SPAN: February 1978

SPAN 2 3 4 5 7 12 18 26 31 34

The Brain: Planning Left, Managing Right

by Henry Minlzberg

38 The man raising his arm vigorously in the photograph is Hubert H. Humphrey, Senator from Minnesota, former Vice President of the United States, three times an aspirant for the U.S. Preside~}Cy.Mr. Humphrey began his remarkable political career as the progressive mayor of the midwestern city of Minneapolis. He is continuing it to the end, still dynamic, still ebullient, in the U.S. Senate, where he has led the fight for civil rights and liberal causes for some 30 years. The man standing benevolently behind Mr. Humphrey. is Thomas P. O'Neill, the Speaker of the House of Representatives, which recently gave Senator Humphrey a tumultuous salute. The occasion: the Senator's return from Minnesota, where he had heard the discouraging news that he was suffering from an inoperable cancer. Mr. Humphrey had characteristically determined to resume his seat in the U.S. Congress, where he would continue working for President Jimmy Carter's human rights legislation.

The first piece of legislation Senator Humphrey introduced in 1949 was aimed at providing medical care for the elderly, a cause he fought for energetically until a national program was created under the name Medicare some 16 years later, in 1965. Some of the other legislation he has sponsored during his five terms as Senator include nuclear disarmament measures, a bill to establish the Peace Corps, the Food for Peace program. and-currently-the Humphrey-Hawkins bill (named after Mr. Humphrey and Augustus Hawkins, its cosponsor in the House of Representatives). This bill aims at reducing U.S. national unemployment as rapidly as possible, and President Carter has formally stated his support for many of its provisions.

As the President said to the tearful but proud crowd gathered at the Minneapolis airport to see their beloved fellow-citizen off to Washington: "If there is a retarded child in our country who hasn't been helped by Senator Humphrey, I do not know about it. Every elderly person in our nation, every poor person ... every black person ... everyone who has come here from overseas who doesn't speak English well, everyone who lives in ... despair, knows that he has a staunch friend in Senator Hubert Humphrey."

The current outpouring of affection for Hubert Horatio Humphrey all over the United States is a unique demonstration that the American -J.W.G. people returns his friendship.

(As SPAN goes to press, word reaches us of Senator Humphrey's death.)

42 46 47 49 50 50

Carterpuri: A Glimpse of Rural India

by S.R. Madhu

Jimmy Carter: 'India Is a Special Place'

Rosalynn Carter: 'I'd Love to See More ¡ofIndia'

by Aruna Dasgupla

52 53 Front cover: "Spread," 1958, by Kenneth Noland, whose geometric patterns broke away from the earlier methods of structuring a painting to become a symbol of revolutionary changes that have taken place in American art over the last two decades. For a discussion of the contemporary art scene in the U.S., see pages 12-30.

Back cover: Olympic medallist -Billy Kidd-one of America's six million skiing enthusiasts-displays his amazing skill. For more skiing photographs see page 53.

JACOB SLOAN, Editor; JAY W. GILDNER, Publisher.

Managing Editor: Chidananda Dasgupta. Assistant Managing Editor: S.R. Madhu.

Editorial Staff: Krishan Gabrani, Nirmal Sharma, Murari Saha, Rocque Fernandes.

Art Director: Nand Katyal. Art Staff: Gopi Gajwani, B. Roy Choudhury, Kanti Roy. Chief of Production: Awtar S. Marwaha. Photo Editor: Avinash Pasricha. Photographic Services: USIS Photo Lab. Published by the United States Information Service, 24 Kasturba Gandhi Marg, New Delhi 110001, on behalf of the American Embassy, New Delhi. The opinions expressed in this magazine do not necessarily reflect the views or policies of the United States Government. Printed by Aroon Purie at Thomson Press (India) Limited, Faridabad, Haryana.

Photographs: Front cover-New York University Art Collection. 2-3-4-Avinash Pasricha. 5-R.N. Kbanna.

7-Charles Mendez. 12-13 center-Roxanne Everett OTR; right-collection of Andre Emmerich, NYC. IS-Herb Goro. 16- Leo Castelli Gallery~from the collection of the artist. 19,22-23, 24- Pomegranate Publications. 25 TopNancy Hoffman Gallery. NYC; botlom~Galiery Rebecca Cooper. 26-30- Yale Joel. 34-R.T. Kahn. 37, 47Avinash Pasricha. 49-Pramod Pushkarna. 50-Avinash Pasricha. 51.52-Sondeep Shankar. 53 and back cover-James A. Sugar.

PIISIDIIT CAITII VISITS IIDIA

U.S. President Jimmy Carter visited India in January, arriving in New Delhi on New Year's day and departing on January 3. The highlights of the visit were a rousing public reception to the President and the First Lady, many affirmations by American and Indian leaders of the commonality of their interests, the Carters' visit to a Haryana village (above), a stirring address by President Carter to the Indian Parliament on the theme of democracy and development (see page 4), and a Joint Declaration of principles signed by President Carter and Prime Minister Morarji Desai (see opposite page). The Declaration 'commits to paper what has long been written in our hearts,' said the U.S. President. f

THI.BILHIBIeLlaITIO! India and the United States of America, despite differences of history and culture, are one in the recognition that the ultimate sanction of power and of public policy rests in the respect for the dignity and well-being of the individual. Regardless of race, sex, religion or social status, every human being is entitled to life and liberty, to freedom from want and, without threat or coercion, to freedom of expression and worship.

We share an unwavering faith in the democratic form of government, which guarantees to all citizens fundamental freedoms under law and the right to choose their representatives and determine their own future.

At the same time, we believe that a cooperative and stable world order depends on the right of each people to determine its own form of government and each nation its own political, social and economic policies.

We are gratified that the process of decolonization "has democratized the international state-system, giving most nations for the first time an opportunity to participate in making decisions relating to international peace and cooperation.

The disparities in economic strength that exist among nations must be bridged and a more equitable international economic order fashioned if we are to secure international peace.

We recognize that broad economic development is essential for a modern state, but also that such progress is hollow if its benefits do not reach all the people.

The present-day world commands scientific and technological

Morarji Desai Prime Minister of India

skills to enrich the quality of life and give greater social justice within and among nations. We call on an interdependent community of nations to work together to protect and nurture the common heritage of our planet's resources and environment.

We declare that war is not an acceptable means to settle political disputes. Our countries will do their utmost to resolve disputes with others amicably and, within the framework of the United Nations, to help in resolving the disputes of others.

The spectre of war has hung over the world for too long.

Existing st"ockpiles of nuclear weapons must be reduced and eventually eliminated, and the danger of proliferation of nuclear weapons must be arrested. Further, every effort must be made to progressively reduce conventional arms and to redirect the productive forces so released to the betterment of mankind. We commit ourselves to work toward these ends.

Beyond the realms of politics and economics, the world today affords opportunities for freer and fuller intellectual and scientific exchanges. Freedom of ideas and the promotion of cultural and artistic interplay, in a world where the mind is without fear, can create an environment where tolerance and understanding can flourish.

Beyond the traditional ideas of statecraft, Indians and Americans recognize an obligation to themselves and to others that ends can never justify evil means. Nations, like individuals, are morally responsible for their actions ..

Jimmy Carter President of the United States of America

ADDRESS TO INDIAN

PARLIAMENT

cIOWIRD OUR COMMON GOILS' Mr. Vice President, Mr. Prime Minister, Mr. Speaker, distinguished leaders of the Republic of India: I stand before you in this House, the . seat of one of the world's great legislatures, with feelings of profound friendship al.ld respect.

I bring with me the warm greetings and good wishes of the people of the second largest democracy on earth, the United States of America, to the people of the largest democracy, the Republic of India.

Not long ago, both of our people's governments passed through grave crises.

In different ways, the values for which so many have lived and died were threatened.

In different ways, and Oll"opposite sides of the world, those values have now been triumphant.

It is sometimes argued that the modern industrial state-with its materialism, its centralized bureaucracies, and the technological instruments of control available to those who hold power-must inevitably lose sight of the democratic ideal.

The opposite argument is made even more frequently. There are those who say that democracy is a kind of rich man's plaything-and that the poor are too preoccupied with survival to care about the luxury of freedom and the right to choose their own government.

This argument is repeated all over the world-mostly, I have noticed, by persons whose own bellies are full, and who speak from positions of privilege and power in their own societies.

Their argument reminds me of a statement made by a great President of the United States, Abraham Lincoln. He said, "Whenever I hear anyone arguing for slavery, I feel a strong impulse to see it tried on him personally."

The evidence, both in India and in America, is plain. It is that there is more than one form of hunger, and neither the rich nor the poor will feel satisfied without being fed in body and in spirit.

Is democracy important? Is human freedom valued by all people?

India has given her affirmative action and answer in a thunderous voice-a

President Carter addresses members of both Houses of India's Parliament. By his side, from the left, are Prime Minister Morarji Desai, Vice President B.D. Jatti, and Lok Sabha Speaker K.S. Hegde.

voice heard around the world. Something momentous happened here last March-not because any party in particular won or lost, but rather, I think, because the largest electorate on earth freely and wisely chose its leaders at the polls. In this sense democracy itself was the victor in your country.

Together, we understand that in the field of politics, freedom is the engine of progress.

India and America share practical experience with democracy.

We in the United States are proud of having achieved political union among a people whose ancestors come from all over the world. Our system strives to respect the rights of a great variety of minorities-including, by the way, a grow-

ing and productive group of families from your own country, India.

But the challenge of political union is even greater here. In the diversity of languages, religions, political opinions, and racial and cultural groups, India is comparable to the continent of Europe, which has a total population about the same size as your own.

Yet India has forged her vast mosaic of humanity into a single nation that has weathered many challenges to survival both as a nation and as a democracy.

This is surely one of the greatest political achievements of this century or any other century.

India and the United States are at one in recognizing the right of free speechwhich Mahatma Gandhi called "the

foundation-stone of Swaraj" or selfgovernment-and the rights of academic freedom, trade union organization, freedom of the press, and freedom of religion.

All these rights are recognized in international covenants. There are few governments which do not at least pay lip service to them. And yet, to quote Gandhi once more, "No principle exists in the abstract.

Without its concrete application it has no meaning."

In India, as in the United States, these rights do have concrete application-and they have real meaning, too.

It is to preserve these rights that both our nations have chosen similar political paths to the development of our resources and to the betterment of the life of our people.

There are differences between us in the degree to which economic growth is pursued through public enterprise, on the one hand, and private enterprise, on the other hand. But more important than these differences is our shared belief that the political structure in which development takes place should be democratic and should respect the human rights of each and every citizen in our country.

Our two nations also agree that human needs are inseparable from human rightsthat while civil and political liberties are good in themselves, they are much more useful and much more meaningful in the lives of people to whom physical survival is not a matter of daily anxiety.

To have sufficient food to live and to work; to be adequately sheltered and clothed; to live in a healthy environment and to be healed when sick; to learn and to be taught-these rights, too, must be the concerns of our governments. To meet these ends or to make economic growth is crucial. And if the benefits of growth are to reach those whose need is greatest, social justice is critical as well.

India is succeeding in this historic task.

Your economic challenges are no secret, and their seriousness is well understood in the West.

What is far less well understood is the degree to which Indian social and economic policy has been a success. In the single generation since your independence was gained, extraordinary progress has been made.

India is now a major industrial power.

Your economy ranks among the 10 largest in the whole world. You are virtually self-assured and self-sufficient in consumer goods and in a wide variety of other Products, such as iron and steel.

(Text continued on page 6)

DELHI CITIZENS GBEET U.S. PBISIDBNT The crowds extended as far as the eye could see: there were gasps from the American press corps to the r~ght of the flower-bedecked rostrum at Delhi's Ramlila maidan. In characteristic fashion, U.S. reporters-equipped with walkie talkie sets, earphones and tape recorders-asked for estimates of the size of the crowds, their level of education, their interest in America. Photographers and television crew, who packed a stepladder grandstand close by, were armed with gadgets of intriguing shape and size. "Are these cameras or weapons?" asked a wondering spectator.

President Carter and the First Lady arrived at the rostrum at 4 :30 p.m. The President beamed his brightest smile and waved at the crowd. Tumultuous cheers. Prime Minister Morarji Desai, External Affairs Minister Atal Behari Vajpayee and Mayor R.K. Gupta greeted the presidential couple, Secretary of State Cyrus Vance and National Security Adviser Zbigniew Brzezinski.

Welcoming the U.S. President, Mayor Gupta said that Columbus discovered America when he was in search of India, and "our two nations have been discovering each other ever since. . .. We welcome you not just as the head of a great nation, but as a crusader for freedom, equality, justice and individual rights .... We see in you a champion of peace, friendship and cooperation in the world."

There were presents for America's first couple from Delhi's citizens. An ivory replica of the Qutab Minar for Jimmy Carter, a Banarasi brocade stole and a zari purse for Rosalynn Carter. And garlands for both.

"Happy New Year everybody," began President Carter, addressing Delhi's citizens. "I am moved and pleased by the size and warmth of your welcome. It is a stirring testimony to the common values which have always bound together the Indian people and the people of America." The President's speech was translated into Hindi, sentence by sentence, and was punctuated with cheers.

Prolonged cheers rent the air when President Carter said, "Being here with my wife fulfills a long-standing ambition of mine to visit your great country and your great people .... I particularly want ... to learn from your country the greatness of India, the culture of India, and your views on the problems with which we all must deal together."

Prime Minister Desai took the floor after Mr. Carter's seven-minute speech.

"Both of us," he said, "want unbreakable ties of friendship between our two countries. I have no doubt that your present visit will greatly help this objective."

The Prime Minister concluded his speech on a gracious note. He said that everyone wanted to celebrate the New Year in his own home. "That you have come here on this day demonstrates that you regard India as your home. This is an indication of your love for our country."

There have been notable increases in production in nearly every important sector of your economy-increases which reflect an economy of great technological sophistication.

This kind of growth is doubly important to try to reduce trade barriers and to promote both bilateral trade and mutual responsibility for the whole world trading system.

But most important are the advances in human welfare that affect the life of ordinary Indians.

Life expectancy has increased by 20 years since your independence. The threat of major epidemics has receded. The literacy rate in your country has doubled.

While only a third of Indian children went to school in the years just after independence, nearly 90 per cent of primary-age Indian children now receive schooling. Nine times as many students go to university as they did before.

I mention these gains that we tend to overlook in our preoccupation with the problems that quite properly face and engage our attention.

India's difficulties, which we often experience ourselves, and which are typical of the problems faced in the developing world, remind us of the tasks which lie ahead.

But Iqdia's successes are just as important, because they decisively refute the theory that in order to achieve economic and social progress, a developing country must accept an authoritarian or a totalitarian government with all the damage to the health of the human spirit which comes with it.

We are eager to join with you in maintaining and improving our valuable and mature partnership of political and economic cooperation.

It is a sobering fact, for instance, that in a nation of so many hundreds of millions of people, only a few American business leaders are now involved, on a daily basis, in the economic and commercial life of your country.

We need to identify more areas where we can work together for mutual benefit, and, indeed, for the benefit of the whole world.

In the area of development, I am deeply impressed with the creative direction the Government of India has taken in the new economic statement.

You have committed your nation unequivocally to rural improvement and the creation of rural employment.

This policy now faces a test of implementation, and especially the test of bringing its

benefits to the very poorest areas of your rural population. But the seriousness and the determination of your commitment is a cause for optimism.

We want to learn from you and to work with you however we can.

In agriculture, there are also exciting new areas of technology on which we can work together. After a decade of importing grain, India now stands with a surplus of nearly 20 million tons. This is a tribute to the growing productivity of your agriculture and the competence, also, of your administrative services.

We applaud the grain reserve program that you have begun and we would welcome the opportunity to share with you our resources and our experience in dealing with the storage problem that surpluses bring with them.

Our countries must be in the forefront of the effort to bring into existence the international food reserves that would mitigate the fear of famine in the rest of the world.

At the same time, we must recognize that today's surpluses are likely to be a temporary phenomenon.

The best estimates indicate that unless new productive capacity is developed, the whole world with its rapidly growing population may be facing large food shortages in the mid-1980s.

The greatest opportunities to increase agricultural productivity exist here in India and elsewhere in the developing world.

These opportunities must be seized-not just so that Indians can eat better but so that India can remain selfsufficient, and perhaps even continue to export food to countries with less agricultural potential than you have.

In the past, America and India have scored monumental achievements in working together in the agricultural field. But there is still a vast unrealized potential to be tapped.

I would like to see an intensified agricultural research program aimed both at improving productivity in India and at developing processes that could then be used elsewhere.

This program would be based in the agricultural universities of our two countries, but would also extend across the whole frontier of research. And beyond research, I would like to identify joint development projects where research can be tested and put to work.

Prime Minister Desai and I may now instruct our governments to focus on these matters and to come up with

specific proposals within the next few months.

One of the most promising areas for international cooperation which I have already discussed with your Prime Minister is in the regions of Eastern India and Bangladesh where alternating periods of drought and flood cut cruelly into food production.

Several hundred million people live in this area. They happen to be citizens of India, Bangladesh and Nepal.

Great progress has already been made between your nations in resolving questions concerning water. We are prepared to give our support when the regional states request a study that will define how the international communities, in cooperation with the nations of South Africa, can help the peoples of this area use water from the rivers and the mountains to achieve the productivity that is inherent in the land and the people.

Sustained economic growth requires a strong base in energy as well as agriculture. Energy is a serious problem in both our countries, for both of us import oil at levels that can threaten our economic health and expose them even to danger if supplies are interrupted.

American firms are already working with Indians in developing the oil producing area off the shores of India, near Bombay. We also have a long record of cooperation in the development of nuclear power-another important element of India's energy plans.

Our work together will continue in this field as well. This is a cold, technological subject. But Prime Minister Desai and I had warm and productive discussions about this field. We have notified him that shipment of nuclear fuel will be made for the Tarapur reactor.

And because of an accident that did occur in your heavy water production plants, we will make available to India also supplies from our reserves of heavy water.

Additionally, we stand ready to work with you in developing renewable energy resources, especially solar energy. There is no shortage of sunlight in India. And the lack of a massive existing infrastructure tied to fossil fuel use will make the application of solar and solar related energy vastly easier here than it will be in my own country where we are so heavily dependent upon other sources of energy.

Moreover, the inherently decentralized nature of solar energy makes it ideal as a (Text continued on page 48)

hy are some people so smart and so dull at the same time, so capable of mastering certain mental activities and so incapable of mastering others?

Why, for example, is it that some of the most creative thinkers cannot comprehend a balance sheet, and that some accountants ha ve no sense of product design? Why do some brilliant management scientists have no ability to handle organizational politics, while some of the most politically adept individuals cannot seem to understand the simplest elements of management science?

Why do people sometimes express such surprise when they read or learn the obvious, something they already must have known?

Why is a manager so delighted, for example, when he reads a new article on decision-making, every part of which must be patently obvious to him even though he has never before seen it in print?

Why is there such a discrepancy in organizations, at least at the policy level, between the science and planning of management on the one hand, and managing on the other?Why, for instance, have none of the techniques of planning and analysis really had much effect on how top managers function?

Let us try to answer these questions by looking at what is known about the hemispheres of the brain.

In the first place, scientists-in particular, neurologists, neurosurgeons and psychologists-have known for a long time that the brain has two distinct hemispheres. They have known, further, that the left hemisphere controls movements on the body's right side and that the right hemisphere controls movements on the left. What they have discovered more recently, however, is that these two hemispheres are specialized in more fundamental ways.

In the left hemisphere of most people's brains (left-handers largely excepted) the logical thinking processes are found. It seems that the mode of operation of the brain's left hemisphere is linear; it processes information sequentially one bit after another, in an ordered way. Perhaps the most obvious linear faculty is language. In sharp contrast, the right hemisphere is specialized for simultaneous processing, that is, it operates in a more holistic, relational way. Perhaps its most obvious faculty is comprehension of visual images.

Although relatively few specific mental activities have yet been associated with

W

Reprinted by permission from Harvard Business Review. Copyright Š by the President and Fellows of Harvard College. All rights reserved.

one hemisphere or the other, research is proceeding very quickly. For example, a recent article in The New York Times¡ cites research which suggests that emotion may be a right-hemispheric function.

This notion is based on the finding that victims of right-hemispheric strokes are often comparatively untroubled about' their incapacity, while those with strokes of the left hemisphere often suffer profound mental anguish.

What does this specialization of the brain mean for the way people function?

Speech, being linear, is a left-hemispheric activity, but other forms of human communication, such as gesturing, are relational rather than sequential and tend to be associated with the right hemisphere.

Now imagine what would happen if the two sides of a human brain were detached so that, for example, in reacting to a stimulus, a person's words would be separate from his gestures. In other words, the person would have two separate brains-one specialized for verbal communications, and the other for gesturesthat would react to the same stimulus.

This "imagining" describes how the main breakthrough in the recent research on the human brain took place. In trying to treat certain cases of epilepsy, neurosurgeons found that by severing the corpus callosum, which joins the two hemispheres of the brain, they could "split the brain," isolating the epilepsy.

Scientists have further found that some common human tasks activate one side of the brain while leaving the other largely at rest. For example, a person's learning a mathematical proof might evoke activity in the left hemisphere of his brain, while his conceiving a piece of sculpture or assessing a political opponent might evoke activity in his right.

s

o now we seem to have the answer to our first set of questions. An individual can be smart and dull at the same time simply because one side of his or her brain is more developed than the other. Some people-probably most lawyers, accountants, and planners -have better developed left-hemispheric thinking processes, while others-artists, sculptors, and perhaps politicians-have better developed right-hemispheric processes. Thus an artist may be incapable of expressing his feelings in words, while a lawyer may have no facility for painting.

Eye movement is apparently a convenient indicator of hemispheric development. When asked to count the letters in a complex word such as "Mississippi" in their heads, most people will gaze off to the side opposite their most developed

hemisphere.

(Be careful of lefties, however.) But if the question is a specialized one-for example, if it is emotionally laden, spatial, or purely mathematicalthe number of people gazing one way or another will change substantially.

A number of word opposites have been proposed to distinguish the two hemispheric modes of "consciousness," for example: explicit versus implicit; verbal versus spatial; argument versus experience; intellectual versus intuitive; and analytic versus gestalt.

I should interject at this point that these words, as well as much of the evidence for these conclusions, can be found in the remarkable book entitled The Psychology of Consciousness by Robert Ornstein, a research psychologist in California. Ornstein refers to the linear left hemisphere as synonymous with lightness, with thought processes that we know in an explicit sense. We can articulate them. He associates the right hemisphere with darkness, with thought processes that are mysterious to us, at least "us" in the Western world.

Ornstein also points out how the "esoteric psychologies" of the East (Zen, Yoga, Sufism, and so on) have focused on right-hemispheric consciousness (for example, altering pulse rate through meditation). In sharp contrast, Western psychology has been concerned almost exclusively with left-hemispheric consciousness, with logical thought. Ornstein suggests that we might find an important key of human consciousness in the right hemisphere, in what to us in the West is the darkness . . Now, reflect on this for a moment.

(Should I say meditate?) There is a set of thought processes-linear, sequential, analytical-that scientists as well as the rest of us know a lot about. And there is another set -simultaneous, relational, holistic-that we know little about. More importantly, here we do not "know" what we "know" or, more exactly, our left hemispheres cannot articulate explicitly what our right hemispheres know implicitly. So the feeling of revelation about learning the obvious can be explained with the suggestion that the ."obvious" knowledge was implicit, apparently restricted to the right hemisphere.

The left hemisphere never "knew."

By now, it should be obvious where my discussion is leading (obvious, at least, to the reader's right hemisphere and now that I write it, to the reader's left hemisphere as well). It may be that management researchers have been looking for the key to management in the lightness of logical analysis whereas per-

haps it has always been lost in the darkness of intuition. Specifically, I propose that there may be a fundamental difference between formal planning and informal managing, a difference akin to that between the two hemispheres of the human brain. The techniques of planning and management science are sequential and systematic; above all, articulated. Planners and management scientists are expected to proceed in their work through a series of logical, ordered steps, each one involving explicit analysis.

Formal planning, then, seems to use processes akin to those identified with the brain's left hemisphere. Furthermore, planners and management scientists seem to revel in a systematic well-ordered world, and many show little appreciation for the more relational, holistic processes.

What about managing? More exactly, what about the processes used by top managers? (Let me emphasize here that I am focusing this discussion at the policy level of organizations, where I believe the dichotomy between planning and managing is most sharp.) Managers plan in some ways, too, (that is, they think ahead) and they engage in their share of logical analysis. But I believe there is more than that to the effective managing of an organization. I hypothesize, therefore, that the important policy processes of managing an organization rely to a considerable extent on the faculties identified with the brain's right hemisphere.

Effective managers seem to revel in ambiguity; in complex, mysterious systems with relatively little order.

If true, this hypothesis would answer

the third set of questions about the discrepancy between planning and managing. It would help to explain why each of the new analytic techniques of planning and analysis has, one after the other, had so little success at the policy level. ecauseresearch has so far told us little about the right hemisphere, I cannot support with evidence my claim that a key to managing lies there. A number of findings from my own research on policy-level processes do, however, suggest that they possess characteristics of right-hemispheric thinking.

One fact recurs repeatedly in all of this research: The key managerial processes are enormously complex and mysterious, drawing on the vaguest of information and using the least articulated of mental processes. These processes seem to be more relational and holistic than ordered and sequential, and more intuitive than intellectual; they seem to be most characteristic of right-hemispheric activity.

Here are my 10 general findings: • The five chief executives I observed strongly favored the verbal media of communication, especially meetings, over the written forms, namely reading and writing. Verbal communication is lInear, too, but it is more than that. Managers seem to favor it for two fundamental reasons that suggest a relational mode of operation. First, verbal communication enables the manager to "read" facial expressions, tones of voice, and gestures.

As I mentioned earlier, these stimuli seem to be processed in the right hemisphere

B

"Foster here is the left side of my brain, and Mr. Hoagland is the right side of my brain."

of the brain. Second, and perhaps more important, verbal communication enables the manager to engage in the "real-time" exchange pf information. Managers' concentration on the verbal media, therefore, suggests that they desire relational, simultaneous methods of acquiring information, rather than the ordered and sequential ones. • In addition to noting the media managers use, it is interesting to look at the content of managers' information, and at what they do with it. The evidence here is that a great deal of manager inputs are soft and speculative-impressions and feelings about other people, hearsay, gossip, and so on. Furthermore, the very analytical inputs-reports, documents, and hard data in generalseem to be of relatively little importance to many managers.

What can managers do with this soft, speculative information? They "synthesize" rather than "analyze" it, I should think. (How do you analyze the mood of a friend or the grimace someone makes in response to a suggestion?) A great deal of this information helps the manager understand implicitly his organization and its environment, to "see the big picture." This very expression, so common in management, implies a relational, holistic use of information. In effect, managers (like everyone else) use their information to build mental "models" of their world, which are implicit synthesized apprehensions of how their organizations and environments function. Then, whenever an action is contemplated, the manager can simulate the outcome, using his implicit models.

There can be little doubt that this kind of activity goes on all the time in the world of management. A number of words that managers commonly use suggest this kind of mental process.

For example, the word "hunch" seems to refer to the thought that results from such an implicit simulation. "I don't know why, but I have a hunch that if we do x, then they will respond with y."

Managers also use the word "judgment" to refer to thought processes that work but are unknown to them. Judgment seems to be the word that the verbal intellect has given to the thought processes that it cannot articulate . • Another consequence of the verbal nature of the manager's information is of interest here. The manager tends to be the best informed member of his organization, but he has difficulty disseminating his information to his employees. The splitbrain research suggests that the manager may simply be incapable of disseminating

The left hemisphere of the brain is better developed than the right in the case of most lawyers, accountants and planners. Artists and politicians have better developed right hemispheres. some relevant information because it is removed from his verbal consciousness.

• Earlier in this article I wrote that managers revel in ambiguity, in complex, mysterious systems without much order.

Let us look at evidence of this. What I have discussed so far about the use of information by managers suggests that their work is geared to action, not reflection. We see further evidence for this in the pace of their work; the brevity of their activities (half of the chief executives' activities I observed were completed in less than nine minutes); the variety of their activities (the chief executives had no evident patterns in their workdays); the fact that they a,ctively exhibit a preference for interruption in their work (stopping meetings, leaving their doors open); and the lack of routine in their work (only 7 per cent of 368 verbal contacts I observed were regularly scheduled only 1 per cent dealt with a general issue that was in any way related to general planning). Clearly, the manager does not operate in a systematic, orderly, and intellectual way, puffing his pipe up in a mountain retreat, as he analyzes his problems. Rather, he deals with issues in the context of daily activities-the cigarette in his mouth, one hand on the telephone, and the other shaking hands with a departing guest. The manager is involved, plugged in; his mode of operating is relational, simultaneous, experiential, that is, encompassing all the characteristics of the right hemisphere. , • If the most important managerial roles were to be isolated, leader, liaison and disturbance handler would certainly be among them ..Yet these three are the roles least "known" about. Leader describes how the manager deals with his own employees. It is ironic that despite an immense amount of research, managers and researchers still know virtually nothing about the essence of leadership, about why some people follow and others lead.

In the liaison role, the manager builds up a network of outside contacts, which serve as his or her personal information system. Again, the activities of this role remain almost completely outside the realm of articulated knowledge. And as a disturbance handler the manager handles problems and crises in his organization.

Here again, despite an extensive literature on analytical decision-making, virtually nothing is written about decision-making

under pressure.

• Let us turn now to strategic decisionmaking processes. There are seven "routines" that seem to describe the steps involved in such decision-making. These are recognition, diagnosis, search, design screening, evaluation/choice, and authoriiation. Two of these routines stand out above the rest-the diagnosis of decision situations and the design of custom-made solutions-in that almost nothing is known of them. Yet these two stand out for another reason as well: they are probably the most important of the seven.

In particular, diagnosis seems to be the crucial step in strategic decision-making.

It is a surprising fact, therefore, that diagnosis goes virtually without mention in the literature of planning or management science. In the study of the decision processes themselves, the managers making the decisions mentioned taking an explicit diagnostic step in only 14 of the 25 decision processes. But all the managers must have made some diagnosis; it is difficult to imagine a decision-making process with no diagnosis at all, no assessment of the situation. The question is, therefore, where did diagnosis take place?

• Another point that emerges from studying strategic decision-making processes is the existence and profound influence of what can be called the dynamic factors.

Strategic decision-making processes are stopped by interruptions, delayed and speeded up by timing factors, and forced repeatedly to branch and cycle. These processes are, therefore, dynamic ones of importance. Yet it is the dynamic factors that the ordered, sequential techniques of analysis are least able to handle. Thus, despite their importance, the dynamic factors go virtually without mention in the literature of management science.

• When managers do have to make serious choices from among options, how do they in fact make them? Three fundamental modes of selection can be distinguished-analysis,judgment, and bargaining. One of the most surprising facts about how managers made the 25 strategic decisions studied is that so few reported using explicit analysis;- only in 18 out of 83 choices made did managers mention using it. There was considerable bargaining, but in general the selection mode most commonly used was judgment. TypiCally, the options and all kinds of data associated with them were pumped into the mind

of a manager, and somehow a choice later came out. How was never explained. .In the area of strategy formulation, I can offer only a "feel" for the results, since my research is still in progress.

However, some ideas have emerged. Strategy formulation does not turn out to be the regular, continuous, systematic process depicted in so much of the planning literature. It is most often an irregular, discontinuous process, proceeding in fits and starts. To my mind, a "strategy" represents the mediating force between a dynamic environment and a stable operating system. Strategy is the organization's "conception" of how to deal with its environment for a while.

Now, the environment does not change in any set pattern. It stands to reason, therefore, that strategies that mediate between environments and organizational operations do not change in regular patterns, but rather, as I observed earlier, in fits and starts. Yet strategic planning does not account for fits and starts. So again, the burden to cope falls on the manager, specifically on his mental processes-intuitional and experiential-that can deal with the irregular inputs from the environment.

• Let me probe more deeply into the concept of strategy. Consider the organization that has no strategy, no way to deal consistently with its environment; it simply reacts to each new pressure as it comes along. This is typical behavior for an organization in a very difficult situation, where the old strategy has broken down beyond repair, but where no new strategy has yet emerged. Now, if the organization wishes to formulate a new strategy, how does it do so?

Let me suggest two ways (based on still tentative results). If the organization goes the route of systematic planning, I suggest that it will probably come up with what can be called a "main-line" strategy. In effect, it will do what is generally expected of organizations in its. situation; where possible, for example, it will copy the established strategies of other organizations. If it is in the automobile business, for instance, it might use the basic General Motors strategy, as Chrysler and Ford have so repeatedly done.

Alternatively, if the organization wishes to have a creative, integrated strategy which can be called a "gestalt strategy," such as Volkswagen's in the 1950s, then I suggest the organization will rely largely

on one individual to conceptualize its strategy, to synthesize a "vision" of how the organization will respond to its environment. Creative integrated strategies seem to be the products of single right hemispheres.

A strategy can be made explicit only when the vision is fully worked out, if it ever is. Often, however, it is never felt to be fully worked out, hence the strategy is never made explicit and remains the private vision of the chief executive.

Of course, in some situations the formulator need not be the manager, but no management process is more demanding of holistic, relational, gestalt thinking than the formulation of a creative, integrated strategy to deal with a complex, intertwined environment.

How can sequential analysis under the label strategic planning possibly lead to a gestalt strategy? An old story has relevance here. It is the one about the blind men trying to identify an elephant by touch. One grabs the trunk and says the elephant is long and soft; another holds the leg and says it is massive and cylindrical; a third touches the skin and says it is rough and scaly. What the story points out, according to Ornstein, is that each person standing at one part of the elephant can make his own limited, analytic assessment of the situation, but we do not obtain an elephant by adding scaly, long and soft; massive and cylindrical together in any conceivable proportion. Without the development of an overall perspective, we remain lost in our individual investigations.

What can we conclude from these 10 findings? I must first re-emphasize that everything I write about the two hemispheres of the brain falls into the realm of speculation. Researchers have yet to formally relate any management process to the- functioning of the human brain. Nevertheless, the 10 points do seem to support the hypothesis stated earlier: the important policy-level processes required to manage an organization rely to a considerable extent on the faculties identified with the brain's right hemisphere. his

conclusion does not imply that the left hemisphere is unimportant for policy-makers. Every manager engages in considerable explicit calculation when he or she acts, and all 'intuitive thinking must be translated into the linear order of the left if it is to be articulated and eventually put to use.

The great powers that appear to be associated with the right hemisphere are obviously useless without the faculties

of the left. The artist can create without verbalizing; the manager cannot.

Truly outstanding managers are no doubt the ones who can couple effective right-hemispheric processes (hunch, judgment, synthesis, and so on) with effective processes of the left (articulateness, logic, analysis, and so on).

In a sense, the coupling of the holistic and the sequential reflects how bureaucratic organizations themselves work. The policy-maker conceives the strategy in holistic terms, and the rest of the hierarchy -the functional departments, branches, and shops-implement it in sequence.

Whereas the right-hemispheric faculties may be more important at the top of an organization, the left-hemispheric ones may dominate at other levels.

Let us return to practical reality for a final word. What does all I've discussed mean for those associated with management? do not suggest that planners and management scientists pack up their bags of techniques and leave the field of management, or that they take up basket weaving or meditation in their spare time. (I haven't-at least not yet!) It seems to me that the left hemisphere is alive and well; the analytic community is firmly established, and indispensable, at the operating and middle levels of most organizations. Its real problems occur at the policy level. Here analysis must coexist with-perhaps even take its lead from-intuition, a fact that many analysts and planners have been slow to accept. To my mind, organizational effectiveness does not lie in that narrow-minded concept called "rationality"; it lies in a blend of clearheaded logic and powerful intuition.

Let me illustrate this with two points.

First, only under special circumstances should planners try to plan. When an organization is in a stable environment and has no use for a very creative strategy then the development offormal, systematic strategic plans and main-line strategies may be in order. But when the environment is unstable or the organization needs a creative strategy, then strategic planning may not be the best approach to strategy formulation, and planners have no business pushing the organization to use it.

Second, effective decision-making at the policy level requires good analytical input; it is the job of the planner and management scientists to ensure that top management gets it. Managers are very effective at securing soft information, but they tend to underemphasize analytical input that is often important as well. The planners and management scientists can

I

serve their organizations effectively by carrying out ad hoc analyses and feeding the results to top management (need I say verbally?), ensuring that the very best of analysis is brought to bear on policy-making. But, at the same time, planners need to recognize that these inputs cannot be the only ones used in policy-making, that soft information is crucial as well.

If the suggestions in this article turn out to be valid, then educators had better revise drastically some of their notions about management education, because the revolution in that sphere over the last 15years-while it has brought so much of use- has virtually consecrated the modern management school to the worship of the left hemisphere.

I am not preaching a return to the management school of the 1950s. That age of fuzzy thinking has passed, thankfully. Rather, I am calling for a new balance in our schools, the balance that the best of human brains can achieve, between the analytic and the intuitive.

In particular, greater use should be made of the powerful new skill-development techniques which are experiential and creative in nature, such as role playing, the use of videotape, behavior laboratories, and so on. Educators need to put students into situations, whether in the field or in the simulated experience of the laboratory, where they can practice managerial skills, not only interpet:sonal but also informational and decisional.

Then specialists would follow up with feedback on the students' performance.

The _first conclusion for managers should be a call for caution. The findings of the cognitive psychologists should not be taken as license to shroud activities in darkness. The mystification of conscious behavior is a favorite ploy of those seeking to protect a power base; this behavior helps no organization, and neither does forcing into the realm of intuition activities that can be handled effectively by analysis.

A major thrust of development in our organizations has been to shift activities out of the realm of intuition, toward conscious analysis. That trend will continue. But managers, and those who work with them, need to be careful to distinguish that which is best handled analytically from that which must remain in the realm of intuition, where, in the meantime, we should be looking for the lost keys to management.

0 About the Author: Henry Mintzberg is a professor in the Faculty of Management at McGill University in Montreal. He has also taught in France.

CONTEMPO Y PAINTING IN AMERICA American art of the post-World War II period has been remarkable more for its diversity than for the emergence of any dominant trend. Expressionism and Cubism, 'color field' painting, 'non-illusionistic painted light,' 'combines' (mixing three-dimensional objects with painted surfaces), and, finally, 'Pop art'-many labels and adjectives have sought to describe this proliferation. A noted writer makes a wide-ranging survey of this diversity in an article specially written for SPAN (page 14).

CLAES OLDENBURG "Lipstick Monument," 1975 Weight about 14,000 lbs.

Pop sculpture violates the conventional ideas of "high art" by projecting simple objects of daily use, sometimes by exaggerating them, as in this giant lipstick on the roadside.

ANDY WARHOL "President Carter," 1977 Above left: The most outrageous and perhaps the most profoundly American of the Pop artists ' started as a commercial designer reputed for drawing shoes. He later distinguished himself by a highly original style of popular iconography.

The portrait of President Carter was commissioned by The New York Times.

MORRIS LOUIS "Moving In," 1%1 Right: Louis' innovation lay in pouring paint directly on unstretched, unprimed and unsized canvas. Not only is there no shading and no visible trace of the painter's hand, but the color and texture of the raw canvas themselves remain-dearly visible:

he first pioneers of post-World War autonomous, and self-referring work II American painting were Jackson which differs radically from the fragPollock (1912-1956) and Willem de mented, allusive, and structured field of Kooning (b. 1904), who respectively post-Cubist painting; and as the picture achieved radical extensions of the two creates an all-encompassing world of major innovations of early 20th-century direct, wholly visual communication, a European art-Expressionism and Cub- new and fertile vision for painting space ism. In the middle forties, Pollock began to was suggested. experiment with alternative methods of Between these two totem figures and applying paint to canvas, laying it on the recent advanced art stand several pioneer floor and then in a series of rapid move- painters who, in the middle and late ments literally pouring and splattering fifties, initiated the directions that others paint all over the surface. Though he rejected many of the canvases painted by these impulsive but purposeful actions, certain pictures made in this way realized an over- It was Franz Kline, the noted whelming intensity of visual activity. This abstract Expressionist painter, Expressionist density could be found not who suggested that 'the final only in isolated segments but, in a radical test of painting is: Does the innovation, all over the nonhierarchical, non-focused canvas, thereby creating the painter's emotion come across ?' sense that the imagery could have extended itself well beyond the painting's actual To a subsequent generation edges, if not forever. of painters, few standards De Kooning, unlike Pollock, was born are less relevant than this. abroad, in Holland, emigrating to America as a young man. After an earlier career as a muralist, he imaginatively developed and extended a major stylistic contribution developed-Morris Louis (1912-1962), Ad of European Cubism-breaking up the Reinhardt (1913-1967), Robert Rauschenrepresentational plane to portray an object berg (b. 1925) and Jasper Johns (b. 1930). or field as seen from two or more perspec- Louis' innovation, dating back to 1953, tives simultaneously. The initial paintings consisted of pouring paint directly on in his "Woman" series, done in the early unstretched, unprimed and unsized canfifties, evoke in impulsive and yet well- vas, so that not only is there no shading drawn strokes (and colors identical to and no visible trace of the painter's hand, those in the portrayed environment) a but the color and texture of raw canvas single figure regarded from a multitude themselves remain visible. Given an unof perspectives, both vertical and hori- usual sensitivity to color values, as well as zontal, in several kinds of light and, there- the ability to mix his own pigments and the fore, at various moments in time. Not only willingness to use newly developed acrylic are the differences between figure and paints, Louis achieved a stunning, perhaps setting, past and' present, background and unprecedented optical luminescence, foreground, all thoroughly blurred, but initiating as well what came to be known nearly every major detail in this all-over as "Color-Field" painting. and yet focused field suggests a different Ad Reinhardt was from his professional angle of vision or a different intensity of beginnings a severe abstractionist, who light. later became a witty polemical advocate Pollock's best paintings similarly flash of anti-Expressionistic art. His most disdifferent levels of illusionistic space; but tinctive early paintings had geometric more important for subsequent art was the shapes on a multicolored field, while sense, best seen in retrospect, that his works of the late forties favored less shimmering works surpassed both Cubism definite abstract shapes. By 1953,he offered and de Kooning precisely by eschewing canvases entirely in shades of the same any reference to things outside of painting. color, at first all red, and then all black and This complete meshing of image and field, all blue, usually divided into squares content and canvas, even stasis and move- whose slight differences in hue became more visible with the spectator's increased ment, creates a completely integrated,

T

attention. Thus, his Black Paintings of the early sixties, each 60" square, contain not a single black color evenly painted from edge to edge, but 9 squares, all 20" by 20", each of a slightly different black color from its adjacent squares.

If the progress of Reinhardt's career was toward the purification of paintingthe elimination of everything that is not of painting itself-Robert Rauschenberg's art developed in the opposite direction, toward the mixing of painting with other things. His distinctive collages of the middle fifties at first incorporated miscellaneous photographs, magazine pages, and other found images, creating a diffuse visual field in which, as he put it, there is "nothing everything is subservient to."

He then mounted actual objects on fundamentally two-dimensional paintings that implicitly (and skillfully) obliterated the traditional distinctions between materialsfor-Art and ordinary junk. In "Bed" (1955), he painted his own bed, transforming another subesthetic "found" object into something purchased and displayed by the Museum of Modern Art in New York. In "Monogram" (1959), he put a decidedly three-dimensional figure, a whole stuffed goat, into a painted field.

His "Broadcast" (1959) contains a live radio; and to "Third Time Painting" (1961), Rauschenberg affixed a clock. To characterize painted assemblages that had three dimensions and yet were not quite sculpture, he coined the term Combine.

"I always thought of them as paintings," Rauschenberg told an interviewer; and so freely did he mix art with "nonart" that critics were forever quoting his most famous aphorism: "Painting relates to both art and life. Neither can be made.

(I try to act in that gap between the two.)"

By the late sixties, Rauschenberg was working at theatrical pieces and graphics; but historically it was he, more than any other artist, who established the precedents for combining elements from the outside world (if not the surrounding space as well) with the limitless possibilities of the tradition of painting.

Jasper Johns' contribution to the new sensibility is more subtle; for while he displayed some of Rauschenberg's uninhibited use of materials that were previously forbidden to art, his work has remained largely within the traditional format of painting. A Johns painting is a

ROBERT RAUSCHENBERG ••Autobiography" In an age of science, the artist superimposes a life-size X-ray image on a horoscope to create a new kind of self-portrait. The painter often mounts actual objects on fundamentally two-dimensional paintings in a way that obliterates the traditional distinctions between art and plain junk.

cool, inscrutable object that induces a multiple inquisitive involvement by the spectator. In looking at his famous "Target With Four Faces" (1955), one cannot help but ask: Is this a replica of a target? A collection of concentric circles?

Or something else? What relationship do those four sculpted bottoms of heads (noses and mouths, to be precise) have to the two-dimensional target picture?

Why is the target-image represented so realistically, and yet the heads so nonrealistically? Do all meanings exist within the picture, or is there some symbolism

anyway?). In the late forties, Johns was working with subesthetic images such as the American flag, the then 48 states of America in outline, and stenciled numbers, as well as such mundane objects as beer cans, a lightbulb, a flashlight, and a coffee tin filled with artists' brushes.

However, it was less Johns' taste in materials than his love of visual ambiguity, puzzle and enigma that became a pioneer possibility for subsequent painting.

The most revolutionary style of the postwar era-the one attracting the most outraged responses-was Pop Art. Its exponents used not only the imagery of popular culture, such as comic-strip figures and hamburgers, but also representational techniques and materials drawn from advertising and other mass media: glossy paint, precise rendering, clean surfaces, and sometimes silkscreen reproduction. Quotations are not new in painting, to be sure, but what is unprecedented in Pop Art is the blatantly common character of the quoted materials and the slick manner of representation, which were all so contrary to the painterly expressionism previously equated with "high art."

Pop Art commanded respect and influence, in spite of its representationalism, because it was the first realistic reaction to abstract art that was not primarily conservative (or anti modernist) in spirit. As the creation of art-historyhere? Is this a "painting"? or a "collage"? or what? "I thought he was doing three conscious painters, who had assimilated things," the composer John Cage once and revealed the influence of abstraction, wrote of his painter friend, "but five Pop Art is primarily about Art rather than about the world, while commercial art, things he was doing escaped my notice."

By painting a realistic image without a in contrast, is indubitably about the world.

One Pop style, exemplified by James background, Johns followed Pollock in abolishing the discrepancy between image Rosenquist (b. 1933), uses both the scale and flat colors, as well as the sentimentally and field that is the core of traditional representational art, again raising the realistic style and visible panel-separating question of whether the target-image was a lines, of billboard art (a trade Rosenquist mechanical copy of the original target, himself once practiced) to create large, or a nonrepresentational design (and glossy paintings which, like his classic what in this context would be the difference 10' by 86' "F -Ill" (1965), are full of

incongruous images. As the critic Harold Rosenberg quipped, "This was advertising art advertising itself as art that hates advertising." Another Pop artist, Roy Lichtenstein (b. 1923), painted enlarged comic-strip images, which were so refined in their realism that they even reproduced the dots characteristic of comic-book illustration. These paintings implicitly asked the kinds of esthetic questions about image and artifact that clearly reflect the influence of Jasper Johns.

The theme of ironic displacement, which is to say the incongruous relation between the identifiable image and its model, informs not only Lichtenstein's highly comic paintings but also the Pop sculpture of Claes Oldenburg (b. 1929) and the paintings of Andy Warhol (b. 1925).

Surely the most outrageous and perhaps the most profoundly American of the Pop artists, Warhol created works that,

in retrospect, seem systematically designed to violate several conventional rule~ of "high art." Originally a commercial Just as the art of Pollock and artist with a professional reputation for de Kooning moved beyond drawing shoes, Warhol painted popular iconography as early as 1960, and he Surrealism and Expressionism, was probably the first painter to use the painters of the past two silkscreening process to transfer photodecades have moved beyond graphs and advertising imagery to canvas.

In his paintings, found images, mostly earlier American masters, familiar, are transformed-enlarged, re- suggesting that innovative colored, reshaded-to emphasize their traditions in art still pictorial qua.lities, and often repeated interminably to suggest mental hallucina- thrive in the United States. tion. Warhol, along with hired helpers, often uses duplicating procedures to make several almost identical canvases or to populate a single canvas with multiple Thus, not only is the placement of color copies of a single photographic image, separated, if not freed, from drawn shapes but his paintings display atmospheric, initially of horrifying public eventsif not ethereal, qualities that approach "Atomic Bomb" (1963), "Car Crash" subsequent minimal, and even mono(1963), "Race Riot" (1964), among others. tonal, canvases.

Noland's works are rootWarhol also uses reductive and yet enhanced within the painting's frame and a ing duplicating processes to make a series regular design as he divides his canvas into of photographically real but grotesquely roughly drawn but sharp-edged geometric colored portraits such as Jacqueline shapes, such as circles within circles, Kennedy Onassis in "Jackie" (1964) and or a succession of chevrons across a Elizabeth Taylor in "Liz" (1965), impliccanvas stood on its point, or simple, itly showing perhaps how these ubiquitous long horizontal bands (extending as far faces have assumed the archetypal qualias 20 feet, or further than a single glance ties of the Blessed Mother.

If Rauschenberg and Johns were, in can apprehend), each of which has its own unmodulated color-in all examples, different ways, the visionary progenitors of Pop, Morris Louis generated an impor- a precise and sometimes symmetrical tant new direction in Color-Field painting structure.

Through such scrupulously geometric -self-referring works that emphasize not the forms of gestural abstraction but the patterning, Noland avoids reference to textures of variously applied paints, the earlier ways of structuring a modern paintrelationships of colors within the field, ing. Olitski, by contrast, has many fields and, in some cases, the possible subtle of amorphous shapes, structurally without shadings of a single hue. Since Louis' apparent relation, each with its own color, premature death, the two younger masters and then pools of color blending into each of this method have been Kenneth Noland other. Later Olitski used just one color (b. 1924) and Jules Olitski (b. 1922), articulately shaded into a spectrum of both of whom also acknowledge Louis related hues; but on the edge, almost in likewise favoring acrylic paints. How- punctuating the field, is usually a solidly ever, while Noland generally uses a variety painted strip of a different color which of radiant colors, Olitski deals in fewer, either roots the canvas to another world quieter shades in more diaphanous tex- or compromises the painting's pre-eminent tures (created by spraying his canvases). achievement.

The European tradition of geometric abstraction informs not only Noland but also the innovations of Frank Stella JASPER JOHNS (b. 1936). Hailed before he turned 25, "Painted Bronze," 1960 Stella's early canvases consist of regularly Like Rauschenberg, Johns uses materials earlier patterned geometric shapes, such as forbidden to art ..yet his work has remained squares within squares, painted with mainly within the traditional format of painting. evenly applied strokes out to the canvas' A Johns painting is a cool, inscrutable edge, so that the viewer cannot distinguish object that indUces an active viewer response.

standards; and most minimal works tend to combine grandiose physical size with a scant minimum of discernible figurationperhaps at most a large expanse of solid color penetrated by lines or one set of visible marks, so that a painting functions as a visionary field rather than as a composition, and the degree of reduction is a rough measure of its ambition and integrity. For instance, in Barnett Newman's magnificent and yet pre-eminently subtle "The Stations of the Cross" (1958-66), which is a series of 14 paintings 61' by 5', tl1e traditional Biblical narra"Finally I had to face two problems: tive is subjected to minimal imagery one was spatial and the other meth- (usually two vertical stripes of various odological. In the first case I had to do widths and shapes, against a background something about relational painting, field of raw canvas), where the absence of i.e., the balancing of the various parts familiar iconography becomes a comof the painting with and against each mentary on the classic myth as well as other. The obvious answer was sym- an echo of the simple cosmological forms metry-make it the same all over. The of primitive art.

The inevitable next step has, of course, question still remained, though, of .how to do this in depth. A sym- been the abolition of the stripe or frame for a field entirely in one color-not metrical image of configuration placed on an open ground is not like Ad Reinhardt's late works, with their balanced out in the illusionistic space. rectangles ofqJerceptibly different hues, The solution I arrived at-and there but truly monochromatic works of art, are probably others, although I know where painting is the sole reality. The result of such a severe constraint has been of only one, color density-forces illusionistic space out of the painting not a series of identical paintings but a at a constant rate by using a regular remarkable variety of explorations of the pattern. The remaining problem was nature of Being.

These include Rauschenberg's reflectsimply to find a method of paint housepaint application which followed and com- ing canvases of white pleted the design solution. This was . (1952), Barnett Newman's concluding image in "The Stations of the Cross," done by using the house painter's which in context inevitably symbolizes technique and tools." the Transfiguration; Robert Irwin's canIn other words, Stella's initial answer vases which, if observed fixedly from to the question of how to organize an a distance, reveal tiny specks of different abstract can vas now, after all the solutions colors forming either their own patterns already posited in modern art, required or an illusory haze floating a few inches all-over artificial regularity. After estab- in front of the canvas; and particular lishing a frontier that won admirers paintings by Ralph Humphrey (b. 1932) and imitators, Stella explored the other and Robert Ryman (b. 1930), among solution, espoused earlier by Louis and others. All these, to quote Lippard again, Noland, of color relations within a regular "emphasize the fact of painting as paintdesign. This later work developed another ing, surface as surface, paint as paint, in an inactive, unequivocal manner." aspect of Stella's earlier painting-the It was the Abstract Expressionist painter eccentrically shaped canvas, where the Franz Kline, a contemporary of Pollock shape of the frame usually determines the and de Kooning, who suggested: "The work's internal forms. "This reduced final test of painting is: Does the painter's illusionism to a minimum," wrote Barbara Rose, "and further identified the emotion come across?" However, to a subsequent generation of painters, few image with the canvas surface." , standards are less relevant than this. The The term "minimal" is customarily used to characterize art whose subject new painting comes from decidedly objective processes-not only is the easel all matter is insubstantial by traditional

any figure from background, or form from content, or image from any larger shape~ The spectator's appreciation of these faintly mechanical paintings ideally includes such strictly visual virtues as the relation of one color to another, the solidity of the geometric shapes, and the potential complexity of elemental simplicity, as well as Stella's decidedly cerebral deductive solution to certain problems in painting's recent history. In 1960, the 24-year-old artist told an undergraduate audience:

but universally eschewed and the work usually abstract, but the paint itself is handled in rather anonymous ways (yet still reflecting a human hand rather than a machine). Scarcely a work will reveal much that is personal about its individual creator. Beyond that, in most strains of reductive painting the work demands kinds of perceptions previously regarded as "phenomenal" rather than "artistic" or "esthetic," thereby altering, if not repudiating, the traditional procedures of painterly comprehension.

In addition to acknowledging the absolute flatness of the canvas, the new painting reflects three major problems of classic modern painting-the use of color (emphasized largely by Matisse), the organization of the canvas' visual field (Picasso) and the potential perceptual experiences peculiar to a painted field (Mondrian). Yet just as the pioneer styles of Pollock and de Kooning moved beyond earlier Surrealism and Expressionism, so the avant-garde painters of the past two decades moved beyond those earlier American masters, in sum suggesting that the tradition of doing art that has not yet been done continues to thrive in America.

0

Richard Kostelanetz is one of the most prolific and controversial younger writers and literary critics in the United States. He has written numerous books, including The Theater of Mixed Means, Master Minds: Portraits of Contemporary Artists and Intellectuals, and The End of Intelligent Writing: Literary Politics in America.

IA,

THE (t A new note in contemporary modern painting has been struck by a West Coast group in America described as the 'California Visionaries.'

They envision a re-created, reordered world, and sing a hymn of praise of the wonders of creation. A noted Indian painter discusses their vision of a new world. Some of the work of the 'Visionaries' is being exhibited at the Lalit Kala Akademi's 'Triennale' in New Delhi.

T

he San Francisco Bay area in central California was the scene of many cultural as well as political upheavals in the 1960s. The first student revolt against the tragic Vietnam war took place in the University of CalifOrnia at Berkeley. There, too, young literary, musical, and artistic talents joined to project a vision of a new world -one free from violence, injustice, hatred be" tween men, and the fear of a nuclear war.

The counterculture dreamed of a new world where men could live in harmony with all creation. John Milton's concept of Paradise Regained was revived. The youth culture that began in the 1960s peaked in the early '70s, and has since declined. The Visionaries have evolved from the credos of that culture.

The artistic expression of the millenarian ideal in California was entirely different from the modern art that prevailed in the galleries and museums in

the East and Midwest-in New York, seen them hanging on the walls of hunChicago, and Washington, D.C. Its dreds of private houses and on dormitory first manifestations were the psychedelic ¡walls in campuses all over the United posters of the '60s whose contents were States. borrowed from the rock and soul music Soon, a new group of highly talented and light-show performances played and painters sprang up whose vision of a new shown in San Francisco. These were world gained them the name of "The combined with the symbolism of East- Visionaries." Their paintings evoked an ern and primitive religiQus and occult intimate nostalgia for a world that never societies. was. True, it was escapist; but perhaps In these psychedelic posters, fantasy one can bring escapism under control was given free play. The imagery was by taking pleasure in it as a charming intended to reach, touch, and actually illusion while at the same time recognizing change the viewers. In idea, form, and it for what it is. In the process, one must stylistic expression, these posters were dive deep into the unconscious and bring strongly influenced by the graphic up a profusion of symbolic images. For language that Milton Glazer and Seymour Chawst of the Push Pin Studio of New NICK HYDE York had evolved. The studio, in turn, "Urp," 1972 had been greatly influenced by the style 78" x 60", oil on canvas of Art Nouveau and Art Deco. The Swirling apocalyptic visions, reminiscent of posters were reproduced on a mass scale Bosch and of Tibetan Tankas, Hyde's painting is and viewed by millions. I have myself an intricate lacework of light patterns.

the Visionaries, this was the only way they could present an alternative reality"visions of elsewhere."

The paintings of Bill Martin, a grad~ate of the San Francisco Art Institute, are among the most successful examples of Visionary art. The vistas opened up in his works suggest a re-created, reordered world-a perfectly convincing world that invites us to share its marvels. It is in accord with the Hindu concept of a periodic passage from evolution to dissolution -as though everything had run its course into total annihilation and a new universe has appeared. Every inch is filled with a variety of lush tropical vegetation and fauna. The air is crisp and pure, and has a crystalline clarity.

It is a world of eternal spring. Such Arcadian scenes offer mankind two choices: either we coexist in peace and harmony, like the birds, reptiles and animals that abound in this fanciful world, or we perish. Martin's "Crater" and "Garden Life" are two of the finest examples of his work and philosophy.

Gage Taylor shares Bill Martin's vision.

He says, "I paint landscapes because unspoilt land is beautiful .... " Nature, viewed in all its unfathomable mysteries and marvels, is the fountain of their imagination.

The Visionaries, of course, are not the first artists to be inspired by elemental nature-clouds, rains, lightning, rainbows, the dramatic play of light on matter, the changes brought about by the seasons.

But the classical landscapists of Europeeven the grandiose, spectacularly phenomenallandscape painters of the American Hudson River School-did not see nature as the Visionaries do, as a primordial paradise. They have only two predecessors among American painters: George Pickett and Edward Hicks. Pickett was a "primitive." His "Coreyll's Ferry," "Manchester Valley" and "George Washington Under the Council Tree" are idyllic scenes. Hicks' "The Peaceable Kingdom" is a remarkable vision of the ideal America.

But the Visionaries differ from Pickett

Classical landscape painters felt an awe in the presence of nature's wonders, but never saw it as the primordial paradise. The 'Visionaries' lovingly envision nature as man may have found it when he first appeared on earth.

and Hicks in that nature to them is not merely an ecological setting for their vision, "not a whole created out of related parts, but a totality of a field of vision where color and pattern form a single vibrant unit." That is to say, organic nature is itself the vision, not the setting for a vision.

The similarities between Bill Martin and Gage Taylor are obvious. But where Martin's landscapes have an unrelieved surface denseness, those of Taylor alternate between density and sparsenesslike a park landscaped with rocks and exotic plants. The effect in both artists is of a highly personal celebration of nature.

Joseph Parker's visionscapes evoke a deeply spiritual world where an effulgence opens up like the petals of an enormous lotus to engulf the horizon. It is like the first dawn of a hitherto dark planet where sunbursts illuminating .the scene remind us of Dante's description of the moment of Revelation: "As if a new sun has been added to Heaven's glory." At the same time, Parker is close to Indian thought both in philosophic content and decorative treatment. Looking at his paintings, I am invariably reminded of the Delhi painter Biren De, on whose canvases celestial light fans out in similar fashion.

Are these visions products of a conscious state of mind, or do they spring from the unconscious and subconscious levels? I would say that their art operates

at all these levels. There is a conscious reference to unconscious and subconscious material.

In this respect the Visionaries have affinities with the Surrealists as well as the Nabis and the Naive painters. With the Surrealists they share a desire to change society, as well as an obvious affinity in subject and technique. Both Visionaries and Surrealists are in revolt against an overemphasis on logic and rationality in art. But here the resemblance ends. For the Surrealists were a highly intellectual group with sophisticated inquiring minds. Influenced by the psychoanalytical theories of Sigmund Freud and Carl Jung they investigated the irrational state of mind. To them the unconscious and subconscious-dream, memory, hallucination, hypnosis, delirium and fantasy-were more real than the conscious. There is no place for God in their paintings. But the Visionaries have a deep reverence for the mysteries of creation; the presence of a Creator is implicit, indeed central, to their philosophy.

Among the Visionaries, Cliff McReynolds is closest to the Surrealists: in the seemingly absurd juxtaposition of disparate objects, in impossible situations, and in their symbolic use. His mountain landscapes evoke memories of North European landscape paintings, especially that of the early German, Austrian and Dutch schools. His landscapes are bathed in a soft pearly light; the normal laws of proportion and gravity do not operate.

Fish and apples float in the air like butterflies. Naked men and women move in ritualisfic circles around a gigantic, mushroomlike flower. Children ride huge birds.

A mother-earth figure feeds two fish suspended in air. Finally, a monumental hand grenade dominates the vast landscape of a green mountain valley before a pastoral foreground. Weather-beaten, the grenade is a relic of the distant savage past. The whole scene is that of an idyllic kingdom, still attainable.

In the visions' of Martin, Taylor and McReynolds, animals are as much an

BILL MARTIN "Iceberg," 1973 23" diameter, oil on canvas Martin's vision offers us two choices -either we coexist in peace or perish.

integral part of a new world-to-come as are human beings. But in Sheila.Rose's canvases, animals are the vital part.

They are invested with the same occult suggestiveness we find in ancient Egyptian iconography. Her frogs, snakes and flamingos play the same role as do the Egyptian baboons, eagles, cheetahs and hooded snakes. They too are occult embodiments of mortal life standing at the intersection of astral and afterlife.

In Sheila Rose's words, her painting "represents the culmination of one part of the journey and the beginning of another." Her work reminds me of that of the Indian painter G.R. Santosh.

Thomas Akawie's paintings also have an Egyptological frame of reference. He too uses figures in their ritualistic attitudes to "try to connect with the living basis of an historical perspective," as he puts it. He consciously employs geometric forms-circular, cylindrical, rectangular -to suggest harmony. These timeless

forms and the formalized Egyptian motifs fuse with the backdrop of iridescent, spectrum-refracted Martian clouds. The ethereal figures, redolent of an inner light, become translucent and merge in the radiating sky. The effect is heightened

by Akawie's masterly use of a spray technique.

Of all the Visionary painters, Nick Hyde is the one whose work derives most closely from the psychedelic posters of the San Francisco counterculture of the '60s. He is also the most illustrative of the Visionaries. The paradisical reality that is the basis of the other Visionaries' work appears in Hyde's paintings as an apocalyptic vision. They are reminiscent of Hieronymus Bosch and the Tibetan Tankas of Vajrapani. His swirling visions achieve intense dramatic effect by the use of fast-changing psychedelic light that is projected on to the scene through a rotating, myriad-holed disk, to break the picture surface into an intricate lace-

work of light patterns. The total effect is that of a mad dance of the elements.

At other times, we find mordant humoras when a demoniac figure, telephone and half-burnt cigarette in hand, behaves the perfect gentleman with his lady in bed. Hyde's paintings, like those of his fellow Visionaries, demand prolonged study-which they amply reward.

What are we to make of these highly introspective painters? It would be a mistake to weigh them on the same scale of values as other modernist artists.

At first view, their work appears too illustrative, too decorative, even a trifle jarring in coloration. But they grow on one. Their meticulous surreal clarity, achieved with skill and done out of the "inherent joy of doing anything ~ell," deserves our admiration.

A very interesting aspect of the work of the Visionaries is the unusual format of their canvases. Instead of the conventional rectangle they often employ spherical and egg-shaped formats. One has the sensation of seeing visions of a new universe with new' planets. Those that have already formed are spherical, and those in.the process of forming are ovoid.

Speculation concerning the cosmic principles of creation, and the idea that man himself embodies those principles, has for centuries been the preoccupation of our Indian Tantric ancestors. The practice continues today. A number of present-day Indian painters are employing Tantric imagery in their work. There are also the painters of "Inscapes," "Metascapes," "Mindscapes," and the "Neominiaturists" of Western India. In such a favorable climate, the rise of a young crop of followers of the Visionaries is not beyond the realm of possibility.

0 About the Author: Paritosh Sen, one of India's leading artists, has held one-man exhibitions¡ both in India and abroad. He has participated ill the Commonwealth Arts Festival, London, and the SilO Paulo Biennale. He has visited the United States many times~once under the auspices of a John D. Rockefeller IIIrd Fundfellowship. Paritosh Sell teaches at the Regional In.~titute of Printing Technology, Jadavpur, Calculla.

. "Osiris," 1972

.'}/6:'

diameter, acrylic on masonite

THOMAS AKAWIE "Cloud Mirror," 1975 5t" x 1 acrylic on masonite

r,

"

":'Pigures from Egyptian iconography ,. --:-frozen in ritualistic attitudes.

.~

v,islonof a new world-shades of science fiction and Tantra?

Egyptology, outer space, th~prehistoric, the fantastic-a wide spectrum of elements make up the vocabulary of the 'Visionaries'-they speak in a language utterly different from the rest of modern art in America.

BILL MARTIN "Sheila," 1971 16" diameter, oil on canvas

SHEILA ROSE "Stars," 1973 3' square, acrylic on mason itÂŁ' Animals, the most vital part of Sheila Rose's imagery, are invested with an occult suggestiveness in her work.

erican artists of the 1970s see themselves less and less as participants in major art trends or movements, and increasingly as totally independent beings. Consequently, say the curators of New York's Whitney Museum of American Art, the art of the seventies has "generally emerged from personal experiences rather than ideologies," and therein lies its chief distinction from previous decades.

This concept of the current art scene in America was the guiding influence in the selection by the Whitney Museum of some 40 U.S. artists represented in its 1977 Biennial Exhibition, a sampling of which is presented here.

Indeed, a glance at the highly individualistic models of Charles Simonds (page 30), the superrealism of Chuck Close or the intricate computations of Alfred Jensen (pages 28-29) seems to prove the Whitney's contention. Moreover, according to the Whitney, the current artistic experience has been too personal for any new movements to begin, although groupings and associations are made for the sake of critical clarity.

These are only some of the conclusions to be drawn from the works of art displayed in the Whitney Biennial.

Such exhibitions, strictly invitational, have been the museum's forte for the past 45 years. Each has, in its own time, attempted to survey "the current state of American art."

Whitney surveys have not always been universally praised, nor have critics always agreed with the museum's conclusions, but as one of America's leading art institutions, the Whitney Museum has always been listened to.

Art critic Benjamin Forgey, for example, agrees that American art today is divergent, that it is not following trends or movements, and that the latest Biennial accurately reflects this.

In writing for Art News magazine, however, Forgey wondered if such

X

surveys by museums might not be anachronistic in today's highly complex' and efficient art world network of communications. He, nevertheless, concluded that the latest Biennial added legitimate emphasis to the divergence of contemporary art.

The New York Times art critic, Hilton Kramer, called the exhibition "an unendurable bore." Art lovers and Whitney supporters took offense, and in a deluge of letters to the editor, Kramer was roundly drubbed for his comments, one reader even going so far as to suggest that he be given "a new beat to cover."

Thomas Hess of New York magazine, on the other hand, declared the exhibition to be "the best of its kind, at least since 1946," and wrote that. the exhibition is filled with "an astonishingly large number of wonderful paintings and sculptures."

In explaining the selection of artists to be included in the current exhibition, Whitney Director Tom Armstrong stated that "the Biennial is devoted for the most part to works by artists who were first decisively influential in the 1970s, and also to comparatively important works of lesser known artists. Artists who received extensive public attention during the 1960s are not in the exhibition."

Thus, the Biennial was not intended -as some critics would have it-to be a survey of the very best art being produced in America today, but rather to be a study of artists who have become D newly and decisively influential.

DENNIS OPPENHEIM "Lecture," 1976 Figures.46 cm This three-dimensional exhibit occupies about 6 x 15 meters of space consisting of rows of chairs, each about one-half meter high. A figure behind a lectern delivers a talk on tape. Subject of the lecture: the deaths of the artist's well-known colleagues.

ARTFORTHE

THE WHITNEY BIENNIAL

JOAN BROWN "The Last Farewell," 1976 183 x 259 em, enamel on canvas Above: With each generation of artists, reaction to acceptedforms stimulates new ones.

Brown has little concern for elegant surfaces or slick finishes, preferring a handmade look that emphasizes the physical qualities of paint and the action of the artist's hand.

ALFRED JEN~EN 4;; "Th'e DfJric Order," 19l2i; .

198"1297 em, oil on canvas Left : Heavily painted surfaces and intricately patterned compositions arf! structured through Jensen's personalized symbolism of color and number coordinates.

His decorative patterns are beginning to intrigue many younger painters.

CHARLES SIMONDS "Dwelling," 1977 Size variable Medium bricks 1.25 cm

This is oneal a series of Simonds' diminutive models built of clay, sticks, stone and sand. The reduced scale enhances the impact of the work and allows freer expression of the artist's private mythologies invoked by the miniature archeological remains.

-

streehcorner hand slapping and rump bumping, now. shout. Parents applaud, clergy~en shout "hallelujah," and The Reverend Jesse Jackson is serious. Dead serious. "We school administrators and teachers add a loud "amen!"

"He's talking about some of the things that must take place must admit that our schools are in a state of decadence," he says softly, rolling the last word out crisply and, after a moment's in the classroom and the home if learning is to take place," Chicago Superintendent of Schools Joseph P. Hannon tells his pause, saying it a second time for emphasis, "Decadence."

The 27 Chicago deputy school superintendents don't so much deputies as he introduces Jackson. "I am very, very much in as twitch. They look almost catatonic except fortheir eyes, which support of what Reverend Jackson is saying."

So is Yolanda Parker, a student at Roosevelt High School are locked in on this muscular, mesmerizing black man in formfitting jeans and leather sports jacket. Then one matronly black in Washington, D.C. "Your father will sit down for an hour and educator, familiar with these church-born cadences, mUrmurs a half and tell you the same things, but when Jackson said it, it seemed different," she says. "I suppose it's because his name the proper antiphony: "Uh-HUH," she says, "That's RIGHT, is Jesse Jackson and he has a certain savoir-faire. It's really just Reverend. " "I visited a school in Los Angeles recently," Jackson him. He'll bowl you over."

Jackson, 35, does bowl over his audiences. He does so first continues, "where the students were walking down the halls ... minds empty and foggy. No self-respect, no bounds." His voice with his palpable physical presence, his tight jeans and tailored rises in indignation, incredulity, anger. "And the principal leather jackets. More important than looking good, though, he of this school, a woman, was telling me that her students were sounds good. His hip, alliterative speech is studded with well... wonderful." Jackson mimics the principal, bending her turned phrases, some so glossy that they slide off an adult ear compliment sardonically until it breaks and becomes an epithet. but ring true to a generation reared on television and bored by "I told that principal that her students weren't wonderful, but stodgy pedants. When Jackson turns on his soft North Carolina that they could be. We've got to change them! Our challenge drawl, he does sound like the "country preacher" he says he is. is to make flowers bloom in the desert!"

Whatever or whoever, he touches audiences as few can.

That is Jesse Jackson's new goal: to cultivate a generation of "He relates on their level," says Miss Josephine Spearman, young black men and women dedicated to black excellence, to principal at rough-and-tumble Manual Arts High School in moral authority and (one should add) to Jesse Jackson. Since Los Angeles.

September of 1975, Jackson has taken his call for "moral generaBut why do they listen to him? Why do they respond in much tion and spiritual regeneration" to scores of mostly black, the same way that a generation of young whites responded to mostly central-city schools in Chicago, Los Angeles and Washing- John F. Kennedy in 1961? Mayor Tom Bradley of Los Angeles, ton, D.C. who introduced Jackson to a student assembly at Manual Arts At each problem school, his message is the same: It's time High recently, thinks he knows the answer. to stop getting drunk; getting high and getting pregnant. Boys "Jesse Jackson has established credentials as a very strong should stop identifying with rough, tough and glorified black and militant advocate for human rights and civil rights," Bradley movie heroes and start studying Shakespeare. Girls should explains. "And I think it's because of those unique credentials concentrate on their books instead of their bosoms. And together and past experience that he is able to say some things that would they must realize that "sex and violence is not the best definition not be accepted from most other people." For his part, Bradley of what a man and woman ought to be about. The death of ethics also promises that Jackson's call for excellence will be taken up is the sabotage of excellence." by a cross-section of his city's students, parents, clergy and Excellence: that is what Jesse Jackson is about. Black aca- educators. "We're going to try to push it as hard as possible," demic, economic, political, athletic, artistic and, especially, Bradley vows. "We want to keep the motivation going." Although the mediawise Jackson has been "uncharacterismoral excellence. It's not enough to be young, gifted and black, Jackson tells his young audiences, if you don't face up to the tically quiet" about spreading his gospel in the press, according responsibility that entails. If you don't face up to it, you renege to one long-time Jackson watcher, his message has not been lost on all the hard-won promises of the civil rights struggles of the on some influential journalists. The Washington Post's acerbic '60s, promises of everything that Martin Luther King Jr. and black columnist, William Raspberry, endorsed it in a series of Malcolm X (and Jesse Jackson), leaders of the 1960s civil rights columns. "Jesse Jackson," Raspberry wrote, "is ... proposing movement, and thousands of others marched for, sat-in and a miracle. And yet, with a little luck and a lot of focused commitment, it could take hold." fought for across the United States.

After one Jackson appearance in Washington, D.C., televi"What does it matter," Jackson tells students in Washington, D.C., "if the doors of opportunity swing open, and we are sion commentator Eric Sevareid called Jackson's message "the too drunk to stagger through? What does it matter if we're given most important news being made here at the moment." And an airplane, and try to fly it on soul rather than science? What Sevareid observed: "Jackson is propagating an idea so old that it does it matter if we can get into the university, and the university is new. He is saying, in effect, that all revolutions, including the does not get into us? Shall we raise up idioms to the level of the black revolution, get to the point where further progress depends university, or shall we master the language of the university and _ not on impersonal social forces but on the personal behavior conquer others? Where is our vision? What is our agenda? of the revolutionaries."

A revolution in values is in order. A push for excellence."

Still, there are some who are wary-not so much of Jackson's To the surprise of many, the chagrin of some, and the utter message, but of Jackson himself. His critics have long contended delight of Jackson, the response to his impassioned, austere, that his talents are inspirational rather than organizational, and-his critics say-reactionary message has been almost uni- and they wonder now whether his new campaign is yet another formly the same: wild enthusiasm. Students stamp, cheer and hit-and-run foray. William Simons, president of the 6,800-

N

0

category," he remarks.

Jackson's student auqiences cheer that line, but they cheer louder when he lectures them on the subject of sex and sexual roles. "Maybe too many of us have seen too many John Wayne movies," he tells the boys. "Maybe we should begin to defin'e men by their ability to heal, not the{r ability to kill. Maybe we will say that a man is not a man if he can make a baby. That he is a man ifhe can provide for a baby, take care ofa baby, love the mother."

And the applause is equally enthusiastic when he tells girls, "Maybe you are not the woman you want to be, with a halfdeveloped brain and a fully developed bottom."

Finally, Jackson's program calls for a contribution by parents that goes beyond patrolling school boundaries or picking. up report cards. It also goes beyond money. "Our parents must supply a set of noneconomic factors to make our children right in motivation," Jackson says. "Care and discipline and chastisement do not cost money, they cost new priorities. If Johnny can't learn because he is hungry, that's the fault of poverty. But if Johnny can't pay attention because he's sleepy, that's the fault of parents." .

Despite the enthusiastic response, isn't this message too conservative for young blacks? That's what one Chicago educator asked, and so have others: "This is not conservative," Jackson insists, "this is basic. Unless we pursue a course of excellence, the nce there is order, Jackson goes on, let the learning begin. counterrevolution will overtake us. We must redirect our revoluHe is acutely aware that many black students perform tionary zeal."

The Los Angeles principal, Josephine Spearman, among poorly on standardized achievement tests. But rather than complaining about the tests being culturally "biased" against others, agrees completely with that assessment. "The blackblacks, he advises young blacks to study harder. "The reason we militant movement gave lots of black people the feeling of can't read or write," he tells his audiences, "is one of two reasons. freedom, but without a sense of direction," she says. "Now Either we are retarded or we don't practice. We're not retarded; Jesse Jackson is giving it that direction. He's not saying go back we don't practice. We do well what we do most: ... dance, talk, to what you were. He's saying education is where it's at." jive, be deceptive. We're n'ot so inferior that we can't learn to read Still, there are some who suspect that Jackson may be making and write, but we're not so superior that we can do it without promises that he cannot keep. "It's easy to get on the stump, but practicing. " if one is going to get on the stump and then leave," says union There can be little learning, however, without discipline, a president Simons, "he hasn.;t done anything but raise the level subject on which Jackson almost fulminates. He urges principals of expectations and aspirations." to ban all radios and tape players from student hands during Jackson listens to that criticism and responds: "If I had a school hours. Ban outlandish, distracting clothes, too, he says. choice between being intelligent and frustrated or dumb and "I'm convinced that if we begin to instill discipline and respon- frustrated, I'd rather be intelligent because I'd have greater sibility and self-respect, there will be better conduct." options to change and end my frustrations. Education doesn't Then there's the matter oflanguage. Jackson wants streetwise mean you ain't gonna have no problems. It means you've got young blacks to leave the language of the corner on the corner. more means to solve them."

He tells of visiting an inner-city school recently where one teacher, Jackson believes that blacks have exerted a moral superiority an older black woman, complained of being called a name by in American life by enduring slavery and a subsequent century one of her male students. A young white teacher, Jackson says, and more of racism with their integrity intact. They not only rose in the student's defense. "He said the boy used it because of endured, they prevailed. Now, .Jackson says, that precious his 'deprived background,'" Jackson snaps, "because it was the heritage is jeopardized by a generation of young blacks without 'vernacular of the GET-toe.' Well, I don't accept that." a sense of history or heritage, a generatiori for whom history is Jackson is especially appalled by the presence of police in last week's hit song and the future is next month's dance craze some particularly strife-ridden schools. He suggests that "seniors, "I don't see how we can survive as a people if we don't have a coaches and star athletes, rather than the police, should patrol great push for excellence now," Jackson deClares. "A lot of what these schools." we've done in the past will be in vain if we don't. We can make Sex education is an element of public education he wants to one of the most valid contributions to Western civilization, even see deleted or at least changed drastically "because there is no more of a contribution than slavery. Because Slavery was our emphasis on responsibility," he says. "None. What is more great contribution against our will. Now it's time for us to make a sacred than the reproduction of mankind? Life begins in the great contribution as an act of will."

D bedroom, is cultivated in the classroom, and is managed from the board room. Those rooms [have] got to be systematically lined About the Author: Michael Putney, a/ree-lance writer,focuses his journalisup and organized with the proper responsibility put in each tic talents on the civil rights movement in the United States.

member Teachers' Union in Washington, D.C., admires Jackson's eloquence but worries about what happens when the speeches stop. "You just can't get academic excellence with electrifying speeches," Simons says. "You've got to sit down and put together a program that's going to make a difference."

Jackson's program, as he explained it to the Chicago school superintendents, to student audiences in Los Angeles and Washington, D.C., and in private interviews, goes like this: first, admit that dozens of mostly black and other minority innercity secondary schools are simply out of control. "They need a declaration of order," Jackson says. "Self-control precedes community control." As a first step, Jackson urges, make the hours 7 to 9 p.m. or 8 to 10 p.m. mandatory citywide study hours with no radio and TV allowed to interfere.

Parents should be required to pick up their children's report cards at school, Jackson suggests, "and when they do, they ought to put the parents' name up on the honor roll at school. And if they don't, then the school ought to send out a committee of parents to see them." What else? "Schools are too informal," he avers. "At the beginning of the school year, teachers and administrators ought to call an assembly and wear their academic regalia, and students ought, to dress up while the principal gives a state-of-the-school address."

O

The recent death of Vladimir N abokov evokes memories in an Indian writer of the days when, at a college in Massachusetts, N abokov unveiled the mysteries of the Russian language in beautifully precise English, re-creating the setting of Tsarist Russia with remarkable clarity.

It was not, and still is not, the practice home. The war had just barely ended, but my father had died of his prison term, and for a teacher to introduce his own accomplishment to a new class, or we would have known, freedom for India was still not in sight. There the September day in 1945 when Vladimir were times when Wellesley's inhabitants and Nabokov walked in, that he was the author their concerns looked exquisitely unreal of a series of outstanding novels in Russian, to me. Instinctively I reached out for the that the New Yorker, Harper's and Atlantic anchor of older experience, and was conMonthly were publishing his English stories, soled by maturity where I found it, more and critics were celebrating their discovery often in my books and teachers than in my of a genius. Edmund Wilson, then or soon fellow students. I thought Mr. Nabokov afterward, called him "the most extra- handsome. It would have been a wildly ordinary phenomenon of the kind since improbable thing to say in a teen-age Conrad ... something like Proust, something environment where handsomeness was crewlike Franz Kafka, and probably, something cut, upturned-nosed, suitably muscular, in like Gogol ... (but) as completely himself or just out of uniform, always andinvarias any of these other writers .... " Enough ably young, and preferably marriageable. and to spare for conceit, and we, with a year So I didn't say it. or more at Wellesley College in Massachusetts We sat, fifteen or twenty of us-a lot for behind us, were quick to detect it where a language class, and Russian at that-at we found it in our teachers. A narcissistic a long table, and after the preliminaries entrant to the philosophy faculty was known Mr. Nabokov walked to the blackboardamong his students as "God's gift to the we discovered he almost never sat downGreeks" since he clearly believed that was and wrote on it in English script the Russian what he was. If there was any trace of word "kneega." He said the word lingeringly conceit about Mr. Nabokov, we never saw it. out loud, and asked us to repeat it several' All I knew when he walked in was that his times. "Do you like it?" he demanded, '~Is appearance-long, lean and balding, his it pleasing to you?" It meant, we learned, shoulders slightly raised, slightly hunched, book. We learned more than its meaning.

It taught us to join two consonants, an the way he wore his clothes, rather looselyall in some indefinable way said "European." exercise alien to the Anglo-Saxon tongue, He must have been forty-six years old. The though familiar to me. And unlike words American world around me was new, young, in English, it had no accented syllable, which un\arnished, measurable in decades. Since was the way of most Russian words. Every my arrival in America a year earlier, the . syllable counted. So, for Mr. Nabokov, did beauty and serenity of Wellesley had seemed the music of words, and he sometimes read almost unbelievable against the war J?(fws us a passage we did not understand for its from Europe and Asia, and the imprisoned lilt, for the rhythm and pace of the Russian parents, fighting for freedom, I had left at sentence, and a broad grasp of the way Russian sounded. Th,ere were no technical Opposite page: Vladimir Nabokov- "a trim and aids or short cuts to the teaching of language tailored elegance." Photograph by R. T. Kalin. then, except linguaphone records which we

did not use, and we had to plod along with grammar, declensions, conjugations and the solid business of memorizing vocabulary.

If the teacher could not convey the feel of language, learning' was a dull business. Our class was too fast-paced and full of variety to be dull. Mr. Nabokov, who talked a lot, was very much at home with words. He spoke the beautifully precise and idiomatic English of the cultivated North European, the kind that once distinguished the upper classes in Russia, and now is only spoken outside England by the Swedes. He carried his own English sentences, especially the descriptive ones, to their destination and then around the ,corner. His use of language had that faculty-of opeping up a new vista quite suddenly when you thought you had seen what you came to see. I found it later in his writing of the period, in the stories he was sending to literary magazines while he taught us beginning Russian. Take this sentence from Signs and Symbols: "She presented a naked white countenance to the fault-finding light of spring days," introducing an image' and then, unexpectedly, another. This onward-going two-image construction was fascinating to me. The only analogy I have been able to find for it, much later, lies in scenery, not language, and only in Kashmir; where in the width and expanse of the valley, a turn in the road you are traveling can confront you with a vivid new sight.

Mr. Nabokov could, in our teen-age lingo, be "hilarious." "Take the Russian verb 'ostanavlivat, ", he said, "which means 'to stop.' In the days of the horse carriage it was all right to shout 'ostanavlivaite' to a man' about to cross the street, to save him from an oncoming vehicle. But in our automobile

,

culture the poor fellow would get run over before the warning was out, so nowadays it is customary to say 'stop.''' Some words, he told us, become international with use, like "bifshtek" or "djaz."

I had entered the class with an advantage.

Loving languages, I had started Russian the previous summer with a gifted eccentric teacher who had a nervous breakdown every few years under the strain of teaching fourteen languages. I could already read simple Russian and converse in it. I did not deserve Mr. Nabokov's casual remark to a colleague, conveyed I do not remember how to me, that "Mees Pandit" was the most brilliant and beautiful girl in his class. But I cherished the compliment and became more expansive in class.

I don't know how aware Wellesley was that it sheltered at the time two giant reputations-in-the-making: in the Spanish department, Jorge Guillen, who was to win the Spanish-speaking world's most prestigious literary prize in 1976,and Vladimir Nabokov, who in a few years, with the publication of Lolita, would win international acclaim and be able to devote himself exclusively to writing. My 1947 Yearbook makes no mention of either and does not even list a Russian department.

I used to meet Senor Guillen in corridors.

Did everyone look tall to me because I was fabric. He did not indulge in continuous recall young and small? Or was he actually as tall of this kind. It came out where it was relevant as I remember him, with a humorous gleam 'to what we might be reading at the time. He in place of a smile, eyes that closed when he never told us his family had left Russia talked, books under one arm, bending his soon after the Revolution, never to return, head to talk to a colleague or a student? I and that his father had been assassinated in knew him only at greeting distance. Spanish 1922, the year he took his degree in modern was taught to me that year by Senorita languages from Trinity College, Cambridge.

Oyarzabal, a frail, angular, aristocratic re- And except that he had traveled a lot, lived fugee from Franco's Spain, whose love for in England as a student, in Germany and her country was overlaid by a bitter nostal- France and then in America, there was gia. I wanted to weep in her class. Such a nothing of the homeless wanderer about sadness clung even to Spanish verbs under him, nothing of drama or disaster, no smear her guidance. Far from home myself I was of self-pity or anger, not a single suggestion acutely conscious of her yearning for her that an entire past had been wiped out promised land, country of countries, home, behind him.

Spain, of which all that was left to her now, I knew a Russian emigre family who lived and perhaps forever, was memory. I under- near Wellesley. The Berestneffs were warmstood the Senorita in my bones, and thought hearted, hospitable extroverts. At Russian of the irony of a world where some dictators Easter the Russian wife of an American were destroyed and others flourished, driving foreign correspondent I knew took me to a good people from their homes. party at their house. Sixteen then, I had I knew Mr. Nabokov was a refugee too, never been to such a party. They ate and of longer standing than my Spanish teacher. drank Russian delicacies, wine and vodka, Asides and explanations during the stories sang Russian songs to the accompaniment we studied in class lit up the life he had left: of a balalaika with an emotional extravagance the huge country estate he had lived on as a that swept me off my feet. Mr. Berestneff boy, complete with footmen and maids, took my hand and charmed me into dancing governesses and tutors; the trips to Europe, with him. Yet as the evening wore on a French culture and English learning lying haunting melancholy pervaded the festivity. like lace frills on the surrounding Russian These were people who had never left Russia,

A NABOKOV SAMPLER Professor Timofey Pnin. Ideally bald, sun-tanned, and clean-shaven, he began rather impressively with that great brown dome of his, tortoise-shell glasses (masking an infantile absence of eyebrows), apish upper lip, thick neck, and strongman torso in a tightish tweed coat, but ended, somewhat disappointingly, in a pair of spindly legs (now flanneled and crossed) and frail-looking, almost feminine feet.

His sloppy socks were of scarlet wool with lilac lozenges; his conservative black oxfords had cost him about as much as all the rest of his clothing (flamboyant goon tie included).

-Pnin Since the idea of time plays such a magic part in the matter, the student should not be surprised to learn that there must be a gap of several years, never less than ten I should say, generally thirty or forty, and as many as ninety in a few known cases, between maiden and man to enable the latter to come under a nymphet's spell. It is a question of focal

adjustment, of a certain distance that the inner eye thrills to surmount, and a certain contrast that the mind perceives with a gasp of perverse delight. When I was a child and she was a child, my little Annabel [his first love] was no nymphet to me: I was her equal, a faun let in my own right on that same enchanted island of time.

-Lolita

theoretical, mystical, abstractical, individual, social? When I was young,' I say, 'all this had for me signification.' So we had a very interesting discussion, in consequence of which I passed two whole weeks on Ellis Island" -abdomen beginning to heave; heaving; narrator convulsed.

-Pnin

Ihave no social purpose, no moral mesHe was beloved not for any essential sage, I've no general ideas to exploit but ability but for those unforgettable digressions of his, when he would remove his glasses to beam at the past while massaging the lenses of the present. Nostalgic excursions in broken English. Autobiographical tidbits. How Pnin came to the Soedinyonnfe Shtat"i (the United States).

"Examination on ship before landing.

Very well !'Nothing to declare?' 'Nothing.'

Very well!-Then political questions. He asks: 'Are you anarchist?' I answer"time out on the part of the narrator for a spell of cozy mute mirth- "'First what do we understand under "Anarchism"? Anarchism practical, metaphysical,

I like composing riddles and I like finding elegant solutions to those riddles that I have composed myself.

A

lonely spot, quite so! The pines soughed gently, snow lay about, with bald patches .of soil showing black. What nonsense! How could there be snow in June? Ought to be crossed out, were it , not wicked to erase; for the real author is not I, but my impatient memory.

Understand it just as you please; it is none of my business. And the yellow post had a skullcap of snow too. Thus the future

and never would. All else was wilderness and exile. It left an indelible impression on me.

This was what being driven from one's own soil did to people. They drifted and pined.

The outer framework of their lives, though they might spend the rest of their lives in it, remained outer. Shadows became real, and the real never took firm shape. The troop ship I had come to America on-no passenger ships were crossing torpedoed seas then-had carried 700 Polish refugees, immigrants who had the look of dry shed leaves waiting for another wind. Those had been poor, destitute people, while the Berestneffs were privileged and cultured. But their plight seemed oddly similar, oddly futureless. I had not then met Mr. Nabokov.

When I did, I could not imagine him at the Berestneffs. I don't know ifhe knew them.

There was an intellectual exactitude about him that did not wallow in anything. He was brisk and energetic. He walked miles in that classroom. He had no mannerism we could get hold of, no obvious way of talking or gesticulating, nothing to label "foreign" or quaint that would relegate him to a collector's item among teachers. He had a quick sympathetic smile for atrocious pronunciation, charity for our mistakes, and a kindly interest in our efforts. But he did not spill over onto us. Student-teacher rapport of the

shimmers through the past. But enough, let that summer day be in focus again; spotty sunlight; shadows of branches across the blue car; a pine cone upon the footboard, where some day the most unexpected of objects will stand; a shaving brush.

sort now oonsidered a necessity was not a and we were here, and there was no confusing violent need or demand in those days. There the two. For the first time I dimly underwas a generation gap and there was expected stood-though the understanding did not to be one. A. society, its ages and stages serve me till later when I began to writeof life all glued together in a heart-to-heart that fact and fiction, "here" and "there," association would have seemed hideous and were different, two realms, and for the fastipreposterous. I don't know if any student had dious artist must always remain so. It may an outside-class, come-to-my-house relation- have been this capacity to be so actively in ship with Mr. Nabokov. I did not and I the present himself that made Mr. Nabokov don't believe any such existed. Even in un-refugee-like. An ironic half sentence from class his teaching had a trim and tailored his story "A Forgotten Poet" -" ... no elegance. He did not go into transports, and matter whether the Tsar be called Alexander, he did not allow words or ideas to go on a Nicholas, or Joe" -succinctly reveals his spree. Senorita Oyarzabal got carried away devastating detachment for what it really with passages of the Spanish poets. She was, the sense of history that kept him whole reminisced while she taught. It was part of and healthy, both as human being and writer. the wistful spell she wove. With Mr. Nabokov . Another half sentence at the end of "Madewe remained with the lesson. Yet if we were moiselle 0" as surely puts all literary detachreading an extract from Pushkin's Queen ment in its proper place, at the far end of of Spades or lines from a Lermontov poem, heartbreak, not something separate and we "saw" the scene as he explained it to us distinct from the aching, feeling process: in detailed visual miniatures re-creating the " ... I catch myself wondering whether, durvanished setting of Tsarist Russia with its ing the years I knew her, I had not kept high bourgeoisie, and its hard-drinking, utterly missing something in her ... someduelling officer class. We saw it as in a mirror, thing, in short, that I could appreciate only or framed in wood, or glimpsed through an after the things and beings that I had most archway, alive and peopled, but confined to loved in the security of my childhood had its own space and time, not intruding on been turned to ashes or shot through the ours. He filled us in with wit and a clear eye heart." Perhaps only the indomitable among on the background, history or personality writers and men can rebuild in fiction a world we were reading about, but it was there irrevocably lost with so clean and uncluttered a vision, and only a handful of the creative can invent, as Nabokov did, a whole new had once been fresh and bright but which world on the ashes of the old. were now worn to a thread, dead things By the time I began to read Nabokov, among the living ones; dead things he. had made America peculiarly, breathshamming life, painted and repainted, takingly, his own. I was not surprised that continuing to be accepted by lazy minds this encounter did not reflect the voice of serenely unaware of the fraud. the immigrant, or the more sophisticated - The Real Life of Sebastian Knight emigre, or echoes of any other lifetime. This was life in its own right, conveyed in language that was nothing if not lyrically, startlingly have to make a rapid inventory of the original. Of all those who have loved English universe, just as a man in a dream tries and made it their own, Nabokov's use of it to condone the absurdity of his position has seemed to me the most enrichingby making sure he is dreaming. I have to the result almost of a meeting between two have all space and all time participate in civilizations, rather than an artist and a new my emotion, in my mortal love so that the medium, or an exile and a foreign tongue. 0 edge of its mortality is taken off, thus helping me to fight the utter degradation, ridicule, and horror of having developed Nayantara Sahgal is an infinity of sensation and thought a well-known novelist within a finite existence. and journalist whose -Speak, Memory articles have appeared

I a car (New York license plate) passes along the road, a child bangs the screen door of a neighboring porch, an old man yawns in a misty Turkestan orchard, a granule of cinder-gray sand is rolled by the wind on Venus, a Docteur Jacques Hirsch in Grenoble puts on his reading glasses, and trillions of other such triflesoccur-all forming an instantaneous and transparent organism of events, of which the poet (sitting in a lawn chair, at Ithaca, N.Y.) is the nucleus.

A s often was the way with Sebastian Knight he used parody as a kind of springboard for leaping into the highest region of serious emotion .... With something akin to fanatical hate Sebastian Knight was ever hunting out the things which

Some people-and I am one of themhate happy ends. We feel cheated. Harm is the norm. Doom should not jam. The avalanche stopping in its tracks a few feet above the cowering village behaves not only unnaturally but unethically.

-Pnin

in India's leading newspapers and magazines.

She has also written for American publications.

Among her books are

Prison and Chocolate Cake, The Day in Shadow, Storm in Chandigarh, and From Fear Set Free. She has visited the United States a number of times, and has taught at Southern Methodist University in Dallas, Texas.

AN INDO-U.S. JOINT VENTURE

Though not yet a year old, Semcon produces 10,000 diodes a day, all for export to the U.S. Besides being technically perfect, Indian diodes have the advantage of being less expensive than their American counterparts.

Half a world separates Santa Ana in California from Santa Cruz in Bombay, and to most people there is nothing common between the two communities except their Spanish/Portuguese names. But there is a connection, albeit a small one: a tiny electrical device known in the electronic industry as a diode.

Micro Semiconductor Corporation in Santa Ana and Semcon Electronics Limited in Santa Cruz collaborate in the manufacture of micro-type semiconductor diodes, plastic devices, hybrid circuits, computer core memory diode arrays and other special devices for use in a host of American products ranging from automobiles to telephones.

Semcon is one of 50 firms to start work in the 100-acre Santa Cruz Export Electronic Processing Zone (SEEPZ). SEEPZ became operational in 1975 and Semcon began production in March 1977. Though only a year old, it is already producing 10,000 diodes a day. Semcon is the brainchild of Ashok W. Phansalkar, a young Indian engineer with a bachelor's degree in electronics from the University of Houston in Texas, and research experience with NASA. Micro Semiconductors, on the other hand, is a small but leading manufacturer of high-reliability diodes in the United States.

The two companies found each other by sheer happenstance.

Micro Semiconductor was looking for an overseas facility where manufacturing costs would be lower than in the United States.

Phansalkar, who came back to India in 1971, saw the huge SEEPZ area coming up near Bombay airport. It gave him the idea of establishing a small export-oriented electronic factory that could meet some of America's growing need for highquality diodes. Learning of Semiconductor's interest in an overseas diode manufacturer, Phansalkar got in touch with them, and

the result was the collaboration between the two companies.

The Semcon plant does not look like a factory that is massproducing quality diodes: it has the sleek look of a first-rate hospital. A large elevator takes the visitor up to an airy and spacious foyer. On one side is the handsome office of Phansalkar and a large empty area that in the next few months will become the site of Semcon's plant for diffusing raw silicon into chips.

From the windows of the empty hall one can see the low hills of the Santa Cruz area in the distance; to the west and across the road are the export and import warehouses of SEEPZ, and office buildings housing banks, post offices, travel agencies and customs inspecting facilities.

On the other side of the large foyer is the Semcon factory, and you enter it through- a beautiful carved door of wood and glass. The passage is paved with yellow and blue tiles; the walls are wood paneled; the air conditioning is just right, and everything seems quiet till one hears the gentle tinkle of glass striking something metallic.

Further down the corridor the tinkle of glass becomes more audible, and one sees an operator feeding glass diodes at the rate of 800 a minute into a lead straightener machine. Occasionally one hears the whine of the ultrasonic cleaner which is used to clean diodes of impurities. The work force at Semcon is 30 (all girls) and all wear surgical white-like nurses-as they feed and operate sophisticated electronic machines taking diode manufacturing through its several phases.

"Right now we are producing 10,000 pieces a day," said Ashok Phansalkar, "but very soon we expect to push production up to 50,000. Actually we could have produced that much from the beginning, but rather than go in for large production, we decided to use the time to stabilize the engineering aspects of the production, and only then aim for large volume." He added: "Our initial production was not so much to produce goods as to train our girls, and to show our collaborators that it is possible to manufacture low-cost diodes in India that meet the rigorous specifications of American manufacturers."

Engineers from Santa Ana came to Santa Cruz to look at Semcon's facilities and their method of operations and went back satisfied that their collaboration with the Indian company

was a good idea. Micro went so far as to send their vice president, Cesar Penia, a wizard in electronic manufacturing, to India with samples of various parts to be tested in Semcon machines.

The results obtained in Semcon machines in India matched those in the United States.

One of the biggest buyers of Semcon-made diodes in the U.S. is Chrysler Corporation. "Chrysler buys our diodes at the rate of 200,000 a month," said Phansalkar. "They use them for the automatic seat belt assembly. Tliey require high-reliability diodes because there is a lot of stress on every component in a car. And a Chrysler must operate both in the Arctic cold of Alaska and in the searing heat of the Arabian desert-so the diodes they buy have to be capable of functioning in extreme climates," said Phansalkar.

Everything that Semcon makes is exported. As Phansalkar said, industries located in SEEPZ have to export everything they produce. They can sell locally, but only to people who have import licenses.

At 29, Ashok Phansalkar knows exactly what he wants, and the direction his company should take in the future. He is not satisfied with Semcon's restricting itself to manufacturing the rectifier 'and the zener diode. (Zener diodes are used to regulate voltage, and they come in various packages. Different configurations and different materials are used to manufacture them.)

Phansalkar is in the process of marketing a pacemaker using lithium batteries. The lithium batteries allow the pacemaker to function for about seven years against the normal two to three years. "It is one of the most sophisticated pacemakers available, and we have a collaboration agreement with Intermedics Incorporated of Freeport, Texas," added Phansalkar.

"We are hoping to introduce this product in the Indian market, because its import is allowed as a life-saving device.

And if we get a good share of the market, we will purchase the kit material from the United States and then assemble it here.

By doing this we can bring down its price from about Rs. 13,000 to less than Rs. 4,000."

Ashok Phansalkar inspects a strip of diodes for America's Chrysler Corporation, which buys 200,000 Semcon-made diodes a month.

The diode'is a new link in Indo-U.S. commerce and, literally, a small link. But the results are big. Indian-made diodes are extensively used in a host of American products today.

Phansalkar is also interested in manufacturing another product-also made by Intermedics-an intraocular lens that can be implanted in the eye after a cataract operation. The intraocular lens eliminates the thick glasses associated with cataract patients. According to Phansalkar, these lenses could be sold for less than Rs. 200. And, of course, there is a big export market for both these medical aids.

Phansalkar and his partner Dharamdas M. Jhaveri have invested Rs. 250,000 in Semcon, with Micro Semiconductor Corporation of Santa Ana holding a 20 per cent equity interest

in the firm. Though a small unit, Semcon took about six months to set up. "This was because we did not want our plant to be inferior in any way to an American plant," explained Phansalkar.

"We imported our machines from the United States, and planned them according to specifications laid down by Santa Ana engineers. We have made sure," he added, "that the dust in this plant is less than five microns, for in a semiconductor factory dust causes serious manufacturing problems."

Semcon gets all its raw material-silicon chips, glass sleeves, tungsten slugs, copper leads-from Micro Semiconductors and

does not pay for any of them. "We just charge the processing costs," said Phansalkar. "That means that we do not block their money or our money. But when we begin supplying people other than Micro, we will have to pay for the raw material."

Semcon is a small company with no pretensions to high finance and complicated management. Ashok Phansalkar is the managing director, Dharamdas Jhaveri, the chairman, and there is one seat in the company board for the U.S. firm. The company is in a way like the diodes it makes-small, neatly packaged and very useful.

0

CORPORATION BOWSTOA WRITER Xerox Corporation, the copier manufacturer that has underwritten programs of quality for both public and commercial television in America, ventured into sponsorship of print journalism recently with an investment in a magazine "special" -$55,000 in fee and expenses to a writer, Harrison E. Salisbury, for a 23-page article,~'Tr!lvels_ Through America," and $li5,000 in advertising to Esquire magazine, which published the article. Although Xerox gave the magazine and the author "full editorial control," a distant dissenting voice stopped the giant corporation in its tracks.

In the letters column of The Ellsworth American, E.B. White (right), an essayist noted for his columns in the New Yorker and other magazines, criticized Xerox for sponsoring the article, and warned that Esquire's "new idea in publishing" charts a "clear course for the erosion of the free press in America."

The letter was read by W.B. Jones, then Xerox's director of communications operations, who invited White to present his argument more fully. This White did, in a letter so felicitous that it stands as a classic statement on the relationship between a free press and its commercial support. The correspondence between the two men is presented here with the permission of White, Xerox Corporation and the Authors Guild Bulletin, which originally printed the letters.

Reprinted with permission from the Columbia Journalism Review.

Š Graduate School of Journalism, Columbia University.

Mr. E. B. White Ellsworth, Maine

As a long-time admirer of your work and also one of the people responsible for the Xerox sponsorship of the Salisbury piece in Esquire, I read your editorial in the American with a great deal of interest- - and, frankly, some dismay. Because we're now considering sponsoring some other magazine projects, I'd like to understand better why you see the shadow of disaster in the idea before we decide whether to go ahead.

I understand your point that corporations shouldn't underwrite an article that promotes their commercial interests in any way. No argument. Salisbury's piece didn't (enclosed is a reprint), nor will any other project of this type that we touch.

Wegot into this as an extension of what we've done for years on television: sponsoring programs of substance that might not otherwise have gotten on the air. The programs were never about our business in any way; in some cases, they were so controversial that customers tossed out their Xerox machines. But most viewers seemed to see them as programs of high quality and value and they seemed to think better of Xerox as a result. That's worth something to us. Now, however, a number of other companies are sponsoring the same kind of television fare. We thought we might be able to do

something useful for Xerox by extending this same sort of support for projects of quality and significance in magazines and that this support would also be useful to magazines and their readers. We saw this as supporting the free press, not corrupting it.

It seemed to us that the sponsorship was not subject to question provided: - Boththe magazine and the writer had earned reputations for absolute integrity.

-Our sponsorship was open and identified to readers.

-The writer was paid "up front, "so that his fee did not depend in any way on our reaction to the piece.

-The writer understood that this was a one-shot assignment and he'd get no other from Xerox, no matter what we thought of the piece.

- The magazine retained full editorial control of the project.

With these ground rules, do you still see something sinister in the sponsorship?

The question is put seriously, because if a writer of your achievement and insight-after considering the terms of arrangement-still sees this kind of corporate sponsorship as leading the periodicals of this country toward the controlled press of other parts of the world, then we may well reconsider our plans to underwrite similar projects in the future.

~.B. Jones Director Communications Operations

In extending my remarks on sponsorship, published in The Ellsworth American, I want to limit the discusslon to the press--that is, to newspapers and magazines. I '11 not speculate about television, as television is outside my experience and I have no ready opinion about sponsorship in that medium.

In your recent letter to me, you ask whether, having studied your grOlmdrules for proper conduct in sponsoring a magazine piece, I still see something sinister in the sponsorship. Yes, I do. Sinister maynot be

'Sponsorship in the press is an invitation to corruption. The temptations are great, and then the right word, but I see something ominous and unhealthy whena corporation underwrites an article in a magazine of general circulation.

This is not, essentially, the old familiar question of an advertiser trying to influence editorial content; almost everyone is acquainted with that conunon phenomenon. Readers are aware that it is always pJ:esent but usually in a rather subduedor nonthreatening form.

Xerox's sponsoring of a specific writer on a specific occasion for a specific article is something quite different.

No one, as far as I know, accuses Xerox of trying to influence editorial opinion. But manypeople are wonderingwhya large corporation placed so muchmoneyon a magazine piece, whythe writer of the piece was willing to get paid in so unusual a fashion and why Esquire was ready and willing to have an outsider pick up the tab. These are reasonable questions.

The press in our free country is reliable and useful not because of its good character but because of its great diversity.

As long as there are manyowners, each pursuing his ownbrand of truth, we the people have the opportunity to arrive at the truth and to dwell in the light.

The multiplici ty of ownership is crucial.

It's only'when there are few owners, or, as in a governmentcontrolled press, one owner, that the truth becomeselusive and the light fails.

For a citizen in our free society, it is an enormousprivi~ege and a wonderful protection to have access to hundreds of periodicals, each peddling its ownbelief.

There is safety in munbers: The papers expose each other's follies and peccadillos, correct each other's mistakes and cancel out each other's biases. The reader is free to range around in the whole editorial bouillabaisse and explore it for the one clam that matters--the truth.

Whena large corporation or a rich individual underwrites an article in a magazine, the picture changes: The ownership of that magazine has been diminished, the outline of the magazine has been blurred.

In the case of the Salisbury piece, it was as though Esquire had gone on relief, was accepting its firs.t welfare payment, and was not its ownmanany more. The editor protests that he accepts full responsibility

for the text and that Xerox had nothing to do with the whole business. But the fact remains that, despite his full acceptance of responsibility, he somehowdid not get around to paying the bill.

This is unsettling and I think unhealthy. Whenevermoneychanges hands, something goes along with it--an intangible something that varies with the circumstances. It would be hard to resist the suspicion that Esquire feels indebted to Xerox, that Mr. Sal1sbury feels indebted to both and that the ownership, or sovereignty, of Esquire has been nibbled all around the edges.

Sponsorship in the press is an invitation to corruption and abuse. The temptations are great, and there is an opportunist behind every bush. A funded article is a tempting morsel for any publication--particularly fOl one that is having a hard time making ends meet. A ftmded assignment is a tempting dish for a writer, whomaypocket a much larger fee than he is accustomed to getting.

Andsponsorship is attractive to the sponsor himself, who, for one reason or another, feels an urge to penetrate the editorial columns after being so long pent up in the advertising pages.

These temptations are real and if the barriers were to be let downI believe corruption and abuse would soon follow. Not all corporations would approach subsidy in the immaculateway Xerox did or in the same spirit of benefaction. There are a thousand reasons for someone's wishing to buy his way into print, manyof them unpalatable, all of them to somedegree self-serving.

Buying and selling space in news columns could becomea serious disease of ~he press.

If it reached epidemic proportions, it could destroy the press. I don't want IBMor the National Rifle Association providing me with a funded spectacular when I open mypaper, I want to read what the editor and the publisher have managedto dig up on their own- -and paid for out of the till.

My affection for the free press in a democracygoes back a long way. My love for it was my first and greatest love. If I felt a shock at the news of the SalisburyXerox-Esquire arrangement, it was because the sponsorship principle seemedto challenge and threaten everything I believed in: that the press must not only be free,

is an opportunist behind every bush. A funded article is a tempting morsel for any publication.' it must be fiercely independent--to survive and serve. Not all papers are fiercely independent. Godknows, but there are always enough of them arotmd to provide a core of integrity and an example that others feel obliged to steer by. The ftmded article is not in itself evil, but it is the beginning of evil and it is an invitation to evil.

I hope the invitation will not again be extended, and, if extended, I hope it will be decl~ed.

About 150 years ago, Tocqueville wrote: '1be journalists of the United States are generally in a very humbleposition with a scanty education and a VUlgar turn of mind."

Todaywe chuckle at this antique characterization. But about 50 years ago, when I was a YOtmgjournalist, I had the good forttme to encotmter an editor who fitted the description quite closely. Harold Ross, who fotmdedThe NewYorker, was deficient in education and had--at least to all outward appearances--a vulgar turn of mind. Whathe did possess, though, was the ferocity of independence. He was having a tough time finding moneyto keep his flotmdering little sheet alive, yet he was determined that neither moneynor influence would ever corrupt his dream or deflower his text. His boiling point was so low as to be comical.

The faintest suggestion of the shadowof advertising in his news and editorial columns wouldcause him to erupt. He would explode in anger, the building would reverberate with his wrath and his terrible swift sword wouldgo flashing up and downthe corridors.

For a YOtmgman, it was an impressive sight and a memorableone. Fifty years have not dimmedfor me either the spectacle of Ross's ferocity or my ownearly convictions - -whichwere identical with his. He has come to mymind often while I've been composing this reply to your inquiry.

I hope I've clarified by a little bit my feelings about the anatomyof the press and the dangers of sponsorship of articles.

Thanks for giving me the chance to speak mypiece.

Mr. E. B. White North Brooklin, Maine

Thank you for your ringing, strong letter telling me what I didn't want to hear.

We have a couple of Salisbury-like projects now in the works, but your letter has stopped us in our tracks.

We're trying to sort out our dilemma now.

When I know what we're going to do, I'll give you a report because we very much appreciate the care you have taken to spell out the issues clearly and forcefully so that we can understand the risks of what we believed would be useful support of substantive journalism.

W.B. Jones Director Communications Operations

Mr. E.B. White North Brooklin, Maine

I promised you a report on further Xeroxsponsored articles like the Salisbury piece in Esquire.

We had two projects in development at the time we received your letter. Since then we've aborted them both, and, although that process involved some discomfort, we now feel better for it.

Your correspondence was a primary factor in our reconsideration and we do appreciate your help in reaching what I am convinced is the right decision.

Sincerely, W. B. Jones Director Communications Operations

ON THE .

LIGHTER SIDE

hI:

I

1\ . )

pHI !

'I

I.

.

,

:1< . ~;,'\ r ....;).

,- .

... ;. t

\

j i

'/

.

I

:l!l.

• 7 (

"I say, eat, drink, and be merry,for tomorrow we will be listed under 'extinct' in the Encyclopaedia Britannica." © 1976. Reprinted by permission of

Saturday

REST AREA NOT F"oR ~

"Do me afavor-can

TUEWICK£D

you see my mother anywhere?"

© 1971. Reprinted by permission of

Saturday

Review

and Francis Smith.

"You're not meditating, you're snoring." © 1976. Reprinted by permission of

Ladies Home Journal

and Gene Myers.

Review

and Ed Fisher.

+L"./)

INDO-U.S. JOINT COMMISSION

IEW STIATEGIES rOI COOPEIATIOI An important adjunct of President Carter's three-day visit to India was the third meeting of the Indo-U.S. Joint Commission in the Panel Room of Rashtrapati Bhavan on January 3, 1978-a few hours before the President and his party left New Delhi for Saudi Arabia. The Commission was s~t up by the U.S. and Indian governments in 1974. It has three subcommissions: on economics and commerce; education and culture; and science and technology.

The meeting at Rashtrapati Bhavan, which was cochaired

by U.S. Secretary of State Cyrus R. Vance and India's Minister for External Affairs Atal Behari Vajpayee, reviewed the work done by the three subcommissions, and developed plans and strategies aimed at further promoting and diversifying relations between the United States and India.

The Commission decided to set up an Industrial Working Group to undertake joint discussions and research in the field of industry, particula~ly in small-scale industry, technology, and government-sponsored industrial high technology.

The Commission also agreed to promote research in agricultural inputs, marketing and processing.

The Commission decided to increase the number of educational and cultural fellowships from its present 10 to 15, and to initiate a visitorship program. It proposed to hold two seminars in 1978 and two exhibitions-one in India in 1978, and another in America in 1979. The Commission recommended

greater exchange of films and television documentaries between the two countries.

The Commission agreed that the two nations would undertake cooperative research in wildlife and habitat, solar activity related to weather phenomena, oceanography and earth sciences. It also emphasized the need to convene meetings of experts to develop projects in other .sCientificand technological fields.

Secretary Vance and Minister Vajpayee signed an agreement under which the United States will program its Landsat earth resources satellite to transmit data directly to a ground receiving station in India. The Landsat will provide information that will be useful to India in various fields, such as in estimating crop yields, in oil and mineral exploration, in monitoring marine resources, in disaster warning and relief, in planning large river basins, in arresting the march of deserts such as the Great Indian Desert.

At the end of the Commission's meeting, the two cochairmen, Cyrus Vance and Atal Behari Vajpayee, expressed satisfaction at the decisions taken. They also declared the intent of their governments to continue to expand the scope of the Commission for mutual benefits through annual meetings as well as through individual exchanges under its sponsorship.

The Hindu of Madras SaId that these decisions promised "a new flagging off for the Indo-U.S. Joint Commission to rouse itself in discharging its appointed role."

D

NEXT ISSUE:

COLOR PHOTOGRAPHS OF PRESIDENT CARTER'S VISIT

the American South.

Like Gandhi, King believed that truth and love are the strongest forces in the universe. Like Gandhi, he knew that ordinary people armed only with courage and faith could overcome injustice by appealing to the spark of good in the heart even of the evil-doer.

Like Gandhi, we all learned that a system of oppression damages those at the top as surely as it does those at the bottom.

And for Martin Luther King, like Mahatma Gandhi, nonviolence was not only a political method, it was a way of life and a spiritual path to union with the ultimate.

These men set a standard of courage and idealism that few of us can meet, but from which all of us can draw inspiration and sustenance.

The nonviolent movement for racial justice in the United States-a movement inspired in large measure by the teachings and examples of Gandhi and other Indian leaders, some of whom are here todaychanged and enriched my own life and the lives of ma!?-ymillions of my countrymen.

I am sure you will forgive me for speaking about this at some length. I do so because I want you all to understand that when I speak of friendship between the United States and India, I speak from the heart as well as the head. I speak from a deep, first-hand knowledge of what the relationship between our two countries has meant in the past and how much more, even, it can mean for all of us in the future.

For the remainder of this century and into the next, the democratic countries of the world will increasingly turn to each other for answers to our most pressing common challenges: how our political and spiritual values can provide the basis for dealing with the social and economic strains to which they will unquestionably be subjected.

The experience of democracy is like the experience of life itself-always changing, infinite in its variety, sometimes turbulent, and all the more valuable for having been tested by adversity.

We share that experience with you and we draw strength from it. Whatever the differences between my country and yours, we are moving along the path of democracy toward a common goal of human development.

I speak for all Americans when I say that I am deeply grateful that you and I D travel that road together.

JIMMY CARTER: 'INDIA IS A SPBCIAL PLACE' In most of his New Delhi speeches, President Jimmy Carter stressed the unique character of India derived from its philosophical and Gandhian heritage.

Speaking at the American Embassy on January 2, soon after paying homage to Mahatma Gandhi at Rajghat, the President made a feeling reference to "the beautiful and President and Mrs. Carter at the Gandhi memorial, simple memorial," a symbol of Rajghat. They are looking at an early photograph of Gandhi's "simple, courageous Mahatma Gandhi in a book presented to them here. and dedicated life, principles which never change." Mr. Carter added: "He was indeed, and still is, a spiritual leader of the whole world, and he represents principles that I try to keep ever present in my own mind-the hope for peace, for nonviolence, for pure truth, for dedication, for compassion, for understanding, for love, for simplicity. And even in his great strength as a moral leader, he was able to exhibit all these characteristics. " "India is a special place," Mr. Carter said, "because of Gandhi, because of Nehru, because of Desai and others. There is a sense in the world that moral leadership derives from the Indian people in a direct and continuing fashion.

And I think the elections in India this past year have once again shown a reconfirmation of commitment to democracy in its present form: the right of individual citizens to make their own decisions through freely elected government officials."

Later that day, replying to a toast proposed by President Sanjiva Reddy, President Carter referred to Mahatma Gandhi, to the influence on him of Emerson and Tho'reau, and to Gandhi's influence in turn on Martin Luther King, Jr., "who studied the works of Gandhi and adopted nonviolence and the force of truth as the essence of his own beliefs .... So from our country to you and from you back to our country, there is a circle of learning, a circle of mutual trust, a circle of friendship, a circle of respect, and also a circle of shared responsibilities and shared commitment."

The U.S. President said that India "sets a moral standard for many of us to emulate. And the judgment that is spoken by the leaders of your country makes a great impact on those of us who sometimes have been criticized. We think twice before we incur the disapproval of India and your leaders, because we realize that your standards of morality and justice are very deeply felt."

President Carter mentioned the Bhagavad Gita, a copy of which had been presented to him earlier by Prime Minister Morarji Desai. "One passage from that great book stood out in my mind. I can't quote it exactly and I can't interpret it well, but it said when a country is flooded, the reservoirs become superfluous.

Krishna went on to explain what he meant in this message, that when one's heart is filled completely with an awareness of or love for God, the other considerations in life are incidental.

"I had a thought this morning too, about the beauty ofIndia, as I stood at the memorial to Gandhi. This is a lovely time of year. And the flowers are bursting forth. I walked for an hour or so this afternoon in the Moghul Gardens outside this palace, and was much impressed by the quietness and sense of peace. Even in your busy streets and alongside the highways there is a sense of inward beauty among the people, a sense of inward peace in their hearts and also outward beauty in your buildings, in your trees and in your flowers.

"I also felt a common purpose with you in the principles which we all represent. ... " D

IMPRESSIONS

or ROSALYNi

I had seen Mrs. Carter's pictures in the papers and read little pieces about her from time to time since she became America's First Lady. I was pleased, therefore, when I was invited to meet her at a women's luncheon given by Mrs. Goheen, the wife of the American Ambassador to India.

The guests consisted mostly of eminent social workers, and we awaited the arrival of the guest of honor with pleasurable anticipation. I do not know what others were thinking, but I confess I wondered if the lady we had come to meet was really interested in India's sociological problems, or if this was the usual diplomatic way of creating an image irrespective of her personal interest.

Mrs. Carter arrived on schedule and entered the room unobtrusively. The security people accompanying her stayed outside. She went up to her hostess and introductions were made.

What was different and pleasing was that there was no attempt to "gush" -a mistake so many VIPs are apt to make. No overenthusiasm, not a single unnecessary word, just a smile and a quiet "pleased to meet you." She was dressed in a simple blue suit with a pink pin stripe and a pink blouse. There was no elaborate coiffure and only the slightest make-up. It was not the studied simplicity that takes time and money to achieve, but something completely natural.

The clothes had obviously been chosen for their utility value but seemed just right for the image of a serious-minded woman.

But it is my belief that Rosalynn Carter did not have any "image" in view when she decided to wear this suit. The image created itself because what she was wearing revealed her personality.

We moved into the dining room.

According to the program given to the guests earlier, a number of points regarding different aspects of the social work had to be discussed and there was not much time at Mrs. Carter's disposal.

It would not have been strange if she had rushed into questions, but she spent the first few minutes in personal talk which she

CARTER

did gracefully. Presently, more serious matters were mentioned and Mrs. Carter wanted her notebook and pencil. She found she had left her purse in the living room, and with a word of apology to her hostess and before we knew what exactly was happening, she had pushed back her chair, gone to the living room, picked up her purse and was back in her seat at the table ready with pad and pencil to take notes. This incident made a big impact on several of those present. Mentioning it later, one of the guests said to me, "Just fancy, the President's wife going to fetch her purse from the next room when there were so many servants present who could have done it for her!" If all the President's publicity men had got together to plan one incident which would endear Mrs. Carter to an Indian audience, they could not possibly have thought of anything to equal the impact of this spontaneous gesture.

Lunch ended, and we gathered in the living room where the real talks began. Mrs. Carter was really interested in the problems revealed to her. Her own particular work with handicapped children is obviously something to which she attaches importance and that matters to her. I admired the easy yet detailed manner in which she spoke about what she was doing. She is a calm person; there is no fuss or hurry about her movements or her conversation. She leaves a pleasant memory behind her.

That evening President Reddy gave a state dinner for President Carter. As a rule these functions are glittering occasions and stiff with protocol, but this time there was more informality and an easing of protocol. Mrs. Carter in a green chiffon dress moved about talking to other guests and seemed to enjoy meeting them.

Here again she was restrained, and even when asked the inevitable question as to how she liked India her reply was, in effect, that it had been a very worthwhile trip but too brief-I am sure she meant it.

To me the most striking impression of Rosalynn Carter is her natural dignity, obviously born out of her deep convictions and faith. A sensitive person, who, for all her outward gentleness, is a woman of considerable inner strength and courage. I would like her to know that my good wishes are with her in all her endeavors.

0

'I'D LOVE TO SII 1I0BE OF INDIA' Rosalynn Carter charmed the most acidic of Delhi's reporters -the girls. At her selective press conference, representatives of the four major dailies were women. "We were determined that we wouldn't make it just a woman-to-woman chat," they disclosed later. So they fired a volley of loaded questions on South Africa, human rights, nepotism, the U.S. arms budget ... and Mrs. Carter "fielded them all very well." The all-girl press corps agreed that she was "utterly charming and unflappable."

Mrs. Carter returned the compliment. Impressed by their searching questions, she happily confessed to Mrs. Jagat Mehta, wife of India's Foreign Secrefary, that she never expected them to be so "hard" on her. The woman libber in her was pleasantly surprised that they hadn't just asked questions about her "perfumes, clothes, eating habits and her family."

Mrs. Mehta, as lady-in-waiting, was with Mrs. Carter for most of the hectic three-day Indian odyssey. Giving her impressions of the VIP visitor, she remarked that "perhaps the greatest thing about her is that when you are with her you quite forget that you are with the First Lady of America.

"She has a refreshing lack of airs. She strikes you as a very charming, knowledgeable and intelligent woman who is very very serious about what she is doing. You get the impression that even if she wasn't the President's wife, she would still be doing what she is doing now, especially her welfare work."

Rosalynn Carter's Delhi program had been chalked out keeping this in mind. Her first independent official engagement reflected her priorities: a working luncheon with prominent Indian women to acquaint herself with problems and progress in the areas of child and women welfare, rehabilitation of the physically and mentally handicapped, rural health care and related fields of social development.

Mrs. Carter, notebook in hand, asked them about their work as she partook of the vegetarian lunch hosted by Mrs. Margaret Skelly Goheen, wife of the U.S. Ambassador in India, at the residence of Deputy Chief of U.S. Mission Archer Blood.

The luncheon exchanges were still on the First Lady's mind as she drove from there to the NDMC (New Delhi Municipal Committee) Community Centre at Panchkuin Road. In a brief

Rosalynn Carter bends down to help tiny Premlata put a tilak on her forehead as part of the colorful welcome at the NDMC Community Centre.

reply to the welcome address by NDMC President Omesh Saigal, she stressed the importance of welfare projects for children and referred to her talks with the Indian women earlier that afternoon, "I've learnt a lot about your problems. We have. similar problems too."

Striking a more personal note, she told the eager audience that she had heard "so much about India from Jimmy's mother. . .. She told us of the warm hospitality of India and we've now seen that it is all true. The warmth of the reception we've had is overwhelming," she smiled as she touched the half dozen marigold garlands around her neck.

There were more than garlands to welcome her. In contrast to the sedate and quiet reception at the working lunch, here Mrs. Carter was greeted with music, flowers, songs-and dozens of excited but disciplined chi.ldren. The flower-bedecked archway -prominently displaying he~ photograph-was surrounded by onlookers who had come to have a glimpse of America's First Lady. As the car neared the gate, a group of tiny children, wearing highland gear, struck up their pipes and drums. Older children presented a gU::lrdof honor.

At the verandah-more flowers here-three girls blew conch shells in a traditionally auspicious gesture of welcome.

Mrs. Carter lit a brass lamp. Two tiny tots-a girl, Premlata, in a .colorful Rajasthani lehnga choU, and a boy, Vijay, in a white kurta pyjama-came forward to garland her and put a tilak on her forehead. A chorus of schoolgirls sang a Bengali song. of welcome. As jostling photographers clicked their cameras, Mrs. Carter was presented with a dozen hand-embroidered handkerchiefs, and a knitted cardigan for daughter Amy.

In the auditorium a two-item song and dance entertainment program followed the welcome speeches. NDMC Senior VicePresident Shiv Charan¡ presented a silver bowl and tray to Mrs. Carter on behalf of Delhi's workers. Mrs. Carter gifted a record player to the center- "This is my way of saying thank you" -before starting on a tour of the place.

With her genuine interest in all that was going on, Mrs. Carter made it more than a formal, official visit. She had a few minutes and a few words for the women sewing (this is part of the project to help them supplement their family's income); children studying, painting, making clay models; and the babies in the creches.

Next morning, in a quick change of program, the Carters drove to Daulatpur-Nasirabad (now renamed Carterpuri), a village 29 kilometers southwest of Delhi. (See box on page 47.)

That postponed her visit to the Central Cottage Industries Emporium by more than two hours, but mindful of the care and efforts taken by the Emporium, she spent as much time there as earlier scheduled, though it meant a lot of rushing around later as the Carters were to leave Delhi in a couple of hours from then.

Dressed in a becoming old-rose suit, Mrs. Carter went around the Emporium to watch the II craftsmen who had been specially brought to Delhi for the occasion when it was learnt that she was keen to see India's master craftsmen at work. Squatting on the floor, they seemed unaffected by the clamor around them. The First Lady put on her spectacles and bent down to watch the busy hands making beautiful things.

The meena (enamel) worker putting delicate color touches on a hand mirror; the brass, metal, wood and ivory craftsmen doing intricate inlay work, carving, gently chiseling and hammering out designs; a Gujarati couple knotting saris in preparation for a tie-and-dye treatment; a young carpet weaver working briskly on colored threads at his loom....

Mrs. Carter was fascinated by them all and asked detailed questions about each process, the artists and their families.

"It's unbelievable," she said after seeing all the masters at work. "I amjust amazed that they can do that very delicate work by the hour. It's really beautiful. I hope you keep on doing it because we can't do anything like that in our country." With a laugh, she added, "I don't think we have the patience."

She took back with her some mementos of this patient handiwork-gifts given by the Emporium-a 3-metal (silver, copper, bronze) Thanjavur box with a peacock design; a 20-inch terra-cotta model of a Bankura horse, the symbol of the Emporium; and, for Amy, a red lehnga with a green choU and a yellow-and-red chunni.

An interesting sidelight at the Cottage visit was the presence of Sunil and Nargis Dutt, India's famous film couple. The Dutts are friends of the Carter family and were proud invitees at the Carter inauguration. The story behind their visit to Delhi . to meet the Carters speaks of the warmth of the first family: Despite her hectic schedule, Mrs. Carter found the time to telephone the Dutts in Bombay to say hello and ask them down to Delhi.

"It was so wonderful of them to find the time and to remember to contact us. It just shows how much they value friendships.

They are wonderful, warm people," said Nargis Dutt.

Mrs. Carter told Nargis that she was "fascinated" by what she had seen of India and touched by the warm reception, the music and flowers that greeted them. The Dutts invited her to come again soon "without Jimmy so that she could see India in a more relaxed manner." ''I'd love to see more of India," replied Rosalynn Carter, "I hope I can."

0

Ups and downs of skiing America's favorite winter sport has developed into a skillful art, with dare-devil young Americans adding new stunts to the existing repertoire. Hot-dogging, the American term for any exhibitionist athletic performance, has skiers doing incredible acrobatic actseverything but headstands! To meet the growing demands of more and more skiers, every midwinter in America comes up with a few more new ski resorts, innovative ski gear and a fresh set of tricks.

Aspen, Colorado, the world's largest ski resort, lights up with fireworks and torch-bearing skiers every February to celebrate the Winterskol pageant (top). Kite-skiing (center, left) and ski-splash (left) are among the exciting el'ents. In the latter, contestants ski down into a pool. In Vail (center, right), another resort at Colorado, skiers window-shop as they return to their lodge.