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Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Nov 11, 1932
Page
1
Publication notice for Barnard College Students semi weekly during the college year titles Vol XXXVII November 11 issue details the Student body and Undergraduate Association activities. Readers are informed of the publication schedule and campus governance aims.
The list names Madlyn Millner as editor in chief and includes managing editors Hildegarde FitzGerald Gertrude Epstein assis editors Anna Jacobson Nannette Kolbitz Edith Kane Sara Gehman and others. It also credits About Town staff Mildred Barish Rose Somerville Margaret Weiss Marjorie Brittingham Rita London Jane Schwartz and printing staff Stephanie Morka Elinor Remer with class years beside many names.
Editorial notes a government department pamphlet urging participation, arguing that organized group activity aligns principles with party action. It says involvement keeps parties responsive and that inaction is a public duty as much as action, calling on Barnard-trained readers to join and influence.
Forum columnist criticizes the new Barnard Quarterly editor for the current issue. He argues the fiction choice, notably Edith Kane's Enna, is ugly and fails the editor’s call for mature treatment and lighter, wholesome stories. He cites want of convincing undergrad material and praises concise, scintillating writing instead. He singles out Emma Aileen H. Pelletier, class 33.
A Barnard Quarterly editor responds to Miss Pelletier over Emma and the magazine’s treatment of unconventional stories. He argues the issue is not morality but literary merit and style, defending the staff’s willingness to publish diverse minds and attitudes while inviting clear action from Pelletier regarding Quarterly.
The Musicians' Symphony Orchestra gave two strong Metropolitan Opera House concerts. Gershwin impressed with modern numbers and conducting. Reiner led Brahms and Mahler with notable craft. Salome excerpts drew enthusiastic applause. performances showcased skilled musicians and a growing audience excitement.
The article praises Paul Whiteman and his orchestra for advancing American jazz toward larger forms. It notes Gershwin’s rhythms, Ravel's Bolero and Kreisler pieces as illustrative, and commends Grofe's Grand Canyon Suite for its descriptive power and suitability to scenic cinema.
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