|As a professor, Balcomb Greene|
is said to have had a significant
influence on Andy Warhol.
Well, I just had to ask him to explain to me what was wrong with the paper. In a private conference he told me my analysis of the poem didn't jibe with the accepted school of thought on what Yeats was saying. While admitting my writing and analytical technique were fine, he nervously explained that I was simply wrong in my conclusions, no matter how well-stated my case might have been.
That sort of pissed me off, so I told him I thought that ambiguity could imply multiple meanings, and it deliberately invited alternative interpretations. Rather than defend his stance the man suddenly grabbed his face and broke into tears.
The sobbing professor went into a monologue on the shambles his life had fallen into. His personal life! Worst of all, he said, his deferral had just been denied by Selective Service, so he would soon be drafted.
He was wearing a pitiful brown suit. His thinning beige hair was oiled flat against his scalp. My anger over the bad grade turned into disgust. As I remember it, I walked out of his office to keep from telling him what I thought. Now I regret my impatience and feel sorry for the poor schlemiel.
Still, when the offer came at the end of the semester to expand my part-time job to full-time, I took the leap. My chief duty was to schlep visiting scholars around Virginia from one university campus to the next in a big black Lincoln.
Each week, under the auspices of the University Center in Virginia -- a consortium of Virginia colleges and universities -- there was a new scholar in a different field. Somebody had to drive them to lectures, dinners, convocations and to hotels throughout the week. For the spring semester of 1969 that was me.
Naturally, in the crisscrossing of Virginia, the wiseguy driver and the actually wise scholars had a lot of time to talk. Some of them kept to themselves, mostly. Others were quite chatty, in several cases we got along well and had great talks.
Three of them stand out as having been the best company on the road: Daniel Callahan (then-writer/editor at Commonweal Magazine), Henry D. Aiken (writer/philosophy professor) and Balcomb Greene (artist/philosopher and art history professor).
Callahan challenged me to think more thoroughly about situational ethics and morality. He was happy I was reading the books of Herman Hesse and others. He turned me on to “One Dimensional Man,” by Herbert Marcuse.
Callahan was quite curious about my experiences taking LSD, we talked about drugs and religion. Click here to read about him.
Aiken (1912-‘82) was then the chairman of the philosophy department at Brandeis University, he loved a debate. He was used to holding his own against the likes of William F. Buckley. Talking with him about everything under the sun in the wee hours, I first acquired a taste for good Scotch whiskey (which I haven't tasted in years).
From a ‘pragmatic’ point of view, political philosophy is a monster, and whenever it has been taken seriously, the consequence, almost invariably, has been revolution, war, and eventually, the police state.Aiken, like Callahan, agreed to help me with a project I told them about. Inspired by popular new magazines like Ramparts, Avant-Garde, Rolling Stone, etc., at 21-years-old, I wanted to jump straight into magazine publishing, with no experience, ASAP.
-- Henry D. Aiken
That dream stayed on the back burner for 16 years, until the first issue of SLANT came out in 1985. How I went about designing SLANT to be a small magazine, mostly featuring the work of its publisher, flowed in great part from my brief association with Balcomb Greene (1904-90). Of the rent-a-scholars I met, he was easily the funniest.
The son of a Methodist minister, Greene grew up in small towns in the Midwest. He studied philosophy at Syracuse University, psychology at the University of Vienna and English at Columbia University. Then he switched to art, having been influenced by his first wife, Gertrude Glass, an artist he had married in 1926. He became a founder of the avant-garde group known as American Abstract Artists in 1936.
After World War II, just as abstract art was gaining acceptance, Greene radically changed his style. He began painting in a more figurative, yet dreamy, style that fractured time. Click here,
and here, to read about Greene and see examples of his work.
One day I’ll write a piece about the visit to Sweetbriar with Greene. It was a hoot collaborating with him, to have some fun putting on the blue-haired art ladies of that venerable institution. This time my mention of him is to get this piece to I.F. Stone. It was Greene who gave me a subscription to I.F. Stone’s Weekly.
I.F. “Izzy” Stone (1907-89) was an independent journalist in a way few have ever been. In the 1960s his weekly newsletter was a powerful voice challenging the government’s propaganda about the war in Vietnam. Click here to read about Stone, and here.
"All governments lie, but disaster lies in wait for countries whose officials smoke the same hashish they give out."Stone remains one of my heroes. At my best, over the years, I have emulated him in my own small ways. Thank you for the schooling, Professor Greene.
-- I.F. Stone