWave techno logy quitting yesterday, he DeCried ‘cannot eat chip and dip, for Each And Every meaL’ why, the only dip was He i drew the sWord from the sTone while Municipal Men sCCCreamed ‘get out of the sewage pit, goblin’ and with their laZer pointers they went ‘pwe pew pew bam boom plamow’ with their little Pursed lips - 75 - �Angry but, a Little Less - Sydney Umstead You painted her the perfect portrait Lef the harsh and immediate brush strokes with me The painting you never want to discuss the details of You perfected your art later The torn up canvas now represents a box buried at the bottom of your closet The faded colors reside behind my tired eyes The version of the Mona Lisa that did not make the fnal cut This fact becomes clear to lovers I take in It’s in my eyes The glistening fear that I will never be the masterpiece Only the groundwork that needs to be built upon A painted over image of all that has been done to me And all that I have become But, will it ever be the fnal work? - 76 - �Bluebird - Tyler Savitski - 77 - �Last Night I Cried - Sam Burgess, Jr. I cried last night, as I watched on TV a small child who sufered from malnutrition lay motionless. The tears welled up in my eyes as I watched this baby who was so weak from hunger, so helpless from starvation, that she had no strength with which to open her eyes. This young and innocent creature of God, who in no way was responsible for her pitiful condition, was now on the brink of death. And her mother, her mother whose breast had completely dried up, could no longer feed her. You see, her daughter is one of a set twin girls. And unfortunately, she had to choose between the two of her babies because she could not keep them both alive. The decision for her was gut-wrenchingly hard, but she knew that if she did not choose one, they both would die. She lost not only a child that day, but a signifcant part of her soul. I cried last night, as I have never, ever, cried before. - 78 - �this poem isn’t quite as important as you think it is - Darren Martinez I have fallen in love. My life is sexless. I do not know intimacy, Only stories. The emotions that permeate creations. The spirit of a Babylonian man that made small goats out of clay, nodding vigorously at our engineering process And the creation of potato chips there are, realistically, only about seven types of stories out there look at human beings, and you might piece together there are just as many types of people its like there’s only about, 20-25 diferent facial structures? Up to the individual to remix on that, I guess. among dweebs, there are many Darrens. skinny Darren, Darren 2.0, darren, many of them too, loveless, sexless beings. / all of them telling one of seven stories telling of love they’ve never had, even though it was written in the stars a long time ago when, who, and why. I try to do what my fellow poets do. Romanticize Wanting to kill yourself, fall in love with inanimate objects, Refect the human condition, think. I’m tired of thinking and being this poem isn’t quite as important as you think it is - 79 - �Pull the Threads - Annie Arsenic In all my dreams I see the world come undone. Tin strips, thread by thread pulled away. Seams split into the open to reveal the vastness of space. When it has all been revealed, I am alone, stuck foating in perfect stillness. Te voice tells me to come close. Te sun appears before me, blinding me. I’m too close to it, and I feel warm. But then just as the discomfort encroached on me, the moon eclipsed the star. And in this moment, I am cooled again. Calmed, and at rest. Te voice tells me it’s name. Ten the moment breaks, and the threads again pull apart my world, this time giving way to even more nothing. Te vision of the eclipse is shredded piece by piece before my eyes, and I am alone with myself in emptiness. Te voice tells me everything. I look down and see that I too have been unraveling, or at least I am now. I hadn’t considered it a possibility, but common sense dictated it should happen. I embrace the universe. As the last piece of me falls into the void, I close my eyes. And just then, I open my eyes. Te dream ends, as it has a thousands times before. Te voice is silent. - 80 - �Grand Canyon 2 - Claire Wynne - 81 - �Prima Materia - Fen Farnelli Black are His eyes, two circles of shale, Which gaze, morose, upon His art. Lead bones proved, in time, too frail To hold His fesh and Iron heart. Ashes to ashes, upon the pyre, Dust to dust, our passions avowed, Aimless, He walks into the gyre, Met now chiseled on His brow, As He had chiseled into stone, Numen now penned in His Will, As He had penned a perfect clone, A changeling that He could not kill. Gold is Their hair, in unbraided strands, Which fows around Their perfect face. Mercury held in Their cupped hands, None spilled as They walked with unmatched grace. Ashes to ashes, smoke to the skies, Dust to Man to Woman to God. Undressed from culture’s rude disguise, Removed from Their obtuse facade. Is it a sin to mold our selves, Earthen fesh on the potter’s wheel, Letting that which in us dwells Loose from this gyre, Their form revealed? White are Her teeth, which gnaw on the bones Of those who’d called Her Son of Man, Copper veins fowed through the stone Which formed Her womb when time began. Ashes to ashes, She guided the plough, Dust to Body, now given a voice. Let loose Her soul from passive vows, If formed before She had a choice. Let loose Her half-divinity, If half must stay upon the earth, Then formed from Tin or Antimony, Held at home without a hearth. Red is my blood, my passion renewed, Now fowing through my Copper heart. Why must my body be broken for you? Who would destroy a work art? Ashes to cinders, cinders to fre, Dust to that which pleases me, Formed in the image of my desire, Elements of a new Alchemy. Now replicated with my voice, The voice which rang while I was stone, I have created a third choice, A changeling who is not alone. - 82 - �Astro3 - Tyler Savitski - 83 - �haven ---- - jay guziewicz picture this: me, in blue, standing on top of a tall building, foot hovering of the edge of the roof. breathe in. breathe out. it only takes two steps for me to learn that even boys named afer birds can’t fy, only f a l l. my foot steps back. i feel the heat of your hand linger against my skin smile ever present on your lips. breathe in. breathe out. it only takes two steps for a boy named for a bird to f a l l into your arms. and then. you. you, a fash of red lighting up the dark skyline of my city. “just a call away, day or night, whenever you need.” - 84 - �Exit..? - Emily Cherkauskas - 85 - �Little Braves - Maura C. Maros Ask for what you want, take what is yours. Stake your claim, make your mark. Leave, stay. Hold the candle, stand with others. Face the ugly, fnd the beauty. Make time, take time. Confront your fears, hold them in your hand. Release them. Love everyone. Find the words, speak your truth. - 86 - �- 87 - �A sister's lament Janine P Dubik Her grief cannot be erased or halved by putting her heaviest stones in my hands. Her grief cannot become mine despite the sunny room we once shared, despite my wish to ease her burden. Her grief is hers alone; it clings to only her and doesn't transfer, so I cannot fathom its depths. �Biographies jay guziewicz is a senior (?) psychology and English major and this year's executive editor. He saw The Batman (2022) 3 times in the frst 24 hours it was on HBO Max. That’s 9 hours of Batman in one day. Emily Cherkauskas is a junior communication studies and English double major with minors in creative writing and women's and gender studies. She accidentally noclipped into the backrooms and doesn't know how to get out. Breanna Ebisch is a senior communications studies major with minors in English and Women's and Gender Studies and is the layout editor for the Manuscript this year. She has been a writer almost all her life, at least for as long as she can remember, and hopes to take that love into her career and future. You can usually fnd her watching a hockey game, belting out Harry Styles and Taylor Swif songs, spending time with her loved ones or with her nose in a book. Breanna loves to travel and frequently indulges in her sense of adventure, most of the time on an impulse. She loves sunny days, laughing with friends and living life to the fullest. Fen Farnelli came from mud and to mud they will return. Darren Martinez: Otaku, habitual Dance Gavin Dance enjoyer, Dark Souls strength build enthusiast. I’m sorry my poetry is so pompous. Jackie Costello: Junior, DDMA, She/Her, Jackie occasionally publishes under the pen name 'Annie Arsenic', enjoys pistacio ice cream, and leads a local cult. Maddy Kinard is a junior English and communication studies dual major with a global cultures minor and is a staf member of Manuscript. She enjoys long walks on the beach at sunset and kittens. Hello! My name is Jordyn Williams. I'm a Theatre Arts and English Graduate with a minor in Dance. It has been a pleasure being a part of Manuscript. I have learned so much from my peers and professors and enjoyed reading the works of other writers. My favorite poet John Keats once said " Poetry should surprise by a fne excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance" (John Keats). I believe poetry is an escape from reality where an individual can express their true feelings and experiences on paper. With my degrees, teachings, and the experience I have gained in Manuscript I hope to become a published author and work for a publishing house. - 88 - �Rene Allen, M.D. graduated with a MA in creative writing in January 2016. Funny fact: She has chia seed breakfast pudding with blueberries and grain free granola every morning for breakfast. You otta' try it! Sam Burgess, Jr. graduated in 1994 with an MBA in management. He is a foot soldier in the army of his Lord and Saviour Jesus the Christ! Mya A. Banegas is of the class of 2025 with majors in theatre and psychology. Her senior year she won frst place in a city-wide playwriting contest in Philadelphia and Temple theatre students performed it. Janine P. Dubik graduated in ‘78 and again with her MFA in ‘19. Fun fact: she was on The Beacon staf for my four undergraduate years. Ylonis Grant is in the class of 2025 and is majoring in psychology. She loves poetry. Ashlee Harry has an M.A. in fction and is a self-published author of The Guardians Trilogy: The Guardians, Ascension, and Legacy. Haley Katona is in the class of 2023, majoring in political science. She has never watched Monsters Inc. without crying. Maura C. Maros has a Masters in Fine Arts. This year, she started a new adventure and co-host the podcast, A Reel Page Turner! Cody Marsh received a Master of Arts in Creative Writing from Wilkes January of 2022. He lives in the Dallas-Fort Worth area, where he is involved in various causes, namely prison abolition. Tyler Savitski is a senior biology and physics major, and plans to study astrobiology. Cas Schiller is a freshman with a major in biochemistry. Fun fact: Cas is ethically sourced! Samantha Ann Stanich-Romasiewicz, MA, MFA ‘20 in Creative Writing, worked as a grad assistant for Marketing Communications for Wilkes and had to be told not every university uses “The” in front of it. Being from Ohio makes you pretentious in that way. - 89 - �Hannah Simerson is a senior English and communication studies major. She was on an episode of Dance Moms (and she even got to sit right next to the moms in the audience)! Sydney Umstead is in the class of 2025 and is currently majoring in English. She has an unhealthy obsession with cofee. Claire Wynne is a senior environmental engineering major, and is also the Vice President of the Gender and Sexuality Alliance, as well as Ofcer of the Games and Media Club. Dr. Mischelle Anthony, co-advisor to the Manuscript Society, is also Associate Professor and Chair of the English Department at Wilkes University. She teaches and writes poems, and has served on the editorial boards of the Midland Review (now defunct, hopefully not her fault) and Cimarron Review. Dr. Chad Stanley makes the English department better by both being a great professor and bringing his dog to campus. - 90 - �- 91 - �Manuscript would like to extend a hand in thanks to: Deb Archavage: The keystone of the English department, an icon, and the foundation of Kirby Hall. Dr. Mischelle Anthony: Manuscript advisor, Oracle of 18th century life writing, and one of the biggest supporters of the Manuscript Staf. Dr. Chad Stanley: Manuscript advisor, Master of relaxed vibes, one of the other biggest supporters of the Manuscript Staf. English Faculty & Staf: A constant supply of encouragement and inspiration. The Print Shop: Always telling us when our order has been received and notifying us when it is complete and ready for pick up. The Kirby Hall Ghost: We can sense your presence and we love you. - 92 - �- 93 - �©2022 by the Wilkes University Manuscript Society. All rights reserved. - 94 - � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Manuscript: Literary Magazine, 1947-present Subject The topic of the resource The Manuscript Society of Wilkes University has been publishing its creative written and visual art magazine, Manuscript, continuously since 1947. Currently, the student-led editorial staff publishes one issue per year, and copies are complimentary. Publisher An entity responsible for making the resource available Wilkes Manuscript Society Format The file format, physical medium, or dimensions of the resource PDFs Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1947-2020 Description An account of the resource The Wilkes University Manuscript is a student-run literary magazine, published by the Manuscript Society since 1947. It is currently published once a year. Individuals may submit creative fiction, creative nonfiction/short personal essays, poetry, photography, drawings, paintings, digital art, and music compositions. Submissions are open to all Wilkes University students, faculty, staff, and alumni. Rights Information about rights held in and over the resource Anyone can read or obtain copies of any of the material for research purposes, but if the researcher wants to quote from the materials, they will need to obtain copyright permission from the <a href="https://www.wilkes.edu/academics/colleges/arts-humanities-social-sciences/humanities/manuscript/index.aspx">Wilkes University Manuscript Society.</a> Type The nature or genre of the resource The Wilkes University Manuscript: Literary Magazine is arranged chronologically. The series ranges from 1947 – present. The magazine is currently published in the Spring only, but has previously been published seasonally, each semester. The series also includes a folder with supplemental materials from the Manuscript Film Society in the 1970s. The folders include a date range which may hold more than one issue of the magazine. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Manuscript, 2021-2022 https://omeka.wilkes.edu/omeka/files/original/cbc27b9799c2a44612618204f95b064f.pdf fdb38f0a7f47a0b6eddec7b8fc2795b3 PDF Text Text IBWs r-^-. ~:r; KiBflBORP*®- EW ^WSO®#! ' :JfI 7W ■•«■■■ M lisss” SORD GA ND237 D98B5 �E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARREJ’A �BERENICE D’VORZON: P, 1980Tick Island and Louse Point ate i«-:rl place". Ihe. bflonu to those ulmi-.r parii vai wildeme. .■ . <d Long Island which He a scant fifty miles horn the metropolis <»<•••! in t- arid n, I r< k of New York have resided there I .: < ■ . pi r ulhe ■ i't d.t Hie !<-.'« tlncke'S. ■'> - t in.rr tif.ind .'iri' .ugh to nvei'.h.i'low .iny olhe. 'inj..............1. . , , .c-- tel-, i.<• i • have Ir.rd ol the tetI fill i II,line-, Io the .<■ pl i< e . I ,ile| t.l . iv> |er . b-o• • • e■ of hind. *.e.> , i .'.>s i It ;.j .ip. -.1 tie .11;,i in Oldl’l to .dvor lh<Old dif to b’ >, I 1‘ |(1 fj.. ih< (* nineteenth < «-nthi y, i r>-h:.t- i rd f it" . .- ipi 1 ■ . ,f r, t, '.n< h a . Joini I I umini'.l ven .ibditie , 1 , . ,,i. cover: no. 13 itJ |. t .] . . . pl i-l.'.O » > ,1 J‘-) ■ '.-e ;'e They are not so ulpturaliy dramatic i .rocky > (. - 'U!>>r,t ■ > ’r;«‘ y ;> ;<•■-.-,j 1 e 1; . . rnoio < (Hit empl.it I spirits leisurely before tt.e Berenice bWorzor: I ou-»e Point .. r :,'oa;i .e o' nil', 1/ e 1. e o r; she beqrsn e- e.e, .’.-, East di-.r,' r.-;- ,-.j.-e ,. •- -oioi r. ,p.red b, la'..'!-., .-.pe , t;f; ‘ Hampton m her ;< r r, t.-ie.r brew of i.qhr , P if ;■ *> -, I,; lets of fiatuie horr. >,< . SORDONI ART GALLERY WILKES COLLEGE 150 South River Street Wilkes-Barre, Pennsylvania 18766 .</; • : . i' ' 0,1'.t-. of Main**. h.'M hot -■> of IA I . . r ARCHIVES :nei- 1. :i . . .. tO !'■< r,irl tfil, .•■ (.h.||(. ;.■■'! no. 15 Vour 1 A'.e l"/ir.‘ 'I 1111nt the .per ial liqhi f >• e Her wore f .a'. a.wa/s beer, Lir.r,* Shaf’ na? • it..', executed in the late neventie', *ere deoved from ’he ■ - around :■ - pe-.,-. �BERENICE D’VORZON: PAINTINGS & DRAWINGS, 1980-1982 3. 13 II ART GALLERY COLLEGE i River Street rre, Pennsylvania 18766 Tick Island and Louse Point are real places. They belong to those almost primeval wildernesses of Long Island which lie a scant fifty miles from the metropolis of New York. Ticks and lice and myriad other species have resided there for eons amidst the low thickets, marshes, and surrounding sea. Pesty enough to overshadow any other impressions early travelers may have had of the terrain, the ticks and the lice gave their names to these places. Later travelers have endured the irritations of insects in order to savor the more subtle and enduring moods of land, sea, and air to be found there. In the nineteenth century, a number of landscapists of note, such as John F. Kensett and William S. Mount, came to paint the special light and color which appealed to their Luminist sensibilities. Painters still come to Long Island to record those changing, yet changeless, phenomena. They are not so sculpturally dramatic as the rocky coasts of Maine, or so picturesquely quaint as the harbors of Massachusetts. They appeal, perhaps, to more contemplative souls who like to purloin the secrets of Nature from her somnolence or imbibe her spirits leisurely before the intoxication hits. Berenice D’Vorzon has moved about Tick Island and Louse Point since she began summering in East Hampton in her teens, and she has drunk her share of their brew of light and color. Her work has always been inspired by landscape. The "Light Shaft” paintings she executed in the late seventies were derived from the orests around her farm in northeastern Pennsylvania. Shafts of shifting colored light interplaying with shafts of solid tree and foliage were transformed into radiant graduations of tone and color in her canvases. The paintings she has done over the past two years have evolved during prolonged stays in East Hampton, and stand in striking contrast to the “Light Shaft" series. The coastal terrain may suggest to her a more dynamic set of shapes than did the sylvan regiments of Pennsylvania, or maybe there is simply some deeper urge to replace the almost classical order of the "Shafts” with a more baroque dynamism. The central preoccupations with radiant light and ambiguous space have not changed, but everything else has. Shapes twist and turn, expand and contract with eruptive energy. Paint flows, drips, and thrusts. Compositions seem held together by more precarious means. We are on the verge of experiencing something akin to the Action Painting of the fifties. D'Vorzon's formative years as an artist indeed coincided with the tumult of Abstract Expressionism. But in the sixties and early seventies, it became fashionable to relegate that movement to the history books, to declare it spent, as if a decade were enough to explore its ramifications. There followed a succession of styles which were emotionally detached, compared to the naked passion of the Action group. Pop Op, Minimal, and Photorealism all resolutely avoided romantic personalism and bravura paint.ng techniques. Abstract Expressionism was not a cool style, and the sixties and seventies sought coolness. 91-18000B �method of the Expressionists. The recent varieties of painterly primitivism, the New Imagists, and the messier, more torrid forms of pattern painting are indicative of this shift. D’Vorzon had never really drifted far from that pole anyhow. While her “Light Shaft" paintings seem rather cool in manner now, their romantic essence was always apparent. The new works renew the painterly dynamism of her early style, combining with it the complex color and tonal harmonies worked out in the intervening years. The result is a multivalent richness of surface and illusion, substance and light, active and passive movement — an orchestration of form which intensifies the landscape experience to a level of transcendence. The most conspicuous Abstract Expressionist element in the new works are the drips, which D’Vorzon has revived without fear of being labelled a reactionary action painter. William Pellicone, writing of D’Vorzon’s 1980 exhibition at the Soho Center for the Visual Arts, noted the "classical structure (she added) to the usual action drips."1 Functionally, the passive accident of the drips plays against the willful propulsion of the impasto arcs. The drips also reassert the flatness of the picture plane against the atmospheric illusions of the brushwork. The drips are, indeed, part of a repertory of painterly gestures, along with the glazes, impastos, scumbles, and ribbons of paint drawn from the tube, all aimed at representing the dynamics of nature through a distinctive and personal vision. Tempos overlap, and muted expanses are invaded by shots of color which ferry the eye across “seas” and along "shorelines.” to explore other forms in the repertory, such as the slashing arcs (e.g. “Louse Point Violet"). The “air and sea” pictures of 1980 and early 1981, with their distant horizons, began to give way in the middle of 1981 to pictures containing definite foreground elements, as in “Night Tracer (Tick Island)." Surging organic shapes have come to dominate the latest pictures, notably the “Acabonac Air” series. D’Vorzon rightfully does not consider herself a flatout Expressionist. There is unquestionably a powerful emotional energy coursing through her work, but it remains intimately attached to the landscape itself. In fact, most of the paintings and drawings closely resemble the essential patterns and tonalities of specific places and phenomena. Their representationalism is surprisingly clear when compared with photographs of the sites.2 As Helen Harrison observed in a recent reference to D’Vorzon's work in The Tieu> York Times, "the illusion of landscape and the reality of the painted surface alternate in the viewer’s consciousness.”’ Lush pigment and strong design allow these paintings to stand alone as abstractions, while clear echos of natural space and light grant them illusionism. Rather like the Cubists, D’Vorzon has fashioned a surface which is simultaneously flat and threedimensional. This is a difficult ambiguity to maintain, this retaining of the rich tactility and rhythmic patterning of surface, while at the same time flirting with a void aglow with colored light, or with a shape that begins to penetrate into the canvas and assume mass. In another review of D’Vorzon’s work last "to describe a three-dimensional spatial sensation without renaissance perspective illusions, by taking painterly elements that could suggest the sense of changing light, density, and mutations of vibrant, sensuous experience, and using them in new arbitrary ways to invent the essence of a scene. Il is a vocabulary of nature's signs reduced to the language of pigment. Color is alternately solid and fluid as it gestures, drips, moves, or is contained within bold shapes composed of abstract strokes."4 The most recent paintings, such as the "Acabonac Air" pictures, reveal clearer perspectives of the landscape. D’Vorzon's interest in the dynamics of pictorial space has. in fact, led her to the use of raking aerial views, akin to late medieval landscapes, which reveal botfi the perspective of the topography and its surface patterns. Even more than space, light inspires D’Vorzon. An immense, carefully orchestrated range of tonalities pervades her work, paintings and drawings alike. Light radiates from her surfaces in ways often more suggestive of bravura quasi-lrnpressionists, such as Manet or Sargent, than of the Abstract Expressionists. In many of the works, her sensibilities seem to run even closer to those of the great Romantic landscapist, Turner, whose frothy evocations of mist laden air and churning sea reached new heights of evocative sublimity. Like these i provides us w nature. Hers < out remote fn condensation: the sea. sunsr seen, felt. ant into some me nature's press Genesis in th darkness upo forms. The er been coerced pictorial dear Notes 1. William I Look." ir 2. Compare photogra 3. Helen A. and Real January 4. Phyllis B Der.emb* �we ner ;rly jre is at m was y he !SS and :h irzon tary an’s .rts, jal the le y of all gh a d The drips have become less important since their initial appearance, however, as D Vorzon has turned to explore other forms in the repertory, such as the slashing arcs (e.g. “Louse Point Violet ). The air and sea” pictures of 1980 and early 1981, with their distant horizons, began to give way in the middle of 1981 to pictures containing definite foreground elements, as in “Night Tracer (Tick Island).” Surging organic shapes have come to dominate the latest pictures, notably the “Acabonac Air” series. D’Vorzon rightfully does not consider herself a flatout Expressionist. There is unquestionably a powerful emotional energy coursing through her work, but it remains intimately attached to the landscape itself. In fact, most of the paintings and drawings closely resemble the essential patterns and tonalities of specific places and phenomena. Their representationalism is surprisingly clear when compared with photographs of the sites.2 As Helen Harrison observed in a recent reference to D’Vorzon’s work in The New York Times, “the illusion of landscape and the reality of the painted surface alternate in the viewer’s consciousness.”3 Lush pigment and strong design allow these paintings to stand alone as abstractions, while clear echos of natural space and light grant them illusionism. Rather like the Cubists, D’Vorzon has fashioned a surface which is simultaneously flat and threedimensional. This is a difficult ambiguity to maintain, this retaining of the rich tactility and rhythmic patterning of surface, while at the same time flirting with a void aglow with colored light, or with a shape that begins to penetrate into the canvas and assume mass. In another review of D’Vorzon’s work last December, Phyllis Braff described her search for a method "to describe a three-dimensional spatial sensation without renaissance perspective illusions, by taking painterly elements that could suggest the sense of changing light, density, and mutations of vibrant, sensuous experience, and using them in new arbitrary ways to invent the essence of a scene. It is a vocabulary of nature's signs reduced to the language of pigment. Color is alternately solid and fluid as it gestures, drips, moves, or is contained within bold shapes composed of abstract strokes."4 The most recent paintings, such as the “Acabonac Air" pictures, reveal clearer perspectives of the landscape. D'Vorzon’s interest in the dynamics of pictorial space has, in fact, led her to the use of raking aerial views, akin to late medieval landscapes, which reveal both the perspective of the topography and its surface patterns. Even more than space, light inspires D’Vorzon. An immense, carefully orchestrated range of tonalities pervades her work, paintings and drawings alike. Light radiates from her surfaces in ways often more suggestive of bravura quasi-Impressionists, such as Manet or Sargent, than of the Abstract Expressionists. In many of the works, her sensibilities seem to run even closer to those of the great Romantic landscapist, Turner, whose frothy evocations of mist-laden air and churning sea reached new heights of evocative sublimity. Like these nineteenth century counterparts, D’Vorzon provides us with an almost palpable immersion in nature. Hers are not abstract permutations worked out remote from their inspiration. They are vivid condensations of specific phenomena — storms over the sea, sunsets, glimmering ponds, tangled thickets — seen, felt, and pushed through into paint, to bring us into some moment of rapture which the artist felt in nature’s presence. There is something like a vision of Genesis in these paintings. Light emerges out of darkness upon a primeval world of half-generated forms. The energy is nascent and unbridled, but it has been coerced by a controlling will into meaningful pictorial drama. William H. Sterling Director Notes William Pellicone, ‘‘Tradition With the Forward Look," in Artspeak, May 22, 1980. 2. Compare "Acabonac Air-Entrance" with the photograph of Louse Point. 3. Helen A. Harrison, "49 Artists Capture the Illusions and Realities of Winter," in The New York Times, January 3, 1982. 4. Phyllis Braff, review in The East Hampton Star, December 3, 1981. 1. �lUl no. 9 �no. 9 �PERSONAL HISTORY: Born: New York City BFA: Cranbrook Academy of Art (1954) MA: Columbia University (1968) Assoc. Prof. — Printmaking & Painting, Wilkes College, Pa. (since 1969) EXHIBITIONS: Sordoni Gallery, Wilkes College, Pa. (1982) Loft Gallery, Southampton, N.Y. (1981) (3 person) "Illusions of Space," First Women’s Bank, N.Y. (1981) (4 person) Soho Center for Visual Artists, N.Y.C. (1980) (2 person) Benson Gallery, Bridgehampton, N.Y. (1976) Everhart Museum, Pa. (1975) (2 person) Keystone College, Pa. (1972) Brata Gallery, N.Y.C. (1957, '59, ’62) GALLERY GROUPS: Marion Locks Gallery, Philadelphia, Pa. (1981, ’82) Barbara Gillman Gallery, Miami, Fla. (1981, ’82) Loft Gallery, Southampton, N.Y., ‘‘Collage’’ (1981) Benson Gallery, N.Y. (1980) lanuzzi Gallery, Scottsdale, Az. (1978-79) N.E. Pennsylvania Invitational Traveling Exhibition (1978, ’81) Soho Co-op Galleries, N.Y.C. — 10th Street Artists (1978) Lehigh University — Pennsylvania Printmakers Bicentennial Invitational (1976) Spoleto, Italy — Plinio i! Giovane (1973); Rome, Italy — Primo Piano (1972) Chicago — Robert Paul Gallery (1971); Detroit — Rubiner Gallery (1971-72) Paris, France — Creuze (1965); Mexico City — Proteo (1960) New York — Brata, Camino, Tanager, Nonegon, Phoenix, Artists, etc. (1958-68) MUSEUM GROUPS: Aldrich Museum, Conn., "New Acquisitions" (1981) Guild Hall Museum, East Hampton, N.Y., "Winterscape" (1981) Allentown Museum (1976); Artists of the Springs, Aswagh Hall (1976-80) Roberson Museum, N.Y. (1975); Spoleto Festival (1973): Vienna Print Biennale (1972) Everhart Museum, Pa. (1968, '70, ’77): Guild Hall, East Hampton (1967, '69, '70, '72, ’81) Tokyo Museum of Modern Art (1960); Whitney Museum and Library of Congress (1957) AWARDS: "Best Abstract Painting in Show," Guild Hall Museum Annual (1981) Purchase Award — Everhart Museum (1976) Juror's Award — Roberson Museum (1975) Award Exhibition — City Center, N.Y.C. (1955) COMMISSIONS: Curator: OIA sponsored travelling print show, “Artists Who Make Prints” (1980-81) Cover for N.E. Pennsylvania Philharmonic 1976-77 season program Mural (4 x 32 ft.), Community Medical Center Hospital, Pa. (1977) Mural (9 x 50 ft.), Percy Brown, Allentown, Pa. (1971) COLLECTIONS: Everhart Museum, Pa.; Aldrich Museum. Conn.; Library of Congress; Oppenheimer Co.; Best Corp.; General Instrument; Ivan Chermayeff (APC); Southampton Hospital: Bank of New York, Miami; Wyoming National Bank, Dallas and Kingston, Pa.; and many private Collections. �3UPS: m, Conn., “Hew Acquisitions" (1981) eum, East Hampton, N.Y., “Winterscape” eum (1976); Artists of the Springs, (1976-80) :um, N.Y. (1975); Spoleto Festival (1973); Biennale (1972) jm, Pa. (1968, ’70, ’77); Guild Hall, >n (1967, '69, ’70, ’72, ’81) i of Modern Art (1960); Whitney Museum and ingress (1957) Painting in Show,” Guild Hall Museum Annual d — Everhart Museum (1976) — Roberson Museum (1975) on — City Center, N.Y.C. (1955) S: lonsored travelling print show, “Artists Who (1980-81) Pennsylvania Philharmonic 1976-77 season .), Community Medical Center Hospital, Pa. .), Percy Brown, Allentown, Pa. (1971) >: im, Pa.; Aldrich Museum, Conn.; Library of ipenheimer Co.; Best Corp.; General van Chermayeff (APC); Southampton Hospital; York, Miami; Wyoming National Bank, Dallas i, Pa.; and many private Collections. no. 14 �no. 16 no. 17 Louse Point (photograph) 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Cache-Cache Low Horizon Water 1980. Fail Silver 15 Louse Point . Louse Point Hot Hight on Water Tracer Hight Tracer E H Sassafra E H Sassafra Fresh Pond-\ AcabonacAi Acabonac Ai Tick Island S Fresh PondA E H Sassafra �LIST OF WORKS 1. 2. 3. 4. 5. 6. no. 16 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. no. 17 Louse Point (photograph) Cache-Cache 1980, acrylic on canvas, 60" x 68" Low Horizon Melt 1980, acrylic on paper, 39" x 28" Water 1980, acrylic on paper, 39" x 28" Fall Silver 1980-81, acrylic on canvas, 68" x 60" Louse Point Pink 1981, acrylic on canvas, 36" x 34" Louse Point Violet 1981, acrylic on canvas, 50" x 40" Hot Night on Tick Island 1981, acrylic on canvas, 40" x 30" Water Tracer 1981, acrylic on canvas, 54" x 60" Night Tracer (Tick Island) 1981, acrylic on canvas, 40" x 50" E H Sassafras-Dancer 1981, acrylic on canvas, 54" x 60" E H Sassafras-Interlock 1981, acrylic on paper, 21" x 28" Fresh Pond-Wind 1981, acrylic on canvas, 60" x 68" Acabonac Air-Entrance 1982, acrylic on canvas, 68" x 84" Acabonac Air-Landing 1982, acrylic on canvas, 68" x 72" Tick Island Storm 1981, graphite on paper, 27" x 41" Fresh Pond-Wind 1981, graphite on paper, 27" x 41" E H Sassafras-Dark 1981, graphite on paper, 27" x 41" �BERENICE D’VORZON Paintings and Drawings 1980-1982 SORDONI ART GALLERY Wilkes College �■*- ' • ■ SBr-b: 4« rt'/A ioooxa? ] �^^8 ESSSsSSsjHsss^s-S^sy - MSSa^^^M Lr^-;^ SsoW'S^i-i-s- E^SS.f^S-Ci.S: p^s^ViT,’ taBS -■t? ’ 1' -s f.rJ I cJ5S ■ ■■- ■?■ ■ ■. is ' S/S; ~sS SSS£5||gjg?g= =§^5?SS~g ifeSSg? jjsSsglsss f? gj ^S=SS5S SlSi;ss.s � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1980-1982 Berenice D'Vorzon: Paintings and Drawings Subject The topic of the resource Exhibition Programs Creator An entity primarily responsible for making the resource Berenice D'Vorzon Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1980-1982 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/92618e86bcc8c7415f114d336bd51db1.pdf e4ecb5924252154bb12074d040e3ce68 PDF Text Text :• "i FIVE MINUTES IN MEXICO PHOTOGRAPHS BY MARK COHEN SORD GA TR647 C8F5 1989 ��FIVE MINUTES IN MEXICO �FIVE MINUTES IN MEXICO: PHOTOGRAPHS BY MARK COHEN Sordoni Art Gallery Wilkes College May 14 through June 11,1989 The Philip and Muriel Berman Museum of Art Ursinus College March 15 through April 16,1990 An exhibition organized by the Sordoni Art Gallery, Wilkes College and supported in part by a grant from the Pennsylvania Council on the Arts ESJEARilYLiBRARV WILKES UNIVERSITY WILKES-BARRE, PA �■VsCHlVES Introduction and Acknowledge! ,■ Copyright © 1989 by the Sordoni Art Gallery, Wilkes College, Wilkes-Barre, Pennsylvania, 18766. All rights reserved. ISBN 0-942945-00-X 1 H One thousand copies of this catalog were printed on Mead Signature 100 pound papers. 7 he text is set in Schoolbook. lype composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin, It is a rare pleasure for a college gallery to organize am exhibition of works by a member of its own academic commu reputation and contribution to his field has international rar This is the case with the current exhibition, Five Minutes Photographs by Mark Cohen. Cohen is well known for his black-and-white phot Wilkes-Barre and Scranton, their environs and inhabita tradition of the street photographer who captures the “decisv first made prominent as an art form by’ Henri Cartier-Bres uses a 35 mm camera and prefers the immediacy of the silvei more subtle platinum print. His one man show in 1973 at th( Modem Art led to others at the International Museum of P (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen mad Mexico: the brevity and intensity of those trips is reflected i this exhibition. Like the photographs of Pennsylvania, 1 pictures are fragments of everyday life, charged with Coh sometimes confrontational energy. But a gentle side of the p is also revealed in pictures of amazing textural richness, compassion. I thank Mark Cohen for collaborating in this participation in every phase of the exhibition, from i photographs to making suggestions for the catalog 1 contributed to its success. Annie Bohlin assisted in the sele< for the exhibition, designed the catalog, and determined tl the photographs reproduced here. Her sensitivity' to Cohe careful overseeing of the catalog production resulted in a p. quality. Marvin Heiferman, who has followed Cohen s cs 70s, provided an insightful essay which gives us an inform on Cohen’s Mexican photographs. The staff of the Zabris New York helped in the early planning stages and made th available to us for loan. The Pennsylvania Council on the matching funding in support of the catalog and travellin 92-- �Introduction and Acknowledgements Copyright - 1089 by the Sordoni Art Gallery, Wilkes College. Wilkes-Barre, Pennsylvania. 18766. All rights reserved. ISBN 0-042945-00-X Ont thousand copies of this catalog were printed on Mead Signature 100 pound papers. The text is set in Schoolbook. Type composition, duotone negative preparation, and printing by Penn Creative Litho, Old Forge, Pennsylvania. Design by Annie Bohlin. It is a rare pleasure for a college gallery to organize and mount an exhibition of works by a member of its own academic community whose reputation and contribution to his field has international ramifications. This is the case with the current exhibition, Five Minutes in Mexico: Photographs by Mark Cohen. Cohen is well known for his black-and-white photographs of Wilkes-Barre and Scranton, their environs and inhabitants. In the tradition of the street photographer who captures the “decisive moment” first made prominent as an art form by Henri Cartier-Bresson, Cohen uses a 35 mm camera and prefers the immediacy of the silver print to the more subtle platinum print. His one man show in 1973 at the Museum of Modern Art led to others at the International Museum of Photography (1974) and the Art Institute of Chicago (1975). For short periods in 1981,1982, and 1985, Cohen made pictures in Mexico: the brevity and intensity of those trips is reflected in the title of this exhibition. Like the photographs of Pennsylvania, the Mexican pictures are fragments of everyday life, charged with Cohen’s uneasy, sometimes confrontational energy. But a gentle side of the photographer is also revealed in pictures of amazing textural richness, humor, and compassion. I thank Mark Cohen for collaborating in this project. His participation in every phase of the exhibition, from selecting the photographs to making suggestions for the catalog format, have contributed to its success. Annie Bohlin assisted in the selection of works for the exhibition, designed the catalog, and determined the sequence of the photographs reproduced here. Her sensitivity to Cohen’s work and careful overseeing of the catalog production resulted in a product of high quality. Marvin Heiferman, who has followed Cohen’s career since the 70s, provided an insightful essay which gives us an informed perspective on Cohen’s Mexican photographs. The staff of the Zabriskie Gallery in New York helped in the early planning stages and made the photographs available to us for loan. The Pennsylvania Council on the Arts provided matching funding in support of the catalog and travelling exhibition. 92-1838iN - �^produce this exhibition. Judith H. O’Toole Director A DIFFERENT tri ��It’s hard to believe that only one hundred and fifty years have passed since the announcement of the invention of photography; but what is even more remarkable is that in that very short period of time (the photographic era being only the tip of the iceberg of recorded development), we’ve become so image-dependent. We read less, but always want to see more. So, more and more magazines are published yearly and in each magazine more and more ad pages are sold and more and more images are reproduced. And we continue looking, like addicts, as the tally of pictures mount. We watch movies in theaters and then drive home through landscapes polka-dotted with satellite dishes, only to shove more movies into the VCR. Not only have we become mesmerized by photography in all of its incarnations, we now actually need the camera’s particular brand of vision, truth, and history. If we live so furiously in a hectic present that we forget the past, photography helps us remember. If our lives seem repetitive and small-time, photography reminds us of the larger world. And if that bigger world starts to move too fast, photography stops it. Photography even shows you how to be someone else, when you don’t like who you are. When life seems totally out of control, when there are riots downtown or plane crashes at the airport or outrageous instances of child abuse in the house next door, photography calms us as it transmits the bad news and the chaos, all within four neat, straight borders. And, most of all, photography gives us a second crack at reality. So, no wonder we enjoy pictures — taking them, being in them, look­ ing at them. Photographs encourage us to remember what has been seen and to study what we never could have noticed: the expression on a face turned away from us, but toward the camera; the full outline of the leg that only attracted our attention from the corner of an eye; the shape of a raindrop unintelligible in the commotion of a storm, but frozen on film. We can now see that the history of the medium has gone full circle. A century and a half ago, we invented photography. And now, the influence of the photographic image is so pervasive that it is becoming obvious that it is the pictures that are defining us. □ Nowhere in the history of photography is this symbiosis between image and identity clearer than in the startlingly ideosyncratic work of Mark Cohen. We like to think of photographers as explorers, visionaries in search of the exotic, documentarians in search of some universal �I and towns of eastern Pennsylvania, Cohen has assembled a unique travelogue of his own Kafkaesque reality, a remarkable body of work that is built upon split-second impulses and reactions. Because his work is so instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. Cohen’s photographs are challenging. There’s always just enough of an edge of visual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen’s American photographs, people tend to look either uncomfortable or, in one way or another, seductive; they are often angry at the camera’s (and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between Cohen s mind and his nerve endings. His guard is down, he’s relaxed. So, what we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. Look at the faces of the Mexicans depicted as they look back into the camera. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �^^homgrXg for two decades in Wilkes-Barre and in the cities d towns of eastern Pennsylvania, Cohen has assembled a unique Svelo-ue of his own Kafkaesque reality, a remarkable body of work -hat is built upon snlit-second impulses and reactions. Because his work is .o instinctive, and so internalized, he has seldom needed to travel to find subject matter. In his work, the unusual has always existed close at hand. Often just around the comer. _ Cohen’s photographs are challenging. There s always just enough of an edge ofvisual violence in his work — rudeness, nervous energy — to continually confound our expectation of what photography might tell us and what we should be looking for. Using a hand-held camera, pointing it in directions we would never think of, Cohen has compulsively over­ turned Cartier-Bresson’s notion of “the decisive moment,” giving each picture an exquisitely surreal American spin. In his photographs, the decisive moment is never that slice of time in which human nature is revealed, but is the instant that clarifies the distance between what is noticed and what is understood. In Cohen's American photographs, people tend to look either uncomfortable or. in one way or another, seductive; they are often angry at the camera’s < and Cohen’s) intrusion. Common objects seem isolated, mysterious, menacing. Cohen’s pictures, frequently illuminated by the artificial light of a strobe, are expressions of distraction, masterpieces of the unresolved feeling we all have, but would rather not acknowledge, let alone display. He seldom fails to remind us how’ far our lives are from how we would choose to have them remembered. It’s ironic that an artist who takes pictures as if he were a tourist in his own day-to-day reality should travel to a foreign country to make calm photographs. But in the images included in this exhibit, made in Mexico in 1981,1982, and 1985, that is exactly what we have the rare opportunity to see. There is no terrifying sense of urgency in these pictures. Mexico is just foreign enough to insert a little distance between o en s mind and his nerve endings. His guard is down, he’s relaxed. So, v at we see is Cohen figuring out how to situate himself in an environment, rather than define himself against it. ook at the faces of the Mexicans depicted as they look back into e cameia. For them, Cohen isn’t butting in. He’s just another gringo tourist, a harmless guy on holiday who will soon disappear with some pictures they will never see. They’re amused by his presence. At most, they’re mildly curious about what he might be looking at. While they are used to this situation, he is not. And we are not. It’s a revelation to see how Cohen works when he has the freedom of a visitor and has nothing to lose. As he shows us street life or people at work and at rest in cafes, what we recognize is Cohen’s curiousity and sense of wonder at work. The pictures don’t explode, they just seem to happen. They have an odd sweetness. A stuffed alligator floats high on a restaurant wall, unex­ pected yet benign. Electrical wires dangle elegantly. And there are pyramids everywhere, from the Pyramid of the Sun at Teotihuacan to the yogurt display in a shop’s display case, from piles of fruit in a market to beehives piled up at the edge of a highway, from a folded white napkin that has fallen on the street to a Christmas tree being carried down the street. People dance, do their chores, live their lives. There are no major confrontations, just leisurely and assured observations. There no impending terror, none of the connoisseurship of little terrors that we’ve come to expect in Cohen’s work. In Mexico, Mark Cohen is a stranger, an outsider rather than a participant. What a relief for him, and for us. The Mexican photographs provide us with a peaceful opportunity to identify the strength, the grace, and the formal assurance that form the underlying structure in all of Cohen’s work, but are often overlooked. Neither he, nor we, can presume to know too much about the people or the lives that have been recorded. There are no existential mini-dramas in any of the images. W e are not encouraged to measure our lives against those of the subjects photographed. But what we are presented with is a rare opportunity to watch how a difficult, brilliant photographer navigates the unknown — with an ease, dignity, and intelligence that we all might envy. Marvin Heiferman �1981 MEXICO CITY ���.. TO RTA5 . Xv.-.y • ���- �a t I ■ �����‘>'fii I.-: -:, : <■' :p I /7 '=- I Ji ���A ��r® —4 -r I SifttaSH BtfillB H I iW^lS§l!S^igiisgli:i^aSii§S -!;lI fi KIIliiiMliHiffl ■; ■ Wil! I =Wi'=iSii»i'!=l^E:g^s=2fsS:=i=i 1 =| if t iijii:iSW120 ifB=.S:=s!g e g I'• aB:;s:a.!Sg’'g.!:^S~i^r?.:gE:Sif:si:g =:s«£«~ g 1 Wf B:ii;iOs®S i gig^gsgSs&seBsg.ggssSgfl?®"^ g II SWIihBIifilfflrtHi I fiMfliiiiBiiiifctt | ^^E:=S:s8:ESi=®Js4i^S«i;::r^S .. — 5* I i- i �1982 MEXICO CITY �... ___ ���saa ��J —. _ ����I 1 BgjM- ?*; ,. J ?;.i: fjga! "i ?-•. ■•■■ • • ■ S rosa blanca I iWffl ! i :\-|F 3y t * 14 . is k I 1 ■ ' ■ |lv L "■Cb?; r ■ »K » ! ��■I : -LI ��I ; | ��I .. L ��1985 VERACRUZ ��I 11 • r ������1 �f I < ■ t w v ■ i1 vj I la. i - ■w ■I t ���£ ��I i ��do*. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. >). 6. 1. 3. 9. 10 11. 12. 13. ilw()w()^n/operall98l lining child in white cape], 1981 11 lark proud nian|. 1981 I Repiii ring I ’yramid of the Sun|, 1981. Weics (Kids in old car at night] 1981 i i inci • - . HittIhtz C’rackers]1981 |(did carrying. hi bag-vest approaches whiteline], 1981 (lloyin-^ iir/ in the whitedressskipping], 1981 girls in schoolclothes], 1981, Tepoztlan 14. t< 15. ids offruit], 1981 ... iiyr.iiH1sheet], 1981 16- [Bee hives/highway], 1982 [Fuses and meters], 1982 [Woman straps shoe in old building], 1982 [Local bar], 1982 [Table and chairs in street; flash], 1982 [La Rosa Blanca], 1982 [Wire lead into soda bottle], 1982 [Girl in small shoe repair], 1982 [Local restaurant and coffee], 1982 [Snack in steel case], 1982 [Napkin in shadow], 1982 [Girl in black skirt], 1982 Veracruz December 12 -19,1985 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. [Chalkboard menu], 1985 [Beauty shop], 1985 [Hanging light bulb], 1985 [Boy laughing; teeth], 1985 [Plastic sheet], 1985 [Waiter and money], 1985 [White sock], 1985 [Young girl eating], 1985 [Kids on sidewalk], 1985 [People dancing], 1985 [People walking/sidewalk], 1985 [Soda truck at gas pump], 1985 [Dog in shadows], 1985 [Napkins in glass], 1985 b.719b’ ■ ,cw v-.... " her-'’" ,1^ n J"' g>■y- teleP"‘ I hill1" Photographs are courtesy of the Zabriskie Gallery, New York. �' .2 i �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 May 14-June 11 Five in Mexico Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Mark Cohen Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1989 May 14-June 11 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/60aa467af24f4e4982e47f226e420352.pdf cc85474eaffb94edbe1f9d52b7bdc820 PDF Text Text SORE 5A ND237 G35P3 1995 £'2 P R G E S : Self-Portraits �PAUL GEORGES: Self-Portraits I January 22-March 5, 1995 Catalogue Essay by Stanley I Grand t.S. h.r.LtYLidhA'7 WILKES UNIVERSITY WILKES-BARRE Pi Sordoni Art Gallery / Wilkes University / Wilkes-Barre, Pennsylvania / ^1995 �an fflljrl! ACKNOWLEDGMENTS X 4 ill ARCHIVES i 'w, I; This exhibition reflects the contributions of numerous individuals and organizations. I would like to express my gratitude to Paul and Lisette Georges; I have benefited greatly from their patience, assistance, and hospitality over the years. The same is true of Professor James M. Dennis. Yvette Georges Deeton, manager of the Paul Georges Studio, has been involved with this exhibition from its genesis; her sugges­ tions, comments, and criticisms have been invaluable. 1 also wish to thank Christopher Deeton, who framed the paintings and prepared them for shipment; Ken Showell for photographing the paintings; Arthur Mones for the photograph of Paul Georges; and William O’Reilly of Salander-O’Reilly Galleries, Inc., for arranging the transportation of the paintings. All the paintings in the exhibition are courtesy of SalanderO’Reilly Galleries, Inc., New York City. John Beck designed the catalogue, whit li wa, primed by Llewellyn & McKanc, Inc., Wilkes-Barre, Pennsylvania. Major support for this publication came front the Richard A Flonheim Art Fund. Their early and generou, a-si made this project possible. This exhibition and publication arc ,upp->rtd b. _■ grant from the Commonwealth of Pennsylvania Cour,.:i -:i ti/r A",. “Paul Georges: Self Portraits” exemplifies the .pirit i/the Sordoni Art Gallery’s “Contemporary Masters” exhiiu’ivn' I’i.e.e one-person, mini-retrospectives of older art:,:, fo u on a particu­ lar theme or aspect of a life long commitment to making ar:. Despite the vagaries of critical and popular support, the : artist. have persisted in following their own visions. The', have remained productive during lean times. They have created an impressive body of work. They have earned the respect of their fellow artist- Paul Georges is one of them. -S1 G [ J ■Lt | ft 1 ' c I? T J VW kt Paul Georges, New York City, December 12,1994 �I I.k designed the catalogue, which was printed by IcKane, Inc., Wilkes-Barre, Pennsylvania. pport for this publication came from the Richard A. Fund. Their early and generous assistance made this le. This exhibition and publication are supported by a Commonwealth of Pennsylvania Council on the Ans. oiges: Self Portraits” exemplifies the spirit of the Gallery’s “Contemporary Masters” exhibitions. These ini-retrospectives of older artists focus on a particuspect of a life-long commitment to making art. garies of critical and popular support, these artists in following their own visions. They have remained ring lean times. They have created an impressive body have earned the respect of their fellow artists. Paul : of them. —S I G Paul Georges, New York City, December 12,1994 c. �PAUL GEORGES : Self-Portraits Stanley I Grand TTn a 1969 interview, Paul Georges recalled that a close encounter I with death during World War II freed him to become an JL artist.1 Surviving an enemy attack that left many of his friends and comrades dead and realizing that he too “should have been killed,” Georges “just assumed from then on I was free but I didn’t know how to act on that basis, I didn’t know how to act as a free man.”2 After his discharge from the Army, Georges acted on his battlefront epiphany by becoming a painter. Becoming an artist required that he discover his own means of expression. The “Triumph of American Painting,” as Irving Sandler called the success of the original New York School painters, was a mixed blessing for younger artists like Georges who began showing in the mid-1950s. Georges has observed that Abstract Expressionism for me represented freedom in the early 50s and those early painters were heroes, but it seemed complete to me so I had to change. Those painters who continued in that style seemed like false painters? Now seventy-one years old, Georges has been painting self­ portraits since the 1940s. Looking at the works in this exhibition, which span five decades, one , „is .struck . cby- Georges - ’ inventiveness: he refuses to adopt a narrow (■'••• efimtion of the self-portrait. Instead, his self-portraits freely incorporate and combine narrative, landscape, > interior, still-life, portraiture, and allegorical elements to produce paint­ ings that transcend mere likeness. As Carter Ratcliff noted in 1983: The ease with which Georges moves across boundaries, the apparent insouciance with which he leaps from category to category, has taken on, over the years, an additional weight of meaning. The very' nature of his art, the wide reach of his style, begins to look like an allegory of the freedom a painter is able to claim if only the will to do so is present.’ Georges’ initial experiments with a modernist vocabulary are reflected in Self-Portrait, c. 1946-47 (Figure 1) and Untitled (Artist with Palette and Brush), c. 1949 (Figure 2). In Self-Portrait Georges, who studied with Hans Hofmann in 1947, uses a “push and pull” of colors to establish the picture plane. Painted in Paris while Georges was a student at the Atelier Fernand Leger, Untitled (Artist with Palette and Brush) shows the artist in a shallow, flattened space. The face, which combines three-quarter and frontal views, is clearly indebted to Picasso. Color plays a minimal role; indeed the linear quality of the work is more akin to drawing than to painting. Despite the Cubist style, which minimizes the likeness of the person portrayed, the prominent bulbous nose clearly belongs to Georges and allows us to see the painting as a self-portrait. In 1952, Georges and his wife Lisette, the daughter ofphotographer Erwin Blumenfeld, left Paris for New York City, where they rented an apartment on 8th Street, in the heart of the art world. He was twenty-nine years old. In New York, Georges experimented with a number of differ­ ent styles as he replaced his Cubist with a more plastic manner. Early critics including Frank O’Hara (1954) and Parker Tyler (1955), who noted his “protean way of painting,” commented on his ability to work simultaneously in several different styles? Reviewing an early solo exhibition, Laverne George (1955) obser that “The surprising thing about this range of period styles is tha however much on first glance one would think he’d stumbled on group show, after a while a single personality can be felt behind I uninhibited diversity.”6 Recalling these early years, Georges wrote as follows: I did not search for a style, that is why my paintings were, and are, so disparate. I wanted to be able to speak in the language of painting. In order to do so, I had to accept painting’s limitations, which are also, as Georges Braque said, its strengths. Accepting the limitations of painting allows me to be free? Georges’ maturation as an artist coincided with a profound change in his personal life. The war and subsequent art training had extended his apprenticeship well beyond early adulthood. He and Lisette had put off starting a family, but within weeks of his thirtieth birthday in 1953, Lisette became pregnant. Seeing in his wife’s fecund form a new ideal of feminine beauty, Georges paint what he has called his first “realistic” painting: Pregnant Lisette, 1'. (not in exhibition). Georges quickly and dramatically explored th potential of his new realist style in Self-Portrait Green, 1955 (Figure 3). Self-Portrait Green signals Georges’ new freedom to step beyo the limitations of a single style and to draw inspiration from the greater tradition of Western painting. Georges’ “return to tradi­ tion,” however, reflected his assimilation of Abstract Expression­ ism. As Fairfield Porter wrote in 1961: For all of its peculiarity, “American-type” painting contains within itsel just as Impressionism did, a sort of assimilation of tradition. This assim tion of tradition comes about through a reaction with the deepest, most inexpressible force of tradition, and it creates a new artistic capital. In st an artistic capital a significant conservative “return to tradition” can oct �kails cross boundaries, the apparent category to category, has taken on, f meaning. The very nature of his art, ook like an allegory of the freedom a 1 to do so is present.4 with a modernist vocabulary are ' (Figure 1) and Untitled (Artist gure 2). In Self-Portrait Geoiges, in 1947, uses a “push and pull” >lane. Painted in Paris while er Fernand Leger, Untitled (Artist irtist in a shallow, flattened space, uarter and frontal views, is clearly minimal role; indeed the linear o drawing than to painting, inimizes the likeness of the bulbous nose clearly belongs to minting as a self-portrait. e Lisette, the daughter of photogis for New York City, where they , in the heart of the art world. He mented with a number of dififert with a more plastic manner. Early critics including Frank O’Hara (1954) and Parker Tyler (1955), who noted his “protean way of painting,” commented on his ability to work simultaneously in several different styles.5 Reviewing an early solo exhibition, Laverne George (1955) observed that “The surprising thing about this range of period styles is that however much on first glance one would think he’d stumbled on a group show, after a while a single personality can be felt behind the uninhibited diversity.”6 Recalling these early years, Georges wrote as follows: Georges’ paintings represent such a return. But tradition is available to him, here in New York, because it was first assimilated by the New York School, and the form in which it is available is characteristic of this abstract school.8 In Self-Portrait Green, the artist contemplates a canvas. The “tough guy” pose, with the thumb of the left hand hooked over the belt, contrasts with the sensitivity of the face. Although the front of the painting that he studies is not visible to the viewer, one can infer from the notation “TOP” on the stretcher that the work is I did not search for a style, that is why my paintings were, and are, so either non-objective or that the stretcher once held a non-objective disparate. I wanted to be able to speak in the language of painting. In painting. The back of the canvas and its placement in the composi­ order to do so, I had to accept painting’s limitations, which are also, as tion recall such well-known works as Velazquez’s Las Mininas Geoiges Braque said, its strengths. Accepting the limitations of painting (1656), Goya’s Self-Portrait Painting in the Studio (1785) and The allows me to be free.7 Family of Charles IV, with Goya Painting Them (1800-01), or Cezanne’s Georges’ maturation as an artist coincided with a profound Self-Portrait with Palette and Easel (c. 1885-87). The dark tonalities change in his personal life. The war and subsequent art training and loose expressive brushwork also recall Velazquez and Goya, had extended his apprenticeship well beyond early adulthood. He while the lighting, which comes from the upper left, evokes Rem­ and Lisette had put off starting a family, but within weeks of his brandt’s divine light. thirtieth birthday in 1953, Lisette became pregnant. Seeing in his Reflecting an unmistakably modern sensibility, however, wife’s fecund form a new ideal of feminine beauty, Georges painted Geoiges flattened the picture in several ways. He turned the stretcher what he has called his first “realistic” painting: Pregnant Lisette, 1954 almost parallel to the picture plane to create a shallow space and counter any tendency to perspectival recession. His painterly (not in exhibition). Georges quickly and dramatically explored the technique, which blurs figure-ground relationships, further flattens potential of his new realist style in Self-Portrait Green, 1955 (Figure 3). Self-Portrait Green signals Georges’ new freedom to step beyond the picture. Finally, he uses letters and words to emphasize the surface, as in the Synthetic Cubism of Picasso and Braque. the limitations of a single style and to draw inspiration from the The words, however, should not be read solely as a formal greater tradition of Western painting. Georges’ “return to tradi­ device. The inclusion of the artist’s name, home address (231 East tion,” however, reflected his assimilation of Abstract Expression­ 11th Street in New York), and hanging notation indicate that the ism. As Fairfield Porter wrote in 1961: painter is an active member of the New York art community whose works are included in contemporary exhibitions. Indeed, Georges For all of its peculiarity, “American-type” painting contains within itself, had begun to receive confirmation of his status as an artist. Clem­ just as Impressionism did, a sort of assimilation of tradition. This assimila­ ent Greenberg, for example, had included him in “Emerging tion of tradition comes about through a reaction with the deepest, most inexpressible force of tradition, and it creates a new artistic capital. In such Talent,” an important group exhibition at the Kootz Gallery in “significant1 consemuv7“return to tradition” can occur. January 1954, and the Hansa Gallery had scheduled his first onean artistic capital a < „ �man exhibition in New York for November. Althoug h tion never took place-Georges removed his pain mgs fro gallery prior to the opening-Frank O’Hara saw them an , cally gave Georges’ non-exhibition a favorable review In the years following the abortive Hansa Gafiery experie ’ Georges continued to refine his naturalistic style. Like Cour e The Painter’s Studio: A RealAllegoiy Summing up Seven Years oj My Life as an Artist (1854-55), with which it shares many similarities, Georges’ Artist, Lisette and Paulette in Studio, 1956 (Figure 4) is a reallife allegory that summarizes a stage in his aesthetic development. One of his largest paintings to date, Artist, Lisette and Paulette shows a new confidence and^rawto. Georges has divided the composition into three quasi-equal parts that represent the artist­ creator, the work of art, and the artist’s inspiration. Much as the overall warm tonality (obtained by using a Maroger medium) unifies the work, the tripartite composition proclaims the unity of his life and art and the equivalence of the generative and imaginative. On the left stands Paulette, Georges’ two-year-old daughter, whose name is the diminutive and feminine version of his own. She raises her left hand to her mouth; her right hand rests lightly on her father’s arm. This touch, combined with a continuous, encompassing contour line that flows from Georges’ head and shoulder links her unmistakably to her father. Fie is her creator just as he is about to create a work of art. Georges himself is seated. His right hand, holding a piece of charcoal, makes the transition from the left to the composition’s center. The painting portrays the moment before creation, before he begins to draw, in order to emphasize the mental over the manual activity. Paulette’s reflexive gesture of surprise pays witness to the miracle in progress. The isolated placement of the artist’s hand just above the center of the canvas underscores that the miracle can become tangible only through the intercession of the artist. On the right, Lisette, nude, sits on an elevated platform covered with drapery that cascades from the corner above her head. Mother of his child and muse to his art, she rests her crossedl ■ on a box or crate as she looks at her husband and child. pIc.£ a modicum of modesty, a light cloth crosses one thigh. Lis^f nudity contrasts with the geometric forms of the easel and dra^:paper and suggests the familiar nature-culture, sensual-inteUectv-: dichotomy. In 1956, the year preceding the completion of/frw, Paulette, Georges published “A Painter Looks at a) the Nude,b) Corot” in which he discussed the difficulties in painting a nude Devious means are required to render her il one wants to show j nuk truly. She must be free in space, she must belong to it, she must relate to it. If one thinks of her as an objec t all is lost, il one does not thin! of l>s as an object all is lost. There is the same contradiction in paintingo!,:. kind as there is in woman herself. If one paints the relations one dotsr i have the essence, and if one paints the thing the essence eludes you.’1 Georges’ insistence that the nude must be both “free in spits' and “must belong to it” became his major formal concern. Ht wanted neither to create “allover” Abstract Expressionist space, in which the figure-ground relationship blurred, nor traditional paintings, in which the figure and ground were clearly distinct an' separate. Rather he wanted to combine both movement and fom in an ambiguous, constantly changing “orbital" relationship. In orbital space, the forms circle around each other like satellites in constantly changing trajectories; the relationship between forms remains ambiguous, open and “capable of charge depending on how you see it.”11 Orbital space is the opposite or perspectival space, which locates forms in rational, measurable. s»tic> and closed pictorial relationships. Self-Portrait, 1959 (Figure 5), which was shown in his l’j portrait exhibition at the Great Jones Gallery, demonstrate! — space. Here the artist, holding a brush, sits on a bentwood co­ Using a loaded brush and painting wet-into-wet in the manner, Georges subordinates details to create a more genei^, ’;5p.- „i r t >■rather than individualized, self-portrait. Georges’ express- work and the monochromatic palette create an . relationship that integrates the figure into the o one is uncertain where the figure ends and the g neither figure nor ground loses its identity. For Georges, grappling with the contradict picture surface and the picture plane, between si between finite form and expressive movement I just the classic formal problem of modernism.' dictions that he encountered in attempting to c echoed the difficulties inherent in trying to live In the early 1960s, Georges made the trans value painting to color. This change is dramatn compares Standing Self-Portrait tn Studio, 1959 ( Self-Portrait, 1962-63 (Figure 7), One notes furl learned to animate his figure in the latter comp contrapposto and by imparting a sense of mon artjst suddenly looks up.' As Georges perfected his formal skills, he preoccupied with the question: “Formal for what?” I say to myself. ... It seems to : to be formal, is to say something. If you have noth) we got where we are.”12 In Georges’ mind formal innovation had, replaced content: Ail the “isms” of the 20th century—Futurism, Absti as well as Pop and Op An fare) rea]]y about prwei, k,™-™ m,. — .i,.-, i,.—__inalienator ­ become the ends.... m When this happens There has to be some urgent need.... I think none were trying to speak about our needs. That’s what until about a hundred jo years ago?’ �■ Mother of his child and muse to his art, she rests her crossed le on a box or crate as she looks at her husband and child. Provmf a modicum of modesty, a light cloth crosses one thigh. Lisette’s"8 nuditv contrasts with the geometric forms of the easel a nd drawin paper’and suggests the familiar nature-culture, sensual-intellectUal8 dichotomy. In 1956, the year preceding the completion ofArtist, Lisette and Parity Georges published “A Painter Looks at a) the Nude, b) 1- Corot” in which he discussed the difficulties in painting a nude: Devious means are required to render her if one wants to show a nude truly. She must be free in space, she must belong to it, she must relate to it If one thinks of her as an object all is lost, if one does not think of her as an object all is lost There is the same contradiction in painting of this kind as there is in woman herself. It one paints the relations one does not ha® the essence, and if one paints the thing the essence eludes you.10 Georges’ insistence that the nude must be both “free in space” and “must belong to it” became his major formal concern. He wanted neither to create “allover” Abstract Expressionist space, in which the figure-ground relationship blurred, nor traditional paintings, in which the figure and ground were clearly- distinct and separate. Rather he wanted to combine both movement and form tn an ambiguous, constantly changing “orbital” relationship. In orbital space, the forms circle around each other like satellites in constandy changing trajectories; the relationship between forms remains ambiguous, open and “capable of change depending on. how you see it”i! Orbital space is the opposite of perspectival space, which locates forms in rational, measurable, static, and closed pictorial relationships. his 1960 self Self-Portrait, 1959 (Figure 5), which was shown in --------. ­ Gallery, demonstrates orbita orbital portrait exhibition at the Great Jones Gallery', space. Here the artist, holding a brush, sits on a bentwood chair. Using a loaded brush and painting wet-into-wet in the Venetian manner, Georges subordinates details to create a more generalize , rather than individualized, self-portrait. Georges’ expressive brus - work and the monochromatic palette create an ambiguous spatial relationship that integrates the figure into the overall composition: one is uncertain where the figure ends and the ground begins, yet neither figure nor ground loses its identity. For Georges, grappling with the contradiction between the picture surface and the picture plane, between surface and depth, between finite form and expressive movement became more than just the classic formal problem of modernism. The pictorial contra­ dictions that he encountered in attempting to create free paintings echoed the difficulties inherent in trying to live as a free man. In the early 1960s, Georges made the transition from tonal or value painting to color. This change is dramatically apparent if one compares Standing Self-Portrait in Studio, 1959 (Figure 6) with Seated Self-Portrait, 1962-63 (Figure 7). One notes further how Georges has learned to animate his figure in the latter composition by means of contrapposto and by' imparting a sense of momentariness, as the artist suddenly looks up. As Georges perfected his formal skills, he became increasingly preoccupied with the question: “Formal for what?” I say to myself.... It seems to me the only reason . . to be formal, is to say something. If you have nothing to say, that’s how we got where we are.”12 In Georges’ mind formal innovation had, unfortunately, replaced content: All the “isms” of the 20th century—Futurism, Abstract Expressionism ... as well as Pop and Op Art [are] really about process.... The means have become the ends.. .. When this happens alienation and cynicism set in. There has to be some urgent need.... I think none of us are artists unless we’re trying to speak about our needs. That’s what art has been about... until about a hundred years ago.14 By the end of the 1960s, Georges felt an “urgent need” to address some of the dynamic events that characterized that turbu­ lent decade. One such painting is My Kent State, 1970-71 (Figure 10). As the American military presence in Viet Nam expanded during the 1960s, so did the domestic antiwar movement. When President Nixon ordered the invasion of Cambodia in the spring of 1970, his actions provoked widespread protests, including one at Kent State University, which ended tragically on May 4, when Ohio National Guardsmen fired on a group of students, killing four and wounding nine. Georges expressed his outrage in a number of paintings. In Aly Kent State, many figures are compressed into a shallow space, suggesting crush and panic, chaos and fright Georges himself appears in the center of the composition, kneeling and restraining his muse, who attempts to flee. The artist and muse are surrounded by National Guardsmen, clouds of tear gas, and on the ground, the foreshortened body of a dead student whose blood merges with the painted red border. The artist’s pose was appropriated or transposed from a photograph by John P. Filo that appeared in The Neto York Times on May 5, 1970. One of the best known and most powerful photographs of the 1970s, it depicts an anguished young woman kneeling beside a slain student. On the painting’s right, Georges has represented Richard Nixon and Vice President Spiro Agnew. Although NLxon turns away from the violence, his blood-covered hands emphasize his guile Georges, of course, is not unique among modern artists in responding to shocking or tragic contemporary' events. Indeed, My Kent State belongs to a long tradition of particularized protest paintings that include Goya’s Third ofMay, 1808 (1814), Gericault’s The Raft of the Medusa (1819), Manet’s The Execution ofMaximillian (1868), Ben Shahn’s The Passion ofSacco and Vanzetti (1931-32), and Picasso’s Guernica (1937). The closest parallel, however, is with Philip Evergood’s An American Tragedy (1937), which commemo­ rates a 1937 Memorial Day clash between strikers and police at the Republic Steel Company mill in Gary, Indiana. Both works are �• ’«•■ * •□■Ml responses to specific incidents. Both artists painted themselves; as participants in the events, although neither had been at the scene Both artists used news photographs in their compositions, u ous compositional similarities exist as well, most particularly the centralized man and woman, the massed agents of authority, and the placement of the dead. Finally, both use an idealized image of woman. For Evergood, woman is not only a protector of man, but also a symbol of new life amidst the chaos, repression, and death. Georges’ muse similarly represents the powers of creation, if not procreation. Afi' Kent State should not be read simply as a particularized protest. Rather, Georges viewed the killings at Kent State as a massive attack on American civic freedoms. The constitutional rights of citizens to speak freely, to assemble peacefully, to petition their government, to receive a fair trial (instead of a summary execution), and to avoid involuntary servitude (the draft) seemed to have died in a fusillade. Georges, for whom freedom is the primary value, felt that he must condemn the government repression. In addition to speaking out against political repression, Georges also challenged the prevailing critical viewpoint that considered figurative art inferior to abstract art. As part of his rebellion against a new “mainstream” orthodoxy, he vigorously sought to expand the exhibition opportunities for representational artists through his activities with the Alliance of Figurative Artists, which he helped to found in February 1969. Modeled on the Eighth-Street Club, which Geoiges had frequented in the early 1950s, the Alliance provided a Friday-evening forum where artists could present work, lecture, receive critical feedback, and partici­ pate in panel discussions. During the late 1960s and early 1970s, many of the figurative artists active in the Alliance met at the Cedar Tavern, which was once the favorite hangout of the first generation New York School artists. Georges portrayed several of the new regulars in Cedar Tavern, 1973-74 (Figure 14). Seated at the table, clockwise from the lower left corner, are Georges (wearing a grey sweater with leather elbow patches), Sam Thurston, Anthony Santuoso, and Marty Pachek. Standing between Pachek and Paul Resika (bearded and wearing a red sweater), Camille (Carmella) Nandanici serves coff= Continuing around the table are Aristodimos Kaldis (an artist Georges met in 1947), an unidentified young woman, and Jim Wilson. Behind the table, Howard Kalish and Jacob (Jack) Silberman are seated at the bar. The tiny head to the right represents Mike Berg. Anthony Siani (who along with Silberman sued Genre. for libel alleging that he had depicted them as “violent criminals’ in the Mugging of the Muse [1972-74, not in exhibition]) appears standing directly above the waitress’s tray. Interior at Walker, 1972 (Figure 11) and SelfPortrait with Cabinet, 1972-74 (Figure 13) document two domestic views. In the first, the artist embraces his,wife Lisette. Th*. ,e^n8 is the family’s loft, purchased in 1970, on Walker Street in the Tribeca area of Manhattan. The second shows the artist leaning against a china cabinet that is still to be seen in the loft’s dining area. Together these paintings celebrate, on one level, the painter’s attainment of financial security for the first time in his life. The following year, 1973, Georges turned fifty and began Fantasy About Freedom #/, 1973-76 (Figure 15). Here we see the somewhat overweight, middle-aged artist gamboling on the heath with three young women who, like the artist, have abandoned their bathing suits. This lyrical pastoral, a combination of personal daydream and art historical references, recalls Georges’ earlier paintings on the theme of the Three Graces. Georges frequently employs caricature as an essential visual device. The element of humor associated with caricature gives a droll cast to the image, prevents it from becoming excessively earnest, and in consequence, strengthens its aesthetic power. E. H. Gombrich observed that “The invention of portrait caricature presupposes the theoretical discovery of the difference between likeness and equivalence.”15 Georges understands this difference completely. By means of isolation, generalization, simplified exaggeration, caricature schematizes details and removes them the realm of the particular to the allegorical. Thus caricature changes Georges’ Fantasy from a study of the artist’s physio?150®' or character into a more generalized image of the attist libera from the restraints of propriety and decotum. Or. as Richard Brilliant has noted, the role assumed by the artist tends to “d place” rather than “define" the character of the individual. Typically, Georges’ self-portraits depict the artist in a po manner of affirmative freedom. They are not preoccupied wii analysis, introspection, or despair. Art is his weapon in rhe d< of a civilization whose primary virtue is freedom Although 1 holds these values sincerely, his use of caricature gives the co: tion an irreverent, unmistakably modern feeling. In formal terms, Fantasy is constructed to demonstrate [ rial freedom: the vast sky above the low horizon creates a lev feeling because, according to Georges, “everything above the horizon line opens up."1 (His use of a low horizon is seen it Portrait in Studio, 1982 [Figure 16] as well.) This not only cre< “architecture of openness," but also liberates the figures by si etting them against the sky.1 Similar effects are found in Rei sance and Baroque illusionist ic. ceilings. The placement of the small figure on the left, in an indi nate space, also demonstrates pictorial freedom. Georges has observed that in Bruegel’s Hunter:, in the Sn»w(l565): You see large figures on the left moving over the hill, and you see 1: figures at the bottom right. To gel to these little figures you have to down instead of up. Normally in perspective, something that’s beh something else is above it-a closer chair is lower, the further one n higher—but paintings have to resolve themselves on the wall. If yoc what is nearer up high, you < an oppose the rule at the same time a obeying it.'' By situating the smaller figure to the left and below the cavorting nudes, the artist counters any tendency toward per tival recession, as it is countered in the Bruegel. Instead ofgr °ack the eye is drawn down, underscoring the mteg Pp™^n°_“fu^acc'r. Representative of his mature self-portraits of the artist-; artist, Self-Portrait in the Studio, c. 1983 (Figure 17) portrays C ’ �ek. Standing between Pachek and Paul Resika (bearded and ing a red sweater), Camille (Carmella) Nandanici serves coffe inuing around the table are Aristodimos Kaldis (an artist e' ges met in 1947), an unidentified young woman, and Jim ,n. Behind the table, Howard Kalish and Jacob (Jack) Silberare seated at the bar. The tiny head to the right represents Berg. Anthony Siani (who along with Silberman sued Geor5, ”X« bel alleging that he had depicted them as “violent criminals” .‘Mugging of the Muse [1972-74, not in exhibition]) appears ing directly above the waitress’s tray. Interior at Walker, 1972 (Figure 11) and Self-Portrait with .’et, 1972-74 (Figure 13) document two domestic views. In the the artist embraces his wife Lisette. The setting is the family’s mrchased in 1970, on Walker Street in the Tribeca area of rattan. The second shows the artist leaning against a china et that is still to be seen in the loft’s dining area. Together paintings celebrate, on one level, the painter’s attainment of rial security for the first time in his life. The following year, 1973, Georges turned fifty and began y About Freedom #1, 1973-76 (Figure 15). Here we see the vhat overweight, middle-aged artist gamboling on the beach hree young women who, like the artist, have abandoned their ig suits. This lyrical pastoral, a combination of personal ram and art historical references, recalls Georges’ earlier ngs on the theme of the Three Graces. Georges frequently employs caricature as an essential visual . The element of humor associated with caricature gives a :ast to the image, prevents it from becoming excessively t, and in consequence, strengthens its aesthetic power. E. H. rich observed that “The invention of portrait caricature >poses the theoretical discovery of the difference between ss and equivalence.”15 Georges understands this difference etely.By means of isolation, generalization, simplification, or ration, caricature schematizes details and removes them frorn study of the artist’s physiognomy or character into a more generalized image of the artist liberated from the restraints of propriety and decorum. Or, as Richard Brilliant has noted,, the role assumed by the artist tends to “dis­ place” rather than “define” the character of the individual.16 Typically, Georges’ self-portraits depict the artist in a positive manner of affirmative freedom. They are not preoccupied with selfanalysis, introspection, or despair. Art is his weapon in the defense of a civilization whose primary virtue is freedom. Although he holds these values sincerely, his use of caricature gives t'the composition an irreverent, unmistakably modern feeling. In formal terms, Fantasy is constructed to demonstrate picto­ rial freedom: the vast sky above the low horizon creates a levitous feeling because, according to Georges, “everything above the horizon line opens up/•”17 (His use of a low horizon is seen in SelfPortrait in Studio, 1982 [Figure 16] as well.) This not only creates an “architecture of openness,” but also liberates the figures by silhou­ etting them against the sky.17 Similar effects are found in Renais­ sance and Baroque illusionistic ceilings. The placement of the small figure on the left, in an indetermi­ nate space, also demonstrates pictorial freedom. Geoiges has observed that in Bruegel’s Hunters in the Snow (1565): You see large figures on the left moving over the hill, and you see little figures at the bottom right. To get to these little figures you have to go down instead of up. Normally in perspective, something that’s behind something else is above it—a closer chair is lower, the further one is higher—but paintings have to resolve themselves on the wall. If you place what is nearer up high, you can oppose the rule at the same time as obeying it.1’ By situating the smaller figure to the left and below the cavorting nudes, the artist counters any tendency toward perspectival recession, as it is countered in the Bruegel. Instead of going back in space, the eye is drawn down, underscoring the integrity of the painting’s surface. Representative of his mature self-portraits of the artist-asres wearing clean, if casual, clothing. His brush appears to touch one of his own paintings, seen in reverse, hanging on the wall behind the artist. This action compresses and contradicts the illusion of three-dimensionality and creates a figure-ground ambiguity that serves to flatten the picture. The three smaller paintings on the wall behind the artist are reverse images of color reproductions-Balthus’ The Room (1952-54), Mantegna’s Judith and Holofemts (c. 1495), and Velazquez’s Pope Innocent X (1650)—that hang in Georges’ studio. While “true” to optical reality, the reproductions appear reversed because Georges paints his self-portraits by looking in a mirror and not from photographs. In his self-portraits, Georges consistently depicts himself in casual attire. In part this is verisimilitude: he paints in old, casual clothing (note the longevity of the sweater that appears in Standing’ Self-Portrait in Studio, 1959 (Figure 6], Seated Self-Portrait, 1962-63 [Figure 7], and Cedar Tavern, 1973-74 [Figure 14]). By refusing to adopt the sartorial trappings of the middle class (that is the busi­ ness suit), Georges emphasizes his position as an outsider, free to do what he wants, which in his case is to be an artist. Unconcerned with the conventions of dignity and decorum, he is free to paint himself naked (Figure 15), or to be what Sidney Ttllim once called him: a “sentimental vulgarian.”20 The image of the gentleman-artist that Georges emphatically rejects evolved over five centuries. Discussing Velazquez’s Las Meninas in the Prado, for example, Jonathan Brown has emphasized the work’s “transcendent social implications-the condition of painting as a liberal, noble art and thus of painters as artists entitled to enjoy the privileges of high social status.”21 Likewise in nineteenth-century' France: Henri Fantin-Latour’s well-known Portrait of Edouard Manet (by 1867) in the Art Institute of Chicago, for example, seems more a likeness of a bourgeois dandy than of a prominent member of the avant-garde. Georges readily adopts the romantic image of the bohemian artist as a schema of freedom. He expects the viewer to recognize the social convention of the bohemian artist and to understand that image’s connotations of freedom. He is not concerned with �the “originality” of the schema, but rather in its ability to convey a I16 m ln\he Studio, 1989-90 (Figure 18) shows the artist standing half of the doorway of his Normandy studio. A strong light falls on ha., his face while shadow obscures the rest. The dark, almost gloomy interior contrasts with the sunny courtyard much as the contem­ plative artist differs from the active workman outside. Although holding a brush, he is not painting. Slightly behind the artist, beneath a picture hanging on the wall, a dog waits patiently on the floor. Further back, a still life of rag, bowl, and bottles sits on a worktable. At the very rear of the studio, a ladder leans against the wall next to a large, unfinished painting. Color plays a fundamental role in this work by maintaining the integrity of the surface and, as such, reflects his early training with Hans Hofmann. Unlike those who view the picture surface as a kind of window onto the world, Hofmann saw the surface as a dynamic equilibrium of competing forces that “push and pull” against each other. In this work, the warm colors appear to push outward or advance while the cool colors recede or pull back. This equipose produces an illusion of space or depth by means of color rather than by perspective. Georges’ view of color recalls Maurice Denis’ famous dictum, at the turn of the century, that “a picture-before being a war-horse, a nude woman, or some sort of anecdote—is essentially a surface covered with colours arranged in a certain order.”22 Georges believes that color is the one thing that an artist can put on the canvas that is not “illusion.” He notes that although the painter can capture the exact hue of a sock or shirt, he can neither recreate threedimensional space nor introduce motion onto a two-dimensional surface. Consequently when perspective, value (light and dark), or movement are used to “solve” a painting, the result invariably’ looks “fake.” Georges obviously does not forbid illusion; however, he subordinates perspective to color. Red, for example, counteracts the recession of the strong diagonal orthogonals. The juxtaposition of small areas of red near the bottom of the painting with a larger on. above also creates a kind of reverse perspective. If one were to draw imaginary lines from the sandals to the top and bottom edges of the red painting in the “background,” the lines would diverge, or open up, instead of converging or closing dow n. This lateral 1. For an extensive discussion ol the issue > raised tn this tmv.sce in, movement, created by color on the surface, counterbalances lineal "Allegories of Freedom tn the Paintings of Patti Georges” (Ph i). T,. ■. University of Wisconsin-Madison. 1993). recession and illusionist ic space. Multiple vanishing points and horizon lines further exacer­ 2. Interview with Karl Fortess, October 1'9,» Archives of Amrmun Ar' bate the sense of ambiguity in the picture. Indeed it is difficult to locate the horizon. We would expect a high horizon line in a 3. Paul Georges to author, December 12, 1994. standing self-portrait like In the Studio since the horizon line 4. Carter Ratcliff, “Paul Georges,"/KAI fcwnal, Fall 1983, p 7. corresponds to the artist’s eye level. The horizon line, however, is neither constant, predictable, nor imitative of reality. 5. F.O’H. [Frank O’Hara), "Paul Georges,November 1954, P. ‘ ■ Georges also uses pastage, the technique associated with P.F. [Parker Tyler|, “Paul Geoijej,” Art New,, November 1955, p. 49. Cezanne and Analytical Cubism, to eliminate the illusion of plana6. Laverne George, “Paul Georges," Arts .Magazine, December 1955, p. 5U recession and to create spatial ambiguity. In In the Studio, aquama­ rine combines the artist’s figure and the blue painting on the wall 7. Paul Georges to author, January 3, 1995. “behind” into a single shape that simultaneously emphasizes the surface and creates Georges’ ambiguous “orbital space." 8. Fairfield Porter, “Art, George,; [he Nature of the Am ,’r. Tradition The Throughout his career, which began professionally in the late Nation, February 11. 1961, p 128. Reprinted tn Fairfield Porter An m Its Oi/n 1940s, Georges has returned again and again to the subject of the Terms: Selected Cntin.m /9.;s t'r/s, editt-: by I'm !■•,,>■.>■ Dua.u . Ci» f artist working in his studio. Picasso’s observation that “One’s work Taplinger, 1979), p. 130. is sort of a diary”25 is particularly true of Georges, 9. F.O’H., “Pau! Georges,” p. 61. NOTES I always work.... Even if I don’t like what I do, 1 don’t judge it.... 1 i“;’ do it and put it away.25 He is not plagued by self-doubt, cynicism, or nihilism as he strives to live as a free man through art. In his self-portraits, Georges asserts the primacy of the individual in a depersonalized industrial society and, further, that freedom cannot exist without individual responsibility. Never the cool, aloofflaneur observing the world go by, Georges engages and transforms his subjects h} means of a sophisticated formal vocabulary. His passionate ptetorial journal records the progress of a private man made public- 10. Paul Georges, “A Painter Looks itj)Thc Nude, b) Corot,’’ An November 1956, p. 40. 11. Ibid. L p. I1 1 Fan Nov 1 Bra Rtvt I Nr 2 I?,;; 2 (Prr 2 I-i 194 12. Paul Georges, ---------moderator-----------------of here Ar* We-----Kga.'1 .a r pare, d . --------- ---February 19,1971 at theAlhar.ce of Figurati.-.-Anr.ts. NrwYork Cny 13. Quoted in Diane Cochrane, “Pau! Georges: Tnr Object 1; the Sub American Artist, September 1974, p. 59. 14. Ibid. 2 �m of the painting with a larger on se perspective. If one were to draw to the top and bottom edges of ind,” the lines would diverge or r closing down. This lateral he surface, counterbalances lineal nd horizon lines further exacere picture. Indeed it is difficult to lect a high horizon line in a 'India since the horizon line el. The horizon line, however, is imitative of reality. i technique associated with to eliminate the illusion of planar biguity. In In the Studio, aquamand the blue painting on the wall simultaneously emphasizes the guous ‘"orbital space.” h began professionally in the late i and again to the subject of the so’s observation that “One’s work NOTES 1. For an extensive discussion of the issues raised in this essay, see my “Allegories of Freedom in the Paintings of Paul Georges” (Ph.D. dissertation, University of Wisconsin-Madison, 1993). 2. Interview with Karl Fortess, October 1969. Archives of American Art. 4. Carter Ratcliff, “Paul Georges," ACM Journal, Fall 1983, p. 7. 5. F.O'H. [Frank O’Hara], “Paul Georges,” Art News, November 1954, p. 61. P.T. [Parker Tyler], “Paul Georges,"Art News, November 1955, p. 49. 6. Laverne George, “Paul Georges,” Aris Magazine, December 1955, p. 50. 7. Paul Georges to author, January 3, 1995. 8. Fairfield Porter, “Art, Georges: The Nature of the Artistic Tradition,” The f Nation, February 11, 1961, p. 128. Reprinted in Fairfield Porter, Art in Its Own f Terms: Selected Criticism 1935-1975, edited by Rackstraw Downes (New York: flinger, 1979), p. 130. 9. F.O'H, “Paul Georges,” p. 61. I 17. Paul Georges as member of a panel, “Science Fiction, Myth and Fantasy Fantasy-Moral on the Macabre," held at the Alliance of Figurative Artist- on November 17, 1978. 18. Ibid. 19. Artist's statement in Hudson River Museum, The World Is Round (Yonkers. N.Y.: The Hudson River Museum, 1987), p. 25. Paul Georges used the same Bruegel example to explain Hofmann’s “push and pull” to Larry Rivers. (Larry Rivers with Arnold Weinstein, What Did 1 Do: The Unauthorized Autohtogr.i-h-,’ [New York: HarperCollins, 1992], pp. 79-80). 20. Sidney Tillim, “Ness- York Exhibitions: The Month in Review,". in. Magazine, January 1963, p. 42. 21. Jonathan Brown, Images and Ideas in Seventeenth Century Spanish Painting (Princeton. NJ.: Princeton University Press, 1978), p. 93. 10. Paul Georges, “A Painter Looks at a) The Nude, b) Corot," Art News, K November 1956, p. 40. lubt, cynicism, or nihilism as he gh art. In his self-portraits, e individual in a depersonalized at freedom cannot exist without he cool, aloofflaneur observing and transforms his subjects by 'ocabulary. His passionate picto f a private man made public. 16. Richard Brilliant, Portraiture (Cambridge: Harvard University Press, 1991), p. 101. 3. Paul Georges to author, December 12, 1994. true of Georges. e what I do, I don't judge it.... I just 15. E. H. Gombrich, An and Illusion: A Study in the Psychology oj Pictorial Representation (Princeton, NJ.: Princeton University Press, Bollingen Paperback. 1969), p. 342. 11. Ibid. 12. Paul Georges, moderator of “Where Are We Noss’?” a panel discussion held February 19, 1971 at the Alliance of Figurative Artists, New York City. 13. Quoted in Diane Cochrane, “Paul Georges: The Object Is the Subject, American Artist, September 1974, p. 59. 14. Ibid. 22. Maurice Denis, “Definition du Neo-traditionnisme," published in August, 1890, quoted in George Heard Hamilton, Painlmg and Sculpture in Europe I8SU1940, The Pelican History of Art (New York: Penguin Books. 1972), p. 107. 23. William Rubin, editor, Pablo Picasso: A Retrospective (New York Museum of Modern Art, 1980), p. 277. 24. Interview with Karl Fortess, October 1969. ������Self-Portrait Green, 1955 oil on linen 483/4 x 43’ /a inches ��4 Artist, Lisette and Paulette in Studio, 1956 Maroger medium on linen 75'/2x 8772 inches ��I 5 Self-Portrait, 1959 oil on linen 25 3A x 313/4 inches ���i 1 gSkir— i 1 F 4 ������> 9 Self-Portrait with Model in Studio. 1967-68 oil on linen 733/b x 81 '^inches ������Painting Self-Portrait, 1972-74 oil on linen 81 x 48 inches ����14 Cedar Tavern, 1973-74 oil on linen 573/4 x 943/4 inches �Cedar Tavern, 1973-74 oil on linen 573/4x 943/4 inches ����iu �. I �Self-Portrait in the Studio, c. 1983 oil on linen 583/c x 4O'/4 inches ������a tist in residence, Dartmouth College, Hanover, New Hampshire (S 1964 Ar ’ . • Dartmouth College, Hanover, New Hampshire. Solo exl S01° Mian Frumkin Gallery, New York (March 31-April 25). Awarded C B°ck Gold Medal at The Pennsylvania Academy of the Fine Arts “159th CHRONOLOGY 1923 Paul Gordon Georges born June 15 in Portland, Oregon,t0 E>al’y OstrOW (d. 1950, born in Russia) and Thomas Theseus Georges (1886-1977, boi>rn in Greece). 1939 Paints first painting while a student at Lincoln High School, Portland, Oregon. 1941-1942 Works at father’s laundry business in Portland, Oregon. 1942 Attends Oregon State College. 1943-1945 Drafted into the United States Army. Serves as an Infantry Radio Operator in the Pacific Theater (February 1943-December 1945). 1946 Attends University of Oregon, Eugene, Oregon. Studies with Jack Wilk­ inson, who becomes a lifelong friend and advisor. 1947 Attends Hans Hofmann School, Provincetown, Massachusetts (Summer). Meets Jane Freilicher, Robert Goodnough, Wolf Kahn, Paul Resika, and Larry Rivers. Continues studies at the University of Oregon (Fall) and receives Junior Certificate. 1949 Spends February through April in New York City. Moves to Paris and lives on Rue de la Bucherie. Exhibits in the Salon de Mais. Attends Academic de la Grande Chaumiere and then the Atelier Fernand Leger (1949-1952). Meets Lisette Blumenfeld, daughter of photographer Erwin Blumenfeld (December). 1950 Marries Lisette Blumenfeld in Cambridge, England (January 23). Moves to La Frette, a small town outside Paris, where he rents a house formerly occupied by the painter Albert Marquet. Returns to the United States (September) after his mother dies. Returns to France (December). 1952 Travels to Italy, visits Florence, Venice, Arezzo, and Ravenna. Leaves France and moves to New York City (March). Rents a loft at 41 East 8th Street (1952-54), 1954 Clement Greenberg includes Georges in “Emerging Talent,” Kootz Gallery (November 8-27). (Although Georges cancels exhibition, review by Rank O Hara appears in Art News [November 1954].) y nK 1955 Meets John Bernard Myers; First New York solo exhibition: Tibor de Naev Gallery New York (October 25-November 12). Designs stage scenery for 0 Tennessee Williams plays produced at Lake Hopatcong, New Jersey, by Herbert Maches. 1956 Visits Oregon in conjunction with solo exhibition at Reed College Faculty Lounge, Portland, (July) and solo exhibition at University of Oregon, Eugene' Publishes “A Painter Looks at a) The Nude, b) Corot” in Art News (Novembm Fairfield Porter gives Maroger medium to Georges. 1957 Solo exhibition: Tibor de Nagy Gallery, New York (April 23-May 11), Summers at Northwest Woods, Sag Harbor. Franz Kline gives his color oil paints to Georges. 1958 Summers at Poxabogue, Long Island. Solo exhibition: The Zabriskie Gallery, New York (December 8-January 3, 1959). 1959 Family summers at Poxabogue, Long Island. Moves to 9 West 16th Street 1960 Solo exhibition: Great Jones Gallery, New York (February 23-March 13). Summers at Martha’s Vineyard, Massachusetts. Moves to 645 Broadway (Fall). Participates in “The Question of the Future [The Fifth International Hallmark Art Award Exhibition],” Wildenstein Gallery, New York (October 4-29); receives Purchase Award. Daughter Yvette born (November 13). 1961 Awarded Longview Foundation Fellowship Purchase Award. Solo Exhibi­ tion: Great Jones Gallery, New York (January 23-February 19). Visiting Professor of Art, University of Colorado, Boulder. (January-April). Trip to Oregon (May). Returns to Sag Harbor, Long Island (July 4). Solo exhibition: Real College, Pordand, Oregon (c. December). Exhibits in “Annual Exhibition of Contemporary American Painting,” Whitney Museum of American Art, New York. 1962 Exhibits in Figures: A Show of Current Figure Painting in New York, Kornblee Gallery, New York (May-June). Summers at Sag Harbor, Long Ishnd Solo Exhibition: Allan Frumkin Gallery, New York (November 6-Decembt: 11 Purchases home in Sagaponack, Long Island, NY. 1963 dosing on Sagaponack House January). Solo exhibition: Allan Frumta iQa,Qer^ Chicago (October 7-November 2). Exhibits in “Annual Exhibition !*63: Contemporary American Painting,” Whitney Museum of American An. New York (December 11-February 2, 1964). , Solo exhibition: Noah Goldowsky, New York (April 13-May 8). Visi 1965 r University of Oregon, Eugene, The Summer Academy of Conte UC Arts Solo exhibition: Fountain Gallery of Art, Portland, Oregon (o, rJv 2) Solo exhibition: Cord Galleries, Southampton, Long Island (July 29). Visiting Lecturer, Yale University (Fall). 1966 Solo exhibition: Allan Frumkin Gallery, New York (January 4-29 rence Campbell, “Paul Georges Paints a Nude,” is published in Art N (January). The Studio appears on the cover. Model sues Art New. Lecti School of Visual Arts. Lecturer, University of Pennsylvania (1966-67 Whitney Museum of American Art purchases The Studio (Neysa MeV Purchase Award). 1967 Artist in residence, Louisiana State University, Baton Rouge, Louisi; (September-November). Returns to New York (November). Exhibits in “ Annual Exhibition of Contemporary American Painting,” Whitney Mu of American Art, New York (December 13-February 4, 1968). 1968 Solo exhibitions: Allan Frumkin Gallery, New York (January 6-Febr 4); Dorsky Gallery, New York (March 16-May 11); Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana (opened April 7); Ai residence, Louisiana State University, Baton Rouge, (February-April). E> in “Realism Now,” Vassar College Art Gallery, Poughkeepsie, New York 8-June 12). 1969 Alliance of Figurative Artists, initial discussion meeting; Georges ur artists to overcome psychological barriers that make “cripples” of all fig artists (February 14). Solo exhibition: Dorsky Gallery, New York (Marc! May 11). Erwin Blumenfeld (b. 1897) dies, July 4. Visiting Professor, Bo: University, Cooper Union, and Queens College (1969-70). Delivers lect the Alliance of Figurative Artists: “The Necessity of Making an Image (November 7). Exhibits in “1969 Annual Exhibition of Contemporary American Art,” Whitney Museum of American Art, Nev/ York (Decemi ebruary 1, 1970). John Canaday’s critique of “The Whitney Annual, or. Back Your Muse” appears in The New York Times (December 21). Moves to 85 Walker Street (January). Kent State Massacre (May 4). ln Painterly Realism” circulated 1970-72 by The American Federation 1971 Artist ln residence, Louisiana State University, Baton Rouge (Fall). �Artist in residence, Dartmouth College, Hanover, New Hampshire (Spring) ’ 7,l0 exhibition: Dartmouth College, Hanover, New Hampshire. Solo exhibi] Allan Frumkin Gallery, New York (March 31-April 25). Awarded Carol H “ i Gold Medal at The Pennsylvania Academy of the Fine Arts “159th : Annual Exhibition" (dosed March 1). >rk solo exhibition: Tibor de Naav 2). Designs stage scenery fOr S Fopatcong, New Jersey, by Herbert exhibition at Reed College Facultv at University of Oregon, Eugene >) Corot in Art Netos (November) New York (April 23-May 11). Franz Kline gives his color oil Io exhibition: The Zabriskie 959). md. Moves to 9 West 16th Street tv York (February 23-March 13). Is. Moves to 645 Broadway (Fall). The Fifth International Hallmark , New York (October 4-29); 71 (November 13). ip Purchase Award. Solo Exhibi23-February 19). Visiting ulder. (January-April). Trip to and July 4). Solo exhibition: Reed >its in “Annual Exhibition of luseum of American Art, New York. Figure Painting in New York, imers at Sag Harbor, Long Idan• ' York (November 6-December )• NY. Solo exhibition: Allan Frumkin xhibits in “Annual Exhi ltl01! hitney Museum of American Art, ,?65 Solo exhibition: Noah Goldowsky, New York (April 13-May 8). Visiting ' ecturer, University of Oregon, Eugene, The Summer Academy of Contempo: ran- Arts. Solo exhibition: Fountain Gallery of Art, Portland, Oregon (opened \ juh-2). Solo exhibition: Cord Galleries, Southampton, Long Island Quly 23i 29) visiting Lecturer, Yale University (Fall). 1966 Solo exhibition: Allan Frumkin Gallery', New York January 4-29). Law­ rence Campbell, “Paul Georges Paints a Nude,” is published in Art News (January)- 17>e Studio appears on the cover. Model sues Art News. Lecturer, School of Visual Arts. Lecturer, University of Pennsylvania (1966-67). Whitney Museum of American Art purchases The Studio (Neysa McMein purchase Award). 1967 Artist in residence, Louisiana State University, Baton Rouge, Louisiana (September-November). Returns to New’ York (November). Exhibits in “1967 Annual Exhibition of Contemporary- American Painting,” Whitney Museum of American Art, New York (December 13-February 4, 1968). 1968 Solo exhibitions: Allan Frumkin Gallery, New York January 6-February 4): Dorsky Gallery, New York (March 16-May 11); Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana (opened April 7); Artist in residence, Louisiana State University, Baton Rouge, (February-April). Exhibits 1 in “Realism Now,” Vassar College Art Gallery, Poughkeepsie, New York (May 8-June 12). 1969 Alliance of Figurative Artists, initial discussion meeting; Georges urges artists to overcome psychological barriers that make “cripples’ of all figurative I artists (Februarv 14). Solo exhibition: Dorsky Gallery, New York (March 16May 11). Erwin Blumenfeld (b. 1897) dies, July 4. Visiting Professor, Boston University, Cooper Union, and Queens College (1969-70). Delivers lecture at the Alliance of Figurative Artists: “The Necessity of Making an Image (November?). Exhibits in “1969 Annual Exhibition of Contemporary •American Art,” Whitney Museum of American Art, New York (December 16February- 1,1970). John Canaday’s critique of “The Whitney Annual, or, Take Back Your Muse” appears in The New York Times (December 21). 1970 Moves to 85 Walker Street January). Kent State Massacre (May 4). Exhib' in “Painterly Realism” circulated 1970-72 by The American Federation o 1971 Artist in residence, Louisiana State University, Baton Rouge (Fall). Stanford dda *" ln coniunctlor> with portrait commission of Dr. H. K. F ’ , ° d’ P,re51de"' of the University of Miami. Member of Alliance of Figurative Artists Panel, Topic: “Towards a Definition of Realism” (November 16). 1974 Delivers lecture at the Alliance of Figurative Artists: “Painting from Imaginatton (March 29). Solo exhibition: Fischbach Gallery Downtown, New ork (November 9-December 1). Member of Alliance of Figurative Artists Panel, Topic: Subject Matter, Renaissance, Humanism,” (December 20). Thomas Georges, Sr. (father) dies (December). 1975 Solo exhibition: Green Mountain Gallery, New York (March 7-27). Delivers lecture at the Alliance of Figurative Artists: “Talk," (November 7). Shows Mugging oj the Muse. Anthony Siani and Jacob Silberman subsequently sue Georges for Libel. 1976 Solo exhibition: Fischbach Gallery Uptown, New York June 30-July 31). Hilton Kramer savages exhibition in “Art View: A Disapointing Attempt at Political Allegory,” The New York Times (July 11). The exhibition coincided with Democratic National Convention held in New York City. Receives Creative Artists Public Service Program (CAPS) Award from the New York State Council on the Arts. Founder of the Artists’ Choice Museum. 1977 Visiting Professor of Art, Brandeis University, Waltham, Massachusetts. Receives inheritance, purchases house at Pomfret, CT (Fall). Georges family travels to Europe; itinerary includes London, Cambridge, Paris, Florence, Rome. 1978 Daughter Paulette marries Yannick Theodore (September 9). Brandeis University Board of Trustees appoints Georges Professor of Fine Arts, with tenure (October 6). 1979 Solo exhibition: Tomasulo Gallery, Fine Arts Department, Union College, Cranford, New Jersey (February 2-27). Member Alliance of Figurative Artists Panel Topic: “Eight Artists Speak of their Favorite Painting or Sculpture, (February 16). Solo exhibition: Meghan Williams Gallery Los Angeles (December-January 19, 1980). Visits Wyoming, Santa Barbara, and Los Angeles. �awards Siani and Silberman $30,000.00 each (Fall). Solo exhibition. Swen Parson Gallery, Northern Illinois University', DeKalb, Illinois, (Decern January IS, 1981), 1981 Awarded Benjamin Altman (Figure) Prize at die National Academy of Design "156th Annual Exhibition" (February' 26-March 29). Solo exhibition: Rose: Art Museum, Brandeis University, Waltham, Massachusetts, (February 1-March 8). Included in “Contemporary American Realism since 1960,” Pennsylvania Academy of the Fine Airs, Philadephia (September 18-December 13). 1982 Elected Full Academician, National Academy of Design. Solo exhibition. Zolla/Lieberman Gallery, Chicago (February 1-March 29); attends opening. Appellate Court reverses libel award (December). Georges family visit Rome, Naples, Pompeii, and Paestum (December). 1983 Visits California (May). Awarded Andrew Carnegie Prize at the National Academy of Design u158th Annual Exhibition” (March 17—April 17). Yvette moves to Los Angeles (May). Solo exhibition: College of the Mainland, Texas City, Texas, (October-November 3); attends opening. Solo exhibition: The More Gallery, Philadelphia (October 28-November 16). Sells Sagaponack house (December). 1984 Closing on Sagaponack house (January). Visits France for two weeks (January). Departs for France (April), where he spends the summer in Valcanville on the River Saire. Grandaughter Rachel Theodore born to Paulette and Yannick (May 25). Purchases “La Champagne”, a farmstead in Normandy (Fall, closing in December). Begins final year as Professor of Art, Brandeis University (Fall). Solo exhibition: Manhattan Art, New York (October 13-November 10). Visits Santa Barbara and Los Angeles (November). 1985 Solo exhibition: William Crapo Gallery, The Swain School of Design, New Bedford, Massachusetts, (February 18-March 14). Solo exhibition: Mead Art .Museum, Amherst College, Amherst, Massachusetts (March 27-April 21). During midterm, visits France, stays in Normandy residence. Retires from Brandeis University (May). Solo Exhibition: The More Gallery, Philadelphia (June). Summers in France. Included in “American Realism: Twentieth-Century Drawings and Watercolors from rhe Glenn C. Janss Collection,” San Francisco .Museum ofModern Art (November 7-January 12, 1986). 1986 Receives citation, American Academy and Institute of Arts and Letters (March); exhibits in “Paintings and Sculptures by Candidates for Art Awards” (March 3-29). Awarded Ranger Prize at the National Academy of Design “161th Annual Exhibition.” Returns to New York (November). Solo exhibitionAnne Plumb Gallery', New York (December 2-January 10, 1987). 1987 Visits Santa Barbara (February). Returns to France (March). Returns to New York (December). 1989 Delivers Lecture at the Alliance of Figurative Artists: Talk” (February 10) Departs for France (February). Travels to Italy; visits Maser and Venice. Sees work of Giotto and Piero della Francesca. Fire at Zolla/Lieberman Gallery, Chicago destroys four paintings and approximately two dozen drawings (April). Daughter Yvette marries Christopher Deeton (April). Solo exhibition: Vered Gallery, East Hampton, Long Island (September). Returns to New York (October). Solo exhibition: Greenville County Museum of Art, Greenville, South Carolina (November 15-December). 1990 Awarded Certificate of Merit at the National Academy of Design “165th Annual Exhibition” (February 7-March 7). Departs for France (March). Yvette moves from Los Angeles to become manager of the Paul Georges Studio in New York (March). Purchase Award, American Academy and Institute of Arts and Letters, Childe Hassam and Spilcher Fund. Returns to New York (December). 1991 Solo exhibition: The More Gallery, Philadelphia (February 1-March 6). Solo exhibition: Anne Plumb Gallery, New York (February 9-March 16). Departs for France (February). Awarded Gladys Emerson Cook Prize at the National Academy of Design, New York. “ 166th Annual Exhibition” (April 2May 12). Visits Cornwall, England (May). Solo exhibition: Vered Gallery, East Hampton, Long Island (August 31-September 30). Returns to New York (November). 1992 Returns to France. Exhibits in “Slow Art: Painting in New York Now," P.S. 1 Museum, Long Island City (April 26-June 21). Receives Adolph and Esther Gottlieb Foundation Individual Support Grant. Travels to London to see Rembrandt and Mantegna Exhibitions; visits Venice and Vienna. Visits Brittany in May and August to view Megaliths Alignments. Solo exhibition: SalanderO’Reilly Galleries, New York (August 1-31). Returns to New York (October 25). 1993 Returns to France (February). Awarded Emil and Dines Carlsen Award at the National Academy of Design, New York. “168th Annual Exhibition” (April 1-May 2). Receives Pollock-Krasner Foundation, Inc. Grant (June). Views Titian Exhibition in Paris. Visits Oxford (October). Returns to New York (November). 1994 Departs for France (March). Returns to New York (October). Solo exhibition: Salander-O’Reilly Galleries, New York (November 1-26). 1995 Solo exhibition: Sordoni Art Gallery, Wilkes University, Wilkes-Barre, Pennsylvania, (January 22-March 5). Returns to France (January'). Solo exhibition: Galerie Darthea Speyer, Paris (February 2-March 18). �1 �■SUB £©!»,□M|4 . JI,MMMM a fit III i Hateigg igr - iS»> I IBliitl Mi11 ill I 1 II »■■-■-■■■• ■ i I si MjWfcMMM .•>>' 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1995 January 22-March 5 Paul Georges: Self-Portraits Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Paul Georges Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1995 January 22- March 5 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/388a882d0a935ac7fb663f7ed5c634fb.pdf b4ec9a0e2c2db91a0831f26de3405405 PDF Text Text ■ if ' ■■ . g. J I �©IF Ml BW AMERICAN MASTERS co. 1910-cq. ^960 §©&©©« A^T ©ALLIW C@1ULI1©I1 APRIL 12-MAY 17, 1981 E.S. FARLEY LIBRARY WILKES UNIVERSITY wilkes-barre^pa. Sponsored by the Pennsylvania Council on the Arts and The John Sloan Memorial Foundation 3 �FOREWORD This exhibition is devoted to works by twenty-six American artists who studied under members of The Eight, one of the seminal groups of early twentieth century progressive artists in this country. This show provides a sequel to our 1979 exhibition of The Eight themselves. No attempt has been made here to be comprehensive, since over a period of some forty years there were literally hundreds of students, representing all degrees of achievement. The Eight unquestionally influenced many artists who were not their students, as well, although those influences are usually more difficult to ascertain. The artists chosen for this exhibition are generally regarded as major figures in American art, and together they represent a wide range of styles and attitudes, indeed, a virtual cross-section of art in the United States between 1910 and 1960. The exhibition, therefore, illuminates the vitality and diversity of that period, as it also defines, at least in part, the heritage of those among The Eight who shared their ideals through teaching. Numerous persons and institutions deserve recognition for their important contributions to this project. I should first like to extend our deep appreciation to the lenders, whose generosity provided the works which make up the exhibition. We are also greatly indebted to the John Sloan Memorial Foundation and the Pennsylvania Council for the Arts, which provided the funding for the project. I wish to thank personally those persons in the gallery and at the college whose help and cooperation were significant: Cara Berryman, Exhibitions Coordinator; Albert Margolies, chairman of the Advisory Commission, and the members of the Commission; Dr. Thomas Kelly, Dean of External Affairs; and Robert S. Capin, President of the College. 4 Finally, I extend special thanks to Mrs. Helen Farr Sloan for her invaluable advice and support, and for her introductory essay in this catalogue. , ARCHNS ... £ 0 Ri) G i '■ WILLIAM STERLING Director INTRODUCTI by Helen Farr Slot Any serious thoughtful observer o paintings by the group of artists knc would be puzzled by the term Ashcc identify the work they showed at M Words, published long after the evei indelible impression, a misleading in philosophy that brought these artists grouped around Robert Henri. He w the progressive avant-garde at the ti man John Sloan called "The Abraha Art." The diversity of personalities, tale styles of painting shown by those ei aspect of their philosophy: respect fi talent, and the desire to provide opj flourish, with freedom of expression demonstrate the value of work done working for themselves unfettered b commercial demands; on their own "independent" creative personalities, they had a common interest in depit world. (Even Davies' lyrical nymph: landscapes are idealized concepts of There has often been a mistaken ide interest in politics, or a desire to de] fact, Sloan was the only member of became interested in political matter years after that exhibition. As for ti Henri encouraged his friends and sti the everyday world of city and com city subjects show everyday people Parks and restaurants and bathing t Sloan called his subject matter: "Bit: �y, I extend special thanks to Mrs. Helen Farr Sloan nvaluable advice and support, and for her tory essay in this catalogue. WILLIAM STERLING Director I INTRODUCTION by Helen Farr Sloan Any serious thoughtful observer of an exhibition of paintings by the group of artists known as "The Eight" would be puzzled by the term Ashcan school used to identify the work they showed at Macbeth Gallery in 1908. Words, published long after the event, have left an indelible impression, a misleading interpretation of the philosophy that brought these artists together as friends grouped around Robert Henri. He was the natural leader of the progressive avant-garde at the turn of the century, the man John Sloan called "The Abraham Lincoln of American Art." The diversity of personalities, talents, and concomitant styles of painting shown by those eight artists reveal one aspect of their philosophy: respect for diversity of creative talent, and the desire to provide opportunities for art to flourish, with freedom of expression. They wanted to demonstrate the value of work done by American artists, working for themselves unfettered by academic or commercial demands; on their own initiative as "independent" creative personalities. At that time, in 1908, they had a common interest in depicting the everyday world. (Even Davies' lyrical nymphs in mountain landscapes are idealized concepts of a natural real world.) There has often been a mistaken idea that the group had an interest in politics, or a desire to depict urban slums. In fact, Sloan was the only member of the group who ever became interested in political matters, and not until several years after that exhibition. As for the subject matter, while Henri encouraged his friends and students to paint life — the everyday world of city and countryside — most of the city subjects show everyday people engaged in recreation. Parks and restaurants and bathing beaches provided what Sloan called his subject matter: "Bits of joy in human life." The series of independent group shows, beginning in 1901 at the Allan Gallery and culminating in the large Independent Show of 1910, provided experience in organizing exhibitions. The 1910 show was a precursor of the Armory Show of 1913 which brought an illuminating cross-section of modem art to this country for the first time. These exhibitions were organized by the artists, largely financed by themselves and in the case of the 1913 Armory Show, a few art collectors like Mrs. Harry Payne Whitney and Miss Lizzie Bliss. The friends and followers of The Eight taught their contemporaries the importance of voluntary public service, that very fine old characteristic of America's pioneers. The defense of independence, the protection of diversity in democratic cultural institutions; these are principles which the group taught in practical form. ! Several of The Eight were also teachers of drawing and painting in the formal sense. Henri and Sloan and George Luks taught for many years, both privately and at schools like the New York School of Art, and the Art Students League. Some of their most distinguished pupils are seen in this exhibition. It is so good to see that there is a happy extraordinary variety of work — none of it imitating the original teachers. For, in fact, a number of them, having learned the lesson of responsible independence (freedom, not license), learned again from other teachers like Kenneth Hayes Millar or Jan Matulka some insights which helped their talents to develop yet another synthesis. In every case the talent has been forged with integrity. In addition to the well-known teachers who had formal classes, it may be forgotten that a man like Maurice Prendergast had pupils who learned to appreciate the superb design and color of medieval miniatures from France and Persia and India, from him and his brother Charles. And it was Prendergast whose appreciation for Cezanne stimulated interest on the part of his friends who had not seen the work of that great modem, who died in 1906. In Sloan's day of 1910 he tells of finding an article in The 90-17: 5 �fast u1 Burlington Magazine, "Was much interested in the work of Cezanne, some of which was reproduced. A big man this, his fame is to grow." Of course Sloan had never been able to go abroad, having to support his family from the age of sixteen; but even if he had gone to Paris he might not have had the opportunity to see much work by the moderns in the Nineties. Van Wyck Brooks, who knew Prendergast, said that Sloan told him how Prendergast would come in the room and repeat to his friends: "You should know Cezanne I" It was not until the Armory Show exhibited a group of Cezanne's paintings that the work was known in color, in this country. Now that we are accustomed to superb color reproductions in books that survey the world of Impressionists and Modernists, it is exceedingly hard to realize that artists, even those who lived for years in France, were not really familiar with the work. It was shown so little, in a few independent shows, in restaurants and shops run by paint dealers. Maybe it has been more exciting for art students and even mature artists, to make some discoveries, bit by bit — to assimilate fresh ideas without being swamped by what Lewis Mumford has described as image-fatigue, being punch-drunk on familiarity with too much art. Artists at the time of The Eight were not over-exposed. Their immediate problem was that in this country there were so few places to exhibit work. The academic juries had a rigid political control over what got into the big public exhibitions. There were very few art dealers. Sentimental realism, genteel subject matter, imitation impressionism; these styles and subjects were acceptable. "The Eight" was formed by an accidental encounter with the jury system of the National Academy. It was a little protest made by associates of Robert Henri who had been shocked by the negative action of a jury that threw out the work of his students and friends. The show was organized spontaneously. There was no purpose other than to demonstrate the need to encourage the idea of "Open Door" exhibitions, such as the 1910 Independent Show that 6 they were able to organize later. (Henri also initiated the MacDowell jury system, based on proportional representation.) The pupils and associates of the men around Henri have carried back to all parts of the United States this attitude toward open door exhibitions, opportunities to show by both professional and amateur artists. They have been a leavening in the world of American art. Their viewpoint in one direction was "inclusive — open the doors of opportunity" but they were not opposed to the principle that Alfred Stieglitz advocated, "exclusive — selection of quality." Only the Henri crowd felt that the open door must come first, to counteract the power politics of fashion in art institutions. It would always be necessary to demonstrate and defend the democratic principle in cultural matters to encourage variety of expression, to respect independence. The wisdom of this point of view should be clear from study of cultural history in the past hundred years. Suppose Ryder had stopped painting because his work was not appreciated critically and financially! What a gap there would be in our artistic heritage if Prendergast had stopped making frames to earn the free time to paint his joyful scenes. What an unimaginable loss! The students who gathered around The Eight held all kinds of jobs to support their own creative work — night watchmen, accountants, dish washers, illustrators, designers, actors and authors. Some became administrators of the WPA art projects. Several became known as teachers. Richard Lahey ran the Corcoran School of Art, and Kimon Nicolaides' book The Natural Way to Draw has reached several generations of art students. Today the historical situation for young artists is so different from that faced by The Eight. Now there are more opportunities to obtain college scholarships and to exhibit creative work.. New York is not the only art center in the country. Contemporary museums have been established in many places. There is perhaps a more insidious pressure to be influenced by the , a sefiO.U. ,\ contemporary^• cost . be creative -ship of support. Recent Recent " n. history d-’t- ‘ oTce agairX only a small percentage a can survive withonly integrity by counting >ivf * sales. Henri, for instance, made a col­ the itis portrait painting. In addition to tfound patrons early in his career but Hi bloomer. He was in his forties before hi and from that time on he did have patrl and David Smith had many lean years I chapter of financial security. Students, j professional artists need to be reminded] facts - to keep perspective on their wd courage to persevere. 1 �rOnHenri also th k to aUpJ°f -he ’men le United ions, Professional and in the worldamateur 'of or* direction was opportunity" but tb ,at Alfred StiegliS1they [on of quality." Only the door must come first, to fashion in art institutions o demonstrate and defend oral matters to encourage ■t independence. view should be clear from past hundred years. inting because his work was inancially! What a gap there ;e if Prendergast had stopped time to paint his joyful loss 1 round The Eight held all >wn creative work — night washers, illustrators, Some became administrators al became known as e Corcoran School of Art,, Draw he Natural Way to C. — has art students. n for young artists is so ie Eight. Now there are more scholarships and to exhi^ ,t the only art ce^ished m TmoTinX- P— tO contemporary art, a serious pressure for young people to contend with. The cost of living is more complicated by the income that must be set aside for taxes. It usually becomes a necessity for a creative artist to cultivate a side-line in teaching or craftsmanship which can provide a reliable means of support. Recent history does teach this lesson once again that only a small percentage of unique talents can survive with integrity by counting on contemporary sales. Henri, for instance, made a comfortable living with his portrait painting. In addition to the teaching, Bellows found patrons early in his career but Hopper was a late bloomer. He was in his forties before his talent matured and from that time on he did have patronage. Stuart Davis and David Smith had many lean years before the late chapter of financial security. Students, and even professional artists need to be reminded of these realistic facts — to keep perspective on their work and regain the courage to persevere. THE STUDENTS OF THE EIGHT IN AMERICAN ART by William Sterling "The two dominant forces in my early art education were the teachings of Robert Henri whose school I attended and the Armory Show of Modem European art in 1913. These influences were foremost in forming my ideas and taste about what a modem picture should be. Both were revolutionary in character, and stood in direct opposition to traditional and academic concepts of art."1 (STUART DAVIS) After World War II, New York City emerged as the capital of the art world, thereby ending the leadership of Paris, which had prevailed for more than a century. For the first time in its history, the United States led the way to the most radical developments in art. The war had severely disrupted the cultural life of Europe, and even before the war many European artists and intellectuals had emigrated to America to avoid persecution. They brought with them their entire repertoire of avant-garde ideas. At the same time, a generation of American artists achieved its maturity in modernism and stood ready to explore new frontiers. Prior to the war, American artists had, for the most part, been followers rather than leaders. In the late nineteenth century, a few eccentrics, such as Ryder, created their own highly personal expressions, but had little influence on their contemporaries. Several others, such as Whistler and Cassatt, managed to join the European avant-garde, but they remained expatriates. The earliest stirrings of an independent American modernist movement came in the first two decades of this century. In 1908, the famous exhibition of The Eight marked the first significant repudiation of academic dogma and style in art. The Eight, comprised of Robert Henri, John Sloan, George Luks, Ernest Lawson, William Glackens, Everett Shinn, Arthur B. Davies, and Maurice Prendergast, were never a cohesive group. They were simply congenial spirits who came together for a single exhibition at New York's Macbeth Gallery. But that exhibition was one of the salient �st&EfcaafS events of American art. Like the earlier independent salons of the Realists and the Impressionists in France, it struck a blow for artistic freedom in the face of a rigidly conservative academy system. Two years later, Henri, Sloan, Davies, and Walt Kuhn put together a far larger show, the Exhibition of Independent Artists. The taste for adventure and the lure of artistic freedom had begun to spread. The largest and most influential event came in 1913 with the great Armory Show in New York, where the latest European styles were revealed to Americans for the first time en masse. The effect of these exhibitions was to break, once and for all, the grip of the academies upon the American art scene. An American artist could now follow his own course without fear of automatic isolation, and the forbidden fruit of European modernism could be tasted without censure. Two approaches to modernism emerged in the second decade. Henri and his associates took up a rather chauvinistic position, urging American artists to develop an indigenous modernism which would remain independent of European styles. Various realist styles from the "Ash-Can" school to the Regionalists of the 1920s represented this approach. The other approach led to Europe and the adoption of the latest abstract styles, particularly Cubism, Futurism, and later. Surrealism. The prime movers of this approach included the photographer and patron Alfred Stieglitz, Walter Pach, and Arthur B. Davies (who had shared Henri's democratic attitudes more than his tastes). Already by 1915, artists such as Max Weber and Marsden Hartley had gone to Europe and had embraced the very newest discoveries. The "Europeanists" became the more radical group in terms of artistic style, since they favored the various abstract forms which the term "Modern Art" has usually been associated with. The Henri group remained relatively conservative in its adherence to more or less naturalistic styles. Before World War I, The Eight had enjoyed the status of America's avant-garde. Their unsentimental and upcompromising realism was coupled with an outspoken liberalism in matters of artistic self-determination. Most free-thinking artists of the time adopted their anti­ establishment stance, if not their particular styles. This situation changed in the late teens and early twenties, as more and more artists were drawn toward Europe. Some, like Henri's student Patrick Henry Bruce, became expatriates. Others, like another student, Stuart Davis, absorbed European modernism but remained at home. As a result of the Armory Show and subsequent contacts with visiting avant-garde personalities from abroad (for example, Marcel Duchamp and Francis Picabia), America's knowledge of European developments grew rapidly and widely. The Stieglitz faction, centered in his "291 Gallery," promoted an artistic formalism which shunned any narrative or illustrational emphasis. Henri's group resisted such formalism, and resolutely maintained that art must first of all communicate ideas, and that content must take precedence over form. During the years between the two world wars, the relative prominence of one polarity over the other swung back and forth. Especially during the Depression, naturalism enjoyed revitalized popularity, not only in America but in Europe, too. Early abstractionists such as Weber, Hartley, and Morgan Russell returned to figurative work, and generally lost favor with the modernist critics. Only in the forties did a new and unquestionally more original form of abstraction come to the fore in America. It was then that the Abstract Expressionists, led by Pollock and Gorky, burst upon the scene, and inherited the mantle of radicalism from war-torn Europe. The works which make up this exhibition provide something close to a cross-section of that vital and varied period in American art. They also bear witness to the significant role played by a few brilliant teachers. p rx th^1 >5 2 mu ,'uJ‘ nWmore UX’rl idrnt Uont^nt things. I htfBrh you myopm * “dl v.,u some thmg, about t how Then you must > ejpcrkrtce and hard work The students of The Eigh cross-section of American < and forties. From figurativ* Hopper to abstractionists li every new and vital directii among The Eight who wert imposed narrow doctrine. ( an atmosphere of discipline During that era of lmrnei immunity, as well as in it role Played by the sources Oration was enn wd*eArmorys?rmOus- new ideas and7c h°W °pei Ua^alloif°rniS- ^tit F°rs^youendarti^toe> ?OU^torouJartls^ the atalyst �had g' ' ■hthA aMh I tatUs of ' sejf-d an Ouh deterjriinaH PcAen eir Particular toWard as Bruce. becUar°Pe- Some, ler student St 'The best advice I have ever given to students under me has been nest this: ‘Educate yourself. do not let me educate you . . ' Real students go out of beaten paths, whether beaten by themsefess or by others. and have adventure with the unknown.”2 (ROBERT HENRI) 3nalit^dfrS^S|puen\ ^ntacts IVnuteoer the Henri School may have lacked in systematic discipline was more than made up for by positive contributions ... Sy developing the student's confidence in his own perceptions, it gave his work a freshness and personality that was lacking in the student work of other schools." 3 (STUART DAVIS) entered iohis -291 i which shunned any Basis. Henri's group resisted i don't want to interfere with your way of seeing, if you are seeing things. 1 have no tricks to teach you. I don't want to teach you my opinions, but if you can get hold of my point of view 1 don't think it will hurt you. I am here to help you. I want to help you find a purpose, a reason for painting. I can tell you some things about the "how" to paint. Not any one 'how.' Then you must find your way through your own experience and hard work. ‘ * (JOHN SLOAN) r maintained that art must and that content must take te two world wars, the larity over the other swung ing the Depression, popularity, not only in arly abstractionists such as Russell returned to figurative ■ with the modernist critics, ind unquestionally more ,me to the fore in America. It ,ressionists, led by Pollock "“and inherited jrope. his exhibition provide ion of that vital and[ varied to the also bear witness teachers. v brilliant The students of The Eight do indeed constitute a cross-section of American art during the twenties, thirties, and forties. From figurative painters like Bellows and Hopper to abstractionists like Davis and Gottlieb, virtually every’ new and vital direction was represented. Those among The Eight who were active as teachers by no means imposed narrow doctrine. On the contrary, they cultivated an atmosphere of disciplined self-determination. During that era of immense growth in America's artistic community, as well as in its aesthetic sophistication, the role played by the sources of artistic information and inspiration was enormous. Exhibitions such as The Eight and the Armory Show opened eyes and minds to radically new ideas and forms. Institutions like the Art Students League allowed artists to experiment with those new ideas. For some young artists, the very sight of the new was enough to rouse them into action, but for most, the teacher remained a crucial catalyst in their transformation. There were a number of important teachers in the early twentieth century who are identifiable today by the large number of major artists who studied with them. Preeminent with Robert Henri and John Sloan were William Merritt Chase, Kenneth Hayes Miller, and Arthur W. Dow. Probably as many as half of America's historically significant painters, maturing in the teens, twenties, and thirties, studied under one or more of these men. Other than Hans Hofmann and Joseph Albers, perhaps, no teachers since that time have enjoyed such wide influence. Today, as even the formerly most provincial sections of our country have become cosmopolitan (at least in their best schools), the teaching of art has become highly decentralized. New York City may still be the major hub of progressive artistic activity, but most New York artists arrive there after their training, nowadays. Virtually every school and every teacher across the land have ready access to the same periodicals, the same reproductions, and often the same exhibitions. Things were different at the beginning of the century. A few important art academies, and within them a few outstanding instructors, dominated art training in this country, and to some extent aesthetic values as well. Robert Henri had been the prime mover, the original leader of those Philadelphians who made up the nucleus of The Eight: Sloan, Luks, Shinn, and Glackens. Sloan and Luks, in particular, followed Henri in the pursuit of teaching. Lawson and Prendergast also took students on occasion, but they never had the broad impact of Henri and Sloan. Glackens and Davies never taught, although Davies wielded much influence through his activities as an organizer, supporter, and critic. The students of The Eight, therefore, were mostly students of only three members of the group: Henri, Sloan and Luks. Even before their landmark exhibition, Henri was teaching at the New York School of Art, which was run by William Merritt Chase. He held forth there from 1903 until 1907, then ran his own school until 1912. After that, he 9 �i3*7h <tud^ ?tdc>pFerf of \list* ” r taught at the Art Students League, as well as the progressive Ferrer School. Henri was a born teacher, a charismatic man with strong opinions, sharp insights, and cutting wit. As often as not, his classroom discussions dealt with literature, music, or philosophy. Life was the stuff of art, and Henri encouraged his students to study life as vigorously as they studied art. As Stuart Davis said of his mentor's approach, "art was not a matter of rules and techniques, or the search for an absolute ideal of beauty. It was the expression of ideas and emotions about the life of the time." Henri's method was regarded as radical at the time, but his aim seems clear enough today. He sought to instill his students with a sense of art's relevance to real experience. ■ 1 John Sloan continued this approach with equal enthusiasm and success. Having taken pupils as early as 1912, he joined the faculty of the Art Student's League in 1916. In 1931, he was elected president of the League, although he resigned the following year after a heated quarrel with the governing board over its refusal to hire the German emigre modernist, George Grosz. He left the League for three years, during which time he taught at Archipenko's Ecole d'Arte and took over the Luks School of Painting upon the death of George Luks in 1933. i s I During the twenties, Sloan's classes were immensely popular, and like Henri's, they were lively centers of criticism, philosophy, politics, and humor. Sloan shared Henri's sense of the priority of ideas and feeling in painting, as well as his disapproval of "art for art's sake." Yet, Sloan was by no means insensitive to the formalistic concerns of art, which were central to so many modern movements. He once stated that "the subject may be of first importance to the artist when he starts a picture, but it should be of least importance in the finished product. The subject is of no aesthetic significance." 5 This attitude put Sloan in tune with the younger generation. One of Stuart Davis' few criticisms of Henri 10 had been that the latter placed too much emphasis on subject matter. Indeed, Henri, much more than Sloan, had resisted the formalistic preoccupations of the Cubists. Fauves, and Futurists, and had sought to minimize their influence on American modernism. If Henri and Sloan had had only their artistic style to offer their students, little more than a new generation of "Ash-Can" painters would have emerged from their classes. What these teachers did offer their students was considerably more significant. It was an attitude about art and what it meant to be an artist in the twentieth century; it was an attitude about freedom which allowed the student to question any rule or tradition or approach, not excluding those of Henri and Sloan themselves. It is on this basis that an exhibition of artists so diverse in style can reveal something about the course of modern art in America. Some of these artists studied long and faithfully under one master or the other. Others came into the fold for only a year or less, and never said much about their experience. But it is difficult to imagine that any impressionable young art student was not touched by the spirit of freedom, candor, and common sense which was to be encountered in the classes of Henri and Sloan. Although these masters never became radicals in style, they promoted an openness to new ideas which allowed their students unusual latitude in those days. They were the "progressive educators" of the art schools. Robert Henri counted among his students, in addition to the aforementioned Stuart Davis, such determined modernists as Patrick Henry Bruce, Morgan Russell, Man Ray, Walter Pach, and Arnold Friedman. Less radical but no less important were Edward Hopper, George Bellows, Rockwell Kent, Guy Pene du Bois, and Glenn Coleman. It is clear that no common element of style binds these men. Rather, it is their sense of independence and their search for an honest means of self-expression which link them to Henri. X 1 the P- ?erSedAa>can * J t>tf uS e* aS J tranS,en centUrVtic re'leCtlL’ at,endTnyofhi5f^afstrl,ctUr€h bv ^cametobe^ realistsd Giff°rd CeorgeBelloWS an nd grandeur of t conned vvithormah US ( modem today than Hopper , modernism, they continue to speak .nap language. The modernists among Henris student' < of as defectors who had bolted from the p< doesn’t appear that the master ever serious their more radical convictions. For exampl hvely and friendly correspondence with Pa 5B™ceafter flatter had gone to Pans stl ^£ a>..SS‘wb“d’"Spectrum nat''ran''rr the various exhibit; l 'jfganJ Stu, �tHe SSj1'had rtis«c Styie to generation of :r°m their classes. ts Was “itude about art J’entieth century’; lowed the student ach, not elves. rtists so diverse urse of modem ed long and Zithers came into said much about ne that any touched by the nse which was to Sloan. Although le, they promoted heir students the "progressive ts, in addition to errnined in Russell, Man Less radical but ieorge Bellows, enn Coleman. It ,inds these mentd their search fo ink them to Hopper, Bellows, and Coleman remained closer to Henri's style than many students, but each fashioned a strong individual manner. Hopper, of course, eventually emerged as one of the preeminent realists in twentieth century’ American art. Accepting Henri s view of art as an authentic reflection of life as most of us experience it. Hopper added his own sense of the mystery’ of existence attendant to special moments of transience and solitude. Like many of his colleagues, he also developed a stronger awareness of the formal structure of his pictures, so that his works came to be admired as much by’ abstractionists as by realists. need not look closely to see the imprint of his master's teaching. When Henri sent Davis and the other students roaming through the streets of New York to capture the real pulse of the city, he planted the seed which ultimately gave Davis' cubism its highly original stamp. Images of city life, from billboards and signs to chain-link fences and cigarette wrappers, were transmitted through jazz-like rhythms and blasting colors. Brasher, bolder, and cleaner than its European counterparts, Davis' cubism epitomized the energy and efficiency of America in the early twentieth century. Henri's "Ash-Can" scene had been distilled into its elemental shapes and rhythms. George Bellows and Gifford Beal responded to Henri's feeling for the energy’ and grandeur of the American scene, and anticipated the Regionalists in their muscular, almost romantic vision of both city and country’. Bellows' brash, bravura manner was particularly close to Henri's style. Less concerned with formalist structure, his works look less modem today than Hopper's, but outside the context of modernism, they continue to speak in a powerful expressive language. John Sloan's roster of students was equally impressive and equally diverse. Perhaps because he was dealing with a younger generation than had Henri, more of his famous students went on into abstraction. Adolph Gottlieb, Barnett Newman, and the sculptors Alexander Calder and David Smith were among the most influential and radical artists of the forties and fifties, and participated in America's succession to leadership in the world of art. As with Henri, it was Sloan's persona and philosophy rather than his artistic style which most affected these later masters. The modernists among Henri's students could be thought of as defectors who had bolted from the pack, but it doesn't appear that the master ever seriously objected to their more radical convictions. For example, he kept up a lively and friendly correspondence with Patrick Henry Bruce after the latter had gone to Paris, studied with Matisse, and developed his own abstract style. It is also true that he accepted a wide spectrum of modernists into the various exhibitions he helped to organize between 1908 and 1918. While he remained wary of modernism, Henri was really hostile only to reactionary academicism. Of the modernists who studied with Henri, none was more brilliant than Stuart Davis, who is generally regarded as one of the greatest painters America has yet produced. Stylistically, his art veered decisively toward synthetic cubism a few years after he left Henri's studio, but one Sloan was less wary of European modernism than Henri had been, even though he was one of the few major American artists of the time who never visited Europe. Nevertheless, he took a keen interest in the work of men such as Matisse and Picasso, and even shared their interest in African and Pre-Columbian art. Furthermore, he actively supported modernism in his role as president of the Society of Independent Artists, which had been founded in 1917 by Marcel Duchamp, Man Ray, Walter Pach, William Glackens and others, and which remained an important sustainer of progressive artists until 1944. While he never painted abstractly himself, Sloan said he had learned a great deal about artistic form from the "ultra-moderns." Of course, Sloan also had a devoted following of realists, such as Reginald Marsh and Aaron Bohrod. Reginald 11 �SO the Marsh, as an inheritor of the "Ash-Can" tradition, became a virtual alter-ego to his contemporary, Edward Hopper. He filled Hopper's silent streets and desolate interiors with teeming life, and in spirit and imagery, if not in style, paralleled the art of Stuart Davis, as well. Perhaps because of his own experience as an illustrator over the years, Sloan helped to train some of America's leading illustrators, among them Peggy Bacon, Cecil Bell, and Roger Tory Peterson, as well as outstanding cartoonists such as Otto Soglow (famous for "The Little King"), Don Freeman, and Chon Day. Consistent with his democratic attitudes, Sloan made no sharp distinctions between illustration and "fine art." II The catholicity of Sloan's teaching and influence is underscored by the prominence and popularity he enjoyed between the two wars. As a practitioner of realism on the one hand and a supporter of modernism on the other, he easily adjusted to the changing tides of taste which characterized this period. The initial burst of American modernism which followed the Armory Show of 1913 and seemed destined to dominate the American art scene for the generation to come actually subsided after World War I. As in Europe, the energy of radicalism was temporarily spent, and many of the avant-garde were disillusioned by the enormous destruction of the war. In America, the populace adopted a position of isolationism, and American artists, by and large, turned to scene painting and social realism. Just as the fires of modernism were being stoked up again in the late twenties, the Depression dampened them once more. I During the thirties, most of the students of Henri, Sloan, and Luks took part, with thousands of other American artists, in the Federal Arts Project under the W.P.A. Even before that time, many of them had been politically active, usually on the left, Sloan's classes remained a congenial place for social-minded young artists, although his own socialist activism had diminished over the years. In his ■ 12 youth, Sloan had been a committed radical, and in 1910, he had run, unsuccessfully, for the New York State Assembly on the Socialist ticket. Shortly thereafter, he became art director for the radical magazine "The Masses." Many students of Henri and Sloan worked at one time or another as political cartoonists, including Davis, Coleman, Soglow, and William Gropper. Philip Evergood, a student of Luks, was also one of the outstanding "political" painters of the thirties and forties. The Depression did not lead to a significant new wave of socialist art in America, however. Nor did Regionalist naturalism remain for long the dominant trend. The modernists, dispersed though they were, stood ready to return to the fore. The world of the twentieth century, in its technological and existentialist complexity, was ultimately their world. Marsh, Beal, and du Bois no longer seemed to be as relevant as Gottlieb, Newman, and Smith. The students of The Eight had spanned the extremes of American art in the first half of our century. ", . . (a student should) cultivate an attitude toward his studies which is both flexible and critical. It should be flexible enough so that he can change his mind as often as need be; and it should be critical in that he need not take either the professed 'modem' or the professed 'conservative' at their own evaluation." • (JOHN SLOAN) . Le'lderS Altschul An°nyI11C'< - Arthur u Mr5' , MuseUrP ierican Museum of Art The But‘e ° Herbert F. )°h M,„.r. Ar. .IM—' Gallery Everhart Museum of Natural Hist. Scranton Hirshhom Museum and Sculpture The Smithsonian Institution National Museum of American Ar The Smithsonian Institution The Pennsylvania State University Princeton University, Art Museum NOTES Rutgers University, Art Gallery Smith College, Museum of Art 1. Kelder, Diane (ed.) Stuart Davis (New York, 1971) p. 20 2. Henri, Robert, The Art Spirit (Philadelphia, 1951) pp. 134,165 3. Kelder, Stuart Davis, p. 22 4. Sloan, John, Gist of Art (New York, 1977) p. 7 5. Sloan, Gist of Art, p. 41 6. Sloan, Gist of Art, p, 11 An Cod^ um.,icanAr �J radical bortlv State r^tly theIxiagazine .- he Masses " Worked at °ne time or' uding DaVis c 7 ndln8 leman, political”student Painters a? ^significant new wave of did Regionalist eof imant trend. The were, stood ready to e twentieth century, in omplexity, was I, and du Bois no longer b, Newman, and Smith, med the extremes of r century. itude toward his studies hould be flexible enough •n as need be; and it ake either the professed e' at their own (JOHN SLOAN) LENDERS TO THE EXHIBITION Anonymous Lenders Mr. and Mrs. Arthur Altschul The Brooklyn Museum The Butler Institution of American Art, Youngstown Carnegie Institute, Museum of Art, Pittsburgh University of Connecticut, William Benton Museum of Art Cornell University, Herbert F. Johnson Museum of Art Delaware Art Museum University of Delaware, Gallery’ Everhart Museum of Natural History’, Science and Art, Scranton Hirshhom Museum and Sculpture Garden, The Smithsonian Institution National Museum of American Art, The Smithsonian Institution The Pennsylvania State University, Museum of Art LIST OF WORKS 1. BACON, Peggy John Sloan's Lecture etching, 9" x 11" Delaware Art Museum; gift of Helen Farr Sloan 2. BACON, Peggy A Simple Life (1954) watercolor, 24" x 181//" Syracuse University, Art Collections 3. BEAL, Gifford Bareback Rider oil on canvas, 18" x 36" Private Collection 4. BELLOWS, George Life Class lithograph, 19" x 251//” The Pennsylvania State University Museum of Art Princeton University, Art Museum Rutgers University, Art Gallery Smith College, Museum of Art 5 (New York, 1971) Syracuse University, Art Collections Wadsworth Atheneum, Hartford ’hiladelphia, 1951) fork, 1977) P- 7 Whitney Museum of American Art, Nev/ York City 5. BELLOWS, George Summer Surf (1914) oil on board, 18" x 22” Delaware Art Museum, gift of the Friends of Art 6. BRUCE, Patrick Henry Peinture/Nature Morte (Abstract) (1933) oil on canvas, 35" x 46" Museum of Art, Carnegie Institute, Pittsburgh; gift of G. David Thompson, 1956 13 �iii: i\ I I i 7. CALDER, Alexander Trapeze Artists pen and ink, 0.55m x 0.76m The Art Museum, Princeton University; gift of Mrs. Harper, in memory of Raymond H. Harper 13. DAVIS, Stuart Gloucester Landscape (1918) oil on canvas, 24" x 30" Rutgers University Art Gallery, New Brunswick, New Jersey gatc^- 8. CALDER, Alexander Brie & Brae (1963) gouache, T7" x 40" Syracuse University, Art Collections 14. DU BOIS, Guy Pene Conversation oil on board, 13%6" x 9%" Wadsworth Atheneum, Hartford, The Ella Gallup Sumner and Mary Catlin Sumner Collection Mood (1909) oil on canvas, 60' Museum Whitney t of the Artist, 9. COLEMAN, Glenn O. Gloucester Harbor oil on canvas, 34" x 25" The Brooklyn Museum, gift of Mr. and Mrs. Alan H. Temple 15. DU BOIS, Guy Pene Yvonne (1930) oil on canvas, 2136" x 1736" Collection of Mr. and Mrs. Arthur G. Altschul 10. DASBURG, Andrew Poppies oil on canvas, 4034" x 2634" Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 16. EVERGOOD, Philip Canadian Gold Mine (1943) oil on canvas, 25" x 30" Herbert F. Johnson Museum of Art, Cornell University, gift of Harry N. Abrams 11. DAVIS, Stuart Au Bon Coin (1928-29) lithograph, 1134" x 936" University of Delaware Gallery 17. EVERGOOD, Philip Rider on Pink Horse (ca. 1945) oil on canvas, 16" x 12" Everhart Museum of Natural History, Science and Art, Scranton 12. DAVIS, Stuart Composition (1935) oil on canvas, 2234" x 30" National Museum of American Art, Smithsonian Institution (transfer from General Services Administration) I 14 18. FRIEDMAN, Arnold Blue River oil on canvas, 24" x 30" The Butler Institute of American Art, Youngstown, Ohio farn oil on Mu: pelaware Art ?OTTi^Ado1 GOTTLIEB, Adol Nigld Glow (1971 aquatint, 34" x 26 Delaware Art Mu: 22. GOTTLIEB, Adol Seer (1947) oil on masonite, 3 The Butler Institut 23. GROPPER, Willia The Senate lithograph, 14" x : Delaware Art Mus 24. HIRSCH, Joseph Fr»ncis and Bird ( oil on canvas, 27" PriVate Collection �i) 19. GATCH, Lee Pennsylvania Farm (1936) oil on canvas, 14' x 36" Delaware Art Museum, John L. Sexton bequest ery, f on°ecHonhe Gallup Sum^r Arthur G. Altschul of Art, Cornell University, 25. HOPPER, Edward Artist Seated at Easel (ca. 1903) oil on canvas, 18' x 10" The William Benton Museum of Art, The University of Connecticut, Anonymous Donor 20. GOTTLIEB, Adolph Mood (1969) oil on canvas, 60" x 40' Whitney Museum of American Art, New York; gift of the Artist, 1969 (69.150) 26. HOPPER, Edward The Cat Boat etching, 8" x 10" The Butler Institute of American Art, Youngstown, Ohio 21. GOTTLIEB, Adolph Night Glow (1971) aquatint, 34" x IbW" Delaware Art Museum, gift of Mrs. H. Rodney Sharp 27. KENT, Rockwell Northern Light woodcut, 5Vz" x 8%" Delaware Art Museum, gift of Mrs. A. Ralph Snyder 22. GO11LIEB, Adolph Seer (1947) oil on masonite, 30' x 24" The Butler Institute of American Art, Youngstown, Ohio 28. MARSH, Reginald Coney Island Beach (1934) etching, 13" x 10%" Museum of Art, The Pennsylvania State University 23. GROPPER, William The Senate lithograph, 14' x 18' Delaware Art Museum, gift of Helen Farr Sloan 29. MARSH, Reginald Lehigh Valley watercolor, 14" x 20" The Butler Institute of American Art, Youngstown, Ohio 24. HIRSCH, Joseph Francis and Bird (1979) oil on canvas, 27" x 19" Private Collection 30. MARSH, Reginald Negress and White Girl in Subway (1938) tempera on masonite, 24" x 18" The William Benton Museum of Art, The University of Connecticut, Anonymous Donor 45) .1 History, Science and Art, Youngstown, Ohio rican Art, is �31. MORRIS, George L. K. New Year's Eve (1945-46) oil on canvas, 38" x 30%" National Museum of American Art, Smithsonian Institution, Given Anonymously h 32. MORRIS, George L. K. Industrial Landscape (1936-50) oil on canvas, 49%" x 63% " National Museum of American Art, Smithsonian Institution, Given Anonymously 33. NEWMAN, Barnett Black and White (1948) black ink on paper, 24" x 16% " Smith College Museum of Art, Northampton, Massachusetts Gift of Philip C. Johnson, 1952 I I 34. RAY, Man Les Mains Libres: La Femme Portative (1936) pen and ink, 0.38m x 0.28m The Art Museum, Princeton University, purchased with the Laura P. Hall Memorial Fund 35. RAY, Man Untitled (1915) oil on board, IS1/?" x 12% " National Museum of American Art, Smithsonian Institution, gift of Flora E. H. Shawan 36. RUSSELL, Morgan Nu-Assis (ca. 1923-25) oil on canvas, 28%" x 21%" National Museum of American Art, Smithsonian Institution, Museum Purchase 16 37. RUSSELL, Morgan Synchromy (1915-17) oil on canvas, 12%' x 10%" Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 38. SMITH, David Untitled (1956) oil and sand on canvas, 73%" x 11" Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 39. SOYER, Moses Three Men (1974) oil on canvas, 25" x 30" Museum of Art, The Pennsylvania State University 40. SPENCER, Niles Above the Excavation #2 (1949) oil on board, 12" x 16" Herbert F. Johnson Museum of Art, Cornell University 41. SPRINCHORN, Carl Daisy Fields and Clouds, Shin Pond, Maine (1950) oil on canvas, 21" x 29" Private Collection 42. SPENCER, Niles The Bay (1937) oil on canvas, 20" x 32" Herbert F. Johnson Museum of Art, Cornell University �10% " J Sculpture G?r,; c warden. THE ARTISTS PEGGY BACON (1895' 7^Vs” x 11" 1 Sculpture Garden, 'nnsylvania State University 2 (1949) eum of Art, Cornell University Born in Ridgefield, Connecticut, Bacon studied painting at the Art Students League from 1915 to 1920, under John Sloan, George Bellows, and Kenneth Hayes Miller. Self-taught as a printmaker she soon gained attention for her illustrated books. After traveling in Europe between 1920 and 1922, she returned to Woodstock, New York and a career of uninterrupted success as a painter, illustrator poet, and fiction writer. Her most famous work is a book of caricatures of famous contemporary personalities called Off With Their Heads! (1934) Aside from her caricatures and other pictures of social satire, Bacon's work typically focused upon everyday life in the city. Her style exemplifies the kind of illustration which flourished under Sloan's influence: a brisk, energetic handling; dynamic compositions, and graphic vigor. Her sure use of tensive line may also be compared to the acerbic style of the great German satirist, George Grosz. In 1975, Bacon was given a major exhibition at the National Collection of Fine Arts. Shin Pond, Maine (1950) gum of Art, Cornell University 17 �II I 18 GIFFORD BEAL (1879-1956) GEORGE BELLOWS (1882-1925) A native of New York City, Beal graduated from Princeton University before going on to the Art Students' League, where he studied painting with Robert Henri, William Merritt Chase, and Frank DuMond. He joined the League's faculty and served as its president from 1914 to 1929. Like many painters of his generation, Beal executed commissions for the Federal Arts Project of the W.P.A. in the 1930's, including the mural in the Allentown, Pennsylvania post office. Bellows came from Columbus, Ohio. He studied with Henri from 1904-1906, and became the youngest associate of the National Academy of Design in 1908. He joined the faculty of the Art Students League in 1910. He became one of the organizers of the great Armory Show, and with Prendergast, Glackens, Duchamp and others, was one of the founders of the Society of Independent Artists in 1917. His early and continued success was brought to a premature end by a fatal attack of appendicitis. Beal, like his contemporary and colleague George Bellows, produced a muscular romantic naturalism in his painting, but more often than Bellows, he found his inspiration in the rural landscape rather than the urban environment. He also produced dynamic genre subjects, such as the circus scene in this exhibition. This work employs the vibrant palette and rich surfaces of the Impressionists and Fauves, and clearly echoes Henri's straightforward and exuberant approach to the subject. Bellows was one of Henri's most faithful followers. Nevertheless, he fashioned a distinctive and powerful style. His early work was particularly fresh and exuberant, and included some of his most famous pictures, such as the prize fights and Hudson River views of the city. His style is often regarded as a paradigm of the American spirit in the early 20th century: brash, aggressive, optimistic, and indefatigable. In his last years, he turned to portraits, which were as sensitive as his earlier works were bold. Bellows' brisk, graphic style was also well-suited to the print medium, which he handled with consummate skill. PATRICK HENRY BRU A native of Virginia, Bru Henri in 1902 and 1903. He with Matisse in 1907, and d 1912, he had become intere: color experiments of Robert the Armory Show, and con European avant-garde movt evolved his unique manner the early twenties, which h( until he gave up painting in aristocratic spirit, Bruce cot disinterest in his work. He and destroyed many of his New York in 1937. He com Bruce has been rediscove by Pop artists and hard-ed^ regarded as one of the mos American artists of the earl �I rm MS °!OJ- k 4. ■ BELLOWS (1882-1925) came from Columbus, Ohio. He studied with 11904-1906, and became the youngest associate onal Academy of Design in 1908. He joined the he Art Students League in 1910. He became one nizers of the great Armory Show, and with t, Glackens, Duchamp and others, was one of rs of the Society of Independent Artists in 1917. nd continued success was brought to a end by a fatal attack of appendicitis. vas one of Henri’s most faithful followers, is, he fashioned a distinctive and powerful style, ■ork was particularly fresh and exuberant, and me of his most famous pictures, such as the and Hudson River views of the city. His style is led as a paradigm of the American spirit in the tentury: brash, aggressive, optimistic, and le. In his last years, he turned to portraits, 1 as sensitive as his earlier works were bold, isk, graphic style was also well-suited to the tm, which he handled with consummate skill. / A native of Virginia, Bruce studied in New York under Henri in 1902 and 1903. He went to Paris, where he studied with Matisse in 1907, and developed a Fauve-like style. By 1912. he had become interested in the more systematic color experiments of Robert Delaunay. Bruce exhibited in the Armory Show, and continued to be involved with European avant-garde movements during the war years. He evolved his unique manner of geometric still-life painting in the early twenties, which he refined over the next decade until he gave up painting in 1932. A man of sensitive and aristocratic spirit, Bruce could not accept the public disinterest in his work. He became increasingly withdrawn, and destroyed many of his paintings before returning to -\ew York in 1937. He committed suicide shortly afterward. Bruce has been rediscovered in recent years, particularly by Pop artists and hard-edge painters, and he is now regarded as one of the most important and original American artists of the early 20th century. r 8. 6. PATRICK HENRY BRUCE (1881-1937) O ALEXANDER CALDER (1899-1976) The son and grandson of eminent American sculptors, Calder came to his pursuit naturally. Born in Lawnton, Pennsylvania, he studied mechanical engineering at Stevens Institute before entering the Art Students League in 1923. There, he studied painting with Sloan until 1925. The following year, he went to Europe and began working in sculpture, initially doing small improvisations in wire and wood. His contact with the non-objective painter Mondrian in 1930 spurred his exploration of abstract form. In 1931, with his creation of the mobile, Calder became the first American sculptor to stand among the world's foremost artistic innovators. One of the earliest kinetic sculptures, the mobile employed space and natural air movements, as well as boldly colored organic shapes. Calder's lyrical and playful mobiles and non-moving stabiles have become distinctive monuments throughout the world, amalgams of industrial technology and human poetry. Always an experimenter, Calder worked in all media. His prints echoed the forms of his sculptures, but took on an even greater sense of surrealist spontaneity. 19 �GLENN COLEMAN (1887-1932) ANDREW DASBURG (1887-1979) An Ohioan, Coleman arrived in New York City in 1905. He became a student of Henri, and remained one of the staunchest preservers of the Ash-Can style during the twenties. Like his predecessors in that style, he sought out the picturesque comers of the metropolis, and depicted them with straightforward naturalism. Though he lacked the bravura and vigor of a Sloan or a Bellows in these early works, he created honest, well-crafted pictures which revealed something of the tone of city life of that decade. Toward the end of his life and under the influence of Cubism, Coleman began to transmute his urban scenes into monumental stylizations of the city's architecture. The more personal vision was, unfortunately, cut short by his early death. Dasburg was born in Paris, but his family moved to New York in 1892. He studied at the Art Students League under Robert Henri, as well as under Kenyon Cox and Frank DuMond. From 1909 to 1911, he resided in the city of his birth, where he came under the influence of the Cubists. He exhibited Cubist paintings in the Armory Show of 1913, and Synchromist works (see: Russell) in the Forum Exhibition of 1916. After these early major appearances, he rarely exhibited again, and eventually left New York to take up residence in Taos, New Mexico. A sensitive and unaggressive man, Coleman received only sporadic public attention during his life. His friend Stuart Davis regarded him as one of the most gifted and unsung American artists of the twenties. 20 Although an early American participant in avant-garde movements of Europe, and highly regarded by the Modernists of his generation, Dasburg fell into relative obscurity until the late fifties. At that time, retrospectives of his work were held at the Dallas Museum (1957) and the American Federation of Arts (1959), and just before his death, Van Deren Coke completed a monograph on his life li e and art. i STUART DAVIS (1894-1964) GUY PEN Son of the art editor of the Philadelphia Press Davis was early associated with his fathers' co-workers, (and, later, members of The Eight), Sloan, Luks, Glackens and Shinn. He left school at 16, and went to New York to study with Henri. Between 1913 and 1916, he worked chiefly as an illustrator for The Masses and Harper's Weekly. His taste for the more avant-garde styles of the day developed out of the Armory Show, and soon led him to a front-line position in the American vanguard. His liberal sympathies brought him editorship of the Art Front, a publication of the Artists' Union, in 1935. Bom in b Chase, DuN painter, du with a serie self-indulgei mixture of < decadent m compatible Davis created one of the most original variants on Cubism, one which has been called characteristically American in its bold simplicity, brash color, and pre-Pop imagery. His fondness for jazz combined with his enjoyment of the urban pace to produce the highly staccato pictorical structure found in much of his work. His W.P.A. murals, such as the famous one in Radio City Music Hall, e ped to broaden his reputation, but even without these, avis would stand among the major painters of the entieth century. His late works brought him close to a paint^er ®enerat'on P°P, Hard-Edge, and Color-Field Of Frencl in France, \ and traditic style and c< mellowed a remained d and worke< and jouma His repu ambiguous work this s perspectivf �I ■ r W&i J? r t f ~ iI 7, 12. moved to New s League under and Frank the city of his the Cubists. He ow of 1913, Forum ppearances, he ew York to i avant-garde ?y the to relative •etrospectives (1957) and the before his aph on his life hfe 15. STUART DAVIS (1894-1964) GUY PENE DU BOIS (1884-1958) Son of the art editor of the Philadelphia Press Davis was early associated with his fathers' co-workers, (and, later, members of The Eight), Sloan, Luks. Glackens and Shinn. He left school at 16, and went to New York to study with Henri. Between 1913 and 1916, he worked chiefly as an illustrator for The Masses and Harper s Weekly. His taste for the more avant-garde styles of the dayT developed out of the Armory Show, and soon led him to a front-line position in the American vanguard. His liberal sympathies brought him editorship of the Art Front, a publication of the Artists’ Union, in 1935. Born in New York City, du Bois studied under Henri, Chase, DuMond, and Miller. An uneven and intermittant painter, du Bois reached his artistic peak in the twenties with a series of satirical paintings aimed at the self-indulgent lifestyle of the wealthy bourgeoisie. An odd mixture of classical simplicity. Art Deco stylization, and decadent mood gave his art a "Weimar" atmosphere guite compatible with that era. Davis created one of the most original variants on Cubism, one which has been called characteristically American in its bold simplicity, brash color, and pre-Pop imagery. His fondness for jazz combined with his enjoyment of the urban pace to produce the highly staccato pictorical structure found in much of his vzork. His W.P.A. murals, such as the famous one in Radio City Music Hall, helped to broaden his reputation, but even without these, Davis would stand among the major painters of the twentieth century. His late works brought him close to a younger generation of Pop, Hard-Edge, and Color-Field painters. Of French extraction, du Bois spent the years 1924-1930 in France, where he took a deep interest in French culture and tradition. He was especially fond of the monumental style and caricature of Daumier. In the 1930s du Bois' style mellowed and the satire waned, but his art always remained distinctive. He was also a prolific writer on art, and worked as an art critic for several major newspapers and journals. His reputation over the past few decades has been ambiguous, but the Corcoran Museum's retrospective of his work this spring will undoubtedly provide us with a fresh perspective of du Bois and his place in American art. 21 �>1 \ ! PHILIP EVERGOOD (1901-1973) ARNOLD FRIEDMAN (1874-1946) Evergood was born in New York City, and studied at the Art Students League under George Luks in 1923. He had already taken a diploma in drawing from London's Slade School of Art, but Luks urged him to become a painter. An admirer of Sloan's work, Evergood became a close friend of Sloan, who spurred his interest in human themes. During the Depression, he concentrated on social and political subjects, and was involved in several artists' activist groups, such as the Artist's Union. During the period of the W.P.A. art projects, Evergood was supervisor of the easel painting division for New York. Born into a poor immigrant family in New York City, Friedman started work at an early age, and, reminded of the poverty of his youth, remained employed by the postal service until his retirement in 1933. He began his art studies in 1905 at the Art Students League, under Henri who aroused his enthusiasm for painting. He got to Paris for several months in 1908, where he took a strong interest in Seurat's divisionist color techniques. Following the Armory Show, he began to work abstractly, in a style close to Russell's Synchromism. Later in his career, he turned to more personal and spiritual themes, and became increasingly experimentive with the painting medium, so much so that his style shows considerable variation over the years. A difficult painter to classify, Evergood used elements of expressionism, surrealism, and cubism as the theme demanded. But his use of these elements was never academic. It was part of his ceaseless search for the appropriate impassioned image. Beneath the modernist veneer, one often felt the presence of the folklore and mysticism of his Russian heritage. Lee Gatch grew at the Maryland In was a visiting prof Kroll, and, in Paris Gatch was strongly Cubism, but his w< Friedman's commitment to abstraction was never total, and he returned to a figurative mode by 1920. Although he had joined with colleagues such as Bellows, Hopper, and Coleman in early progressive art activities, he became increasingly isolated in the twenties. His full-time postal job expressionistic com style. He develops attachment to natu and textures into h ^d-iston; left little time for painting and professional involvements. Only after his retirement could he return to a steady t935' he lived a ra medhl§hly methodi regimen of painting. resDIUni Iilnited his Friedman is an interesting example of an early modernist whose great potential was mitigated by external concerns. Nevertheless, he did develop a highly personal, if major Sk Painter it Sh°Wbythe incompletely formed style. 22 LEE GATCH (1 �t J L - [ _ / £ 18. 46) n New York City, and, reminded of ployed by the postal began his art studies der Henri who e got to Paris for a strong interest in illowing the Armory a style close to ____ . 19. LEE GATCH (1902-1968) n was never total, y 1920. Although he >ws, Hopper, and ies, he became s full-time postal job ,nal involvements, n to a steady an early external srsonaL w I Lee Gatch grew up in the Baltimore area, and studied art at the Maryland Institute during the time that John Sloan was a visiting professor there. He also studied with Leon Kroll, and, in Paris, with Andre Lhote. During the thirties, Gatch was strongly influenced by Impressionism and Cubism, but his work proceeded basically upon an expressionistic course, developing into a resonant personal style. He developed an intense and almost mystical attachment to nature, and incorporated its colors, forms, and textures into his often abstract patterns. He even attached real stones to some of his later canvases. After 1935, he lived a rather reclusive life in rural New Jersey. His highly methodical and experimentive approach to the medium limited his output, but he remained a highly respected painter in the forties and fifties. He was given a major show by the Whitney Museum in 1960. rI ? 21. ADOLPH GOTTLIEB (1903-1974) A native New Yorker, Gottlieb studied at the Art Students League under both Henri and Sloan. He also studied in Paris, Berlin, and Munich during the 1920s. His development as an artist largely paralleled the major trends of his day. In the thirties his work dealt with the American scene and social realism. By 1940, he was immersed in a more personal magic realism, akin to surrealism. During the forties, this personal approach developed into a symbolic and atavistic pictography, not unlike Miro's in concept, but quite unique in style. Gottlieb gradually simplified his pictographic imagery into the spare, but explosive "Burst" paintings of the fifties. These pictures, contrasting a chaotic form with an holistic one, became his trademark, and took their place among the most vital and individual statements of the Abstract Expressionists. Indeed, his style stood between the florid spontaneity of Pollock and DeKooning and the austere colorism of Rothko and Newman. 23 �I !! I EDWARD H WILLIAM GROPPER (1897-1977) JOSEPH HIRSCH (1910- Gropper was the son of a poor New York garment worker. He dropped out of school in order to help support the family, but his intense interest and aptitude in art led him to take courses at the Ferrer School in 1912-13, where he studied under Henri and Bellows. In 1919, he became a political cartoonist for the New York Tribune and remained active as a cartoonist through the twenties. He began serious painting in 1921. At 71, the last-bom painter in the exhibition, Hirsch continues to work in the realist tradition of his mantor George Luks. Born in Philadelphia he received his first art training at the Pennsylvania Museum School before moving on to New York City and Luks' school. Cropper's outspoken support of radical social reforms brought him an invitation from writers Theodore Dreiser and Sinclair Lewis to accompany them on their tour of Russia in 1927. Social and political themes in an expressionistic style, reminiscent of Daumier and George Grosz, dominated his work in the thirties, and made him one of the most abrasive and effective pictorial satirists of the day. The Senate, the lithograph shown here, is typical of this style. 24 Hirsch's great facility won him critical attention very early in his student years, and his career has flourished without interruption since then. Although his realism is readily accessible to a wide public, Hirsch typically endows it with a subtle strangeness bordering on the surreal. His subjects cover a broad range, but invariably they contain humanity, either in situations involving political or social issues, or in single figures or groups caught in enigmatic moods or relationships. His technique as a realist tends to be more painterly than photographic, well within the tradition of The Eight. Hirsch is also well known for his drawings and prints. Bom in Nya< at the New Yor visit to Paris, h as a graphic art came slowly, b solid reputatior Modem Art me Although alii movement. Ho] themes and ima identical in mo< Almost always, waiting, within and structure g ®°numentality ^d’tionalists S ehisd^th, Respective of encored He ^1*2 �Hhe exhibition, Hinsch tradition of his mantor Ihia he received his first art Useum School before moving I school. In critical attention very pis career has flourished I Although his realism is lie, Hirsch typically endows Bering on the surreal. His lit invariably they contain Ivolving political or social pups caught in enigmatic Inique as a realist tends to Lphic, well within the | also well known for his EDWARD HOPPER (1882-1967) Bom in Nyack, New York. Hopper studied under Henri at the New York School of Art from 1900 to 1906. After a visit to Paris, he returned to New York and made his living as a graphic artist between 1915 and 1923. Recognition came slowly, but by the early thirties, he had achieved a solid reputation as a painter. In 1933, the Museum of Modem Art mounted his first retrospective. Although allied with the American Scene (or Regionalist) movement. Hopper's paintings transcended specific regional themes and images. His deserted rural roadsides were identical in mood and style to his deserted urban hotels. Almost always, they involved a spirit of solitude and waiting, within a simple place. A strong sense of pattern and structure gave his austere realism an almost abstract monumentality which appealed to modernists as well as traditionalists. Hopper's reputation has continued to grow since his death, and the Whitney Museum's major retrospective of 1980 (now traveling to Europe)* has only imderscored Hopper's position as one of America's most important and revered artists. ROCKWELL KENT (1882-1971) Kent was born in Tarrytown, New York. He studied with Henri, as well as with Chase, Miller, and Thayer. He is better known as an illustrator and printmaker than as a painter, and is particularly revered for his wood engravings. Despite occasional flirtations with modernist styles, he remained throughout most of his career a conservative artist, a preserver of heroic romanticism as manifested in the ruggedness and grandeur of the American landscape. His best work was bold and direct in concept, clean and spare in design. His lesser work always maintained an appealing decorativeness, often reminiscent of Art Deco design. Kent was an avid supporter of radical social and political movements (he was awarded the Lenin Peace Prize in Moscow in 1967), and used his art to communicate readily understood images of noble humanity and epic nature. His utopian vision remained curiously detached from the nitty-gritty spirit of the Ash-Can school, however. Because of the comprehensiveness of the Whitney show, we were unable to obtain a characteristic painting by Hopper. 25 �REGINALD MARSH (1898-1954) GEORGE L. K. MORRIS (1905-1975) BARNETT NEWN Marsh was born in Paris of American parents and grew up in New Jersey. As art editor of the Yale Record, then staff artist for Vanity Fair and the New 'York Daily News, Marsh had developed a pungent naturalistic style even before he entered the Art Students League in 1926 to study with Sloan, Luks, and Miller. A native of New York City, Morris attended Yale University before entering the Art Students League, where he worked under Sloan and Miller. His radical artistic spirit took him to Paris for further study with Leger and Ozenfant, as well as an intimate association with the continental avant-garde of the thirties. He edited two important modernist art journals in Paris, The Miscellany (1929-31) and Plastique (1937-39). With the outbreak of World War II, he returned to America permanently, and joined the faculty of the League in 1943-44. Newman, like G.Lj City in 1905 and stud he attended from 192 Newman's immediate! mainstream. He work from 1927 to 1937, aJ school before he turn! Marsh's concern for the common man, which also revealed itself in radical political sympathies, was manifested in an art filled with images of the working classes and their urban environment. Street scenes, subway cars, and Coney Island crowds were typical themes. He was a fine and facile draftsman and printmaker, and, in painting, he preferred tempera and watercolor, which suited small-scale illustration and spontaneity. His stylized and animated realism became readily identifiable, and made him an urban counterpart to the rural regionalist painters. Marsh stands as one of the most prolific and bouyant interpreters of American life in the twenties and thirties. Although Morris himself was not among the major artistic innovators of his day, he was an important spokesman and catalyst for the modernist cause, and played a significant role in America's assimilation of European trends prior to the war. He was one of the founders of the American Abstract Artists in 1936, (and its president from 1948 to 1950), in which capacity he helpe prepare the ground for the revolutionary developments in American art which followed the war. Under the influence with "automatic" drai "cosmic landscapes" 1 first Abstract Express Motherwell, and sooi spokesmen. His austa began in 1948, and J such as the creation. | large, spare, and flat Color-Field and Mini! seventies. 1 �R 7 4 1975) BARNETT NEWMAN (1905-1970) attended Yale ents League, where radical artistic spirit h Leger and ation with the He edited two -is, The Miscellany ( the outbreak of Newman, like G.L.K. Morris, was bom in New York City in 1905 and studied under Sloan at the League, which he attended from 1922 to 1927. But, unlike Morris, Newman's immediate course was not into the avant-garde mainstream. He worked in his father's garment business from 1927 to 1937, and occasionally taught art in high school before he turned to a full-time career as an artist. permanently, ana 1-44. iong the major n imp°rtant , flst cause, and ^ilati°fnt°he vaS (<S iStS1ancityhehelped capacl y ents ry develops I Under the influence of Surrealism, Newman experimented with "automatic" drawings in 1944, and began a series of "ccsmic landscapes" in 1945. He became associated with the first Abstract Expressionists, such as Gottlieb, Rothko, and Motherwell, and soon became one of their most articulate spokesmen. His austere and mystical "stripe" paintings began in 1948, and were founded upon spiritual themes such as the creation. Newman's canvases grew increasingly large, spare, and flat, and profoundly influenced the Color-Field and Minimalist painters of the sixties and seventies. Man Ray studied architecture and engineering in his native Philadelphia before devoting himself to art. He was a student of Henri, and by 1911 already showed an interest in the more radical trends of the day. After the Armory Show, he began working in a Cubist and Futurist manner. In 1915, he met Marcel Duchamp and became part of that artist's inner circle, along with Francis Picabia, the collector Walter Arensburg, and the photographer-dealer, Alfred Stieglitz. In this company, Ray became one of the premier practitioners of Dada, that radical international movement spawned by World War I and given over to ridicule of all conventionality. His wit and irony, blended with great inventiveness, gave Ray's art its variously humorous, outrageous, and enigmatic character. He worked in all media, and became especially famous for his rayographs (images of objects exposed directly on film without a camera) and his Dada objects. Except for the 1940s, Ray has spent most of his career in Paris, and has taken his place among the major modernists. With his friend Duchamp, Ray has been an important progenitor of recent neo-Dada and Conceptual art. 27 �yi jl hi I i I. 36. MORGAN RUSSELL (1886-1953) Russell was born in New York, and studied with Henri before going to Paris in 1909. There he came under the influence of Matisse, the Cubists, and the Futurists. In 1913, with his fellow American Stanton Macdonald-Wright, he founded the movement called Synchromism, which was based upon the dynamic use of color in abstract compositions. This movement paralleled the contemporary colorism of the French painter Delaunay, but remained entirely distinctive. Russell thus became one of the first Americans to make a significant contribution to modern art at the international level. He brought his synchromist work to America for the Forum Exhibition of 1916, but its influence here was only modest. I Like many other radical artists of his generation, including Picasso and Matisse, Russell returned to a figurative style in the twenties. The two works in the exhibition show his avant-garde style of the teens (represented by one of his small works of that period) and his more traditional manner of the twenties. II I 28 DAVID SMITH (1906-1965) Smith was a native of Decatur, Indiana, and attended colleges in the mid-west and Washington, D.C. before moving to New York in 1926. He studied painting at the League with Sloan and with Jan Matulka, and became a close friend of Stuart Davis. After his painting became increasingly three-dimensional in character, he turned to sculpture in the early thirties. In 1933, inspired by Julio Gonzalez, he began doing welded constructions utilizing scrap iron. Cubist, Constructivist, and Surrealist influences predominated at first. Having worked as a riveter in an auto plant, Smith came naturally to the industrial "heavy metal" work which has become so influential on later sculptors. During the forties and fifties, Smith created spontaneous "drawings in space, comparable to Abstract Expressionist painting. In the late fifties, he turned to thin, vertical totems (which he also rendered in paintings, such as the one shown here). His last phase, evolving in the sixties, included his "Cubf series, dynamic clusters of metal boxes. Smith stands with Calder as one of the most important and influential sculptors of the twentieth century. I �’-1965) Jecatur, Indiana, and attended ad Washington, D.C. before 926. He studied painting at the th Jan Matulka, and became a is. After his painting became anal in character, he turned to ies. In 1933, inspired by Julio welded constructions utilizing uctivist, and Surrealist influences ’ter in an auto plant. Smith came "heavy metal" work which has iter sculptors. During the forties, pontaneous "drawings in.space, pressionist painting, n ertical totems (w 1C His last as the one/kov^?br series, “■ inds^th«S»na.»thca*r Sloan and Degas were among the major influences on Soyer, and he shared with them a strong feeling for humanity closely and spontaneously observed. His portraits and genre pictures are rendered with a simple, atmospheric realism which also embodies subtle moods and, often, dassical structures. The work in this exhibition was one of his last paintings, and reveals these aspects of his style very well. �■I • I ■ I NILES SPENCER (1893-1952) CARL SPRINCHORN (1887-1971) Spencer attended the Rhode Island School of Design in his native state before moving to New York City. At the Ferrer School, he studied with Henri and Bellows. Like Glenn Coleman, Spencer was especially fond of the architectural scene of the city, and went even farther in translating it into a Cubist image. Spencer's modernist vision was at first characterized by a static, cubist simplicity, virtually devoid of living things. Later, the blocky forms were flattened into juxtaposed planes suggestive of the austerest works of Juan Gris and Stuart Davis. These simple but carefully organized paintings took on a quiet energy and sophistication of design often lacking in the earlier works. (Both phases are exhibited here). A native of Sweden, Sprinchom came to the United States in 1903 with the intention of studying art with Robert Henri, whose reputation had become widespread. He worked with Henri until 1910, and managed that artist's school for several years. He participated in the Armory Show of 1913. In the twenties, he directed the New Gallery which promoted young American and French modernists, but for much of his life, he traveled widely in this country and abroad. Spencer was especially fascinated by industrial scenes, to which his style was well suited. He joined other American industrial painters, such as Charles Sheeler, Charles Demuth, and Ralston Crawford in this respect, as well as in his rather precisionist aesthetic. 30 Seeking inspiration in nature, Sprinchorn developed vigorous, expressionist style, well-exemplified in the work displayed here. Like his friends Marsden Hartley and Rockwell Kent, he had a special fondness for the rugged landscape and outdoor life of Maine. Boldly sketched loggers and fisherman often inhabited his dynamic and rough-hewn landscapes. Though he resided in America for most of his adult life, Sprinchom's art bears a powerful Nordic stamp. The influences of Edvard Munch, the German Expressionists, and Scandinavian legend and poetry are all apparent, but from these, Sprinchom fashioned a distinctive and vital style. �I 1 1000178354 __H1LKES_COLLEGE library II �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1981 April 12-May 14 Students of the Eight: American Masters ca.1910-ca.1960 Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource Sordoni Art Gallery; Wilkes University Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1981 April 12-May 17 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/bfb32e94c237890f6135edd7f59012d7.pdf c5ddf8940566b2aeda263dccda889514 PDF Text Text ! Ir gARCHIVES I SQR.D GA ! 2269.2 N43C6 I 1999 �THE COLLECTOR AS BOOKBINDER The Piscatorial Bindings of S. A. Neff, Jr. �ITINERARY Cleveland Museum of Natural History Cleveland, Ohio January 9 through March 14, 1999 THECOLLECTC The Piscatorial Bi: Sordoni Art Gallery Wilkes University Wilkes-Barre, Pennsylvania June 13 through August 15,1999 Rochester Institute of Technology, Cary Collection Rochester, New York October 7 through December 17, 1999 American Museum of Natural Flistory New York, New York April 7 through July 2, 2000 The American Museum of Fly Fishing Manchester, Vermont July 9 through September 29, 2000 Essays by Elisabeth R. Agro Stanley 1 Grand Binder’s Statement, Catak S A. Neff, Jr. New York State Museum Albany, New York October 6 through December 10, 2000 Sordoni Art Caller. • Wilkes I. �THE COLLECTOR AS BOOKBINDER The Piscatorial Bindings of S. A. Neff, Jr. Essays by Elisabeth R. Agro Stanley I Grand Binder's Statement, Catalogue Entries, and Glossary by S. A. Neff, Jr. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Sordoni Art Gallery • Wilkes University • Wilkes-Barre, Pennsylvania �6-A .• -L. N L/ 3 *_ BINDER'S STATEMEN T S. A. Neft Ir I ci q Copyright © 1999 Sordoni Art Gallery, Wilkes University All rights reserved 1700 copies were printed by Becotte & Gershwin Catalogue design: John Beck Photography: Jeff Cornelia Typeface: Palatine ISBN 0-94294S-14-X Front Cover: A Treasury of Reels, Vol. I (Front) Back Cover: A Treasury of Reels, Vol. I (Back) <11 cwkk in the exhibition was produced over a tv period beginning in ll»si. Both the exhibition am logue have been arranged in chronological order viewer to •.*■* the development ot the concept- and the ti the work has been created for mv per-onal angling hbrar it is the culmination ol one angler’s passion tor fishing I; flv. As will be clear to the viewer, m.inv ot the sets contai beyond the written word In fact, ome ot the set- bvioni miniature mil: <-uin that attests to and supports the w ritti Included in the various sets are photograph ot angling < actual fishing flies and the materials used for dressing th angling arid.ids, and paraphernalia. 1 was introdui ed to bookbinding in mv mid-forties, an beginning I km w this < rilt would be .< >me one ■ >f th* mo directions in my life Asm1, kill- developed I r* aiized ft twenty-five year's experience m graphic design in.id'.ert trained me to be a bookbinder 1.a rived into the w* rid ol with a well-dec eloped as-th, tic sen.-* a kec-nlv h i.-.d he coordination, a sense ot proportion, and patience. A sense of history prompted me to look cl* sely at the t developed bv bookbinders of past centuries These book! bookmakers have built a very -el .1 n <u:.dation. and I h.: behooved to continue to build O'- that inheritance 1 have re-.pect for the rules of that rich tradition t*< attempt to br to negate them altogether. My direct! as a b vkb.nder i creative as possible while firmly remaining witSn th ■ p* �BINDER'S STATEMENT S. A. Neff, Jr. in the exhibition was produced over a twelve-year period beginning in 1986. Both the exhibition and the cata­ logue have been arranged in chronological order to enable the viewer to see the development of the concepts and the techniques. All the work has been created for my personal angling library. In a sense, it is the culmination of one angler's passion for fishing for trout with a fly. As nnll be clear to the viewer, many of the sets contain material far beyond the written word. In fact, some of the sets become a kind of miniature museum that attests to and supports the written word. Included in the various sets are photographs of angling environments, actual fishing flies and the materials used for dressing them, letters, angling artifacts, and paraphernalia. I was introduced to bookbinding in my mid-forties, and from the beginning I knew this craft would become one of the most significant directions in my life. As my skills developed, I realized that my twenty-five year's experience in graphic design inadvertently had trained me to be a bookbinder. I arrived into the world of bookbinding with a well-developed aesthetic sense, a keenly honed hand-to-eye coordination, a sense of proportion, and patience. A sense of history7 prompted me to look closely at the traditions developed by bookbinders of past centuries. These bookbinders and bookmakers have built a very solid foundation, and I have always felt behooved to continue to build on that inheritance. I have far too much respect for the rules of that rich tradition to attempt to break them, or to negate them altogether. My direction as a bookbinder is to be as creative as possible, while firmly remaining within the perimeters of he work these traditions. Some people think of my work as design binding, but I consider it fine binding because I have chosen to follow the tradi­ tions set by past generations of bookbinders. Almost from the start of my career, I have been intrigued with the concept of creating containers to house bindings and other volumes. Many of the containers take the form of a drop-back box covered with goatskin. All are decorated to various degrees, and this decoration generally sets a theme for the housed volumes. In juxtaposition with experimenting with container forms, I have continued to explore techniques for decorating them. Although a detailed description of techniques evolved for the decoration of the containers and bindings is inappropriate in a catalogue of this nature, some bookbinders and viewers may be interested in a brief description. In the late 1980s I began working with Japanese dyed paper and gilt paper to create decorative panels used on covers as well as doublures (decoration on the inside of the cover). As this method was refined, the panels became more complex; and some comprised hundreds of shapes. The process is begun by making a detailed drawing on tracing paper. Appropriate colors are then selected from a chart of dyed paper swatches. Next the images in the drawing are traced onto the dyed papers and cut out. When all the shapes have been cut out, they are glued to a piece of gilt paper then put under a light weight to ensure that they dry evenly. Later, each shape is carefully cut out, allowing a border of 1 /16". When all the shapes have been prepared, they are glued in position on a piece of bristol board, commencing with the sky and finishing with the foreground. The process is not unlike assem- j J -'••’iJjQ' 5 �bling a puzzle. When the panel is completed, it is trimmed to size and glued into a slightly depressed area in the goatskin cover or doublure. As I continued to become familiar with working in goatskin, I began to explore the possibilities of using it for decoration. The first experi­ ments were done with flat on-lays (thinly pared goatskin pasted onto the binding) with blind-tooled edges. Then I worked with raised on­ lays (thinly pared goatskin glued onto four-ply Bristol board shapes). When working with either type of on-lay (separately or in conjunc­ tion) I expanded the decoration with either blind or gilt tooling. At first I executed the tooling with conventional tools, then I learned of the flexibility of the Ascona tool, a specially cut brass tool used with stiff paper templates as guides. This method allows a binder to tool curvilinear lines more fluid than those made with conventional tools. By working with these tools and multiple, interlocking templates, I blind-tooled complex designs onto goatskin covers. Sometimes the blind-tooled lines do not give enough definition to the design, but I resolve this problem by gluing very narrow strips of goatskin, of a contrasting color, into the linear depressions. This allows me to draw with leather. One experiment leads to another, and sometimes another technique of decoration emerges within a relatively short period. Rarely have 1 set out to create something different. Rather, I follow a direction dictated by the content of the text, the materials, and the tools. At the risk of sounding self-serving, I must say that although my containers and bindings may appear to be nearly flawless, the proce­ dure has never been flawless. There have been occasions when I have needed to repeat a process several times before achieving a satisfac­ tory result. Bookbinding is an old-world craft that requires an essen­ tial discipline and devotion. In this computer age it is almost an anomaly to work patiently with one's hands, using simple tools. S. A. NEFF, JR., ANGLING ARTISAN Caught by Trout, Piscatorial Books, a Elisabeth R. Agro Carnegie Museum of Art of S. A. Neff, Jr., piscatorial bookbinder, is alluring for those who appreciate masterh design, high quality binding, and (perhaps) trout. At a mere glimpse of his work, the viewei mesmerized—transfixed by each binding's exacting beauty. Neff literally ensnares (or should I say hooks and reel?? > his viewer into 1 world, assembled in goatskin and Japanese paper The essence or 5. Neff, Jr., consists of three inseparable and integral elements: he is a devout angler, a collector of angling books and a piscatorial fine binde: The piscatorial bindings of S. A. Neff. Jr. illustrate not onlv his passion for angling for tn>ut and collecting books on anglinu but al* his work as a fine binder for his personal collection. Neff's fane . ~ fly-tying and angling for trout began when he w as fifteen.: in the tor five years since then, he has waded trout rivers throughout the L nit States, Ireland England and Central Europe Because he warwd .. know the trout ana its environment Neff pecan to collect old anglir books: with his ;:r*. purchase, at the age cf-twvnri he embarked or, education in aquatic entomology, the devising and dressing of flies the hand-c: at ting of fly rods, anti the under# ending *. UStorv .> \ f c id Iv . w c . ttne caught upio, ..*.-: ■ : *. ■ ■- gnlti.-t :ci c*b.’>'ks He eo tv Priisburgc t*ib!io.<'.,<*- ot ;:w-ctwOec" omtains two th w-.-rc J. csident tortwo. r1•; x* ' ■ . ■ v toe ' :.! ' <? : :* -. .me. ’> . c..<. he work �definition to the design, but I irrow strips of goatskin, of a ssions. This allows me to draw ,d sometimes another technique ely short period. Rarely have I lather, I follow a direction materials, and the tools. I must say that although my o be nearly’ flawless, the procejve been occasions when I have es before achieving a satisfac■ld craft that requires an essentnputer age it is almost an hands, using simple tools. S. A. NEFF, JR., ANGLING ARTISAN Caught by Trout, Piscatorial Books, and Fine Binding Elisabeth R. Agro Carnegie Museum of Art of S. A. Neff. Jr., piscatorial bookbinder, is alluring for those who appreciate masterly design, high quality binding, and (perhaps) trout At a mere glimpse of his work, the viewer is mesmerized—transfixed by each binding's exacting beauty. Neff I literally ensnares (or should I say hooks and reels?) his viewer into his world, assembled in goatskin and Japanese paper. The essence of S. A. Neff. Jr., consists of three inseparable and integral elements: he is a devout angler, a collector of angling books, and a piscatorial fine binder. The piscatorial bindings of S. A. Neff, Jr. illustrate not only his passion for angling for trout and collecting books on angling but also his work as a fine binder for his personal collection. Neff's fancy for fly-tyring and angling for trout began when he was fifteen; in the fortyfive years since then, he has traded trout rivers throughout the United States, Ireland, England, and Central Europe. Because he wanted to know the trout and its environment, Neff began to collect old angling books: with his first purchase, at the age of twenty, he embarked on an education in aquatic entomology, the devising and dressing of flies, the hand-crafting of fly rods, and the understanding of piscatorial history. As Neff's collection of old angling books grew, he became caught up in their history' and significance as books. He joined the Pittsburgh Bibliophiles, of which he was a member for seventeen •. ears and president for two. His library' now contains two thousand volumes on fish and fishing, focusing on books prior to the twentieth he work century, with some dating as far back as 1600. This collecting enthusi­ asm propelled him to the next logical step: the care and restoration of his fine collection. In 1982—in order to make small repairs on some of the books in his growing collection—Neff took a few simple workshops on binding methods in the Pittsburgh area. Reflecting on his late start as a book­ binder, Neff often refers to T. J. Cobden-Sanderson (1840-1922), known as the Father of Modern Bookbinding, who also began his career as a bookbinder at middle age. Realizing that he would not have enough time to learn all the various methods and styles of binding, and being an autodidact by nature, Neff struck out on his own, teaching himself procedures that would be most applicable to the care and repair of his personal library. Neff soon realized that his twenty-five years as a graphic designer and illustrator, coupled with his long experience as an angler, provided him with the skills and design sensibility needed to become a bookbinder: "My development of hand-to-eye coordination during my longtime activities as a de­ signer and flytier inadvertently trained me in bookbinding." Since 1982, Neff has continually added new methods, techniques, and materials to his bookbinding repertoire. Initially, he worked in quarter- and half-leather, then in full leather with simple gilt-stamped designs (the stamping dies are of his own design). After taking a vellum workshop in 1985, he began creating half- and full-vellum *7 �J bindings. With this new skill, Neff created his first multiple set of bindings and boxes for .4 Book ofSmall Flies (Figures 1-4). This unique edition, originallv a two-volume set, comprises four volumes bound in full vellum over raised foundations with marbled paper panels and on-lavs of goatskin. Neff created two additional volumes, which include objects bevond the text such as materials used in making flies, and photographs taken bv Neff based on the text of the book. This set was the first four-volume set of angling books to contain a related grouping of all these piscatorial materials. A Book of Small Flies marks the beginning of Neff's serious commitment to bookbinding: it was the first work Neff exhibited nationally and was selected for inclusion at the juried Guild of Book Workers' 1986 national exhibition. In 1988, Neff began to experiment with Japanese dyed paper to create decorative panels, using it in conjunction with Japanese gilt paper to provide a linear definition between the shapes. He used this technique on a set of two bindings in a box, A Modern Dry-Fly Code, second edition, and In the Ring ofthe Rise, both by' Vincent C. Marinaro, published in 1970 and 1976 respectively (Figures 6 & 7). The two volumes are found within a drop-back box portraying the Cumberland Valley, which provides the viewer with a glimpse of what is contained inside. The image found on the decorative panels of each binding represents the subject of that volume. A Modern Dry-Fly Code investigates the meth­ ods of flv fishing on the Letort Spring Run in the Cumberland Valley in Pennsylvania. Neff portrays this small river, including an image of the predominant variety of mayfly, the Ephemerella dorothea (Figure 7). He depicts the stream in detail on the panels for In the Ring of the Rise, which throroughty examines the feeding habits of the Letort trout. Neff includes an illustration of a trout that has just risen to the surface for a mayfly, resulting in a rise-form, or "ring of the rise" (Figure 7). The viewer is first struck by the image of the Cumberland Valley on the box. Neff says, "The viewer moves into the valley when looking at the covers of the Code, and finally to the river's surface with the covers of the Ring." This application of pictorial panels to foretell the contents of a box and bindings was the beginning of a style formula for Neff. Neff further developed this innovative pictorial panel technique. The application of panel decoration in combination with box sets 8 • The Collector c* Bookbinder containing two or more volumes imparts a particular expression to Neff's work. He says, "I have always been interested in creating sets of books, rather than simply putting a cover, albeit a decorative one, on a book." Neff calls these sets "containers" because they usually hold items such as actual fishing flies, photographs, letters, and reels in addition to the text of a book or essay. As an observer of Neff's work, I am more inclined to call these box sets "environments." Each panel draws the viewer into the subject explored within a box and volume. The specific angling materials placed within each box further the experience of the subject. Giving the subject matter of each book careful consideration, Neff essentially documents the specific angling environment on the panels of the box set and the bindings it contains. The three-volume set Miniature Nymphs: A Chapterfrom "The Masters on the Nymph" (1989) exemplifies this angling environment (Figures 8-12). This set contains text, actual trout flies dressed by Neff and materials for making them, manuscript, photographs used in the text, and correspondence with the publisher. On the box are scenes of limestone and freestone rivers, two of the earth's three river types. The highly detailed images of a brown trout in a limestone river, rainbow trout in a freestone river, and nymphs on the bottom of the rivers appear individually on the bindings of each volume. The pictorial panels found on this set inform the viewer of the contents of each volume. In 1990, Neff began experimenting with full goatskin bindings over raised foundations, flat on-lays, raised on-lays, and blind tooling. Neff integrated these new techniques with his decorative panels and boxed-set formula. Catskill Rivers, written by Austin M. Francis (1983), was bound in 1991 and is a product of this integration (Figures 15-18). The covers on the box and volume are incredibly fine. Neff describes the design as follows: The panel on the front cover depicts the trout of the Catskill rivers; the brook trout (leaping downward) declined at the end of the nineteenth century, to be replaced by the brown trout (moving upward). The vivid colors of the panel are in direct contrast with the subtleties of the binding. The dark green on-lays quietly set the scene on the book's cover for the three bands of bright blue raised on-lay the Catskil! rivers. . mbolizin, Revealing the connection between the box and the binding, states, "There is no apparent relationship between the box cot binding [at first glance] until the book is opened to reveal the doublure portraying a scene on one of the rivers." This Catski environment is made whole by a second river scene, which a; the back doublure, and aquatic insects, which are found in th, ground of each panel. A set consisting of two volumes housed in an inner and ou( made for Rodolphe L. Coignev's Izank Walton: .4 Nor Btbliogn 1653-19S7 (1989) represents Neff's interest in creating twentis century designs based on seventeenth- and eighteenth-centur designs (Figures 23-28). "As a twentieth-centurv binder and I designer, I can immerse myself in period design, but to attem produce a similar design would simply be making a facsimile actually a personal aesthetic effort," states Neff. Therefore, he rated these bindings with a twentieth-centurv version of a sevt centurv panel design. Of particular note in this container are the interior of the ot and the cover of the inner box, which form a triptych (Figure When the viewer opens the box, he or she finds a scene depic Charles Cotton's Fishing House, Piscaforibus sacrum, on the Ri Dove in England, which ran through Cotton's estate. An angl and close friend of Walton, Cotton memorialized their friends the cypher "IWCC" inscribed on the keystone above the door Piscatoribus sacrum. Neff uses this cypher as a decorative elem the box and binding, thus linking them to Walton, Cotton, Pis sacrum, and the River Dove. Two aquatic insects found on the long before the seventeenth century' are also in full view in th: container. In this boxed set, Neff creates a twentieth-century ’ based on a seventeenth-century binding style, effectively juxt. two periods. He accomplishes this by binding both volumes i seventeenth-century style, including a doublure panel depict! angler of that period and another portraying a modern angler �rts a particular expression to ?een interested in creating sets cover, albeit a decorative one, liners" because they usually photographs, letters, and reels ly. As an observer of Neff's box sets "environments." Each :t explored within a box and ; placed within each box further re subject matter of each book documents the specific angling set and the bindings it contains. ’hs: A Chapterfrom "The Masters on ng environment (Figures 8-12). ; dressed by Neff and materials raphs used in the text, and n the box are scenes of limestone 5 three river types. The highly limestone river, rainbow trout in ?ottom of the rivers appear nlume. The pictorial panels : the contents of each volume, with full goatskin bindings over 1 on-lays, and blind tooling. Neff his decorative panels and tten by Austin M. Francis (1983), f this integration (Figures 15—18). ! incrediblv fine. Neff describes nets the trout of the Catskill iownward) declined at the > be replaced by the brown id colors of the panel are in s of the binding. The dark ne on the book's cover for the three bands of bright blue raised on-lays symbolizing the Catskill rivers. Revealing the connection between the box and the binding, Neff states, "There is no apparent relationship between the box cover and binding [at first glance] until the book is opened to reveal the front doublure portraying a scene on one of the rivers." This Catskill river environment is made whole by a second river scene, which appears on the back doublure, and aquatic insects, which are found in the fore­ ground of each panel. A set consisting of two volumes housed in an inner and outer box made for Rodolphe L. Coigney's Izaak Walton: A New Bibliography 1653-1987 (1989) represents Neff's interest in creating twentieth­ century designs based on seventeenth- and eighteenth-century panel designs (Figures 23-28). "As a twentieth-century binder and binding designer, I can immerse myself in period design, but to attempt to produce a similar design would simply be making a facsimile, and not actually a personal aesthetic effort," states Neff. Therefore, he deco­ rated these bindings with a twentieth-century version of a seventeenth­ century panel design. Of particular note in this container are the interior of the outer box and the cover of the inner box, which form a triptych (Figure 24). When the viewer opens the box, he or she finds a scene depicting Charles Cotton's Fishing House, Piscatoribus sacrum, on the River Dove in England, which ran through Cotton's estate. An angler, poet, and close friend of Walton, Cotton memorialized their friendship in the cypher "IWCC" inscribed on the keystone above the door to Piscatoribus sacrum. Neff uses this cypher as a decorative element on the box and binding, thus linking them to Walton, Cotton, Piscatoribus sacrum, and the River Dove. Two aquatic insects found on the river long before the seventeenth century are also in full view in this container. In this boxed set, Neff creates a twentieth-century version based on a seventeenth-century binding style, effectively juxtaposing two periods. He accomplishes this by binding both volumes in a seventeenth-century style, including a doublure panel depicting an angler of that period and another portraying a modern angler in the same setting, using the IWCC cypher as a decorative motif, and including contemporary photography of what he calls "the relatively unspoiled beauty" of Dove Dale and the river. Neff designed this set to be experienced in stages, which he feels makes it "more complex and interesting than a simple binding." The panel decorations, together with the binding techniques described here, aid Neff in achieving his goal of developing a sense of move­ ment through space and history within his containers. Since 1992, Neff has continued to excel at binding and creating pictorial panels. His recent bindings and containers include A Treasury of Reels (1995, Figures 36-40), The Angling Letters of S. A. Neff, ]r. and J. S. Hewitson (1997, Figures 41-44), and Angling in Hibernia (1998, Figures 45-49). A Treasury of Reels is a two-volume set that contains text and actual nineteenth-century and early twentieth-century fly reels. These are housed in a drop-back box, which is embellished by designs that mimic ten actual reel designs. The volumes are contained in a chest with a bas-relief of a brook trout on the top. Angling Letters is a grouping of correspondence, dating back to 1965, between Neff and Hewitson. Neff has organized each decade in a drop-back box. Also included are photographs Neff took to illustrate a point from one letter for each year of the correspondence. Angling in Hibernia is an autobiographical work of Neff's experiences of angling in Ireland. This impressive five-volume set contains text, related photographs, flies tied by Neff, materials used for making Irish trout flies, and a life box containing piscatorial objects. These works represent Neff's persistence in striving to perfect his skills as a binder and binding designer. The combination of Neff as artist, angler, collector, and binder—coupled with his vivacity and dedication—result in the achievement of high quality in his work. Although the combination of talents and interests Neff exhibits would seem to be unique, his work can be placed within a historical framework. Thomas Gosden (1780-1840) should easily come to mind for bibliophiles who collect sporting books. Gosden described himself as a bookbinder, publisher, and printseller. Like Neff, he was an outdoor enthusiast and a lover of books who brought his enthusiasm for angling to his work. Gosden is best known as a binder whose The Piscatorial Bindings of S. A. Neff, Jr. • 9 �angling books are stamped with small piscatorial and emblematic designs. In 1819, he published T. P. Lathey's poem The Angler, which he embellished with a full-length portrait of himself outfitted with a fishing rod and net as a frontispiece. In this engraving, Gosden signals the depth of his knowledge of angling and angling literature by including the IWCC cypher of Walton and Cotton on the plinth upon which he is leaning. The portrait verifies William Loring Andrews's description of Gosden in An English XIX Century Sportsman, Bibliopole and Binder ofAngling Books (1906) as "a true disciple of Izaak Walton." As a fly-fisherman of trout, a book collector, and a binder, Neff has continued in the tradition of Gosden as a twentieth-century "sporting bookbinder" and enthusiast. Since Gosden, many' others have produced distinctive angling books. Some angling authors—such as William Blacker (1814-1856), W. H. Aldam (active mid-nineteenth century), Preston Jennings (18931962), and Charles Phair (1875-1943)—took their published works a step further by incorporating flies and fly-tying materials into their texts. Blacker and Aldam, both British, published notable works in 10 • The Collector as Bookbinder 1842 and 1843 and 1876. They were followed by the Americans Jennings and Phair in 1935 and 1937 respectively. Although these books were deluxe editions, they were commercial in nature. In the twentieth century, firms such as Robert Riviere & Son and Sangorski & Sutcliffe were known to have produced magnificent bindings, but their binders were usually not anglers. Neff has followed in the tradition of Blacker, Aldam, Jennings, and Phair by incorporating angling materials into his angling "environments." As a collector and binder, Neff can be placed in a special category of twentieth-century collectors of angling books who execute fine bindings for their personal collections. The depth of his knowledge of angling and of the content of each book in his library—along with his design expertise—brings the quality of his work to a high level. Each binding reflects his base of knowledge; each design is unique and particular to the subject of the book. His pictorial bindings are excep­ tional, superbly executed, and innovative. S. A. Neff, Jr., guides the viewer through an exploration of the history' of angling for trout. His work becomes a lens into this fascinating and special world. ANGLING BOUND The Bindings of S. A. Neff, Jr. Stanley I Grand Wilkes University he "essence" of S. A. Neff, Jr., writes Elisabeth Agro of three inseparable and integral elements: being a angler, a collector of angling books, and a piscatori binder." In the remainder of her essay for this catalogue sh Neff's development as a fine binder and locates him withir historical context of artist-binders of angling literature. Nel statement likewise focuses on binding techniques and inne This essay, on the other hand, looks at the images that Netf and their relationship to the books they adorn. It is concerr fore, with iconography ("picture writing"), angling writing fishing for trout, the center link in Agro's tripartite chain. In his binder's statement, Neff observes that he has an "t sense, a keenly honed hand-to-eye coordination, a sense of and patience" along with a well-developed "sense of histoi are precisely the qualities one associates with fly fishing. Ti of the beautifully streamlined and colored trout in pure flo waters, by means most graceful and refined, is built on aes values. Moreover, it is a pursuit rich in history’. The traditio catching fish on a hook decorated with bits of feather and f ancient (Figure 12), as is the practice of writing about it. As the third century, we find an unequivocal description of fly Claudius /Elianus’s De Animalium Nalura: "The fishermen i wool around their hooks and fasten to the wool two feathe grow under a cock's wattle and which are the colour of dar After TElianus, no true angling literature is to be found unti publication of The Treatyse of Fysshynge wyth an Angle (publi �re followed by the Americans >37 respectively. Although these were commercial in nature. In the tobert Riviere & Son and Sangorski & duced magnificent bindings, but glers. Neff has followed in the ngs, and Phair by incorporating ■ "environments.'' can be placed in a special category of gling books who execute fine ions. The depth of his knowledge of i book in his library’—along with his ity of his work to a high level. Each edge; each design is unique and ik. His pictorial bindings are exceplovative. S. A. Neff. Jr., guides the the history of angling for trout. His zinating and special world. ANGLING BOUND The Bindings of S. A. Neff, Jr. Stanley I Grand Wilkes University he "essence" of S. A. Neff, Jr., writes Elisabeth Agro, "consists of three inseparable and integral elements: being a devout angler, a collector of angling books, and a piscatorial fine binder." In the remainder of her essay for this catalogue she traces Neff's development as a fine binder and locates him within the historical context of artist-binders of angling literature. Neff's own statement likewise focuses on binding techniques and innovations. This essay, on the other hand, looks at the images that Neff has created and their relationship to the books they adorn. It is concerned, there­ fore. with iconography ("picture writing"), angling writing, and fly fishing for trout, the center link in Agro's tripartite chain. In his binder's statement, Neff observes that he has an "aesthetic sense, a keenly honed hand-to-eye coordination, a sense of proportion, and patience" along with a well-developed "sense of history." These are precisely the qualities one associates with fly fishing. The pursuit of the beautifully streamlined and colored trout in pure flowing waters, by means most graceful and refined, is built on aesthetic values. Moreover, it is a pursuit rich in history. The tradition of catching fish cn a hook decorated with bits of feather and fur is ancient (Figure 12), as is the practice of writing about it. As early as the third century we find an unequivocal description of fly fishing in Claudius /Elianus's De Animalium Natura: "The fishermen wind red wool around their hooks and fasten to the wool two feathers that grow under a cock's wattle and which are the colour of dark wax."1 After /Elianus, no true angling literature is to be found until the publication of The Treatyse ofFysshynge anyth an Angle (published in 1496 but written some seventy-five years earlier), which most attribute to Dame Juliana Berners. Its importance, as John McDonald notes, is that since it "has no known antecedent in fishing history and asserts for the first time distinctive sporting attitudes toward fishing, it serves as the point of origin of modem angling."2 Earlier writings on fishing had treated the subject as a profession or occupation rather than a sport. More than simply a collection of recipes and tactics, "what is noteworthy is that Dame Juliana sets the cheerful and pious tone which is so characteristic of English books on angling."’ The 1496 printing of Dame Juliana's treatise included a woodcut famous in angling circles, a copy of which Neff has inlaid on the cover of the Catalogue of the Library of Thomas Westwood, Esq. (Figure 13). Here we see a fifteenth-century angler, who, to judge from his costume, is a member of the merchant class—a gentleman but not an aristocrat. Bending, he reaches out toward the taut line while simultaneously lifting a fish from the stream. He wields a two-piece rod to which is attached a tapered horsehair line (made by twisting together hairs from the tail of a white horse) and a cork float or bobber. The fish dangling from the end of his line is about to be swung ashore, des­ tined to join two others swimming in a short wooden barrel. If our angler has followed Dame Juliana's advice, the lower section of his rod or "rodde" is made of hazel, willow, or aspen; and the flexible tip section, a yard in length, of blackthorn, crabtree, medlar, or juniper. During the century and a half between the publication of Dame Juliana's Treatyse and the first edition of Izaac Walton's The Coinpleat Angler (1653), only a handful of new angling books appeared. One of 11 �► these, The Arte of Angling (1577), author unknown, was familiar to Walton, who "borrowed" numerous sections without attribution or credit. Having gone through five editions in Walton's lifetime and well over four hundred to date, The Coinpleat Angler is not only one of the most influential books in angling literature but also one of the most widely published books in the English language (Figures 14, 32, & 33). Keeping track of all the editions has become a cottage industry: in the nineteenth century, Thomas Westwood, the piscatorial bibliophile­ collector mentioned above, along with Thomas Satchell, published a bibliography entitled The Chronicle of the Coinpleat Angler (1864), which was followed, most notably, by Peter Oliver's A Nero Chronicle of the Coinpleat Angler (1936), Bernard S. Home's The Complete Angler 1653-1967 (1970), and Rodolphe L. Coigney's Izaak Walton: A New Bibliography (1970), 1653-1987 (1989, Figures 23-28). Until the present century, the appeal of Walton's Angler has re­ mained relatively constant—excepting only a period of obscuration between the publication of the fifth edition and his rediscovery by Moses Browne—because, as Charles Lamb observed in 1796, "It breathes the very spirit of innocence, purity and simplicity of heart.... it would sweeten a man's temper at any time to read it."4 Written in the form of a discourse between Piscator, Venator [Viator or "Way­ farer" in the first edition; Venator in all subsequent editions], and Auceps, the Angler is part of a pastoral literary tradition that includes Theocritus's Idylls, Virgil's Eclogues, and in angling literature, John Dennys's Secrets ofAngling (1613). The Angler begins with a chance encounter of three sportsmen who commence a friendly exchange on the relative merits of their respective pastimes (fishing, hunting, falconry). Following a medieval formula (utilized by Dame Juliana as well) of argument followed by instruction, a conversion occurs in the course of their discussions when Venator requests instruction in the art of angling and Piscator agrees to be his Master. The Angler's charm is enhanced by a liberal sprinkling of poems, songs, ditties, and rhymes amid an exposition on the characteristics of a wide variety of fish, their habits and preferences, and tecliniques for ensuring their capture. Walton lived through a period of civil unrest, an interregnum when Cromwell headed England. A Royalist, Walton found a respite from 12 • The Collector as Bookbinder the political divisiveness of the time in pastoral pursuits. The most famous of his pastoral retreats is Piscatoribus sacrum, a fishing house built by his friend Charles Cotton in 1674 along the banks of the River Dove in Derbyshire, which Neff represents on the inside panels of the outer box containing Coigney's Walton (Figure 24). Cotton memorialized his friendship with Walton by linking together their initials to form a cypher (Figures 14 & 23), which he had carved above the fishing house entrance. This cypher also appears at the beginning of Part Two ot the fifth edition of the Angler (1676) in which Cotton's own contribution, a supplemental manual entitled Being Instructions How to Angle in Trout or Grayling in a Clear Stream, appeared for the first time. Unlike Walton, Cotton concentrated on two fish known for their willingness to take a fly; he is consequently known as the "father of fly fishing." 1 he "mother of fly fishing," of course, is Dame Juliana, whose classic patterns for a dozen artificial flies reigned supreme for two centuries. On the back doublure of the binding for Coigney's Bibliography (Figure 27), Neff depicts a seventeenth-century angler catching a carp, a much maligned fish today, but one that Walton called the "queen of rivers."’ Reflecting Walton's observation that one must have "a very large measure of patience ... to fish for a river Carp," Neff has thought­ fully provided his angler with a three-legged stool." Ihe seventeenth­ century angler holds a rod not much changed from the time of Dame Juliana. The absence of a reel is expected since they were reserved primarily for salmon fishing (a fish that Walton claims, erroneously, will "not usually [bite] at a fly, but more usually at a worm").' Walton does note, however, that salmon fishers use a rod and reel combination. a ring of wire on the top of their rod, through which the line may run to as great a length as is needful, when he [the fish] is hooked. And to that end, some use a wheel about the middle of their rod, or near their hand."’ In the century after the death of Walton, the reel became an increas­ ingly common sight on British streams. Along with other technical innovations, there was a great advance in, and disbursement of, piscatorial knowledge. However, as Major John W. Hills wrote in A History of Fly Fishingfor Trout (1921), "When we leave them [Walton and the other seventeenth-century' writers] we leave the reign of the book, and come lo th it ot the manual typical example or ar, . .ghtei r.lh-century tr-ioi ■>! i i noteworthy exception is Cl'.irk < Bowik-■:'I ■■ 19-20). I bis volume, which first appeared in 1747 und Charles's father Richard, went through numerous edit sions, and revisions. Bowlki r is remembered tor hi;- di willingness to challenge received authorities (Berners, and original flv drvs-.ings based on his knowledge of ent, spirit ot the Enlightenment, Bowlker championed closi and scientific method over the existing, authoritative,. classical paradigm. By the end of the eighteenth if-ntui influence was preeminent: .is Arnold Gingriih <n i Cotton and Ronalds [see below], and the dawn of an e approach. Bowlker is the one main landmark." The nineteenth century v.itne- .ed not only a great V also an outpouring of titles devoted to angling, ini ludi British Angler (Figure 31). Combined with the contribu centuries, these and countless other books established as the undisputed font of da sic angling literature, loh has summarized the century's great piscatorial achieve were explored and promulgated in angling books as fc work of the nineteenth century was in the creation of e the decisive shift to upstream fishing, and the inventio which together formed the greatest revolution in flv-fi since the sport has been known.",T In this conne :tion, t innovations from the second half of the nineteenth ten of mention: floating fly lines of oiled silk and FI. S. Hal fine-wire hooks with eyes (previously all hooks were- " and snelled). Austin Francis views these developmentlarger societal change when he argues in Catskill Risers American Ely Fishing (Figures 15-18) that "Fly fishing ii England, grew out of the Industrial Revolution. And a industrialization trailed England'sby a good half centi coming of age as anglers." In the decades after the Civil War, the effects of indu immigration, and urbanization profoundly defined lhe �>f the time in pastoral pursuits. The most ■eats is Piscatoribus sacrum, a fishing house Cotton in 1674 along the banks of the River i Neff represents on the inside panels of the ey's Walton (Figure 24). Cotton memorialized i by linking together their initials to form a vhich he had carved above the fishing house appears at the beginning of Part Two of the 1676) in which Cotton's own contribution, a tied Being Instructions How to Angle for Trout appeared for the first time. Unlike Walton, ■o fish known for their willingness to take a m as the "father of fly fishing." The "mother ; Dame Juliana, whose classic patterns for a d supreme for two centuries. the binding for Coigney's Bibliography seventeenth-century’ angler catching a carp, v, but one that Walton called the "queen of s observation that one must have "a very' . to fish for a river Carp," Neff has thought'ith a three-legged stool.6 The seventeenthnot much changed from the time of Dame el is expected since they were reserved g (a fish that Walton claims, erroneously, fly, but more usually at a worm").' Walton non fishers use a rod and reel combination: f their rod, through which the line may' run edful, when he [the fish] is hooked. And to about the middle of their rod, or near their eath of Walton, the reel became an increas:ish streams. Along with other technical eat advance in, and disbursement of, vever, as Major John W. Hills wrote in A nt (1921), "When we leave them [Walton century writers] we leave the reign of the book, and come to that of the manual."’ The Gentleman Angler is a typical example of an eighteenth-century manual (Figures 21-22). A noteworthy exception is Charles Bowlker's The Art of Angling (Figures 19-20). This volume, which first appeared in 1747 under the name of Charles's father Richard, went through numerous editions, expan­ sions, and revisions. Bowlker is remembered for his direct approach, willingness to challenge received authorities (Berners, Cotton, et al.), and original fly dressings based on his knowledge of entomology. In the spirit of the Enlightenment, Bowlker championed close observation and scientific method over the existing, authoritative, and essentially classical paradigm. By the end of the eighteenth century, Bowlker's influence was preeminent: as Arnold Gingrich observes "Between Cotton and Ronalds [see below], and the dawn of an entomological approach, Bowlker is the one main landmark."10 The nineteenth century witnessed not only a great Walton vogue but also an outpouring of titles devoted to angling, including The Improved British Angler (Figure 31). Combined with the contributions of earlier centuries, these and countless other books established the British Isles as the undisputed font of classic angling literature. John McDonald has summarized the century's great piscatorial achievements, which were explored and promulgated in angling books as follows: "The real work of the nineteenth century was in the creation of entomologies, the decisive shift to upstream fishing, and the invention of the dry fly, which together formed the greatest revolution in fly-fishing history since the sport has been known."11 In this connection, two other innovations from the second half of the nineteenth century are worthy of mention: floating fly lines of oiled silk and H. S. Hall's invention of fine-wire hooks with eyes (previously all hooks were "blind," heavy, and snelled). Austin Francis views these developments as part of a larger societal change when he argues in Catskill Rivers: Birthplace of American Fly Fishing (Figures 15-18) that "Fly fishing in America, as in England, grew out of the Industrial Revolution. And as American industrialization trailed England's by a good half century, so did our coming of age as anglers."12 In the decades after the Civil War, the effects of industrialization, immigration, and urbanization profoundly defined the development of American fly fishing. As the great eastern cities, Boston, New York, and Philadelphia grew, railroad arteries spread out, linking these centers to the rest of the country and opening up new areas for commerce and recreation. By 1851, the Erie Railroad had already made the Delaware River a relatively easy destination. Twenty-one vears later, in 1872, the Ulster & Delaware and Ontario & Western rail lines each inaugurated rail service to the Catskills. Urban sportsmen no longer had to endure long, brutal, and unpleasant journeys by horse and stage to reach these pristine destinations. Such was the impact of the transportation revolution that by the end of the century great stretches of the Catskills were owned by the various captains of industry, their sporting sons, and fishing clubs like Salmo Fontinalis, established in 1873. Within a dozen years or so after the opening of the Catskills to "sports," as these fishermen were called, the fishery had declined precipitously due to a combination of factors including overharvesting of the native, eager brook trout (Salvelinus fontinalis is actually a char, not a trout) and the diminution of habitat caused in part by logging which, among other things, raised water tempera­ tures, contributed to greater fluctuations in water levels, and added to pollution (Figure 37). Fish managers responded by introducing two new species to the Catskill streams: the brown trout (Salmo trutta), a European import often called the German brown, and the rainbow (Oncorhynchus mykiss, formerly Salmo gairdneri), from California (Figures 9 & 11). Neff commemorates the successful establishment of the European transplant and the decline of the brook trout on the box cover of Catskill Rivers (Figure 15). On the binding itself, he represents three Catskill rivers by means of undulating on-lays, flowing in tandem (Figure 16) (of the famous Catskill waters, three are rivers— the Beaverkill [Figures 17 & 18], Neversink, and Delaware—and three are creeks—the Willowemoc, Esopus, and Schoharie). The brown trout's successful introduction in the Catskills, and subsequently throughout the American continent, was due in part to its willingness to take a floating or dry fly (Figure 47) and its innate adaptability’ to a variety of waters. Prior to the nineteenth centurv, artificial flies were, with few exceptions, fished wet, that is, below the surface of the water. Animated by the current or the angler, most wet The Piscatorial Bindings of S. A Neff. Jr. • 13 �flies, such as the Childers salmon fly (Figure 35), act as attractors or lures. Anglers, however, had long observed that various insects on which trout fed spent a portion of their brief, ephemeral lives on top of the water. As knowledge of the various insects became more systematic and widespread, fostered by influential studies such as Alfred Ronalds's The Fly-Fisher's Entomology (1836), anglers in the British Isles began to develop dry flies specifically tied to correspond with, and imitate, particular stages in the life cycle of the mayfly. (As a general rule, subject to the usual qualifications, of all the various insects found on trout streams—caddis flies [Figure 17] which are called sedge flies in England [Figure 24], stoneflies, midges, terrestrials like ants or grasshoppers, et cetera—the mayfly is the most important.) Comprising approximately five hundred species, the mayfly is a complex, varied, and adaptable creature belonging to the order of Ephemeroptera. Like the butterfly or moth, the mayfly undergoes a series of striking metamorphoses during its life. After hatching from their eggs, most mayfly nymphs spend a year living and growing on the bottom of a stream. Depending on the type of water—moving or still, rocky or silty—the different species have developed specialized body types. Although all mayfly nymphs have heads; wing pads at the thorax, abdomen, and gills; legs; and tails (either tw'o or three part), the proportions of these components vary' depending on habitat. Neff has carefully observed and rendered these differences on the covers (Western limestone nymphs on the front and Catskill nymphs on the back) of his manuscript from The Masters on the Nymph (Figure 10). At the proper time, the nymph leaves its underwater home and drifts k or swims upward to the surface of the water where it shucks its ny'mphal shell. (A few species crawl onto rocks for this transforma­ tion.) Now called a dun (subimago), the newly emerged mayfly drifts dowmstream helplessly while its upright w’ings dry. In this vulnerable stage the dun provides a ready meal for rising trout and the inspira­ tion for the dry fly. Figure 47 shows a brown trout in an Irish stream about to take a green drake: the upwinged construction identifies the fly as a dun imitator (Ephemera danica, the green drake found in Ireland, differs somewhat from the North American green drake, Ephemera guttulata [Figure 18]). Other prominent parts include the head, body, 14 • The Collector as Bookbinder legs (simulated by hackle), and the tail. Neff clearly shows how surface tension keeps the fly afloat. Once its w ings dry, the dun tto a nearby tree or other resting spot, where it undergoes its final meta­ morphosis. Now known as a spinner (imago), the mayfly mates. its brief life ends, the female deposits her eggs back into the stream, and the cycle begins anew. (Since classical times, the Ephemeroptera—from the Greek meaning "over in a day"—have been a symbol of life and its stations, a conceit Neff revives in his boxes for the angling correspon­ dence of S. A. Neff, Jr., and J. S. Hewitson [Figures 41-44]). The spinners, their wings now down and transparent, fall back upon the water and again provide the hungry trout a meal. 1 he development of imitative dry flies, therefore, required an understanding of the life cycle of the mayfly, with an emphasis on the important postnymphal stages. The insights of Ronalds were pivotal to the development of the floating fly. Others expanded on this knowledge; and Frederic M. Halford in particular, the author of Floating Flics and How Io Dress Them (1886), was to have a tremendous impact on American fly fishing. Since the brown trout was nonindigenous, American anglers quite naturally turned to European sources for information on its habits. Here again England provided the lead; but the ecology of American streams was and is rather different from that of streams in the British Isles. Interestingly enough, Izaak Walton had recognized the need to match artificials and naturals: "there are in Wales, and other countries, peculiar flies, proper to the particular place or country; and doubtless, unless a man makes a fly' to counterfeit that very fly in that place, he i like to lose his labour, or much of it."' In the Catskills, Theodore Gordon understood this; as Francis points out, "the thing that sets Gordon apart from the other early American dry-fly enthusiasts is the fact that he scrutinized English dry' flies and dry-fly tactics and found them unsuited to American trout streams."" Cordon not only knew Halford s books, he also corresponded with him. (Neff's angling correspondence, then, should be viewed as referencing and continuing a well-established tradition.) Gordon's initiatives were continued by others, including Preston Jennings, whose landmark A Book of Trout Flies (1935) proposed new mayfly patterns based on his in-stream studio-of the iqi itn ;j ■; undi: the . r.-k states that Jennings ' -lands in the -imv n tot>■ «i-—h angling a- Ronald . do. , lo British; ea<_r> <>• them w think ot serving as a link between angling and ent. first to approach the role propt riv, and Jo it right most appropriate th it Sett has included actual file the container tor I rancis'sGtl-LL Ki r . In addition to Its willingness to take the dn tlv. unlike the brook trout- has proven retnarkabli ad types of water. Browns are nov. found in the truest Catskills (I tgure 8), the limestoners of South Ccntr (Figures ft & 7) and the spring creel s ot the West if Vincent Marinaro In the Ring of the Ri*c (Figure 7); synopsis of the differences among these waters 1 r stream originates in elevated terrain when surfaci melting snow trickles downhill and merges with o brooks, streams, and finally rivers. Water flow isei with the greatest volume occurring most often dur year. During the summer, the flow declines, and th ture tends to increase. With their rocky bottoms sc and vegetation bv spring Hoods anil winter ice jan generally much less fertile than limestoners. Limes hand, are meadow streams, flowing through areas vast, primordial seas. Unlike the freestoners, whos inorganic, the limestone streams originate in bedrc skeletal remains of the microorganisms that once ii gone ocean-.. Being both porous and easily dissolvi action, limestone makes an ideal aquifer, and the rr springs from these ancient underground reservoir' significant that the flow from these underground constant, in terms of both \ olume and temperature the limestoner does not undergo the cyclical varict stoner. Perhaps even more important, these aikalin calcium carbonate, support a wide variety of aqua! streams are less subject to the cleansing effect- of fl on their bottoms to provide anchorage for wateren �tail. Neff clearly shows how Once its wings dry, the dun flies to ■vhere it undergoes its final meta;r (imago), the mayfly mates. As its ter eggs back into tire stream, and times, the Ephemeroptera—from —have been a symbol of life and its s boxes for the angling corresponritson [Figures 41-44]). The d transparent, fall back upon the trout a meal. The development of td an understanding of the life is on the important postnymphal ital to the development of the s knowledge; and Frederic M. Floating Flies and How to Dress Them ipact on American fly fishing, enous, American anglers quite is for information on its habits, ad; but the ecology of American Tom that of streams in the British alton had recognized the need to a are in Wales, and other countries, ir place or country; and doubtless, feit that very' fly in that place, he is In the Catskills, Theodore points out, "the thing that sets American dry-fly enthusiasts is the flies and dry-fly tactics and found earns."1'' Gordon not only knew ed with him. (Neff's angling wed as referencing and continuing n's initiatives were continued by whose landmark A Book of Trout atterns based on his in-stream studies of the aquatic insect life found in the Catskill rivers. Gingrich Gingrich states that Jennings "stands in the same relationship to American angling as Ronalds does to British; each of them was, if not the first to think of serving as a link between angling and entomology, at least the first to approach the role properly, and do it right."15 It therefore seems most appropriate that Neff has included actual flies tied by Jennings in the container for Francis's Catskill Rivers. In addition to its willingness to take the dry fly, the brown trout_ unlike the brook trout—has proven remarkably adaptive to divers types of water. Browns are now found in the freestone streams of the Catskills (Figure 8), the limestoners of South Central Pennsylvania (Figures 6 & 7) and the spring creeks of the West (Figures 8 & 9). Vincent Marinaro bi the Ring of the Rise (Figure 7) provides a useful synopsis of the differences among these waters. The typical freestone stream originates in elevated terrain when surface water from rain or melting snow trickles downhill and merges with other rivulets to form brooks, streams, and finally rivers. Water flow is extremely varied, with the greatest volume occurring most often during the spring of the year. During the summer, the flow declines, and the water tempera­ ture tends to increase. With their rocky bottoms, scoured free of silt and vegetation by spring floods and winter ice jams, freestoners are generallj’ much less fertile than limestoners. Limestoners, on the other hand, are meadow streams, flowing through areas once covered by vast, primordial seas. Unlike the freestoners, whose rocks tend to be inorganic, the limestone streams originate in bedrock composed of the skeletal remains of the microorganisms that once inhabited the longgone oceans. Being both porous and easily dissolved by chemical action, limestone makes an ideal aquifer, and the modem limestoner springs from these ancient underground reservoirs of water. It is significant that the flow from these underground sources is relatively constant, in terms of both volume and temperature, which means that the limestoner does not undergo the cyclical variations of the freestoner. Perhaps even more important, these alkaline waters, rich in calcium carbonate, support a wide variety of aquatic life. Since these streams are less subject to the cleansing effects of flooding, silt remains on their bottoms to provide anchorage for watercress and other aquatic plants, which in turn add essential oxygen to the water and host whole colonies of tiny snails and bugs—the basic building blocks of the food chain. (Western spring creeks, for the most part, are comparable to the limestoners.) From an ecological standpoint, this means that more and bigger trout are likely to be found in fertile waters (although big fish are also found in large freestone waters because there is a sufficient volume, if not density, of food). Each type of stream has different conditions; and American anglers and angling authors have studied their own home waters closely. For example, fish that live in fast-moving broken water such as rapids or riffles, must decide quickly and impulsively whether to grab a passing morsel before it is swept downstream. The famous, gin-clear, slowmoving streams of Central Pennsylvania, on the other hand, produce wary trout who carefully inspect each offering for any sign of artifici­ ality (color, size, silhouette, or drag). Their selectivity has prompted numerous studies including Vincent Marinaro's In the Ring of the Rise (1976), which interprets the rise patterns of trout as a key to under­ standing their feeding habits (Figure 7). Earlier, Marinaro's studies of the Letort and other limestoners resulted in A Modern Dry Fly Code (1950). Although this work argued for the importance of terrestrials in the diet of these trout and included innovative dressings for flies based on these conclusions, Neff has chosen to represent the Ephemeralla dorothea, known to anglers as the sulpher dun, on the cover (Figure 7). Neff's homage to Marinaro includes flies tied by the master, slides, an audio cassette, and letters—all housed in boxes along with his seminal books. Marinaro's influence is felt in Angling in Hibernia. When Neff first went to Ireland in 1964, and on his return in 1966, he applied Marinaro's experimental approach to the streams of Eire and developed new designs for flies with which to imitate the full range of Irish aquatic insects (Figure 47). Memories of Ireland appear in the abstract land­ scapes of mountains, meadows, rivers, and lakes that adorn both covers of The Angler's Calendar (Figure 14). More literally, we are transported back three decades by the objects preserved in a Cornelllike life box: Mucilin, the old-reliable, pre-silicon floatant; a Hardv Lightweight reel on a simple two-ring reel seat from a cane rod; a The Piscatorial Bindings ofS. .4. Neff, Jr. • 15 �finger vise, small hackle pliers, scissors, hooks, and silk for tying flies streamside; a small glass to identify insects; photographs and pam­ phlets; an amadou for drying flies; a spool of leader material; and a combination scale and measuring tape that promises, like some Baroque allegory, the triumph of truth over falsehood (Figure 49). In Neff's time, trout fishing with the fly has undergone dramatic changes. Once mostly the sport of an elite, often Anglophile, group of men—for whom fly' fishing was an emblem of class—who fished with silk, gut, and Tonkin cane, the sport has gradually found more and more adherents. In the 1940s, after World War II, nylon leaders re­ placed gut, which required soaking prior to use. Next, modern float­ ing lines banished silk, with its confusing designations and high maintenance (C. F. Orvis invented the ventilated reel in the late nineteenth century to facilitate the drying of silk lines [Figure 40, lower center]). Finally, fiberglass at first, and now graphite rods have triumphed over hand-made, split-bamboo wands (except in the eyes of a small band of dedicated partisans). With technological advances, increased environmental awareness, and a wealth of new angling titles, fly fishing has rebounded from its nadir in the early 1950s when it appeared that spin-fishing, a postwar French import that exploited the properties of newly available nylon, would relegate it to history. Yet along with its democratization, many of the sport's traditions have been lost, or are of little interest, to its new adherents. One need only listen to an old-time fly tier talk of water-bird, forest-bird, and other feathers; water-shedding muskrat-beaver-seal furs, or hair from the woodland deer, the meadow hare, the wily fox to understand a great, interconnected cycle that comes together in the flash of a rise or the underwater wink, in Skues's immortal image, of the trout. Today, artificial materials increasingly predominate. Neff's entire endeavor is an homage to tradition and values, craft and sport; it is a studied, but natural, anachronism. In both his bind­ ings and his angling, he stresses continuity and innovation (Figures 26 & 28). He does not disdain his own time, but he moves slowly and reflectively before embracing change. His moral compass does not swing freely with the relativism of the postmodern age but remains 16 • The Collector as Bookbinder fixed. He traverses an ordered landscape where precedent and learn­ ing are the major features. In the face of the cheap, the arriviste, the tawdry, and mass culture, he flaunts his love of the handmade, the beautiful, the unique, and, of course, the trout. Like the cloistered scribes who kept alive great books during the centuries after the fall of Rome, Neff is at heart a preservationist. He is the keeper of the tan­ gible remains of friendship—the letters—for which he constructs elaborate, modern reliquaries or treasuries. Like a carefully considered garden, fly fishing is a magnificent obsession in which civilization and art elevate and transform the mundane into a conceit. It is not a simulacrum; there is really nothing else like it. NOTES 1. Quoted in Charles Jardine, The Classic Guide to Fly-Fishing for Trout (New York: Random House, 1991): 10. 2. John McDonald, The Origins of Angling, 1963 (reprinted New York: Lyons & Burford, 1997): 6. 3. Margaret Bottrall, Introduction in Izaak Walton, The Compleat Angler, 5th ed. 1676 (reprinted London: Dent, Everyman's Library, 1906,1970): viii. 4. Quoted in Bottrall, Introduction, p. v. 5. Izaak Walton, The Compleat Angler, 5th ed. 1676 (reprinted London: Dent, Everyman's Library, 1906,1970): 132. 6. Walton, Cornpleat Angler, p. 137. 7. Ibid., p. 117. 8. Ibid. According to McDonald, the first mention of the reel occurs in Thomas Barker's The Art of Angling (1651) (Origins, p. 23). 9. Quoted in Arnold Gingrich, The Fishing in Print: A Guided Tour Throng': Five Centuries of Angling Literature (New York: Winchester Press, 1974): 60 10. Ibid., p. 73. 11. McDonald, Origins, p. 106. 12. Austin Francis, Catskill Rivers: Birthplace of American Fly Fishing, HN (reprinted New York: Lyons & Burford, 1996): 22. 13. Walton, Compleat Angler, p. 8. 14. Francis, Catskill Rivers, p. 41. 15. Gingrich, Fishing in Print, p. 277. GLOSSARY Adhesives Poly vinyl acetate (PVA) is a flexible glue romi adhering cloth and paper to binder s board Wheat st for adhering leather to binder's board or to leather. Ascona tool A small brass tool with a wooden handle u« templates for blind-tooling Basswood A soft, finely grained wood that is easily rant Binder's board An extremely dense paper board (availab nesses) used for cover boards and boxes. Binding (full) 1 he entire book cover is of goatskin or oth Binding (half) 1 he spine and part of the sides and either edge are covered with goatskin; the remainder is covi decorated paper. Binding (quarter) The spine and part of the sides are cov the remainder is covered with cloth or decorated pap Bound, case A binding technique used primarily lor clotl block is sewn on linen tapes and the cover is made se and last sheets (papers or pages) of the text block are cover bv gluing or pasting. Bound by hand A technique used primarily for leather b block is sewn on linen tapes or cords which are then 1 binder’s board to form an integral unit and then cove Bristol board A stiff acid-free paper made m sec eral thicl tooling templates, bases for raised on-lays, and other Chemise folder A folder made with Bristol board and co Doublure Usually a decorative panel on the inside of the either paper or leather. Drop-back box A container made for storing rare or fraci strutted of cloth or leather over binder’s board Edge T he top edge is the top of the text block: the fore-ed of the text block. A deckle-edge is an uneven edge usi handmade paper; it may be left uncut or trimmed. Tri be treated with graphite or gold leaf and polished. End bands Hand embroidered silk bands or goat-4 in bar ends of the spine of the text block. End papers The first and last few leaves (pages; of the te1 mav be plain, colored, or decorated. �i landscape where precedent and leamthe face of the cheap, the arriviste, the flaunts his love of the handmade, the course, tire trout. Like the cloistered ooks during the centuries after the fall of -vationist. He is the keeper of the tanhe letters—for which he constructs or treasuries. Like a carefully considered icent obsession in which civilization and mundane into a conceit. It is not a thing else like it. The Classic Guide to Fly-Fishing for Trout ): 10. s of Angling, 1963 (reprinted New Y'ork: don in Izaak Walton, The Coinpleat Angler, lent, Everyman's Library', 1906, 1970): viii. :tion, p. v. Angler, 5th ed. 1676 (reprinted London: 970): 132. 137. Id, the first mention of the reel occurs in ig (1651) (Origins, p. 23). The Fishing in Print: A Guided Tour Through (New York: Winchester Press, 1974): 60. rs: Birthplace of American Fly Fishing, 1983 rford, 1996): 22. 3. 277. GLOSSARY Adhesives Polyvinyl acetate (PVA) is a flexible glue commonly used for adhering cloth and paper to binder's board. Wheat starch paste is used for adhering leather to binder's board or to leather. Ascona tool A small brass tool with a wooden handle used with stiff paper templates for blind-tooling. Basswood A soft, finely grained wood that is easily carved. Binder's board An extremely dense paper board (available in six thick­ nesses) used for cover boards and boxes. Binding (full) The entire book cover is of goatskin or other material. Binding (half) The spine and part of the sides and either the corners or foreedge are covered with goatskin; the remainder is covered with cloth or decorated paper. Binding (quarter) The spine and part of the sides are covered with goatskin; the remainder is covered with cloth or decorated paper. Bound, case A binding technique used primarily for cloth covers. The text block is sewn on linen tapes and the cover is made separately. The first and last sheets (papers or pages) of the text block are attached to the cover by gluing or pasting. Bound by hand A technique used primarily for leather bindings. The text block is sewn on linen tapes or cords which are then laced into the binder's board to form an integral unit and then covered with goatskin. Bristol board A stiff acid-free paper made in several thicknesses; used for tooling templates, bases for raised on-lays, and other applications. Chemise folder A folder made with Bristol board and covered with cloth. Doublure Usually' a decorative panel on the inside of the cover; it can be either paper or leather. Drop-back box A container made for storing rare or fragile books; con­ structed of cloth or leather over binder's board. Edge The top edge is the top of the text block; the fore-edge is the front edge of the text block. A deckle-edge is an uneven edge usually found on handmade paper; it may' be left uncut or trimmed. Trimmed edges may be treated with graphite or gold leaf and polished. End bands Hand embroidered silk bands or goatskin bands attached to the ends of the spine of the text block. End papers The first and last few leaves (pages) of the text; the first and last may be plain, colored, or decorated. Goatskin Chagrin—a hand-finished fine grain leather processed in France using South African goatskin; Chieftain—an even, large grain leather processed in Scotland using goatskin from Botswana; Oasis—medium grain leather processed in England using Nigerian goatskin. Goatskin, in-lays Shapes of goatskin pasted into position on the binding where their corresponding shapes have been removed (so the in-lays are flush with the surface of the binding); linear in-lays are very thin strips of goatskin adhered into blind tooled lines. Goatskin, flat on-lays Thinly pared shapes of goatskin pasted onto the binding. Goatskin, raised on-lays Thinly pared goatskin glued onto shapes of fourply' Bristol board, turned-in, and glued onto the binding. Italian cloth A finely woven book cloth with a paper backing. Japanese dyed paper A paper made in Japan using dyed fibers; available in a multiplicity' of colors. Japanese gilt paper A very thin paper with hand-laminated gold-colored foil; also known as Tea chest paper. Marbled paper Paper that has been colored or stained by hand with variegated patterns to resemble marble. Panel design A vertical design of rectangles and borders reminiscent of binding designs commonly used in the seventeenth and eighteenth centuries. Polished graphite A gray metallic covering applied to the edges of the text block and brought to a high sheen bv hand polishing. Stamping A method of impressing an image into goatskin using a press that will heat a die to the necessary temperature; this plain impression is known as blind-stamping; when gold foil is used (a second time) to create an impression, it is known as gilt-stamping. Stamping die A metal block with a design (in relief) used for creating a blind or gilt impression in goatskin or other materials. Text-block All the leaves (pages) sewn on linen tapes or cords. Tooling A method of impressing a small image or line into goatskin using a hand tool or wheel; the plain image is known as blind-tooling; when gold foil or leaf is used, it is known as gilt-tooling. Tooling templates Shapes cut from Bristol board (to the binder's design) are used as guides with the Ascona tool. Vellum, calf Calf-skin treated with lime to produce a strong, cream-colored material for bindings. 17 �1 S. A. Neff, Jr., et al. A Book of Small Flies. Arlington, Vermont, 1983. Created in 1986. Two drop-back boxes containing a unique four-volume set; in full calf vellum with panels of marbled paper and raised bands; gilt-stamped Oasis goatskin on-lays and spine label. k 21.6 x 16.5 cm. 2 Each box contains two volumes; uniformly case-bound in full calf vellum with panels of marbled paper and raised bands; gilt-stamped onlays and spine labels. Vols. I and III are sewn on Oasis covered vellum strips; silk endbands and marbled endpapers. Contents: Vol. I: text; Vol. II: actual flies; Vol. Ill: color photographs; Vol. IV: feathers and furs for dressing small flies. 7.5 x 6 cm. (each volume) R �i 1 2 �3 S. A. Neff, Jr., et al. A Book of Small Flies. Arlington, Vermont, 1983. Created in 1986. A drop-back box containing No. 54 of the original edition of 60 numbered two-voiume sets; in full calf vellum with a panel design of raised vellum, marbled paper, piscatorial devices and spine label gilt-stamped on Oasis goatskin. 26.9/18.4 cm. 4 Box opened to show the original two-volume set bound by Gray Parrot for the publisher and portraits of the four authors. Also contains a vellum back cloth chemise with the manuscript for Mr. Neff's essay, the publisher's correspondence and announcement, and associated items. ��5 Vincent C. Marinaro. f I A Modem Dry-Fly Code. New York, 1950. II Hies, Letters and Photographs. Sewickley, Pennsylvania, 1973. III "A Limestone Challenge." Sewickley, Pennsylvania, 1973. Created in 1988-89. Three drop-back boxes in Italian cloth with marbled paper panels and giltstamped paper spine labels. Box I contains the 1st and 2nd issues of the 1950 edition of the Code. Box II contains a drop-back box with five flies dressed by .Mr. .Marinaro and a portrait; two chemise folders containing an unbound suite of photographs of the author; and five of his letters. Box III is on': of a set of two, each of which contains a tray of 35 mm. slides and an audio cassette documentary on Marinaro; it functions horizontally and is contained in a cloth slip-case. I: 24.1 z 16 8 cm.; II: 30.1 x 24 cm.; Ill: 26.8 z 28.5 cm. ��7 t 6 Vincent C. Marinaro. A Modern Dry-Fly Code. New York, 1970 (new edition), and In the Ring of the Rise. New York, 1976. Created in 1989. A drop-back box containing two volumes; with Italian cloth back and edges; panels of Japanese dyed and gilt papers and gilt-stamped paper spine labels. 30 / 24 cm. 7 Both volumes are case-bound with Italian cloth back and edges with panels of Japanese dyed and gilt papers, gilt-stamped paper spine labels, silk endbands and color endpapers. The panels on the box portray the Cumberland Valley in Pennsylvania; the Code shows the Letort Spring Kun and a mayfly; th<- Ring reveals a feeding brown trout in that stream. Code: 21.5 / 13.8 cm.; Ring: 28 x 21.2 cm. �•iSk>3^CMK_4. -, H I L if r/ . r ^: �8 S. A. Neff, Jr. Essay from The Masters on the Nymph. New York, 1979. Created in 1989-90. A drop-back box containing three volumes; with green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers and giltstamped goatskin spine label. The back panel portrays a Catskill river, and the front panel a Western limestone creek. 28.2x19.7 cm. �8 �f 9 Vol. I: Text. Green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers, gilt-stamped goatskin spine label, silk endbands and color endpapers. The panels show a brown trout in a Western limestone creek. 25.9 x 17.3 cm. t 10 Vol. Ill: Manuscript and Photographs. Green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers, gilt-stamped goatskin spine label. Contains a cloth chemise with typed manuscript, photographs, and publisher's correspon­ dence. The panels reveal nymphs on the bottom of a Catskill river and a Western limestone creek. 25.9 x 17.3 cm. �9 10 �11 Vol. IF. Flies and Materials. Green Chieftain goatskin back and edges with panels of Japanese dyed and gilt papers, gilt-stamped goatskin spine label. Contains a cloth folder. The panels depict a rainbow trout in a Catskill river. 25.9x 17.3 cm. 12 Vol. Il: Cloth folder. Actual trout flies; furs, feathers and hooks, mounted on printed plates. �11 12 > * * -b4 < - �13 Catalogue of the Library of Thomas Westwood, Esq. New York, 1873, and Charles M. Wetzel. American Fishing Books. Stone Harbor, New Jersey, 1990. Both bound in 1990. Left: bound in full dark red Chieftain goatskin with horizontal raised goat­ skin on-lavs of two shades, and gold leather; pictorial paper in-lay, giltstamped goatskin spine label, leather endbands and marbled endpapers. 24x17.8 cm. Right bound in full dark red Chieftain goatskin with raised horizontal bars, gilt-stamped facsimile of author's signature, gilt-stamped goatskin spine label, leather endbands and marbled endpapers. 25.1 x 18.4 cm. 14 Hi Regan. The Angler's Calendar. London, 1896, and Izaak Walton and Charles Cotton. The Complete Angler. London, 1836. Both bound in 1991. Left bound in full green Oasis goatskin with on-lays of various goatskins, blind tooling, gilt-stamped goatskin spine label, leather endbands and marbled endpapers. Panels contain shapes symbolizing Ireland's moun­ tains, meadows, rivers, and lakes. 24.6 z 18 cm. Right: bound in full dark green Chieftain goatskin with flat and raised on­ lays of various goatskins, blind tooling, gilt-stamped goatskin spine label silk endbands and marbled endpapers. The IWCC cypher was devised bv Charles Cotton in 1674. 17.5x10.5 cm. ��f 15 Austin M. Francis. Catskill Rivers: Birthplace of American Fly Fishing. New York, 1983. Created in 1991. A drop-back box in full dark green Chieftain goatskin with panel of Japanese dyed and gilt papers and gilt-stamped goatskin raised on-lay spine label. The panel depicts the trout of the Catskill rivers: the brook trout (leaping downward) declined near the end of the nineteenth century, to be replaced by the brown trout imported from Europe (moving upward). 40 x 24.5 cm. 16 Bound in full dark green Chieftain goatskin with title in raised on-lays of the same leather; three on-lays of various blue goatskins, pictorial doublures, leather endbands and color endpapers. The three flowing shapes symbolize the major Catskill rivers. 28.5 z 21.5 cm. ��I J 17 Front doublure portraying the upper Beaverkill River and a caddis th panel of Japanese dyed and gilt papers, goatskin edges and hinge. 18 Back doublure showing the East Branch of the Delaware Rix er and a mayfly; panel of Japanese dyed and gilt papers, goatskin edges and hinge. ��19 Charles Bowlker. The Art of Angling. Birmingham, 1792, and Ludlow, 1826. Created in 1992. A drop-back box containing two volumes; in full brown Chieftain goatskin with blind tooling, goatskin on-lays and gilt-stamped goatskin spine label. 19.2 x 13 cm. 20 Uniformly bound in full brown Chieftain goatskin with blind tooling, goatskin on-lays, gilt-stamped goatskin spine label, silk endbands and marbled endpapers. The pattern is a twentieth-centurv version of an eighteenth-century panel design. 17.1 X 10.8 cm. ��21 Anonymous. The Gentleman Angler. London, 1726; 3rd. ed., n.d.; 1786. Created in 1992. A drop-back box containing three volumes; in full dark red Chagrin goatskin with blind tooling, goatskin on-lays and gilt-stamped goatskin spine label. 18.5x12.2 cm. 22 Bound uniformly in dark red Chagrin goatskin with blind tooling, goatskin on-lays, gilt-stamped goatskin spine labels, leather endbands and marbled endpapers. The pattern is a twentieth-century version of an eighteenth-century panel design. 1:16.2 x 9.5 cm. 2:16.4 x 9.6 cm. 3:15 x8.8 cm. ��24 f 23 Rodolphe L. Coigney. Izaak Walton: A New Bibliography 1653-1987. New York, 1989. Created in 1992. A center-opening box containing an inner box with two volumes; in full dark green Chieftain goatskin with cypher of raised on-lays of various goatskins. The IWCC cypher has appeared in numerous editions of The Complete Angler beginning with the 5th edition in 1676. 28.2 x 20.3 x 9.5 cm. 24 Outer box open to reveal triptych of Japanese dyed and gilt papers with goatskin edges and hinges. The center panel is the cover of tire inner box. The panels portray Charles Cotton's Fishing House on the River Dove, built in 1674. ��25 Volumes I and II: uniformly bound in full red hand-finished goatskin with blind tooling, flat goatskin on-lays, raised goatskin on-lays with giltstamped piscatorial images, gilt-stamped goatskin spine labels, pictorial doublures. Vol. I contains the text; leather endbands with multiple color on-lays and color endpapers. Vol. II contains a chemise with Mr. Neff's color photographs of the River Dove and the Fishing House. 26.1 x 17.2 cm. 26 Front doublure of Vol. I: Japanese dyed and gilt papers, leather edges and hinge. The panel depicts a seventeenth-century angler on an English river. 27 Back doublure of Vol. I: Japanese dyed and gilt papers, leather edges and hinge. The panel shows a seventeenth-century angler catching a fish. 28 Front doublure of Vol. II: Japanese dyed and gilt papers, leather edges and hinge, a cloth chemise is attached to the inside of the back cover. A twentieth-century angler replaces the seventeenth-century angler on the same river. ��► 29 Rev. Joseph Adams. Angling in Ireland. London, 1938. (A unique copy.) Created in 1993. A drop-back box in full green Chieftain goatskin with blind tooling and gilt-stamped title. 23.7x15.8 cm. 30 Bound in full green Chieftain goatskin with goatskin on-lays, gilt tooling on covers, spine and top and bottom edges, leather endbands and color endpapers. The blind-tooled design of a flowing river on the box intro­ duces the more developed decoration on the binding. 21.8 x 13.7 cm. ��31 Robert Huish. The Improved British Angler. Derby, 1838. Created in 1990; decorated in 1994. Bound in full gray-blue Oasis goatskin with goatskin in-lays, gilt tooling, gilt-stamped devices and goatskin spine label, silk endbands and marbled endpapers. Contained in a cloth chemise with a goatskin back and a quarter goatskin slip-case, with gilt-stamped goatskin spine labels. This is a r.ventieth-century interpretation of an eighteenth-century panel design. 5bp-ca~e: 14.4 x 11.5 cm.; Chemise: 13.8 x 11.2 cm.; Binding: 13.6 x 10.4 cm. f 32 Izaak Walton and Charles Cotton. The Complete Angler. London, 1797. Created in 1994. A drop-back box in full dark green Chieftain goatskin with linear goatskin in-lays and gilt-stamped goatskin spine label. 20.3 / 13.3 cm. 33 Bound in full dark green Chieftain goatskin with panels of goatskin onlavs. linear goatskin in-lays, gilt tooling, gilt-stamped device and spine label, leather endbands with on-lays, marbled endpapers and polished graphite on top edge. This is a twentieth-century version of a seventeenth­ century panel design. The simple design on the box introduces the developed design on the binding. 18 / 10.4 an. �����I 37 ■i ���41 The Angling Letters ofS. A. Neff, Jr. and J. S. Hewitson. 1965-1999. Sewickley, Pennsylvania, 1997. Created in 1996-97. A uniform set of four drop-back boxes containing letters and photographs from the mid-1960s to the end of the 1990s. 1960s Box: Full dark red Chagrin goatskin with a twentieth-century panel design of concentric circles of linear goatskin in-lays, a raised goatskin onlay on each cover with linear goatskin in-lay circles and a gilt-stamped device, and gilt-stamped raised goatskin on-lay spine label. Contains two cloth chemise folders: one with letters written during the decade and the other with photographs by Mr. Neff that illustrate an angling experience. The gilt-stamped device depicting a mayfly nymph becomes a metaphor for the relationship between the two anglers. 30.7 z 24 cm. 42 1970s Box: The gilt device becomes a mayfly dun as the relationship develops. 30.7x24 cm. ■ ��- )•> 43 1980s Box: The gilt device becomes a mayfly spinner as the anglers mature. 30.7 z 24 cm. 44 1990s Box: The gilt device remains a mayfly spinner. 30.7 z 24 cm. ��45 S. A. Neff, Jr. Angling in Hibernia. Sewickley, Pennsylvania, 1998. Created in 1998. A uniform set of five volumes; in full brown Chieftain goatskin with a Celtic device blind-tooled on each cover, gilt-tooled dots, pictorial doublures with panels of Japanese dyed and gilt papers, on front and back of Vol. I and front only on other volumes. I Vol. I; Text. Vol. II: Contains a cloth chemise with 30 photographs taken by the author. Vol. Ill: Fold-out container with 158 Irish flies devised and dressed by the author. Vol. IV: Fold-out container with the author's fly patterns and the feathers, furs and hooks for dressing Irish flies. Vol. V: Life-box containing the author's Irish angling memorabilia. A pull-out drawer contains Irish angling pamphlets and correspondence. �■ \ J 45 I 1 § I' k F » s ! I !• 11 5’ i i - § ili co 3 co 3- S’ t a i S’ :i’ I'I ■ ■ �46 Vol. Ill: Irish trout flies. 30.8 x 21 cm. 47 Vol. Ill: Panel of Japanese dyed and gilt papers and fold-out container with 158 Irish trout flies. The panel depicts an Irish brown trout about to rise to the author's Green Drake fly. �46 47 1 -» »» - A _ �■ 48 Vol. V: Memento hominem. 30.8 x 21 cm. 49 Vol. V: Panel of Japanese dyed and gilt papers and life box with angling memorabilia and tools. The panel depicts an Irish brown trout in the landing net. �48 49 Wir ‘^Sv: fci �a ACKNOWLEDGMENTS S. A. NEFF, JR. Resides: Sewickley, Pennsylvania EXHIBITIONS 1986 80 Years Later [Guild of Book Workers' 80th Anniversary Exhibition] (juried), Center for the Book, University of Iowa Museum of Art, Iowa City, Iowa; Detroit Public Library, Detroit, Michigan; MIT Museum, Cambridge, Massachusetts; Institute for the Book Arts, University of Alabama, Tuscaloosa, Alabama; Folger Shakespeare >r.' f\ ■ Massachusetts 1993 Exhibition of Design for Communications (invitational). West Virginia Library, Washington, D. C. University, Morgantown, W'est Virginia 1988 Bound To Learn: An Invitational Exhibit of the Book Arts, West Virginia University, Morgantown, West Virginia 1992-1993 Fine Printers Finely Bound Too [Guild of Book Workers' 86th Anniversary Exhibition] (juried), Explore Print!, San Francisco, California; Scripps College, Claremont, California; Dallas Public Library, Dallas, Texas; Minnesota Center for the Book Arts, Minneapolis, Minnesota; The University of Michigan Library, Ann Arbor. Michigan; Newberry Library, Chicago, Illinois; Swarthmore College, Swarthmore, Pennsylvania 1989 ,'L ■ 1992 10th Anniversary Exhibition of the New England Chapter of the Guild of of Our National I k-ritage, 1Lexington, Book Workers (juried), Museum c. Members' Exhibition, Guild of Book Workers, New England Chapter, Museum of Art, Rhode Island School of Design, Providence, Rhode Island ic? II.' ■ 1990 The Collector As Bookbinder: The Piscatorial Bindings ofS. A. Neff, Jr., Fine & Rare Book Room, Hunt Library, Carnegie Mellon University, Pittsburgh, Pennsylvania 1990-1991 Contemporary American Bookbinding; An Exhibition Organized by the Grolier Club at the Invitation of Les Amis de la Reliure Originate (juried), Bibliotheque de TArsenal, Paris, France; Bibliotheca Wittockiana, Brussels, Belgium; The Grolier Club, New York, New York 66 ARTICLES Robert H. Boyle. "Design: A Tier Who Binds in the Angling World," Sports Illustrated (January' 1991). The bookbinder wi-h> to express he. gratitude te hi her support and patience: to Philip R. Bishup for 1>: . tion of the catalogue manuscript and ter his w ise un friends Tom Alden, Elisabeth R. Agro, Robert!! Boy 1.. F. Boker Doyle, Richard A. I uller, Stanley I Grand, ai Elisabeth Agro wishes to thank Tracy Mvers for a i her essay. The Sordoni Ail < ..tilery thanks the artist tor mati possible. In addition, the Gallery wishes to thank Su enthusiasm; 1 lisabeth Agro lor her insightful rs iv. (. hristopher N. Brei eth's and Robert J. Fleaman’s e<; on my essay. Nancy L. Krueger bus provided invalu. all aspects of the exhibition. Finally we thank the following individuals and in will be hosting the exhibition: Nancy Kelley, Coordh rary Exhibits, New York State Museum: James E. Kii Cleveland Museum of Natural History. ( raig Morri American Museum of Natural History; David Peril i Roche ,ter Institute of Tec hnology, Can. Collection: C Director, and Sean Sonderson, Curator, The America Fishing. �ACKNOWLEDGMENTS liter of the Guild of Iritage, Lexington, il). West Virginia 86th Anniversary difomia; Scripps \ Dallas, Texas; innesota; The i; Newberry Library, Pennsylvania The bookbinder wishes to express his gratitude to his wife, Sue, for her support and patience; to Philip R. Bishop for his critical examina­ tion of the catalogue manuscript and for his wise counsel; and to his friends Tom Alden, Elisabeth R. Agro, Robert H. Boyle, Jeff Cornelia, L. F. Boker Doyle, Richard A. Fuller, Stanley I Grand, and Linda Tonetti. Elisabeth Agro wishes to thank Tracy Myers for a critical reading of her essay. The Sordoni Art Gallery thanks the artist for making this exhibition possible. In addition, the Gallery wishes to thank Sue Neff for her enthusiasm; Elisabeth Agro for her insightful essay. I appreciate Christopher N. Breiseth's and Robert J. Heaman's editorial comments on my essay. Nancy L. Krueger has provided invaluable assistance on all aspects of the exhibition. Finallj' we thank the following individuals and institutions who will be hosting the exhibition: Nancy Kelley, Coordinator of Tempo­ rary Exhibits, New York State Museum; James E. King, Director, Cleveland Museum of Natural History; Craig Morris, Dean of Science, American Museum of Natural History; David Pankow, Curator, Rochester Institute of Technology, Cary Collection; Gary Tanner, Director, and Sean Sonderson, Curator, The American Museum of Fly Fishing. —SIG Angling World/' 67 �ADVISORY COMMISSION Bonnie C. Bedford, Ph.D. Freddie Bittenbender Christopher N. Breiseth, Ph.D. Marion M. Conyngham Virginia C. Davis, Chair Stanley I Grand, Ph.D. Robert J. Fleaman, Ph.D. Marv Jane Henry Keith A. Hunter, Esq. J. Michael Lennon, Ph.D. Melanie Maslow Lumia Theo Lumia Kenneth Marquis Hank O'Neal Arnold Rifkin Charles A. Shaffer, Esq. Susan Adams Shoemaker, Esq. William Shull Helen Farr Sloan Andrew J. Sordoni, III Sanford B. Stemlieb, M.D. Mindi Thalenfeld Thomas H. van Arsdale Joel Zitofsky EXHIBITION UNDERWRITERS Friends of the Sordoni Art Gallery M & T Bank Maslow Lumia Bartorillo Advertising Mellon Bank Pennsylvania Council on the Arts The Piscatoribus Press The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, III Wilkes University SPONSORS The Business Council CBI-Creative Business Interiors Mr. and Mrs. David C. Hall Marquis Art and Frame PNC Bank, NA Panzitta Enterprises, Inc. STAFF Stanley I Grand, Ph.D., Director Nancy L. Krueger, Coordinator Earl W. Lehman, Preparator 4.. 68 Gallery Attendants Deidre Blake Marcy Fritz Jon Geller Jill Klicka Allison McGarvey �«IBE. ? i �ill S � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1999 The Collector as Bookbinder: The Piscatorial Bindings of S.A. Neff, Jr. Subject The topic of the resource Exhibition programs Creator An entity primarily responsible for making the resource S.A. Neff Jr. Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1999 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/b1e4525250ab0ce13153d517adead8d3.pdf e8e3ea6832da561c69f79e020726b5db PDF Text Text �AN EXHIBITION OF PAINTINGS BY THE EIGHT robert hcnri arthur b. davies william glackens ernest lavvson georgeluks maurice prendergast E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA everelt shinn john sloan MARCH 9 — APRIL 1, 1979 WILKES COLLEGE SORDONI ART GALLERY 1 �ACKNOWLEDGEMENTS Mr. J. Philip Richards, Director of the Sordoni Gallery, who lent invaluable aid in the selection process; The Advisory Commission of the Wilkes College Sordoni Art Gallery makes grateful acknowledgment to the follow­ ing lenders and to those who through their interest, generos­ ity, and cooperation have so greatly enhanced the success of this exhibition: Mrs. Cara Berryman, Exhibitions Coordinator of the Sor­ doni Gallery, who expertly handled the many logistical prob­ lems involved in an undertaking so wide in scope; Dr. William Sterling, Chairman of the Wilkes College Art Department, for his exacting work in this catalogue; BUCKNELL UNIVERSITY, (George M. Jenks, Director) Mr. Robert S. Capin, President of Wilkes College, whose cooperation knew no bounds; LEHIGH UNIVERSITY, (Ricardo Viera, Director of Exhibitions and Collection) - Dr. Thomas Kelly, Dean of External Affairs of Wilkes College, whose liason work smoothed all problems; PENNSYLVANIA ACADEMY OF THE FINE ARTS, (Richard J. Boyle, Director) Mr. George Pawlush, Director of Wilkes College Public Relations, and Mrs. Jane Manganella, Assistant Director, who handled all phases of publicity and public relations; READING PUBLIC MUSEUM & ART GALLERY, (Bruce L. Dietrich, Director) SYRACUSE UNIVERSITY, (Domenic J. lacono, Director) Mrs. Arnold Rifkin, who contributed her intimate knowl­ edge of The Eight, and assisted in much needed gallery con­ tacts; VASSAR COLLEGE, (Peter Morrin, Director) THE WESTMORELAND COUNTY MUSEUM OF ART, (Paul A. Chew, Director) Mrs. Esther Davidowitz, for her invaluable suggestions in promoting this retrospect. MUSEUM OF ART, PENNSYLVANIA STATE UNIVERSITY, (William Hull, Director) And to all members of the Sordoni Art Gallery Advisory Commission without whose aid and support this presenta­ tion might not have been made possible. COE-KERR GALLERY INC. BERRY HILL GALLERIES We sincerely wish that all visitors who are destined to view this show, might share the same excitement, we who gathered it experienced during the past twelve months. KRAUSHAAR GALLERIES HIRSCHL & ADLER GALLERIES INC. Several private area collectors who for personal reasons chose to remain anonymous. ALBERT MARGOLIES Chairman, Advisory Commission The exhibition of works by the Ash Can School — the carefully selected product of the Immortal Eight, could not have been mounted to engage our intelligence; to exhilarate our feelings; to stimulate our sensual experience, without the dedicated assistance of the following: Sordoni Art Gallery Wilkes College Wilkes-Barre, Pennsylvania 2 SIGNIFICANCE OF THE EIGI Just about a lifetime ago, on February 3,1903 ant exhibition of paintings opened in New YorJ Gallery. It was to be among a handful of landr which, over the next few years, would arouse A out of its complacency and into the mainstream o century modernism. The exhibition consisted o eight American artists who were operating eithei or barely within the artistic establishment of the ert Henri, John Sloan, William Glackens, George rett Shinn, Maurice Prendergast, Ernest Lawson, B. Davies. Two years later, Henri and Sloan helped to o other landmark show, the Exhibition of Indepenc in direct competition with the annual display by t Academy of Design, that august bastion of ai conservatism. In 1913, another member of the Ei B. Davies, became a prime mover of the renowr Show which brought together, for the first time hundreds of works by the leading avant-gard Europe and the United States. Today's spectator would perceive striking sty ences between the 1908 and 1913 events. The A highlighted such radical groups as the Cubists a ves, while the exhibition of The Eight offered w< ly representational character, with an occasion; into Impressionism. Europe's progressive front on from Impressionism some twenty years earl: Matisse's Fauvism was officially three years old, was on the verge of Cubism. The pace of artis ment in America clearly lagged behind that of sweeping changes were not to be made ovem 1850s and 1860s the French realist painters C Manet had turned their backs on the accepted < romantic traditions of the French Academy, and �ip Richards, Director of the Sordoni Gallery, luable aid in the selection process; Jerryman, Exhibitions Coordinator of the Sorvho expertly handled the many logistical prob­ in an undertaking so wide in scope; Sterling, Chairman of the Wilkes College Art or his exacting work in this catalogue; S. Capin, President of Wilkes College, whose lew no bounds; ; Kelly, Dean of External Affairs of Wilkes : liason work smoothed all problems ; Pawlush, Director of Wilkes College Public I Mrs. Jane Manganella, Assistant Director, II phases of publicity and public relations ; 1 Rifkin, who contributed her intimate knowl|ght, and assisted in much needed gallerv conDavidowitz, for her invaluable suggestions in ; retrospect. lembers of the Sordoni Art Gallen- Advisory-ithout whose aid and support this presentahave been made possible. y wish that all visitors who are destined to v, might share the same excitement, we who erienced during the past twelve months. 1GOLIES nsory Commission alienPennsylvania SIGNIFICANCE OF THE EIGHT a path for fresh thinking that ultimately drew along it the Impressionists, the Post-Impressionists, and every radical movement of the early twentieth century. Just about a lifetime ago, on February 3,1908, an import­ ant exhibition of paintings opened in New York's Macbeth Gallery. It was to be among a handful of landmark events which, over the next few years, would arouse American art out of its complacency and into the mainstream of twentieth­ century modernism. The exhibition consisted of works by eight American artists who were operating either outside of, or barely within the artistic establishment of the time: Rob­ ert Henri, John Sloan, William Glackens, George Luks, Eve­ rett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. In America, The Eight performed a similar, if somewhat belated function. They were spoilers who championed artis­ tic freedom in a society which had held tenaciously and rev­ erently to the academic line. They were not the first non-con­ formists; men such as Thomas Eakins, Winslow Homer, and Albert Ryder had successfully gone their own way, but they had not crystallized widespread rebellion; Mary Cassatt and Whistler had created more radical styles in their time, but only as expatriates little known or appreciated in their native land. The Eight, on the other hand, set off the first explosion to seriously undermine the power structure of the academic establishment in America. Two years later, Henri and Sloan helped to organize an­ other landmark show, the Exhibition of Independent Artists, in direct competition with the annual display by the National Academy of Design, that august bastion of authoritarian conservatism. In 1913, another member of the Eight, Arthur B. Davies, became a prime mover of the renowned Armory Show which brought together, for the first time in America, hundreds of works by the leading avant-garde artists of Europe and the United States. The show was precipitated when the National Academy refused to accept works by Sloan and Glackens for their 1907 exhibition. Henri, a member of the Academy jury, could not prevail upon his colleagues, and in fact, found his own work luke-warmly accepted. Therefore, he determined to organ­ ize an independent exhibition which would show work of the more liberal artists. The show of The Eight, as a con­ troversial event, was very well attended, and received as much favorable as hostile criticism. All in all, and with $4,000.00 in sales, it was a success. Today's spectator would perceive striking stylistic differ­ ences between the 1908 and 1913 events. The Armory show highlighted such radical groups as the Cubists and the Fauves, while the exhibition of The Eight offered work of solid­ ly representational character, with an occasional excursion into Impressionism. Europe's progressive front had moved on from Impressionism some twenty years earlier. By 1908, Matisse's Fauvism was officially three years old, and Picasso was on the verge of Cubism. The pace of artistic develop­ ment in America clearly lagged behind that of Europe, and sweeping changes were not to be made overnight. In the 1850s and 1860s the French realist painters Courbet and Manet had turned their backs on the accepted classical and The painters of the Eight did not constitute a homogene­ ous group, and they never exhibited all together again. Lawson and Prendergast were strongly influenced by Impres­ sionism, though in quite different ways, and Davies was a Fantacist, loosely related to the French Symbolists. Only Henri, Sloan, Shinn, Luks, and Glackens formed a long­ standing and fairly closeknit group. These five shared a style of briskly painted realism, similar to Manet's, as well as a passion for ordinary subjects unsentimentally presented, particularly ones drawn from their own urban surroundings (hence their later designation "The Ash Can School"). romantic traditions of the French Academy, and had broken 3 �them squarely in a late nineteenth-century aesthetic. It was as if they had reinvented the wheel, and historians whose primary criterion for achievement was innovation had diffi­ culty looking at work which was "out of date." Robert Henri, the eldest of these five, had been their in­ spirational mentor and supporter back in their Philadelphia days, when he was teaching at the Pennsylvania Academy and they were working as newspaper artists. With their journalistic backgrounds, Glackens, Luks, Shinn, and Sloan responded naturally to Henri's spontaneous realism. These men had not deliberately set out to break new artistic ground, and certainly they don't look very radical today. Indeed, they revered such old masters as Hals, Velasquez, and Goya, who mated candor with powerfully graphic styles. Henri and his Philadelphia friends sought to reveal twen­ tieth-century life with the same candor and visual pungency. The other three members of The Eight were more involved with poetic transformations of the natural world, but all eight were ill-treated by an art establishment which still fa­ vored romantic idylls, classical pastiches, and vignettes of drawing room morality. Several things have happened in the last decade which may be changing this approach. For one thing, as we recede farther from the birth of modernism in Paris, the significance of its initial moments no longer overshadows so completely the importance of the hours of assimilation which followed, especially within the context of the cultural differences which existed between Europe and America. A somewhat analogous situation would be the adoption of Caravaggio's style by younger painters, such as Velasquez, in the seven­ teenth century. The intrinsic power and beauty of Velasquez' early work are not belittled because it resembles Caravag­ gio's. There has also been a widespread return to various forms of naturalism in contemporary art, which places the center of vanguard taste somewhat closer to The Eight than it has been for quite a few decades. At the same time, American scholars (and not just the chauvinistic ones) have begun to outgrow their inferiority complex, vis-a-vis Europe, when it comes to any discussion of American art before our own rev­ olutionary period of the forties and fifties. More than ever before, American art of the past is being looked at on its own terms and for its inherent strength. As historical cata­ lysts, The Eight have always been recognized; as artists in their own right, they may now receive a fresh appraisal. The historical position of The Eight is usually fixed in terms of the group's catalytic role in bringing about an im­ portant change in America's artistic values. By promoting liberalized exhibition opportunities for less conventional art­ ists, they opened the door for a much broader exchange of ideas and tastes. It might not be reaching too far to assign another significance to these painters, particularly the AshCan contingent. Their brash, bravura, paint-loving techni­ que and their sensitivity to the vital presence of the Ameri­ can urban environment place them closer to the Abstract Expressionism of the fifties than we might initially suppose. In a spiritual sense, The Eight were the forerunners of the New York School which erupted on the international scene after World War II. It is the purpose of this exhibition to reveal The Eight on both these levels. As we experience them together again, we can perhaps more easily imagine their impact in IPOS.* At the same time, we can look at them with an open mind, in the solace of another day. Yet, except for Prendergast, whose style approached a Fauve-like abstractness and therefore seemed more modem, The Eight have rarely enjoyed the limelight in twentieth­ century criticism. Modernist scholars were not inclined to look beyond the fact that these painters resembled Manet and his generation more than anyone else, which placed * The present show, while representing al! the artists of The Eight, does not include those pictures which were in the original exhibition (with one exception). Many oi these works are later, and show something of the various directions the artists leek during their careers. 4 SELECTED BIBLIC ARTHUR B. DAVIES, 1862-1928. Introduction by H. K. Prior. V Institute, Utica, New York, 1962. BERRY-HILL, H & S. Ernest La~.cn pressionist. Leigh-on-Sea, Englar BREUNING, M. Maurice Prendergi BROWN, M. W. American Paintin to the Depression. Princeton, 195 CARY, E. L. George Luks. New Yor DU BOIS, G. P. Ernest Lawson. Nev DU BOIS, G. P. John Sloan. New Yi DU BOIS, C. P. William J. Glacken: THE EIGHT (Exhibition Catalogu Art, Brooklyn, 1944. FINK, L. M. and J. C. TAYLOR Aca Tradition in American Art. Wash GALLATIN, A. E. John Sloan. New �th-century aesthetic. It -was ■heel, and historians whose it was innovation had diffi"outof date." J in the last decade which For one thing, as we recede sm in Paris, the significance overshadows so completely ssimilation which followed, >f the cultural differences and America. A somewhat e adoption of Caravaggio's as Velasquez, in the sevener and beauty of Velasquez' tuse it resembles Caravag- ;ad return to various forms rt, which places the center er to The Eight than it has t the same time, American nistic ones) have begun to ;, vis-a-vis Europe, when it can art before our own revind fifties. More than ever t is being looked at on its Irength. As historical cata:n recognized; as artists in eive a fresh appraisal. tion to reveal The Eight on ce them together again, we their impact in 1908.* At em with an open mind, in SELECTED BIBLIOGRAPHY GLACKENS, I. William Glackens Er the Ashcan Croup: The Emergence of Realism in American Art. New York, 1957. ARTHUR B. DAVIES, 1862-1928. (Exhibition Catalogue). Introduction by H. K. Prior. Munson-Williams-Proctor Institute, Utica, New York, 1962. GOODRICH, L. John Sloan, 1871-1951. New York, 1952. HENRI, R. The Art Spirit. Philadelphia, 1923. BERRY-HILL, H. & S. Ernest Lawson, N.A.; American Im­ pressionist. Leigh-on-Sea, England, 1968. HOMER, W. I. Robert Henri & His Circle. Ithaca, 1969. BREUNING, M. Maurice Prendergast. New York, 1931. HUNTER, S. "The Eight-Insurgent Realists," Art in Amer­ ica XLIV. (Fall, 1956), 20-22,56-58. BROIVN, M. W. American Painting from the Armory Show to the Depression. Princeton, 1955. THE LIFE & TIMES OF JOHN SLOAN (Exhibition Cata­ logue). Introduction by H. F, Sloan & B. St. John. Dela­ ware Art Center, Wilmington, 1961. CARY, E. L. George Luks. New York, 1931. PERLMAN, BENNARD The Immortal Eight. New York, 1962. DU BOIS, G. P. Ernest Lawson. New York, 1932. DU BOIS, G. P. John Sloan. New Y'ork, 1931. PHILLIPS, D., ET AL. Arthur B. Davies: Essays on the Man and His Art. Cambridge, Massachusetts. 1924. DU BOIS, G. P. William J. Glackens. New York, 1931. 1HE EIGHT ■ Exhibition Catalogue), Brooklyn Museum of RHYS, H. H. Maurice Prendergast. Cambridge, Massachusettes. 1924. Art, Brooklyn, 1944. SCOTT, D. & J. BULLARD John Sloan. Washington, 1971. FINK, L. M. and J. C. TAYLOR Academy: The Academic Tradition in American Art. Washington, D. C., 1975. YOUNG, M. 5. The Eight: The Realist Revolt in American Painting. New York, 1973. GALLATIN, A. E. John Sloan. New York, 1925. I artists cf The Eight, does not include Bbiticn (Hith ere c*rcf*Ucr,} Man> ot Bthe various directions the artists took 5 �Show and several other important exhibitions of the Lime. ROBERT HENRI I Henri's success as a painter was matched by that as a teacher, and his students included such major figures George Bellows, Edward Hopper, and Man Ray. In terms of local interest, it may be noted that during the summer of 1902, Henri painted-landscapes at Black Walnut, Pennsyl­ vania, northwest of Wilkes-Barre, at the home of his wife's parents. "Picnic at Meshoppen," in the present exhibition dates from this visit. In 1907-08, Henri again travelled to Wilkes-Barre, to paint portraits of Mr. & Mrs. George Cot­ ton Smith and Miss Edith Reynolds. (1865-1929 Born in Cincinnati, Ohio) Henri was the doyen of the Philadelphia, or Ash Can, con­ tingent of The Eight. Having lived most of his adolescence in the middle and far west, Henri displayed something of the audacity and rugged individualism typically associated with the American frontier. His father, a land speculator, had killed a man in self-defense in Nebraska, but before his name was cleared, he had changed it and had fled to New Jersey. His son, Robert Henry Cozad, thus became Robert Henri (Hen'-rye). Henri studied at the Pennsylvania Academy under Thomas Anshutz, one of Thomas Eakins' foremost students. His natural inclinations for candor and realism flowed easily into the Eakins tradition. Henri's ambition to excel as an artist carried him to Paris in 1888 for several years of study at the Academe Julien, during which time he was temporar­ ily 'attracted to academic painters, such as his teacher Bougereau. His attempts at acceptance into the prestigious Ecole des Beaux-Arts met with failure until 1891, Gradually, he gravitated toward the loosely-painted realism of Manet, as well as to old masters such as Velasquez and Hals. "Cafe at Night, Paris" oil 32 x 25%" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 2. "Rue de Rennes" oil 25% x 32" On loan from Vassar College Art Callery, Poughkeepsie, New York. Back in Philadelphia, Henri's charisma drew a large and faithful following to the weekly open-houses at his studio, where art, literature, philosophy and politics were discussed along with regular forays into madcap fun and frivolity. Henri, Sloan, Glackens, Shinn and Luks cemented their ties there. 4. "Picnic at Meshoppen, Pennsylvania, July 4, la02" oil 26 x 32" On loan from The Westmoreland County Museum of Art. Greensburg, Pennsylvania. After a well-reviewed one-man show at the Pennsylvania Academy in 1897, selection into three Paris salons, and the purchase of one of his paintings by the French government, Henri's place in the art establishment was well-secured. From that position, he fought to liberalize the establishment, particularly with regard to exhibition opportunities for young and progressive artists. He was chief instigator of the exhibition of The Eight and also had a hand in the Armory 5. "Dutch Fisherman" oil 24 x 20" On loan from The Westmoreland County Museum of Art, Greensburg, Pennsylvania. 6 Bridgie Beg' oil 20 x 24" On loan from a private collection. �■ important exhibitions of the time, painter was matched by that as a its included such major figures as I Hopper, and Man Ray. In terms of . noted that during the summer of dscapes at Black Walnut, Pennsylkes-Barre, at the home of his wife's hoppen," in the present exhibition 1907-08, Henri again travelled to ortraits of Mr. & Mrs. George Cot1 Reynolds. J iversify, Department of Exhibitions m, Pennsylvania. '.allege Art Gallery, Poughkeepsie, mnsylvania, July 4,1902" moreland County Museum of Art, ia. moreland County Museum of Art, ia. 3. "Bridgie Beg" oil 20 x 24" On loan from a private collection. 7 �WILLIAM ARTHUR B. DAVIES (1870-l°38 Bom m Phi (1862-1928 Born in Utica, New York) o Davies was not one of the Ash-Can painters, and at first glance it would seem unlikely that he could have had much in common with them. But like them, he sought to free art from the grip of the Academy. With a talent for organiza­ tion and a perspicacious eye, he was largely responsible for putting together the Armory Show in 1913. ft j Davies initially studied landscape painting, then attended the Chicago Academy of Design, and briefly considered a career as a draftsman. He went to New York to further his studies in painting and in 1893 was off to Europe. His dreamy landscapes, often inspired by myths and poems, put him into the orbit of late Romantic and Symbolist artists such as Bocklin, Puvis de Chevannes, and Odilon Redon. I J 7. "Seven Nudes" oil 11 x 213/4" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. After the Armory Show, Davies began to experiment with Cubism, and also turned more and more to printmaking. His Cubist work put him irrevocably into the mainstream of twentieth-century art, and along with Prendergast, made him the most apparently modem of the painters of The Eight after World War I. 6. "Silvered Heights" oil 18 x 40" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 9. "Lane with Trees and Fence" watercolor 4Vz x 7" ' On loan from Lehigh University. Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 8. "Bam Swallow" watercolor 7 x 5V2" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania, 10. "Cows Out to Pasture" watercolor 4Vs x 6Vs" On loan from Lehigh University, Department of Exhibition? and Collection, Bethlehem. Pennsylvania. 8 Glackens had little formalj a natural facility and a prod: naturally suited to the artist/ est in serious painting soon newspaper colleagues, to He with whom he came to share France for a year before settli a taste for Manet, the Impress Impressionists. In 1898, Glackens risked li War for McClure's Magazin but mainly from the vantage heard about the day’s events Manet, Glackens’ later work ful vein, similar to Renoir's I Saco at Conway," for examp scenes to nudes, landscapes, Albert Barnes. Glackens wr procuring many of the maste and post-impressionist pain important Barnes Foundation vania. 11. "Nude Dressing Hair’ oil 30 x 25" On loan from Lehigh Univen and Collection, Bethlehem, P 13. Mixed Bouquet, White Vast oil 16 x 14" On loan from the Kraiishaar ( �WILLIAM GLACKENS (1870-1938 Bom in Philadelphia, Pennsylvania) Glackens had little formal art training, but was gifted with a natural facility and a prodigeous visual memory’. He was naturally suited to the artist/reporter profession. His inter­ est in serious painting soon led him, via his Philadelphia newspaper colleagues, to Henri, who encouraged him and with whom he came to share a studio. Glackens travelled to France for a year before settling in New York, and developed a taste for Manet, the Impressionists, and several of the PostImpressionists. In 1898, Glackens risked life and limb to cover the Cuban War for McClure’s Magazine. (Luks also covered the War, but mainly from the vantage point of tl^e taverns, where he heard about the day's events.) Early under the influence of Manet, Glackens' later work followed a lighter, more color­ ful vein, similar to Renoir's Impressionism (as seen in "The Saco at Conway," for example). He also turned from urban scenes to nudes, landscapes, and still-lifes. A friend of Dr. Albert Barnes, Glackens was instrumental in selecting and procuring many of the masterpieces of French impressionist and post-impressionist painting which now comprise the important Barnes Foundation Collection in Merion, Pennsyl­ vania. y, Department of Exhibitions nsylvania. [./, Department of Exhibitions Insylvania. I/, Department of Exhibitions fisylvania. ____lXS.1 12. "The Saco at Conway" oil 25 x 30" On loan from the Kraushaar Galleries, New York. II. "Nude Dressing Hair" oil 30 x 25" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 14. "Nude with Black Stockings" oil 16J/2 x 13" On loan from a private collection. 13. "Mixed Bouquet, White Vase" oil 16 x 14" On loan from the Kraushaar Galleries, New York. 15. "Flowers in a Pitcher" oil 24 x 18" On loan from the Berry Hill Galleries, New York. 9 ( �a. i.. ,• j. - ERNEST LAWSON j 7-.^ . (1873-1939 Born in Nova Scotia, Canada) *■- •T Lawson was the only member of the group who was pri­ marily a landscapist. During his lifetime, he travelled widely, beginning with a stint as a draftsman in Mexico, where his father was engaged in an engineering project. He later moved to New York, and studied under the American impression­ ists Twachtman and Weir. ■ -'Vh7,. "A ' - -J"/ - -a" - —— In Paris, he came under the influence of European Impres­ sionism as a friend of Sisley. Later trips took him to Spain, Nova Scotia, and west and midwest of the United States, and finally to Florida, where he died. Today, however, we associate Lawson mostly with the up­ per reaches of Manhattan and the Harlem River, where he was living at the time of the Exhibition. More than any other painter, he preserved, with poetic substantiality, the charac­ ter of those places. Working with the palette knife, he ma­ nipulated his scumbled impastos into a surface of "crushed jewels," as one critic described it. And though he is typically thought of as an impressionist, Lawson shared with the Symbolists a belief that color should be used to evoke partic­ ular emotions rather than merely depict natural facts. 16. "High Bridge-Winter" oil 19 x 24" On loan from The Reading Public Museum and .Art Gallery, Reading, Pennsylvania. 17. "Spring" 19. "The Blue Hill" oil ■16 x 197a" On loan from Vassar College Art Callcry. Poughkeepsie, New York. oil 25 x 30" On loan from the Syracuse University Art Collections, Syra­ cuse, New York. 18. "The Everglades" oil 30 x 40" On loan from Vassar College Art Gallery, Poughkeepsie, New York. 20. "The Lock" oil 177a x 3174" On loan from The Westmoreland County Museum of -Art, Greensburg, Pennsylvania. 10 GEORGE 1 (1867-1933 Bern William; Luks, the son of a cuitured phys a free spirit and a mocker of Vi went to Philadelphia in 1833, appa ville performer. He briefly attende emy, and then spent several years met his fellow Ash-Can painters ir Philadelphia Press, where thev r staff of the New York World, lie t ing comic strip, "The Yellow Kid." ly involved in painting, he devi Henri's with dark tonalities and fondness for seventeenth-century dent in this work. Luks, only ha that Frans Hals was incarnate witl came lighter, more colorful, often ; With his irrepressible theatrical was the group's clown prince, gi1 instigating barroom brawls. But h ly honest. On his impulsive and claimed, "I can paint with a shoe lard .,. Guts! Guts! Life! that's mt 22. "Portrait of a Man" oil 3072 x 2574 " On loan from The Westmorelanc Greensburg, Pennsylvania. 23. "Beggar Woman" oil 20 x 16" On loan from a private collection. �GEORGE LUKS ('iScv-lP-'-’ Born in Williamsport, Pennsylvania) I I I I I I I I I Luks, the son of a cultured physician, was from the outset a free spirit and a mocker of Victorian respectability. He went to Philadelphia in 18S3, apparently to become a vaudeville performer. He briefly attended the Pennsylvania Academy, and then spent several years traveling in Europe. Luks met his fellow Ash-Can painters in the art department of the Philadelphia Press, where they regularly met. Joining the staff of the -Veto York World, he took over the first continuing comic strip, "The Yellow Kid." As he became increasingly involved in painting, he developed a style similar to Henri's with dark tonalities and broad brushstrokes. His fondness for seventeenth-century Dutch painting was evi­ dent in this work. Luks, only half-jokingly, used to claim I that Frans Hals was incarnate within him. His later work be| came lighter, more colorful, often garish. Bridge-Winter" ■24" from The ■ng, Pennsylvania. useur: and Art Gallery, 21. "Boy with Bowl" oil 30 x 25" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. With his irrepressible theatrical flair and brashness, Luks I was the group's clown prince, given to practical jokes and I instigating barroom brawls. But his painting was unfailing| ly honest. On his impulsive and brutally realistic style, he claimed, "I can paint with a shoestring dipped in pitch and lard... Guts! Guts! Life! that's my technique." Blue Hill" 22. "Portrait of a Man" 24. "Old Timer" oil 3074 x 25" On loan from the Hirschl and Adler Galleries Inc., Neto York. I oil 1972" ’an from ’. assar College Art Gal’er-j, Poughkeepsie, York. Lock'­ t317i" an from The Westmoreland County Museum of Art, sburg, Pennsylvania. 30% x 25*4" I Or. loan from The Westmoreland County Museum of Art, I Greensburg, Pennsylvania. 23. "Beggar Woman" 25. "Little Tommy" oil 23 x 177a " On loan from the Coe-Kerr Callery Inc., Neto York. oil 20 x 16" On loan from a private collection. ll �■ ■■--■w. . ?: :-y:x ■ ■ ' EVERETT SHINN Ct (1876-7953 Born in Idstown. New Jersey) MAURICE PRENDERGAST (1859-1924 Born in Newfoundland, Canada) Prendergast, although the eldest of The Eight, was the most avant-garde in style. He came to serious painting graduauj, _____ o ' t as a show-card painter in Boston. ually, out Three having years instarted Paris (1892-95) were spent absorbing the lat­ est developments in art created by the Impressionists, the Neo-Impressionists, the Symbolists, and the Nabis, Despite the fact that he was a provincial painter in his middle thir­ ties, Prendergast gravitated easily to this radical current. By 1900 he had developed a personal style reminiscent of Pierre Bonnard's. Both men shared a love for the festive promenades and graceful landscapes of urban parks. The dancing rhythms of Prendergast's bright patchworked color exuded an air of bourgeois elegance. Perhaps more than any other American painter of the first decade of the twentieth century, Prendergast approached the lyrical color explora­ tions of Matisse. His abstractness, lack of "finish," and lav­ ish color caused his work to be the most strongly attacked by the critics of The Eight, but this was no deterrant to a mature and independent spirit. Later on, he experimented with a somewhat pointillist technique of painting, partly de­ rived from Paul Signac. From beginning to end, Prendergast remained an individualist who charted his own artistic course. "Marblehead Rocks," in the present show, was in the original exhibition of The Eight. Everett Shinn, the youiue.t of The Eight, had the mt varied career. In addition to painting and illustration. Shit at one time or another, teas involved in set design, moti picture art direction and playwriting. i % i 27. , „ "Marblehead Rocks watercolor 14 x 10" On loan from a private collection. Shinn met the other Philadelphia painters at the Penns vania Academy, which he attended while working as an lustrator for the Philadelphia Press Ilis ambition, upon i grating to New York City, was to establish himself ai fashionable illustrator for the better magazines and public ing houses. His pastel of the Metropolitan Opera House a snowstorm, rendered overnight to meet the deadline landing a job with Harper's Weekly, helped to launch h toward the fulfillment of his ambition. Unlike the other A‘ Can painters, Shinn gravitated to the fashionable sections town rather than the humbler ones. Art, University Park, Pennsylvania. His interest in the theater was stirred by his trip to Pr in 1901, and the* pictures he showed with The Eight indue stage scenes. Partly because of this interest, he was parti larly drawn to the art of Degas. He also shared with Dei a love for pastel as a medium, two examples of which app in the present show. 29. "Cresent Beach" oil 10% x 13/16" On loan from Bucknell University, Ellen Clarke Bertrand Li- : 31. "Strong Man, Clown and Dancer" oil 10 x 8" On loan from the Pennsylvania Academy of the Fine A 28. "Bathers in a Cove" oil 20 27% from " On Xloan Pennsylvania State University, Museum 26. "La Rouge: Portrait of Miss Edith King" oil 28/z x 31/2" On loan from Lehigh University, Department of Exhibitions brary, Lewisburg, Pennsylvania. Philadelphia, Pennsylvania. 30. "Paris Omnibus" oil 10/4 x 13%6" On loan from Bucknell University, Ellen Clarke Bertrand Li- ' 32. "Clown" oil 9 x 7>/z" On loan from Vassar College Art Callery, Poughkeep brary, Lewisburg, Pennsylvania. and Collection, Bethlehem, Pennsylvania. 12 of New York. �EVERETT SHINN " ■ -if-i--j-. -d r-,- 'ection. (1876-1953 Born in Woodstown, New Jersey) Everett Shinn, the youngest of The Eight, had the most varied career. In addition to painting and illustration, Shinn, at one time or another, was involved in set design, motion picture art direction and play writing. Shinn met the other Philadelphia painters at the Pennsyl­ vania Academy, which he attended while working as an il­ lustrator for the Philadelphia Press. His ambition, upon mi­ grating to New York City, was to establish himself as a fashionable illustrator for the better magazines and publish­ ing houses. His pastel of the Metropolitan Opera House in a snowstorm, rendered overnight to meet the deadline for landing a job with Harper's Weekly, helped to launch him toward the fulfillment of his ambition. Unlike the other AshCan painters, Shinn gravitated to the fashionable sections of town rather than the humbler ones. tia State University, Museum of isylvania. His interest in the theater was stirred by his trip to Paris in 1901, and the pictures he showed with The Eight included stage scenes. Partly because of this interest, he was particu­ larly drawn to the art of Degas. He also shared with Degas a love for pastel as a medium, two examples of which appear in the present show. iversity, Ellen Clarke Bertrand Livania. 31. "Strong Man, Clown and Dancer" oil 10 x 8" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. liversity, Ellen Clarke Bertrand LiIvania. 32. "Clown" oil 9 x 71/2" On loan from Vassar College Art Gallery, Poughkeepsie, New York. 34. "Snowstorm, Washington Square" pastel 25 Vz x 19V2" On loan from a private collection. 33. "The Green Ballet, 1943" oil 19% x 30" On loan from The Westmoreland County Museum of Art, Greensburg, Pennsylvania. 35. "Startled Nude" pastel 15 x 14V1" On loan from a private collection. 13 �37. "Horace Traubel" JOHN SLOAN (1871-1951 Born in Lock Haven, Pennsylvania) oil 32 x 26" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. Sloan was the "slow starter" of the Ash-Can group, ut one of its most durable successes. He continued to work as an artist/reporter for Philadelphia newspapers long after his journalist colleagues in The Eight had turned to painting. He was the last of them to move to New York, and the only one never to go to Europe. For a long time he received little attention as a painter, and sold his first painting only after 38. "Self Portrait" oil 24 x 20" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. he was past forty. His manner of painting was also slower than that of his Philadelphia friends. He had less facility with the quick study than men such as Luks and Glackens, and during his newspaper career concentrated on illustrations for the Sun­ day sections rather than attempting on-the-spot recordings of fast-breaking news. On the other hand his work took on an increasing structural solidity, and he gained early recogni­ tion as an illustrator with his art-nouveau drawings and his etchings for novels. 39. "Gloucester Harbor" oil 26 x 32" On loan from Syracuse University Art Collections, Syracuse, New York. When he began his career as a serious painter in New York, Sloan turned to the realities of the urban environment for inspiration. So candid and forceful was his work that several paintings submitted to an exhibition in 1906 were rejected for their "vulgarity." Sloan's deep attachment to the humbler elements of urban society aroused more than artistic interest in them, and he ran for the State Assembly in 1908 on the Socialist ticket, but was defeated. In 1912 he became art editor for the socialist magazine, The Masses. His social consciousness continued to influence his painting and illustration for several years, but after World War I, he turned more fully to formal problems, such as the study of the nude. Like his own mentor, Henri, Sloan became an in­ fluential teacher, whose students included such later mas­ ters as Alexander Calder, Adolph Gottlieb, Barnett New­ man, and Reginald Marsh. 40. "Dolly Reading" oil 20 x 24" On loan from a private collection. 36. "Balancing Rock, Gloucester Harbor" oil 26Vz x 32 Vz" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 14 �idemy of the Fine Arts, ademy of the Fine Arts, ,rt Collections, Syracuse, Ir" Department of Exhibitions Ifoania. �Director J. PHILIP RICHARDS Coordinator CARA BERRYMAN Advisory Commission MR. ROBERT CAPIN MRS. STANLEY DAVIES MRS. CHARLES EPSTEIN MR. RICHARD FULLER DR. THOMAS KELLY MRS. ALLAN KLUGER MR. MICHAEL KOLESAR mrs. john McDonald MR. ALBERT MARGOLIES MR. ANDREW SORDONI, III DR. WILLIAM STERLING WILKES COLLEGE SORDONI ART GALLERY WILKES-BARRE, PENNSYLVANIA 18766 16 �llliffl 100D183318 MILKES COLLEGE LIBRARY �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1979 March 9 - April 1 An Exhibition of paintings by The Eight Subject The topic of the resource Exhibition program Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1979 March 9 - April 1 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book