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Digitized by the Internet Archive in
2010 with funding from
Lyrasis IVIembers
and Sloan Foundation
http://www.archive.org/details/colonnade196465282long
COLONNADE
LONGWOOD COLLEGE FARMVILLE. VIRGINIA
WINTER
•
1964-65
VOLUME
XXVIII
NO.
2
STAFF ÂŤi
EDITOR
DONNA WEATHERLY
Poetry Editor: Freda Richards
Short Story Editor: Essay Editor:
Kaye Catron
Rebecca Evans
Carol Mann,
Literary Board:
Margaret Robinson, Jo Ann Held, Pat Gillette, Betty Hodnett, Norma Davis, Carole Dawson, Joan Emerson, Patricia Reames, Joan Faulkner, Linda New, Frances Wynne, Sue Fuller Art Editor: Angel Stephenson Art Board: Carol Moyer, Leeny Lou Steiner, Phyllis Boykin,
Charlotte Staton Business
Manager: Jean Lundie
Business Board:
Ann
Cordle,
Brenda Conner,
Merle Hawkins,
Joyce Stanley
Head Stajf:
Typist:
Ginny Starkey
Sharron Bannon,
Trudy Fowler, Sharon Ripley Circulation Staff:
Helen Weeks,
Phyllis Boykin, Patricia Thrift, Sharon Ripley, Sandra Rhodes, Nancy Spain, Vicki Jester, Susan Besley, Beverly Jenkins Board of Advisors: Mrs. Mildred Davis, Dr. Rosemary Sprague, Mr. George Chavatel, Mrs. Ruth Taliaferro
CONTENTS Open Letter From The Editor
.
Contemporary Education , Poem
On
4
.
.
.
Freda Richards
.
5
ILLUSTRATION
Betsy Page Taylor
.
.
.
5
ILLUSTRATION
Betsy Page Taylor
.
.
.
6
Donna Weatherly
.
.
.
the mist.
One Act
Play
Place For Transients, Prose Impression
Edward A I bee: An
Existential
.
.
.
Freda Richards
.
Barbara Melton
.
7 8
....
10
Interpretation, Essay
ILLUSTRATION The
Agitator,
Forget,
Angel Stephenson
14
.
15
Maria Grant
ILLUSTRATION
Phyllis Boykin
Poem
Freda Richards
ILLUSTRATION The
.
Gayle Ray
Poem
Poem
Divestment,
.
.... ....
Carol Moyer
Exhibition, Short Story
....
Amanda
RuÂŁE
ILLUSTRATION
Carol
Moyer
ILLUSTRATION
Carol
Moyer
Lines Composed While Lying on One's
Freda Richards
.
....
....
.
16
.
16 17
.
18
.
18
.
21
.
24
.
26
.
26
.
27
Back Viewing Sunbeams, Poem
ILLUSTRATION
Charlotte Staton
Making The Swing Go, Informal Essay
Betty Hodnett
.
ILLUSTRATION And There Was Adam, Conformity,
Fable
.
.
.
Poem
Charlotte Staton
.
.
.
.
28
Donna Weatherly
.
.
.
.
30
.
32
Lynette Sykes
Printed by The Dietz Press, Inc. 109 East Gary Street Richmond 19, Virginia [
3
]
.... ....
....
Education An Open This
Awareness
Is
From The
Letter
Editor:
letter comprises the
concerning "education
concluding portion to the two-part letter
awareness."
is
The
first letter
series
introduced the scope of
education through awareness, and this one will develop the responsibilities
incumbent on education through awareness.
The
words education and awareness was
interchangeability of the
lished in the first letter
A
for education.
;
thus the
word awareness may
phrase which appeared in the
first
letter
can perhaps be
construed as the key to the idea of the responsibility of awareness sive
development of the mind."
quality of awareness
—
"progres-
This phrase should give indication of the
which manifests
Through awareness we
vidual.
estab-
hereafter be substituted
itself in
the development of the indi-
own
are led beyond the limitations of our
narrow grasp; we learn how to expose ourselves to life. From this challenging, we come to understand and accept both ourselves and others.
Once an
The answer
individual attains a sense of awareness, in part
is
what
found in the word "seeking."
responsibility ensues ?
Awareness involves the
constant search to understand and evaluate every situation and every idea to
which
we
are exposed.
in light of
new
Certainly
discoveries,
it is difficult
to re-evaluate established ideas
but the responsibility of awareness demands
this
of the individual.
The
second of these responsibilities
Awareness demands involvement
is
best expressed by the
in life,
and involvement
about ourselves and others to seek to understand.
Much
is
word
"caring."
caring enough
has been written
few years about the idea of involvement; for this reason many readers ignore it as no longer of any timely concern for themselves. What has in the past
failed to capture their attention is the fact that the essence of
involvement
is
simply caring to search for understanding, for awareness.
Do we ideas,
care enough to allow ourselves to become aware of the world of
actions,
small worlds ?
and people existing beyond the limiting confines of our own
Have we
ever felt the need to seek and to care about anything
outside ourselves?
D. L.
W.
Regretfully, the Colonnade has yet to announce that
Class
Honor Rating from
secutive year,
1963-64.
it
had received a
First
the Associated Collegiate Press for the second con-
Belated congratulations to last year's staff for an
excellent series of magazines.
[4]
—
7
On Contemporary Education Kick the old sow, Struggling belly,
Swollen and
Hurry,
/
alive,
pig.
Give us your brood. But hurry.
'A
Now,
don't wait.
Come
out
Grow, shoat. Voodoo medicine man. Rainmaker.
—Freda Richards [5
]
the mist donna weatherly
a play in one act by
first
two elderly men, decidedly stooped wrapped in shrouds, eyes bandaged. man: "i love dawn strolls."
second man: first
on the horizon,
Utopia, clouds of mist are rising as the sun appears
scene:
"yes (pause)
—
over, approach out of the mists
does clear the
it
.
.
spirit."
.
man: "do you leave today?" man: (silence)
second first:
"i said
second:
—
today the day you said you were leaving?"
^is
"uh? so sorry
.
.
feeling something first:
"not clearly long ago
.
.
.
.
.
this is important,
second
:
just
.
"i just can't
was
i
.
about
(breaks in) "about
first:
.
.
.
.
.
.
i
.
.
was
just
,
,
,
that happened
.
.
.
.
.
.
.
.
.
(stops)
what? concentrate a little more ... a think ..."
try to
seem ...
.
(interest)
feeling something
."
.
.
now."
.
do you remember it?"
"really?
second:
didn't hear you
i
.
.
(emphatic)
.
.
past feeling,
.
to break
.
.
the barrier,
.
wall
like a titron
it's
before me." first:
"i
knew
man who had
a
.
.
.
feelings
.
.
once
.
.
.
.
i'm not sure.
.
.
."
(voice trails off)
second: first:
"uh-huh.
.
.
.
create."
"we
are
.
.
exist
second: first:
.
we
.
really
.
life
.
.
.
"can you
.
anymore.
know
i
can (long pause) leave."
(vacant)
to
i
me
do .
.
.
something
feel i
feel a
.
.
.
i
can remem-
we
breakthrough,
are
.
world ... a world we helped
.
.
.
men
.
.
.
.
.
don't you see?
.
.
(voice trails off)
.
"we
.
(credulous)
live in a
world dedicated
.
.
.
to
.
.
.
to
.
.
."
(disconcerted)
can't ... say it." .
.
to
we have ... all thought ... all knowledge ... we know problems do not itself ... we know are perfect
everything?"
(not hearing him)
"i
before
.
.
living in a perfect
are.
"to what?"
second: first:
.
.
(raised voice)
the secrets of
"we
think
.?"
we
"yes.
.
perfected all science
first:
.
coming back
it's
.
Utopians
second:
.
.
wait a minute, yes
"wait,
ber
first:
have to
maybe you should."
"uh.
second:
i
.
.
think
.
.
.
(puzzled)
it?"
(continued on next page) [
7 ]
(continued from page 7)
the mist
second:
"a
.
.
but
yes.
.
.
.
.
the thought
.
.
causes ... a
.
new
sensation."
(distracted)
"what?"
first:
second:
(long pause) "pain."
what "human."
first:
"pain?
second
:
first:
"oh. (pause)
second:
second:
second:
that your
.
.
.
thought.?"
(vague)
not really."
.
mass immeshed
visualize a solid
"try.
in titron."
disassociation."
—complete
"no
.
commitment."
association,
.
.
first:
"commitment?" (vague)
second
:
first:
"i don't
second
:
first:
"oh."
second:
.
.
(anguished)
"i see.
first:
second:
was
"you don't understand, do you?"
"no
first:
(troubled)
... pain?"
only the result."
"no.
"oh."
first:
is
"being alive." .
.
"i didn't
.
understand.
.
.
."
(pained)
expect you ... to understand."
(straightens his back up) "i
must leave now.
(removes shroud, casts
approaching."
it
the time
is
.
.
.
rapidly
aside)
what are you doing?" (anxious) second: "leaving." (turns face away from other man) before you leave, what is our world dedicated to?" "wait first: (removes bandage from his eyes and turns into the second: "Blindness." first:
"what
.
.
.
.
.
.
.
.
.
.
.
.
mist and disappears)
PLACE FOR TRANSIENTS By Freda She floor
sits in
Richards
—bored and
the bus station
and watches a
sympathy for the
solitary ash light
woman who
tired.
She
How
flicks
her ashes on the
momentary The man across from her
on her hand.
cleans the floors.)
has white spots on his green argyles.
!
(She
feels
\
typical, she thinks, of people in j
a bus station.
The man had
looked like a fairly decent type, but then he
turned out to have spots on his socks.
Gazing around
1
!
at the people there, she
is
both revolted and
filled
with j
[
8
]
I
PLACE FOR TRANSIENTS (The pity she feels is brought on by the beer she had consumed before She hates bus she came in hopes of dulling the horror of the bus station.) while, and she stations. She can even get to hate the people in them after a pity.
The
has been there for almost an hour.
from the information booth
voice
She wishes she could
names a place that she has heard of but never visited. pay her money
and get on the bus and ride there, forgetting all responsibility.
Dreams.
A
short boy gallops by
—
of a sudden the
all
room
spins
and her eyes
start
water from the smoke of too many cigarettes. Her stomach is reeling and lurching in protest. So to help matters she walks over to buy a candy bar.
to
As huge
she
sits
woman
there, the
with tremendous
a thin inverted V.
The two
curls of hair piled girls
with her are
same
Two men
station.)
woman.
the
also
wear
the girls.
Two
They
other.
with
benches over
look as
if
their
slacks.
The
girls
woman
stays
and
serviceman across the room
definitely too-long hair
She says hello and
calls
sit
—
and have
slightly drunk,
rush off to have their pictures taken in a booth, while the
(A
in
on her forehead, her eyebrows
They
hair rolled and covered with sleazy scarves.
listens to a transistor radio.
walks
trio she has ever seen
most fantastic
come
is
tuned to the
and approach
in
them by name. Then, they
leave with
a young couple, happily intent upon each
they are on a honeymoon
—what a shame
to have to
spend even one minute of a honeymoon in a bus station, she thinks.
A
colored musician strolls
natural beat.
His hair
is
in,
his knees
and ankles bending
long, his pants tight,
which she assumes houses a
He
guitar.
sidewise glance at the brown-skinned girl
and he
continues
who
in a sort of
carries a large case
on by
her,
with a
The brownThey seem,
next to her.
sits
skinned girl looks up, and smiles fleetingly at him as he passes.
she muses, to have a friendship which has been born into them, even though she doesn't think they have ever met. She reflects for a it
is
that spontaneous affection springs
moment
of
how seldom
up between people today;
the prime
thought seems to be "don't get involved."
An
interesting philosophical discussion before this trip
depression which weighs on her head like a stone as she
the people in the station.
could claim her feels,
as
seat,
".
.
.
Claim your
seats.
.
.
."
sits in this
sits
there dissecting
How
she wishes she
or even actually be sure she had a place to claim.
do many people her
age, that she
is
station for transients
and waits and waits. [
9
]
She
being perpetually ousted from
everywhere, that she has nowhere really solid to stay. she
had prompted her
How
appropriately
Edward
An
Albee:
Existential Interpretation
By Barbara Melton With is
to
new problems
each generation
are born, and the task of a philosophy
provide a body of thoughts and ideas that can serve
which man can build
The
his life.
latest generation is existentialism,
almost
philosophy that has come to shape this
and
existential ideas
major American and European writers
all
foundation on
as a
permeate the works of
who
have written since
World War 11. The writer who has done the most to promote the popularity of existentialism is Jean-Paul Sartre, but there have been others whose works are profoundly influenced by existential thought. Among these writers is Edward Albee. Although he five plays
—
has produced a relatively small
amount
work
strains of existentialism are revealed in each of his plays.
Existentialism as
name
its
implies, concerns itself
with existence, and
it
mean
to
attempts to answer man's most fundamental question: what does exist.
of
As a
philosophy,
it
number
contains ideas about a
it
of themes:
1) exist-
ence before essence, 2) alienation of an individual from society, 3) despair caused by the anguish of alienation, 4) a realization of nothingness, 5) the absurdity of
life,
and 6) the absolute freedom of the individual.^
These are some
of the themes that are characteristic of Albee's plays,
This perspective
his heroes are basically existential heroes.
is
and
especially ap-
The American Dream j Who's Afraid of Virginia The Death of Bessie Smithj and The Zoo Story. In Albee's The American Dream, the problem involved is that of the fundamental question ^what does it mean to exist. As far as the individual
plicable to four of his plays:
W.oolff,
—
characters are concerned,
their
existence has
no meaning whatsoever.
In
Sartre's rejection statement of the Nobel Prize for Literature, he said that in order for existence to
of
some
The
sort.^
have any meaning, one must make a total commitment
character of
being lacks any commitment. things for her family. that there
Mommy
is
no
total
and Daddy
The
Grandma
one example of someone whose
is
She draws meaning for her
reader can
tell
life
by doing
little
by her attitude towards her family
commitment on her part
to the family.
for financial support, but she
She depends on
draws no pleasure or mean-
ing for her existence from them.
Daddy typical
is
as
uncommitted
as
Grandma
example of the hen-pecked husband.
is.
Throughout the play he
In no
his existential free will.
His actions are products
looks to her before every
word he
is
a
way does he ever exercise of Mommy's desires. He
utters in a gesture to obtain her approval.
According to existentialism, individual free will
[10]
is
the most difficult thing to
EDWARD
AN EXISTENTIAL INTERPRETATION
ALBEE:
maintain because
it
automatically implies alienation from one's society, and
the forces of society are working against the person
Daddy
is
Freedom, or the
Eliot
may have had
on
his free will.
Mommy.
in
is
concerned, she
is
mind when he wrote
"I have measured out
my
life
is
mostly determined
not one of Daddy's virtues.
"The Love Song
in
you know."* themselves.
She belongs to
Mrs. Barker
is
my
fingers in so
of J. Alfred
many
womens' clubs that are
five
S.
Mrs. Barker
with coffee spoons."^
"I've got
she describes herself:
T.
the type of individual
is
one of Albee's best examples of the uncommitted modern woman.
own words
is
acts
exist for one's freedom,
This, unfortunately,
Mrs. Barker
far as
Prufrock." is
one to
ability for
by one's courage.
As
who
eager to relinquish his freedom in favor of the authority of
In her
little pies,
directionless in
She
going in every direction and no direction.
not involved in any total commitment; therefore, in terms of existentialism,
her existence
meaningless.
is
Who's Afraid
of Virginia
Woolff
deals
with the problem of the
illusions
modern world and the alienation one knows when these illusions are shattered. In an article in The English Journal, John Killinger wrote: "Man becomes aware of the insane character one creates to sustain
of daily living
that he
is
an
and
:
his existence in the
in the instant that he
is
divested of his illusions he realizes
In Who's Afraid of Virginia Woolff the
alien in the world. "^
Martha and George, who can make no
principal characters involved are
tempt to communicate with each other except through characters are aware of a deep sense of alienation effort to
overcome
this,
whom
is
other,
and
in
an
they hope to attain some level of communi-
cation between their spiritual beings.
"With
from each
at-
of these
thy try to create a correlative for their inner selves,
a mythological son through
greatest illusion
Both
illusions.
However,
gone, their communication
away
also gone.
is
Martha and George
a virtuous display of cruelty,
secrets, stripping illusions
this fails
because
As
their
slash at each other's
In the
like layers of skin."*^
when
Killenger says
final
moments
of the play Albee reveals the anguish of the characters when George asks
Martha, "Who's afraid of Virginia Woolf ?" herself
and answers, "I
The Death before essence.
.
of Bessie
.
.
am
.
.
.
George
Smith concerns the
Martha, .
.
I
.
.
.
at this point accepts
am.
."^ .
.
existential concept of existence
Sartre explained existence before essence
when he wrote
that
grows up in the world, and defines himself afterAlbee creates a situation that coincides perfectly with the existential idea of the absurdity of life. The setting is a great white hospital wherein a white nurse and white intern are arguing about a ridiculous an individual
ward.^
first exists,
Within the
play,
(continued on next page)
[11]
EDWARD
ALBEE:
AN EXISTENTIAL INTERPRETATION \
(continued from page 11)
subject while without, a
Negro woman
is
The argument man wants to emergency treatment. The nurse
bleeding to death.
between the nurse and the intern involves the fact that a Negro get Bessie Smith into the white hospital for
j
'
|
!
and intern are concerned with the essence of Bessie Smith rather than her existence as an individual. of her cover-symbol as a
That is, they discriminate against her on the basis Negro rather than her existence as a human being.
human
Prejudices such as these lead only to a waste of
and contribute
life
I
i
Albee indicates by having Bessie Smith die a
to the absurdity of existence, as
needless death.
—
With The Zoo Story Albee creates his greatest existential hero The play unfolds in the tradition of absurdist drama. Peter, who is reading a book on a Sunday afternoon,
is
Jerry.
quietly
who
strangely interrupted by Jerry,
[
screams that he has just been to the zoo.
literally
nothing but a
is
series of personal, senseless,
Their whole conversation
and disconnected
At
questions.
j
j
every point Jerry attempts to fling accusations at Peter and imply things about
him that are not
true.
In existential terms, Jerry has come to realize the absurdity of
He
is
totally disgusted
my
beyond his
with
his
beaverboard wall
is
environment and everything in occupied by a colored queen
door open ... he has a Japanese kimono ...
brows, wear his kimono larger living
.
.
.
there's a
on the third
.
two
the
.
.
all
my
front rooms on
Puerto Rican family in one of them
floor, in
the front.
muffled, but very determined
.
.
.
I
know
.
is
the landlady
is
a
i
always keeps
pluck his eye-
floor are a little .
.
there's a lady
because she cries
all
the time,
ugly mean, stupid,
fat,
unwashed, misanthropic, cheap, drunken bag of garbage.
world.
"The room
it:
who
he does
his
.
."^ . j
Jerry
is
living in an atmosphere of squalor
and moral decadence.
The
!
other tenants are in complete despair with the hopelessness of their condition. It is this
awareness of hopelessness
or, as Sartre
would
say, nothingness, that
throws Jerry into despair and causes him to act as he does. of the absurdity of his existence
Make
you trying to do?
Once an alienated
from
his world.
that the landlady
to
owns:
person has to have some
this.
He
"It's just that
have to make a start somewhere.
way
Bring order
"What
are
|
,
?"^°
become aware of nothingness, he becomes
Jerry feels that he
overcome
His realization
revealed in his one question:
sense out of things?
existential hero has
makes two attempts
is
if
is
an
first tries
alien in his house
of dealing with
12
i
you can't deal with people, you
WITH ANIMALS! [
and
with the ferocious dog
Don't you
SOMETHING."^^
see:
A
Conse-
] I
EDWARD
ALBEE:
AN EXISTENTIAL INTERPRETATION
makes niimerous attempts to become friends with the dog that tear Jerry to pieces. The two come to some sort of understanding
quently, he
wants
to
they stare into each other's faces, and momentarily Jerry has overcome
when
his alienation.
The
title
The Zoo
of the play,
Story, has implications in terms of exis-
to the zoo to find out more about the
with people
way
animals exist with each other, and
It probably wasn't a fair test,
too.
by bars from everyone
else.
."^^
.
.
what with everyone separated
People are really
what
animal
causes Jerry's anguish and in a cage,
why
A
own
self
— they are
realization of this
he went to the zoo.
perhaps he saw the image of his
own being. Camus believed
animals
like
forever separated by invisible bars within their being. is
"I went
Jerry explains his reason for going to the zoo:
tential alienation.
—
Looking
at
an
a prisoner within
the cage of his
Albert
Man
this absurdity.
awareness of life in spite
it.
that life
must accept
Then he must
is
totally absurd, yet
one must
this absurdity only in that
defy
fight against
he maintains an
by "loving existence and clinging to
it
of it."^^
This rebellion against the absurdity of
life is
why
Jerry deliberately pro-
vokes Peter into a fight over the park bench.
Seemingly for no reason, Jerry
demands to have the whole bench for
and
at Jerry that he cannot
himself,
in
doing
Jerry creates
this
Peter finally becomes angry enough to scream back
another absurd situation.
have the bench, but in the middle of
his
screaming
"POLICE! POLICE! I feel
he suddenly becomes aware of the ridiculousness of the situation: I
warn
you,
ridiculous
to myself; I
ment
I'll
...
I
have you arrested. don't care
want you
Can you
your honor?
Another
said not.
I
want
bench
this
Jerry comes back with a superb state-
IT!"^*
of the absurdity of the situation:
Is this
I
makes any sense or
if it
OFF
POLICE!
"Are these the things men
think of anything
fight for?
more absurd ?"^°
basic precept of existentialism concerns the individual
and
his free
"man must accept individual responsibility for his own be."^^ coming ... a man is the sum total of the acts that make up his life. Right up to the final moment of the play, Jerry remains a product of his
will.
That
is,
.
individual free will. existential death.
of
madmen)
there
is
His
Camus wrote
implies that one has
no profound reason for
Undoubtedly
act
final
this
awareness
is
one of
but even this
suicide,
.
is
an
that a voluntary death (except in the case
come to
realize that all
is
ridiculous and that
living.^^ is
what motivates Jerry
to provoke an argu-
(continued on page 33)
[13]
The Agitator Living in wonder
Torn by
circles,
far flung thoughts,
Pushed long beyond strength,
Knowing
He
of strange meanings.
moves.
In a shadow world of people, Seeking ever the
infinite,
Stirring others to think.
Grading dimensions of work. Feels out,
Looks beyond, Is cursed,
Misunderstood
And why?
—Gayle Ray
[15
J
Forget I
wish I could stop caring
Whether your
love
is
mine
or not. I
wish
I
could stop hoping
That some day mine would yours.
Then
I
could forget
all
the
memories stored, inside,
Forget the
way you
are,
Forget your eyes looking in mine, and your
and your hand on mine.
voice,
I
wish
I
could throw
away
All remembrances of the past. I
wish
I
could cry
And catch the tears, then Throw them aside with all that
is
you of
my
thoughts.
Then
I
could forget you.
Forget that
we
Forget that
my
ever met. heart once
was
free.
Forget
all
the years gone
by.
But
I
cannot forget, and I
cry.
—Maria Grant [16]
be
Divestment No
longer can I be alone,
(grey and black slanting rooftops.) I
need you to be whole. (straight planks,
Hewn
of pine and oak.
Green and mossy banks, Stagnant,
murky
Choking with
Water
liquid,
parasites,
flowers.
Rotting timbers, grown over with fungus,
Muddy and rust. Obscured by wild weeds. White blossoms Dropping
Dank
petals
on the
water.)
窶認reda Richards
[17]
THE EXHIBITION By Amanda Ruff town long before I found occasion one morning I went there to get her recommendation of a dentist. Mrs. Stewart was very friendly. She had called on me when I first moved into the neighborhood and had invited me to come over to see I
had not been living
to call
on
my
her anytime
my
visit
stay
I
felt
coffee
coffee
lives.
We
was not
delicious,
talked of
and
many
had discussed
surprised
activities
I
her.
found
things,
She was a bridge player, and
found that these two
We
I
when the mission of When she insisted that I
Therefore,
and conversation with
was hot and
conversationalist.
our
the need of company.
had been accomplished,
and have
The
in
neighbor next door.
my
neighbor to be an easy
comparing the similar
facets of
I a private art collector; but
we
gave us the same self-satisfaction and happiness.
my hometown
and were beginning to talk of
hometown, when we heard the postman
outside.
[18]
this,
her
THE EXHIBITION Telling
me
that she
Mrs. Stewart excused sipping
my
letter
from her
Nebraska, I sat,
An
odd
face while she read a formal-looking engraved invi-
She appeared to be both excited and anxious
tation.
sister in
go to the door and bring dn the mail.
second cup of coffee while she opened and read her mail.
came over her
expression
as she looked at
it
with
Finally she finished going through the mail and turned back to
absorption.
me.
was expecting a
herself to
"Did you hear from your sister?" I asked. "No", she murmured absently. Then she handed the engraved
me
to me, telling
to read
it.
"You
read:
I
invitation
are cordially invited to attend
an exhibition of paintings by Miss Patricia Forrester at the Forrester Estate
on Willow Drive^
at
two
o'clock in the afternoon on Tuesday, the twentieth
of October, nineteen hundred and sixty-four." I sat,
comment or
looked at her, waiting for some further
turned to
me and
"From
explanation.
She
After several moments she slowly
deep in thought, looking into space.
began her story.
was brought home from the hospital as a baby until the day I got married, I lived on Willow Drive about a mile from the Forrester Estate. The huge white house with the stately pillars on Willow Drive has always fascinated me. Not that I have ever seen it up close, of course. The house sits away from the road I don't know exactly how far but it's close enough for anyone to see that it's a magnificent house. Even when I was a the time I
—
little girl, I
—
had longed to walk up that long, straight driveway, covered with
white pebbles and bordered with dark green boxwoods, and knock loudly on
But
the door with the big brass knocker. this to
me, and so
I
my
mother had always forbidden
had only paused at the entrance of the driveway to gaze
longingly at the big house.
On
those occasions as a girl, I had often seen the
gardener neatly trimming the boxwoods.
The
Forresters had always been
extremely wealthy, and everyone had always marveled at their well-kept "I attended high school with Patricia Forrester.
estate.
She had gone to a private
school until the ninth grade, but her parents finally allowed her to attend public schools after she had begged and pleaded with
She often told us in high school
eighth grade.
how
them
all
during the
she had watched us other
kids passing by her driveway in the old yellow school bus in the aftersoons
and had heard us singing and laughing to be a part of the fun
"I liked Patricia, but I didn't
could
was
tell
noisily
know
her very well.
she wanted to be one of us, but
different
—
and how she had always longed
we knew.
sort of aloof.
somehow
None
of us did.
she never did
She didn't have any brothers or
fit in.
sisters,
We She
so she
(continued on next page)
[19]
THE EXHIBITION never
(continued from page 19)
completely at ease around other kids.
felt
make
tried so hard to please us, to
All through high school she
But for some reason she
us proud of her.
was never able to become one of us. "When we were seniors, Patricia started dating Bill Hutchins. That Patricia had never dated anyone else as far surprised all of us tremendously. But she ^well, he just wasn't her type. as we knew. And Bill Hutchins
—
quickly
fell in
"We
love with him, or so she thought.
why
was dating Patricia. It was the was awfully good-looking, but reputation. He was a real Don Juan. He very good he didn't have a was known for dating girls to get what he wanted and then leaving them He had never dated a girl more than five or six times. stranded suddenly. never could figure out
Bill
lure of the Forrester money, I suppose.
Bill
—
was different he didn't stop dating her after five or six dates. "Patricia and Bill had been dating for about six months when I heard I stopped Patricia in the hall that they were thinking of getting married. one day and asked her about this. She seemed a little surprised that I knew, She told me that but she was very happy as she told me that it was true. her parents didn't completely approve of Bill and that they wouldn't want
But
Patricia
Therefore, she had not told them.
her to marry him.
planned to elope following graduation and asked
She confided that they not to
tell
anyone.
She
so happily in love with Bill that I could not help feeling happy for her.
was
At
me
last she
had found a place where she
"Since
Mr. and Mrs.
felt accepted.
Forrester never had too
much
to
do with the
rest
of the community, they never heard the rumors that Patricia and Bill were
going to be married.
and
Bill eloped.
And
When
so,
on the Saturday following graduation, Patricia
the Forresters did find out, they were very upset and
Determined that they weren't going
they tried to get the marriage annulled. to be torn apart, Patricia
and
Bill rented an
apartment over on the other side
of town.
we
"After they moved,
We
were
And
all
besides,
busy with our
own
goals
them
we drove
for several years.
and ambitions and our own
we'd never gotten to know Patricia very well.
about her except when
"Then
didn't hear anything of
We
families.
soon forgot
past the Forrester Estate.
we heard that Mr. and Mrs. They had been to Paris to buy a
suddenly, about four years later,
Forrester had been killed in a plane crash. painting
—
And on
the
I've forgotten
way
what
it
was now, but
I believe it
was by Rembrandt.
back, their plane had crashed, killing all thirty-nine passengers
aboard and the four crew members.
We thought of visiting Patricia to console [20]
THE EXHIBITION her in what must have been a period of great sorrow for her, but she and had moved again, and none of us knew where they were living. "The big house continued to stand as proud and majestic as it always
In the mornings the gardener could
still
did.
be seen trimming the boxwoods along
Everything looked as
the pebbly driveway.
Bill
it
always had
Was no one living in the big house. "Then one day, having lunch with some of
my
—but
friends,
I
knew
I
heard that
there
were coming back to live in the big house. We were all very excited. We wondered how five years of marriage had changed Patricia and how it had changed Bill. We were sure that both of them must have Patricia and Bill
had to change quite a
bit to
make
their
marriage a success.
We
could hardly
wait to see them.
"Soon
after that
see Bill at all.
We
we saw
Patricia
moving
into the big house, but
left her,
didn't
decided to pay her a visit the next week, but then
heard that Bill had not come back with Patricia.
had
we
The rumors had
and that they were in the process of getting a divorce.
information set us back a
bit,
and
we
decided not to
visit
it
we
that he
This new
her after
all,
for
(continued on next page)
THE EXHIBITION we were
afraid
we
(continued from page 21)
wouldn't know what to say to her under the embarrassing
circumstances.
"Soon, however,
my
in the
months following her return
on
call
when
me
But
all
were turned away
Finally I stopped trying to see her. to see
any of
"Still I
each time
It
call before
they went to the
same manner by the
in the
butler.
seemed evident that she didn't want
us.
was very much
heard that the divorce was
and
interested in the mystery concerning Patricia
but the big house remained impenetrable to everyone.
Bill,
And
over.
politely that Patricia did not feel like receiving
and many of them did not even bother to
too,
come
to
Eventually others found their curiosity urging them on
callers that day.
big house.
So,
her on the
I called
visit her,
if it
the butler answered, telling
em-
I talked to her.
Drive, I tried several times to
Each time before I planned to would be convenient for me
her.
phone to ask any
Willow
to
my
overwhelmed
curiosity to see Patricia again
barrassment at perhaps not knowing w'hat to say
final.
No
A
year later
I
one was ever seen going into or coming
from the big house. The only sign of life about the estate was the gardener trimming the boxwoods along the driveway. The house was as it had ever been big, majestic, proud. But within the house Patricia lived secluded, Patricia and Bill eloped ten years ago, and none of us have like a hermit.
—
seen
them snce then."
Mrs. Stewart stopped talking and looked over, but I also
so enthralled
knew
was
at
me.
knew her
I
that the real ending of the story in
yet to occur.
I
could not
which
let that story
I
was
story
had become
be told to
me
without the ending.
"Mrs. Stewart," art collector. to
attend
Do
I
suddenly
said,
"As
I told
you
earlier,
I'm a private
you think you could manage to get an invitation for
the exhibition with you?
me
I'm very interested in seeing Miss
Forrester's paintings."
"I don't think Patricia would mind.
My neighbor said
as she
went
Why
to the phone.
don't
the butler allowed her to speak to Miss Forrster. receiver, she said.
turned back to
"She seemed very glad
welcome
to bring
me and nodded to
know
that I
we
find out right
She placed the
When
call
she put
time
down
the
her head in assent.
"Yes," she
was coming, and she
said I
lay between the arrival of the invitation
exhibition, I often thought of the story of Patricia Forrester. it
now?"
this
was
any friend with me."
During the week that
if
and
could be possible that
Mr. and Mrs.
[22]
I
and the
wondered
Forrester had protected their
THE EXHIBITION much
daughter so
finally able to
that they had destroyed her
break through to
—
so
much
was unable
reality, she
that,
when
she
regardless of Bill Hutchin's past reputation, I felt rather sorry for
was
And
to exist there?
him
for trying to help Patricia learn to live in reality, after she had been failed
by her parents, must have been a great
The day
and
my
neighbor and
I left for
was exactly two
When we turned into the driveway of the Forrester my neighbor had described it. The estate had up very well. When we reached the door of the big house o'clock, and I could see that my companion had become
The
butler received us, took our wraps, and led us into a big
Willow Drive
together.
Estate, I found
to be just as
it
obviously been kept it
task.
of the exhibition finally arrived
very excited.
room which was
living
But
it
exquisitely furnished in the finest Chippendale style.
wasn't the furniture that so completely captured
walls were adorned with
two
One was
paintings.
my
attention.
The
a portrait of Frederic
Chopin, done by the great French painter Eugene Delacroix, a contemporary
The
was the only landscape ever painted by Jacques Louis David, "View of the Luxembourg Gardens", painted from his cell window while David was imprisoned for some months in the Luxembourg Palace after In my studies of art history these two paintings had the fall of Robespierre.
of Chopin's.
always interested but
other
me
immensely.
had often seen reproductions of them,
I
would have the opportunity
I
had never thought that
I
had been studying the two paintings and was then wondering what other
I
treasures this magnificent house might hold
when
I
to see the originals.
realized that our arrival
was being announced to Miss Forrester, who had just joined us. Miss Forrester was a small^ rather attractive woman with deeply expressive eyes. These eyes seemed to be pleading silently for her acceptance. She was very quiet and obviously ill at ease in a crowd although she appeared to be trying very hard to
mates
fulfill
who were
her duties as a hostess.
By
2 :30 the twenty former
class-
present had been served punch and were conversing in the
During a lull in the conversation Miss Forrester spoke to the butler, and we were led into a small gallery lined with paintings. While the other guests walked around the gallery, looking at the paintings, I lingered in the doorway and watched their reactions. They were going through a
living room.
routine sort of admiration of the paintings as they looked at each one, but
seemed to
me
that they didn't understand them.
stood by, pleased and smiling happily.
them proud
knew
of her;
and
it
However, Miss Forrester
She had wanted so much to make
this time, as she listened to their
words
of praise, I
she felt that she had succeeded. (continued on page
[23]
25')
THE EXHIBITION When
the throngs around the paintings had spread out some, I walked
into the gallery
me.
The
(continued from page 23)
and began to study each of the paintings.
What
saw amazed
I
composition of each of the paintings was executed in perfect detail
;
the lines were sharp and clear in the extremely realistic paintings which
showed perfect balance. The colors and subject matter, however, were gloomy and depressing. In each of the paintings was portrayed a woman destroyed by forces over which she had had no control.
Then
I
to leave.
turned and saw at
"Have you
my
side
Mrs. Stewart, who seemed
seen all of the paintings?" she asked.
one was with Miss Forrester at the moment, and so
we
We
to be ready
saw that no
took the opportunity
to thank her for allowing us to see her paintings.
As we turned out of the driveway and left the big house behind, Mrs. Stewart said, "I wonder why in the world she chose such gloomy subjects!" I made no reply, but thought of the woman whose life those paintings depicted. Still, I
thought, her paintings were really good.
The
subject matter
was
indeed grisly and bizarre, but the composition was excellent and the paintings
were deeply meaningful to the of Toulouse-Lautrec
many
— and
woman who had
then, Gaugin.
great artists there have been
who
have lived
[25]
Then
painted them.
And, suddenly,
I
I
thought
wondered how
at variance
with
society.
Lines Composed While Lying on One's
Back Viewing Sunbeams
Making The Swing Go By
The
Betty Hodnett
experience of teaching another person something comes to
whether we become professional teachers or
Even
not.
be seen teaching each other things occasionally with the educator.
If
you stand near a
all of
us
preschoolers can
little
skill of
a professional
swings in a playground area on a summer
set of
day, you will eventually witness at least one small teacher explaining to a
making the swing
smaller student the finer points of
swing and herself in another,
situate her pupil in one
first
The
go.
When
admonishing him to watch her and do what she does.
more than a
at imitating her result in nothing
teacher will the while
all
the pupil's efforts
jiggling of the seemingly
immobile swing, she will carefully explain the steps to be taken as she demon-
A whimpering,
strates them.
"Yes, you can;
"I can't do that," will be met with a reassuring,
just takes practice,"
it
If this
is
the small teacher might even offer a ride on her
not enough encouragement,
new
tricycle as a
reward for
few more minutes of trying. When the exhausted pupil is finally encouraged to success, however mediocre, both pupil and teacher go running to
just a
mommy
to tell her all about
it.
In instances such
methods of teaching are employed If so
much
how much more
from teaching an
entire
room
full of students
ship with one single pupil, but there
take
its place.
from twenty as a
And
little
child teaching her little
pleasure should a professional teacher gain
Here, of course, there
finds interesting?
world over, the
daily.
pleasure can be gained by a
brother to swing,
as this the
here, the joy of
is
is
something that she knows and
not the closeness of the relation-
the diversity of
accomplishment
is
many
personalities to
multiplied by anywhere
Everything points towards teaching
to thirty-five smiling faces.
who
rewarding experience, but do those
are preparing to experience
it
really consider it so?
That
the student teacher
be afraid or worried ing situation
many
is
who
is
going out to meet her
hardly logical.
how
to use them.
She knows
witnessed both good teaching and bad.
what
to do, but
should
times before, but she has also been educated in the methods,
techniques, psychology, and philosophy of teaching.
materials and
first class
She has not only experienced a teachShe knows where to find
principles of discipline
In short, she ought to
comments made by most student
teachers-to-be
know
show
and has exactly
that they
are not confident of this knowledge.
The
question of
why
this
is
so naturally arises here.
What
undermines
(continued on page 29)
[27]
^^
\ll
'
'
/
-
''
vC^&Jf^^K^t^
':a^m'M<'
-t'<^^
..:^j5tv^-<
'.^^'^
MAKING THE SWING GO
(continued from page 27)
the confidence of a prospective teacher as she gradually approaches the final
her knowledge?
test of
in
The
answers are probably as numerous
as the prospec-
but there are some things that would more than likely figure
tive teachers,
them all. Looking over the preparations a prospective teacher must undergo
profession gives a
clue to this problem.
first
The
child
little
who
for her
teaches her
small brother to swing, seems instinctively to do the right things to get him
After
to learn.
all,
she
knows her
little
brother's personality
and tempera-
ment. Through the experience of having him grow up with her, she has learned how to handle him. She knows his abilities and recognizes herself She is confident that she can teach him as more advanced and experienced. teacher has a somewhat different preparation. She to swing. The professional has been in course after course that has emphasized her lack of knowledge
which she has chosen. Studies of pupil individuality, classroom problems, and curriculum development give her information that she did not in the field
know
While
existed.
actually preparing her to teach, they give her a feeling
of inadequacy because she realizes that professional teaching
anybody can all of
many
that is
a
All of a sudden she wonders
do.
stufiF
when
how
she
she stands before a real class.
growing panic which culminates in a
is
is
not something
going to remember
The
result of this for
stoic determination to survive
the experience.
A
second clue to the problem
lies in
the size of classes.
The
thought of
facing approximately twenty-five people in a formal situation has a bad enough efiect
on most of us
many
across to that
courses
in itself
how to get a point many beginning speech
without the added worry of Unfortunately, too
individuals.
emphasize personal appearance,
characteristic
mannerisms, strange
Whether make the already shy person more concentrate on what he is saying a problem
pronunciations, and voice quality instead of content presentation. this
is
a good idea or not,
self-conscious
and
it
does serve to
able to
less
â&#x20AC;&#x201D;
professional teachers cannot afford to have.
experience to prove to selves
and
dispell this
Unlike the
little
many
It
takes an actual classroom
teachers that they can completely forget them-
worry.
preschooler
who had
deal with, the professional teacher
only one well-known individual to
must cope with a room
full of strangers.
Convincing herself that she can learn their individual personalities their names, presents another
many
problem for
many
as well as
a prospective teacher.
How
times the words, "I just can't keep names and faces together," are ex-
claimed on a college campus by those
who
are being repeatedly admonished to (continued on next page)
[29]
—
MAKING THE SWING GO name
learn every student by
tion lies a third clue to the
(contimied from page 29)
as soon as possible,
if
worrying done by many
In
not sooner.
who
this situa-
are preparing to teach,
especially in the field of secondary education.
Can
there be a purpose for this situation, or
Who
another question.
lies in
just an inevitable evil
Perhaps the best answer, and certainly the most
a hazard of the profession? reassuring one,
is it
is
better prepared to teach the
self-confidence necessary for learning to take place than
taught
it
someone who has
to herself?
And
There
Was Adam
By Donna Weatherly
One bright spring morning it happened. Somebody got mad at somebody. Maybe an officer misread his signals. No one could explain its beginning, but it
did happen.
In
less
Cairo,
Panama City
than ten minutes, Earth was consumed in flaming
Moscow, Washington, Tokoyo, Beruit, everything went up and down filtered two and a half
London,
nuclear destruction.
—
Paris,
billion years of fallout.
No
one could say
how much
two survivors found one or
time elapsed.
two^ more.
Men
Months.
Years.
Gradually
one group found another and began to send out signals of any and
how much world
Reports came back.
they had
Western and
centrally located to somebody's
bomb
or
began to peek outside their
shelters to look for fellow survivors of the nuclear destruction.
to find out
One
all
types
left.
eastern
Europe unrecognizable.
sights.
Anyway,
it
was gone.
It
was
The
United States was completely annilated Russia along with her. Islands were blown into non-existence. Portions of Australia sank beneath the sea the ;
—
rest uninhabited.
It took a
themselves together. of
Most
long time, but these survivors gradually gathered of
them were from
South America and coastal Africa.
tiny unnoticed islands, parts
Certain scientific
[30]
men
collected their
AND THERE WAS ADAM and determined the
respective brains,
The
location they chose
Honduras
manage
to
up
set sail for the islands.
Not everyone
arrived.
Those who
complete the trip settled on the main island to await the
On
would gather
Day
in
an appointed place
their governing bodies, elect leaders, or whatever.
Somehow rumors
of Council. to set
of three small islands off the coast of
in the Carribbean Sea.
Small boats did
humanity to begin anew.
safest place for
was a chain
this
day
all
the people
Somebody said the scientists who had been so instrumental in locating survivors wanted the government to be under the rule of a scientific oligarchy. Others, it was rumored, were fascists or communists. Some were got started.
even alleged anarchists.
community broke out into fights. No guns or weapons of any mechanical sort were acquired because the people were too frightened to allow them on the island. But as always, man's genius at inventing destruction for his fellowmen induced clever means of sabotaging, lynching, midnight murdering, and otherwise eliminating undesirable elements among their number.
The
tiny
In the end, the three islands housed three camps: the Leftists, the Right-
and the Mediators.
ists,
The
Leftist faction, according to the Rightists,
composed of murderous radicals; and the Rightist Leftists,
â&#x20AC;&#x201D;
point
was composed
the Mediators
of
murderous
radicals.
Both, however, agreed on one
were two-faced, therefore a common enemy.
Tension
between islands mounted rapidly, and within a few days a raging ensued.
By
No
battle
the time the sun had set on that day, no one remained alive save
for one small boy
At
was
faction, according to the
who had
scaled a tall tree to escape the combatants.
dusk, he descended from his perch and began searching for survivors.
one had known
religious leaders
who
he was or where he had been found.
One
of the
had said he just walked up to him one day shortly after he
had landed on the
among them and
island.
waited.
The boy had The boy was
never spoken.
He
young, yet fairly
had only stood
tall
and strong-
limbed, with a mass of golden curls.
The boy spoke.
stopped suddenly in the wreckage and listened.
"This
is
Mankind,"
said the Father.
Son.
[31]
"Yes,
I
His Father
know," answered the
Conformity What lies in my past Is my future. What I amj I always shall Dumb, blind, and stupid^
be.
This, then this will I stay.
For what I am now, I
shall forever be.
I look on the world with scorn Spineless
worms
Conforming
Sit there
they be!
to others' desires.
Losing the will Sit there
—
and and
to be free.
rot in your pleasuresstay a fool
—
—
Stand not for your rights as free Sit there
and
like the rest be.
Cast not your look of scorn.
Pass not your judgment on me,
I ask not for pity or praise, I
am what
I always shall
be.
I shall stand upright though oft wrong
And
scream to the wind
"Leewe me free!" For what I am now, I
shall forever be.
—Lynette Sykes [32]
EDWARD
ALBEE:
AN EXISTENTIAL INTERPRETATION (coiitinued
ment with falls
And
Peter.
gesture as master of his
in his final
on Peter's knife to an existentially
Edward
feel alienated
his
many other contemporary heroes. They are all aware of
from the world and despair
to exist as products of their
own
own
fate,
Jerry
justifiable death.
Albee, like
themes through
from page 13)
free will
writers, reveals existential
the absurdity of life: they
in their condition; they
attempt
and they rebel against the utter
;
nothingness that they come to realize.
Footnotes
2.
Gordon E. Bigelow, "A Primer of Existentialism," College English, XXIII (December, 1961), pp. 172-177. Jean-Paul Sartre, "News of the Week in Review," The Neiv York Times, October
3.
25, 1964, p. T. S. Eliot,
1.
1.
5.
"The Love Song of J. Alfred Prufrock," The Norton Anthology of English Literature, (ed.) M. H. Abrams (New York, 1962), II, p. 1469. Edward Albee, The American Dream (New York, 1961), p. 40. John Killinger, "Existentialism and Human Freedom," The English Journal, L
6.
Killinger, p. 310.
7.
Edward Albee, fFho's Afraid of Virginia JFoolf (New York, 1963), p. 242. Jean-Paul Sartre, "Existentialism is a Humanism," Existentialism From Dostoevsky to Sartre, (ed.) Walter Arnold Kauffman (New York, 1956), p. 269. Edward Albee, The Zoo Story (New York, 1959), pp. 32-33.
4.
(May, 1961),
8.
9.
10.
11.
12. 13. 14.
15. 16. 17.
p. 310.
Albee, p. 34. Albee, p. 49. Albee, p. 42. Killinger, p. 310. Albee, The Zoo Story, p. 55.
Albee, p. 56. Bigelow, p. 177. Albert Camus, The
Myth
of Sisyphus
(New
York, 1955),
p.
17.
Bibliography 1.
2.
The American Dream. New York: Coward-McCann, Inc., The Death of Bessie Smith. New York: Coward-McCann,
Albee, Edward. Albee, Edward.
1961. Inc.,
1959. 3.
4.
5.
6.
Albee, Edward. The Zoo Story. New York: Coward-McCann, Inc., 1959. Bigelow, Gordon E. "A Primer of Existentialism." College English. XXIII (December, 1961), pp. 172-178. Camus Albert. The Myth of Sisyphus. New York: Randon House, 1955. Eliot, T. S. "The Love Song of J. Alfred Prufrock." The Norton Anthology of English Literature. Edited by M. H. Abrams. New York: W. W. Norton &
Company, 7.
Inc.,
1962.
Killinger, John.
"Existentialism and
Human
Freedom."
The English
Journal,
L
(May, 1961), pp. 308-315. 8.
9.
Sartre, Jean -Paul. "Existentialism is a Humanism." Existentialism From Dostoevsky to Sartre. Edited by Walter A. Kauffman. New York: Meridian Books,
1956. Sartre, Jean-Paul. 26, 1964, p.
"News
of the
Week
in
1.
[33]
Review."
AVw
York Times.
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