r I· the new on.Leans Review LOYOLA UNIVERSITY of the south Vol. 1, No. l/Fa111968 table of contents a journal of literature & culture articles Contemporary Fiction and Mass Culture/ John Aldridge .............................. 4 published by Loyola University The Nature of Light/ James Robinson ................................................................ 10 of the South Yahweh Came From Seir/Roy A. Rosenberg .................................................... 50 New Orleans for the The Reel Finnegans Wake/ Bernard Benstock ................................................ 60 New Orleans Consortium: Loyola UniversitY.: St. Marys Dominican CalleS!!' fiction Xavier University The Hermit/William Harrison ·····································-······································· 20 Chapter One of a New Novel/Seymour Epstein ................. c •••••••••••••••••••••••••••••• 43 editor: Miller Williams Snakes/ Jackson Burgess ·············································-······································· 65 House of Gold/F. H. Griffin Taylor .................................................................... 70 managing editor: Tom Bell assoc. editor: interview Thomas Preston Thomas Altizer Talks with NOR's Editor-at-Large ............................................ 26 advisory editors: Hoddlng Carter John Ciardi poetry David Daiches James Dickey Edict/ Alvin Aubert .................................................................................................. 9 Thomas Parkinson Walker Percy Death in the Family/Alvin Aubert ........................................................................ 19 L J. Twomey, sj In a Washateria/ Alvin Aubert ............................................................................ 19 The Benefits of an Education/ John Ciardi .................................................... 36 art director: Leonard White They Call This Quarter French/ John William Corrington .............................. 48 Of R.H./ John E. Matthias ...................................................................................... 52 editor-at-large: John William Eulogy/Shael Herman···················································-······································· 53 Corrington The Puppeteer/Robert Pack .............................................................................. 59 Letter from the North Atlantic/ John Williams ................................................ 68 Last Will and Testament; Codicil/ Alvin Aubert ................................................ 77 Ballad for Baby Ruth/ Robert Pack .................................................................. 78 Love/ Biron Walker ................................................................................................ 79 I Know a Spot Just Over the Hill/William Mills .............................................. 80 Pity/William Mills ................................................................................................ 81 Easter Sunday: Not the Artist/Ralph Adamo .................................................... 82 The Professionals/ Laurence Lieberman ............................................................ 84 The Stone/Robert Pack ........................................................................................ 85 . rev1ews Books ........................................................................................................................ 86 :::~rds···:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ~: The New Orleans Review is published quarterly by Loyola University New Orleans (70118) for the New Orleans Consortium, including Loyola University,·Saint Mary's Dominican College and Xav•er University. Subscription rate: $1.25 per copy; $5.00 per year; $8.50 for 2 years; $12.00 for 3 years. Advertising rate schedule available on request. Manuscripts cannot be returned unless accompanied by a self-addressed, stamped envelope. All care will be taken to prevent loss of manuscripts, but no responsibility can be assumed far unsolicited material. ©1968 by Loyola University, New Orleans. Manufactured in the United States of America it takes a lot of love and money to care for the boys in "boys land of arkansas " love we have ! Donations: Boys Land of Arkansas A Non-Profit Institution Dedicated to Boys In Need Winslow, Arkansas 72959 CHILE: An Anthology of New Writing Selected ap.d Edited by Miller Williams xx + 156 pp. I '$1.95 paperbound I $5.00 cloth From the Introduction: Any view of Chile which doesn't iQclude Neruda, of course, would be a false view. He is, and will continue to be, a great presence. He has given us six poems which are translated into English ~ere for the first time. The younger poets of Chile are leaving Pablo Neruda at last to his own greatness· ••• to react with.their own senses, in their own voices;Nicanor Parra with his "antipoems"; Enrique Lihn with his The poems, in Spanish and English (en face) dark, introspective lyrics; Armando Uribe Arce are those of Miguel Arteche, Efrafn Barquero, with his short verses that call to mind Pound, the Rolando Cardenas, Luisa Johnson, Enrique Lihn, Rubaiyat, and haiku ••• Pablo Neruda, Nicanor Parra, Alberto Rubio, Jorge The prose is more freewheeling, more relaxed Teillier, and Armando Uribe Arce. than much of the poetry [but] these stories could The stories are by .Poli Delano and Antonio have come only from South America-if not only Skarmeta. from Chile-only now. The play is one of Raul Rutz. ~ THE KENT STATE UNIVERSITY PRESS f!..Sil KENT, OHIO 44240 0 Please send --- copies of the clothbound edition, at $5.00 per copy. 0 Please send copies of the paperback edition, at $1.95 per copy. Ohio residents add 4% sales tax. 0 Remittance enclosed. (Postage prepaid.) 0 Bill me. Nom,~------------------------------------------- Addre'""'------------------------------------------ City·-----------------Statei_________ Zip, ______ Contemporary Fiction and Mass Culture by John Aldridge Back in the late Forties, when I began to write vital dramatic materials contained in the statistics criticism, it was fairly easy to find people to dis relating to our production of machine guns in that cuss the literary situation in America or recent de particular year. They were, as I remember, extraor- velopments in poetry or the novel. Almost every dinarily high. · literary person in those years seemed to have his At any rate, it still seemed possible at that time capsule overview of the contemporary state of let that the Great American Novel might at any mo ters-and it took no great insight or knowledge to ment be written. And there was even a robust sec have one because "the literary scene," which is tor of American poetry, occupied by Carl Sand what, quaintly, it used to be called, had a clear burg, Robert Frost, Ogden Nash, and Eddie Guest, shape to it and a kind of heroic practical simplicity whose work spoke directly to the minds and hearts that made it relatively easy to analyze. of good, plain, average people. The term "low For one thing, the American literary world of brow" still meant something as a cultural classifi the late Forties was still very largely a middlebrow cation (it applied to those who were too stupid and world, bounded at the lower extremity by the Sat ignorant to subscribe to the Book-of-the-Month urday Evening Post and at the upper by the Satur Club), while the book clubs and the best-seller lists day Review, which had not yet dropped "of Litera were the things you sneered at if you thought of ture" from its title-page, apparently out of shame, yourself as a highbrow-along with Hollywood, and which could still make some claim to literary which was where writers went when they wanted seriousness, if only because it still assumed that to sell out their integrity and drink themselves to books were more important than movies, records, death. and the political opinions of Norman Cousins. All in all, it was a good, wholesome, well-meaning, The critics most people read in those years wrote philistine time, and it was exactly as innocent, con not for Partisan Review or Commentary, but for fident, and doomed as the period immediately pre the Sunday book supplements and the liberal week ceding the cataclysm of the First World War, or ly magazines. And everybody knew who the great the decade that ended so dramatically in 1929. For writers were, and the promising young men, be in the years since then, the whole social, cultural, cause at regular intervals like stock-market re and intellectual life of America has been turned ports there would appear surveys of the estab inside out. A series of violent revolutions have lished reputations or "round-ups" of new talents, overthrown all our old comfortable assumptions in which new young Hemingways and Fitzgeralds about the nature of literature and society, and we were excitedly discovered. Or on almost any Sun have entered on a bewildering new era in which to day morning over coffee it was possible to read one talk about the literary situation or recent trends in of those trend articles inviting us to feel panicky be the novel or any of the old capsule subjects seems cause plot was fast disappearing from fiction, and as formidable and dangerous as an attempt to de poetry had somehow ceased to rhyme, and litera scribe the new mathematics or to summarize the ture would never get very far unless our writers politics of the New Left. stopped being obsessed with the "morbid and de Just how it all came about

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