Burning City Research Articles

Tourism positioning using decision support system (case study: Chahnime—Zabol, Iran)

In recent decades, social–economic growth and developments have led to human communities toward the creation of tourism opportunities, which are likely to be considered as ways of spending leisure and reducing the impacts of tensions resulting from a rigorous urban and industrial life. Of the variety of regions in Iran, the southeastern regions may be considered as one of the tourism spots in Iran and Zabol, with the ruins of Burnt City having an ancient civilization, a freshwater lake called Hamoon Lake and people with a rich Aryan culture playing a significant role in providing the desired ecotourism. In spite of its importance, specific studies have not been conducted for development and planning of suitable tourism areas. Therefore, the current research has zoned the regions through multi-criteria evaluation using ecological criteria and few social–economic factors. Applied criteria in this paper include soil, distance to surface water resources, slope, aspect, geological formation sustainability, vegetation and distances and limits, including distances from ponds, surface water resources, roads, political borders, rural and urban residential areas, historical centers and welfare facilities. Criterion standardization was done by means of fuzzy theory and the map of constraints was prepared through Boolean theory. To weigh the criteria, pairwise comparisons were performed in the form of the analytic hierarchy process. Then, the given weights were linearly combined and the layers mixed and the suitability index of lands was calculated. In this area, seven zones were identified for advanced tourism.

Образы античных городов и «пейзажи катастроф» в западноевропейском искусстве XVI века

The article aims to trace the emergence and development of the so-called “Fire Landscapes” in West European art of the 16th century, as well as to consider the iconography of the depicted ancient cities. Landscapes with fires were common in art of the epoch. They derive from the works of H. Bosch who was the first to use an image of burning city for representation of the Hell. In Italy this image was linked to a specific historical or mythological event. Most often painters depicted either burning Rome or Troy. Three reasons underlay popularity of the genre. Foremost, it was significantly influenced by the historical situation: looting of large cities occurred during numerous wars in Italy and Northern Europe. Secondly, classic literature was an inexhaustible source of this kind of plots. Colourful descriptions of disasters in the works of antique historians and poets formed the basis for paintings and graphic works of the Renaissance masters. Finally, the notions of “variety” and “terribilita” associated with Leonardo and Michelangelo could be embodied anew within the framework of the topic. This, of course, was a distant echo of these concepts, because they had evolved to external decoration and theatrical effects.

The Multiple Meanings of Troy in Early Modern London's Mayoral Show

Troy and London go together. Such, at least, is the argument of many an early modern Lord Mayor's Show. Of twenty-seven extant mayoral texts from the period 1605-1639, nearly all invoke the model of New Troy, directly or indirectly, at some point.1 Quite why the link should be made is, perhaps, less clear. It is my argument here that this figure, invoked variously as Troia Nova, Troynovant or simply New Troy, operated in the mayoral pageants and civic writing in general as a shorthand signifier - a large finger pointing in the direction of a whole ream of civic discourse. The possible usefulness of such a signifier is not hard to imagine, and not simply in terms of a timesaver. Certain things about London cannot easily be said, especially when writing for the mayor, for a range of city aldermen with divergent interests, sometimes with a royal or foreign presence, and always with a large and diverse London crowd. As I shall demonstrate, by invoking the matter of Troy the mayoral pageants could conjure up equivocal or even subversive images while appearing to do just the opposite. By writing in the single word Troynovant, the pageant could draw on a range of themes and meanings built up outside of the particular text, allowing the suggestion of alternative ways of viewing and understanding the city. I begin, however, by outlining how and why the shows took up the idea of New Troy.How do you define a city? At the beginning of Thomas Dekker's Britannia's Honor, his mayoral pageant of 1628, the writer attempts to do just that, spending a good amount of time explaining early modern London.2 Somewhat stubbornly, Dekker moves through various iterations of the city - chamber royal, mistress of science, mother of Westminster, home of parliament, nurse to the country, admiral of the navy - at some length. She is a 'Golden-Key', a 'Store-house', a 'Magazine of Merchandize' (10). Amongst the many metaphorical means of understanding the city, however, one stands out. Dekker, it seems, does not forget the clear importance of ancient Troy to seventeenth-century London, confidently averring of the city that 'Troy has leap'd out of her own Cinders, to build Her Wals' (12-13). Quite what this particular metaphor accomplishes is unclear. On the one hand, the ancient ancestry of London points to her present magnificence. On the other, the mention of cinders might speak less of phoenix-like rebirth for the burnt city of Troy, than of the looming threat for London of a fiery repetition. Perhaps the oddest thing, though, and the main subject of the opening portion of this article, is that the connection is made at all.That Dekker, in late 1628, could so glibly refer to the ancient city of Troy as a direct antecedent of London demands at least a little explanation. The idea was simple enough: Brutus, descendant of Aeneas, had after numerous adventures and misadventures through Europe arrived at the isle of Albion, renaming it Britain and founding the beginnings of present civilisation. While doing so, he had also founded the greatest jewel of that civilisation, London. Such a founding myth was not individual to either London or Britain: many cities and countries throughout Europe had had similar stories concerning their origins. They had also let go of such stories a good century prior to Dekker's writing. As Philip Schwyzer has commented, 'the continued allegiance of the English to Brutus the Trojan ... made them a laughing-stock among continental scholars'.3 At the same time, historians and antiquarians in Britain had decidedly mixed feelings on the relevance of Troy. Forty years previous to Dekker's use of the history in Britannia's Honor, William Camden's Britannia (1586) dismissed the link between London and Troy as nothing short of fairytale, even as it allows for the potential usefulness of such a tale:For mine owne part, let Brutus be taken for the father and founder of the British nation; I will not be of a contrarie minde . …

Teaching and Learning Guide for: Sacred Space in the Ancient Near East

Teaching and Learning Guide for: Sacred Space in the Ancient Near East

Aligning the Internal Compass

46 T he first page of the Orienteering: Sport of a Lifetime brochure reads: “With a map and compass in hand, you head into the woods. It is a beautiful day and you are about to start off on an adventure: Orienteering.” At least I think that’s what it says. I can hardly read the text, soggy from rain dripping from the looming trees surrounding us. My father and I stand at the edge of the woods in a Maryland state park at noon on a Sunday, waiting to begin our day of orienteering in an effort to improve, or at least test, our sense of direction. We look awkwardly at the other people waiting, a couple dozen of them chatting as though they already know one another and wearing very serious athletic gear. Our own jeans will be wet and mud covered by the end of the day. Perhaps irrationally, I sometimes become terrified by the idea that when the world ends and I have to flee my city, my gps may not be charged. When my father bought it for me as a gift a few years back, I quickly became dependant on it in the same way I rely upon my eyeglasses or electricity. That little screen probably saves me about forty cumulative hours a year that would otherwise be spent driving around, lost. My whole life, I’ve been going in circles. While the gps seems like it’s solving this problem, I’m pretty sure it’s setting me up for a fall. I’ve heard several friends with an impeccable sense of direction say they can no longer tell north from south because they’ve become too dependent on the TomTom or the Garmin stuck to their dashboard. If these people, previously capable of taking on the role of navigator on road trips, can’t figure out which direction to flee from the burning city when the time comes, I have to wonder what will become of me. For years I have been under the impression that I was a lost cause, spatially. I can’t read maps. I don’t know which direction is which (although in the past couple of years I’ve started, in a sad, proud way, noting east or west when the sun is low, clearly JESSICA MCCAUGHEY ALIGNING THE INTERNAL COMPASS 47 McCaughey on its way up or down). I can drive the same route a dozen times before I know which turn is mine. This makes me feel pathetic and, again, a little bit scared about how incapable I am. As any self-help book will tell you, the first step is to understand your handicaps. I’ve found that this is true whether I’m reading to improve my relationship, reduce my carbohydrate intake, or assert myself in the workplace. I worry that sense of direction is different, though—maybe because there’s less out there to understand. It’s an elusive skill. Scientists all over the world are interested in it, but very few have come up with anything definitive to explain it, much less to help us learn our way out. It’s about gravitational pull, some say. Or, It’s all about cell orientation in the brain. These statements mean nothing to me, which is all right, because they’re still up for debate in the scientific community. For all of the research that’s been done, sense of direction is still a pretty abstract concept. What most scientists do agree on is this: On a super-simplified level, the brain needs three types of information to help us find our way. First, it needs to know where we are currently. Second, it needs to know the direction we’re heading. And third, the brain needs to calibrate our “current movement state” in relation to our goal destination. (This is the exact same process that a gps follows, incidentally, if we’re breaking things down to a fifthgrade level.) Essentially, the process continually asks, “Are we going the right way?” A brain (or an impressive, expensive piece of electronic equipment) with all of these bits of information can provide an answer. Terminology...

The Earthquake of 1906, the Christian Anarchy of Dorothy Day, and the Opened “Tomb” of René Girard

The Earthquake of 1906, the Christian Anarchy of Dorothy Day, and the Opened “Tomb” of René Girard Ann W. Astell (bio) The autobiographical writings of Dorothy Day (1897–1980) feature a childhood memory of catastrophe and conversion, her traumatic experience at age eight of the earthquake that rocked San Francisco and Oakland in 1906, leaving half of San Francisco in ruins and sending 50,000 refugees in flight from the burning city, many of them in ferries across the bay. Day’s observations of the spontaneous behavior of people who helped one another at that time of crisis guided her later in dealing with the great crash of 1929 and the subsequent economic depression, during which, in 1933, she cofounded with Peter Maurin (1877–1949) the Catholic Worker Movement and its many Houses of Hospitality. Day’s experience of an anti-sacrificial civilization of love emerging spontaneously out of a chaotic situation of social crisis seems to challenge René Girard’s theory of the scapegoat-mechanism as the normative way of restoring order and peace to a community whose very existence is threatened by anarchy. A closer examination of Day’s experience and social thought in conversation with Girard’s reveals that Girard and Day agree about the violent origins of all culture, which Day envisages as revealed by an earthquake, Girard as concealed by a tomb—related foundational images that, as we shall see, Scripture scholars [End Page 19] find collocated especially in the final chapters of the Gospel according to St. Matthew. The difference between the two images—one natural and one man-made—should not, and indeed cannot, be overlooked, however. The earthquake and its social effect as observable phenomena force the consideration that Girard’s early formulations of his theory, which explicitly distanced it from naturalistic explanations of myth, need to be revised in a way that accords more closely with his own later, apocalyptic thought. In an article published recently in Contagion, Matthew Pattillo has shown that Girard’s writings parallel, and to some extent directly affected, those of Jacques Ellul,1 the noted Christian anarchist who cites Girard explicitly on occasion and whose many books, according to Mark and Louise Zwick, “influenced the later Catholic Worker Movement.”2 In this article, I follow Pattillo’s lead, going back in time in order to examine ways in which the mimetic theory of Girard illumines the early thought and practice of Day, highlighting the originality of Day’s Christian anarchism as a remedy for a culture founded on violence. Whereas Girard posits a prereligious phase of anarchic, contagious violence, to which the rituals and prohibitions of religious societies responded (thus distantly preparing the way for a secularized modernity in which “law and order” stand opposed to an ever-threatening “anarchy”), Day finds a freely chosen Christian anarchy the best cure for anarchic destruction and totalitarianism alike, thus forging what Pattillo calls a “‘third way’ beyond law, beyond morality, beyond chaos.”3 In the end, the prolonged crisis within which the Catholic Workers shape their anarchistic “new society” against an eschatological horizon confirms Girard’s apocalypticism, even as it serves to place it in conversation with the apocalyptic philosophy of history of the Russian philosopher Nicholas Berdyaev (1874–1949), whose thought influenced Maurin and Day.4 The Earthquake and the Tomb For Girard, the tomb is the real and metaphoric evolutionary origin of human civilization. “Culture,” he writes, always develops as a tomb. The tomb is nothing but the first human monument to be raised over the surrogate victim, the first, most elemental and fundamental matrix of meaning. There is no culture without a tomb, and no tomb without a culture; in the end, the tomb is the first and only [End Page 20] cultural symbol. The above-ground tomb does not have to be invented. It is the pile of stones in which the victim of unanimous stoning is buried.5 Moving from its literal, historical meaning in connection with a primeval murder, Girard elaborates the metaphorical significance of the tomb for culture as a whole. As a site serving two functions simultaneously—namely, those of honoring the dead and of concealing a corpse—the tomb...

September Notebook

September Notebook Nicole Cooley (bio) Like the magic porridge that takes over the town, pours through the village, fills then empties the streets— — It swallows everything in September and it happens twice — First, in New York the burning seeped under our apartment door, into the window seams. First, the sharp smell threaded through my daughter's hair for days. I pressed my lips to her head. — Four years later in New Orleans water surges over, under, wrenches houses off stone foundations. The floodwall cracks, an explosion of gunfire. Water surges around my parents' house. — [End Page 1035] I read that story to my daughter because — once upon a time there were two Septembers in two cities: the one of the towers on fire and the one of the floodwaters rising. — Someone else is reading me the story. I crawl up on her lap but she says: Don't shut your eyes just because you can't watchTV footage: the jumping couples from windows of Tower One, the families, attics split open, in the Lower Nine, waiting for rescue. — Once upon a time it was the end of August and the daughter was on the phone with her parents begging them to leave the city. Fast forward to the parents' repeated answer: this is our home. The woman begging her parents to go to the superdome. To the mother saying: you are sending us to a watery grave. — Today's American History Lesson, the voice says: Once upon a time in 1927 white men blew up the Industrial canal. With a loud crack, they breached the levees. They wanted to drive the black families out. — So when my daughter's class gathers at the flagpole for a "patriotic song" "in commemoration" of "the event"— the sky is a pure blue bowl capable of holding nothing. — [End Page 1036] Here is the weather, the voice says, New York's bright sky in both Septembers. Now a clear early fall day will always be 9/11 weather. — When the peasants run and the porridge blankets the streets who will save any of them? — My mother says, this is our home. — Today's History Lesson: It swallows and swallows and swallows — I'd like to sit with her, Our Lady of the Breach. Our Lady of the Burning City. Our Lady of Uncomfort. I'd like to hold her hands down and whisper the lesson. I'd like to force the floodwaters down her throat. Nicole Cooley Nicole Cooley, an associate professor of English and creative writing at Queens College, CUNY, is author of two volumes of poems, Resurrection and The Afflicted Girls; and a novel, Judy Garland, Ginger Love. This New Orleans native lives in New Jersey, where she is at work on a new book, Evacuation. Copyright © 2006 Charles H. Rowell

Lot's Daughters: Sex, Redemption, and Women's Quest for Authority (review)

Reviewed by: Lot's Daughters: Sex, Redemption, and Women's Quest for Authority Alison Booth (bio) Lot's Daughters: Sex, Redemption, and Women's Quest for Authority, by Robert M. Polhemus; pp. xiv + 432. Stanford: Stanford University Press, 2005, '29.95. Most of us know something of the story of Lot and his womenfolk in Genesis 19. Robert Polhemus presses the unwelcome realization that we have also reenacted it. The parts are [End Page 179] as classic, indeed as compulsory as other versions of family romance, from the Oedipal complex to the Passion. The story mixes motives and motifs that, according to Polhemus, characterize centuries of relations between older men and younger women, fathers and daughters. In the Bible, Lot, to defend his two houseguests from being seized and raped by the Sodomite men at his door, offers his virgin daughters to the mob instead. Fortunately the guests, revealed as angels, rescue Lot, his daughters, and his wife from the damned cities, which are consumed in fire and brimstone. Lot's wife disobediently looks back at the burning cities of the plain and is turned into a pillar of salt. Father and daughters, seeking refuge in an isolated cave, appear to be the last earthly survivors, and the daughters fear that the race will die out. The eldest daughter plots with the younger to ply their father with wine so that each of them in turn can have sex with him and conceive a son—each son the father of a lasting people. Polhemus acknowledges the squeamishness provoked by this story, but without encouraging tolerance of incest or exploitation of girls, he finds surprising potential in the "Lot complex" as it develops in recent centuries. The narrative centered on the father desperate to gain immortality (or self-gratification) through his daughters gives way to the recognition of young women's strategies to appropriate the patriarch's potency and to carry forward a cultural legacy. Polhemus is right to emphasize that the daughters often take pleasure in the power of seduction, and that a patriarchal culture will often represent its potential for progress or immortality in the figure of the young girl while directing hostility toward the older woman. And this rich volume convinces readers that the biblical narrative condenses scenarios that have been reenacted throughout the cultural history of the west. Lot's Daughters ranges across millennia and media, from early Christian commentaries to 1930s film and contemporary scandals. The discussions are inventive as well as learned, presented in brief segments cleverly titled and peppered with wordplay. Lot's Daughters has something in common with comparative myth criticism and psychoanalytic criticism, recalling the work of Dorothy Dinnerstein and Northrop Frye, Frederick Crews and Harold Bloom. Myth criticism has fallen by the wayside, perhaps ossified because it looks back. But it has continuing potential and can be refreshing in contrast with the labored materialism and contextualization, the disciplinary hair-splitting of many studies in the humanities today. The volume is handsomely, even seductively designed, with fine illustrations. I was less pleased by the sparse endnotes, the scanty index, the lack of a bibliography, and the unusually frequent misprints. The lightness of documentation suggested oversights, particularly for this reader in regard to feminist or Victorian studies. Biblical scholars, art historians, or other specialists might have comparable queries about their own fields. Polhemus strives for the beauties of exegesis, and his conjunctions of texts and life histories can have the brilliant intentional excess of metaphysical conceits. But the historical narrative he writes is too eager to integrate the lives of real people with myth, and it invites contrary examples and arguments. In the chapter on Woody Allen, Mia Farrow, and Soon-Yi, Farrow's adopted daughter who became Allen's lover and wife, Polhemus recapitulates his historical argument: The Lot-Scripture had daringly suggested that civilization and the future—the father's seed—would be preserved through the agency of daughters....But that story was compromised by illicit sexuality and the revulsion of incest. The Victorians [End Page 180] ...tried to salvage and use the great potential of Lot's daughters by purging the story of sex and imagining innocent young girls as...

Fleeing from the Burning City: Michael K, Vagrancy and Empire

Fleeing from the Burning City: Michael K, Vagrancy and Empire

A Constructivist's View of an Earthquake:Edith Irvine Photographs San Francisco1906

When she stepped from a packet boat onto a San Francisco dock on April 18, 1906, 22-year-old Edith Irvine made a swift decision to change her travel plans. Instead of embarking on a world tour, she stayed in San Francisco to photograph the devastation from the earthquake that had just occurred. Realizing that photographers were suspect and not welcome among the ruins, Irvine found a baby carriage and stowed her glass-plate photographic equipment inside. Thus equipped, she was protected from armed guards dispatched by city officials to prevent photographers from gathering evidence of the destruction. She then wandered the burning city for three days, photographing what she saw.(1)Irvine took her glass plates home, stored them away, and apparently forgot them as she became a school teacher and went on to live her life. Her nephew discovered the plates in Irvine's attic after she died in 1949, and he donated them to Brigham Young University.(2)The purpose of this essay is to use Irvine's example to contribute to a feminist text,(3) an articulation of female lives to elaborate our understanding of how women relate and contribute to social-historical reality, especially when the woman is considered deviant because she is working and is stigmatized because she does not comply with what people in the society are doing.(4) As a young female photographer, Edith Irvine was both deviant and stigmatized. In her later years she was also eccentric, suffered from alcoholism and drug abuse, and died a suicide,(5) and yet the telling of her story adds to a collective understanding of the variability of the lives of women at the turn of the century.(6)The few photographic histories that have dealt with specific female photographers have described their subjects as idiosyncratic, rather than significant, transitional figures in women's history.(7) Irvine could also be dealt with as idiosyncratic, but the intent here is to place her life and contribution to photojournalism in context of the turn-of-the-century transition in women's professionalism. Irvine's work also provides insights into the photographer's role as interpreter of the culture from the point of view of gender, which Gover suggests, along with class, affects women's pictorial interpretations of their world.(8) As Ohrn discovered when compiling the photographs by Dorothea Lange and Ansel Adams of the evacuation and internment of Japanese-Americans during World War II, stylistic approach and attitude of the photographer are reflected in the photographs they produce.(9) In this study, gender is considered for its contribution to the approach and attitude evidenced in photographs.Photography at the turn of the twentieth century was considered an appropriate activity for women, especially if they remained in a hand-maid role, as technicians. Indeed, photography opened a new employment area for women.(10) Some emerged as professionals and owned their own studios, often in their homes. Women had been involved in photography from its inception in 1839; most who took up photography seriously were portrait photographers. The major exception was Frances Benjamin Johnston, the Mother of American Photojournalism.(11) She, too, had her own portrait studio and contributed some of the first photographs to the publishing business, but her particular significance to photographic history was as a photojournalist. Photographs of presidents William McKinley and Theodore Roosevelt, and feminist Susan B. Anthony, along with her photo-chronicles of Pennsylvania coal mines and the 1892 Chicago World's Fair, established her credentials. Her self-portrait in a skirt hiked to her knees, petticoats showing, a cigarette in one hand, a beer stein in another, illustrates her Bohemian character, as well as the aggressive image she and many other women in journalism, photography, and other fields deemed necessary to gain acceptance in a man's world.(12)Twenty years younger than Johnston, Edith Irvine made her photographic contribution from 1902 to 1906. …

拡散式触媒燃焼バーナ Ｉ 都市ガス燃焼触媒の開発

Diffusive catalytic combustion burners are expected to develop as a new combus-tion technique because of their low NOx emission, high fire safety and high far infrared radiant effi-ciency. However, since a combustion catalyst capable of burning city gas, the most prevalent fuel, with its high methane content which means difficult oxidative problems for the catalyst, at high effi-ciency and high durability has not been developed, these burners are not widespread.This report describes a new combustion catalyst with high activity and high durability developed by impregnating rhodium which features high methane activity, less sulfur poisonig and less SO3 production, within the pores of the porous alumina fibers.

Potential effect of nuclear war smokefall on sea ice

A large nuclear war could produce massive quantities of smoke from burning cities and industries. A portion of this smoke would fall out on Arctic sea ice, thus lowering its albedo and potentially increasing the solar energy absorbed by the ice and the snow that covers it. We use a one-dimensional thermodynamic sea ice model to examine the effect of ‘smokefall’ on the seasonal variation of sea ice. In particular, we test the sensitivity of the model results to the time of year, duration, and latitude of smokefall. Sea ice thickness variations and the period of summer ice-free conditions are sensitive to the season of smokefall. The largest sea ice perturbations are generated by smokefall in spring. In this case the period of ice-free conditions during the summer can increase by 2 – 3.5 months between 67.5° N and 82.5° N. In any given season, the annual cycle of sea ice is not very sensitive to the duration of smokefall. The equilibrium annual cycle of sea ice variation is restored within a few years of smokefall when the smoke is flushed out of the ice/snow system. Since the sea ice model used here is not a comprehensive global climate model, it is difficult to predict the mid-latitude climate effects of the massive, but temporary, Arctic sea ice changes. However, our results suggest that future global climate model simulations of the effects of nuclear war smoke include interactive sea ice calculations.

Robinson Jeffers’ Macabre and Darkly Marvelous Double Axe

P A T R IC K D . M U R P H Y University of California, Davis Robinson Jeffers’Macabre and Darkly Marvelous Double Axe Robinson Jeffers presents in “The Double Axe” a two-bladed narra­ tive poem with the first blade, “The Love and the Hate,” a macabre fantasy of a resurrected corpse seeking revenge, and the second, “The Inhumanist,” a darkly marvelous fantasy of a guardian spirit defending nature against human wantonness. Though “The Double Axe” is focused on the single thematic purpose of a poetic protest against the direction of the United States during and after World War II, it consists of two con­ trasting halves. “The Love and the Hate” reverses the cliché that dead men tell no tales by having a corpse tell the tale of war as suicidal slaugh­ ter; “The Inhumanist” provides a contrast not only to “The Love and the Hate” but also to the society which that first blade exposes and condemns. Jeffers employs in these two contrasting halves two different types of fantasy, the negative fantasy of abjection and the positive fantasy of mythopoeia, to achieve his intellectual purpose through intense emotive effect. As William Everson points out: “Political poetry speaks to the mind, certainly, but at its best it speaks through the mind to the passions. In spite of ourselves, hearing it, we are moved” (x). Jeffers combines in “The Love and the Hate” his political critique with Freudian analysis and supernatural horror to produce a negative fantasy of abjection. As T. E. Apter notes, this kind of fantasy, rather than building on the sense of wonder that C. N. Manlove emphasizes,1“discovers and aggravates disintegration” and “is not a means of consolation and recovery but of registering losses and fears. Thus such fantasy is predom­ inantly ‘negative’ in that it does not resolve problems but rather magnifies them” (6). And Julia Kristeva explains the controlling use of a corpse: “The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from 196 Western American Literature an object” (4). For the half of the poem that must expose and condemn the society amidst which the reader lives and dies, negative fantasy serves Jeffers well by magnifying the social disintegration and linking it with the losses of the war and the personal fear of defilement. While Jeffers centers “The Love and the Hate” on a dead man repre­ senting a dead society that has not yet found its grave, he centers “The Inhumanist” on an old man, ageless and only partly human. As Hoult Gore is a political figure, the old man is a philosophical one. With his magic axe he has become the caretaker of the Gore Place, setting for both halves of “The Double Axe.” Through him, Jeffers presents his philosophy of Inhumanism as a counter to the prevalent philosophies of the postwar United States. As the story moves toward its apocalypse, the reader realizes that the guardian is a caretaker for the planet, attempting to protect it from man but letting man nearly destroy himself through waging a third world war. The guardian meets a fugitive from the burning cities who declares: “This is the end of the world.” The old man answers: “Of yours perhaps. / The mountains appear to be on their feet still / . . . . As for the human race, we could do without it; but it won’t die.” In “The Double Axe” Jeffers offers visions in each of its halves of what the guardian calls the “two remedies,” death for humanity or life through Inhumanism. Jeffers uses negative horror fantasy to depict the first remedy, but positive mythopoeic fantasy to depict the hope of the second remedy. Here Jeffers employs what Manlove emphasizes about fantasy: “[I]n nothing is it perhaps so markedly constant as in its devotion to wonder at created things, and its profound sense that wonder is above almost everything else a spiritual good not to be lost” (Impulse 156). He also uses magic, which, like the old man figure, is a common clement...

G.I. Joe from Kokomo, and: Sunday School Lesson from Capt. Daniel Mayhew, USAAF, RET.

G.I. JOE FROM KOKOMO / William Trowbridge All this has given rise today to the idea, particularly among the veterans of the Vietnam War, that World War II should be thought of as a good war, a 'pure' war. James Jones Somehow he's become a friendly uncle: bachelor, born story teller, who stops in unannounced for chit-chat and a beer, who still smokes Luckies, lights them with an agate-smooth Zippo he's carried since Fort Sill. Forty years ago, dizzy and quick with fear, he carried it to Utah Beach, bent on living if he could or dying bravely if he had to. A gangly Eagle Scout in love with fair play and allegiance, he waded past a dozen buddies already bobbing in the surf, staggered for cover in historical black and white till crowds pressed in to see the fire boats plume him back from Victory. Only now and then does he forget and let the dead hand show, its finger sprouting a yellow talon, hard as bone. Twenty-one again this June, he plans to marry, study law, then run for office. 118 ¦ The Missouri Review SUNDAY SCHOOL LESSON FROM CAPT. DANIEL MAYHEW, USAAF, RET. / William Trowbridge Big voiced, G.I. husky, he bunched his civies at the shoulders, too broad, we thought, fpr the stuff our fathers wore. He let Moses rattle on and Job contemplate the new boil on his forehead. In their place he gave us Schweinfurt, Regensburg, Ploesti: Dekker's crew bailing out, one by one, till four were counted, the other six augering in on one wing and a black smear of burning fuel. On the day he had to jump, the blow of sky ripped off a glove with his wedding ring inside: "A kind of prophecy," he said, smiling. We, his puppy crew, saw it fall, put ourselves, our desks in the ready room before dawn, getting briefed for the day's high chase through flack and fighters, knowing it would always be the other guy, the loner, bed-wetter from Detroit, or was it Trenton? —all this till the day his big hands began to tremble, the amazing tears welled, and he stood up, saying, "We're having fun, aren't we, you silly little shits." The next Sunday, Miss Branson read to us of Lot, God's grief, and the burning cities. The Missouri Review -229 ...

Role models and role distance

Fall semester, 1960 was a good time nationally. The country was confident and optimistic. The rust corroding America's underbelly was barely visible. John F. Kennedy had just been elected President. It seemed there was no Viet Nam, no Silent Spring, no dogs and water hoses turned on demonstrators. There were no assassinations, no burning cities, no Orangeburg or Kent State, no Watergate. Grass still meant lawn. Bob Zimmerman had not become Bob Dylan. A beard symbolized nonconformity, rather than conformity. Unemployment was relatively low and there were few Ph.D.s without jobs, except by choice. If you happened to live in a warm sunny environment with a magnificent view of the San Francisco Bay through the eucalyptus and be a twenty-one year old male in good health with a sports car, able to prolong the youth culture by staying in school, it was a good time indeed.

Book Reviews

Abstract Abstract BIOGRAPHY I Walked by Night, Being the Life and History of the King of the Norfolk Poachers By Himself. Edited by Lilias Rider Haggard. 182 pp. E. P. Dutton and Co. $3.50. ECONOMICS Economic Essays in Honor of Wesley Clair Mitchell. By His Former Students on the Occasion of His Sixtieth Birthday. 519 pp. EDUCATION A Correlated Curriculum: A Report of the Committee on Correlation of the National Council of Teachers of English by Ruth Mary Weeks, Chairman. English Monograph No. 5. National Council of Teachers of English. 326 pp. D. Appleton-Century Co. $2.00. American Life and the School Curriculum. By Harold Rugg. 471 pp. Ginn and Company. An Experimental Investigation of Teaching of Team Games. By Elizabeth G. Rogers. Teachers College, Columbia University Contributions to Education, No. 680. Bureau of Publications, Teachers College, Columbia University. 65 pp. $1.60. Education As Cultivation of the Higher Mental Processes. By Charles H. Judd. 206 pp. The Macmillan Co. Education for Adjustment. By Harry N. Rivlin. 419 pp. D. Appleton-Century Co. $2.25. Essays on Examinations. By Sir Michael Sadler, C. L. Burt, C. Spearman, et. al. 168 pp. The Macmillan Company, London. 5 shillings. Fundamentals of Psychology in Secondary Education. By S. C. Garrison and K. C. Garrison. 599 pp. Prentice-Hall. $2.80. General Science for Today. By Ralph K. Watkins and Ralph C. Bedell. Illustrated. Revised Edition. 715 pp. The Macmillan Co. $1.72. Learning and Teaching History in The Middle Grades. By Mary G. Kelty. 694 pp. Ginn and Company. $2.40. Modern College Readings. Edited by George Paul Butler and Associates. 536 pp. Prentice-Hall. $1.75. Modern History Review Book. By J. O. Loretan and J. H. Landman. 204 pp. The Review Book Co. 68c. Nursery School and Parent Education in Soviet Russia. By Vera Fediaevsky and Patty Smith Hill. 265 pp. Illustrated. E. P. Dutton and Co. $2.50. Occupational Civics. By I. K. Giles. 390 pp. The Macmillan Co. $1.40. Provisions for General Theory Courses in the Professional Education of Teachers. By Obed Jalmar Williamson. 185 pp. Bureau of Publications, Teachers College, Columbia University. $1.85. Philanthropy and Learning (With Papers). By Frederick Paul Keppel. 175 pp. Columbia University Press. The Construction and Use of Achievement Examinations. By Herbert Hawkes, E. F. Lindquist and C. R. Mann, Editors. 497 pp. Houghton Mifflin Company. $2.40. The Teaching of Mathematics. By Raleigh Schorling. 247 pp. The Ann Arbor Press. FICTION Gone With the Wind. By Margaret Mitchell. 1037 pp. The Macmillan Co. $3. Kit Brandon: A Portrait. By Sherwood Anderson. 373 pp. Charles Scribner's Sons. $2.50. GENERAL LITERATURE Burning City. By Stephen Vincent Benet. 80 pp. Farrar and Rinehart. $2.00. The Complete Works of Shakespeare. Edited by George Lyman Kittredge. 1561 pp. Ginn and Co. $6.00. The Flowering of New England. By Van Wyck Brooks. 550 pp. E. P. Dutton and Co. $4.00. HISTORY Napoleon and His Marshalls. By A. G. Macdonell. The Macmillan Co. 368 pp. $1.00. Philippine Independence. By Grayson Kirk. 278 pp. Farrar and Rinehart, Inc. $2.50. Swish of the Kris. By Vic Hurley. 301 pp. E. P. Dutton and Co., Inc. $3.00. The Renaissance. By F. Funck-Brentano. 320 pp. The Macmillan Co. $2.50. Washington and His Aides-De-Camp. By Emily Stone Whitely. Illustrated. The Macmillan Co. 217 pp. $2.50. PHILOSOPHY A Message from Arunachala. By Paul Brunton. 223 pp. E. P. Dutton and Co. $1.75. Mainland. By Gilbert Seldes. Charles Scribner's Sons. 443 pp. $3.00. Obiter Scripta. By George Santayana. Edited by Justus Buchler and Benjamin Schwartz. 319 pp. Charles Scribner's Sons. $2.50. Readings in the Philosophy of Education. By Edward A. Fitzpatrick. The Century Catholic College Texts. A. Appleton-Century Co. 809 pp. The Spirit of Mediaeval Philosophy. By Etienne Gilson. Charles Scribner's Sons. 490 pp. $3.50. TRAVEL The Southern Gates of Arabia. By Freya Stark. Illustrated. 327 pp. E. P. Dutton and Co. $3.75.