Cover Art: Sarah Lawrence Magazine
Editor: Frances Hills Welles ’33
On the cover, Katharine “Kay” Hogle ’34 (in a photograph by classmate Mary Morris Steiner) posed contemplatively with the tools of the graduate student. The lead story recounted her involvement in labor issues, notably the Seamen’s Union, as part of her master’s thesis research at Columbia. “Hogle has become an active champion,” the article read. “She is not content to sit on the sidelines, as many are, and donate to some vaguely realized cause. Kay is DOING something about it.”
Editor: Jane E. Gillespie
This issue presented the impressively full range of Sarah Lawrence creativity in the visual arts: The center photo display featured sculpture, drawing, painting, architectural design and building-model construction—even a woven suit. The cover concept was by Ezio Martinelli, who taught painting and sculpture at the College from 1947 to 1974, and the image was created by Eve duPont ’48.
Editor: Jane Lee Jackson
In an article entitled, “To Teach Is to Be Taught,” Joseph Campbell, literature faculty member from 1934 to 1972, wrote: “When I joined the faculty…I thought I knew all about women and nothing about modern education. Now I know all about modern education and nothing about women. This improvement in my condition is the result of having been taught, assiduously, for nearly two decades by from 30 to 40 young women a year…”
Editor & Designer: Carol L. Cheney ’66
On the Cover: The “Utsu no yama” (“Mount Utsu”) Episode from the Ise Monogatari (Tales of Ise), by Tawaraya Sotatsu (?-1630-?), from the collection of Mary Griggs Burke ’38
Karen Buetens ’86 was among the first students to attend the new Sarah Lawrence at Oxford program in 1985. In an essay on her year abroad, she noted that writing-savvy Sarah Lawrence students “were better prepared for the Oxford educational system than most foreign students.” Her art history tutor “wore high-top sneakers and has one pierced ear. Even though he dressed rather casually for tutorials and tried to make me feel comfortable by offering me coffee and biscuits, I was always terrified right before I stepped into his office.”
From 1975 to 1984, the alumnae/i magazine was largely a compendium of class notes, with occasional profiles or other alumnae/i news. This cover shows Nell Minow and David Apatoff, both from the Class of 1974, at their Fifth Reunion—and since married.
Editor: Elizabeth Lindsey
Cover art : Maureen Paley ’65
“U.S. involvement in Vietnam has officially ended, ex-president Johnson has died, and all the men here are getting their hair cut!” wrote Mary Byrne McDonnell ’75 in an essay, “Sarah Lawrence in Transition.” She wondered if the new look of students might be a manifestation of the end of a “morose, hectic and disruptive” era on college campuses.
“While I can say that styles of dressing have changed drastically, they have not all changed en masse to a new sameness. People are beginning to adopt their own styles rather than moving in unison…. Some of the gloom of the tension-filled war years has dissipated, and Sarah Lawrence students, women and men, seem to be enjoying each other and the College much more.”
Editor: Pringle Smith
Cover picture of Sarah Lawrence students in the snow by Gary Gladstone
For the “Comment” feature, Nina Lapsley ’63 reflected on her junior year at a school in Lucknow, India. She frequently visited the Literacy Village, where adults were taught to read and write. “This, for me, was the most exciting event of modern India. I never dreamed of understanding the new found joy of literacy; but when suddenly, after studying Hindusthani, I was able to read all the signs on the streets of Lucknow, a world was opened to me, too. A million secrets were revealed. I could read!”
Consulting Editor: Gurney Williams III
Associate Editor: Laurence Lippsett
The “Journalism on the Edge” issue included an excerpt from The Triumph of Meanness: America’s War Against Its Better Self, by literature faculty member Nicolaus Mills, about the new harshness—anger, even—in political journalism: “At the center of the new presidential reporting is not deep research or political analysis so much as a combination of personal denigration and character sketch. It is the catchy—preferably incriminating—detail that matters most…The writer invariably defines the president in terms of his personal foibles rather than his policies, thus shrinking the president in stature and putting him in the position of being the writer’s inferior, a figure whom it is easy to patronize.”