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The Gamut: a Journal of Ideas and Information, No. 26, Spring 1989

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The Gamut: a Journal of Ideas and Information, No. 26, Spring 1989 Cleveland State University EngagedScholarship@CSU The Gamut Archives Publications Spring 1989 The Gamut: A Journal of Ideas and Information, No. 26, Spring 1989 Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/gamut_archives Part of the Arts and Humanities Commons, Business Commons, Medicine and Health Sciences Commons, and the Social and Behavioral Sciences Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cleveland State University, "The Gamut: A Journal of Ideas and Information, No. 26, Spring 1989" (1989). The Gamut Archives. 24. https://engagedscholarship.csuohio.edu/gamut_archives/24 This Book is brought to you for free and open access by the Publications at EngagedScholarship@CSU. It has been accepted for inclusion in The Gamut Archives by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. -.­ - - Number 26 Spring 1989 Louis T. Milic 2 Editorial Judging the Contest James Shelley 4 The Kokoon Arts Club, 1911-1940 Cleveland artists enlivened serious aims with exuberant antics. Charlotte Newman 15 Cleveland's First Woman Physician Myra Merrick struggled to bring medical care to the poor. The Gamut Prize in Short Fiction Lee K. Abbott 30 Introduction Elizabeth Richards 32 All of Us John Richardson 42 Hangover Mornings Mariflo Stephens 52 Hazed In Paulette Schmidt 61 The Price of Haircuts Elizabeth McClelland 68 John Quinn, Patron of the Avant-Garde The young man from Tiffin bestrode the art worlds of early twentieth-century Europe and America. Claude Clayton Smith 74 Letter from New Stark, Ohio Drought, roaring trucks, and dwindling population. Hale Chatfield 85 Poetry Why There Is No True Artificial Intelligence Diane Lerer 87 Picking Madison Avenue's Brain Can writers learn anything from advertising? Editor: Louis T. Millc Editorial Co-Editor: Leonard M. Trawick Managing Editor: Mary Grimm Circulation Manager: Susan Dumbrys Judging the Contest Production Assistant: Felicia Krawczynski As many of our readers (and more than Consulting Editor: Stuart A. Kollar 850 contestants) know, The Gamut Designer: Amy T. Jenkins recently held a fiction contest. We hold Intern Editors: Jeff Erdie such contests every so often, not Alison Grafton because we wish to be thought a literary Rajiswari Mohan magazine-which we're not-we're a Portrait general interest periodical-but in order Photographer: Herbert J. Ascherman to attract attention and possibly subscrip­ Advisory Board: John A. Flower tions. This is our equivalent of those Joella Burgoon multi-million dollar lotteries held by The Robert Cheshier Reader's Digest and Publishers Clearing William Gunlocke House. In any case, whether you were a David Guralnik contestant or not, we thought you might Ronald Haybron like to know how these contests are Roberta Hubbard handled and particularly how the deci­ Robert Jackson sions are arrived at. Marilyn Mason Victoria Neufeldt To begin with, nothing happens until Reuben Silver the deadline for submissions has been Katherine Torgerson reached-nothing that is except that the Editorial submissions are opened, checked for the Consultants: Cheryl Brooke presence of a return address and an Fred E. Ekfelt entry fee and logged in, given a number Gary Engle to insure anonymity in judging. After the John Gerlach deadline date, a team consisting of some Staff of our editors and editorial interns reads Photographer: Louis T. Millc all the entries and puts them into two The Gamut: a Journal of Ideas and Information is pub· piles: those that will proceed further and lished three times each year by Cleveland State Univer­ those that have reached their limit. sity; Cleveland, Ohio. Subscription rate: one year (three These latter (the great majority) will issues), $12.00; two years, $20.00; three years, $25.00; lifetime, $100.00. Library rate, $15.00 per year. Foreign have been read by at least one of our subscriptions $3 .00 per year additional. Single copies, senior editors before landing on the dis­ $5.00; back issues, $6.00. Claims for missing issues honored within six months of publication. card pile. The others, in this case some The Gamut invites commentaries for its "Back 200 or so, are sent along for reading by Matter" section and also the submission of new articles all the senior editors, who categorize and creative works, especially by Ohio writers and artists, on topics of interest to readers of this region. them as "Yes," "No," or "Maybe." The Preliminary inquiries are welcome; detailed information purpose of this stage is to reduce the pile for contributors on request. Submitted material will be yet further, to 50 or so, from which the returned if accompanied by a stamped, self-addressed envelope. Address all correspondence to: The Gamut, winners will be selected by ourselves Room 1216 Rhodes Thwer, Cleveland State University, and a paid judge (in this case Lee Cleveland, OH 44115. Copyright c 1989 by Cleveland State University. All rights reserved. Printed in the U.S.A. ISSN 0275-0589. Typography and printing for this issue of The Gamut by Schaefer Printing Company; Cleveland, Ohio. THE COVER: Revelers at a Bal Masque of the Kokoon Club in 1925. Photo courtesy of the Northeast Ohio Art Museum. See "The Kokoon Arts Club, 1911-1940," pp. 4-14. Abbott, a well-known writer of fiction) . writer who is a teacher of writing, as The meeting at which these final deci­ well as several others, it is not surprising sions are made is the most interesting that there should be differences of opin: stage of the process. ion. And differences there were. None of It is no secret that judgments of my favorite stories were chosen as win­ literary value are highly subjective. After ners and several of the winners were certain rudiments are taken care of stories I would not have chosen. Lest (spelling, agreement of subject and verb, this be considered a gratuitous slur on diction), the real value of a short story our winners, I hasten to say that it only depends most of all on the reader: indicates what a tricky business judging whether it piques the interest and sus­ is and that any writer with confidence in tains it, perhaps whether it has striking his or her own ability should not find characters, a moral point, an innovative rejection (or failure to win) any cause for technique, good control of language, melancholy. Any collection of best sto­ imagery, directness .. Which of these ries of any year, especially if several is most important in a given case cannot decades old, has a distinctly dated look, be determined unless one knows the largely the result of the fact that winners judges, for each judge has a bias based tend to be those that are original in the on his own reading, profession, interests, currently fashionable way: realistic, preferences, and the like. I have not regional, minimalist, stilted, obscene mentioned setting, but setting is impor­ ... Editors choose what they think is tant: I cannot read with interest any good or original; original is what they story set in a bar, but relish anything don't regularly see, whereas good is concerned with universities or even what they see and like regularly. One schools. I also find myself quickly worn has only to recall that Clifton Fadiman, by the current fad for irrelevant detail: the book reviewer of The New Yorker in "He inserted the shiny flat blade of the the '30s, regularly panned Faulkner's Craftsman No.3 screwdriver under the work; and it is well-known how Keats edge of the already-gritty surface of the fared at the hands of the Quarterly. The new Lux-Windex aluminum window only reliable judge of value in fiction, as and pressed gently using only the slight in all art, is time, that is, the long suc­ force made available by his carpal mus­ cession of readers who constitute the cles . .. " ultimate tribunal, those who decided So if you place around a table laden that Shakespeare was better than Otway, with 50 short stories two professors of Milton than Cowley, Keats than Mont­ English, one of whom is a poet and liter­ gomery, Blake than Byron, Hawthorne ary historian and one a linguist and sty­ than Howells. One must keep writing listician, an editor who is a writer and a and wait . • The Kokoon Arts Club, 1911-1940 James Shelley Before the art center of the world began to shift from Paris to New York in the late 1930s, there was a place for artists in the The Kokoon Arts Club smaller cities of America. In the late nineteenth century, Cin­ was the subject ofJames cinnati had its own high renaissance, producing such artists as Shelley'S M .A. thesis in Frank Duveneck and John 1.\vactman. In the early twentieth history at Case Western century it would be the turn of Cleveland, where the flourish­ Reserve University. "I've ing of the commercial arts helped to attract talented artists always been amazed," he from across the country.l Several artists' organizations sprang says, "that nobody else up, of which the most notorious was the Kokoon Arts Club. has seriously written about this phenomenon, This unusual group of artists met for the first time in 1911 almost lost in Cleveland's under the leadership of Carl Moellman. Once a pupil of past. " Shelley's B.A., Duveneck's, Moellman later studied under Robert Henri, also in history, is from another Cincinnati artist, in New York. Imbued with Henri's Miami University in disdain for the constraints of academic art (Le., art based on Ohio. During 1984-86 he fundamentals of perspective and color), Moellman, while in worked as archivist at New York, often exhibited with the group of painters known the Rockefeller Archive as "The Eight," generally noted for their use of a darker pal­ Center in 7b.rrytown, ette, vigorous brushstrokes, and local subject matter.
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