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Vanguard Boojum 
page fourteen
(En Passant - continued)

     Congratulations upon the latest Stoneleigh transformation and the ever-delightful looking-backward. Puzzles are not for me; don't even read 'em. 
     To edit or not to edit reader's letters need not be an endless problem -- though at the time-distance involved with British contributors it's more involved. The sensible thing to do is to submit the edited version to threader for his approval, in order to make sure that (a) you have not cut anything he considered important, and, if so to permit him to correct if the original is poorly done (b) to make sure that what appears to be a error was not actually intended and belongs there in its original form. This takes a bit more time and care than many "fan publishers" are willing to essay, but in an association such as this, it ought to be something which the publisher is glad to do. Henry Sostman's article "En Re: the Nimble Aeronauts" struck me, due to the circumstances of the moment, as not advisable to publish in its original form, despite the fact that it was more telling and enjoyable thus, I submitted to Henry a list of what I felt must come out and what might be substituted, giving the reasons for each change, and he agreed. Had he dissented, the changes would not have ben made -- although I would not have felt free to publish the article until circumstances had changed, in such an event. 
     "The individual is supreme and not supreme" strikes me as a very excellent rendition of a facet of the "both/and" philosophy, as opposed to the "either-or" philosophy which is the root of one or two-value orientations. I cannot expand upon this now without kibitzing upon the reviews of my Agenbite article -- I must apologize even so, for such sin, as my comments on page eleven sprang from looking over Knight's shoulder -- so we'll let it go until next time. (The reason why "En Passant" follows "..." instead of modestly ending the book as did Shaw in Vanguard Variorum is that I don't want to expose myself to further temptation.)
     I, too, encountered that particular group of young fen, Sir Norman, and here do I depose and state that verily they were forsooth a "yelling horde". 
     Aye, good sir:  the good names of the seven have indeed been clear and villainy made manifest, but so, likewise, have our purses. Like Voltaire safety:  He was fleeced but twice; once when he lost a lawsuit and once when he won. 
     Leslie's Gramaphone Shop Encyclopedia of Recorded Music describes Ernest Toch (1887 - Still Living) as an interesting second-rate talent, which seems a just enough estimate from what I've heard of the man's work. ("Pinocchio -- A Merry Overture" on Columbia 11665D -- which overture sounds as if he were imitating Shostakovitch, particularly the S's finale to his 6th Symphony; actually, it was written before Shostokovitch's pieces in the same vein -- and "Quintet for Piano and Strings" in Columbia Set #460, as well as various movie scores.)  However, in regard to the "Clock" symphony:  while the best known work with that title is by Haydn (#101), T. K. Toch's "Clock" symphony has been quite forgotten. an outright worshipper of the young Berlioz, T. K. Toch shared that giant's unbounded enthusiasm for new and startling orchestral effects, Toch writing into his scores anything which made a controllable noise. I've seen sections of the symphony -- the second quadrant, for example, where, over a figured bass for musical anvils, and a pedal point in flutter-tongues tubas, Toch has nothing less than a rhythmic fugue for rain-machines!
     Please, Lord, let there be an Arthur J. burks, just for tonight! Because that's what was behind my Arthur J. Widner error. (And de Lawd

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Vanguard Boojum page fourteen (En Passant - continued) Congratulations upon the latest Stoneleigh transformation and the ever-delightful looking-backward. Puzzles are not for me; don't even read 'em. To edit or not to edit reader's letters need not be an endless problem -- though at the time-distance involved with British contributors it's more involved. The sensible thing to do is to submit the edited version to threader for his approval, in order to make sure that (a) you have not cut anything he considered important, and, if so to permit him to correct if the original is poorly done (b) to make sure that what appears to be a error was not actually intended and belongs there in its original form. This takes a bit more time and care than many "fan publishers" are willing to essay, but in an association such as this, it ought to be something which the publisher is glad to do. Henry Sostman's article "En Re: the Nimble Aeronauts" struck me, due to the circumstances of the moment, as not advisable to publish in its original form, despite the fact that it was more telling and enjoyable thus, I submitted to Henry a list of what I felt must come out and what might be substituted, giving the reasons for each change, and he agreed. Had he dissented, the changes would not have ben made -- although I would not have felt free to publish the article until circumstances had changed, in such an event. "The individual is supreme and not supreme" strikes me as a very excellent rendition of a facet of the "both/and" philosophy, as opposed to the "either-or" philosophy which is the root of one or two-value orientations. I cannot expand upon this now without kibitzing upon the reviews of my Agenbite article -- I must apologize even so, for such sin, as my comments on page eleven sprang from looking over Knight's shoulder -- so we'll let it go until next time. (The reason why "En Passant" follows "..." instead of modestly ending the book as did Shaw in Vanguard Variorum is that I don't want to expose myself to further temptation.) I, too, encountered that particular group of young fen, Sir Norman, and here do I depose and state that verily they were forsooth a "yelling horde". Aye, good sir: the good names of the seven have indeed been clear and villainy made manifest, but so, likewise, have our purses. Like Voltaire safety: He was fleeced but twice; once when he lost a lawsuit and once when he won. Leslie's Gramaphone Shop Encyclopedia of Recorded Music describes Ernest Toch (1887 - Still Living) as an interesting second-rate talent, which seems a just enough estimate from what I've heard of the man's work. ("Pinocchio -- A Merry Overture" on Columbia 11665D -- which overture sounds as if he were imitating Shostakovitch, particularly the S's finale to his 6th Symphony; actually, it was written before Shostokovitch's pieces in the same vein -- and "Quintet for Piano and Strings" in Columbia Set #460, as well as various movie scores.) However, in regard to the "Clock" symphony: while the best known work with that title is by Haydn (#101), T. K. Toch's "Clock" symphony has been quite forgotten. an outright worshipper of the young Berlioz, T. K. Toch shared that giant's unbounded enthusiasm for new and startling orchestral effects, Toch writing into his scores anything which made a controllable noise. I've seen sections of the symphony -- the second quadrant, for example, where, over a figured bass for musical anvils, and a pedal point in flutter-tongues tubas, Toch has nothing less than a rhythmic fugue for rain-machines! Please, Lord, let there be an Arthur J. burks, just for tonight! Because that's what was behind my Arthur J. Widner error. (And de Lawd