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ing. Or the paradox of the Finnish'
fireman who found it necessary to
trade in a new 70 dollar watch for
one with numbers instead of dots
because, "I get confused when I
want to tell the time." Yet his
paintings are hanging in bars and
shipping halls in many great lakes
ports. To other sailors, these things
are commonplace - a subject for
laughing discussion but seldom a
basis for personal evaluation.
T IS A strange and fascinating
world, and isolated, because the
sailor doesn't fit into any other
climate. Many books have been
written about ships and sailors, but
seldom, if ever, is there one written
about sailors off their ships. Tie
ordinary seaman couldn't live a
formal life on land because he
would not be able to understand
what makes its society tick. He
wouldn't fit into the scheme of its
living pattern. Any job he took
would not satisfy him because he
is used to holding a job on his own
merits and Coast Guard specifica-
tions. He wouldn't understand a
seniority system based on time
spent on a job, nor could he accept
the idea of being tied to a job by
the need for good references and
a clean record.

sailor. Becoming an officer entails
knowledge comparable to that
which a doctor must have for his
profession. In both cases men are
dealing with instruments of a
fragile nature. A ship is a delicate
mechanism and being able . to
guide it safely from harbor to
harbor requires the utmost skill
and judgment. Officers, along with
their occupational qualifications
usually have the self-discipline
seldom seen in'the ordinary sea-
man.
Someday, all sailors think, they
will "get off these, damn scows"
and settle down on land.' But that
day will not arrive. By the time
many of them have quit sailing,
they are too old or too perman-
ently drunk to find anything but
cheap flops and hard curbstones
on land. And if they could come
off with money in their pockets
and something constructive to do
with it, they wouldn't find their
dream complete, for they would
have to blend into a society which
is alien to them.

(Continued from Page 13)
more competent today than in
1926 (if indeed the quotations had
any meaning at the time it was
made) and overlooks the fact that
jazz and classical compositions
are entirely different types of
music with very different require-
ments.
IKE MOST people who write .on
jazz, Ulanov divides all, jazz
into a number of very definite
schools. This is unfortunate, be-
cause it eliminates many excellent
musicians who do not fit in care-
fully outlined categories. Jazz, by
its very nature, is not capable of,
being precisely defined and as a
result, any classification of this
sort is ambiguous. It would be far
better for an author to explain
trends in jazz as a function of
time rather than to say, "This is
jazz.,,
Even so, Ulanov has done a far
better classification than most.
For one thing, he has acknowledg-

ed the position of Detroit as a ma-
jor jazz center of the country. Not
only has Detroit produced a num-
ber of fine mnusicians, .but it has
long been known for the fact that
new trends in popular music and
in jazz first appear here.
Probably the most important
contributions to the field of jazz
made in this .bool are Iflanov's
contributions to the field of jazz
and the place of jazz as a form
of art.
-IN THE FIELD of criticism, he
attempts to describe the import-
ance of having sufficient back-
ground to be able to compare new
with old. He also emphasizes the
role of emotions in judging jazz.
... the borderline between
emotions and intellect barely
exists, at least as far as the
knowing response to an art is
concerned, even to an art
that, like jazz seems so much
of the time to be largely di-
rected at the emotions.
Jazz is an emotional form of
music, and purely intellectual
criticism of it is not fair or com-
plete.
Ulanov feels that jazz should
not be classified as minor art
along with "the arts of Faience,
petit point, etched glass or bag-
pipe music." It is music that has
some significance besides saiat-
ing the musical desires of the men-
tally feeble. Jazz can be compared
to some degree as a form of po-
etry or chamber music which is
most suitable for saying certain
things and should be recognized as
such.
The most significant point about
jazz is this: At its best what it
communicates cannot be commu-
nicated in any other way; to those
who know it well there is such
a thing as the jazz experience, one
which is entirely different from
any other form of music.
This is the Important quality of
jazz and the quality by which it
should be judged and placed in
the world of the arts.

JOSEPH CONRAD

The Walls Will Come Tumbng Down Next Mor

(Contlnued from Page 12)

T HE SEAMAN wouldn't under-
stand our institutions; for
example, the church. Essentially,
he has no religion as society ac-
cepts the word. A man who has
no place to go can almost have no
faith because his life is static.
Hope and faith are meaningless
words to him. And he would find
it a waste of time to meet once a
week on Sunday, because he is not
interested in social gatherings
where people can talk about the
past week's events and search the~
congregation for new hats. He can
find the same thing on his level
at the shipping hall.
Ship's officers are practically a
breed apart from the ordinary

read Nostromo" strikes one as curi-
ous, particularly when one recalls
that Conrad himself-and he was-
a better critic than he supposed-
rated the book highly. Nostromo is
a very difficult book, not quite like
any other Conrad novel, but it
seems to me to be one of the two
or three best things he wrote.
Professor Haugh's critical ap-
proach does not allow him to wan-
der far from the twelve books
themselves. Joseph Conrad: Dis-
covery in Design will have accomp-
lished a very useful and salutory
function if it brings the attention
of-readers to specific titles in the
Conrad canon. Conrad himself
wrote, "The reader will go on read-
ing if the .book pleases him and
critic will go on criticizing with
that faculty of detachment born

perhaps from a sense of infinite
littleness and which is yet the
only faculty that seems to assimi-
late man to the immortal gods."
APPROACHED with that sense
of detachment, Conrad's work
has rewarded Professor Haugh
with a- book that will assist read-
ers in charting their own reading
voyages of discovery. The fact that
new readers will discover or old
readers find confirmed Mencken
summed up; and Mencken had a
way of giving praise just as he
damned - without reservation:
"There was something (about Con-
rad) almost suggesting the vast-
ness of a natural phenomenon. He
transcended all the rules. There
have been, perhaps, greater novel-
ists, but I believe that he was in-
comparably the greatest artist who
ever wrote a novel."

By RONALD KOTULAK
Daily Staff Writer
HEN THE Romance Language
Building comes t u m b l i n g
down, arched doorways, shivered
bricks, groteisque monsters, spired
tower and all, a few diehard cam-
pus aesthetes will sigh, then shrug
resignedly.
The gray brick building, should-
ered between Angell Hall and
Alumni Memorial Hall, is slated
to come down sometime in Feb-
riary. Demolition of the French
Renaissance structure is in keep-
ing with the University's program
of remodeling the old Ann Arbor
High School - now the Friese
Building - for classes.
Originally built in 1880 as a mu-
seum, the antique edifice' has
earned a berth in the present Uni-
versity museum where a semi-cir-
cular relief of two fighting mon-
sters clinging to the tower will be
preserved for posterity.
The semi-circular reliefs -
.called tympana - that adorn th'e
four-story building are grotesque
images of natural animals in Ro-
manesque style, which depict the
purpose of the one-time museum.
It was designed to house natural
history and anthropological col-
lections.
PERCHED atop the peaked tow-
er is an acroterion; known to
lesser-informed laymen as "the
gate to heaven."
Need for a museum arose in the
early history of the University
when bulging classroom cabinets
could no longer absorb the influx
of historical specimens. Officials
then considered five plans for a
building but had to reject all of
them because f lack of funds.
Shortly after, Major William Le
Baron Jenney, at that time the
only professor of architecture, was
enlisted to draw up plans. When
his design was accepted by the Re-
gents, Jenney ironically had to be
relieved of his position because the
University could not afford a pro-
fessor of architecture and a new
building at the same time.
Jenney later won fame as the
herald of the modern skyscraper.
He was- the first architect to put
into practice the device of the
steel skeleton frame, which car-
ries the floors and masonry walls
story by story. However, this sys-
tem was not employed in the Ro-


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mance Language Building.
When the structure finally took
shape it was girdled in red brick
and trimmed with stone. It com-
prises 25,275 square feet of floor
space and cost of construction
amounted to $46,041.
SOON after its memorable birth,
the building developed struc-
tural defects. Since it was built
without a basement, the ground
floor settled and a new one had
to be installed.
In 1894 the original roof proved
too heavy and was replaced by a
makeshift affair fastened togeth-
er with so curious a system of
trusses and bolts that classes from
the architecture department vis-
ited it.
Even today an inquiring wan-
derer Is tempted to see what would

0'

Ii--.-..__ _ _ _ __ _ __ l

JHONP

BY 1923 the University was again
pitched into the dilemma of
cramped museum space. At least
75 per cent of its historical collec-
tions, valued at $2,000,000, were
kept in storage because of inade-
quate display areas.
See R. L. B., Page 18

happen if the bolts joining the
steel supporting rods were un-
screwed. The story told to inves-
tigating freshmen says the walls
would fall outward.
Lean budgets c o n t i n u a lly
plagued the building. Looking into
the future, Jenney had designed
an elevator shaft in the structure,
but it has always remained aban-
doned. On the tower are two ob-
viously empty indented circles that
were intended for clock faces but
never filled,


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