i Page Two THE MICHIGAN DAILY SUNDAY MAGAZINE April 10, 1,977 April 10, 1977 THE MICHIGAN DAILY SUNDAY MAGAZINE iiotes .. With only one more Sunday left in this school semes- ter, the tabloid magazine bids you a reluctant, but tetn- porary farewell. Due to production constraints beyond our control, we will not be able to come to you in our usual format next weekend. However that does not mean we will disappear altogether. Next Sunday look for a special Magazine issue on the ongoing PBB crisis in the place usually occupied by our Edit and Arts pages. This summer a smaller Saturday Magazine will replace our Sunday supplement. But rest assured, come fall the magazine will return to its current size and position-(sideways)--in the Sunday paper. sunday magazine CO-EDITORS- Susan Ades Elaine Fletcher BOOKS EDITOR- Tom O'Connell ADVERTISING- Don Simpson COVER PHOTO by Alan Bilinsky ' : .. . .. . . .. . .. . .. . . .. ... .. .. . .. . .. . . .. . .. COn1teits: PageTwoTHEMICIGA DAIY SNDA MAAZIE Apil 0, 977Aprl 10 197 TE MCHIAN fAIL SUDAYMAGZIN FEATURES DeHoCo Womren's Prison .3 The New Prison Model. .4 NERUDA'S MEMOIRS: An Inmate Looks At DeHoCo .5 HAPPENINGS. BOOKS ... £3 e a M ! E E M Illiai, OOO / '. sunday mQgczine acrostic iuzzle fI22 K 6~ R 11 u 13 c 1 4 2M. 3H3 K 2Y24 P 25 x 461S47U 48 V 49 1 6ti 'o R. 7 Y 1x 92G 936 94 R 5 6k 26Q 27 T 2 0 2 30 0 1 73 7 1 X 753 J1 47 B6 9 49 L 711 44 A' 951T B 4. F Q 114 ti 1 { 13,; F13 'N 116 117L' 118 T N 140 T 141 I I N 163 K 1645 145 J g 14o 14190 13 L 14 D 15 16K 0 1 4 1 5 P5 3i F3 3 0 3 iv7573637413a11391747 0>7 y 54 141559F 5061931 58 J 5 90 w61 62U63 H64 x 676 2 77 1 78 L 71Q cc 81 B 82S 3 8K &4 U 85 1 86 T a7 X 22 e123 K 124 b 2 1 v12. 2x129 J 130 3 131 22 x 13 145 4 146 147 H 43 4 G>5 '1I Y152 J 153'0 154 B 55 H1 l0 10 F 1i17 Z 17 G o174 K7 N 176 c 177 1 191 E 192 U 193 J 154 195 c 19 B 1T v198 x19 H 200 201z202 20 2 2, 21; 4 42 y 43j Z 45 3 Otq{E1 3 Y Bra L B 111 P 112 J 13 Q a35 i ;_hz7rua5a, a11 +aac: :1977 By STEPHEN POZSGAI T. U2 1 MEMOIRS By PABLO NERUDA Translated by Hardie St. Martin New York: Farrar, Straus, and Giroux. $11.95 By PAUL SHAPIRO PABLO NERUDA, poet, diplo- mat, communist and c one- time presidential candidate of Chile, has left us memoirs that not only detail the richness of his life, but also shed light on many of the most important ar- tists and politicians of the twen- tieth century. In the course of his life he encountered the likes of Lorca, Vallejo, and Picasso; as well as Nehru. Mao, Guevera, ad Allende. Neruda clearly ex- plains the reason for their pre- sence:- "W at the memoir writ- er remembers is not the sarne thing as the poet remembers. He may have lived less, but he pho- tographed much more, and he re-creats for us with special at- tention to detail. Perhaps I did- n't just live in myself, perhaps I lived in the lives of others." Neruda was born in southern Chile in 1904, the son of a rail- iwav man. He discovered poetry at an early age, and with the same heart, mind, and determi- -ation that nroduced some of this century's greatest poetry, he set out to discover the world. And that he did-as consul to Borma, Java, Ceylon. Singa- nore, and Snain; as diplomat in Paris, senator in Chile, and fu- gitive from his own government in remote parts of Latin Ameri- ca. "Pablo is one of the few happy Paid S h a p i r o is a Sunda. MXea aine staff writer 13ody of a uowitan, while hills, white thighs, when your surren'der, you stretch out like the world. My body, savage and peasant, uiindermines you and wakes a son leap in the bottom of the earth. XJiwas as lonely as a Inn ilei. Birds fl(ew from fie. Andt night i tided me wifth her powerful army}. To s 5rviie I fored you like a weapon, like an arrow for my bow, or a stone for my sling. But noi c h hour of cre enge falls, and 1 love you. B~ody of shin, of moss, of fir,=t and thirsty uzilk! And the cubs of ycour / reas/s! Anmid your eyes full of absence! And the roses ofl our r ,ound.. Am1 l our voice slow a',1 sad! BIodly of my wonan, 1 uiill lie onlthroni 'h your "'arielous ness. - y thirst, :,ry desire ihout end, ma ) uywaiterin," road! Dark rivre hes doi n awhich the eternal thirst and the fatigr ii eis Ho a im;, and th rief without shore. -PA\si oNi RLiO:D E 14~ e time of aAM P 15: .2 TGE -L I 166 167 r 5X 189 190 N 1948 NERUDA was driven from his Senate post, and subsequently a warrant was is- sued for his arrest. It is here that the recollections turn into an adventure story, as Neruda details his escape on horseback over the Andes, traveling via false passport to Europe, and on to Russia and China. Wherever he went though, whether in exile or on business, Neruda found good company and good wine. For Neruda was as much a so- cial creature as political, and he always lived both sides of his life with great fervor. Because the memoirs were written in the last decade of his life--between the writing of po- etry, speaking engagements, and congressional addresses -- Neruda tends to ramble at times, zigzagging the boundar- ies of a lifetime full of events. He touches on so many things: his Bohemian student years on the streets of Santiago, senti- ments towards literary critics, political situations spanning the last century, and his strong feel- ing for the people of Chile. Neruda's greatest love though, was for his fellow poets and for the art of poetry. He goes on at length about both, but nowhere is he quite as emotional as when discussing the poetry of Feder- ico Garcia Lorca. "What a poet! I have never seen grace and genious, a winged heart and crystalline waterfall, come to- gether in anyone else as they did in him . . . his monumental command of metaphor seduced me, and everything he wrote at- tracted me." Lorca was assass- inated in 1936, at the outset of the Spanish Civil War. Neruda was removed from his consul post, and he says that these events profoundly changed his poetry. where, r work for defense o ed the fo of anti-F WTITII' fifiE ally bega wide rec ed, and i the Nob- But it wc ruda. w? 1973, jois friend S whom hE campa i Chile)}w co'p d'e his tm" e diately and are Upon hi home w his papa mi litarv. Neruda nemnoirs ing was poetry. I "Poetry reaver, It has to It has to e co' rte the eyes ers in th twiliht starry ni least ore h.-ve to of those will suk of oars ft sand. fro fallen fo the sam take up have ma we be pc 1~a1 &2 o1as' a n as c as A. Pensive; yearning. B. Body of ecclesiastical rulers.... C. Remaining within; inherent............ l). Touching at a single point......... E. Time without beginning or end. F. Intentional exaggeration G. Rapturous; dithyrambic. 11. Intensify; hasten...... M. Fusion; symphysis .. 7 76 95 101 121 129 139 3 21 38 69 89 100 125 118: 172 152 184 4 68 82 98 111 131 155 103 197 23 81 108 117 154 178 190 177 15 168 41 39 62 185 187 1 47 94 143 57 192 169 182 12 - 99 20 30 42 32 56 138 159 6 93 147 150 166 186 174 105 2 11 26 43 107 148 170 189 64 N. Competent; businesslike_.... 0. Author of Black Beauty ....... P. Sudden outpouring. Q. Self-governing; independent........ R. Not at all; noway. S. Bungler; clod......... T. Fill or cram again. U. Visualization ......... 8 75 116 140 126 157 163 176 195 18 29 34 104 196 203 25 55 171 112 60 27 40 58 71 114 323 80 135 146 INSTRUCTIONS Guess the words defined at the left and write them in over their numbered dashes. Then, trans- fer each letter to the corres- pondingly numbered square in the pattern. The filled pattern will contain a quotation reading from left to right with the black squares indicating word end- ings. Meanwhile, the first let- ters of the guessed words will form an acrostic, giving the author's name and title of the work the quote is extracted from. men I have known," said the Russian writer Ilya Ehrenburg. Neruda's Memoirs proves this to be an understatement, as he fills the pages with tales of love, joy, and excitement. Even when he moves off on a self-indulgent tangent, Neruda's prose is mag- nificent. He is a man that lives and understands his language: ". . . You can say anything you want, yessir, but it's the words that sing, they soar and des- cend . . . I bow to them . . . I love them, I cling to them, I run them down, I bite them, I melt them down . . . What a great language I have, it's a fine lan- guage we inherited from the fierce conquistadors . . . Where- ever they went they razed the land ... But words fell like peb bles out of the boots of the bar- barians, out of their beards, hel- mets . . . Luminous words that were left glistening here . .. our language. We came up losers . . We came up winners . . . They carried off the gold and left us the gold . . . The carried off everything and left us every- thing . . . They left us the words." Neruda's Memoirs offers no narrative line, but instead a sweeping portrayal of his poli- tics, love life, relationships with fellow artists, and world travels. He was a man of deep political convictions, and because of this the memoirs of an artist take on great substance. 162 S 74 51 113 167 156 83 54 145 165 16 188 28 8796161 19 141 201 13 22 158 48 63 85 2-- 115 144J 193 136 I. Duplicate; copy. J1. Act of seizing oar grasping...... 72 16 48 119 6181 9 31' 45 59 66 110 130 134 153 V. Be close to or in contact with ... Answer to Last Week's Puzzle Whoever denies the existence 183 of the unconscious is in fact a s s u m i n g that our present 102 knowledge of the p s y c h e is total. And this belief is clearly jutst as false as the assumiption that wve know all there is to be known about the nlatural universe. -Carl G. Ju n g from his .book7?Man and His Symbols." Muchado about John Chee v Falconer, but why so much n 19 W. Tongue; idiom . 3 - X. Vermins; cads. 4 Y. Even-steven; 5 too close to call Z. Adolescents .......... 35 44 K. Ground; basis ., L. Sources; fountainheads 91 180 151 127 49 61 179 36 106 132 70 90 17 52 67 84 97 124 137 164 17. 10 53 79 50 109 14 149 37 46 73 92 122 133 199 24 120 78 191 198 88 33 128 202 77 65 -173 'JT ~ Ar'4'~o~ AT'Vt.MTS ~tc~ wAN~tpE M. / FORD 1L 41EA, 1SAtAPtb N $TAT1Ot Ro\o TAE AJD\7t6R U11 .S? Ctiut".~P4< 4N T V4RJO , A- W tutp - ASASS iN$ Ptx 'vti I ? PAR'DOND I_ FALCONER by John Cheever New York: Alfred A. Knopf 211 pp. $7.95 by TOM O'CONNELL " A GREAT AMERICAN nov- el", proclaimed the cover of Newsweek. The New York Times Book Review ran a front page analysis of the book, along with a rather digressive and pointless interview with its au- thor. Time magazine's reaction was sedate by comparison; in that periodical the work was rel- egated to the position of merely being the subject of the week's feature. review. Apparently. with the publication of Falconer, the media's critics have decided the time has come- to accord John Cheever literary sainthood. Such lavish attention tends to stir suspicion in certain skepti- cal minds. Cheever has long Tom O'Connell is the Sun- day Magaine Books 'ditor. been a well-regarded author; one of his early novels, The Wapshot Chronicle, won him the coveted National Book Award. One would certainly expect him to produce work of quality, but what is there in particular about Falconer that has stirred such an unexpectedly great tumult of praise? The answer may lie in the background and social position of the book's central figure, Ez- ekiel Farragut, rather than in his nature or development. Far- ragut is a Wasp, a college pro- fessor; he is the product of a declining Old New England fam- ily, married to a woman who despises him. He is also a drug addict and a murderer - the no- vel opens with his arrival at a prison (Falconer) in which he is to serve up to ten years for frat- ricide, having killed his brother in the heat of an argument. In- side Falconer Prison Farragut experiences all the pain, loneli- ness and despair of a life in cap- tivity. But eventually, through a homosexual affair with a fel- low prisoner, he experiences the reawakening of love; he is later freed of his heroin addiction, goes through a sort of spiritual rebirth, and finally escapes. It may be that Farragut's past life and status make him a char- acter with whom critics, often of the same background (minus, one would hope, the heroin ha- bit) and often academics as well, can readily understand and identify with. It has been point- ed out that being born white, middle class and male in Ameri- can society today is somewhat akin to being born with original sin. In recent fiction such peo- ple, it seems to be felt, are not entitled to suffer, not entitled to being heroic or tragic protago- nists. At best they are allowed to feel guilt over the wretched mess that their class, race and sex has made of society. But here, in Ezekiel Farragut, we have at last a greaf sufferer in the tradition of Bellow's Herzog, one equally sensitive and eru- dite, a character whom critics ers hav that, go. acters commut A. SIDE is actually the "lit the Tim erratic gut's ch course < Falconei For ex behind never despite instead as a c entual % tion rep wards s ever no stand ti depende Of this There ed an al See ChBever cin comprehend and relate to on more than a superficial level. Could this, then, be one of the reasons for the great tidal waves of praise- being created by Falconer? What a simplistic and cynical suggestion, although one cannot help but notice how much space writers and review- r. LL 'r SA I f _k A