al, moving, making us feel that we cannbe proud of what was before us.nLaurie Anderson: United States;nHarper & Row; New York.nOozing with banal superficiality. Annattempt to sum up modernity innAmerica in images and lyrics by an”performance artist,” whom her publisherncalls a “superstar of the avantgarde.”nWhat’s “avant-garde” thesendays?nEdward Lucie-Smith: Art in the Seventies;nCornell University Press;nIthaca, New York.nA thorough survey of junk, artificiality,npretentiousness, platitudes, and sterilitynof what the term “art” tried tonencompass during that decade—withna few bright and engaging exceptions.nGeorge Tice: Lincoln; Rutgers UniversitynPress; New Brunswick, N|.nThe legend of Lincoln cast in stone;nmonuments and signboards, motels,nand groceries—all in the name ofnLincoln.nThe World (LenMonde) HasnStopped Turningnby Thomas MolnarnLe Monde is on the point of collapse!n—screamed headlines in Paris last fall,nand they did not mean that relativelynunimportant thing, the universe, butnthe newspaper bearing that title. Thencollapse of the New York Times wouldnbe only half as supersensational, because,nalthough the latter is far oldernthan Le Monde, it is, believe it or not,nonly half as influential. The differencenis that the French daily is not writtennPeter Bacon Hales: The Photographynof American Urbanization, 1839-n1915; Temple University Press; Philadelphia.nSuperb evocation of the American pastnin black and white photography thatnlooks as if it was supposed to dramatizenthe message of what we have done onnthis earth.nFrank Whitford: Bau/jaus; Thamesn& Hudson; New York.nAn honest and meticulous introductionnto the name, notion, and reputationn(so often maligned) of a school ofnart and applied arts which formed thenmodern sense of the visual to a largerndegree than most of us wish to admit.nJohn Fowles and Jo Draper: ThomasnHardy’s England; Little, Brown &nCo.; Boston.nPhotographs of Victorian andnEdwardian England that bring Hardynand his work to mind with faded picturesnthat inspire the sort of sobernsentimentality that pitches visual realismnagainst nostalgic feelings. ccnCORRESPONDENCEnfor the average 13-year-old, but fornelite readers who expect their afternoonndose of subversion to be couchednin a suggestive style, the pages to benfilled with literary references, and thencoverage to be in-depth, intelligentn—and biased. More even than in thenN. Y. Times, the systematic underminingnof the Western world is understoodnto be a profoundly serious business.nHigh KGB intelligence officers wouldnhave done well to learn the subtletiesnof their trade in Le Monde’s editorialnoffices. Perhaps they did.nThe announcement of the imminentncollapse of Le Monde has strucknthe paper’s friends and foes with aboutnthe same impact which the sack ofnLIBERAL ARTSnAcademic DoublespeaknAmerican scholars have a hard timenreconciling the principle of academicnfreedom with their desires for politicalnorthodoxy. The solution is found in thenPublications of the Modem LanguagenAssociation:nThe journal is receptive to a varietynof topics, whether general ornspecific, and to all scholarly methodsnand theoretical perspectives.nBut:nThe MLA urges its contributors tonbe sensitive to the social implicationsnof language and to seek wordingnfree of discriminatory overtones.nAh,nfolly.nnnvhen lovely * * * * * stoops tonccnRome had on St. Augustine. To understandnthe reason, we have to considernwhat Le Monde has representednfor the past 40 years.nWhen Paris was recaptured from thenGermans, not a few journalists andnfinancial sponsors pounced on dailiesnand weeklies, confiscating editorial offices,nequipment, and printshops, withnthe excuse that these publications hadncollaborated with the occupant. Thisnwas no more and no less true than,nlet’s say, our university presidents’ collaboration,nin the 1970’s, with thenstudent rebels occupying their offices;nthe claim, however, sounded noblenenough in a period when an entirennation of men suddenly discoverednAPRIL 1985/33n