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And when they ask me where I have been, I shall say

|Ado not r e m e m b e r . _____________

h i B orn July near Blainville, F ran ce ^ t Begins painting. Landscape at Blainville known as his first 1902 the exhibition). G rad u ates from the Ecole Bossuet, the lycee in R ouen. 1904 Joins his elder brothers in Paris, where he studies painting until July 1905. Paints family, friends and landscapes in Post Executes cartoons for the C ourrier Frangaise and L e Rire 1905 m ittently until 1910). W orks for a nrintpr in R o u en . Volu m jlitarv «prvirp I. Silver s ta r Certificate tol ^ m ilitary service. fclmckler Maureen Webster/ ( /£ Resumes painting in Paris. L12)> 1.8 Ha/elglen Avenue,I 1906 Establishes a residence at N eim fyiaoinside t .,is. until 1913. 1908

1887

incredible burst o f super-speed send? [TH£An MAN OF STEEL CRASHING- through THE TIME-BARRIER

VAL GIVES HIS ULTIMATUM: “/OiW ENTIRE GARRISON HAS BEENDISARMED AND IMPRISONED IN THE ARMORY. I COMMAND THE ONLYARMED TROOP WITHIN THE CITY. YOU WILL PAY TRIBUTE TO THEMEN YOU SOLO INTO S i AVERY OK X WILL ALLOW THEM TO SACK YOUR PALACES/ *

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400 yedrs ago the lone survivor of a Pirate rpid was

washed up on a remote Bengali beach. On the skull tually final year oT|pls m ost importc of his father's murderer he swore an oath to fight S i/P M S & tf gro w s up in M uni crime. Generations followed him. Natives believed INTO $U f£*M AM AND it was always the same man. "The Ghost W ho MOVES FROM SMALL-TOWN descending a s t a i n n o«O ±i 2 w ithdraw n from W alks'' they said. So the legend grew. A name S M A U V /U B TO Bjp> in furore; exhibitedffiPpm jrafirst time at a Ci whispered — loved and feared . . . T H E P H A N T O M ! Clt V M ET6 0 POL IS, y show n in Paris at the ;S fey a Section d ’Or AVS U fE 'S DESTINED TO LINKED CLOSELY WlTh 4ers an d t h e ^ w i i a F m a 5 « th e d e se rt b e a u tifu ' PRETTY, IMPULSIVE 1 friendshi, a'^ (ty in c e , ‘is th a ts o m e w h e re it hides a w e l L ^ /u^ v^‘u ^ racl'cal anc11 M t REPORTER NAMED c j

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LOtS L A N E ! WHEN D ID ity precedes the offici; THEY FIRST M EET? STRANGELY ENOUGH. I T m ented in Du Cubisn I DIANA A HETRlEDTOWSSME. I IS BACK MSM ALLVILLE REALLY// DIDN'T WAK1T HIM TO. I'M [wHY^bWsrr1ftHYone ONE OAV, WHILE THE &IA.D HE'S GONE. ALL HE ------ HE. i M A N O f S T E E L IS.STIL \TALkEP ABOUT WAS SPORTS. A yoUTHS HERE, FOR THE FIRST TIME,. IS TOLD THE STORY BEHIND THE STORY OF THE L4FELON6 FRIEND SHIP W AT BEGINS WHEN...

A R E YOU SURE, LOIS, YOU'RE R&4LLV THROUGH WITH S # /* * # M A N XNC? THAT IT'S M B . VtoU RE/ALLV >-3

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____________________ he most rudimentary form In which this faith exists is the faith wliich the m other has towards her newborn baby: that it will live, grow, walk, and talk. However, the development of the child in this respect occurs with such regularity thamhe*expectation of it does not seem to require faith. It is different with those potentialities which can fail to develop: the child’s potentialities'to love, to be happy, to use his reason, and more specific potentialities like artistic gifts. T hey are the seeds which grow and become manifest if the proper conditions for thefr development are given, and they can be stifled if these are absent. One of the most im portant of these conditions is that the signi ficant person in a child’s life have faith in these potentialities. T he presence of this fl(|h makes the difference between education and manipulation. Education is identical with helping the child realize his potentialities.1 T he opposite of education is manipulation, w hich is based on the absence of faith in the growth of potentialities, and on the conviction that a child will be right only if the adults put into him what is desirable and suppress what seems to be undesir able. T here is no need of faith in the robot, since there is no life in it either. T he faititl m o th e r s has its culmination in faith in mankind.

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( / / Oi#u> But strange th a t I was n o tto li T h a t the b ra in can hold In a tiny ivory cell, I G od’s heaven a n d hellt _

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B a r o t *a j £ j {6£_____________________ fie sun had set. T he solemn night came into its own. T he chil dren parted, each one going, unconsciously, according to chance or circumstance, to consum m ate his destiny, to scandalise his kin dred and to gravitate either towards glory or towards dishonour.! tYOU SEE, BAROM, NTHERE ALW AYS ITHERE IS ANOTHER J IS. I'LL MAk!E I M A N '*m m VOU FORGET HIM LIF YOU’LL GIVE M E ’ TIME, DIANA.

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S & y tIS C H O O L

Shannon, N. McA.

FFdM m rs P w t

Porfr m

1955

u. OwStorys

Sharland, P. R, S harp, A. C. R. Sharp, F. L. R. S harp, H . W. R. L A T eg, AS S harp, M. R. . THE rw rfc Bet-L Sharp, P. A. Sharp, W . A. R. _____ _.Shatford, R. D.

when the din o f rioting

.AND THE MOUNTING FLAMES HAVE AROUSED THE ENTIRE Cm{ PRINCE VALIANT ORDERS HIS ARMED FOLLOWERS INTO POSITION,AND SIR GAWAIN TAKES COMMAND.

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1949

1928 1927 1927 1918 1949 1956 1954

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H ow can the bird th a t is born lorj? Sit in a cage a n d sing ? H ow can a child, w hen fears annoy, B ut droop his ten d er wing, A nd forget his youthful spring ?

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When thb. monarch 1 o r MOTION

REG AINS HIS S E N S E S . ..

A HP 4 5 T tfsy i£/W ff THE A REA, THE FAMED PILOT® A RB UNAWARE OF A STRANOE, P AR K SHAPE THAT OL!P£ 8 OVER THB WATER... r r z t 'm >■ .?

Hip Culture is not im portant fori what it has produced because it J?as| prod uced precious little. Its signifi-I caiu e lies in the over-reaction h has! elicited from a civi!isa!/on which! has grown so inflexible and hum.ourless that it has lost the will to ■experiment with new ,deas and so lii'-’t the essential m eaning of free dom. ( nabashed hedonisni is no worse than meaningless self-denial H owever misguided P lay Powei is a challenging and informativ* book that deserves to be read b ’ %nd to irritate the A ustralian read ■ing public. rrT - 1Jl..

___________RtCH.ARD W

a lsI

[who, for the poor renown of being s m a rt, [Would 5ea%'e a sting within a brother’s heart!

.temai'TOifcs Tiis'emptiness ■.s

shallow stream s ru n d im p lin g nil the w a v l I I 1

■■«»Sj u r n n -in n i < i 1 111 lappened to the o ldgyM gw T H A T a r e th f c l ^ with his savapei V V w o rld ’s n o isie st

A MAN WHO ENTERS THRU WINDOWS, SLEEPS ON THE PLOOR AND HAS A r .WOLP? ARE V0UMAklN6THIS ) UP,ULV? ------- x The days dbagced INTO WEEKS.. INTO AN EMPTINESS . .

_ J ie have heard that it hath been said, An eye tor an eye,] and a tooth for a tooth: But I say unto you, That ye resist not evil: but whosoever shall smite thee on thy right cheekj turn to him, the other also M

elab.o ra te l

a n i m a l s ? . ________

.* " ' 1 • ' 1 1 1

1 U u L U L L L U - H -M -U -*

"B rin g me tne two most precious things in the city,” said God to lone of His Angels ; and the Angel brought H im the leaden heart a n d j (the dead bird, f

A t th a t in s ta n t. THE M O B ST E R IS LOOKING THROUGH A O N E-W AY M IRRO R A T TUB GAMBLING HALL. BELOW, CHUCKLING QUIETLY TO H /M 6 E L F !

[a /S C ?

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^A man alive must show what he could do.

B u t t h e d a y w a s n ’t f a b □ AWAY W H EN I K N EW I HAD - f LIED TO MY H E A R T /

^ ^ ^ ^ E L W Y N LYNN t

^ j T h e ^ a r i n e s s ^ E ^ S 1^ ^ and the fret ",i=s- = ^ = 4 Here, where men sit and hear each other groan . / j

fcartoons signed ‘Sharp’? say they vary [quite good to mediocre. ^ Z D Have they got artistic I think they haveY [artistic merit. I do n ouch /TTviic meritl [in the one on the feeblef What do you tl Calli-[ graphy, I think ane in' order that the w than the actual meani; EngJish. We use ita I PIP ftC rt/ftLL Y LEftKN TD _ e use ^capitals. We c l e o s 'f - h a tc h P m /v e 3 e m r emphasis, I do not t h i n k _____ „ variety < aiS gvtive words; Y ew s a t e a s t 5 the Japanese and C h in e se __ are words ' " / / / / / ^ - a^ a................................ but at the same time they are ieople to ex*-errw. press certain emotions associat| word. That is, mrLK%lM ' ' the emotional content is attach in a way that OF is simply not quite the same Flaming youth has become a flaming question? ing of the word. I thii_th here. youth comes to us wanting to know what we may propose] Do you think it has a to do about a society that hurts so many of them. 1 'graphic arts, as calligraphy F r a n k l i n D. R o o s e v e l t , Address, April, 1936{

I'M T O M E E T HER IN HER APARTMENT. ITS TEN TO ONE SHE WON’T BE ALONE": >

llTomorrOw will I live, the fool does say; 'oday itself’s too late; the wise lived yesterday

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F em a5 p <

O ccasionally a w ell-bred g i r l w ith th e co^fidenSe^oK . [Could the passionate past th at is : / good sorority a n d a good social p o sitio n on th e cam pus Call back its dead, b e h in d h er, slips in to casual intercourse. U n d e r th e in-! <}Could we live it all over again, fluence of liq u o r o r especially effective love-m aking, she // I ... i Were it w orth the ------i / w iu go th e lim it a n d n ev er speak of it again. Stories of ( (y such in cid en ts w ere to ld u s by several young m en, b u t f & l f o e y ^ a ^ v z A s i Lj th e girls them selves. *=~ /

Irit’* a sp 'cy c o n il t a naughty wife] i whose charm s are shared w ith hubby and lover. r i

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r • I sto p p e d in m y track s, m y h e a rt to m a s u n d e r; b u t I [ still I d id n o t u n d e rsta n d .

In the film, “T ro u b le in M old-" Ip o lis,” H o p e plays th e role o f a I baddy called “Fudsy.” M a r t in 1 JS harp (who also opened a show I in Sydney o n W ednesday) is “ An drew the A narchist” w ith floury [fac e a n d insidious eye shadow.!

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A LONELS

ALLS'/ ALONG

MORROW STREET, | A STAR TLIN G CHANGE TAKES P LA C E . ..

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I Spaceship travellers arrive a t a 'p la n e t ■habited by disem bodied spirits w hich takl o v e r living creatures, turning them inta [vam pires. T h e ship’s captain and rem ainlin g survivors attem pt to escape from A u ra l b u t fail w hen a horrifying discovery is [m ade.

THE STORY OF THE LOTUS’ l£ /trC R S IS TOLD IN H O U R 'S

fo p y s s e y -e d

£ W h a t h e is a f te r is th e life fo rce itself. N o t fo r h im th e cool a n d u n im p a ssio n e d m o d u les of th e tec h n o lo g ic al age, th e c ere b ral c o n c e p t i o n s , th e a b d ic a tio n - f r o m a n g e r o r love.

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j T a m n e v e rl s h o u ld be h a p p ie r elselappy anywhere, and 1 alw ays think /here than there where I happen to be. ]

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so u n d l i k e a m illio n cicadas jie rce s th e e a rd ru m s w h e n you ;o in to B r e tt W h ite le y ’s exlib itio n a t th e B o n y th o n G al leries in Sydney. i T h e cic ad a s becom e sc rea m n g sirens, police sire n s and e m a le siren s, th e m ed ley a n a h e c ac o p h o n y of cities, sex, le sp a ir, joy, evil a n d b e au ty . T h is is no cool w ithdraw a:

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Y O U KNOW [MAYBE IT WAS THE NICHT 'AIR THAT CLEARED MV HEAO..

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is R Y N fx E - s s n v T H lk fttN A - M A N 0 Y N E C E S S IT Y '

“A m ood o f re v o lt stirre d . (b ra n d in g iro n a r t w as in

Blessed are the meek: for they shall inherit the earth>’^ l>st.raH^n

'LOOKNO

QLARI US (Jam?ary/ 1-February 18): You hould progress even be-; the anticipated,: and easily so. Your stars are exceptionally well aspected for work, not chance. _

Around a telegraph pole someone had scribbled the ' single word E T E R N I T Y A y \ V s ° A cy^c#- _

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m e e t ih g k e p t c o m in g

( | And a proverb haunts my mind 1

B AC K. .

-fl/y For the crim son flower o f o u r life is eaten by the cankerw orm o f tru th And no h a n d can g ath er u p the fallen w ithered! ( petals of the rose o f youth.

K£W C£P io o d \ T im e s

1( M o La blonde a I'air d'un Botticelli avec ses longs cheveux et ses yeuxj bleus transparents. Elle est nee a LondresJ ou elle a fait ses etudes tout en apprenant la] danse classique.

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“IF TH ElN PlVlM f\L

R .5R U Z S 5 HP 5&XF

AH H...I FEEL SO W O N DER FUL. ..HAPPY/ YES, A DEEP, QUIET HAPPINESS.' I COULD • STAMD HERE A L L NIGHT.'

A Q U A R IU S ( J a n 20 F e b 18): S o m e w ho advise m ay be u n d e r e s tim a tin g y o u r a b ilitie s, 't y y T a k e in itia tiv e . M a n y a re w a itin g fo r sig n a l to go ahead. G ive it. Set a n exam ple. E x p lo re — th ro w o ff se lf-d o u b t. • XMfcJBfcltH fflUH** ULli 1‘

y m ly W fV )£A O A

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KS pure in thought as angels are^ To know her was to love her. —— n m m n m m

P Y ^ (> o K T M G )V S ’ ACTI V IT Y /HVO THUS R 6L f tT f S

Him&LF rv 7w wo&iv, He ce flse s w p e m

is e i-m p n m rh : h -f and rm

becom e P frP T

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. w u f b m m e m , Efucti Ffonty A m om ent o f m ost critical change in the a rtist’s career. V irtually abandons all \ j d VotT conventional form s o f painting and drawing. Begins devel developm ent o f a personal ty ffe N I Cf\N G \ V£~. I o Be fiUjPiY system (metaphysics) o f m easurem ent and tim e-space calculation th at ‘stretches the TWW/V I NCED laws o f physics ju st a little’. Drawings becom e m echanical renderings. Three- To ae fiioNe •dim ensional objects become quasi-scientific devices, e.g.. Three standard stoppages. TO vND eRSTM D 1913-14. T oday this m anifestation of ‘canned chance’ is the a rtist’s favourite w ork. i w e Ttoes TMr

flnore w e

If you please - d raw m e a s h e e p ! ’

ft HP R Cr flCCog.PirfG V (

PAL, IF VOU'RE EVER C0MIM6 BACK, YOU'D BETTER MAkfE IT SOON)- NO SIR'LL WAIT FOREVER* ytu st

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______________________________ m u rrm n m tiT h ~ -i A w o rk o f a r t consists o f tw o elem en ts, th e in n e r a n d th e ? o u te r. T h e in n e r is th e e m o tio n in th e soul o f th e a rtis t; th is e m o tio n h a s th e c a p a c ity to evoke a sim ila r e m o tio n in th e — ,— — — Ti--. ---—w o b serv er.__________

'laZ.

; KNOWS 140IV I I ' I j LONG I W AS TALKING js. H m p l o y e a ja e F O g E I gE A L i s e o

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& "ConTow Caytwcrrxs "vnnt-wv,

T H E ANSWER GIVES THE D o f/a n , Dt&tiYn. eOvxhsnUAt M A N O F S T e e i A SUPER-JOLT..:

jenevieve. Begins to save and facsimile original notes a n a 'w o rd in g notations’ as a unified yet random and heterogeneous entity. These collected notes from 1911-15 (as they appear in the B ox o f 1914 and the Green box of 1934) refer in a highly concentrated fashion to alm ost all his im p o rtan t w ork o f the years ahead. Begins w ork (m echanical drawings, painted studies, notations) th a t will culm inate SL in his m ost complex and highly regarded w ork: Large glass, I1915-23.

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L iving is th ir s t fo r j o y ; T h a t is w h a t a r t reh earses L e t so b e r d ru n k e n n e s s give Its s p le n d o u r to y o u r verses:

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This is hardly surprising, be-1 cause despite a^e, poverty, and a j ' strong conviction that the globe I I is about to blow up and shatter I I into fragments like another I I M ilky Way, George Finey is that I Ivery rare creature, the happy! I man whose zest for living is in| satiable. “I am not religious,” he says. ! “M y religion is life.”

“ Bird” , based on Roger Scarberry’ sketch, ■■

O n e o t tn e first " M o t h m a n ” sig h tin g s ( N o .4/(5 [at m id n ig h t, N o v e m b e r 15, 1966, d ire c tly o u ts id e o f of! o f th e a b a n d o n e d p o w e r p la n ts .4 M r. a n d M rs. R o g £ S c a rb e rry a n d M r. a n d M rs. S teve M a lle tte w e ' d riv in g a lo n g th e ru g g e d d irt ro a d th a t p a s s e s by tfi p la n t w h e n th e y su d d e n ly saw a g re y figurg m a n , a c c o rd in g to th e ir d e s c rip tio n , e erily g lo w in g re d e m s a n d w ings. If. a w k w a rd ly to w a rd s th e d o o r o f ] B ad ly frig h te n e d , th e y accele r ,s th ey h u rtle d to w a rd s B l& taSU N ’ " it iph, all f o u r c la im e d ^ le a d a n d fle^ . v in g sL

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numbers Life is ‘but an empty dream!’| For the soul is dead that slumbers, And things are, not w hat thpv seem.I fT e ll m e n o t in m o u r n fu l

_ j An eye c o u ld b eco m e a m o u th —a d e v o u rin g eye w ith a § g r e s s iv e te e th in s te a d o f so ft p ro te c tiv e lash es. I t c o u ld c h an g e p lac e w ith a n o s tr il a n d live o n a ir in s te a d o f lig h t, o r b e co m e a n e a r lis te n in g to th e v ib r a tio n s o f c o lo u r. As th e s e v oyages o f e x p lo ra tio n c o n tin u e d , w h a t c o u ld p re v e n t th e eye fro m tra v e llin g o u ts id e its ow n te r r ito ry th e h e ad ? P a r tic u la rly in te r e s tin g c o u ld b e a n e x ch a n g e b e tw e e n a p a ir o f eyes a n d th e b r e a s ts w ith th e ir n ip p le s.

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FOR THREE SOHO WEEKS HE DIDN’T MENTION IT. THEN...

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• ^ r 7\h , must we sutler eterifally, or eternally fly from the beau tiful? Nature, pitiless enchantress, ever victorious rival, leave] me! Cease to tem pt m y desires and m y pride! T he study o f the! [beautiful is a duel in w hich the artist cries out w ith fear before hej iis vanquished.! I S 1, d o u b t th ere a re m a n y o th e r t o r m e n t s 'l l n these g re a t blocks o f sm all a p a r tm e n t s .']

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i n s t e a p , y o u a (? e c h o o s in g ^TO USE IT ONLY TO GAIN POW B&.

{ w h e n m y love s w e a rs t h a t sh e is m a d e o f tr u th , d o b e lie v e h e r, th o u g h I k n o w sh e lies.

Let It B e ............... ............................. Beatles^ Spirit In The Sky . . . . Norman Greenbanm Bridge Over Troubled Waters Simon and Garfunkel Airport Love Scene ............... Vincent Beil United We Stand .The Brotherhood of Man! Knock Knock Who’s There . . Liv Maessenj

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...P C W E R WHICH W iL L P E P & S /E . O T H E R S O F T H A T 'S tf/G M T !V T H E IR F P J E E P ’OA A. T H fSX S e X A C T t y .P O W E R \N W C H W IL L WAN7 < c o /z * u p t ! M rs M c F a d y e n w as g irt in th e in te rn a tio n a l u n ifo rm o f th e p la in ,' e x p en siv e d re ss. A b rig h t y e llo w <3_ th a t n e a rly re m in d e d o n e o f saffro n . A g a in st th e th ic k silk g lis te n e d th e ________ re a ss u rin g p le a sa n tn e ss o f d ia - "c er ;r ge

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C uriously, b e n e a th a ll th e se n d -u p s h e h a s a n obsession w ith th e V a n G o g h sy n d ro m e, a d a p tin g se v e ra l o f th e a r t i s t’s s e lf - p o r tr a its in larg e b low -ups o n a c ry lic sh e e ts. T h e r e s u lt is ob scu re, u n lik e B a c o n ’s a n g s t- r id d e n p a in t in g s o n t h e sa m e id ea, a s if S h a r p w ished, 80 y e a rs a fte r, to a p p ro a c h re a lity o n th e sa m e u n c o m p lica te d , if a n g u i sh e d , term s.

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*■— h e iro n ic a lly d e p ic ts h im self J as a h u m o ro u s M ick ey M o u se in th e guise o f a n d fo llo w in g th e steps of V a n G o g h off to w ork. H e is n o t b u rle s q u in g V a n G o g h , th o u g h he a chieves a lm o st a w eird , h y p e rb o lic v ig o r as lu rid a n d g a rish colors v ib ra te b e h in d p e rsp e x Sheets; th ere is one a n g u ish ed , d iso rie n ta te d , w h ite- h e a d a n d a n o th e r, in th e m o st v io le n t colors, o f d istressin g co m p assio n . f ==s* ”

h a s ta k e n over No 59 M a c le ay *' S tre e t, Sydney, a n d tu r n e d it i n to a n e n v iro n m e n t (blue, yellow , black, etc., ro o m s) to house h is p a in tin g s, silk s c re e n s a n d collages. T h e lu n a tic , th e lo v er, a n d th e p o S t T'x |A r e o f im a g in a tio n all c o m p a c t: I ' a n d a book o f Collages h is m o th e r d id as a girl.

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/C C The object as first seen through the 300 mm. telephoto lens. The “ saucer” itself appeared white, while the “ skirt underneath fluctuated from orange to white to red.

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2. As Mr. Wood watched, the object changed shape and became a perfect triangle—an illusion caused by the object — changing direction ? __________

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D r ea m s, always dreams! and the more delicate and am bitious the soul, the further do dreams estrange it from possible things. Each man carries w ithin him self his natural dose of opium , ceaseJd ^ l A S 05 lessly secreted and renewed, and, from birth to death, how many] hours can we reckon of p ositive pleasure, of successful and de cided action? Shall we ever live in, shall we ever pass into, that' (JY H * picture which, m y mind has painted, that picture made in your1 iv & h u c image?

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iM rd L 1p fa y P<TW £t' NQm MU- - ^ / w n r The UN Se'crPtafy-1 General, U T hant, a p pealed yesterday for th e protection o f th e historic | Cam bodian ruins of A h g- . kor W at from destruction in th e fig h tin g in th e | v area.y=

H e h a s b e e n w ork in g o n it fo r a m o n th , u su a lly u n til a b o u t fo u r a.m . S o have- h is frie n d s ; a n y o n e w ho w a lk s in h a s a p a in t- b r u s h p u t in h is h a n d a n d is d ire c te d a t ft .•■val-I. —

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A t th e sa m e tim e, M a r t in is w ritin g a g u id e to t h e e x h ib itio n . I t has g ro w n in to a book. “ i v f IW e THE

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[Colour, colour (everywhere gEj; Martin Sharp’s exhibitioniS^which is really a “total” environ ment— at the old Clune Galleries! |in Macleay Street— is the sense-| ^Jtw isting experience of the moment.1 *E ;At the opening last week it felt ^ $ lik e a discoth*^5 with lights on between dances* Perhaps yo’ 1 j iard about it1 ^ b e f o r e , but i » J» was peculiar, with the sti ^^.wlister painted alls and floors ;mpromising colawash wit' ours, and of many rooms! 'ver-flow of 3 cluttered Martin’ dffind. Th jr v /a s an ex ement tan^p gib’j ^ n the crowc they were ah>fflutely as unusual 5 the paintjs. Three-dimension^ V eccentric, perhaps the real people of today, the viewers were reflected in the irror mounts of the pictures, thus coming a part of the total show. Martin, his black velvet hat rammed down over his black locks —only his gnashing teeth smiling at ithe river of remarks—was sup ported by his velvet trousers and] wo-tone shoes, close to the echoes j iOf his mind. Visit at your peril.

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That mercy I to others show, That mercy show to me. j

A N Y T H IN G E l £ E ?

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anutV AT LAST THEY ARE ON THEIR WAY TOTHEI IMISTy ISLES, AND ALTHOUGH GAWAIN'S SHARE] (O F WE PLUNDER ("SIX DANCING GIRLS) IS I BIT OF A NUISANCE, THEY DO-.WAKE THE jJOURNEV ENTERTAIN INS. _ next WEEK-Trouble in the Mist^ Isles

- -headm asters " are som etim es^ I wise m en, and the com m unity; j profits from knowing their opin io n s . ____________ ____

seem to be collapsing like broken birds. J e w e ll Law ton ■A ge 8 ■Australia

" I TOOK WHAT I THOUGHT TO. SE A J LAST LOVING LOOK AT FATHER, THINKING OF HIS KINDNESS AND LOVE, KNOWING 1 HOW THIS WOLILP HURT HIM

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T h e e x h ib its, ii re c e n t, a r e o fte n h o m ag e s to V a n G ogh. M a r tin S h a rp t h in k s V a n G o g h is a s a in t, tJhe g r e a te s t t u m - o n P3*® -. “I , h a v e a te r rib le lu c id ity a t m o m e n ts, w h e n n a tu r e is so glo rio u s.” ■There is a p a in tin g w h e re V a n G o g h m e e ts M ickey M ouse, b u t th e r e is' „also a ro o m of sm a ll colw h e re " S h a r p ’s s il v e r sc isso rs” h a v e c a t u p color re p ro d u c tio n s so t h a t ! pn/.Ha n tiin ^troduce a r tis ts to

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M u n c h 's n u d e p u b e rty g irl is in V a n j G o g h ’s b illia rd d e n. i D o b ell’s B illy B oy a m o n g ] V an G o g h ’s C ypresses, A lb e rt T u c k e r m ee ts M ag - j r itte . N o la n (of course) jo in s T om R o b e rts, a I ■Raphael C h ris t flo a ts j , te n d e rly in M c C u b b in 's \ J iu s h la n d .

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great creative drive and energy; but o f an energy th at is largely parasitic or reactive to past art o r to recent events. O ne notices a running them e o f hom age to V an G ogh, and an ob vious deference to his re liance on exalted em otional states. B ut w hereas the dem on of A rles was able to forge som ething distinctive and fully autonom ous out of the art of his ow n time, transform ing it through a heightened psychical condi tion, M artin Sharp seems to be still m ainly a borrow er and com m entator, adding only an enorm ous verve and gusto to the redeployA m ent of fam iliar ideas and W imaees. /j "A n a c to r c h a in e d a g irl to a p o rc h p o st a n d , in sp ire d b y th e n o tio n j t h a t sh e looked like J o a n r Arc, l it a fire a t h e r .fe e t.1

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"Artoons — Audacious Plagiarism by Martin Sharp and His Silver Scissors,”

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MELBOURNE, Friday. — Comedian arry Humphries was found bad! bashed up on the doorstep of a Richmon factory last night.

One by one'Tfns—sands are flowing, One by one the moments fall; ^Some are coming, some are going: Do not strive to grasp them all.

‘M en have forgotten this truth,’ said the fox. ‘But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for

Patn'ofisraTis not enough! I must have no hatred or f e i r rosc_ r U litterness towards anyone. Yw/S fVBSTWN OF •E d i t h C a v e l l , t o Rev. Mr. Gahan, o n n i g h t b e f o r e Mt) Z lN tr Is W tifCti ’ I

Y *4*3* CACUUUUX1^111 ( Arm in arm, shouting, they~strode off towards the party.

But to lean forward is to bring That wakes the answer of your wish More than you knew is in your reach Let the dazzline locust sine.

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JBeauty is Nature’s coin, must not be hoarded,]; 3ut must be current, and the good thereof Consists in mutual and partaken bliss . . .

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STRONG M PAINFUL * A STIFF The olT Clune G allery Macleay Street which late had served as the Native Art Gallery, on itsl last stage before the build ing’s demolition, was take: over by Peter Brown an M artin Sharp for redecora tion as a cheap fun-arcade suitable for the Cross.

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A boy tried to get killed He ran up and down the road Until a taxi ran over him. Why? Because his mother fussed at him nrnffr'i

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i ^ Here, then^ITa'great mystery. For you who also love^ j the little prince, and for me, nothing in the universe can/

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Sharp, with one eye a P satirist and full of con temptp n^. for the young “ Bohemians ” >»•" ■•! he serves and exploits, con^ fronts the viewer with re-j petitious vulgar l i t h o g r a p h s r / ^ K : ^ in stark red and blue abounding in ghastly assemblages. In his homages to van Gogh, his lack of comparable ability is crassly apparent and in their wav si . x'\T . "* they are just as sickly as s 1||j^M L p^jj!SH S05?^ his pornography. He places Van Gogh’s cut- V^J off head on a replica of his C\\ _ yellow chair, and d isp la y s^ \\ > ^w /A f/ this masterpiece by putting \^ r //r / a yellow-painted chair in g M g g K x K // front of it. W hat hom age! W hat fun! !( Characteristically for this ft blatent self-seeker, his b e s t-----work by far is an engaging self-portrait. _ __ \ V v\ \

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‘° TO C o m e ? f & M K M T f L « / \ / o r T M E m r o e s t ' T H E & m%% i t f f t f s p f f . -F or M f w r t r w r r / d e c lm e / k w h / v o r //w v t' r m ^ /N %ur/aoifVAf& h r r t f srrffcs H i v m M f )k e p m m , ^ r _ ... Ju a reieR ^ ^ E i r ^ J p T ffr B j ^ p e r * m z e s c f fiw e T & u /tfs/w o v u i/te e s S /v f i b ^ M WUIS, ✓ ^ T ursH /hrSG p o t s o F T H e fc * ' — - M f ...

'cce s^iEL MaroT^ytfsua ______ * W X iK-y &? r e l a t i v e l y t o tile p u r e d r e a m , t o t h e m a ly s e d ^ p re ss io n ^ ^ in ite art, positive art, is blasphemy.

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S TftR ‘ I, too, am goin Then, sadly -

J It was a peaking surf, nothing very special, but it was a good day with the sun shining, and I was sliding off the peak into the deep water when suddenly I felt as though I could keep going and going and going, pushing on and on as though there was no end to it anywhere. You go into oblivion. Suddenly all your life is there in this long, long stretched-out wave; you’re removed from the past, everything that has been on your mind has become immaterial, everything goes to jelly, and you feel completely removed from the world around you. Nothing matters any longer but you and the board and the wave and this in sta n t o f time.’

‘ It is much farther ... It is much more difficult I realized clearly that something extraordinary irrrs-g happening. I was holding him close in my arms as if he were a little child; and yet it seemed to me that he was rushing headlong towards an abyss from which I could do nothing to restrain him ... ‘Tonight, it will be a year ... M y star, then, can be found right above the place where I came to the Earth, a year ago . .. ’ ‘ Little man,’ I said, ‘tell me that it is only a bad dream - this affair o f the snake, and the meeting-place, and the star . .. ’ But he did not answer my plea. He said to me, instead: ‘The thing that is important is the thing that is not seen . .. ’ ‘Yes, I know . .. ’ ‘ It is just as it is with the flower. I f you love a flower that lives on a star, it is sweet to look at the sky at night. All the stars are a-bloom with flowers . .. ’ ‘Yes, I know . .. ’

IT m T in e -io T iM F . T P tffflE K in k m i nF & f i f K full f SW79P MILL You pREfm e 1 o f MH<s(CE£ Rn tsst/e of this

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ev erv rinv ‘ a c° m p re h e n d « b e tte r fn5/ r ?ud c°m e a t la s t 'to love th e you w holewil1 w orld w ith a n a ll-e m b ra c in g love.”

M ultitude, solitude: equal and interchangeable terms to the active and fertile poet. He who does not know how to people his M ^ M o e s n o t know ejther. h o w to b ea L o n ejn a . busy crowd.

COflJE TO THE Pf\LL\ I m IN L^l/E WITH YouALL sum m er evening, *durhis last term at school, Griffiths walked out into the English countryside—and a veil was lifted from his eyes.

Gendarmes demonstrators lying street had simply drl them over the cobblest' to police trucks, he Girls had been dragged U their hair.. To clear the area, fire hoses were turned on demonstrators. This soon caused them to disperse in the cold weather, said Sir William. “It was the loveliest thing I’ve seen in my life,” he told the meeting. Sir William said that tactics like this should have been used during the Moratorium.

m u sic -m a k e rs,

« * •* *—» /f t •1 rMjM f •‘T h e w o rld ? dpEfeSfea’'t o m e a s W ordsw orth describes it, ‘w ith th e g lo ry a n d th e fre s h n e s s of a dream .’ I t w as n o t o nly t h a t t o y sen ses w ere aw akened. I e x p e ri en ced a n o v e rw h elm in g e m o tio n in th e p re sen c e of n a tu r e , esp ecially a t evening. “I a p p ro a c h e d i t w ith a sen se of alm ost religious aw e, a n d in th e h u sh w h ic h com es b e fo re su n se t, I fe lt a g a in t h e p re sen c e of a n u n - the fa th o m a b le m y ste ry .”

And we are the dreamers of dreams: ^Wandering by lone sea-breakers, And sitting by desolate streams.

H e h e a rd th e b ird s sin g in g in fu ll c h o ru s a s h e h a d n e v e r h e a r d th e m b efo re. T h e h a w th o rn tr e e s w ere in fu ll bloom , a n d b e th o u g h t h e h a d n e v e r e x p erien c e d s u c h sw ee tn ess before. H e f e lt a p ro fo u n d se n se o f awe. “ U p to t h a t tim e I R ad liv e d th e life o f a n o rm a l schoolboy, q u ite c o n te n t w ith th e w orld a s I fo u n d i t,” h e w ro te m a n y y e a rs la te r. “Now, I w as su d d e n ly m ad e a w a re of a n o th e r w o rld o f b e a u ty a n d m y ste ry su c h a s I h a d n e v er im a g in e d to e x ist, e x c e p t in p o e try .

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“I have a terrible lucidity at moments, when nature is so glorious. In these days I am hardly conscious of myself and the picture comes to me like a dream.” .

v r t x r t v v x \ \ v\>a_________

[It is good to be merry and wise, It is good to be honest and true; :’Tis well to be off with the old love ^Before you go onw ith the new.

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sund»y/FSve people gather to launch a daring plan to hijack an armour ed car containing a million dollars. Their leader

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Whose soul was sad, and whose glance was glun , Who sipped no sup, and who craved no crumb As he sighed for the love of a ladye. (c&FJ/5t t>FtDoL£scf/<r mmoQN 7s TT7 w '& irl n / rtA

H E L L O , C HSU U CKLES S!! H o p e you a ll e n jo y y o u r n ice long w eek en d ! I t ’s lovely to h a v e a n e x tra (Jay now a n d a g a in is n ’t it? I ’m e x p e c tin g b ig m a ils th is w eek b e ca u se you w ill h a v e m o re tim e to sp e n d o n y o u r c o n te sts. Y ou w o n ’t d isa p p o in t me w ill you? I ’ve tr ie d to m a k e th e puzzles in te r e s tin g fo r you. N ice b rig h t . c o lo rs p lea se , c h u ck lers!

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“My G o d , a m in e ,” he s a i d j g R e b e llio n to ty ra n ts is o b e d ie n c e to God.-

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Surrealism, n. Pure psychic autom atism , by w hich it 7sl intended to express, whether verbally or in writing, or in any! other way, the real process o f thought. T hought’s dictation, free I from any control by the reason, independent o f any esthetic o r| -moral preoccupation. (HT

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. ;' T he grown-ups’ response, this time, was to advise v o iu p tu o ^ r i ^ G a u g u m n u d e stands in fro n t o f a Van G ogh me to lay aside my drawings o f boa constrictors, C h u rch . A g rotesque Bacon figure sits hun ch ed ^whether from the inside or the outside, and devote in fro n t o f a M a g ritte landscape. T h ese are not how ever slick or facile im ages. S h arp for wvTY V '. ~ m yself instead to geography, history, arithmetic, and the frivolity o f his catalogue (e.g. ‘w hy b u y .V v r .v ’ ’^ ‘ ; . \ grammar. That is why, at the age o f six, I gave up what one w hen you can do your ow n ?’) is clearly intensely involved w ith his sub ject m atter on '-might have been a magnificent career as a painter. I had every level. O ne finds oneself asking sucl questions as ‘w hy w ere th ere no w om en i: ‘;;been disheartened by the failure of my Drawing Van G o g h ’s w orld ?’ a n d ‘w ould he have been . Number One and my Drawing Number Two. GrownUS a b e tte r p a in te r if he had been sensuous or eve: b rutally fleshy like B acon ?’ T h e im ages are al ; ups never understand anything by themselves, and it is perfectly integrated, in such a way th a t they ; • t V . 7 ^ '! t*resome f° r children to be always and forever explaining read instantly w ith o u t the jerky aw kw ardness of so m uch m ontage. T h e care th a t has gone : " ■things Q th em . f j # , s Z~ into th eir creation is evident in th-_ ,, in CU&tHT TO 6 6 pOtfC w hich he is p re p are d to exploit even the tonal "VEING- IN f i r t h e PUBLIC'S £KP6NS<Z ' changes betw een tw o different colour p rin ts of ITSELF IS th e sam e painting, and use th em to his ad i N $ m p &f r u e m u s t s V Am REEL vantage. I was less im pressed w ith th e m oon-scape OHLY m i a m m a m m /c o w ez collages, attem p ts to join images from paintings m s been a 7 n m w t\ tlff w ith colour photos o f th e Apollo trip , because, m E F c T ) o H X e w m o N . h u d w m -u c h o u e tho u g h visually in teresting, th ey failed ti t o c m m -------—M A Z T /i ts te r b _ tantalise the m in d in q uite th e sam e way as I S W l? ywcew r those based on pictures. V an G o g h ’s to rm en ted face on top a reclining co n to rted Bacon body was such a searing, frig h ten in g idea. Sigi K ra u ss’s fram ing skills are p u t to ' p a r ticularly good use in this show : th e fo ur-inch Y D lG e s r m irro r su rro u n d s to each p ictu re are natural P A lK TM b f extensions o f the works them selves, and I $ MUSIC lu h lch t h b ' devastatingly effective, n /SPCtTRY/ w o r l p p m m m m t : r m o o T r ft auc J.Negru. Hiiiie&u Lviui tr ie d to re p e a l a 2 0 -y e ar-o ld S ta te law re q u irin g a ll blood to be lab e lle d w ith th e ra c e o f th e donor. O ne o p p o n e n t, M r A rch ie D avis, s a id : " I d o n ’t w a n t n o n ig g er blood in m y veins a n d I re fu se to ta k e it. “I w ould so o n e r see m y fa m ily die a n d go to e te rn ity be fo re I w ould see th e m h a v e a d ro p of n ig g er blood in th e m .”

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LET us TRUST EftEHcrHE^ LET VS 06 T)S ' '\(SEflEE ftZ VINCENT. ftNO r u e OTHERS tVHO c u m THE PATH LEFT/S FOLLOW AHOLET(/S . T/jfiNSCEM/) OUR. pRERl'nf. fh e re is n o t one M oral V irtu e th a t Jesus Inculcated b u t P lato & Gicero did In c u lca te before h im ; w h at then d id C hrist In c u lcate ? Forgiveness of Sins. T his alone is the Gospel, & this is the Life & Im m o rtality b ro u g h t to light by Jesus, Even the C ovenant o f Jeh o v a h , w hich is T h is: I f you forgive one a n o th e r your Trespasses, so shall Jeh o v a h forgive you, T h a t he him self m ay dwell am ong y o u ; b u t if you Avenge, you M u rd e r the D ivine Im age, & he cannot dw ell am ong you; because you M u rd e r him he arises ag ain , & you deny th a t he is A risen, & are blind to Spirit.

He who knows nothing, loves nothing. He who can I do nothing understands nothing. He who understands! nothing is worthless. But he who understands also! loves, notices, sees___ The more knowledge is inherent I in a thing, the greater the love.' . . . Anyone who I imagines that all fruits ripen at the same time as the| strawberries knows nothing about grapes.

recently, it has been suggest ;he saint may have eaten bread infected withS |the fungus Clauiceps purpurea, which con-1 ins lysergic acid, from which the drug J S.D. is derived. "Y o u -read about people who say they’ve, discovered G o d t h r o u g h LSD . . . rubbish,” he scoffs._____

PARACELSUS

u r c iv iliz a tio n r e p r e s s e s "not o n l y '‘t h e in s tin c ts ^ , n o t o n l y se x u -1 ^ a l i t y , b u t a n y f o r m o f t r a n s c e n d e n c e . A m o n g o n e - d i m e n s io n a l

m e n ,* i t is n o t s u r p r i s i n g t h a t s o m e o n e w ith a n in s is te n t e x p e r ie n c e o f o t h e r d im e n s io n s , t h a t h e c a n n o t e n t i r e ly d e n y o r f o r g e t , w ill ru m t h e r i s k e i t h e r o f b e in g d e s t r o y e d b y th e o t h e r s ^ o r o f b e tr a y m g

^the paramini! ox of art—man withdrawing from his fellows into the! orld of art. onlv to enter more closely into communion j r y M n rj r -•" ■ li'J M i.jiU iW ' — I » 1 w mm* ith hum anity.

w hat he know s L aik to me iMy radio is falling to pieces iMy betrayals are so fresh

Ithey still come with exolanationsl— — L------- ---- . . i m u i

__________ Though technically deft, there? areTtimes when, from an inventive point i of view, Sharp Martin and his Silver r Scissors have degenerated into Blunt J Martin with a Meat Axe.

belowl The c o lla g e s are nearly all cut-ups of illustrations of Van Gogh, M agritte and : rancis Bacon paintings, so that their pro tagonists are all sitting in each other's room s. They're bizarre-— tw o Bacon figures playing out their solitary gam es on a couch are placed in a silen t Magritte room. Van Gogh appears in his own land -scap es. Oddly there is a lot of reverence w here initially the m otive w ould seem to be?' ridicule. It’s worth going just to pick uplj |a copy, if you haven't got one already, o f l the w orst sellin g but m ost inventive O zl produced to d ate— The M agic T heatre,! number 16— the w hole issu e c o n sistin g ! of co lla g e s of im ages and text done b y | Martin Sharp, his Silver S c is s o rs w ith theil a ssista n c e of Phillipe Mora.^

[esus was a sailor when he walked upon the”wate and he spent a long time watching from a lonely wooden tower and when he knew for certain only drowning men could see him he said All men will be sailors then until the sea shall free them"? but he himself was broken’ ____ long before the sky would opea forsaken, almost human/ ,

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everyone knows th at jails and hospital: ion: the> ..n be very hard to get out of. In some ways a"prisoner: is iess cut off th an a p a tie n t; a prisoner can send for his lawyer, i demand a F air W itness, invoke habeas corpus and require the ja ilo r ! o show cause in open court. B ut it takes only a N O V ISITO RS sign, ordered by one o f t h e , ledicine men o f our peculiar tribe, to consign a hospital p a tie n t; to oblivion m ore thoroughly th an ever was the M an in the I r o n ! M ask. I To be sure, the patient’s next o f kin can n o t be kept out— but j he M an from M ars seems to have no next o f kin. T he crew o f the t ill-fated Envoy had few ties on E arth ; if the M an in the Iron M ask | •pardon m e; I mean the “ M an from M ars” — has any relative I larding his interests, a few thousand reporters have been unable 5 to verify it. ) W ho speaks for the M an from M ars? W ho ordered an a r m e d '1 guard placed around h im ? W hat is his dread disease th at no one^ m ay glimpse him, nor ask him a question? I address you, M r.? Secretary G eneral; the explanation about “ physical weakness” * and “ gee-fatigue” w on’t w ash; if th at were the answ er, a nin ety -1, ound nurse would do as well as an arm ed guard. ; C ould this disease be financial in na tu re ? O r (let’s say it softly) iis it political? __ __________________ ___ — n —1

B u t le a rn o n e thingT T m press it u p o n y o u r in met w h ic h is still so m a lle a b le : m a n h as a h o rro r for aloneness. A n d o a ll kinds o f aloneness, m o ra l aloneness is th e m o s t te rrib le . T h e first h e rm its lived w ith G o d , th e y in h a b ite d th e w o rld w h ic h is m o st p o p u la te d , th e w o rld o f th e spirits. T h e first th o u g h t o f m a n , b e h e a le p e r o r a p riso n e r, a sin n e r o r a n in v a lid , is : to h a v e a c o m p a n io n o f his fate . I n o rd e r to satisfy this d riv e w h ic h is life itself, h e a p p lies all his stre n g th ^ all his p o w er, th e e n e rg y o f his w h o le life.

In February, Vincent went to Arles in southern Franc^:. Here, in the roaring southern summer, it came to pass —perhaps for the first time —that a man completely merged with the world around him. Responding with his whole being to the call of things, this man became one with them and in the white heat of the fusion, images were wrought - precious, radiant, full of the sap of things and at the same time symbolising the passion and love that were kindled by this full presence of the world. In his creative fervour his personal vision became an hallucinated vision of the depths. As in a trance, the artist felt his way to the core of things and there laid his heart. His painting saved him from a catastrophic human situation. His mind, liberated from its armour of consciousness, was enabled to rediscover itself in the symbol. But when in his trance he made a false move, when the redeeming symbol failed to take form, the violence of his impetus flung him into the abyss of madness. In every one of his attempts to attain to essential reality, Van Gogh risked disaster,

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And yet this was the earth, the earth with all its sounds, its pas sions, its comforts, its feasts; it was a rich and magnificent earth, I (d a rk ey elash es, a re c o n ta in e d in ey elid s sh a p e d lik e little full of promise, which sent out to us a m ysterious perfume of rose l|^C)a(ts.aboutf,to ,ca?sitz®’ spil!i"g the salt ™ater of the tears r . ri*r <II t h a t h a v e flo o d ed th e m . T h ese eyes h a v e th e b ird lik e and o f musk, and from whose shores the m usic ot nj^cam e to us IJ^hanec thP ,ue..-------sh a p e s nf o f th e bhnmhm o m b e rs tthwa t w e re tv,« th e c a u s e „e o f th w o m a n ’; [a g o n y m ir r o r e d o n th e i r su rfa c e . in an amorous murmur.f

.......................................r * / , A little nonsense now and th e n 1 Is relished by the best of men.

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)j & e c j y y u L A ' b ric k w a s th ro w n la s t n ig h t th ro u g h t h e w indow of a L o n d o n a r t g a lle ry sh o w in g a n e x h ib itio n of m o d e rn p a in tin g s a n d s c u lp tu r e d e a lin g in a c o n tro v e rs ia l w ay w ith th e C ru c i fixion. P a in tin g s in th e g a lle ry a t th e tim e r o f t h e a tta c k in c lu d e d o n e of C h r is t b e in g e a te n b y dogs, f o u r b f A b b ie H o ffm an , Who w as ’ t h e “ v ic tim ” in th e C h icag o d e m o n s tr a tio n tr ia ls , o n e sh o w in g C a ry l C h e ssm a n , th e A m e ric a n w h o w as e x e c u te d a f te r s p e n d in g 11 y e a rs i n gaol, a n d th r e e of P o p e y e , th e c a rto o n c h a r a c te r, b e in g cru cified . T h e r e w a s also a s c u lp tu r e fa s h io n e d fr o m b e e f a n d p o r k chops. M r S ig i K ra u ss , d i r e c to r o f th e K ra u s s G a lle ry in N e w S tre e t, C o v e n t G a id e n , sa id : “ T h is c o u ld h a v e b e e n d o n e on re lig io u s g ro u n d s ,, a lth o u g h m o s t p e o p le w ho h a v e se e n th e w o rk s h a v e lik e d th e m . I d o n o t see h o w th e y ■co uld b e re g a rd e d a s b la s p h e m o u s. T h e y a re try in g to a w a k e n p e o p le to a ll s o rts o f c ru c ifix io n s th a t a re h a p p e n in g e v e ry day. An a tta c k lik e th is is d o n e in ig n o r a n c e .”

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W ho a rt thou ? ” said the G iant, and a strange awe fell on h im and he knelt before the little child.

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^.ove seeketh only Self to ’iTowTseeketh n o t'itself to pleas? for itself hath any c a r ^ ^ W A T o bind another to Its delight f ‘But for another gives its casgy^tx \//A J ° y s in another’s loss of ease, /A nd builds a Heaven in H ell’s despair/f And builds a Hell in Heaven’s despite

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The question is,"'said'Slice, "whether you can m a k e l ^words mean so many different things.” \ ^ f h° question is, said Humpty Dumpty, “which is to be imaster—that s all. r ,

II A n d o n th a t h u g e b rig h t w heel th a t tu rn e d to r ever

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his th o u g h t^ fo r th ere w as w o rk to be do n e. B ut w o ra s 'n e loved a n d m a s te r e d : w hen he taikei C o n fu sio n d ie d ; th e w o rld grew still to h e ar H is voice c o m m a n d in g c h a o s in to art.

[Tor Mercy has a hum an heart, *' U / IPity a hum an face, ;And Love, the hum an form divine, And Peace, the hum an dress.

L an g u ag e becam e th e tig h t-ro p e w hich he walk® ^ b o v e th e m indless ru sh o f g u ilt a n d fear h a t th u n d e re d like N ia u a ra in his h p art

Cruelty has a H um an H eart, And Jealousy a H um an Face; T error the H um an Form Divine, And Secrecy the H um an Dress.

W l l 'k r t is moral is what you feel good after and

And if sometimes, on the steps of a palace, or on the g rassy I in a ditch, or in the dreary solitude of your own room, you should/ i awaken and find the drunkenness half or entirely gone, ask of the wind, o f the wave, of the star, of the bird, of the clock, of all that; flies, of all that sighs, of all that moves, of all that sings, of all that: speaks, ask what hour it is; and wii^d, wave, star, bird, or clock will answer y o u : “ It is the hour to be drunken! Be drunken, if you would not be the martyred slaves of T im e; be drunken contin^ ually! W ith wine, with poetry or with virtue, as you please.”

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Everywhere on earth, at this mom ent, in the new spiritual atmosphere created by the idea o f evolution, there float, in a state o f extreme mutual sensitivity, love o f God and faith in ;the world: the tw o essential components o f the Ultra human. These tw o components are everywhere ‘in the air’; generally, however, they are not' strong enough, both at the same time, to com bine w ith one another in one and the same subject. In me, it happens by chance (temperament, upbring ing, background) that the proportion o f one to thejather is

correct, and the fusion o f the tw o has been effected spontane-V ously - not as yet w ith sufficient force to spread explosively^1 - but strong enough nevertheless to make it clear that the process is possible - and that sooner or later there w ill be a chain-reaction.

This is one more p roof that the Truth has to appear only once, in one single mind, for it to be impossible for anything ever to prevent it from spreading universally and setting j everything ablaze. _ C h > c l^ .

‘Time’s not for weeping Time and the world press on. So take life further, let the thin bubble of blown glass, the passion of vision that is art, refine, reflect and gather the moving pattern of all things in consummation and their rejoicing.

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Oh make me perfect. Burn with a fire of sight the substance of my sorrow.^ Take what I was and find in it that truth ^ ithe universes on their holy journey ✓ watch with their eyes of fire. Illuminate my death. / TiH all the dead stand in their essence shining ✓ ' has not learned its meaning.’

h e i m m e n s i t y o f m u s i c seizes me like the Sea! Toward m y star th at’s pale [ 7 Under a m isty sky I furiously. Set m yself to the s a il;

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‘The association of a sewing machine' umbrella on a surgical table [he is Iquoting from the poet Lautreamont] is a famiexample, which has now become classical, of the phenomenon discovered by the surreal ists, that the association of two (or more) apparently alien elements on a plane alien to 'both is the most potent ignition of poetry.%

ru K ft., — A stronaut G ordon C ooper, one of the original M ercury 7 who launched the U.S. m an-in-space program , will retire at the end of next m onth to becom e a business executive in W ashington. ___________

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Characteristically for this (blatent self-seeker, his best | work by far is an engaging [self-portrait.

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What is beautiful is good and who is good will soon ) also be beautiful.

S n JHAT UNSEENl MOMENT, ADAM 5T/FAM5E 15 OONJE--FALLING a t M U L T I-liSH T SPEED ACR O SS THE 2 5 T R ILLIO N -M ILE G U LF B e t w e e n e a r t * a ^O ALPHA Ce N t a u r / —

m a summer morn, l ° ! it drives all joy away; IUnder a cruel eye outworn, IThe little ones spend the day sighing and dismay.

fSince the dawn of time, roughly a hundred human beings have walked the planet Earth. Now this is an interesting number, for by a curious [coincidence there are approximately a hundred billion stars in our local universe, the Milky Way. So for icvery man who has ‘~r lived, in this universe, there

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what is it to die but to stand naked 'ind and to melt into the sun.

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\ \ v People capable of love, under the present system, .^necessarily the exceptions; love is by necessity. a marginal pheno m e n o n in p r e s e n t- d a y W e s te rn s ' ^ N ot so much because many occupations would not jjgg; ritude, but because the |j spirit of a production^ :edy society is such 5 that only the non-co; successfully against ^ it. Those who are the only rational I* answer to the prol en, arrive at the conclusion that i: social structure are necessary, if a highly individualistic, margi^ bf such changes can, within the sc! ft.1 Our society is run by a manageriS politicians; people are motivated by m: oducing more and consuming more, All activities are subordinated to economi tSve become ends; man is an automaton—well fed. but without any ultimati concern for that which is his peculiarly human quality and function I f man is to be able to love, he must be put in his supreme place] T he economic machine m ust serve him, rather than he

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m u s t b e e n a b le d to s h a re e x p e rie n c e , to s h a r e w o rk , r a th e r th a n , ;, s h a r e in p ro fits . S o c ie ty m u s t b e o rg a n iz e d in s u c h a w a y t h a t ' m a n ’s so c ia l, lo v in g n a tu r e is n o t s e p a ra te d fro m h is so c ial e x is te n c e , b u t b e c o m e s o n e w ith it. I f i t is t r u e , a s I h a v e t r ie d to s h o w , t h a t 2 love is t h e o n ly sa n e a n d s a tis fa c to ry a n s w e r to t h e p r o b le m o f h u m a n i e x is te n c e , t h e n a n y so c ie ty w h ic h e x c lu d e s , re la tiv e ly , t h e d e v e lo p - j m e n t o f lo v e , m u s t in t h e lo n g r u n p e r is h o f its o w n c o n tr a d ic tio n w ith t h e b a s ic n e c e ssitie s o f h u m a n n a tu r e . I n d e e d , to sp e a k o f lo v e is n o t ‘p r e a c h in g ’, fo r th e s im p le re a s o n t h a t it m e a n s to sp e a k o f t h e u ltim a te a n d r e a l n e e d i n e v e r y h u m a n b e in g . T h a t t h is n e ed h a s b e e n o b s c u r e d d o e s n o t m e a n t h a t i t d o e s n o t e x ist. T o a n a ly se t h e n a tu r e o f lo v e is to d is c o v e r its g e n e ra l a b s e n c e to d a y a n d to c ritic iz e t h e so c ia l c o n d itio n s w h ic h a re re s p o n s ib le fo r t h i s a b se n c e . To h a v e f a ith in t h e possibility o f lo v e as a so c ia l a n d n o t o n ly exceptional-individual phenomenon, is a ra tio n a l f a ith b a s e d o n th e

insight into the very nature of man. P ro d u c e d b y R e id B o o k s ( N. G. )

"God bless us ev e ry on e r said Tiny Tim, tne last or a

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