SOME COMMENTS FROM OUR READERS

"The most courageous magazine being published during this war."

EDITH SITWELL

"Full of amazing and amusing material."

Direction

"In the pages of *View*, surrealism loses its ism and retains its super-reality."

NAPIER TOWNE

"Most esthetically satisfying magazine since the old days of *The Dial* and *The Seven Arts*."

MRS. PATERSON MCCAN
Hood River, Ore.

"... sumptuous ... the detaining tower with the many patterns of wrought-iron railing should empower one to break all fetters."

MARIANNE MOORE

"On n'a pas vu depuis le *Minotaure* pareil déplacement de richesses et de trouvailles."

ALAIN BOSQUET

In projecting a newer, larger and still more adventurous magazine, we call upon lovers of art and liberty to give us the support — by subscribing, or by extending their subscriptions, now, by subscribing for friends, and by sending copies to the in our armed forces, with whom, as we know from their letters, *View* has "double strength."

Use the coupon below, mail it to us today, help create an impossible magazine of the arts that no one could have dreamed!" (William Carlos Williams)

View edited by Charles Henri Ford
Assistant editor, Parker Tyler

Published by VIEW, Inc., 1 East 53rd St., New York City

35¢ a copy; one dollar for four numbers

I enclose ______ dollar(s) for the 4 numbers of the 3rd Series to be sent

Name

Address

Please send also to the following:

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Address

MAGAZINE VIEW BARRED

Winter Issue Non-Mailable, Says
Postoffice Department

The Postoffice Department has
notified the editorial board of
View, quarterly magazine of art
and literary criticism, news and
biography, that the publication's
winter issue, currently on sale, has
been ruled non-mailable under
Postal Regulation 598, the section
under which second-class mailing
privileges were denied to the
monthly Esquire, it was announced
yesterday by Charles Henri Ford,
editor.

"We hold that the barring from the mail of the winter issue of View is unjustifiable for several reasons, and have sent a protest to Washington," Mr. Ford said. "Most of our circulation is among artists, art collectors, critics, galleries, museums, and universities and colleges. We have not been informed what item or items of the contents of the current issue have been found objectionable. If it is the Picasso nude—the work of an internationally acclaimed artist—we fail to understand the Postoffice Department's action.

NY TIMES
Jan 1 1944

NEWS Jan 1, 1944

Bar Winter Issue
Of Art Magazine

The Winter issue of View, an art
publication which in this case ap-
parently viewed too much, has
been banned from the mails, the
Post Office Department yesterday
informed Charles Henri Ford, edi-
tor.

Ford, palpably annoyed, said he
could think of nothing objection-
able in the magazine and couldn't
imagine what the Post Office had
in mind, except possibly "the Pi-
casso nude—the work of an inter-
nationally acclaimed artist."

The publication, which describes
itself as a "quarterly magazine of
art and literary criticism, news and
biography," was banned under
Postal Regulation 598, the section
under which second-class mailing
privileges were denied to Esquire
magazine on Thursday.

Protest to Washington.

"We hold that the barring from the mail of the Winter issue of View is unjustifiable for several reasons, and have sent a protest to Washington," Ford said. "Most of our circulation is among artists, art collectors, critics, galleries, museums, and universities and colleges.

"We have not been informed
what item or items of the contents
of the current issue have been
found objectionable. If it is the
Picasso nude—the work of an in-
ternationally acclaimed artist—we
fail to understand the Post Office
Department's action."

The magazine circulates 5,000
copies, half on news stands and
half by mail to subscribers.

TIME (Jan 10)

THE PRESS

Esquire Banned

For two years Frank C. Walker's Post Office Department has had a perfect batting average against magazines it cited, or simply scanned, as obscene: 23 cited; 39 put to the purity test; 62 second-class mail (cheaper rate) privileges revoked or denied. Last week sharp-nosed Postmaster General Walker, setting himself up as the No. 1 judge of what the U.S. public should read and of what it should be denied, personally turned thumbs down on Esquire.

His one-man ruling was not given on the
obscenity grounds covered by his court's

ganization for Decent Literature, came a
statement: "*Esquire* not even on our dis-
approved list for a year . . . no collusion,
no correspondence. . . . As far as I know
he doesn't think of me in connection with
this *Esquire* business."

Smut v. Fun. The *Esquire* case had gone well beyond the original issue of smut v. good, clean fun and was taking on a serious aspect for the U.S. press. Said New York's *Daily News*: "The next logical step [of the Administration] will be to go after publications printing things deemed politically obscene, meaning unfavorable to the Administration. . . . The press had better stand up and fight . . . or it will cease to be a free press."

Banned from the mails at week's end,
without a hearing, was the magazine *View*,
slick 75¢ quarterly devoted almost en-
tirely to art with a capital A. The ob-
jected-to material: reproductions of 1)
surrealist nudes by Leon Kelley, 2) Picas-
so's *Le Minotaure* (in a Manhattan gal-
lery's advertisement). Poet-Editor Charles
Henri Ford stood up to fight.

NEWSWEEK

JANUARY 10, 1944

FOURTH ESTATE

Speechless Esquire

Setting himself up on the next to last
day of the year for the nomination as
Washington's No. 1 Anthony Comstock
of 1943, Postmaster General Frank C.
Walker, crusader for "clean" magazines,
last week ordered the second-class mail-
ing privileges of Esquire magazine re-
voked effective Feb. 28. Instead of
penalizing the magazine for its original
alleged sins, "obscenity, lewdness, and
lasciviousness," Walker produced this
new reason: Esquire isn't "originated and
published for the dissemination of in-
formation of a public character or de-
voted to literature, the sciences, arts, or
some special industry."

Walker's own panel of Post Office
judges in a 2-1 opinion had recommended
that Esquire be deemed morally fit to
travel second-class-after they had lis-
tened to 38 witnesses and had thumbed
through 2,500 pages of testimony (NEWS-
WEEK, Nov. 8, 1943). Thus the Post-
master General's disregard of the board's
opinion brought from David Smart, Es-
quire's dapper, vitriolic publisher: "This
leaves me speechless." But a decision that
will cost the magazine a prohibitive
$500,000 more per year in postage and
might conceivably put it completely out
of business, did not leave Smart speech-
less long. He directed Esquire attorneys
to seek a District of Columbia court
order to enjoin the Post Office on the
grounds that Walker's decision was com-
pletely "abrig arbitrary and capricious. He
sets up his own judge and jury and then
overrides it . . ." and he promised that
Esky would take the case to the Supreme
Court, if necessary.

Almost in the same breath, the Post
Office Department barred from the mails
the December issue of View (circulation,
5,000), quarterly literary and art publica-
tion devoted to the esthetic study of
revolutionary groups in the art world.
View's young editor, Charles Henri Ford,
who also writes blank verse, said in a
choked voice: "We wonder if it's the
reproduction of Picasso's 'Le Minotaure'
that bothers them. If so, we'll try to con-
vince the Post Office that it's art, not
obscenity, and if necessary inform them
who Picasso is."

The Post Office and View

On the heels of Postmaster General Walker's denial of the second-class mailing privilege to Esquire magazine comes a similar ban on View, an avant-garde magazine devoted to literature and the arts. Although no reason was advanced for the suppression of the current issue, it is more than likely that one or another of three nudes—by Michelangelo, Picasso and Leon Kelly, a young American artist—gave offense to the authorities. Apart from the issues raised by censorship in general and the specific fitness of Mr. Walker as an art critic or public moralist, the ban is manifestly unfair, since artistic representation of the human body in various states of undress can be found in a number of publications that enjoy the second-class mailing privilege. From a practical standpoint, the suppression of View is more serious than the Esquire affair. The latter magazine is wealthy and extremely popular. At least one publicist—a Republican politician—claims that its suppression is a greater blow to soldier morale than the threatened loss of the voting privilege. View has, however, a very small circulation, restricted largely

to artists, writers and scholars. The prompt restoration of its second-class permit is imperative as evidence that the rights of minorities—even artistic and literary minorities—are secure.

THE NEW REPUBLIC
JAN 24, 1944

NEWS JAN 10

Broadway

By DANTON WALKER

The Home Front

Wendell Willkie is reported ready to act as defense counsel for John Roy Carlson (Arthur Derouian), Ar- menian author of "Under Cover," if Senator Wheeler organizes a Senatorial committee to investigate that book . . . Harry Hopkins is slated to accept an out-of-the-coun- try assignment in order to avoid compromising the Fourth Term plans . . . International News Service will be put on the spot for "attempting to start an argument" about labor between Generals MacArthur and Marshall, because of a story on what MacArthur thinks about labor carried by INS last week . . . F. D. R. will shortly okay a PWA (Public Works Administration) plan for a network of express highways throughout the nation . . . Florida hotel men squawking to Senator Truman's committee that the Army did more damage to their hotels than an American Legion convention and so far has refused to make re- dress . . . Ex-Police Commissioner Joseph F. Timily of Boston, ousted for alleged failure to curb anti-Semitic outbreaks there, may wind up operating Hialeah Park in Florida for former Ambassador Joseph Kennedy . . . View magazine was barred from second-class mailing privileges by Postmaster General Walker, without the benefit of Esquire's publicity.

Postmaster Walker and the Muses

ONE reason why Postmaster General Walker bar- red Esquire from second-class mailing privileges, after a committee of deputy postmaster-generals had approved the magazine, is that he was annoyed over the tremendous publicity the magazine had gotten out of the case. If so, it is a grave business where the caprice of one man can bar magazines from the mails.

But more important and almost completely un- noticed is the fact that Mr. Walker barred the maga- zine View. This magazine, almost completely non- political, is a serious art and literary magazine cham- pioning surrealist tendencies in art. Its contributors include world-famous artists Max Ernst, Yves Tangyu, Pavel Tchelitchew and others; its writers include Andre Breton, Nicholas Calas, Charles Henri Ford and other avant-garde writers. There is noth- ing pornographic or lewd in the magazine, but the philisitine mind of a Democratic politician can't see anything else, and so the magazine is barred. This is a serious blow to cultural freedom, one much more important than the widely-heralded Esquire case.

No Mail Ban on Magazine View
Special to THE NEW YORK TIMES.

WASHINGTON, Jan. 21—The Postoffice Department said today that it had never banned from the mails the magazine View, a quar- terly surrealist art publication. The December issue of the maga- zine was sent to the Department by the Postmaster of New York for examination to determine if certain features were obscene. The issue was held up for about a week, the Department said, while it was being studied and then was allowed to be mailed. The magazine uses third-class mail rates and a second- class permit was not in question.

N.Y. Times, Jan. 22,

A Correction

On Dec. 22 the quarterly art magazine View made application to the Postoffice Department for a second-class mailing permit. Two days later Vincent J. Miles, solicitor for the Postoffice Department, ruled that the December issue of the magazine was non-mailable un- der Postal Regulation 598. On Jan. 21, following a hearing in Washington at which Charles Henri Ford, editor of View, was repre- sented by his lawyer, Maurice J. Speiser, Mr. Miles reversed the rul- ing and notified the Postmaster at New York that the ban had been withdrawn. The non-mailability ruling of Dec. 24 had reference solely to the December issue. The magazine was not deprived of the privilege of applying for a second- class permit. It renewed on Jan. 22 its application for second-class mailing privileges.

The New York Times, 1/29/44

1/8/44

THE NEW LEADER

Mailing Privilege Restored

The Post Office Department has restored second-class mailing priv- lieges of the winter issue of "View," a quarterly magazine of art and literary criticism, it was announced yesterday by Charles Henri Ford, editor. The winter issue had been ruled non-mailable under postal regulation No. 598, the section under which second-class mailing privileges were denied the monthly magazine "Esquire." In appealing the original ruling. Mr. Ford pointed out that most of the cir- culation is among artists, art col- lectors, critics, galleries and uni- versities.

N.Y. Herald-Tribune
Jan. 22, 1944

PRINT, Vol. III, No. 3 (1943)

View THE NEW QUARTERLY OF POETS AND PAINTERS

*has presented the 2nd Series of four numbers:*

No. 1 (April 1942): Special issue on Max Ernst

No. 2 (May 1942): Tanguy-Tchelitchew number

No. 3 (October 1942): A variety of essays by Roger Caillois (Vertigo); Nicolas Calas (The New Prometheus); Parker Tyler (The Endless Island)

No. 4 (January 1943): Americana Fantastica

Each number is elaborately illustrated and with a specially designed cover. A limited quantity of the 2nd Series, in slip-case, obtainable at $1.75, post-paid. (Not sold separately.) Contributors include: Andre Breton, Sidney Janis, William Carlos Williams, Wallace Stevens, James Thrall Soby, Lincoln Kirstein, James Johnson Sweeney. Reproductions of the work of Ernst, Tanguy, Tchelitchew, Hanani, Seligmann, Masson, Eilshemius, Stettheimer, Eakins and many others.

*Subscriptions are being accepted for the 3rd Series*
*FOUR NUMBERS $1.00*

Manuscripts and photographs invited by the editor

CHARLES HENRI FORD · 1 East 53rd St., New York City
Parker Tyler · Assistant Editor

Distributor: GOTHAM BOOK MART, 51 West 47th Street, New York City

View

the modern magazine
of the arts

1 East 53rd St.
New York City

CHARLES HENRI FORD, Editor

PARKER TYLER, Assistant Editor

**** DEPARTMENTS ******

HILARY ARM: Art

PAUL BOWLES: Music

MARY MCCARTHY: Theatre

HAROLD ROSENBERG: Books

PARKER TYLER: Films

WALES, Jan. 1944

View

SOME VIEWS ON

"... the most imaginative publication I've run across so far."—KARL SHAPIRO.

"If Charles Henri Ford can be persuaded to continued editing VIEW, it is reasonably sure there will be 'results'. The latest issue [9-10] of this publication is so completely stylized from beginning to end, that it becomes clear that the younger group of poets and painters, no matter what happens, will cling to their 'biens'."—HENRY MCBRIDE, N. Y. Sun.

"I am too old to understand VIEW."—CARL VAN VECHTEN.

With 11-12, Volume I of VIEW is complete. Many requests for back numbers must go unfilled but the Gotham Book Mart, 51 West 47th St., New York City, can still supply the following, at 20¢ the copy:

**9-10** features: THE DESTRUCTION OF THE WORLD by Pierre Mabille

"ENCHANTED WANDERER" by Joseph Cornell

EVERY MAN HIS OWN PRIVATE DETECTIVE (reportage of The Maltese Falcon, film) by Parker Tyler

NOSTRADAMUS AGAINST THE GODS (An Assertion of the Active Principle of Prophecy) by Hilary Arm

REMARKS ON THE POLYMORPHIC IMAGE by John B. L. Goodwin

A FEW WORDS OF ADVICE TO BEGGARS by Clark Mills

Reproductions of paintings and drawings by Pavel Tchelitchew, Giorgio di Chirico, Leonor Fini

Photographs . . . Poems and stories by Manuel Moreno Jimeno, Nicholas Moore, Forrest Anderson, Rosamel del Valle.

**11-12:** THE POLITICS OF SPIRIT by Lionel Abel

PICASSO IN THE LIGHT OF CHIRICO (Mutations of the Bull-Fight) by Robert Melville

MAGIC CIRCLES by Kurt Seligmann (fully illustrated)

A NIGHT WITH JUPITER by Henry Miller

THE CAT THAT CAME BACK: Poem by Alva N. Turner, accompanied by a letter from the author, a letter from W. C. Williams and a reproduction of a painting by Gertrude Cato

THE SISTERS, a short story by Leonora Carrington

THE FOURTH DIMENSION OF ROMANCE (a consideration of Julien Gracq's Chateau d'Argol) by Parker Tyler

TOWARDS THE UNKNOWN: A symposium by W. C. Williams, Mina Loy, Marianne Moore, Archibald MacLeish, Harold Rosenberg, Lee Ver Duft

Reproductions of the work of Max Ernst and Picasso; drawings

Poems and prose-poems by Nicolas Calas, Robert Duncan, Randall Jarrell, Lawrence Durrell, Conroy Maddox

VIEW's second volume will consist of four numbers in an improved format: 32 pages each, 7½ x 10½, stapled, selling for 35¢ a copy on the magazine stands. Assure yourself of a complete set by subscribing at the continued rate of one dollar.

View

360 East 55th St.

New York City

FURIOSO, Vol. II, No. 1, 1943

The magazine *View* announces that it is entering the book-publishing field with four forthcoming volumes of poetry. They are *Young Cherry Trees Protected Against the Hares*, by André Breton (in English translation); *Anti-Angel* by Lionel Abel; *First Poems* by Philip Lamantia; and a volume to be chosen from book manuscripts submitted before April 31, 1944. Only the work of poets who have had no previous volume of verse in English will be considered. Judges will be Charles Henri Ford and Parker Tyler, editors of *View*, and John Peale Bishop. The poet whose manuscript is chosen will receive one hundred dollars in advance royalties. The series will be available at the advance subscription price of twelve dollars. The Breton volume will have a cover designed by Marcel Duchamp, the Lamantia volume a cover by Max Ernst, and the others by artists as yet unannounced. Inquiries and manuscripts may be addressed to View, Inc., 1 E. 53rd St., New York 22.

POETRY (Chicago) Ferb. 1944

Attractions in the Galleries

The Maitland F. Griggs be-
quest of early Italian paintings
to the Metropolitan Museum,
now shown in Gallery 15, makes
as appropriate a Christmas show
as could be desired. The note is
emphasized by the installation,
which is chapel-like and helped
out by greens.

All the paintings are small and
most of them no more defini-
tively attributed than to such
medieval workshops as those of
Fra Filippo Lippi, Simone Mar-
tini and Masolini, but for all that
they decorate the little gallery
handsomely and will provide se-
rious students of the early days
in Italy with plenty of confirma-
tory research material. The little
panels, no doubt intended for
small private chapels, are not
stamped with greatness of man-
ner but the unhesitating clarity
of the compositions, due to the
authentic spirituality of the art-
ists, is something to be grateful
for.

The watercolors of Katherine Sturgis in the Kraushaar Gallery are simplified almost to the extent of being Chinese but there is no conscious affectionation of orientalism in them and most of us can accept them as native to Virginia and Vermont, where they were painted. The mist on a distant hill or a remote rain storm come easily to this artist and her decorative instinct is pronounced.

In the A. C. A. Gallery the
peasant art of David Buriuk is
shown. Like newcomers to
this land, Mr. Buriuk is but a
visitor here and thinks in terms
of the Russia he left years ago.
It is curious that this should be
so, but psychologists find it ra-
tional. Such pictures as the
studies of life on Tompkins
Square and at Martha's Vineyard
are not half so attractive as the
imaginative children "On the
Dnieper's Shores." This is rough-
hewn painting, but it has the
sparkle of something the artist
liked doing.

The cutest art gallery in town
is also the newest one, the one
attached to the offices of View
Inc., 1 East 53d street; but keen
students of the latest movements
are advised to go to the show as
early in the morning as possible,
for twelve visitors at one time
might crowd the rooms unduly
and interfere with study. The
artists in this first display are
attached to the review, and like
the writers for it, are advanced
to an almost alarming degree.
They include Tchelitchew, whose
cover design is a bold announce-
ment of a new way of focusing
the eyeball upon vegetable
growths rather than human be-
ings; and others are Edward Mel-
carth, Andre Masson, Sandy Cal-
der, Yves, Tanguy, Cadmus, Ha-
nani, Kurt Seligman and Kay
Sage.

In the Bonestell Galleries new
paintings by Nura are shown. As
heretofore the topics concern
children, but the discussion scems
to be addressed to adults. There
is a massiveness to Nura's chil-
dren that adults might like.
Adults like to think that children
will stay that way. Children
themselves don't care to stay put.

H. McB.

CUE, Jan. 1, 1944

Art Galleries

BURIUK, DAVID—A fiery Russian Revolu-
tionist is now a mellowed American artist
with 50 years of painting history behind
him, and 40 paintings of this year upon the
walls. Buriuk courageously fought his way
to attention in this country with a palette
knife loaded with heavy paint. But he has
his milder moments and sometimes glazes
as gently as a burgher. A.C.A., 63 E. 57.
Thru Jan. 8.

FASHIONS OF THE FRENCH COURT—
large and rare collection of contemporarily
colored 17th and 18th century costume
prints of the fashion world at the courts of
the Louis XIV, XV and XVI. Styles for
coiffures, bonnets, negligees; widow's weeds,
garden sports, masquerades; and formal
court apparel, are all elaborately done
those for ballet, opera and drama of the
day. At *Morgan Library*, 29 E. 36th. Daily
(ex. Sun. and New Year's) 9-5. Thru Feb.
Free.

GUY, JAMES—A surrealist who used riddles
as the superstructure of his pictures, has
been changed by employment in an airplane
factory. Cobwebs are swept away and big
industrial forms take their place. His ab-
stractions are made of cogs and ramps, cir-
cular saws and welding sparks. He makes
symphonies of energies. *Ferargil*, 63 E. 57.
Thru Jan. 16.

HACKE, FREDERICK—This year's show
represents a great development for the art-
ist whose venous nudes and plant forms
have repelled and confused more often than
persuaded. He "exteriorizes his insights"
now, in more understandable terms and they
become, at once, more beautiful and more
communicative. *Perls*, 32 E. 58. Jan. 3-29.

MARTIN, FLETCHER—Life Magazine's Dec.
24 cover is here in person, along with Mar-
tin's paintings made from sketches done
in Bizerte, Casablanca, Tunis, and on Hill
609. Many of his live drawings are also
shown and a few not-war paintings. Mid-
town, 605 Madison at 58th. Thru Jan. 20.

PARIS—Reconstruction of Paris in pictures by
some of the finest names in French art as
well as popular-style boulevard painters.
Sentimentally, it's a ringer; for quality, it's
tops in instances of celebrated canvases by
Renoir, Depine, van Gogh, Manet, Berman,
and La Motte. Coordinating Council of
French Relief, Madison Ave. at 56th. Thru
Jan. 9. Adm. 55c.

PUMA, FERNANDO—Called a mystic by his admirers; entrepreneur by the artists he forwards; this gallery director-artist is more interested in textures than in conventions. His palette knife paintings on canvas, parchment and hollow tile, are without much form or color. What virtue lies in them, is found in the lightsome forms of circus performers—when they do appear *Puma Galleries*, 108 W. 57. Thru Jan. 8.

VIEW—A gallery to match the publication
was opened this month and shows drawings
by the surrealists most often noted in the
specializing pages of this bi-monthly maga-
zine. You may often get first view here of
new tendencies in the art of such artists as
Tchelitchew, Masson, Lipshitz, Cadmus,
Tanguy and Kelley. View, 1 East 53rd
Show is stet 'til March.

ART NEWS, Jan. 1-14,1944

THE PASSING SHOWS

IN A MEDLEY of French Impres-
sionist pictures from Manet through
Renoir, at Durand-Ruel's, Pissarro
is the star. There are several land-
scapes by André, three Monets, three
Sisleys, a Maufra, a Cassatt, a pair
of little still-life studies by Renoir
and two exceptional, "uncharacteris-
tic" canvases by Boudin. Yet it so
happens that Pissarro takes the show.
The quality of his paintings leads
especially: *Towing Horses*, a canal
landscape with the lovely, half-ro-
mantic flavor of early Impressionism
upon it, and *Spring*, a poetic view of
fields and trees in which the delicate,
refined drawing is excellently suited
to the Pointillist method of coloring.
(Prices not quoted.)

VIEW, our fantasist competitor,
has just opened a sunny penthouse
gallery one door off Fifth Avenue
where, amid the cosy dishevelment
dear to the Surrealist, a group of
drawings and small paintings are
currently displayed. Noted especially
were one of Tchelitchew's most
delicate anatomical probings, *The
Flower of Sight*; two strong com-
positions by Kay Sage; and draw-
ings on colored paper by the bril-
liant Rico Lebrun of whom we are
soon to hear more. (Prices $25 to
$500.)

Dec. 24, 1943

N.Y. SUN

Direction, Spring 1943

Why Wait Until
They're Popular?

Today's discoveries in the field of art and ideas
are presented NOW in *View*.

americana fantastica
iconography

the morphological image
magic realists

metaphor in painting
poetry as prophecy

the surromantic
dream worlds

*View* prints the evidence—you give the answer!

And, too, there are illustrated feature articles on
Movies and Magazines, Books, Broadway and the Blues
—but the point of *View* is different. . . .

The 3rd Series, appearing from April to October in a
new format, 9 x 12, with, as usual, cover drawings de-
signed originally for *View* by outstanding modern
artists, will include the following contributors: Paul
Bowles, André Breton, Kenneth Burke, Roger Caillois,
Nicolas Calas, Alexander Calder, Joseph Cornell, Max
Ernst, Sidney Janis, Julien Levy, André Masson, Robert
Melville, Henry Miller, Nicholas Moore, Montagu
O'Reilly, Man Ray, Harold Rosenberg, Kurt Selig-
mann, Edith Sitwell, Pavel Tchelitchew, Henry Treece,
Peter Wells, William Carlos Williams, George Wood-
cock and others.

35c a copy or send one dollar for the four numbers of
the 3rd Series to View, 1 East 53rd St., New York, N.Y.

Volume I is out of print; the 2nd Series (4 numbers in slip case) is already a collector's item and still obtainable from Gotham Book Mart, 51 West 47th St., N. Y. C. ($1.75).

THE CHMERA

View

AN INDEX TO

2nd Series, No. 4 (AMERICANA FANTASTICA, January 1943)

Parker Tyler: Americana Fantastica

Joseph Cornell: *The Crystal Cage*

Alva N. Turner: *A Manuscript Found in an Iceberg*

Hugh Chisholm: *Extraordinary Portable Machine Useful for the Purpose of Extracting Blood from Stones*

Charles Henri Ford: Ballet for Tamara Toumanova

Kennedy Blanchard: *Whippoorwill Girl!*

Virgil Thomson: *Portrait of Florine Stettheimer*

Reproductions of the work of Thomas Eakins, George Platt
Lynes, Helen Levitt, Florine Stettheimer, Kay Sage;
and other features . . .

Send $1.00 for the next 4 numbers (Series 3) to:
View, 360 E. 55, New York

charles henri ford, editor
parker tyler, asst. editor

$2 a year, 50¢ a copy

4 issues a year

1 east 53, new york 22

View

The current issue, October 1943, features articles and reproductions focussed on the Narcissus myth. *View* Magazine presents in word and picture what is happening on the art and literary fronts. No reader of *Books Abroad* will want to miss it.

Among the distinguished artists and writers who contribute regularly to *View* are: Kenneth Burke, Nicolas Calas, Alexander Calder, Joseph Cornell, E. E. Cummings, Sidney Janis, André Masson, Henry Miller, Man Ray, Edith Sitwell, Kurt Seligmann, Pavel Tchelitchew, and others in the international vanguard.

Books Abroad, Autumn 1943

MARYLAND QUARTERLY, No. 1, 1944

● **Editor:**
Charles Henri Ford

Assistant Editor:
Parker Tyler

● In the December issue: art, elegance, and revolutionary ideas, a combination found only in VIEW.

Among the 48 pages of illustrated features are:

APES, WARRIORS, AND PROPHETS by
Nicolas Calas

IMPRESSIONS OF AFRICA by Raymond
Roussel

DEAD EYE DICK RIDES AGAIN by Clay
Perry

SOCRATES AND THE MASTER POET
by C. G. Wallis

THEY CANNOT STOP DEATH, poem
by Joe Massey

Also NEW YORK LETTER, the fantastic CHILDREN'S PAGE, VIEW LISTENS, and a Complete Index to the 3rd Series, concluded with this issue.

Cover in full color by TCHELITCHEW

"View is...

too small and appears too infre-
quently. I, for one, need its gut-
walloping at least once a month."

CPL. SAMUEL D. MORFORD
U.S. Army

[Cpl. Morford will be pleased to find that No. 4 of our 3rd Series is the biggest to date and will continue to grow in the super deluxe direction in 1944.]

●
This
Issue
75¢

View, Inc.

1 East 53 Street
New York 22
New York
$2 a Year
Four Issues

THE TALK OF THE TOWN

in the garden, they discovered that the
they baby ducklings there were both
helpless and fabulously wealthy, and
from that time on they lived luxuriously
ly and without labor on the very best
duck food, bullying the life out of the

tor; Parker Tyler, Assistant Editor. Published in April, June, October, and December. No. 2, Series III. 35¢ a copy; One dollar for four numbers. Copyright 1943 by View, Inc. Manuscripts and photographs must be accompanied by stamped self-addressed envelopes.

Where is that absinthe spoon now,
gentlemen, whose are those demone-
tized coins?

ducklings. Now that the garden has been
closed up, the ducklings have been
sent to a farm and the pigeons have been
left to their own resources. Our judg-
ment is that they'll be equal to the situa-
tion, that they'll just hop down to
Florida for the winter and take it easy
until the Ritz reopens the garden in the
spring.

ONE of our office boys left his copy
of *View*, the surrealist magazine,
in a corner of our office with his um-
brella and rubbers, and we skimmed
through it while he was out to lunch.
We are now prepared to réveal the flaw
in surrealism. When *View* wants to
talk about the magic of poetry, it says:

I open a drawer and see, between spools
of thread and a pair of compasses, a spoon
for absinthe. Through the holes of this
spoon I see a band of tulips, marching in
goosestep fashion. Philosophy professors
stand in their corollas, discussing the cate-
gorical imperative. Each of their words,
demonetized coins, break in pieces on the
ground, which bristles with noses—and
the noses throw the words back in the air
where they turn into smoke rings. Their
slow dissolution engenders minute frag-
ments of mirrors which reflect a bit of
wet moss.

But when *View* wants to say something
important and make sure that it gets
across, it whistles a different tune. A
note on the editorial page reads:

View is published by View, Inc., at 1
East 53rd St., New York City. Telephone
Plaza 3-7522. Charles Henri Ford, Edi-

Publishers' Weekly

June 9, 1945

► VIEW, THE MODERN MAGAZINE, announces a series of books which are intended to be absolutely modern in format and content. The first volume to be released is "Poems for Painters," by Charles Henri Ford, which is issued in a 9 x 12 format, paper-bound, with a cover drawing by Tanguy and sixteen half-tone reproductions of the work of Duchamp, Fini, Francés, Tanguy and Tchelitchew. The newsstand edition sells for $1 and there are 500 copies numbered and signed for $2.

Other View Editions in the series of de luxe collector's items at popular prices are "Young Cherry Trees Secured Against Hares," by André Breton, and "Once the Soft Silken Damage Done," an anthology of short stories which have appeared in View. They are scheduled for publication in the near future. In preparation for summer release are two volumes of poetry, one by Lionel Abel, and the other by Philip Lamantia; and two brochures: "Human Anatomy as the Expanding Universe: Tchelitchew's New Phase," by Parker Tyler, and "Homage to Max Jacob," edited by Leon Kochnitzky, the French poet whose name is allied with Cubism and other modern movements.

Ford, Charles Henri

Po-Art

Poems for painters. no p. il. F (View al-
bums, 1) c. [N.Y. 22], View Editions, 1 E.
53 St. pap., 100; numbered signed ed., 2.00

Five poems inspired by the modern painters Du-
champ, Leonor Fini, Francés, Yves Tanguy, and
Tchelitchew. The first book in a new series of mod-
ern creative writing and art, a projected publishing
project of View magazine.

NEW YORK, N. Y.
SUN

MAY 26 1945

In the May issue of View
Leon Kochnitzky reports that he
"overheard a charming woman
murmur 'I feel as if I were in
Sing Sing' as she walked through
one of the largest rooms of Piet
Mondrian's exhibition at the Mu-
seum of Modern Art." This is
nothing for the Mondrian en-
thusiasts to be alarmed about.
In reality it was a sensitive and
clever remark. My guess is that
the "charming woman" was
Muriel Draper.

The New Leader

May 30, 1945

Pro, a Review by RALPH DE TOLEDANO

Wars I Have Seen is a slight book and as such hindered in its mission by the vast bulk of Gertrude Stein's reputation. It is not a book I would recommend to John Gunther's public, avid for the fact and the statistic, or to the sickly coterie which takes its nose out of view only to snort away some of M. Calas' coarser cobwebs. I commend it rather to those who love France and have been bewildered by black-and-white journalese which has painted it as a

A Weird Booklet of
'Poems for Painters'

With "Poems for Painters" (View,
inc., 1 East 53d street, New York;
$2), the publishers of View magazine
begin a projected series of "view
 albums," "intended to be 'absolutely
 modern,'" It is a 16-page pamphlet
with 16 half-tone reproductions of
the work of five contemporary artists,
with a poem devoted to each. The
artists are Marcel Duchamp, Leonor
Fini, Esteban Francis, Yves Tan-
guay and Pavel Tchelitchew and the
poet is Charles Henri Ford.

The pictures vary in style from
the academic of Tchelitchew to the
weirdly symbolical (?) of Frances,
but the poems are consistently "abs-
olutely modern" (unless that term
be a misnomer for a revival of an
extravagant vagueness that enjoyed
a certain popularity some years ago,
but lapsed into innocuous desuetude).

Mr Ford's accuracy as interpreter,
will be a matter of difference of
opinion. The publishers quote an
admirer as saying of Mr Ford's
poems, "They give me always a
shock of delight and of revelation."
The uninitiated reader of the selec-
tions in this pamphlet will be sure
to get the shock. The delight or the
revelation is less certain. "O," ac-
companying the picture by Mr Fran-
ces and the only one of the poems
printed for the first time, is in the
form of an acrostic, the initials of
the first lines reading, "Of magic
and the sense of grandeur." Here are
the "The sense" lines:—

"The Septembrists of a new carnality
Hold hands with numerological im-
ages

Eruptive as religion, evocative as
touch

Stupors of the most omnivorous
colors

Envelop beholders of crime in the
name of country

Now comes the promise of an in-
definable sickness

Sweet as the vision of a child plot-
ting murder.

Epochs of agony dissolve like charley
horses." B. S. E.

SPRINGFIELD SUNDAY
UNION - REPUBLICAN
SPRINGFIELD, MASS.

JUN 3 - 1945

Modern Music Jan-Febr 1945

THE TORRID ZONE

Symphony Orchestra gave a performance over WNYC of Samuel Barber's *Concerto For Violin And Orchestra*. The slight, innocuous materials of this piece and their subsequent treatment, naive and politely cute at best, hardly make up a concerto in any normal sense of the word. The work seems more like a three part bagatelle, neatly scored throughout with intelligent musicianship in a conventional sort of way, and especially well managed in the slow movement which has a fine cadence, suave in sonority and comparatively fresh in quality.

It was interesting to hear the radio premiere (N.B.C.) of Lionel Barrymore's *Praeludium and Fugue*, performed by the Indianapolis Orchestra under Fabien Sevitsky, to whom the work is dedicated. It is better than a mere academic and conventional exercise, and has many moments of real harmonic and contrapuntal beauty. I've heard much weaker music by men like Hadley and Cadman.

WNYC is currently presenting an entertaining series called "Behind the

Scenes in Music." The programs, under the auspices of the National Orchestral Association, are actual broadcasts of unprepared rehearsals of contemporary works. Leon Barzin conducts and succeeds in maintaining an amusing line of chatter with both the orchestra and composer guests who are often present to discuss their compositions. Already represented have been Arthur Kreutz, Frederick Hart, Victor Young, Irwin Heilner, Joseph Wagner, Henry Cowell and Quincy Porter, whose *Music For Strings* was by far the best piece done on the series to date.

WQXR offered an unusually attractive program of songs for tenor voice and piano, featuring the gifted singer Romolo De Spirito. Arthur Berger's *Crazy Jane At The Day Of Judgment* is a sensitive and apt setting for the Yeats poem and a musically gratifying piece of rare distinction. Theodore Chanler was represented by his *I Rise When You Enter*. This light piece has an undeniable charm, but hardly exposes that fine composer's best gifts.

THE TORRID ZONE

By MERCURE

WHAT with the list of patrons for View's concert of "the new jazz" including Mrs. Vincent Astor and the Marquis de Cuevas, and the sponsors (a subtle distinction) including Kirk Askew, Marcel Duchamp and Gypsy Rose Lee, this reporter rushed over to Times Hall to see what was simmering. The lights were already low, the music mellow; for Barney

Bigard and his four-piece band were in the mood, a familiar one, it is true, and seemed ideal musicians for the intimate hall. But soon it became clear that something was wrong, for after Bigard left the stage the program went to pieces. The new jazz apparently had caught up with Debussy, for that was as far as the heavy-handed and formless "mood-pictures" of Errol Garner,

telligent reader can scarcely allor
to do likewise.

In an effort to fill in the wide gap
left by the Eagle's "selection" of ma-
terial, Vanguard on Friday set out to
poll the student body on the charges
raised by the Eagle. The questions
posed, all of which required "Yes"—
"No" answers, but which allowed for
additional comment, embraced the
four points relevant to the charges
made. The questions were:

1) Have you found Professor Leonard Balet's teaching to be "anti-social, antireligious or antidemocratic"?

2) Have you found Professor Balet
to be incompetent in any way?

3) Have you found the Depart-
ment of Design to have degenerated
in any way?

4) Have your studies in the Department of Design brought you into contact with either of the following magazines: a) VVV? b) VIEW? or: Have you ever seen, read or heard of either of those magazines? In what connection? When?

The poll was, admittedly, hastily
devised and therefore probably un-
scientific in the absolute sense.
But the results, we feel, point more
sharply to the truth than do the
isolated statements pounced upon by
the fourth estate.

92 students were polled at random:
the only requirement established was
that the student have studied under
Prof. Balet at one time or another.

These were the results:

In answer to question one, 91 of
the 92 students answered "NO",
many, in their comments, emphatical-
ly denouncing such a misconception.
One student stated that she "found
them to be irreligious". To counter-
act her interpretation, however, there

or newsprint so grave, it becomes a
matter of costly extravagance.

The link between the Leikind case
and the current "expose" is more
than a mere matter of conjecture, it
would seem. Remember what Leikind
said: "... and I hope that any in-
quiry arising from the suspension
imposed on me . . . will include among
other things a study of the Art De-
partment and an analysis of the pur-
chase and disposal of materials and
chemicals in the Chemistry Depart-
ment." Unless the Eagle is deflected
for one reason or another from con-
tinuing its "investigation", we'd take
a chance and recommend that all the
eyes turn in the direction of the
Chem Department for the next
sequel to this melodrama.

—M. S. S.

DAY ARTICLE

(We are again reprinting an ex-
cerpt from an article by Dr. Edmund
E. Day, President of Cornell Univer-
sity. Its pertinence in view of what
has been said, will be apparent.)

"An educational institution under
fire is likely to follow a simple—per-
haps even a simple-minded—line of
action. It put its cards on the table
and answers truthfully and fully the
questions that are put to it. Then it
sits bask confidentially expecting
that the truth will prevail.

"Unfortunately, sometimes it does
not. The journalist with a point to
prove is apt to pounce on the cards,
mark them, shuffle them, and deal
from under the table, and give the in-
stitution a hand with which it can
not possibly win, no matter what the
merits of its case.

"At such a moment, a college head
wonders a little dolefully whether
freedom of teaching and freedom of
journalism (as some journals practice
freedom) are really compatible."

Page Two

BROOKLYN COLLEGE VANGUARD

Editorials

are the opinions of the writer and not necessarily those
of any other individual or organization in the College.

How A News Story Is 'Created'

It would be very easy to dismiss
the entire *Eagle* purge of the De-
partment of Design by using several
well-chosen, passionate adjectives in
a countersmear stratagem. Instead,
adhering to the incontrovertible for-
mula embodied in the statement,
"There can be no disagreement over
the facts; only ignorance of them",
we have decided to present some cold
dispassionate, indisputable statistics.

The Eagle reporter has gone to
two former members of the Art De-
partment, Professor Gertrudis Bren-
ner and Miss Margaret Miller for in-
formation. Both these women had
resigned from their teaching posi-
tions because they " felt so helpless
in a completely transformed environ-
ment that had become unsympathetic
to their work and personalities".

Without even attempting to pass
judgment on either the resignations
or the reasons behind them, the read-
er, seeking pure objective fact as the
only acceptable justification for
journalistic exploitation, will surely
find the testimony of the two
women of necessity lacking impar-
tiality. We do not intimate by this
that what they have said is untrue,
but rather that by virtue of their
history in the revised Department of
Design, their positions in the matter
have long ago been defined subject-
tively.

If the Eagle reporter has been con-
tent to accept, without qualification
or confirmation from other sources—
faculty and student—the contentions
of these two former teachers, the in-

were innumerable comments, one of
which to the contrary stressed, that
Prof. Balet had a "more through re-
ligious understanding than most
teachers." Leaving margin for error,
therefore, we can almost safely say
that the students unanimously con-
tradicted the assumption made in
question one.

Not a single student, in answering
question 2, expressed any doubt as to
the competence of Prof. Balet. On
the contrary, the denunciations of
any such supposition was overpower-
ingly vehement.

Question 3, except where students
declined, for lack of adequate know-
ledge, to express themselves, was also
answered unanimously in the nega-
tive.

The most glaring condemnation of
the Eagle article, however, was made
in connection with question 4. Not
one student had, either through the
Department of Design or in any
other way, come to know of either
VVV or VIEW. Many of them, un-
familiar with the Eagle article, were
completely unaware that such mag-
azines even existed and others in-
dicated that they had only learned of
them and their presence in the
Brooklyn College Library through
the Eagle's gracious publicity.

It has become very clear to us,
through this poll, that the "journal-
ist with a point to prove" is apt to do
strange things, or rather not to do
many essential ones. If, at other
times, this has been called "yellow
journalism", now, with a shortage

From: The President's
Re: The Current 'Eagl

President Harry D. Gideonse characterized Tuesday's Brooklyn Eagle as "throughly out that when the reporter who wrote it was College several days ago he had not "quite made would give it a 'communist' or a 'fascist' turn, feature the 'moral' side when it was made clear communism had anything to do with the case."

After pointing out that the President of
or disallow publications, that they are included
recommendation of individual instructional de-
deonse said that "the fact that a sur-realist m-
collection does not mean that the Departmen-
t realism, whatever that may be. We have Hit-
shelves also, but that does not mean that we te-

Commenting upon the suggestion that o-
had given rise to the story published in the
that neither "the Chairman of the Department
College has ever received a complaint from a
parent concerning these publications or concerni-
literature in the Department, or concerning 'un-
ing' influences in the Department.

FORMER CHAIRMAN DISAP

The former Chairman of the Department
not say anything in her resignation about 'lewd
She had made some serious charges against a co-
were carefully examined and rejected by the
for Brooklyn College. The Art Department wa-
in Brooklyn College and the lady may have bee-
forts to improve the unit by introducing new
Committee only last week stressed that we were
and that college efforts to attract talent from
York would help is to 'avoid an unfortunate me-

In commenting on the theories of art and
Bauhaus, Dr. Gideonse stated that "The Bauha-
in a political sense, that is to say in a commu-
revolutionary in the sense that Sullivan's or V-
tionary, that is to say it insists on the recogni-
priate to industrial society. It was a leading se-
and pre-war Europe, and Adolph Hitler was
enemies."

ROCKY MOUNTAIN REVIEW

March 1945

RMR receives many exchanges, and
we wish to note especially the recent
interesting issues of Meanjin Papers
(Brisbane, Aust.), Circle, Experi-
ment, Interim, Workshop (Jalisco,
Mex.) in addition to the standard lit-
tle magazines like Accent, Kenyon
Review, Partisan Review, etc. Circle
has made the greatest strides, appear-
ing first in a mimeographed format
and now in a very handsome and in
some respects spectacular printed
format. The View influence is appar-
ent and not disavowed.

September 1945

POETRY: *A Magazine of Verse*

Mr. Ford's is a world in which objects and ideas flow easily
in and out of each other, a world of pure quality and contour-
less. He still uses the orthodox surrealist technique of joining the
incongruous and reconciling the disparate. His verse is a pretty
complete replica of Tchelitchew's painting, except for the fact
that the latter handles his medium with much greater brilliance.
Basically, however, the concepts of art are identical in poet and
painter: in both we find the same curious metamorphism, with
the puzzle as logical result (*vide* Ford's acrostic, O); the same
delight in playful dexterity leading to surfaces both smooth and
stunning; and, one is tempted to think, the same disregard for
structural solidity.

Devotees of surrealism may be enchanted by lines like these:

She beat me over the head with a lung

or

Your second breast wrangles with a young bat's brother

or

If he looks through the evening's windows upside down
Glue a smile on his back, on his knee a frown

yet, although I admit them to be clever, startling, and mildly
amusing, I believe that their true interest lies in the manner in
which Ford has adapted the iconography of Chirico, Tchelichew
and Dali to his verbal phantasies; and this interest is neuropathic
rather than esthetic.

However, I do not mean to imply that Ford is devoid of either
imagination or verbal power. He has considerable charm, too,
and in some of his lines the vowel play, joined to a certain
finesse of thought, is memorable:

And the lasso of love has the ghost of a chance

There's no place to sleep in this bed, Tanguy

The Plain and the Stratosphere

Yet he is unable or, more likely, unwilling to sustain either
melody or power: his poems fall apart for lack of a center.

Saying that they have no center is equivalent to saying that
man, as a thinking and willing being, is absent from Ford's
poetry. His passion, like the passion of the juggler, is genuine,
his perception accurate:

Oh your tricks are as real as a clock striking four
but both the passion and the perception are wasted on imagi-
native toys. By working his sleights of hand in the sweat of his
brow, Ford shows his accompliceship with a world which labors
with frantic effort toward puerile ends.

Francis C. Golfing

IRONIST'S VADE MECUM

*A Winter's Journey*, by Richard Hart. Contemporary Poetry, Baltimore.

Mr. Hart's peripatetic journey begins in the Enoch Pratt Free
Library of Baltimore, where he presides. The climate in which it
is undertaken is of the emotions, and in its course there is dis-
played, not ostentatiously, the sort of cockeyed erudition one may
find in Pound, of whom, I hasten to add, can be found no other
echoes in this book.

In the course of the expedition the reader is granted glimpses
of the Hudson Tube, the grave of Pocahontas at Windsor, the
old wall at Bremen, as well as of *A Tom Cat in a Blizzard*, and
its possible sequel, *A Mother With Young Kittens*. Quite apart
from these descriptive pieces stand a number of subjects iron-
ically treated: *Repartee*, which concerns the encounter in Para-
dise between St. Patrick and Lamia; Peeping Tom's psychic ad-
venture with Lady Godiva; and *Where Were We at the World's*

This Clipping From

THE ART DIGEST
NEW YORK, N. Y.

JUN 1 - 1945

I'LL TAKE A PARK BENCH: As the balmy whisps of a belated Spring are wafted, with subtle rebukes of a past that could have been a future, exuding gentle hints of uninhibited nature, across the southwest corner of Lexington and 59th, somehow one's thoughts turn to things that are just not there. And on the wings of that gentle breeze there arrives a little brochure called *Poems for Painters*, by Charles Henri Ford, editor of *View*, and we sadly decide that sanity is rather relative. Take for example the following verse from Mr. Ford's *There's No Place to Sleep in This Bed, Tanguy*:

> "The storks like elbows had a fit of falling
> She beat me over the head with a lung
> Somewhere a voice is calling Picasso
> And the lasso of love has the ghost of a chance."

Let us await those kind men in the white coats.

This Clipping From

JUN 1 - 1945

Evelyn Marie Stuart Says:

To shallow minds anything obscure is metaphysical, and anything you can not understand full of meaning. Only that of which we are ignorant is mysterious. Physics—not metaphysics—have raised us from the brute and the kind of art Marcel Duchamp practices, and these half-educated people applaud, should accompany life in the tree tops. Even their use of words is faulty at times. Charles Henri Ford, editor of *View*, refers to "rectangular disks," ignoring the fact that if it isn't circular it isn't a disk. They talk of non-representational things as pictures, when a picture is definitely a *representation* of an object or scene and has no other definition or meaning. They also use aesthetics to apply to ugly things when Aesthetics is defined as "the study of beauty." They also use "rhythm" to connote motion. It has no such meaning. Rhythm "is the repetition at stated intervals of an element or elements in a work of art," and the "purpose of rhythm is symmetry." These are dictionary definitions, yet our cultured ignorami persist in ignoring them and applying the word rhythmic to assymetrical things. And yet, at least the protagonists of Duchamp are honest enough to call him an "Anti-Artist," even though those rectangular disks get in one's hair.

This Clipping From

SPRINGFIELD, MASS.
MORNING UNION

JUN 3 - 1945

With "Poems for Painters" (View, inc., 1 East 53d street, New York, $2), the publishers of View magazine begin a projected series of "view albums," "intended to be 'absolutely modern.'" It is a 16-page pamphlet with 16 half-tone reproductions of the work of five contemporary artists, with a poem devoted to each. The artists are Marcel Duchamp, Leonor Fini, Esteban Francis, Yves Tanguy and Pavel Tchelitchew and the poet is Charles Henri Ford.

The pictures vary in style from the academic of Tchelitchew to the weirdly symbolical (?) of Frances, but the poems are consistently "absolutely modern" (unless that term be a misnomer for a revival of an extravagant vagueness that enjoyed a certain popularity some years ago, but lapsed into innocuous desuetude).

Mr Ford's accuracy as interpreter. will be a matter of difference of opinion. The publishers quote an admirer as saying of Mr Ford's poems, "They give me always a shock of delight and of revelation." The uninitiated reader of the selections in this pamphlet will be sure to get the shock. The delight or the revelation is less certain. "O," accompanying the picture by Mr Frances and the only one of the poems printed for the first time, is in the form of an acrostic, the initials of the first lines reading, "Of magic and the sense of grandeur." Here are the "The sense" lines:—

> "The Septembrists of a new carnality
> Hold hands with numerological im-
> ages

> Eruptive as religion, evocative as
> touch

> Stupors of the most omnivorous
> colors

> Envelop beholders of crime in the
> name of country.

> Now comes the promise of an in-
> definable sickness

> Sweet as the vision of a child plot-
> ting murder.

> Epochs of agony dissolve like charley
> horses." F. S. B.

This Clipping From

NEW YORKER
NEW YORK CITY

JUL 7 1945

POEMS FOR PAINTERS, by Charles Henri Ford (View). The painters are Marcel Duchamp, Leonor Fini, Esteban Francis, Yves Tanguy, and Pavel Tchelitchew. Mr. Ford's poems are now strongly influenced by Paul Eluard's brand of Surrealism. Edith Sitwell has said of them, "They give me always a shock of delight and revelation." This large pamphlet, whose typography was designed by Parker Tyler, contains sixteen halftone reproductions on heavy paper.

ANNOUNCING VIEW EDITIONS

The editors of *View*, The Modern Magazine, have the pleasure to announce that the much anticipated project of publishing a series of books which are intended to be "absolutely modern" in format and content will be shortly realized.

The first item is POEMS FOR PAINTERS by Charles Henri Ford. "They give me always a shock of delight and of revelation," says Edith Sitwell of Mr. Ford's poems. Admirers of his work will not want to miss this new collection: five poems inspired by the contemporary painters Marcel Duchamp, Leonor Fini, Esteban Frances, Yves Tanguy, and Pavel Tchelitchew.

Handsomely designed and printed, with typography by Parker Tyler, this is the first in a series of View Albums, an innovation in the publishing world - de luxe collector's items at popular prices. Format 9 x 12, cover drawing by Tanguy, extra-heavy coated paper, with sixteen half-tone reproductions of the work of the artists. Newsstand edition, $1.00; 500 copies numbered and signed, $2.00.

## Other View Editions to Be Released Spring 1945

YOUNG CHERRY TREES SECURED AGAINST HARES. By Andre Breton. The poetry of Andre Breton is as incendiary as the program of surrealism of which the author is chief organizer. This is his first collection to appear in English and is presented with both French and English texts. The translations are by the poet and critic Edouard Roditi. The cover has been especially designed by Marcel Duchamp. There will be a limited signed edition with a frontispiece and hand-colored drawings by Arshile Gorky. De Luxe edition, $30.00; Regular bound edition, $3.75.

ONCE THE SOFT SILKEN DAMAGE DONE And Other Fantastic Stories. An anthology of the best short stories to appear in View. Henry Miller, Leonora Carrington, Paul Bowles. Giorgio di Chirico, Raymond Roussel, Paul Childs, Montagu O'Reilly and other writers of unusual talent are included. There will be many black and white drawings and decorations throughout the volume. Regular bound edition $2.50; newsstand edition, $1.00.

## In Preparation for Summer 1945

Two first books of poetry, one by Lionel Abel, well known translator, critic and essayist; the other by Philip Lamantia, seventeen-year-old surrealist poet of San Francisco.

### VIEW ALBUMS

From time to time View Editions will release brochures of special interest. Each will be presented with a new cover design and unusual typography. Price, $1.00. Scheduled are:

HUMAN ANATOMY AS THE EXPANDING UNIVERSE: TCHELITCHEW'S NEW PHASE. By Parker Tyler. A comprehensive study and analysis of the great modern Russian's newest work. Fully illustrated with plates showing the new, translucent "anatomical" paintings. Mr. Tyler has collaborated in the past with Tchelitchew on a book of words and pictures called Yesterday's Children.

HOMAGE TO MAX JACOB. Edited by Leon Kochnitzky. Introducing to American readers the great French poet whose name and figure is allied with Cubism and other modern movements. Max Jacob was a Jew, a Catholic convert, who was martyred by the Nazis. There will be selections from his poetry and prose, reproduction of his drawings, a portrait by Picasso, and other special material.

EXTRAIT DU "TRAVAILLEUR"

View (1, East 53rd Street, New York 22, N. Y. $3.50 par année). — Revue trimestrielle d'expression et d'étude des arts et des lettres, dirigée par Charles-Henri Ford, est une publication d'une haute tenue et d'une for-

me élégante. Elle est de la plus belle toilette extérieure et d'une impression merveilleusement claire sur papier de luxe. Son sommaire, où texte et gravure s'accordent fort bien, est abondamment fourni. Parmi les collaborateurs français au numéro de mai, signalons Bertrand Flornoy, Paul Rivet et Jules Henry. Notons aussi l'article "Le diable et Baudelaire," de Nicola Chiaromonte, et les "Artistes européens en Amérique," de Léon Kochnitzky.

Maximilien RUDWIN
(New York)

PUBLISHER'S WEEKLY
NEW YORK, N. Y.

JUN 9-1945

► VIEW, THE MODERN MAGAZINE, annonnee a series of be-which are intended to be ab-ately modern in format and content. The first volume to be released is "Poems for Painters," by Charles Henri Ford, which is issued in a 9 x 12 format, paper-bound, with a cover drawing by Tanguy and sixteen half-tone reproductions of the work of Duchamp, Fini, Francés, Tanguy and Tchelitchew. The newsstand edition sells for $1 and there are 500 copies numbered and signed for $2.

Other *View* Editions in the series of de luxe collector's items at popular prices are "Young Cherry Trees Secured Against Hares," by André Breton, and "Once the Soft Silken Damage Done," an anthology of short stories which have appeared in *View*. They are scheduled for publication in the near future. In preparation for summer release are two volumes of poetry, one by Lionel Abel, and the other by Philip Lamantia; and two brochures: "Human Anatomy as the Expanding Universe: Tchelitchew's New Phase," by Parker Tyler, and "Homage to Max Jacob," edited by Leon Kochnitzky, the French poet whose name is allied with Cubism and other modern movements.

SAN DIEGO, CALIF.
UNION

JUN 17 1945

Art Inspires
Book of Poems

POEMS FOR PAINTERS, by Charles Henri Ford, View Editions.

In "Poems for Painters," the editors of View present the first of a series of booklets which they announce to be "absolutely modern" in format and content. In this first number are poems by Charles Henri Ford and reproductions of paintings by artists Tanguy, Marcel, Duchamp, Fini and Tchelitchew.

The poems, it would seem, were inspired by the paintings, and in some instances are as full of surprises." If the works of Tanguy are unintelligible to the reader, then it is barely possible that Ford's poem will throw some light upon them. It is more likely, however, that they will increase his bewilderment.

At times these poems seem to fit the paintings and to be every bit as fantastic. The two together in his attractive little brochure offer as charming a dose of nonsense as anyone in his wildest moments could wish, and along with it, perhaps, some real beauty.—E.G.J.

WESTCHESTER
FEATURES SYNDICATE

287 S. BROADWAY Yonkers 5, N.Y.

POEMS FOR PAINTERS, by Charles Henri Ford; View Editions, New York. Imagistic and surrealistic verse to drawings and paintings by Duchamp, Tchelitchew, Leonor, Fini, France and Tanguay. Handsomely printed.

JUN 9-1945

Ford, Charles Henri

Po-Art

Poems for painters, no p. il. F (View al-bums, 1) c. [N.Y. 22], View Editions, 1 E. 53 St. pap., 100; numbered signed ed., 2.00

Five poems inspired by the modern painters Duchamp, Leonor Fini, Francés, Yves Tanguy, and Tchelitchew. The first book in a new series of modern creative writing and art, a projected publishing project of *View* magazine.

View

The Modern Magazine

$1 per copy

presents in its
Winter Issue:

• COVER IN COLOR BY ESTEBAN FRANCES
A B AND C ON LAUTREAMONT BY LIONEL ABEL

• TIE THE GORDIAN KNOT AGAIN! BY DENIS DE ROUGEMONT
RUTH ROSES AND REVOLVERS BY MAN RAY

• HEBDOMEROS BY GIORGIO DI CHIRICO
LINE AND SPACE OF THE IMAGINATION BY STANLEY WILLIAM HAYTER

• MICROCOSMOLOGICAL CHART OF MAN BY KURT SELIGMANN
SALUTS BY JEAN HELION

• FULL MARGIN BY ANDRE BRETON
ON THE DIGNITY OF MAN BY PICO DELLA MIRANDOLA

• BOOKS VIEWS BY PAUL GOODMAN, MARIUS BEWLEY, NICOLAS CALAS
ART REVIEWS BY LEON KOCHNITZKY AND ERNEST HARMS

• JAZZ OF THIS QUARTER BY BARRY ULANOV
PATHOS BY SIEGFRIED REINHARDT

• REPRODUCTIONS OF THE WORK OF GUSTAVE DORE, OSSIP ZADKINE, MAN RAY, EUGENE BERMAN, VIP, MARK ROTHKO, ESTEBAN FRANCES, A. M. VEDOVELLI, LOUISE NEVELSON, JOHN TUNNARD, ALEXANDER CALDER, KAY SAGE, DAVID HARE, STANLEY WILLIAM HAYTER, JOAN MIRO AND PAUL KLEE

Charles Henri Ford, Editor

Parker Tyler, Asst. Editor

John Myers, Mng. Editor

$3.50 a year

One East 53rd Street
New York 22, N. Y.

“Il faut être absolument moderne”—Rimbaud.

Briarcliff quarterly, April 1945

CHARLES HENRI FORD, the editor of this volume, has shown that silence can be as ambiguous as speech. Because he has limited his editorial activity to the selecting of fifteen stories from *View*, and has written no word of introduction to explain his principle of selection, he has left unanswered the question that his text also fails to answer: “What is a fantastic story?” Unless we are to assume that a fantastic story is anything that appears in *View*, the present collection stretches any possible definition almost beyond the point of meaningfulness. For example, Henry Miller’s title story, which relates how the author fell through a skylight and barely missed his death on the night that Jupiter was supposed to exercise its most baneful influence upon him, is fantastic only if you suppose that astrology is fantastic. But if astrology seems fantastic to you, then, most likely, you won’t believe in it, and you will ascribe Mr. Miller’s mishap, not to Jupiter, but to coincidence. There are, of course, fantastic coincidences, but the fantastic story, as I understand it, strives to set up necessary, although il-

logical, relationships among events, rather than accidental ones—it follows what the surrealists call a dream-logic in which the apparently free juxtaposition of images is actually controlled by an undeclared system of meanings, a desired effect and a dominant tone. These three elements, which are constants in surrealism, govern the definition of the fantastic; for which reason only interior accidents are properly fantastic. The accidents that occur in the external world are, by definition, uncontrolled, and therefore irrel- evant.

I go to this length only to show that the meaning of “fantastic,” far from being an obvious thing, is really one of the more difficult problems of surrealism. A simpler approach would be to list the specific claims to fantasy that these stories put forth. Thus, Miguel Asturias’ “Tatuana” is patterned after folk-myth; Clay Perry’s “Dead-Eye Dick Rides Again” is a parody of the Western story; “Dark Sugar,” by Paul Childs, is fantastic mainly in its syntax and its poetic use of jive, etc. The painter di Chirico’s “Heb- domeros,” in my opinion, comes closest to following the “true” fantastic pattern, while Leo Poch’s “The Water- melons” has nothing fantastic in it and Ramon J. Sender’s “The Buzzard,” a parable of war and a strictly moral story, seems to me diametrically opposed to the fantastic, at least as the surrealists interpret it.

It should be clear that the surrealists' activity is more in the nature of a quest for the fantastic than an achieved method of creating it. Fantasy is their blue bird and their golden fleece, the prize of experience for which the world is well lost—wherein they disregard Coleridge's warning albatross and his distinction, pertinent to their case, be-

tween fancy and imagination. The surrealist objective is certainly imaginative, but the means nearly always are fanciful. The rigor and purity essential to surrealism, as to any esthetic, the statement of which might well be regarded as the editor's highest duty, are all too frequently relaxed in favor of a catch-all modernism that promotes sensation in its most vulgar terms. The prize of experience, poor bird, is stuffed with worthless or irrelevant things—often among them the quaint typography and engravings, reproduced in this volume, that decorate the pages of *View*—and is served to the public piping hot, with one eye open to its commercial chances.

But some aspects of surrealist activity, especially those which occur in the work of imaginative writers generally, have proved to be quite rewarding. Two such examples offered in the present volume are the selection from Raymond Roussel’s novel, *Impressions of Africa*, and Henry Miller’s second contribution, “Dream of Mobile.” Neither is strictly surrealist; both deal with actual geographical entities and elements of real experience. For this reason they attain a richer texture than that which is available in typical fantastic writing. “Dream of Mobile,” more complete in itself than the selection from Mr. Roussel’s novel, is concerned primarily with the idea of imagination. Henry Miller states that he has never visited Mobile, Alabama. His picture of it is entirely imaginary, and, of course, it resembles Henry Miller more than any habitable city. But it reveals Miller’s understanding of the imaginative response itself and his insight, excellent whenever unclouded, into the evocative uses of reality. Imagining a natural object takes the place of presenting it. This is a generalization in which narrative and dramatic values are subsumed rather than expressed; it is nevertheless a legitimate one because Miller’s respect for the natural as such prevents his play upon it from becoming completely arbitrary. A tension is built up between the demands of actuality and the ventures of mind which in the end saves and enriches the object. It is such a capacity for understanding the imaginative value of nature as nature that has always constituted the greatness and the correctness of the romantic impulse. The deviations of this impulse, and their deliberate exploitation in surrealism, have resulted from the false evaluation of dream as the only true imaginative work, and the false assumption that an artificial sleep is more productive of dreams than a real one.

ISAAC ROSENFELD

NEW REPUBLIC

JAN 4 1966

## Magic Molehill

*A Night with Jupiter and Other Fantastic Stories, edited by Charles Henri Ford, New York: A View Edition; The Vanguard Press. 128 pages. $3.*

## NEW YORKER ART LISTINGS

**FANTASTIC ART**—A collection, put together by the editors of *View*, which includes works by such artists as Berman, Calder, Ernst, and Tchelit-chew: Hugo, 26 E. 55. Weekdays 10 A.M. to 5:30 P.M.; through Dec. 15.

**FRENCH CÉZANNE**—A collection, put together by the editors of *View*, which includes works by such artists as Berman, Calder, Ernst, and Tchelit-chew: Hugo, 26 E. 55. Weekdays 10 A.M. to 5:30 P.M.; through Sat., Dec. 15.

THE NEW YORK TIMES, FRIDAY, NOVEMBER 16, 1945.

FANTASTIC IN ART
AT HUGO GALLERY

New Exhibition Hall Displays
Variety of Unusual Works—
Modernists Represented

By EDWARD ALDEN JEWELL

The Hugo Gallery, dedicated to the avant-garde, has entered New York's art-world roster. Housed at 26 East Fifty-fifth Street, sponsored and directed by Mme. Victor Hugo, it was opened with a party at 9 o'clock last evening. The gallery is intimate in size and the atmosphere is informal. Lighting by Richard Kelly. Flowers for the preview by, one may assume, most of the florists in town.

View Magazine, edited by Charles Henri Ford, arranged the opening exhibition. Paintings, sculpture and drawings by more than a score of modernists illustrate various facets of the central theme, Fantasy. All the world, it would seem, is coming more and more to appreciate fantasy as something quite utilitarian, indispensable. At any rate, Parker Tyler, an expert on Teratogenic statistics, tells us:

"It is not only the African savage that resists civilization as a rational, logical and fixed order of life, but also the man of the metropolis, from the humblest worker to the most eccentric genius. Fantasy therefore can be more precisely defined as that aggressive factor of dream-life that projects past the revolution

please present this card

H

UGO GALLERY and View Magazine have the pleasure
to invite you to the first
of a series of illustrated lectures:

PARKER TYLER
"Crime Psychology in Painting"

Wednesday, January 16, 5 P.M., 4th floor

Museum of Modern Art, 11 West 53rd St., N. Y. C.

R.S.V.P.

TOWN & COUNTRY
February,
1946

TIME

... For New Galleries

Two new galleries have been added to New York's roster this winter: the Hugo Gallery, 26 East Fifty-fifth Street, under the direction of Alexander Iolas and Mme. Victor Hugo; and the Gallery Vivienne, 1040 Park Avenue, under the direction of Mrs. James J. Akston (the former Mrs. Arthur Woolley-Hart), who has taken over the pent-house floor of the former Condé Nast duplex for her gallery.

The Hugo Gallery's opening show, "The Fantastic in Modern Art," presented by View magazine, contained work by Berman, Calder, Chagall, Ernst, Eséban Frances, Léger, Masson, Tchelitchew, Zadkine, and others. It was a good loan show with not much new material in it, retrospective in nature, and obviously reflective of the taste of Parker Tyler, View's Associate Editor. What can be expected from the directors on their own is implied in their future agenda. As yet the dates have not been set, but they are planning one-man shows for four contemporary Italian artists: Leonor Fini, Chirico, Stanislao Lepri, and Fabrizio Clerici. A pencil drawing by Clerici can be seen on page 112, illustrating Vincent Sheean's article on Italy. Lepri has done a series of drawings depicting aspects of fame and disease, some of which will probably be shown, as well as gouaches in the *trompe l'œil* tradition. The Chiricos will be comparatively recent ones, which it has been reported are superior to his neoclassic horses. The gallery is also planning to show paintings by French artists, one of them being Madame Hugo's brother-in-law, Jean Hugo, whom Virgil Thomson mentions elsewhere (page 131) in this issue as responsible for the décor and costumes of Jean-Louis Barrault's production of *Phèdre* at the Théâtre Français.

The Gallery Vivienne's opening show consisted of paintings by Orozco, Ernst Van Leyden, and herself. At the moment of writing, her plans for the future are indefinite.

Virgil Thomson
TOWN & COUNTRY
February, 1946

Genet is another animal, a jailbird, to be exact. Virtuoso of the low life, born in it, brought up to it, as completely at home in its prisons as in its brothels, he has a violence of thought and of language and an irreducible sincerity that are of a higher intellectual order than anything the graduates of the Ecole Normale Supérieure have to offer at present. There is poetry in the man, too, and no foolishness about current events in his perfectly clear class-conscious humility and pride. His novel, *Notre Dame des Fleurs*, through its lyric passion and its torrential obscenity, belongs in the company of Céline's work and of the *Ulysses* of James Joyce, though it has more sweetness than either.

ART REVIEW
February 11, 1946

Night With Jupiter and Others

"A Night with Jupiter and Other Fantastic Stories." Edited by Charles Henri Ford. 1945. New York: View Editions. Distributed by the Vanguard Press. 128 pp. of text and illustrations. $3.00.

A collection of 15 fantastic stories written by painters, poets, musicians and professional writers of avant-garde conceit. As much chi-chi as imagination in the works. Decorated with varied drawings by Seligmann, Tanguy, Man Ray, Klee, Calder, Ernest, Hayter and others, including works by 18th and 19th century illustrators.

Do you loathe Thomas Benton and find nationalistic tendencies in art a crushing bore?

Are you wearied by outdated techniques and the perennial silliness of imitators?

Are you a champion of "art for man's sake"? Do you enjoy discovering the new?

Then you owe it to yourself to subscribe to

View: the modern magazine

You will applaud its international stand—

ITS RADICAL VIEW OF THE FUTURE

Now in its fifth year, each issue, 9" x 12" is presented with an original cover design by an outstanding contemporary painter; numerous half-tone reproductions. Writers and artists include Paul Goodman, Kenneth Burke, André Breton, Parker Tyler, Henry Miller, Meyer Schapiro, Nicola Chiaromonte, Harold Rosenberg, Lionel Abel, Denis de Rougemont, George Woodcock, André Masson, Kurt Seligmann and Pavel Tchelitchew.

Issued monthly, October through May. Subscription $3.50; Latin America and Canada $3.75; Foreign $4.00.

Edited by Charles Henri Ford

VIEW, 1 EAST 53rd STREET
NEW YORK 22, N. Y.

POLITICS February, 1946

880

CAHIERS DU SUD

COURRIER D'AILLEURS

ANGLETERRE. — Après que le *London Bulletin*, dirigé par E.-L.-T. Mesens, ait cessé de paraître, la remarquable revue d'art *Counterpoint* (1) a groupé les représentants de l'avant-garde anglaise. A côté d'études de Peter Goffin, Dennis Senat, à côté des phantasmes de Paul Nash, des cosmogonies de Bryan Wynter et des dynamiques grafiittis de Cecil Collins, l'on trouve de nombreuses œuvres d'Eileen Agar, femme peintre se rattachant au surréalisme par des compositions semi-abstraites d'une complexe force agressive ; lumineux tourbillons végétaux où se dessine en filigrane la présence troublante de silhouettes humaines. Les œuvres d'Agar semblent uniquement subir le mouvement que leur impose la vie organique, sans que le peintre parvienne (ni même ne tente) à s'appesantir sur soi-même. Prenant l'imagination à la source de la vie, il devient le plus objectivement possible une *machine* à transcription de l'Univers dont les réseaux aboutissent à lui. Illogique, ne tendant pas à la construction, suivant le canon traditionnel, de *chefs-d'œuvres*, la peinture d'Eileen Agar dégage une intense poésie, un sentiment de liberté totale : *L'ordre complique la vie*.

Kurt Schwitters, fondateur de Merz, qui fut parallèlement à Dada l'un des mouvements de libération spirituelle nés au cours de la première guerre, vit retiré dans le Westmorland, à l'écart de l'activité artistique anglaise. Esprit d'une merveilleuse agilité, il n'a cessé depuis trente ans d'aborder avec un même bonheur les plus divers domaines de l'art : peinture, poésie, sculpture, etc... Une exposition générale de ses œuvres a eu lieu en décembre 1944 à la Modern Art Gallery.

ETATS-UNIS. — Dans un numéro du grand magazine moderne *View*, au-dessous d'un épicrathe de Paul Eluard : « *Toi, ma patiente ma patience ma parente...* », Man Ray, qui vit maintenant à Hollywood, écrit : « Paris Day 1944 — Je vous avais juré de ne plus peindre un seul tableau, de ne plus photographier une jolie femme ni faire l'amour avec jusqu'au jour de la libération de Paris. Aujourd'hui, je ferai les trois. »

A la revue *VVV*, fondée par André Breton, a succédé en importance *View* (2) que dirige le poète Charles-Henri Ford. *View*

(1) Directeur Conrad Senat, 8-9 Broad Street, Oxford.

(2) *View*, 1 East 53rd Street, New-York, 22, N. Y.

LES LIVRES

a pris pour mot d'ordre l'affirmation de Rimbaud : « Il faut être absolument moderne ». Paraissant huit fois par an, ses luxueuses pages nous apportent le reflet d'un monde en pleine effervescence. Chaque numéro comprend de nombreuses reproductions, des compte-rendus d'expositions, des essais : (Le Minotaire perdu et retrouvé, par J.-J. Sweeney; Ligné et espace de l'imméfaction, par S.-W. Hayter ; Le spectateur érotique, par Parker Tyler, etc., etc...), des écrits littéraires en traduction : Hebdomeros de Chirico, Impressions d'Afrique de Raymond Roussel, Sur la dignité de l'homme par Picco Della Mirandola, La lampe électrique de Diogène par Nicolas Calas, Nouvelle introduction au Galet par Francis Ponge, etc...). Barry Ulanov, partisan du jazz primitif, et Lou Harrison, compositeur raffiné, se partagent les chroniques musicales. La plus récente était consacrée à Edgar Varèse, auteur de l'inoubliable Amérique.

Parmi les numéros spéciaux de *View*, citons celui sur les civilisations mystérieuses de l'Amérique tropicale, présenté par Paul Bowles, et celui consacré à Marcel Duchamp.

Marcel Duchamp est, à coup sûr, l'une des plus valables « présences » actuelles. Le numéro spécial de *View* envisage la totalité de son œuvre picturale, depuis le *Portrait de son Père* (1910) et *Les Joueurs d'Echecs* (1911) jusqu'à l'inquiétante *Mariée mise à nu par ses célibataires même* (1915-1923) en passant par *Tu m' et en continuant par de nombreux « ready made » comme L'Air de Paris* (1919), spéculation des plus étincellantes qui, jointe à quelques autres (Le problème de la porte, etc...) permet à Breton d'affirmer : « Notre ami Marcel Duchamp est assurément l'homme le plus intelligent, et pour beaucoup le plus gênant de cette partie du XXe siècle ». Ce numéro est complété par de nombreux témoignages écrits de poètes et critiques et par des hommages de peintres tels que Marx Ernst, Cornell, Florine Stettheimer, Man Ray, Matta Echaurren et surtout Yves Tanguy, ainsi que d'une cinéaste : Maya Deren.

André Breton a publié divers volumes : *Arcane* 17, qui s'inscrit dans la tradition des Vases Communiquants et de l'Amour fou ; *Fata Morgana* et un recueil complet de poèmes : *Jeunes cerisiers garantis contre les lièvres*. Les éditions françaises Brentano's (3) viennent de publier le *Surréalisme et la Peinture*, illustré par 68 reproductions et augmenté de nombreux inédits : Génèse et perspective artistique du Surréalisme (déjà publié en anglais par les soins de Peggy Guggenheim), Vie légendaire de Max Ernst, Matta Donati, Arshil Gorky, etc...

*Hémisphères*, dirigé par Ivan Goll, se présente comme une revue franco-américaine de poésie. Un texte d'Henry Miller, *Vive la France*, publié en 1943, prouve par son seul titre qu'*Hémisphères* a su créer mieux qu'un lien poétique. Les premiers numéros sont dominés par les poèmes d'Aimé Cesaire : « Et voici passer — vers les sûres nécropoles du couchant — les soleils, les pluies, les galaxies — fondues en fraternel magma. Et voici la terre seule — sans tremblement et sans trémulement — sans fouillement de racines — et sans perforation d'insectes...» qui laissent loin derrière eux les violences de Pierre Emmanuel,

(3) Brentano's New-York et Paris, 34, avenue de l'Opéra.

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CAHIÈRS DU SUD

et auxquels répondent en note plus intime les vers d'Ivan Goll, qui, sans prétendre à la vertu incantatoire de Milosz, nous fait pénétrer au seuil des mêmes arcanes de rituels ésotériques : « Absent du monde — Voici la porte sur l'abime — la porte sur la nuit — que tu cherches partout — çe t'attends ; écoute l'appel des sources démentes... » Dans un numéro spécial sur la magie et la poésie, nous remarquons un article de Pierre Mabille : Neuf par 4 et 5, et surtout une Présentation du Tarot par Denis de Rougemont, d'une exceptionnelle importance.

Charles-Henri Ford, après avoir publié *The Overturned Lake*, vient de faire paraître une plaquette, *Poems for Painters*, groupant cinq très beaux textes dédiés à Marcel Duchamp, Leonor Fini, Esteban Frances, Tanguy et Pavel Tchelitcheff. Nous ne pouvons résister au plaisir de citer, ici, la fin de *Flag of Ecsasy*, poème à Duchamp dont le mouvement n'est pas sans rappeler celui de Liberté d'Eluard, avec plus de violence contenue toutefois :

« Over a stactometer for the tears of France — Over unmanageable hermaphrodiles — Over the rattlesnake sexlessness of art-lovers — Over the shithouse enigmas of art-haters — Over the sun's lascivious serum — Over the sewage of the moon — Over the saints of debauchery — Over criminals made of gold — Over the princes of delirium — Over the paupers of peace — Over signs foretelling the end of the world — Over signs foretelling the beginning of a world — Like one of those tender strips of flesh — On etheir side of the vertebral column — Marçels wave. »

Parker Tyler, chargé de la critique littéraire de nombreuses revues, vient de publier presque coup sur coup trois importants ouvrages : *The Granit Butterfly*, Yesterday's Children (sur 30 dessins de Tchelitcheff) et *Hollywood Hallucination*. La poésie de Tyler, plus secrète que celle de Ford, touche profondément. Les mots semblent y retrouver leur innocence originelle et être « éclairés par le dedans ». La présentation objective d'événements d'ordre personnel — comme c'est le cas dans *The Granit Butterfly* — pourrait faire songer à du Michaux éclairé çà et là de fulgurantes images.

L'effervescence dans les arts plastiques est plus grande en core. Expositions sur expositions se succèdent. Citons en passant Peter Miller, usant d'un rapide graphisme non sans attache avec celui de Klee et des fresques rupestres ; Walter Quirt, aux couleurs miraculeuses, ordonnateur d'un univers clair et sans inquiétude ; Steve Wheeler, dont la vision chaotique charrie les débris d'un univers mécanisé ; Gertrude Cato, aux naïves et insolites imageries, etc... L'art américain a perdu récemment en Florine Stettheimer l'un de ses représentants les plus doués. En marge de Dufy, Chagall et Rousseau, Stettheimer avait su se créer un clair univers où les bouleversements d'un monde « civilisé » ne trouvaient plus que de faibles échos.

Aux côtés de ces peintres nouveaux qui montent, le génie des pionniers de l'art moderne ne cesse de s'affirmer de façon retentissante. Ce n'est pas sans un sentiment de honte que l'on découvre les nouvelles œuvres de Pavel Tchelitcheff, œuvres qui le rangent d'emblée parmi les plus grands peintres de ce temps — alors qu'il reste peu connu en France. Ses toiles irra-

LES LIVRES

diantes s'ouvrent sur un univers jusque là *impensable*. C'est un esprit lucide, clairvoyant, projetant sur les êtres et les choses un reliet de sa conscience supérieure. Peinture-poésie où la science, l'humain et l'universel se rejoignent, à l'échelle de la Poésie-Pensee de Milosz et de certains romantiques allemands — Novalis et Joachim d'Arnim entre autres.

Eugène Berman, dont les nocturnes et plus tard les paysages désolés apparaissent comme de troublantes préfigurations de la guerre, vit à Los-Angeles. Ses dernières compositions se répartissent curieusement en deux catégories bien distinctes, l'une précise, définitive, où l'éclatante lumière de Californie accuse les formes et intensifie les couleurs, l'autre antiplastique en quel-que sorte, présentant une œuvre rapide formée de lambeaux, de toiles troissées, de ficelles, etc..., exprimant ainsi par des voies détournées l'instabilité de la vie moderne et ses infinies possibilités de renouvellement.

A Los-Angeles également est fixé Lorser Feitelson. Nous reviendrons dans un prochain numéro sur l'activité qu'il déploie, en tant que chef de file des Post-Surrealistes.

S.-W. Hayter, émigré de Paris à Londres, puis à New-York, dirige maintenant à la New-School for Social Research, *L'Atelier* 17. Hayter est, comme Masson, un surréaliste dissident. Son œuvre procède des bases automatiques du subconscient sans pour cela se réclamer de l'onirisme. Les principaux problèmes qu'il cherche à résoudre sont l'incorporation de l'objet dans l'espace-temps et celui de la ligne. La ligne de Hayter ne cherche pas à emprisonner, à condenser la totalité d'un objet (Matisse) ; c'est une ligne en soi, toujours libre et dynamique se suffisant à elle-même et n'avant recours qu'occasionnellement au soutien de la couleur. Chez Hayter d'ailleurs, les problèmes techniques prédominent de plus en plus ; ses œuvres d'antan le montraient assez proche d'un Masson, sans toutefois atteindre à l'amertume cynique du peintre français. Dans celles d'aujourd'hui, malgré un graphisme pathétique, l'homme s'abstrait du peintre. Hayter libère une ou plusieurs des arabesques de l'objet qui les retenait captives, mais cette délivrance de l'objet n'est jamais totale, il s'attaché à l'arabesque et en freine le mouvement, tel un fil attaché à la patte d'un oiseau. L'intégration de l'objet dans l'espace-temps découle donc en partie de cette recherche instinctive de la ligne en soi ; du même coup, les problèmes techniques passent au second plan et laissent place à l'inspiration pure, traduite avant tout par un graphisme automatique.

A la même Ecole de Recherche Sociale, l'on trouve le peintre d'art abstrait Hans Jelinek et Stuart Davis, oscillant entre les deux pôles abstrait et figuratif. D'ailleurs, bien d'autres écoles d'art moderne, constituées sur le modèle de la célèbre Bauhaus, ont ouvert leurs portes à New-York depuis 1940. Nous reviendrons dans une autre chronique sur celle dirigée par Amédée Ozenfiant et sur celle de Hans Hofmann, peintre non-figuratif dont les réalisations tendues marquent la renaissance de l'ap Esprit d'agression » qui se manifesta en Europe vers 1920, avec Klee, Arp Kandinsky, etc... et d'où sortit l'un des plus troublants visages de l'art de ce temps.

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CAHIERS DU SUD

HAITI. — Depuis le début décembre, André Breton sé-
journe à Port-au-Prince ; il a prononcé diverses conférences
sur la peinture et la littérature surrealiste et se rendra, courant
mars, à la Martinique. Son retour en France est prévu pour
les environs de mai.

BELGIQUE. — Depuis 1943, René Magritte produit des œuvres résolument nouvelles, d'une technique impressionniste. Ce n'est plus comme précédemment par la mise en présence sur un même plan d'objets d'apparence inconciliable que Magritte fait naître un sentiment d'insolite ou d'absurdité chez le spectateur, mais par l'emploi arbitraire de tons inadéquats à l'intérieur d'un même objet (La Danse 1944 représente par exemple une femme nue dont les membres sont diversement teintés : jambe bleue, bras vert, poitrine violette, etc... tenant un oiseau). Comme le dit Paul Nougé dans un remarquable essai : « Avec Magritte, le problème de la lumière semble devoir trouver une solution éclatante ».

En marge du surréalisme, à l'image de notre époque, Paul Delvaux a substitué à ses caractéristiques femmes dévétues, des squelettes et d'inquiétants personnages en complet vestons noirs, de même qu'un metteur en scène américain symbolisa jadis la mort par un mystérieux inconnu en trench-coat. *La Ville In quiète* (1942) est une vaste composition, où plus de 300 personnages sont en proie à un mal étrange, à une terreur panique qui les pétrifie. Trop peu connu en France, l'art de Delvaux entre peu à peu dans un état définitif, par un seul mot : la grandeur, avec tout ce que cela peut parfois comporter d'inhuman, de douloureusement désert. Une très attachante étude sur Delvaux, par René Gaffé, est par ailleurs récemment parue (Edition La Boëtie, Bruxelles).

AUTRICHE. — Un des chefs de file de l'Ecole Transitiviste séjourne actuellement en Autriche. On ignore sans doute que le Transitivisme, qui se présente comme une sorte d'« Armée du Salut » de la littérature, poursuit des buts moraux sous les houlettes spiritauelles de Paul Claudel et Bernanos. Au point de vue esthétique, il se veut un trait d'union « entre tout ce qui a été et tout ce qui pourra être ». Comme on le voit, le programme transitiviste laisse le champ libre à l'imagination...

SUISSE. — La ville de Zurich célèbrera-t-elle le 30ème anniversaire de la naissance formelle de Dada ? Nous nous permettons

LES LIVRES

d'en douter. Pourtant, c'est le 8 février 1916, qu'entouré d'Arp,
Hugo Ball et quelques autres, Tristan Tzara, par l'intermédiaire
d'un couteau glissé entre les pages d'un dictionnaire, trouva ce
mot, définition nouvelle d'un état d'esprit toujours présent. Aujour-
d'hui, la littérature et l'art ont lentement regagné le terrain que
Dada, d'un seul coup, leur avait fait disparaître sous les pieds.
D'aucuns sourient avec condescendance en entendant prononcer
ce mot et affirment que Dada est depuis longtemps dépassé.
Pourtant, Dada est aujourd'hui partout, sauf du côté des litté-
rateurs et des artistes, et ce n'est pas un mal. Comme l'avait
prophétisé Georges Hugnet, historiographe officiel du mouvement,
« Dada était plus qu'un nouveau mal du siècle, Dada est le mal
du monde ». Mort hier dans le domaine de la pensée, Dada est
aujourd'hui partout présent dans le domaine de la vie.

FRANCE. — A Paris, un groupe de jeunes peintres — Dewasne, Schneider, Deyrolle, Atlan — s'inscrit en réaction directe contre le néo-plasticisme. Ils veulent adjoindre, à une non-figuration absolue, des sentiments poétiques exprimés uniquement par le langage pictural — frôlant ainsi ce que l'on appelle parfois un peu péjorativement « l'effusion pure ». Dewasne représente l'aile droite, rigide et technique de ce groupe, alors qu'Atlan en serait faile gauche, plus spontané et laisant appel aux ressources inconscientes du spectateur. En opposition diamétrale avec ces jeunes peintres. Serge Poliakoff n'a cessé, durant ces dernières années, d'épurer son langage plastique sous l'influence de Mondrian, tout en usant de l'hérétique « ligne courbe » chère à Domela. Poliakoff sait rendre les vibrations de l'univers par quelques cercles concentriques soutenus de couleurs pures, tourbillons sans fin dont le peintre ne retient que l'essentiel.

Très près du Surréalisme, nous trouvons Félix Labisse, sur
qui vient de paraître une monographie préfacée par Desnos.
L'œuvre de Labisse, d'un extrême pathétique — parfois même
théâtrale — est déchirée par les thèmes inéluctables de l'amour
et de la mort. Son œuvre n'est pas sans rappeler celle de Dali
par sa facture et un érotisme physique expaspéré mais, esprit
plus lucide, Labisse parvient à nous donner d'inquiétantes équi-
valences plastiques de son inquiétude face à quelques-uns des
plus angoissants problèmes qui se proposent à l'homme.

Les cristallisations de Jacques Herold nous font aborder les
principes fondamentaux de la peinture surréaliste. Elles mon-
trent d'une éclatante façon la primauté dans l'art surréaliste
des méthodes objectives (grattage, frottage, décalcomanie, fu-
mage, etc...) sur les méthodes purement subjectives et volon-
taires des « figuratifs ». Chez Herold, les forme aiguës que l'on
rencontre dans ses œuvres récentes (L'Arbre, Floraison, etc...),
telles les failles du cristal ou les réseaux de givre parcourant
l'eau des diamants, produisent chez le spectateur, comme jadis
ses personnages écorchés, un véritable sentiment d'angoisse
physique.

PUBLISHERS WEEKLY

Breton, André
Po
Young cherry trees secured against hares; Jeunes cerisiers garantis contre les livres; tr. [from the French] by Eduard Roditi; il. by Arshile Gorky. no p. O c. N.Y., View Editions bds., 3.75
The original French and the English translations are on facing pages.

THE AMERICAN SCHOLAR

# The Revolving Bookstand

Experiment and Post-Experiment

## Louise Bogan

*A Season in Hell (Une Saison en Enfer)*, by Arthur Rimbaud. A new English translation by Louise Varèse, with a Rimbaud chronology prepared by H. Creekmore. Norfolk, Connecticut: New Directions. $1.00.

*Prose Poems from The Illuminations*, by Arthur Rim-
baud. Translated by Louise Varèse. Norfolk, Con-
necticut: New Directions. $1.50.

*Guillaume Apollinaire: Choix de Poésies*, with an intro-
duction by C. M. Bowra. London: Horizon. 10s. 6d.

*Young Cherry Trees Secured Against Hares (Jeunes Cerisiers Garantis contre les Lièvres)*, by André Breton. Translated by Edouard Roditi, with a cover by Marcel Duchamp and illustrations by Arshile Gorky. New York, London and Paris: View Editions: A. Zwemmer. $3.75.

*New Directions: No. 9*, edited by James Laughlin. Nor-
folk, Connecticut: New Directions. $3.75.

*The Selected Writings of Gertrude Stein*, edited and with an introduction by Carl Van Vechten. New York: Random House. $3.50.

*Esthétique du Mal*, by Wallace Stevens. Cummington, Massachusetts: The Cummington Press. $5.00.

*The Selected Writings of Dylan Thomas*, with an intro-
duction by John L. Sweeney. Norfolk, Connecticut:
New Directions. $3.50.

*The Collected Poetry of W. H. Auden*. New York: Random House. $3.75.

*Lord Weary's Castle*, by Robert Lowell. New York: Harcourt, Brace and Co. $2.50.

Two questions come to mind as one ex-
amines the state of literature in general and
of poetry in particular in this period just
after the end of a war. New attitudes, new
energy and new material will soon appear,
one can predict with some certainty. While
waiting for their appearance it is important
to cast appraising glances upon the sort of
poetry that has recently been published. Is
it true, for example, that we are even now in
"an epoch of great spiritual renewal at the
brink of the decline of a world"? And is it
also true that literary experiment, as it has
existed in France since Rimbaud, and in
England and America for the last thirty-five
years or more, is now at a point of exhaus-
tion, capable only of repetition, emptiness
and dullness?

Let us examine the second of these ques-
tions. It is necessary to look back to the
source of literary experiment: France in the
early nineteenth century, where, because of
continued social and political ferments that
were suppressed in post-Napoleonic England,
literary activity moved rapidly and threw
up developments with vitality and speed.
The history of modern poetry, it has become
clear, goes back to Baudelaire. Later, poetry
in France developed along two lines. First,
a continuing revolt against the milieu of in-
dustrialism and materialist pressures went
on; second, various insurrections and revolts
occurred within the art of poetry itself. These
two lines frequently intersect, but it is pos-
sible to divide them off in a rough way.
Many of the prejudices existing at present
concerning the state of modern poetry arise
from a confusion of these two lines of de-
velopment, or from a tendency to confuse

◎ For the past fifteen years LOUISE BOGAN has been poetry reviewer for the *New Yorker* and has written criticism for the *New Republic*, the *Nation*, *Partisan Review*, *Poetry* and other journals. Miss Bogan has published four books of verse since 1923. In 1944 she became a fellow in American letters of the Library of Congress, and held the position there of consultant in poetry in English during 1945-46.

Breton, André
Po
Young cherry trees secured against hares; Jeunes cerisiers garantis contre les lievres; tr. [from the French] by Eduard Roditi; il. by Arshile Gorky. no p. O c. N.Y., View Editions bds., 3.75
The original French and the English translations are on facing pages.

THE AMERICAN SCHOLAR

He called himself "a
harmless
drudge—"

By his own definition, Dr. Samuel Johnson styled himself "a harmless drudge." He, nevertheless, accomplished the prodigious task of writing the most famous early English Dictionary in which he defined a lexicographer as "a writer of dictionaries: a harmless drudge that buries himself in tracing the original and detailing the signification of words."

Dr. Johnson wrote a dictionary which was to dominate the field for over a century, but today his book would not be practical. Complex modern life sets a different standard. Aviation, transportation, radio, motion pictures, synthetics—all have introduced new words.

THE WINSTON DICTIONARY is the only dictionary to incorporate in the *body* of the book new words as they come into usage, such as *penicillin* and *geopolitics*. This practice assures convenient reference and is possible for the reason that *every printing is a new edition. There are no reprints or cheap editions of THE WINSTON DICTIONARY*.

Write for "Samuel Johnson" folder showing how THE WINSTON DICTIONARY satisfies all modern requirements

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itself above a certain school-boy level. The fact that many charlatans and *blagueurs*, as well as genuine poets, were experimentalists, has helped to obscure the worth and befog the direction of experimental poetry.

Before we try to estimate the worth of current experimental productions, we should examine the poetry of Guillaume Apollinaire (de Kostrowitski), born in 1880 in Rome of a Polish mother, educated in Monaco and in Nice, and after continental travel, for many years a resident of Paris, up to his death of a war wound in 1918. A selection from Apollinaire's poetry in the original French was recently published in England with a sympathetic and scholarly introduction in English by C. M. Bowra. Apollinaire was a true poetic innovator. His technical innovations have been widely imitated; the work of Louis Aragon, which made a falsely original impression during the War, is deeply indebted to him. Apollinaire brought in a new attitude of the poet toward his environment. He neither rebelled against nor repudiated it; he absorbed it. He worked in the atmosphere of his time, as a member of a group of writers and artists which included Picasso, Picabia, André Salmon, Max Jacob and André Derain; and he knew and admired Alfred Jarry, the author of the anti-bourgeois (and anti-human) play, *Ubu-Roi*.

Apollinaire invented the word "surrealist" to describe his play *Les Mamelles de Tirésias* produced in 1917. His two books of poems *Alcools* (1913) and *Calligrammes* (1918), used all of the "avant-garde" tricks of the time alone with some new ones — the use of typographical design, for example, so that a poem about rain proceeds down the page in long vertical lines. He did hack research work in the Bibliothèque Nationale, thereby acquiring a sort of factitious erudition, which he used to enliven his writing.

He might easily have turned out a glib and mocking versifier of a third- or fourth-rate order; he was saved from this by the original purity and genuniness of his talent, by his real intelligence, of an imaginative, inquisitive kind, and by his temperament, which was both gay and charming. He was not afraid to express the more tender sort of emotion; his love poems are delightful. His chief

AURORA
DAWN

By Herman Wouk

Imagine that an elegant and witty 18th-century novelist, cleverly disguised in a Brooks Bros. suit, has smuggled himself into Radio City and observed, with raised brow and tongue in cheek, the events leading up to the great Aurora Dawn riot.

Neither this nor anything else we can say will give you more than an inkling of the sheer delight contained in the new mock-heroic romance by a surprising new novelist. $2.75 at your bookseller's.

GENTLEMAN'S
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By Laura Z. Hobson

This new novel about antisemitism is *not* concerned with lunatic-fringe hoodlums who beat children and desecrate synagogues. Instead it is about (and for) those polite Americans who wring their hands over such outrages—and yet achieve the same results in a subtler, more “gentlemanly” way in their business and social lives. Charles Jackson, author of *The Lost Weekend* says, “I am simply unable to get it out of my mind. It is brilliantly thought out.” $2.75 at your bookseller's.

SIMON AND SCHUSTER, Publishers

THE AMERICAN SCHOLAR

OXFORD BOOKS

KEATS
AND THE
DAEMON KING

by Werner W. Beyer

A fascinating piece of literary detective work that traces the remarkable influence of the gifted German author, C. M. Wieland, on Keats' mind. It also sheds new and startling light on Keats' life and thought, on his poetic ideas, symbolism and daemonology. Its fresh data explains obscure passages in twenty-five poems and gives a key for at least three major poems — *Endymion*, *The Eve of St. Agnes* and *Lamia*. Finally, KEATS AND THE DAEMON KING enables us to watch the metamorphosis of specific ideas into true poetry. $4.00

A SAINTSBURY
MISCELLANY

With a Preface by
Augustus Muir

This collection of Saintsbury's writings reflects the wide diversity of his interests — ranging from studies of the English poets to *The Qualities of Wine*. A personal study of Saintsbury by his friend, the late Oliver Elton, and a group of portraits by Sir Herbert Grier son and others introduce the essays.

$3.50

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tellectual element could not make itself felt over such a period of time; but, as it turns out, the last poems are exactly like the first.

A certain patriotism, at least, has been inserted into the work of Paul Éluard, a poet who once was closely associated with Breton. James Laughlin, in *New Directions: No. 9*— the “annual exhibition gallery of new and divergent literary trends” that he has published, for ten years—presents a selection from Éluard’s later work. Éluard is distinctly gifted, in a small and delicate lyric way, but his endowment, in spite of his sincere enthusiasms, is far too frail to carry the weight of authority which has been assigned to him. It is interesting and unexpected, by the way, to read James Laughlin’s remark in his introduction to this newest yearly collection, that “the experimental vein of the prewar years may well be exhausted.”

At this particular moment, when “the revolution of the word” seems to have outlived its reason for being, we can look back upon the work of the American woman who helped to clear the air of Victorian stylistic excesses. Gertrude Stein detached words from hampering connotative accretions. Her *Selected Writings*, edited with an introduction by Carl Van Vechten, appeared shortly after Miss Stein’s recent death. This volume gathers together for the first time the early and late writings, in prose and “free verse,” of a woman who was a true literary pioneer. Gertrude Stein worked with lapidarian care with the color, weight and density of words. Polishing them free of sentiment’s film and the dust of “literature” alike, she arranged them in abstract patterns. Her methods in detaching language from meaning combined wit and shrewdness. The “free verse” of “Tender Buttons” (1914) and of her plays can be read with pleasure derived from her ingenuity and her hardness of outline. In spite of many indications to the contrary — a sort of enlargement and petrification of the ego becomes occasionally unpleasantly apparent in her work — she was never silly or inhuman, and the value of her influence upon modern prose as well as upon modern poetry is incontestable.

Wallace Stevens is another American ex-

ILLINOIS BOOKS

Milton's Poems in Facsimile

The Illinois Facsimile Edition of the Poetical Works of John Milton, edited and annotated by Professor Harris F. Fletcher, in four volumes, 8 3/4 x 11 inches. Limited edition, 550 numbered copies — $20 the volume.

I. POEMS, &c. UPON SEVERAL OCCASIONS, 1673
POEMS, BOTH ENGLISH AND LATIN, 1645
With Fugitive Printings, Manuscript Copies, and Their Collations. 466 pages, 1943.

II. THE FIRST EDITION OF PARADISE LOST
With the Plans and Lists of Epic Subjects from the Trinity College Manuscript, the Manuscript of Book I, with Transcriptions and Collations. 634 pages, 1945.

III. THE SECOND EDITION OF PARADISE LOST
Approximately 500 pages, in press (1947).

IV. THE 1671 EDITION OF PARADISE REGAINED
SAMSON AGONISTES
Approximately 350 pages (in press, 1947 or early 1948).

Shaksperean Studies

Three important works by Professor Thomas W. Baldwin on the education and the literary and dramatic art of William Shakspere.

1. WILLIAM SHAKSPERE'S PETTY SCHOOL
Primary education of Shakspere's time as reflected in his plays.
240 pages, $4.50 (1943).

2. WILLIAM SHAKSPERE'S SMALL LATINE AND LESSE GREEKE
Grammar-school education in the fifteenth century. "Whether or not Shakspere ever spent a single day in petty or grammar school, nonetheless petty and grammar school were a powerful shaping influence on him. . . . How much of himself did Shakspere realize from them?"
Two volumes, 1550 pages, $15.75 (1944).

3. SHAKSPERE'S FIVE-ACT STRUCTURE
Shakspere's early plays on the background of Renaissance theories of five-act structure from 1470.
866 pages, $20 (1947).

Milton and Ovid

MILTON AND THE RENAISSANCE OVID, by Davis P. Harding. 105 pages, cloth, $2, paper, $1.50 (1946).

UNIVERSITY OF ILLINOIS PRESS

Urbana, Illinois

THE AMERICAN SCHOLAR

BOLLINGEN **SERIES**

New Titles:

VII
Herbert Friedmann

THE SYMBOLIC
GOLDFINCH

The history, artistic significance and symbolic meaning of one of the most frequent accessory figures occurring in European devotional art from the thirteenth to the eighteenth century.

160 illustrations $7.50

VI
Heinrich Zimmer

MYTHS AND SYMBOLS
IN INDIAN ART AND
CIVILIZATION

Edited by Joseph Campbell

A study of the culture, religion and art of India, through legends and myths taken from the Sanskrit. Illustrated from Hindu, Jain and Buddhist art.

70 illustrations $4.50

PANTHEON BOOKS, INC.

41 Washington Square, New York 12, N. Y.

perimentalist. His poetic talent is rich and varied, although marked by a tendency toward affection. Of late years he has washed into the liquidity of his poems—poems always musical, and often freshly so—certain tenuous philosophical ideas. His latest book, *Esthétique du Mal*, finely printed and decorated with abstract designs, presents the later Stevens appropriately: as an end-product of the sort of late nineteenth-century aestheticism which tried to apprehend the spiritual through the sensory. And, before we leave the subject of literary experiment, we should mention the work of Dylan Thomas, into whose Welsh eloquence many degrees of depth and meaning are read by his admirers. Beginning with a surrealist technique, Thomas in his later work has become more lyrical, and he has enough dramatic sense to keep his work from flowing over completely into the state which Yvor Winters has described as “chaotic revery.” It is extraordinary how much force fine rhetoric still can exert. Clearly Dylan Thomas’ chief effects as they appear in his recently collected *Selected Writings* are spell-binding ones; his work again attests the weaknesses of modern writing which do not possess some intellectual or moral framework.

Some framework, either intellectual or moral, is present in the poetry produced during vigorous periods of history. Continued revolts within any medium are not enough. We have seen the various means by which poets since the early nineteenth century have endeavored to deal with their milieu. The “world” was attacked and then abandoned by Rimbaud, absorbed by Apollinaire, but it was to some extent transcended by Baudelaire. To transcend the environment by relating material facts to a larger spiritual scheme has been the task of those Symbolist and post-Symbolist poets who recognized in Baudelaire a tragic example of both spiritual triumph and spiritual defeat. It was to Baudelaire that Rilke turned during his despairing days in Paris, as he relates in “Malte Laurids Brigge”—Rilke who later in his great “Tenth Elegy” was to give us the picture of a symbolic “angel” in the modern market place:

Breton, André Po

Young cherry trees secured against hares; Jeunes cerisiers garantis contre les livres; tr. [from the French] by Edward Roditi; il. by Arshile Gorky. no p. O c. N.Y. View Editions bds., 3.75

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Nationality Rooms of the University of Pittsburgh

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Modern Education and Human Values

Autumn, 1947

University of Pittsburgh, Pitcairn-Crabbe Foundation Lectures on Education: Boyd H. Bode, Douglas S. Freeman, Arthur H. Compton, Henry P. Van Dusen, Robert M. Hutchins, Francis T. Spaulding. These lectures by outstanding leaders in various fields of human endeavor are encouragement for education to provide understanding of the individual's relation to more effective living in the modern world.

Administrative Law: Its Growth, Procedure, and Significance $1.85

Roscoe Pound. Four lectures under the auspices of the School of Law, University of Pittsburgh, 1940.

Pen Pictures of Early Western Pennsylvania. John W. Harpster. Excerpts from 37 writings of men and women on the frontier. $3.50

Council Fires on the Upper Ohio. Randolph C. Downes. Two folkways struggle for mastery in the Ohio Valley. $3.00

The Keelboat Age on Western Waters. Leland D. Baldwin. River boating in the West before the invention of the steamboat. $3.00

The Planting of Civilization in Western Pennsylvania. Solan J. Buck and Elizabeth H. Buck. Every aspect of the region's life and development as far as 1812. $5.00

Early Western Pennsylvania Politics. Russell J. Ferguson. The regional conflict between the Jeffersonian and Hamiltonian concepts of democracy. $3.00

Whiskey Rebels: The Story of a Frontier Uprising. Leland D. Baldwin. An important early struggle between conflicting ideals of democracy. $3.00

With Rifle and Plow—Stories of the Western Pennsylvania Frontier. J. E. Wright, Elisabeth M. Sellers, Jeannette Shirk. For teen age and older; frontier heroes sung and unsung. $2.00

Through One Hundred and Fifty Years: The University of Pittsburgh. Agnes L. Starrett. The story of a University that began at a frontier trading post and grew up with a great city. $10.00

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Whirling Spindle. Elizabeth Moorhead. Story of a family whose good sense, intelligence, and culture were built into the best life of Pittsburgh. $3.00

Chronicles of Stephen Foster's Family, Evelyn Foster Marneweek. Material drawn from family letters and papers for the biography of an interesting American family. 2 vol. $5.00

The Early Architecture of Western Pennsylvania. Charles M. Stotz. A record of building before 1860 based on the Western Pennsylvania Architectural Survey, project of the Pittsburgh chapter of the American Institute of Architects and The Buhl Foundation, 400 photographs, 81 measured drawings. $15.00
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PUBLISHERS WEEKLY

Breton, André
Po
Young cherry trees secured against hares; Jeunes cerisiers garantis contre les lievres; tr. [from the French] by Eduard Roditi; ii. by Arshile Gorky. no p. O c. N.Y., View Editions bds., 3.75

THE AMERICAN SCHOLAR

Chapel Hill

presents:

MEANING AND TRUTH
IN THE ARTS

by John Hospers

A brilliant study of the application of the terms "meaning" and "truth" to the major arts of music, painting and literature.

$4.00

THE REVIVAL
OF REALISM

by James K. Feibleman

A provocative discussion of the occasional resurgence of the philosophy of realism through the ages and its present revival in philosophy, history, science, semantics and psychology.

Coming March 15 • $4.00

GERMAN
LABOR COURTS

by Frieda Wunderlich

A lucid, thoroughly documented discussion of the historical development of German labor law up to 1925, an analysis of the system as it operated between that date and 1933, and an account of the changes made under Nazism.

$3.50

AT BOOKSTORES

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CHAPEL HILL • N.C.

O, wie spurlos zeträte ein Engel ihnen den Trostmarkt,
den die Kirche begrenzt, ihre fertig gekauft:
reinlich und zu und enttäuscht wie ein Postamt am Sonntag. . . .

And it is Baudelaire, among others, who is invoked by Eliot at the end of *The Waste Land*. Baudelaire clung to the sense of Oth-erness: of some Reality which the teach-ings of scientific positivism cannot explain. For him, the philosophic substitution of the goodness of man for the goodness of God, was never valid or binding.

The possible transcendence of the evils of the modern world and of the eternal evil in the heart of man, through grace and suffering, is the theme which informs the two major poetic works of the last few years. T. S. Eliot's *Four Quartets*, since it appeared in an American edition in 1943, cannot be dealt with here. Its light falls so strongly upon the period, however, that it must at least be mentioned. Eliot, long a convert to the Anglican Church, in these four complicated and moving poems exposes his personal religious emotion more completely than (remembering his earlier objectivity) one would think possible. Peace and grace are to be reached "not in movement":

But in abstention from movement, while the world moves

In appetency, on its metalled ways
Of time past and time future . . .

and the poems rise to a climax of joy at their end. A like joy shows in W. H. Auden's *Collected Poems*. Auden writes a prayer for the voice of Man:

... O teach us to outgrow our madness.
Ruffle the perfect manners of the frozen heart,
And once again compel it to be awkward and alive.
To all it suffered once a weeping witness.

Clear from the head the masses of impressive rubbish;
Rally the lost and trembling forces of the will,
Gather them up and let them loose upon the earth

OXFORD UNIVERSITY PRESS

is proud to announce the publication of

D. C. SOMERVELL'S
one-volume abridgement of
A STUDY OF
HISTORY

By ARNOLD J. TOYNBEE

From the reviews of the original publication of
A STUDY OF HISTORY

"The position of Professor Toynbee's book is, to say the least of it, not less than was that of Edward Gibbon's in 1776."
— SIR JOHN SQUIRE, in the *London Mercury*

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— CRANE BRINTON, in *The Yale Review*

$5.00 at all bookstores

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Father of Surrealism

YOUNG CHERRY TREES SECURED

AGAINST HARES: By Andre Breton.
Translated by Edouard Roditi. Draw-
ings by Arshile Gorky. 48 pp. New
York: View Editions. $3.75.

By ANNA BALAKIAN

ANDRE BRETON, the father of Surrealism, has been living among us almost incognito in self-imposed exile for the past five years. As a farewell token to the American reading public he leaves behind a little volume containing a chronological sampling of his poems, old and new, representative of the movement he initiated some twenty-five years ago and of which he has remained the leading spokesman. The present collection, with translations by Edouard Roditi, includes that early favorite of Surrealist anthologies, "Au Regard des Divinités," with its uncanny power of producing a fresh series of images with each reading of the poem; present too is his famous tour de force, "L'Union Libre," which could be termed a modern adaptation—or perversion—of The Song of Solomon. For sheer fantasy there is "L'Air de l'Eau" in which a faraway country is made to quiver with reality.

American horizons have not impaired Breton's Surrealist vision. The fruits of his years as a *deraciné* are as good as ever—or as bad—according to the inclination of the reader. If in a fragment called "Fata Morgana" he falls into Steinese repetition, a manner alien to his style, everywhere else he remains true to himself. His poem "Guerre" presents the eloquence of chaos brimming with somewhat incoherent but violently concrete images of the "Beast" of war which irritate and challenge every one of the five senses:

The pustules of the Beast grow resplendent in those hecatombs of young men on which the Number gorges

With its flanks protected by the
shimmering scales that are
armies

All doomed and each of them
turning perfectly on its hinge

Although they all depend on one
another no less than cocks
that insult each other from
dungheap to dungheap.

WISELY, the editors have placed the original text opposite the translation. As a guide to the neophyte, with a basic knowledge of French, the translations are serviceable. Mr. Roditi must like Surrealism; it takes courage to translate Breton. Faced with a limitless vocabulary, specific, learned to the point of being downright technical at times, encountering associations of words that are totally unexpected, Mr. Roditi proves generally in his handling of the English language, a match for Breton's virtuosity in French.

If the reader will follow Mr. Roditi as he dauntlessly plunges into the mazes of Surrealist word union, this volume should do much to acquaint him with André Breton's amazing range of imagery, his rejection of logic and substitution of magic as a basis of artistic expression. If he will fall into the spirit of irra-

tionalism and concentrate on the
unit of the image rather than
look for a unit of thought, he will
witness associations of images
that completely tend to revolu-
tionize the poetic metaphor and
create a fiesta of undreamed of
visions.

For the reader who is already
familiar with André Breton's
work, the present volume offers
an opportunity to view him in
perspective and take note of the
prevailing qualities of this poet-
philosopher. In another work
published in the United States
two years ago, "Arcane 17,"
written in French, the social
rebel of former years and cham-
pion of incoherent literary ex-
pression was found philosophiz-
ing in crystal clear prose about
the basic oneness of the world
and mourning its collective scars
—along with some personal ones.
Gone is the social anarchism of
his youth; it was the superficial
mantle of his extremely critical
mind, which had set out to chas-
tise poetry and external reality,
both grown stagnant. But the
philosophic basis of his art,
his supercommand of language
and his extraordinary widening
of the range of poetic vision seem
to have stood the test of time.

THE NATION

July 12, 1947

Hares and Trappists

A MAN IN THE DIVIDED SEA.
By Thomas Merton. New Directions.
$2.50.

YOUNG CHERRY TREES SECURED
AGAINST HARES. By André Breton. View Editions. $3.75.

THE best thing Mr. Merton does is to communicate the complete satisfaction of the very simple but, for the believer, wonderfully significant life of the Trappist monk; a special, almost allegorical, feeling for nature seems to be a part of this life. For instance, The Trappist Abbey: Matins:

When the full fields begin to smell of
sunrise

And the valleys sing in their sleep,
The pilgrim moon pours over the solemn
darkness

Her waterfalls of silence,
And then departs, up the long avenue of
trees.

But Mr. Merton realizes such feelings
only occasionally, for there is a clash be-
tween them and his characteristic style.

This style seems to be based on a de-
light in the decorative elaboration of
comparisons, a delight which frequently
leads to the abuse of the simile, as in
Holy Communion:

For Grace moves, like the wind,
The armies of the wheat our secret herol
And Faith sits in our hearts like fire,
And makes them smile like suns.

These capitalized abstractions grow
no more precise for being qualified by
a succession of similes which, taken sep-
arately, are clichés and, taken together,
chaotic. Frequently, too, Mr. Merton al-
lows himself to detail the obvious as-
pects of the vehicle of a metaphor
which has, in the first instance, only
the slightest support of meaning. This
is from a poem on the Annunciation:

Speech of an angel shines in the waters of
her thought like diamonds.

Rides like a sunburst on the hillsides of
her heart,

And is brought home like harvests,

Hid in her house, and stored

Like the sweet summer's riches in our
peaceful barns.

The effect of such obvious and, for the
most part, merely verbal ingenuity is to
raise the question of the quality of the
poet's feelings for the Communion or
the Annunciation; yet it is clear from
some other poems where Mr. Merton
has subdued these stylish tricks that his
religious feelings are finer and deeper
than such obvious and muddled figures
suggest. At its best this style lends
itself to songs and highly fanciful
and sensuous description—for example,
“Ariadne”—not, except on very special
occasions, to what appears to be Mr.
Merton’s very real faith.

The claim of his publishers is that
“le témoignage d’André Breton s’im-
pose comme gage de la tradition clas-
sique des Surréalistes, d’une imagination
qui ne transige pas et d’une constance
morale qui ne fait jamais défaut.” This
may well be true; the juror on whom
only a fragment here and there, and one
poem, have imposed themselves can
hardly say. There is a kind of brilliance
of phrase in these poems which is often
impressive, but

Je prends mon bien dans les failles du roc
là où la mer

Précipite ses globes des chevaux montés
des chiens qui hurlent...

There are places into which it is not
always easy to follow Mr. Breton's
understanding.
ARTHUR MIZENER

YOUNG CHERRY TREES SECURED AGAINST HARES. By Andre Breton. View Editions. $3.75.

This book, with such a forbidding title, is Andre Breton's first collection of verse between his arrival in America in 1941 and his departure for Paris again in 1946. Actually the title is the most forbidding aspect of the book (plus the greatly inflated price), and it turns out to be a very pleasant and engaging book by the international leader of the Surrealists.

What I like about Breton and many of the foreign surrealists is that they do not seem to feel they must continually work at white heat and offer up a fused mass or various impressions and perceptions, a feeling which, I think, damages much of American surrealist work. In these poems are a number of apparently disparate impressions which begin to coalesce around an engaging, critical, and rather wry and bitter point of view

The French text of Breton faces an English translation by Edouard Roditi, who is an accomplished worker with French literature.

— Alan Swallow.

415 LEXINGTON AVENUE, NEW YORK 17

for intellectual and esthetic enjoyment it's **View**
edited by Charles Henri Ford

**art**
View's covers, all specially designed, are noted for their brilliance and originality. No other magazine can boast such an array of cover-artists, internationally known and distinguished in the fields of painting, sculpture, or theatre: Alexander Calder, Marcel Duchamp, Max Ernst, Leonor Fini, Estéban Francés, Jean Hélion, Wifredo Lam, Fernand Léger, André Masson, Kurt Seligmann, Pavel Tchelitchew, John Tunnard.

**& literature**
View, first in art, is also in the advance-guard of literature. Among the writers who have contributed poems, stories, articles are: Eric Bentley, Jorge Luis Borges, André Breton, Kenneth Burke, Roger Caillos, Albert Camus, E. E. Cummings, Denis de Rougemont, James T. Farrell, Wallace Fowlie, Jean Genêt, André Gide, Randall Jarrell, Henry Miller, Jean-Paul Sartre, Meyer Schapiro, Ramon J. Sender, Edith Sitwell, Wallace Stevens, James Johnson Sweeney, Parker Tyler, William Carlos Williams.

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Spring 1947

A NIGHT WITH JUPITER
AND OTHER FANTASTIC STORIES

*Edited by Charles Henri Ford*

EACH of these modern stories has its unique and irresistible charm. The range of locale and fancy is from deepest Chicago to an impossible but fascinating Africa, from a dream vision of Mobile, Alabama to the psychic life of a buzzard.

Among the authors included are Henry Miller, Ramon J. Sender, Raymond Roussel, Giorgio di Chirico, Paul Bowles, Leonora Carrington, and Montagu O'Reilly. Profusely illustrated with line-drawings by such famous contemporary artists as Alexander Calder, Pavel Tchelitchew, and Yves Tanguy.

'Cosmopolitan, curious, ultra-contemporary writing which ranges from the weird to the baroque . . . from the astrological, the satanic, the legendary, to present-day parody. Surrealist for the most part, strange, and sometimes suggestive, this book is by and for the esoteric.'

Mr Ford is the one genius we have had as an editor in our time.—
Edith Sitwell.

8s 6d net

Medium 8vo Illustrated
Catalogue Nr 609/R

ETATS-UNIS.

VIEW (New-York). Printemps 1947. — Cette revue surréaliste de grand luxe, consacrée à l'art et à la littérature, comporte un excellent essai de Parker Tyler: « L'anatomie humaine, un univers qui s'épanouit », illustré d'une étonnante reproduction de Tchelitchew, que suit une étude de Marius Bewley: « La Mort en Amérique »; puis « Les Chiens musiciens », par Paul Goodman; « La Musique est dangereuse », par Paul Nouge; des poèmes, enfin, dont certains attachants, de Russell Atkins, Joë Massey, Andrew Demarest, Anne Rush.

LES REVUES

View (New-York). N° 6, janvier 1946.

Mentionnons un article brillant d'Edith Sitwell : Some notes of Shakespeare.

My life : Two Excerpts, par Marc Chagall, texte accompagné d'un délicieux autoportrait.

The Phoenix as narcissus, par Léon Kochnitzky.

Martial Music ? un article haineux sur Louis Aragon, poète de la Résistance française, par Parker Tyler, qui dit entre autres :

Ce livre est une brillante et prosaïque collaboration en vue d'exalter un traître de la poésie moderne, Louis Aragon. Naïvement, Waldo Frank, relatant quelques souvenirs personnels avant la conversion d'Aragon à la banalité, admet que ce poète, alors même qu'il était un nouveau flambeau surréaliste, montrait des signes de juteux patriotisme, exprimant son plus vulgaire accent dans cette phrase : « la belle France ».

La vérité est que tant qu'Aragon reste un surréaliste, c'est-à-dire un poète capable d'invention originale, il est possible de le lire sans dégoût.

Les vingt-cinq poèmes imprimés ici attestent qu'Aragon apporta sa contribution littéraire à la France pendant la seconde guerre mondiale en convertissant la tradition de la poésie française en une sorte de « ration alimentaire » pour l'armée, un « concentré » de mélange d'effets de Villon à Rimbaud et du prénommé Aragon, ainsi qu'un assortiment considérable de clichés anonymes.

De ces vingt-cinq poèmes un seul, peut-être, « Elsa au Mi-
roir », reste pur de toute vulgarité, mauvais goût ou cocarde en
papier crêpe.

Sans commentaire.

Unlike our great-grand-
parents, we enter school
potential adults and leave as
little children, many of us
doomed to perpetual adoles-
cence. Obviously, this is a
bad thing, but some artists
who enjoy this state—incom-
plete beings that they are—
have sufficient skill to pour
forth their work year after
year upon a market composed
of clients of the same mental
age as themselves. This
magazine is full of such work,
for surrealism exists to-day as
yesterday. But it is no longer
regarded as the ultimate end
of art—rather the beginning.

View. Edited by Charles
Henri Ford, at 360, East
55th Street, New York.
7¼in. x 10¾in., 32 p.p.
Illustrated. Quarterly, 35
cents.

EXPENSIVELY printed on beautiful art paper with numerous illustrations and a coloured cover, this magazine contains reproductions and criticism of surrealist paintings, and expositions on surrealism and art as interpreted by the surrealists throughout the world. The magazine contains book notices as well as work by poets who, by rights, ought not to be in such surroundings, since they are, at best, no more than obscurantists.

But perhaps this magazine
is going through a phase and
is about to mature. If so, it
will be a great loss to the
surrealists, for this publication
is an important one of its
kind. However, whatever its
creed, it will always be
interesting and anything is
preferable to the ghoulishly
analytical and clinical X-ray
type of drawings so typical of
surrealism, which illustrate
the pages.

EVERYMAN

MARCH/APRIL, 1947

ers. People like the movie-illustrated edi-
tions, he said.

Along with this optimistic atmosphere of better business and new business was the paradoxical opinion expressed by some book people that the very small bookshop is on its way out, on the West Coast and in the Far West in general. It has been reported that double and even triple rents have been demanded, which can be paid by other specialty shops but which small independent bookstores can not afford. There is even a demand for "Closing Out Sale" signs in Hollywood, where several small stores are shutting up shop entirely and the same condition is reported from such widely separated spots as Denver and Oklahoma City. The Satyr Book Shop is moving from its 18-year-old location next to the Brownery on Vine Street in Hollywood to a store on Hollywood Boulevard. The London Book Shop has closed down entirely. On the other hand, Jose Schnaider has recently opened the Hispano American Book Shop at 827 W. Sixth Street in Los Angeles, where he deals in new books printed in Mexico, Spain, Argentina and Chile.

And the title most in demand everywhere
is still "Forever Amber."

FRENCH WRITERS BRING
NEW INFLUENCES TO U.S.A.

In spite of wartime demoralization and material disruption, the culture and literary thought of France continue to be felt deeply in this country. Recent visitors from France are bringing to us the new expressions of French thinking, while the writing which played so great a part in the Resistance Movement is widely discussed in American periodicals and is beginning to be reproduced.

One of the most vigorous young spokesmen of the cultural resistance is Vercors (who uses his real name, Jean Bruller, only in his rôle as an artist). Vercors has just left for France, having toured the United States since January 15, giving talks in French to groups of the Alliance Française. He is known, of course, as co-founder of the underground publishing house, Editions de Minuit, and as author of the novelette, "Le Silence de la Mer," published underground by Minuit, and in America by

Macmillan (in English) and Pantheon (in French). (Vercors tells us, by the way, the correct title is in the singular—"Le Silence," not "Les Silences.") Pantheon has just issued a new story, in French, by Vercors, "La Marche à l'Etoile."

Editions de Minuit, Vercors told us the other day, is continuing to publish books which express a rationalist, vigorously democratic viewpoint.

The effect of Minuit's publications will become more apparent if, as is hoped, they become generally available in this country in imported, reprinted or translated editions. Already, Americans have made their acquaintance through the wartime works of Louis Aragon, notably by way of "Aragon, Poet of the French Resistance," which Hannah Josephson and Malcolm Cowley edited, with excellent translations, for late 1945 publication by Duell, Sloan & Pearson. Editions de la Maison Française has issued two volumes of Aragon's war poetry, "Crève-Coeur," and "Les Yeux d'Elsa."

Just now the complex philosophies of Jean-Paul Sartre and Albert Camus are getting wide attention in literary circles. Both were important writers for the Resistance. Sartre, the "existentialist," has just concluded a tour of the U.S.A., interspersed with lectures. These lectures, while they have not caused the fisticuffs and riots which his scholarly discourses provoke in France, have stirred a ferment reflected in such varied publications as *Time*, the *New Yorker*, the *Nation*, *Partisan Review* and the advance-guard literary monthly, *View*.

A related view of man's place in the uni-
verse is now being presented to American
writers by Sartre's friend and literary rival,
Albert Camus, who arrived in this country
March 24. Knopf will bring out his novel,
"The Stranger," in April. Justin O'Brien had
an article about him in the March 24 *Herald
Tribune Weekly Book Review*. The pres-
ence here of Camus will coincide with pub-
lication by *View* of a number devoted en-
tirely to French Resistance writing and pub-
lishing. Aspects of French wartime think-
ing will also be taken up in a special num-
ber of the quarterly, *Partisan Review*, later
this year. Specimens of recent French writ-
ing are given, mostly in English, in the cur-
rent *Briarcliff Quarterly*. Camus will lecture
in the East during April (see page 1965).

1944

Publishers' Weekly

VIEW
THE MODERN MAGAZINE

Editor
CHARLES HENRI FORD

Offices
1 East 53rd Street New York
N.Y.

Scottish Distributors
WILLIAM MACLELLAN
240 Hope Street, Glasgow

PRICE
2/6
ALL BOOKSELLERS

For intellectual and
esthetic enjoyment
it's
**View**
edited by Charles Henri Ford

art
VIEW'S covers, all specially designed in color, are noted for their brilliance and originality. No other magazine can boast such an array of cover-artists, internationally known and distinguished in the fields of painting, sculpture, or ballet: Alexander Calder, Marcel Duchamp, Max Ernst, Leonor Fini, Esteban Francés, Jean Hélion, Wifredo Lam, Fernand Léger, André Masson, Isamu Noguchi, Man Ray, Kurt Seligmann, Yves Tanguy, Pavel Tchelitchew, John Tunnard, and others.

**& literature**
VIEW, first in art, is also in the advance-guard of literature. Among the writers contributing poems, stories, articles, are: Eric Bentley, Jorge Luis Borges, André Breton, Kenneth Burke, Roger Caillois, Albert Camus, E. E. Cummings, Denis de Rougemont, James T. Farrell, Wallace Fowlie, Jean Genêt, André Gide, Randall Jarrell, Henry Miller, Jean-Paul Sartre, Meyer Schapiro, Ramon J. Sender, Edith Sitwell, Wallace Stevens, James Johnson Sweeney, Parker Tyler, William Carlos Williams, and others.

Special Introductory Offer to Readers of BELGIUM: Send $1.00 for current number, or $3.50 for a year's subscription, and receive free Poems for Painters by Charles Henri Ford. (Mention this ad.)

Published Quarterly, October, December, March and May

Make checks payable to

VIEW, INC., 1 East 53rd Street, New York 22, N. Y.

BELGIUM

LIGHTS ON
IN EUROPE!

For several years many Amer-
icans have wondered what
European intellectuals and art-
ists have been thinking and
creating. Now at last some of
this activity will be available.

View takes

pleasure in announcing an all
ITALIAN issue for February,
with work by such painters
and writers as Leonor Fini,
Mario Praz, Fabrizio Clerici,
Stanislao Lepri, Alberto Mo-
ravia, Carlo Levi, and others.

FRANCE also has given birth
to many new literary and art-
istic reputations during the
period of the War. The March-
April issue will be a big double
number featuring the latest
French trends and ideas.

SUBSCRIBE NOW!

Published monthly eight times a year. Original cover designs in full color. Edited by Charles Henri Ford. Subscriptions $3.50; Canada $3.75; Foreign $4.00.

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THE CALL