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In This Issue . .
A consideration of contemporary
literature dominates this second
magazine of the school year. Daily
staff member, Marilyn Koral, on
pages three and four considers the
work of the much publicized Ameri-
can' Negro writer, James Baldwin,
whose latest novel "The Fire Next
Time" is currently number one on
the best-seller list. Miss Koral, a
junior majoring in English, covers
national education news on the
Daily, and is a night editor in train-
ing . . . Richard Sheldon, a PhD
candidate in the department of
Slavic languages and literature, has
written an article, page seven, based
on conversation with Lydia Paster-
nak Slater, the sister of Russian
novelist Boris Pasternak. Sheldon,
who reads Russian, also holds a
bachelor's degree in English from
the University of Kansas, and is a
graduate of the Law School here.
Turning from literature to art his-
tory, with emphasis on those
sketches and drawings at the Uni-
versity Museum, Miss Judith Engel
treats the work of the French
painter, Delacroix, on pages five
and six. Delacroix burst upon the
scene at a crucial moment-a turn-
ing point--in French painting. Dela-
croix looked back on classicism, to-
ward impressionism, and modern
painting. Miss Engel, a senior in
the school of Architecture and De-
sign concentrating in painting and
printmaking, has always especially
enjoyed drawing . . . from the
typewriter of a University English
major who spent the summer study-
ing drama in Stratford-up-Avon,
England, comes a new angle on the
news that rocked Britain. Richard
Mercer, who claims he has "recently
converted to anglophilism in spite
of many glaring English faults" and
who has taken to speaking Shakes-
pearean English, considers the Pro-
fumo scandal and the Great Train
Robbery on this page. Mercer is a
Daily staff member covering culture
beat.


MAGAZINE EDITOR:
GLORIA BOWLES


PHOTO CREDITS: James Keson, pages
two, six; Kamalakar Rao, pages four,
ti seven; Robert Ellery, pages three,
four; Associated Press, page three;
The University Museum, page five.
In Ann Arbor ...
MUSIC . . . Today, Wednesday,
September 11, 8:30 p.m., Leonard
Bernstein conducts the New York
Philharmonic in Brahms (Academic
Festival Overture and Symphony
No. 4 in E minor, Opus 98) and
William Schuman (Symphony No.
3), Tuesday, Sept. 24, Gyorgy San-
dor, pianist. Both concerts are in
the Choral Union Series at Hill
Auditorium.
DRAMA AND CINEMA . . . Sep-
tember 12-13, "The Magnificent
Seven," 14-15, "North by North-
west," 19-20, "Testament of Or-
pheus," 21-22, "All Quiet on the
Western Front," 26-27, Les Dia..
boliques, all at the Cinema Guild.
Beginning October 10 and running
for nine weeks through December
15 is the season of the Association
of Professional Artists: "Much Ado
A b o u t Nothing" (Shakespeare);
twinbill with "Scapin" (Moliere)
and "A Phoenix Too Frequent"
(Christopher Fry); "Right You Are
If You Think You Are" (Piran-
dello), and "The Lower Depths"
(Gorky), in that order. The Univer-
sity of Michigan Players Playbill
will premiere Oct. 16-19 with "The'
Miser" (Moliere) to be followed
this semester by "Thieves Carnival"
(Anouilh) and "The Importance of
Being Earnest" (Wilde.)
ART.. . The University Museum:'
An exhibition of the work of Dela-
Croix in the West Gallery, Per-
manent Section, concurrent with
the publication of The Daily Maga-
zine. Coming in October, "pop art"
from the Guggenheim Museum in
New York. Also in Ann Arbor,
original contemporary works at thef
Forsythe Gallery, Nickels Arcade,
and the Artist's Gallery, Washing-
ton Street.a

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By RICHARD MERCER
AS MY SUMMER in England glided to-
wards its conclusion, the English news-
papers were filled daily with news of the
discovery of portions of the loot that had
been stolen in "the great train robbery."
For many people the robbery brought
welcome relief from the seemingly un-
ending repercussions of the Profumo
scandal.
I spent the main portion of the summer
in Stratford-upon-Avon studying Shake-
spearean and Elizabethan drama, yet at
the same time I found myself in a good
position to observe certain political and
personal aspects of the scandal that was
rocking England.
For three weeks before school began in
Stratford, I travelled through the south
of England stopping for short periods in
Salisbury, Portsmouth, Winchester, Brigh-
ton, and Dover. At this time, around the
middle of June, Profumo and Christine
Keeler were still very much in the spot-
light.
Stratford is the birthplace of William
Shakespeare, the home of the Shake-
speare Institute, and the site of the Royal
Shakespeare Theatre as well as the cen-
ter of the constituency that elected John
Profumo to Parliament four consecutive
times.
The town is located some 90 miles
northwest of London, and is in the farm
belt that runs between the industrial
areas of Oxford 40 miles to the south and
Birmingham and Coventry 30 miles or so
to the north.
It is a strange combination of the cos-
mopolitan and the rural-cosmopolitan
because of the waves of tourists that flow
through it every day straining to get in to
see Shakespeare's birthplace, attending
the theatre, and crowding the sidewalks
in the part of the town nearest the Avon,
and rural because Stratford is still one of
the main market towns in the area to
which local farmers bring their produce.
STRATFORD became the focal point of
campaigning in the by-election called
following War Minister Profumo's resig-
nation. Angus Maude, the conservative
candidate, had a real fight on his hands
in what had been a strongly conservative
section of England.
The conservatives had won the pre-
vious parliamentary election in Stratford
by a majority of 14,000 votes. Maude
needed just about all of that majority to
win in light of the Profumo affair.
His two serious opponents, Liberal Der-
ick Mirfin and Labor candidate Andrew
Faulds, agreed to keep any mention of
Profumo out of the campaign. For Maude,
this was a very advantageous agreement.
When campaigning began in earnest
the last 'week in July, Stratford was, in
fact, "fed up" with talk of the Profumo
case; any further mention of the affair
would have only caused useless aggrava-
tion of a wound that everyone wanted to
see heal. Just the same, the political im-
plications of the scandal could not be de-
nied.
THE FEMALE MANAGER of a pub
across the street from my classes told
me that Profumo was quite well liked in
Stratford, and that the slurring of his
name would most probably gain for the
candidate who attacked Profumo more
animosity than votes.
I'm sure also that Mirfin and Faulds
realized that the many English tabloids
would; in effect, do some of their cam-
paigning for them simply by the continual
reiteration of the facts and results of the
Profumo affair.
The press in England deserves a hearty
salute for their super-human efforts and
achievements in never letting down for a
moment on one of the worst scandals in
British history. The cheap newspapers
pulled out all the stops and covered their
front pages every day with massive quan-
tities of large print and on-the-spot pho-
tos.
Maude was also opposed by two other
candidates, one of whom caused consid-
erable blushing among the citizens of
Stratford. British Commonwealth candi-

date Miles Blair declared that, if elected,
he would work for closer ties with the
commonwealth countries and much looser
ones with the rest of the world.

THE REAL ENFANT TERRIBLE, how-
ever, was 22-year-old David "Scream-
ing Lord" Sutch. No. one knew what he
did for a living; the rumors ranged from
rock 'n roll singer to an ex-plumber's as-
sistant. Sutch, running as the National
Teenage candidate, declared himself a
professional ghoul. He immediately quali-
fied the statement, however; his duties as
a ghoul, he said, were confined to the
stage.
On the stage Sutch may or may not
have been effective as a ghoul, but in the
Stratford election he was as grotesque as
one. The sight of Sutch striding along the
Stratford streets clad in top hat and tails
greatly undercut the atmosphere of grav-
ity that surrounded the election. So effec-
tive was Sutch's lampooning of politics
and general carrying on that many peo-
ple actively disliked the man and even the
wife of the mayor made a rather amusing
public denunciation of "Lord David."
Sutch had three platform planks: a
lowering of the voting age in Britain from
21 to 18, the institution of a law requiring
cats to have licenses similar to those need-
ed by dogs, and the construction of an
outdoor swimming pool in Stratford.
When asked his stand on the arms race
and nuclear disarmament, he replied, "I'm
not concerned with it. My main interests
are in the youth of the country, but if you
elect me I'm sure that I'll think about it."
All this caused considerable embarrass-
rnent, though some of the English students
with whom I spoke considered Sutch a
logical extension of the hypocrisy that
caused the whole scandal. Sutch was a
form of poetic justice, and the cynics rev-
elled wherever he was seen. One of Sutch's
campaign posters summarized the hopes
of this group of people fed up with the
whole mess. Their only recourse was to
cynicism and the slogan "Shoot Sutch, or,
by gad, the old boy he'll win!"
Maude won the election though the con-
servative majority of 14,000 votes dropped
to around 3,000 votes. Though the general
voting turnout was smaller, it was clear
that conservative strength had been
shaken. David Sutch received 209 votes.
FROM PUB TO PUB throughout the
south the old regulars had something
more to talk about than the weather, the
test match between England and the West
Indies (that's cricket, of course) and what
was happening at Wimbledon.
I found a great number of people la-
menting the widespread decline of Eng-
lish morals and integrity. Profumo's lie -
in Parliament concerning his relationship
with Miss Keeler seemed to many a sign
of the general corruption that exists in
the ranks of people who should set the
standard of excellence for the country.
Profumo's only statement to the press
said the whole situation had engendered
in him and his wife a feeling of "pro-
found remorse"-a highly ironic declara-
tion. Several Englishmen pointed out to
me that most probably the remorse was
brought on not out of any real sense of
penitence, but because he was caught.
THE DISCOMPASSIONATE bitterness
of this observation may be attributed
to a hangover of British class conscious-
ness but, in any case, most certainly it re-
flects the attitude of an appreciable seg-
ment of the people with whom I spoke.
For some, the scandal was a kind of ex-
planation for England's demise as a
world4-power and the current struggle to
maintain its position in European affairs.
In effect, people could easily say to them-
selves, "It's no wonder that France and
Germany are growing and we aren't when
you come to think that a person like the
war minister is having an affair with a
prostitute and then lies about it in Parlia-
ment."
A more worldly point of view was pre-
sented to me in London, however. A stock
broker with whom I became acquainted
criticized Profumo, not on moral grounds,
but for his stupid handling of the affair.
In the first place, he said, how could a
man of the world like John Profumo have
the nerve to commit himself in a letter
to a prostitute? Profumo did, and look
what's happened, he added. The lie in

Parliament was the last straw, the ulti-
mate faux pas in an incredibly bungled
affair.
The possibility of a security leak caused

by Profumo's association with Miss Keeler
did not bother the broker. As to the ques-
tion of morality, the broker candidlysin-
formed me that "all the best 'people do
it." It was Profumo's indiscretions, the
senseless jeopardy of his own and his
country's reputations that so completely
irked the broker.
AS THE ENGLISH PEOPLE with whom
I spoke vacillated between feelings of
shock, cynicism, and dismay, the scandal
received even greater impetus when
Stephen Ward committed suicide.
Ward, England's incarnation of Pan-
darus, was the organizer of a large sys-
tem of call girls for Englishmen who cared
enough to buy the very best.
Before Ward's death' the newspapers
had been reduced to printing court manu-
scripts which revealed the inner workings
of his organization. Ward's death was a
real shot in the arm for the tabloids as
they kept sales up by attempting to make
him a grotesque kind of hero.
Ward became the symbol of the kind
of aberration that modern society at its
worst has produced. And, as in the case
of Profumo in Stratford, I rarely heard
Ward condemned as an individual. Like
Profumo, he assumed the proportions of a
symbol, an indication of the temper of
the times.
A secondary effect of his suicide was
Christine Keeler's announcement that
Ward's death had caused her to break her
contract to play the lead in a forthcoming
movie of her short but eventful life.
FOR SOME unexplained reason the
Royal family was relatively untouched
by the Profumo scandal and discovery of
the vast scope of Ward's network of vice.
There was one mention of a connection
between Prince Philip and Ward that I
remember hearing over the radio, but due
either to supreme tact or the discovery of
proof showing the connection did not
exist, no more was made of the original
assertion.
Strangely enough, Prince Charles made
the headlines for a very short period be-
cause someone discovered that he had il-
legally purchased some cherry brandy.
This tempest was shortly squelched in its
teapot.
PROFUMO, Ward, Keeler, even Prince
Charles, were all forgotten when, two
weeks before the end of summer school,
an enterprising band of robbers gave the
papers something more to talk about.
"The great train robbery" quickly be-
came the most talked-about event in Bri-
tain. Several people remarked to me, how-
ever, after Profumo, it was a relief to have
an "honest" bit of thievery in the head-
lines at last.
There was a definite air of humor and
relief about the robbery as some of my
English friends capered nimbly about the
summer school in a jesting search for the
stolen money, the robbers, or the "bloody
train itself."
And so the summer ended.

Brings Critical Perspective to His Work

ByRICHARD SHELDON
DR. ZHIVAGO made its appearance in
1957. Boris Pasternak rejected the No-
bel Prize in 1958, and only two years
later, in 1960, he died. The controversies
engendered by the publication of the
novel and Pasternak's refusal of the
much-coveted prize are the source of dis-
tortions as to the meaning of his work.
A number of critics seized upon Dr.
Zhivago as an anti-Soviet tract. Others
dredged its depth for symbols, and still
others have catalogued the affinities be-
tween Pasternak and his literary creation,
Zhivago.
However, bad translations and the lack
of a definitive biography have compound-
ed the difficulties already faced by a lit-
erary critic writing about a Soviet writer.
In the case of Pasternak, critics often
tend to fill the gaps by extrapolating
from his works, but the author's im-
pressionistic, strangely reticent auto-
biographical fragments do not suit this
purpose.
STUDENTS of the summer school ses-
sion at the University had a unique op-
portunity last August with the appear-
ance of the sister of Boris Pasternak. Mrs.
Lydia Pasternak Slater stopped in Ann
Arbor for a speech-and an interview over
dinner. She was en route to Cleveland
for the wedding of her son, and had come
from her residence in Oxford, England.
Mrs. Slater brought the finest tribute
to her brother's memory-perspective.
Knowing Pasternak's life and work well,
she defends his reputation by refuting
the most serious errors printed about him.
In October, 1961, Mrs. Slater wrote to
the "New York Times Book Review Sec-
tion" about errors made both by Robert
Payne, author of The Three Worlds of
Boris Pasternak, and by George Steiner,
who reviewed the book. Even before that
in August, 1959, Encounter'published a
letter in which Mrs. Slater challenged Ed-
mund Wilson's interpretation of Dr. Zhi-
vago. The Wilson article develops the
symbolic approach, which he broached in
a review of the novel published by The
New Yorker in November, 1958.
"In my opinion," wrote Mrs. Slater,
"this symbolism or mysticism, these con-
nections and parallels, if indeed they exist
in Dr. Zhivago, have not been plotted and
planned, but have crept in of their own
accord, as it were, unpremeditated, with
the author hardly conscious of them and
of their implications."
MRS. SLATER spoke in Ann Arbor of
two things: translating her brother's
poetry, and her brother's relations with
their parents.
The translations of Pasternak done by
his sister have been published separately
in booklets, literary magazines and news-
papers. However, Fifty Poems, an anthol-
ogy of Mrs. Slater's translations, will be
released by Unwin Books of London with-
in the next few months. She began her
translation work with "Spring, '44"
achieved in that same year. More than
ten years later, Mrs. Slater translated a
second poem, "In Hospital," contained in
her brother's last collection, When It
Clears. Mrs. Slater corresponded regularly
with her brother during these years, with
most writing limited to postcards.
Occasionally, the sister received a bulky
registered letter containing some of Pas-
ternak's new poems; she noted that "In
Hospital" arrived in just such a letter.
That particular poem affected Mrs. Sla-
ter so strongly that she began at once to
work out a translation. She mailed it to
Pasternak for his reaction. A few days
later a telegram came: "Translation ex-
cellent, at your disposal." "In Hospital"
also exists in an unusual recording, prob-
ably the only one of Pasternak's voice.
Issued in England, the disc was taped by
two Swedish journalists, who visited Pas-
ternak at his dacha in Peredelkino. The
author spoke with the journalists in
French and German, discussed Blok, the
famous Symbolist poet and read the poems
"In Hospital" and "Night."
Before her Ann Arbor audience, Mrs.

Slater read portions of poems like these,
first in Russian, then in _her English
translations. Those translations bear a re-
markable fidelity to the Russian originals,
and reflect Mrs. Slater's belief that the
goal of the translator is, above all, to
keep the sound of the original.
THEANN ARBOR audience watched
Mrs. Slater rummage through a trans-
parent market bag to find notes to con-
tinue her discussion and then heard a
refutation of the apocryphal stories about
misunderstandings between Pasternak
and his parents. She read from Paster-
nak's letters to his parents and said that
she will include in her new book this af-
fectionate note.:
"What a feeling of pride kept over-
powering me as, in all its laconic sim-
plicity, it became clear to me that your
life alone had taken place here, enviably
deserving, honest, real to the last shred of
spirituality marked by talent, success and
happy productivity ... that the greatest
thing I could do afterwards was to pre-
serve on some level, without soiling it, that
good name, which-with a fresher, broad-
er, happier and more significant content
--you left me, complete." (1938.)
THE SISTER of the controversial Rus-
sian writer also read short biographi-
cal sketches of her parents. Here, too, she
brought perspective.
The Ann Arbor gathering heard stories
of the father, Leonid Pasternak, whose
paintings hang in galleries all over the
world. Leonid was, in fact, invited by Tol-
stoy to illustrate his novel Resurrection.
Tolstoy died in 1910 and the painter, ac-
companied by his son Boris, was sum-
moned to make the final sketches of the
man whom he had painted several times
in his lifetime.
It was, indeed, an illustrious family.
Rosa Kaufman Pasternak, the mother of
Lydia and Boris, was a brilliant pianist.
As a child of five, she hid beneath the
piano while her cousin took lessons. Once,
apprehended, she sat down at the piano
and played her cousin's entire repertoire
without a mistake. Mrs. Pasternak gave
her first concert at the age of nine and
from that time went from one overwhelm-
ing success to another.
Remembering her mother's playing,
Mrs. Slater said that she has waited in
vain for a comparable musical experience.
The family of four, however, gradually
forced Mrs. Pasternak to give up her
public appearances. "I often felt that it
would have been better for her and for
lovers of music if we had never been

born," said Mrs. Slater, "but perhaps the
work of Boris justifies her sacrifice."
WITHIN this highly cultured milieu,
the four children grew up: Boris,
Alexander, Josephine and Lydia. Tolstoy,
Anton Rubenstein, Verhaeren, Scriabin
and other famous men of the time visited
their home frequently. Pasternak, in
fact, relates the influence of Scriabin in
the formation and renunciation of his
passion for music in his autobiographical
sketches, Safe Conduct, (1931) and I Re-
member, (1959). But philosophy was to
replace music as the dominant passion in
Pasternak's life. The author-to-be studied
under Herman Cohen at the University
of Marburg, Germany, in 1912. Then, just
as abruptly, he abandoned philosophy and
achieved a synthesis of two interests:
Pasternak commuted both music and
philosophy into lyric verse. From that
time on, lyric verse was the center of his
attention.
Mrs. Slater was, of course, too much
younger than her brother to have known
him as a child. She does remember, how-
ever, that the younger children often
could not sleep for listening to Boris im-
provise on the piano. Mrs. Slater said that
her brother Boris "never really abandoned
music: he merely changed his instru-
ment." Regarding music as the essence of
her brother's poetry, Mrs. Slater espe-
cially strives in her translations to cap-
ture the melody and rhythm of the line.
She was separated from her brother in
1921, when Lydia, her parents and Jose-
phine, left the Soviet Union to secure
medical treatment for Mrs. Pasternak in
Germany. Boris visited them in Berlin in
1923, a year before the birth of his own
son, Eugene. Pasternak married again
in 1931, and another son, Leonid, was
born in 1938. Both Eugene and Leonid
still live in Moscow.
Josephine saw her brother in 1935 but
the parents and Mrs. Slater never saw
Pasternak again after the 1923 visit.
N TRANSLATING and reading Paster-
nak's poems, Mrs. Slater brings to the
English reader the works on which her
brother's fame rested long before the
publication of Dr. Zhivago. She has trans-
lated most of the poems which end the
novel. These poems, some of his best, may
lead the reader back to the earlier ones.
These terminal poems are more widely
read by the English speaking-reader
than any of Pasternak's poetry, but
his poems do span the entire period of So-
viet literature. The first collection, A Twin
in Clouds, appeared in 1914. Metonymy,

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TiE BRITISI SCENE:

The Poetry-

of Pasternak

All The Best People Do It'.

The Sister of the Russian Writer

HAMLET
By Boris Pasternak
The murmurs ebb; on to the stage I enter.
I am trying, standing in the door,
To discover in the distant echoes
What the coming years may hold in store.
The nocturnal darkness with a thousand
Binoculars is focussed on to me.
Take away this cup, 0 Abba, Father,
Everything is possible to thee.
I am fond of this thy stubborn project,
And to play my part I am content.
But another drama is in progress,
And, this once, O let me be exempt.
But the plan of action is determined,
And the end irrevocably sealed.
I am alone; all round me drowns in falsehood;
Life is not a walk across a field.*
--Translated by Lydia Pasternak Slater
Peter Russell, Sussex, Publisher (1958)
*A Russian proverb


.................. XX.

A campaign poster

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Page Two

THE- MICHIGAN DAILY MAGAZINE WEDNESDAY, SEPTEMBER 11, 1963