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University Daily Kansan
Monday, Nov. 3, 1958
LONDON
Tomorrow's Winners
Barring a last-minute surge by the Republicans (which some GOP leaders say has already happened), this year's election story will be one of Democratic victories throughout most of the country.
Until the votes are counted, no one will know how much effect President Eisenhower has had with his late-season campaign swings. It is sure, however, that Ike had most of the Republican party on his back for an uphill pull.
There will be some upsets, certainly, among members of both parties who seem to be firmly settled in office. But every prediction, consensus, and straw vote points to a big Democratic majority!
In the key states, the races shape up this way: California: Brown over Knowland for governor; Engle over Knight for the Senate in a close
Connecticut: Democrats all the way, for governor, Senate, and several of the six House seats.
race. Both winners are Democrats. GOP losses in the House.
Kansas: The governor's race looks close, Docking seems to have the edge. Otherwise, Republicans all the way.
New York: For governor, only politicians will predict the outcome. Harriman may have a little edge. For the Senate, Democrat Hogan looks like a winner.
Ohio: Republican Bricker will keep his Senate seat. DiSalle over Republican O'Neill for governor. Democrats will pick up some House seats.
Pennsylvania: Democrat Lawrence for governor, Democratic gains in the House. For the Senate, a tossup between Leader and Republican Scott. —Al Jones
Our society editor says there is a movement underway to force men into girdles. This stuffing, she says, will be necessary to fit us into a new, slim style of clothes.
TAV
This new "Continental Look," designed by some idiots living in "fashionable" centers, who spend their lives draping creations over dummies which lack the power to scream in agony, is a cont, narrow in the shoulders, short, tailored
New Look for Men?
tightly enough to hug the chest and the waist. For most men, this means wearing a girdle. This is bad.
The idiotic designers intend to ruin male comfort and happiness. Never since women's suffrage has the independence of man been so challenged. The creators say the new look will be the rage within two years.
We'll see.
—John Husar
Editor:
A Breach of Manners
I was surprised and shocked by the impoliteness of some of the members of the International Club toward Mr. Arnon, press attache of the Israeli Embassy, who spoke at a meeting of the club Monday evening.
The president and the social chairman were unwilling to show politeness toward a guest of the University. During the question period students would stand without raising their hands and ask questions. When Mr. Arron tried to answer the questions, they would interrupt him every two or three words. The floor was monopolized almost completely by the Arab students. Other students who were polite enough to raise their hands were not able to ask questions.
The two officers completely ignored the disorder and did nothing to restore order. Just because a person disagrees with a speaker doesn't mean that he should also be impolite and discourteous.
I hope that the next time a guest
... Letters ...
speaks at the International Club, the officers and students will show a little courtesy and politeness.
Anne Gregory
Anne Gregory Lawrence senior
Editor:
Hooray for 3
The comic book Mr. Jones referred to in his editorial "And They Call Us Educated" was written very simply so that everyone could read and understand it. The need for such an approach has been clearly indicated by the treatment of the right to work question here at KU.
Mr. Jones starts with the false statement that Amendment 3 won't cure labor racketeering. We readers were left blithely ignorant of any reasoning used to reach this conclusion. No, 3 would give the laborer unquestionable control over his union. If labor abuses weren't cured it would be because he didn't want them cured.
However, Amendment 3 was not designed to punish labor. Its purpose is to guarantee any Kansan the right to work without belonging to a labor organization. Whether such a freedom should be granted is the issue. Because few would dare to oppose No. 3 on this issue, it has been ignored; the Democrats and their local president, Mr. Chapman, have ignored it; labor union officials have ignored it; and Mr. Jones has ignored it; and until recently, Prof. Oldfather, the most outspoken opponent of right to work on the KU campus, has ignored it. However, Wednesday Prof. Oldfather brought up and dismissed the rights question in one breath saying, "This question (right to work) has nothing to do with rights and it has no place in the Kansas constitution." We are left to guess as to what possible premise he based this conclusion on. I will agree, however, that right to work has no place in the Kansas constitution—at least no more place than the Bill of Rights has in the national constitution.
If one were to disregard all discussion of Amendment 3 except that which has dealt with this basic issue of freedom, one would disregard all discussion previously presented at KU.
LITTLE MAN ON CAMPUS
That we have so completely overlooked the most important facet of the question would, in my mind, justify anyone having a low opinion of our ability to grasp a situation without having a picture drawn for us.
Mr. Jones' "comic book" presents the first discussion that has appeared on this campus of the right to work amendment as an amendment to guarantee a freedom for every individual.
Marick Payton 922 Kentucky Lawrence
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30 Madison Avenue, New York, New York international. Mail subscription rates: $3 a semester or $4.50 a year Published in Lawrence, Kan., every afternoon during the University year except Saturdays and Sundays, University holidays, and examination periods Enrollment for September 1910, at Lawrence, Kan. post office under act of March 3, 1879
NEWS DEPARTMENT
Malcolm Applegate  Managing Editor
BUSINESS DEPARTMENT
Bill Irvine ... Business Manager
EDITORIAL DEPARTMENT
AUTHORITY Editorial Editor John Husar, Associate Editorial Editor
. . . Books in Review
BIZET AND HIS WORLD, Mina Curtiss, Alfred A. Knopf, $7.50.
By David Dodd
This is the first full-length biography of the composer of Carmen America's favorite opera. It is bound to attract special campus interest at this time, since Carmen is scheduled for production by the University Theatre in March.
The book was inspired by the discovery of a vast collection of Bizet's personal letters never before published, or even read, except by the original correspondents. The author's curiosity was aroused by the remarkably new and vivid insights provided by these documents, and eight years of research have culminated in this definitive biography.
The common pitfalls, the tendencies of many biographers to fancify and novelize, have been judiciously avoided. In fact, Mrs. Curtiss seems almost to have avoided any personal comment. Instead, she quotes often and at length from numerous writings, both public and private, of Bizet and his colleagues, critics, and friends. If this does not result in the most flowing, narrative style, it does at least bring about an unusual clarity, a vividness which captures amazingly the spirit of the times. The impression is one of seeing a series of thought-photographs, clear and unretouched.
Some of the more colorful items to be found here concern such various friends of Bizet as Celeste Mogador, the courtesan-turnedactress-impresario-novelist ("a poor man's George Sand"); and Celestine Galli-Marie, the original Carmen, as vivacious, demanding, and totally captivating a coquette as one could find anywhere on the stage today.
Of far greater importance, however, is the mainstream of the book, which effectively reconstructs the pattern of Bizet's life among the musical greats of Paris, finally focusing upon his masterwork. Carmen, which after 83 years is everybody's favorite operatic masterpiece, originally impressed only a handful of perceptive people. The original cast and directors grew to love it only as rehearsals progressed. It was too different, too advanced—and too realistic. The opening-night audience, consisting of the press and the high-society elements, received it coldly. Successive audiences warmed to its emotion, but the damage was soon done by a bad press, and the opera closed after 48 performances, a box-office failure.
Bizet was already dead, at 36 years of age. History records that he died of a heart-attack, but his closest friends, who knew how much of himself he had poured into his final work, said that his masterpiece had killed him. Bizet died unable to reconcil his artistic ideals with those of the critics.
Scholars will appreciate the thoroughness with which quotations are annotated in this book. A copious index and an extensive appendix increase its usefulness. The latter contains much of interest to the connoisseur, including eighteen hitherto unpublished letters; a catalogue of Bizet's works, published and unpublished; historical notes on posthumous performances of his dramatic and orchestral works; an article on his personal music library, which he had uniformly bound, and which he meticulously catalogued himself in longhand; and a selected bibliography on his life and works.
In short, Bizet and His World is one of those library rarities: a work which is as valuable to the scholar as it is fascinating to the casual follower of music and the theater.
There is a land called Israel. History says Israel is an infant of ten years. But the people of that country will testify that Israel is old; it was conceived over 2,000 years ago.
History also says that the boundaries of Israel were created as a homeland for the Jewish people; it doesn't tell how Dafna, an eighteen-year-old girl, was brutally murdered defending those borders.
History doesn't tell how the spirit which now fires the musicians of Israel's Philharmonic Orchestra was kept alive in dirty ghettos where people who were starving and freezing to death sang of the wheat fields in Galilee which they knew they would never see.
EXODUS, by Leon Uris, Doubleday and Co., $4.50.
By Kay Reiter
A history book doesn't tell these things. But there is a book which does—a fine, absorbing novel that tells the story behind history's statistics. The novel is Exodus.
History says that the Jezebel valley was "reclaimed"; it doesn't tell how men, women, and children worked 18 hours a day, 7 days a week, in 100-degree heat and in waist-high swamp water, turning arid deserts and muggy bogs into a beautiful valley.
Exodus is the story of the people who were instrumental in the creation of the Israeli state, of Dafna and the hundreds like her who placed their country's needs above any personal desire—children of the Jewish faith who quite literally carved their land out of the wilderness. And it is a beautiful story.
Exodus is an historical novel; it is neither philosophical nor psychological. It doesn't attempt to explain why the Jews felt compelled to make a home of no man's land, it simply says that they were and they did. And because it is a story of grief and persecution, it might easily have gotten out of control and become just so much sentimental trivia. Uris is to be commended because it doesn't.
He has written of the distasteful and the awful, but the unquenchable spirit of the Jewish people is so emphasized that, although filled with personal tragedies, the scope of the book is not limited to them. The undertones of perfect faith and hope which persist throughout the book culminate in the final pages and deny even death itself. As Uris tells it, no bullet can kill the spirit of the Jewish people, the spirit which is made vital in the characters he has created.
This is the second widely known novel by Leon Uris. His first, Battlecry, reached tremendous heights in popularity, and Exodus promises to do the same. A writer of obvious talent and great vigor, Uris has produced another volume of literature which is scenically beautiful and spiritually moving.