"Y•• pla.t mel••s,
Y•• reap ........"
Foreword
I'his p:::'o,j ec t is an attempt to present ideas, both original
anri
~n
~orrowed,
~~hat
will stimulate further individual creativity
thou2:ht a:lcl action in
-;~,e
reader.
I have mixed language
art s, 2':::'ap;: ic art, sociol ~,,'~y, and psyc'-;llogy into a coherent,
usable "idea book" for hL;h school English teachers.
~
~ive
wish to note here that it is tiot possible to
pro-
per documentation to SO::1- of the items in this book, especially
to the mimeographed handouts from my high school and college
courses and to the articles taken from the
since the magazine is not indexed anywhere.
In~",~118,; ·~
:·'00 t :.:':
. . . ~:..l .Jigest
,
are
given for all articles except those whose pertF:eat information
is listed on the original "slick" paper.
Since I was a freshman in
hi~h
school, - ,,'
ing bits and pieces of material which would be
teaching English.
I
r'~cCasey,
Mr. Gary Young,
Kirkham, BSU
:J·~en
~cl;f~l
collectin
am grateful to all the unl':I:o.-m commercial
1 a1 c.'; l.~h to thank
artists for their interesting pictures.
I"lr. f"iike
I'
Hanover Central High 3chool English teacher;
~~~3
::::ni~lis:.
c:::'c:a:ive writing t'=:ac:, ,; Jr. E Bruce
faculty; f/trs. Ja'1l
>~
:'l:fith, !1unc:e
Central H. S. te<;ci--Jer and participation ,;: '::,visor; f';rs. :jatherine Armitage, :2.::; library science facult::j and D:::,. Dick
Renner, BSU
Englis~:
department chairr:-.ar. :'or the ideas they have
shared with me in classes and cO:-'.ver:,'?", Lons
throu~hout
the
past six years.
D.
'~erblo,
1974
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Table of Contents
.c:
••
...
•
".
a•
ci
a:
,;
Foreword
Posters
•
•
•
•
Bulletin boards
•
•
•
•
Mobiles
•
•
•
•
•
2
•
•
Fun with 't1ords and Cartoons
•
•
•
Stimuli for Creative Writing
·
•
•
.Publishing in Your Classroom •
•
•
•
•
38
•
•
•
58
•
•
•
•
66
•
•
•
73
•
•
80
<:
Perspective and Perception
•
•
Think Tank
•
•
.•.
.."
u
0
•
Communication
•
~
III
s;
J'l
..,
.,..
;,
0
z
·
·
.:J
).
•·
(
Bibliography
•
·
•
•
•
•
17
•
•
Semantics
~
11
28
'"...
0
•
15
•
•
•
•
Stories Just for Fun •
•
4
•
•
•
•
•
•
•
86
•
98
P 0 S T E RS
The following miniatures are examples of posters to
be used in an English classroom.
By placing these typed
miniatures on an opaque projector, they can be enlarged
and retraced in any desired size.
This method eliminates
the need to find stencil letters large enough to be read
from across the room and eliminates the need to
and center the letters.
3li~n
This method can also be used
to enlarge book illustrations, small drawings, or cartoons for use on posters or bulletin boards.
JOY DOES NOT MEAN RIOTOUS GLEE t
BUT IT :)CES
MEAN THE PURPOSIVE EM?LOYMENT OF ENERGY IN
A SELF-CHOSEN ENTE3P:USE.
AND CONFIDENCE.
IT DOES r"L~AN PRIDE
IT DOES MEAN COMHUNICATION
AND COOPERATION VJI'rH OTHERS BASED ON DELIGHT
IN THEIR COMPANY AND YOUR OWN.
Germaine Greer
~ Female Eunuch
LANGUAGE IS AN
EXPRE~)3=
,-:.
ACTIVI~Y,
OF
HUMAN
TO BE
CO~JTENT
;,vITH rnm OBTAINABLE
AND, AS
HUfvlA.;J AC'llIVITY IS
FOREVER CHANGING,
IS A NEGATION
OF LIVING
LANGUAGE CHANGES
WITH IT.
G. Koizumi
Mario Pei
ALL TRUTHS ',IAIT
IN ALL1r:INGS,
THEY NEITHER HASTEN
THEIR
C/N
DELIVERY
NOR RESIST IT.
.1 al t Vlhi tman
30ng of Myself
ALL SLANG
IS METAPHOR
AND
ALL ME'l'APHOR
IS POETRY.
G.K. Chesterton
..:,
ONE
~1U~T
LEARN
BY DOING THE THING
I DISAPPROVE
Sophocles
OF WHAT YOU SAY,
BUT l,vILL DEFEND
TO TH}:; DEATF
WE SHALL NOT CEASe:; FRor"l EXPLOaATION
AND THE END OF ALL OUR EXPLORING
WILL BE TO ARRIVE
AND KNOW THE
FLAC~
.
;/IE.{E
~"E
STARTED
FOR THE ?IRST
TIME.
T. :~. ~=l iot
"Li'"t:lc Sidding"
:"our )uartets
YOUR
,1';;:'
. i.... ,JAY IT.
Voltaire
UF L:'
T:IE
~':Cp'GS
..1. ;' . • . G~'
OIt' THE
}UTU~E.
rllUST BE AN UNlVER3ITY C?
KNOWLEDGZS.
Emerson,
The American Scholar
F AILING TO F:
KEEP
ENCl~
.!-.G. ),
MISSING ME OJ ... , :
i
.alt 'dhitman
,'::ong of Myself
VE?Y LITTLE IS NEEDED
TO
M.~
A HAPPY LIFE.
IT IS ALL IlITEIN YOURSELF,
IN YOUR '\'iAY OF' THINKING.
r'1arcus Aurelius
-
,
?
/:-\.-
I
?OLLO'; ", J
,;~C
iv1Y.-!O?J-3 ITCH ~','I YOU] :::;fu~S
TILL YOU Ui;):::;1STAND THEM.
'tlalt i,vhitman
Song of l"1yself
FOR A THOUGH
IT HUST
FIR~~,'
1-
,
THE MAN WHO CA::J 1 ~.' 1
:.1 bert Gamus
iiotebook V
WHATEVErt DESERV:':"3rO ::::XIST
DESERVES ALSO TO B':':: KNOivN
• • • AND THINGS r.1E: H
6.ND
SPLENDID EXIST ADIKE.
Francis Bacon
~'J ovum
Organum
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BulleTin Boards
SOME IDEAS ON WHAT TO USE TO COVER THE UGLY GREEN SPACE:
book jackets from books on their recommended reading list
pictures and posters concerning the author or setting of
the story or novel being studied
current events--articles from the newspapers
the students own writings--with their permission
the teacher's own writngs
information about current movies, plays, and concerts
and the people involved in them
contributions of anything from the school's art department
a graffiti sheet--if you dare
a student's display of his favorite hobby
a student-made bulletin board of examples of propaganda
in advertising
literary cartoons or cartoons concerning school
explanations of grammatical problems
·/
,
A Mrs. Fred Btand
housewife
8 Miss Lynda Lamarr
movie star
,
C Ms. Claudia Stone
career woman
. Can you match labels A, B, and C to pictures 1, 2, and 3?
Was it easy to match label C to picture 1, label A to picture 2, and label B
to picture 3? Stop a minute to reconsider. Isn't it possible that picture 1
could be a housewife leaving on a trip, picture 2 a movie star on her day
off, and picture 3 a career woman dressed for a party? Don't let your
familiarity with stereotypes make you jump to conclusions.
A stereotype is ~ preconceived mental picture about a group of people.
Career women, housewives, and movie stars are three good examples.
Stereotypes assume that all the individuals in such groups look and act
alike. However, general conclusions about any group are seldom accurate;
they are particularly dangerous when you're making judgments about an
individual.
Think about your own attitudes toward certain
groups of people-teachers, parents, women
drivers, policemen, politicians.
1. Do stereotypes for the groups cross your mind?
2. Do you often use stereotypes to fit people i,nto categories?
3. In everyday life, which is more desirable-to think of people
as types or as individuals?
PUNCTUATION:
TEE T:1A.F'HIC .3IGN3
O~'
LANGUAGE
prior to
before
inasmuch as
since
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MOB I L, E S
materials needed:
plastic ring
fine, stiff wire
fishing line
(or nylon thread)
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poster board
(plastic ring)
poster paint
--(fishing line)
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wire cutters
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Saul Steinberg, "A :-ortfolio," The 1,Jew Yorker, 8 November
pp.54_c~7.
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S tU(l'2~ts
;01k
cODie .;::rips.
enjoy writ ing their own dialQgue to
To provide a class with material, use an
o}J :"'Lewspaper comic section,' trace through the paper
onto a ditto master, and leave the balloons blank.
newspape~
older the
The
the better it is since the students
will have forgotten the original wording.
Chose easy
to trace comics with a few, simple lines.
Cartoons can
also be enlarged by using the technique described under
"Posters.
1I
r
~~l9
"I dread - going to school today even
more than on days when we have tests.
Just think of all those girls coming at us
with valentines!"
"Studying doesn't come easy-especially
when you don't do it."
-
~~
---i
"So he's not the smartest boy in school. You're not president of the company."
(( J! P enJerO,if)."
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~"'T WAS ~E LJ6f ~IM:; )()U
~IDIOHIM BE~ HIS I=CI::1r
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Cover Story
lIow to 1tIih ?1I/11e IIhf/ '}O,.tuhe
8'1 1tII'itih9 IeI' t'e '}Uhh'l Pttpel'J
NMr'. ...... The only Ilmllarlty
~n
Wohl and your typical New YorIt
ac!yertillng executive II the engraYed stationary that atta.tI to hi. statu. a. a Yic:e-pnMi •
..,. of tha J. Walter Thornpton Company,
the world'. Iargatt ad agency. A roem/ng
c:reatlw troubl...hooter for Thompton, he hal
found tlma, too, to write a bast-lelling nonbook, "The Conforma,."; the Iyrica for a
Broadway musical; a spat. of TV variety
shows and a pair of .yndicated comic faa·
turaI, both of which haya particular appeal
to campus raadera. Th. first, "PIXla.," ia
currently ..." in upwards of 250 papen
acrou th! world. Th. latest, "Versus," w ..
launched October 13 by King Features, and
il the subject of the accompanyIng monograph.
Jade
It probably started eight years ago.
At least, that's the first time the
physical act of literally being stepped
on struck me as a remarkably graphic
piece of business.
Think of it for a second. Somebody
actually stepping on somebody else.
We talk about it happening all the
time. But to see it happen? Absurd.
That would take a stepper-on of
gigantic climension. Or a Wl1putian
stepee.
I doodled just such a picture and
chuckled. Eight years lat€'!", I'm still
chuckling. And praying a lot of people
out there in newspaper-land chuckle
along with me.
"Versus" is about people who get
stepped on. And about people who
step on oth€'!" people.
Theoretically, it's usually the good
guy who gets stepped on. The good
guy.
You.
Me.
People we dig.
And it's the bad guy who does the
stepping. The bad guy. Anyone or
anything that's unbeatable, immovable, insurmountable.
Of course, everybody plays both
roles from time to time - steppedupon and stepper-upon. Because, after
all, that's life.
Working from that simple premise,
it became necessary only to design
the characters who would become The
Good Guy (us) and The Bad Guy
(them).
And here they are. The Good Guy.
Arthur. Loveable. Straight. Honest.
Faithful. A guy who wants nothing
I'I.l GET ON ltPa: m\S LAOOER
AM:> PREll:ND 1(:) BE ~a<MAN.
')tU ~ OUT V~IOUS
APPRcW:.Ae-s 1O'W/N MY
~ENOSHIP: ...
gets revenge once in a while. Usually
by capitalizing on some fluke of circumstance (e.g., Sherman's falling
down into a canyon). When Arthur
gets kicked around, we all sympathize. When Arthur triumphs, we all
feeJ a little better for it.
more out of life than a couple of
smiles a day and an appreciation of
the fact that he is his own man.
The Bad Guy. Shemnan. Big. Mean.
Powerful. And out to bug Arthur because Arthur Is little. Or, to cite
Sherman's peculiar philosophy, "because in this world you're either a
squoosher or a squooshoo!"
Sherman squooshes Arthur a lot.
Often, without provooation. A1't:hur
WE CAY B'E:FCRE'., J.lE 11-t12£:W
YES-rE.RDAY, .,J.lERMAN
<;;;;-rE:PDa) 0-1 ME:. ".
4
ME: INfO
-ms L.AIC'E ". (<;NIF)
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Sure. My wife thinks so - but she
loves me. Simple? Fantastic? Universally appealing? Maybe. So how
come it took eight years to get to its
present state? Perhaps what follows
will serve as a primer to any embryonic comic strip writers who've read
this far.
When "Versus" was first drnwn,
Arthur and Sherman had no names.
All they had was each other. And a
world consistJing of a couple of rocks,
[)OW BEFORE ThAT HE D~
A WAT8<'MH.oN ON MV HEAD'
IT·S NOT 1l-tE VIOLENCE, IT'S WE.
UNPfClEDlCTABlLlTY I CAN'T grAND I
---_/
The Collegiate Journalilt - Winter 1970
o
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Q.
"I'v(' got a roast in the oven."
Goaded forward by her inspiring
words, I grabbed pen and paper and
re-cI"('ated the characters. New situations W,'I"e necessary to give the
little guy a chance to win at least a
moral victory once in a while. A
couple of months later, I dashed over
to the syndicate Wtth the new "Versus." "Very bright. But still somewhat limited," they declared. I left
·
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W~AT
WAS -mE LAST" iJ.IlM::) )OJ
SAIDTOI-liM Bf~ /-tIS" ~
CAME CXWN ()<.I ')t)(J.~_ _ _ .."
weuo.
--.
:
a fe'W blades of grass and a flower
or two.
The idea was termed "bright but
limited" by the comic syndicate I
showed it to. And being a mature
writer I listened gravely 10 their
opinion, went horne, screamed "What
the &¢%$#@ do they know?" :-nd
tossed the drawings into my desk.
Two years later, I had a remarkable insight. The trouble with "Versus," I realized, was that the idea
was terribly clever ... but somewhat
restricted in its scope. The little guy
always got stepped on. The big guy
always acted rotten. "I think I know
what's wrong with the strip!", I
shouted to my wife. "It's bright. But
limited." She agreed that I was a
genius at analyzing the inadequacies
of my own creatdve efforts and urged
me to tackle the problem ane'W.
"Tackle the problem ane'W," she urged,
The Collegiate Journalist -
plot. It needed continuity, but cootinuity with a surprise. The predictability of the big guy stepping 00 the
Ii ttle guy could prove to be a big
bore after a rouple of months. (Remember, even when the Mets were
the worst team in baseball, they still
managed to win once in a while) .
After eight years of trial and error,
we've arrived at the present fonnat
of "Versus." A cast including our two
protagonists, Arthur and Shennan,
and a gaggle of ancillary characters
who help Arthur maintain h!s status
as the all-time underdog. His wife,
Evelyn, a real beauty. His lazy brotherin-law, Bert, who moved in for a
short stay and will probably never
leave (and probably never get a job).
And Howard. The one guy who should
understand Arthur's pUght. Because
he's been there himself.
There are more characters in the
works, ready to make their debuts
In months to come.
in a huff (it's impossible to get taxis
in New York City at rush hour).
Fully five different incarnations of
the little guy and the big guy saw
the ligh t of day before yours truly
saw the light.
For "Versus" to succeed as a comic
strip, it needed more than conflict even if the conflict were the most
basic, universal conflict of all time .
It
Winter 1970
needed characters.
It
needed
But for the moment, these are the
five people who are "Versus." They
make up a world that's as hopeful
and as bostile and as beautiful and
as depressing and as mooningful and
as futile as the world we live in today.
A world where some good guys do,
indeed, get stepped on. But one in
which they don't neceSsarilY have to
lie there and take it.
And one of these days, when Sherman least expects it, Arthur is going
to squoosh him fur gnod.
When I'm ready to retire. And not
a day sooner.
5
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Intellectual Digest
79
Intellectual Digest, p. 54
SCIENCE
:jobert Graves
From New SCientist
BEHIND THE CONFLICT STANDS MAMMON- MONEY-AND WHAT IT HAS DONE TO SCIENCE
or
II anyone thillks th(/t II" III'ely PCrl
f:nglaru/'s (listinglll\/",,1 !'oct is s/()[cing,
take heart awl I(,(U/ '>11
echnology i,., now warring ()1lt'1J1~
against the crafts, and sciencl' ('11\ ('rtly
against poetry, The origillal 1I1t'ltllillg
of these term,., has long h(',·" 1"1'1,,,11. II
"Craft" in Anglo-Sax"!l 11]<,111':
11,,,,1,
ligence" and applied !llainh :, 1i',tll'lliI
dexterity in producing ""'1,,, "I"", h 1"lt
in the term "arts and. 1.111.
',lit '.Ik,·,
the less important 1',,,'1',,,, I,,·, ,('I"~, .111
its :\'ormall-Frenl'h "'1111\.<1"1,1 (",,'n'"
the production oj " ",,1,1"1 '''II[!(' lit IIbjects.just as the ",(\,,0/, "",.I ',1,.,1" '(;e'rman Stuh/) canle' III 111":11' a Inllllhkr chair
without a ha(·!.., 1\ IIl'I'l'" , 'chair" ,( ;rl'l·k
katlledra l \ \ ; i ' \\ hat the :\orman-Freneh
gentility tl\ed ; i ' a ,ign of their own importance -- a ,tool \\ith back. arms and
footrest. This ,oeial distinction between
stool and chair ,till ,uf\'ives: one is offered a stool of repentance or a dlllllT'"
,tooL b~lt a chair of philosophy: and toad.,
sit on toadstools not on toadchairs,
"Technology" is a Creek compound
noun originally meaning "the topic of
craftsmanship." but now meaning "the
application of mechanic., to manufacture."
and "manufacture," \\'hich originally
meant a "making by hand." has come to
cO\'er the production of goods by almmt
wholly mechanical means: so that a homeknitted jersey can no longer be called a
manufacture - it is a product of craftsmanship, As for the secret war between
science and poetry. one must study their
original meaning, to make sense of it.
"Science," meaning the art of knowing,
is the Latin equivalent of the Greek word
"philosophy" meaning "love of wisdom,"
And "poetry" (it is strange how f('w scientists are aware of this) come' from the
Creek verh I'0icin meaning"to makeordo,"
~Iany ignorant young poets mll"t have
turned to ,\ristotle's Poctics in the hope
of finding a pOl·tic theory di,cussed there:
but of course Plato, Aristotle's master,
had banished all po,,1\ from his ideal republic', Aristole',., 1',,(,/ iI'S therefore dis-
T
THE:
SE:CR€T
WAR
B€TW€E:N
SCIE:NCE:
AND
POE:TRY
l'USSl"; how things are, or should he. made
to happen .~ 11\ all~ but poetic means, The
pO\\ cr of t rtH' P()('t r\ i, of a ,ort that ,cienti'h (',IIl!lOt [('co[!lIi/e: if only because at
its mmt inlell'(' il \\ orb in the fifth dimemion, indepelldent of time. Several
well-know II mathematical di,coveries
,uch a, H,m all Hamilton's quaternion
formula, which came to him suddenly one
day as he was walking across Phoenix
Park. Dublin. plainly derive from fifthdillll'll'>ional thinking. Yet 'icienti,ts would
dismi.,., a similar proce'iS in the writing
of poems as "illogical."
Some years ago I was invited to give the
Blashfield address in 1'.'ew York and took
I)([/(/k(/ for my subject -Iwraku is the
~lo,ll'il1 se)he of blessedne" that ,Ittadll"
itself to building, or objecl\ afkr year,
of loving u'e. Huwku may 'l'em a foolishly
sentimental subject, but few practical
people will deny that to break ill a ne\\
guitar, typewriter or car and. a, it were,
humanize it so that it never lets Olll' down,
take.., a long time, Briefly speaking, techIlology produces millions of identical and
spiritually dead objects, which ..., a rule
take far IOllger to humanize than their expected length of service: whereas unmech-
anized crafts exercised by individuals or
closely knit groups produce objects with
the elements of life in them.
The worst that one can say about modern seience is that it lack<, a unified conscience. or at least that it ha, been forced
to accept the power of Mammon, Mamil10n - the Tahnudic Mammon of Unrighteou'lll',,-exploits the discoveries of science for the benefit of international financiers. enabling them to amass more
and more money and. it is hoped, to control all markets and governments.
In ancient times the use of scientific
discovery was closely guarded for social
reasons-if not by thl' '('i('lItist, them,elves, then by their ruler, T!tu, the
stellm engine invented in Ptot"IIlIl!(' Egypt
tor pumping water to the top of the faIll(llI, lighthouse on the Island of Pharos
was soon abandoned, apparently because
it encouraged laziness in slaves who had
previously carried waterskins up the lighthou'ie stairs, Still more remarkable was
the ll1edie\al invention of the electric
battery by Baghdad Sufis and their abstention from putting it to "OIll111ercial
use lest it interfere with tr:lditiollal arts
and crafts. Then tilt'rl' i, "lIdonius' account of ho\\ all :II[(HI~ muu, inventor
came to the Emperor Tiherius, offering to
show him a new sort of glass. He dropped
a lump of this on the marble floor in front
of Tiberius' throne as if by accident. When
it bounced Tiberius asked him whether
he had divulged the secret of its manufacture to anyone, The man swore that it
remained hi, own. so Tiberius sentenced
him to death, remarking that glass of this
nature would be found so valuable in the
making of jewelry and tableware that it
would depreciate the value of gold and
upset the economy.
There need have been no war between
science and poetry, nor between technology and the arts, had not the power
of money forced too many poor, married
scicntists and technologists to break what
should have been a Hippocratic oath to
me their skills only for the benefit of
mankind . •
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'3 0
By Kinasley Amis
From the London Sunday Times Magazine
1IlS01'S
LIPI
"May I join you?"
The medium-sized man
with the undistinguished
clothes and the blank,
anonymous face looked up at
Pettigrew, who, glass of beer
in hand, stood facing him
across the small corner table.
Pettigrew, tall. handsome and
of fully molded features,had
about him an intent. almost excited air that, in different circumstances,
might have brought an unfavorable response, but the other said amiably,
"By all means. Do sit down."
"Can I get you something?"
"No, I'm fine, thank you," said the
medium-sized man, gesturing at the almost full glass in front of him. In the
background was the ordinary ambience
of bar, barman, drinkers in ones and
twos, nothing to catch the eye.
"We've never met, have we?"
"Not as far as I recall."
"Good, good. My name's Pettigrew,
Daniel R. Pettigrew. What's yours?"
"Mason. George Herbert Mason, if
you want it in full."
"Well, I think that's best, don't you?
George ... Herbert ... Mason." Pettigrew spoke as if committing the three
short words to memory. "Now let's have
your telephone number."
Again Mason might have reacted
against Pettigrew's demanding manner,
but he said no more than, "You can find
me in the boo,k easily enough."
"No, there might be several ... We
mustn't waste time. Please."
"Oh, very well; it's public information,
after all. Two-three-two, five-"
"Hold on, you're going too fast for me.
Two ... three ... two ... "
.. ri ve-four-fi ve-four."
"What a stroke of luck. I ought to be
to remember that."
"Why don't you write it down if it's so
to you?"
At this, Pettigrew gave a knowing grin
that faded into a look of disappointment.
"Don't you know that's no use? Anyway: two-three-two, five-four-five-four. I
might as well give you my number too.
Seven-"
"I don't want your number, Mr. Pettigrew," said Mason, sounding a little impatient, "and I must say I rather regret
giving you mine."
"But you must take my number."
"Nonsense; you can't make me."
"A phrase, then-let's agree on a
phrase to exchange in the morning."
"Would you mind telling me what
this is all about?"
"Please, our time's running out."
"You keep saying that. Our time for
what?"
"Any moment everything might
change and I might find myself somewhere completely different, and so
might you, I suppose, though I can't
help feeling it's doubtful whether-"
"Mr. Pettigrew, either you explain
yourself at once or I'll have you
removed."
"All right," said Pettigrew, whose
disappointed look had deepened, "but
I'm afraid it won't do any good. You see,
when we started talking I thought you
must be a real person, because of the
way you-"
"Spare me your infantile catchphrases, for heaven's sake. So I'm not a
real person," cooed Mason offensively.
"I don't mean it like that, I mean it in
the most literal way possible."
"Oh, God. Are you mad or drunk or
what?"
"Nothing like that. I'm asleep."
"Asleep?" Mason's nondescript face
showed total incredulity.
"Yes. As I was saying, at first I took you
for another real person in the same
situation as myself: sound asleep, dreaming, aware of the fact and anxious to exchange names and telephone numbers
and so forth with the object of getting in
touch the next day and confirming the
shared experience. That would prove
something remarkable about the mind,
wouldn't it?-people communicating via
their dreams. It's a pity one so seldom
realizes one's dreaming: I've only been
able to try the experiment four or five
times in the last 20 years, and I've never
had any success. Either I forget the details or I find there's no such person, as
in this case. But I'll go on-"
"You're sick."
"Oh no. Of course it's conceivable
there is such a person as you. Unlikely,
though, or you'd have recognized the
true situation at once, I feel, instead of
arguing against it like this. As I say, I
may be wrong."
"It's hopeful that you say that." Mason
had calmed down, and lit a cigarette
with deliberation. "I don't know much
about these things, but you can't be too
far gone if you admit you could be in
error. Now let me just assure you that I
didn't come into existence five minutes
ago inside your head. My name, as I told
you, is George Herbert Mason. I'm 46
years old, married, three children, job in
the furniture business ... Oh hell, giving
you no more than an outline of my life
so far would take all night, as it would in
the case of anybody with an average
memory. Let's finish our drinks and go
along to my house, and then we can-"
"You're just a man in my dream saying
that," said Pettigrew loudly. "Two-threetwo, five-four-five-four. I'll call the number if it exists, but it won't be you at the
other end. Two-three-two-"
"Why are you so agitated, Mr. Pettigrew?"
"Because of what's going to happen to
you at any moment."
"Happen to me? What can happen to
me? Is this a threat?"
Pettigrew was breathing fast. His
finely drawn face began to coarsen, the
pattern of his jacket to become blurred.
"The telephone'" he shouted. "It must be
later than I thought'"
"Telephone?" repeated Mason, blinking and screwing up his eyes as Pettigrew's form continued to change.
"The one at my bedside' I'm waking up'"
Mason grabbed the other by the arm,
but that arm had lost the greater part of
its outline, had become a vague patch of
light already fading, and when Mason
looked at the hand that had done the
grabbing, his own hand, he saw with
difficulty it likewise no longer had
fingers, or front or back, or skin or
anything. rtl
Kingsley Amis' novel The Riverside Villas
Murder and a work of nonfiction, On Drink.
are scheduled for publication by Harcourt
Brace Jovanovich later this VA",r
THE OBSERVANT EYE
By Adnar: f3e"y
From The Sunday Telegraph/London
A five-year-old child left us our first clue to "the nature of man In the flesh."
Dr. Louis S. B. Leakey IS dead. The observant eye he ,liTe/()ped durin,; his
Kikuyu boyhood. c()upled with his 1Il1Ulytical, aliusil'C mind, not on It; I'ushed
back the date of man's appearance on
earth by ttco million years hut also pinpointed Africa as the startin,; place.
Leakey's work ,;ives promises of leaving
an enduring footpn'nt on the
record of human prehistory.
It is an awesome experience
to examine a human footprint
that is no fewer than 500,000
years old. It is difficult even to
imagine such an immense
period of time. Yet I have just
traveled to Central Africa to
see a footprint of this very
age. It had been found on
the same immediate ,ite as
the earliest known human
irrigation system.
These astonishing remains
are in Olduvai Gorge, a deso~_
late region of northern Tanzania, in the southern part of
the famous Serengeti Plain.
Anthropologists have long regarded the gorge as the site of the true
Garden of Eden.
Not that Olduvai Gorge, either today or
at any time in the past, bears much resemblance to the biblical Garden of Eden.
It is an arid ravine of scrub-covered desert,
as bleak and as silent as a landscape from
Edgar Allan Poe- except for the rustle of
cobras, the roar of distant lions and the
sounds of an ever active team of anthropologists scraping the earth with delicate
metal instruments of the kind employed
by dentists.
The footprint, which so far has been
seen by only a handful of scientists, was
discovered earlier this year by a group
working under Dr. Mary Leakey. She and
her husband, Professor Louis S.B.Leakey,
have spent most of their adult lives searching for prehistoric humanoid remains at
Olduvai and other parts of East Africa.
At first glance the footprint looked to
me like nothing more than a hole in the
ground. But upon examining it more
closely, I saw that it could indeed be the
deep imprint of a human heel, with a faint
mark outside it suggestive of a big toe.
Mary Leakey was convinced from the
start that it was a footprint. She immediately sought the comments of an anato-
I. :'
mist, Professor Philip Tobias of Witwaln,·
rand University in Johannesburg T"hia'
spent several days studying lilt' prillt. IIi.,
conclusions are a striking l'\.lltlple of the
powers of modern scielH't' I" ,ee into the
past and to visualize tll(' hody and mind
of a creature acro', rlistant ages.
According to Tobias. the print is that
...
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,
INOLDUVAI
58
of the left foot of a child aged about five.
This was easy to calculate. The print is 5,3
inches long. Since the length of a human
foot is about 15 percent of stature, this
implies a child about three feet tall, or
about five years old.
Even more illuminating than the print
is a series of about a dozen pits, averaging
two feet across and one foot deep. They
are all interconnected by roofless channels, which strongly suggests that they
were used to store rainwater for drinking.
Long fin,;er marks are clearly visible in
the walls of the pits, showing how they
were dug. Following an arc around the
pit walls, the finger marks get steadily
deeper until they suddenly level off - as
though people were kneeling down to dig
and throwing earth over their shoulders.
Mary Leakey called the find "quite unprecedented." Tobias was even more ecstatic. "This must rank as one of the most
epochal of all the great Olduvai discoveries," he said. "For the first time, at this
level of antiquity, we have some direct evidence of the nature of man in the flesh."
This technology was probably the work
of a species called Homo Erectus, who
lived between a million and 500,000 years
ago and is our direct ancestor. He was a
more manlike creature than had ever appeared before, partly because of the terrihlt' history of his predecessors. He walked
alld II<;ed weapons as a modern man
\\fluld. hut his brain was much smaller
thannl'Mlern man's, As F. Clark Howell of
Chicago put it. "He may not have been
able to think very complicated thoughts,
but he could certainly think."
Homo Erectus migrated
slowly across the world. Unable to cross any large body
of water, he wandered from
valley to valley. century by
century. His remains have been
found in Germany. Java and
China-where he is known as
Peking Man. In Chilla there
are signs that he used fire. both
for cooking and for driving
animals into swamps.
Olduvai Gorge looks like a
miniature Grand Canyon. It
has proved pl'rft'd for l'xcavation llL'cau,t' it (·ompri."l" tour
main ",iI dep",ih pil('d Oil top
"I ('a( It otht'r alld Illldi,turhed
h} ('ar·th JIl()\ t'Ill('nh.
Imaginc a rake upfln which
a new layer is deposited every million
years. If you cut a slice from the cake,
you can see each layer as it was before
its burial. Since Olduvai is a natural fault
in the flat Serengeti Plain, it is like a gash
in the cake. Its four layers, or "beds," give
us an exact picture of the earth in four
different periods.
Olduvai lies near several extinct volcanoes. Measuring the radioactive decay
of volcanic minerals in the gorge reveals
the ages of the different beds. Basalt rock
at the bottom of the gorge is about two
milliun years old, while volcanic ash
near the top- the footprint's site- is only
500,000 years old.
One day, someone will find more than a
footprint; they will find a face: the face of
a human ancestor gazing sightlessly from
the volcanic stone in which he has been
eternally embalmed,
The fierce debate that preceded Olduvai's recognition as a main place of origin of the human race, as opposed to Peking and various sites in Europe, is a possible foretaste of a similar debate to be
held in the remote future. Some 20,000
years hence there may be bitter arguments about the pl(/net on which man
originated.
r.l
", Intellectual Digest, p. 58
-Stimuli for Creative Writing
The pictures in this section, most of which were taken from
issues of Intellectual Digest, The New Yorker, and Muncie in
~
Nutshell, are calculated to evoke interesting written responses
by the students.
The poems in this section are my own; they were
wri tten for my high school Creative 1N'ri ting class under Mr. Gary
~oung.
They serve as examples of what to expect from the students.
A teacher's own writings, whether from high school, college, or
later life, should be shared with the students to foster rapport
with them since a large element of mutual trust, respect, and
understanding is helpful in bringing the students' iriller thoughts
and feelings out on paper and in encouraging any creative talent.
The following is a list intended to be the groundwork for
the teacher's own creative thoughts on what to use for stimuli:
Visual:
Auditory:
Olefactory:
Tactile:
Gustatory:
pictures, a kaleidoscope, movies (especially short,
one-subject films), slides, art department contributions, sculpture
recordings of all types of music, tape recordings of
sea, city, fores~ machine, and animal sounds
gasoline, fuel oil, machine oil, sulfuric acid, chlorophyll; green apples, a pineapple, onion, garlic,
spices, flowers, hay, dirt, a musty old book, pine
cotton cloth, silk, wool, jersey, denim, terry;
limestone, granite, soapston~ pumice, scoria, mica;
water, liquid detergent, acetone or alcohol; cotton
batting, fiberglas insulation; talc, soapflakes,
fish food, powdered detergent
contributions from the home economics department,
nonpoisonous chemicals, spices, fruit and vegetable
juices, honey, petunias (nectar can be sucked out
of it. . by pulling the flower from the stem\ hay,
chewing tobacco, green dill weed
Focus on the microcosm:
colors in weathered wood, tones in a
bird's call, variations in the scent
of the different parts of an orange,
the texture of cracked asphalt, the
differenoc in taste of the ripe and
unripe sides of an apple.
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As the stars fade
The silent dawn creeps upon a still world.
A bird flies low.
Sunlight filters in~o the quiet streets
Of the city.
filountains rise on the distant horizon
As the mist lifts.
The moon has vanished and the hot sun burns
Awa;;r the dew.
Old people begin to stir in their homes.
A ~ad dog growls.
ne seeks to quench his thirst in a puddle
Of yesterday.
The air had been washed clean of the sickness
14hich it carried •
But the sickness had afflicted many,
And many died.
Sistory books speak of the great plagues:
None were like this •
The world burned from the heat of its force-All was consumed •
Smoke clouded days and long starless nights were
One in the sarne.
The earth trembled under the might of man •
And man shuddered
At the power he knowingly unleashed.
Then mankind wept.
But not at funerals in the churches
Or the graveyard.
There was nothing left to bury and few
Left to do it.
"Ashes to ashes and dust to dust,"
Said the old priest,
"Let the dead bury the dead, Let peace reign.
The prophecy
Of the Revelation has now come true.
There is a new heaven and a new earth
As we have seen,
For the first heaven and the first earth have
Now passed away
And there is no more sea. God dwells with us."
D. ',Jerblo, 1970
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~eflections
People moving,
Written on the
running,
,~econd
Day of Spring, 1970
jumping
Going nowhere.
An Alice in ','londerland world where you run as fast as you
can forward, and end up going backward.
Growing large and small as the situation demands of you
--or makes you.
A different kind of a place where war is praised and
shunned in one breath.
A noisy place in need of quiet and tranquility.
A dirty place in need of cleanness and bright.
A dreary place in need of cleanness and cheer.
A place in need of a revolutuion against pollution.
This earth was once green, bright, and beautiful,
But now?
It's dying.
Or already dead.
Yet the earth this spring is struggling to renew itself.
It's as though the planet itself has a tremendous will
for self-revival--no matter what people do to it.
People who are often not worthy to be called people,
human beings.
And then there are those who are nearer to angels than
humans.
God, angels, people, the evil, the devil
Layers of living souls stacked from good to bad.
People • • • judging people and all other beinGS and things.
People, places, and things all destroying themselves,
or being destroyed.
A nonexistent peace, the dove, the pax Romana---A FARCE.
Beauty and ugliness--often is one thing at one time.
People's lives trailing on like soap operas, or serials
like people's lives.
Life, Death-in-Life, Death, Life-after-Death
'dhat are they??
Will I ever know?
Nake the changes with a peaceful heart.
(
l'1ovement is a need; it's a necessity as is change.
Movement is change.
Death is not to be feared, nor is life.
Love is life
loving is living
Life is peace in death.
Security is the ability to cope with the unexpected •
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Loneliness is the inability to cope with one's own self.
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Strikes and stike-breakers
Trusts and trust-busters
Greed, strife, and people's dreams
Hunger and pain
Love in homes without food
Hate in homes where stomachs are full.
Mystery:
in life, death; in love, hate.
.
The peace of the unborn
The tranquility of the peaceful-died.
(
Which way is up?
\-Jhere is life?
Is up where I anl to go?
!,';hich way to go?
Life is all around, but how can I take
hold of iti
Living is thinking.
Peace is not found in always having one's own way.
Value--a need of something of value, of an important thing.
Land, bread, and peace in exchange for personal freedoms.
Plushness and luxury vs. harshness and want--
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Animals calling themselves people
Saying that they are better
Their actions disproving their words •
Going to live life my way, not theirs.
A cool, clean wind blows across t:le earth. The sky is
blue again after the grayness of the rain •
The birds sing •
I am free to love again.
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•
D. Werblo, 1970
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Daydreams
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The answer lies shrouded in
::iJster~l.
Confusion rules the mind of man,
But confusion is the beginning of learning.
}he sun is set, zone is the sunlight.
~oonlight,
moonbright moon.
Questions rise in the mind-And die, unanswered.
IIUnquestionably' has all the vowels in it.
Is there a word with all the consonants?
(
Supercalifragilisticexpialidocious?
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and many others •
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Stars are the night lights of the angels.
3tars are fiercely, piercingly hot •
3tars are suns.
Do their planets have sons?
~vords
are too easily misunderstood. Concepts
and ideas are too broad for words.
Direct mind to mind communication is the answer.
But HmV?
Is anyone knitting shrouds today.?· ;las it a far,
far nobler thing he did than he had ever done before?
Ah! yes, I think so!
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"Peace be with you friend.
burning tonight?"
Are you goinr; to the wi tch-
"Good, I'll see you there."
Funny vlorld, isn' t it? Funny? ':lhat an inadequate word!
Unique doesn't even make it.
Unique is an odd word.
3ay
it twenty times and see.
Odd sounding, isn't it?
Ugly is an ugly word. It sounds like whats it means.
Onomatopoeia, isn't it? That's a ~ood word.
,~
2
::/hat time does Vienna stop at this train? ..t..=ffiC •
186,282 mps, speed of light, and poof! A new dimension?
Who knows? Relativity is wonderful. Isaac Asimov is
something else!
See you on the east wind.
D. Werblo, 1970
(