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THE

Vol. 1, No. 2

TO THE MEMBERS Of THE GRADUATING CLASS ·
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AND VERY BEST WISHES FOR YOUR FUTURE

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The · g~VOL. I, No. II

·· • '

•'" I

- Brandon College
APRIL 1944

EDITORIAL BOARD
JOHN A. CRANE, Manager, Board of Publications
GENEVIEVE FULOSKI, GORDON LINDSAY • - - - - - - Assistant Editors
T. H. M . .McLEOD, J . R. FORRESTER - - - - - Faculty Advisors
BUSINESS STAFF
ROBERT CRAWFORD, Advertising Manager - GORDON DALY, Circulation Manager

THE DARING Y0 UNG MAN ___ _____ --------------------------------------------------- 3
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LINES TO A POLITICIAN -- ----------------------------------------~------------------ 9
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PROPHECY CLASS '44 ------------------------------------------------------- ·------------- 13
GRADUATES ----------------------------- ------------------------------------------------~------ 15
CLASS PICTURES ----·- ------------------------------------------------------------------·--- --- 18

THE SPECTRUM is published quarterly as an official publication of the Brandon College
Board of Publications.

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MARY ANN ENGLISH
NEARLY e~eryone has read something written by William
Saroyan. Pocketbooks of his snort stories are on every news-stand;
his plays are included in various anthologies; recently, he even
managed to write, produce and direct a movie, "The Human Comedy". Since this enterprising young American writer is so much
talked about these days perhaps it would be of value to trace some
details concerning his life and letters.
His father, a writer and teacher in Armenia, was forced to flee
to America because of his radical activities. According to his son,
the father had only two moods, sad and very sad. Nevertheless, he
settled as a farmer in California where the boy, William, was born
in 1908, in the Fresno Valley. All of Saroyan's childhood was spent
in this vineyard district. Some of the curious and wonderful events
of this period in his career he relates in the book, "My Name Is
Aram". For some time after leaving the Fresno Valley in 1925,
Saroyan lived in New York and other American centres. His experiences as a destitute youth in a strange and hostile city during the
depression years he has . depicted in many of his short stories, the
most notable of which is "The Daring Young Man On The Flying
Trapeze". These strange, rambling, rather chaotic fragments of his
life are perhaps the best of all his writing. They are sad and bitter,
for the most part, and yet there is always a certain courageous humor
which raises them above the level of mere caustic documentation.
After the acceptance by "Story" magazine of the short story
"The Daring Young Man On The Flying Trapeze", Saroyan's success
became pretty well assured. Within the next few years he made a
trip to Russia, published several volumes of short stories and wrote
three successful plays: "Love's Old Sweet Song", "'(he Time of Your
Life" and "My Heart's in the Highlands." Of th ese three, "The Time
of Your Life" has received th e gr eatest anrnunt of public attention
and has done the most to earn for Saroyan the reputation of being
a whimsical and an out-of-this-world sort of writer. Following his
recent success in films, Sarovan found himself drafted into the U.S.
Army. This eve1it is particularly interesting in view of the fact that,
during the thirti es, he wrote a story called "Fight Your Own War"

11.

in which he stated graphically just what he would do if he were
called upon to join an army. However, like many others he seems
to have changed his views in this respect within the last few years,
so that he likely has no longer the same objection to mi1itary service.
Not all the changes in Saroyan's attitudes have been quite so
free from harmful effects as th e change in his attitude to conscription.
With the lengthening of the distance from his childhood background,
increasing prosperity and its attendant social acclaim, Saroyan seems
to have lost something of his artistic ability. There is a certain
sharpness of focus present in such stories as "Harry" and "Love' ~
which is relatively lacking in "The Human Comedy". Perhaps it is
only natural that, as Saroyan himself has become more satisfied with
life, he should tend to neglect the sordid and the tragic with which
he deals so beautifully in his first stories. It may be that out of his
war experience he will create work as valuable as his earlier pieces.
But this hope lies, as yet, in the realm of the future; let us examine
tlle material at hand.
There are certain themes which recur frequently in the various
writings of Saroyan, especially those which were produced during
his earliest years as a writer. These themes all tend to relate to
the seamier side of life, such as death, frustration, starvation, vice and
degradation. But balancing this <lark side is the theme of faith in
man which is interwoven with all the others. This is the predominant
note in all of Saroyan's art. Through everything it remains solid and
permanent. . Saroyan believes that man himself is essentially good,
but that corrupt institutions and restricting laws have caused his
misery. This point of view is clearly emphasized in "The Time of
Your Life". There the detective, Blick, a thoroughly unpleasant
character, represents the force of authority and brings tragedy into
the lives of the "beautiful people".
As to style, there is a great variation. At times the effect.is that
of a child writing for the first time, completely entranced with the
idea of putting words down on paper one after th e other. Then, the
style is ultra-simple. Short sentences and plain language are used.
At other tim es th e style is quite different. It becomes smooth-flowing,
much more . complicated, ancl the ideas contained in the words are
more tightly woven into th e fabric of the writing. However there is
at all times a certain calmness and tranquillity of tone which distinguishes the work of Saroyan. This quality may be a product of the
author's racial background. As Christopher Morely has said: "Mr.
Saroyan has the Asia-Minor gift for telling a tale perfectly", and he
not only tells it perfectly, but perfectly in a strangely unique wav.

AC'"'. r:'l, ----- _____ :- __.___ _L_ ____

S

He combines, somehow, the quiet lucidity of the oriental with all
the flash and spontaneity which we think of as being typically
American. This combination gives the rather childlike effect of
innocence and buoyancy. Then too, the quick and subtle perceptions
are like those of a child. The humor also-and there is a great deal
of that-is a child~s humor, simple and quiet, not producing loud
guffaws or stifled snickers, but clean, uncomplicated laughter. But
above all, it is the simplicity of Saroyan's writing that makes one think
of a child. There is, or seems to be, no system, no overriding principle
of art to cramp the flow of words. In one of his stories, Saroyan says:
"All my life I have laughed at rules and mocked traditions, styles,
and mannerisms. How can a rule be applied to such a wonderful
invention as man?"
While there do seem to be no definite rules that Saroyan follows,
there are, at the same time, various technical devices which he
utilizes. First is the "stream of consciousness" method. In common
with most contemporary writers Saroyan makes frequent use of this
interesting manner of crystallizing a character's thought flow into an
intelligible pattern. It is while using this technique that Saroyan
produces his most brilliant writing, From the short story, "The
Bridge" comes this bit of "stream-of-consciousness""After the silence of the earth came the silence of
himself, timeless, spaceless, shapeless, old and vast and
rythmic. No music. .Mathematics. The steady beat of
pulse. A crawling lizard. A gliding fish. A green reptile.
The tinkle of glass. The rodent-subway roaring through
the dark passage. The living and the dying going nowhere.
The chug of gulching water, flowing through the mind,
lapping at the spirit."
By actually thinking out this passage for himself, not just reading
it once over lightly, the reader can submerge his mind into that of
the character who is thinking. And then all the misery and despair
and loneliness that is in the heart of the young man in the story can
be felt in all its intensity by the reader.
With regard to technique, the lack of plot in Saroyan's stories
is also a notable factor. Very often there is no emphasis on character
either, so that a whole story structure may rest upon the establishment .
of a particular mood. Then, in a piece such as "Myself Upon the
Earth", there is even very little sustaining c;>f mood. This story is
merely a rather rambling collection of thoughts and ideas which
seems to have no underlying structural unity.

6
However, from the point of view of illuminating tlrn personality
of its author, "Myself Upon the Earth" is a valuable bit of litei·ature.
Of his own purpose and aim Saroyan writes in this story: "I am trying
to restore man to his natural dignity and gentleness . . . I want to
lift him from the nightmare of history to the calm dream of his own
soul." This preoccupation with humanity, and the intense sympath:v
for his fellow m en which he plainly reveals in "The Daring Young
Man" and "Seventeen" emerges again in the statement: "When
multitudes of men are hurt to death in wars I am driven to a grief
that borders on insanity." Closely bound up with that sympathy
is his attitude toward violence: "I despise violence and I oppose
bitterly those who perpetrate and practise it."
The following two quotations indicate his general attitude toward
life: ."Is any journey so vast and interesting as the journey of the mind
:through Jife? Is the end of any journey so beautiful as death?" "I
iove and worship life, living senses, functioning minds. I love consciousness. I love precision ." It is clear that Saroyan is trying to
somehow transcend everyday life and escape into a mystical world
of ethereal visions. His scorn for the material and the humdrum is
evident everywhere i'u his writing, but is particularly illustrated in
these quotations from "Myself Upon the Earth": "I am not interested
in the destiny ofnations, and history bores me .. . I do not b elieve
in commerce. I regard all macl?inery as: junk . . . .I do not believe in
fame. It is a form of fraudulence . : . . What h as the printing of
novels got to d oi with .their . greatness?"
And yet, tht~iigh,: :\ iJ( this : airy mysticism blows the refreshing
breeze of gay h~1.n1_of; ~ ?'ai-6yan ·thumbing his nose at the proprieties.
H e writes: "It is"::es'seritial ' foi" ine to stick pins in po~npous balloons.
. . . I love to make small explosions with the inflated bags of
moralists, cowards_3 .and wise men." To Saroyan, hurnilitv is one of
:J he great things .. :He is at all times careful. to b e humble . himself,
and he laughs at .those· who forget that humility is the matk of greatness. In this .res.pect,_as well as in many others, Saroyan approaches
th e Christian philosophy, but apparently he does not embrace
Christianity as a .xeligion, for he says: "Like most Ameri cans, my
faith consists in pe,_lieving in every religion including my own, but
without any ill:-will toward anybody, no matter what he b elieves
just so his personality is good."
Because Saroyan does not offer any positive or concrete solution
to the problerns of our day, he cannot be placed in the topmost ranks
of contemporary literary figures. While his lack of social conscious-

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ness-except of a very abstract type-adds charm, and, some will say,
profundity because of its very abstractness, it represents a serious
defect in Saroyan's work as far as contemporary opinion goes. It will
also be a defect from the historical point of view. To be sure, in
"The Daring Young Man" Saroyan does reflect the spirit of his era,
but there remains a major part of his work which is not particularly
representative of the times. There is a timeless quality which places
his writing apart from any particular age, and from one standpoint
this is a valuable asset.
Another quality of Saroyan's work which prevents it from being
classed with the greatest literature is its unintellectual character.
While there is tremendous emotional depth there is,. as yet, none of
that intellectual profundity which is the mark of great art. However
of the short story form, one which does not necessarily require
intellectual acuteness, Saroyan is a master. His quick eye for detail,
his tendency to experiment, his wise simplicity, passionate sincerity,
and imaginative sensitivity, all contribute to his artistic handling
of the short story. Probably his achievements in this form alone will
be of sufficient importance to gain him a place among the fine writers
of our day.
But whether or not his name is long .. remembered, Saroyan's
stories will have provided delightful reading for countless numbers
of his contemporaries. Although he describes himself as "a young
man with a dark mind, and a dark way in general", his other self. is
irrepressible. He is impertinent for all his seriousness. He can
describe T. S. Eliot, whom he evidently admires, as "with rolled
sleeves baking bread". Although perhaps he cannot be all things
to all men Saroyan presents a many-faceted talent which can be
enjoyed by all in its charm of both style and thought, its beautiful,
mystic escape from noisy · materialism, its humor, quaintness and
originality, its gentle tenderness toward humanity, and, most important of all,. its tragic eloquence. .
·

8

DER FUEHRER, by Konrad Heiden

(Houghton Mifflin, 1944)

The whole story of Hitler's rise to power from the beginning
to the blood purge of 1933, told at first hand. The author, as a
student in Munich in 1923, was the leader of a group of democrats
who tried-without success-to eliminate Hitler. In the years
following he watched and kept a diary of the rise of National
Socialism. The book is fortified by documentary evidence from
the Hoover Library at Stanford University, California. It is thus
not only a profound and revealing narrative but a valuable work
of history. Essential reading for anyone who wishes to understand
the political trends of contemporary Eur9pe.

CANADA AFTER THE WAR, by
Scott (editors).

Ale~ander

Brady and F. R.

A study of various post-war problems, by ten leading Canadian
authorities: B. S. Keirstead (National Policy), A. Brady (Parliamentary Democracy), F. R. Scott (The Constitution and the Post War
World), Charlotte Whitton (The Reconstruction of Social Services),
F. H. Saward (Canada and the World), D. C. MacGregor (Full
Employment), J. F. Parkinson (International Economic Reconstruction), F. A. Knox (Exchange Control), W. M. Drummond (Agriculture), F. Hawkin (In~µstry) . Written for the layman.

· ACC. ~·o. _

9

DESMOND PACEY
Do not saw the air so, Mr. Bauer,
Uttering the platitudes of the hour.
Do not trouble to be subtle,
Do not trouble Mr. Bauer.
Do not say it all again,
It is plain.
Crumble into dust, as you must,
But do not saw the air.
Do not raise your voice so, Mr. Bauer,
Mouthing the much-mouthed mottoes.
Do not glare so, do not stare! am not impressed,
Am no Laertes to be lectured,
Shall not cringe, shall not cower.
Talk if you willI'll keep stillBut do not raise your voice.
He does not gauge my feeling, will not understand,
Continues waving, shouting, glaring roundWhile I stand frustrate like a man
Wedged in a crowd before a cheap brass band.

lO

,(/ q.~ ~
dJ.~-.Mo.JuldiOH.
WESTLEY WONG
TODAY, with television hobbling along on crutches, its destiny uncertain, there looms a revolutionary form of radio transmission
with great possibilities for the future. It is called "frequencymodulation." You have all heard or read about it, and at least you
probably understand it to mean "staticless radio." That is what it
means-in part-but there is much more to it than that. It is the
purpose of this article to give the reader a brief account of what
F-M (frequency-modulation ) is, and of its possibilities.
Frequency m q_dulation is not new. It all started b ack in 1937
when a group of radio engineers pioneering in this field first tried
out th eir new idea by actually going on the air. The millions of
radfo listeners in the New York area were unaware of this spectacular
experiment taking place under their very noses because th e p eculiar
radio waves hurled into the eth er from horizontal rods on a high
tower brought no response from the regular receivers . But to the
few experimenters equipped with specially-built receivers came a
thrill as keen as a first airplane ride . They were astonished to hear
the perfect naturalness of the reception. The voice they heard was
minus th e croak and th e clothes-pin-on-nose. There was no incidental
background noise-what we term "static". The voice was so life-like
that the listener might have thought it to h ave originated in the same
room h e was in. Therein lies the b eauty of this "statidess radio."
No less astonishing is the tone and volume ran ge of F-M broadcasting. It permits reproduction of all tones and overtones up to
and even beyond the normal hearing limit of the human ear. The
average home receiver has a tone r'ange of about one hundred and
fifty to three thousand cycles, less than the complete range covered
by musical instruments. The higher overtones, then , are not repro··
duced in th e ordinary receivers, so the naturalness is lost. The F-M
receiver · covers as high as fifteen thousand cycles-practically the
entire audibl e range of frequencies .
That is all very impressive. Why, then, you might be persuaded

'·
v

11
to ask, did F-M not become a sensation overnight? Two reasons
seem apparent. Television was just being boosted from the experimental stage to the commercial field at that time, when it seemed
the very thing that was necessary to give the radio industry a sorelyneeded lift, for television, after all, could easily be adapted to the
existing system of radio broadcasting. Then came F-M, which
required a complete disruption of the present radio set-up, and its
vast investments. Thus-the sad fate of F-M. Those concerned
said, "Well, we'll just have to forget frequency-modulation until
television gets established, and then . . . " Yes, then what? But
despite these admittedly great difficulties, F-M has a very definite
future, perhaps more so than the much-discussed television.
We owe much of this new radio field to Major Edwin H. Armstrong, Professor of Electrical Engineering at Columbia University.
Previous to his discovery of F-M, he did much to promote the advancement and betterment of radio receiving, and we owe our present
superheterodyne circuit to him. His first suggestions as to the
possibility of eliminating static were thought impossible. The great
radio men of the time argued that static was inherent with the
received signals. It could he shown "mathematically" that static
was with us for good, and stuck with us like taxes, so why waste
time trying to get rid of it? But Armstrong set out to prove his case
by inventing a radio wave that was so different in character from the
natural and man-made static that the two could be separated in a
receiver.
It is not the purpose of this article to delve into the technical
details of the mechanism by which F-M works. But in popular
language, it might be briefly explained as follows. The ordinary
radio wave is a continuous "carrier" wave upon which is impressed
a sine wave. This process is known as modulation. The radio wave
is caused to alter its energy level or amplitude by the signal wave,
so our present radio system might be termed "Amplitude Modulation"
(A-M) as contrasted with Frequency Modulation (F-M). Armstrong
was after a wave "with the shakes" -one that would wooble when
modulated instead of altering its amplitude. This new wave altered
its frequency but not its amplitude, and the frequency shift represented the volume of the sound and the rapidity of the change of
its pitch. Static, like the ordinary radio wave, changes in amplitude
but not in frequency, and so Armstrong's new wave would naturally
dodge undesirable disturbances .
The fact that F-M stations can operate on the same frequency
without causing interference, provided that they are spaced fifty to

12
one hundred miles apart, offer a great possibility. The receiver simplv
selects the strongest signal , and throws all the rest out, so that one
and only one station will be picked up at a time. v\That a contrast
to our standard broadcast band, when, not infrequently, we are
annoyed to hear stock market quotations superimposed on a program
of fine music, although the two interfering stations may be thousands
of miles apart!
Because of these obvious improvements of F-M over our present
system, we may expect the future possibility of large networks of
F-M stations, each serving a small area of say one hundred miles
radius, connected into chains by relay stations. In fact, the plan
has already been proved a feasible one.
It will take some time, perhaps ten years or more, before F-M
will become universal. The transition will be gradual, and the first
sets that are offered to the public will likely be combinations of both
old and new types. In time, people will find that the regular broadcasts sound lifeless, and increasingly difficult to listen to.
That, in essence, is frequency-modulation. Only a few of its
possibilities have been mentioned. To the exacting listener, it will
offer endless enjoyment in the world of music-music just about as
you would hear it in a concert ha11.

13

P~~ o/J

elad." 'Jt.Jt.

MARION EPTON

Reincarnation has them, shall I say,
rust where it wants them;
.
Has conquered all the skeptics' sneers
And placed th em
In a meadow, passing fair,
Quaint reproductions of their former selves,
A band of Houyhnhnms no less.
{Superior men as horses guised
Which Mr. Swift so eulogized).
l E:ntered the meadow (passing fair) of the Houyhnhnms-now
renamed H 44's for convenience. I turned at the sound of hoof beats
and saw galloping from a clump of trees a beautiful H 44. "Charming, a thoroughbred no doubt," I thought aloud. The beautiful H 44,
without a blush of course, bade me welcome and explained that all
H 44's were superior beings. She told me that she and her band were
the former class of B.C. '44-much to my joy for I was a proud member also of the class of '44 (3944 A.D. however). Glasgow, for she
it was, invited me to attend a conference which was proceeding on
the river's edge.
My attention was immediately drawn, on reaching the river, to
two extremely frolicsome H 44's splashing and screaming in the
water-Delamater and Bowman. Bowman, it appeared, was quite
disgusted with Delamater's little moron joke, and had taken time out
from her missionary activities among the Yahoos to put her incorrigible friend back in order. Delamater of course won the water battle
because of her scientific knowledge, gleaned in the ·London Royal
Lab., of water pressure and densities, and the necessity of oxygen.
The conference, meanwhile, had become almost riotous- not
quite of course. It see.m ed that English and Kitson had come to a
deadlock concerning the tactics .to be used in conquering the weeds
in the H44's gardens. I argued for Major Kitson's complete-annihilation tactics but moved away when Major English drew out several
I.Q . tests from her pocket with a determined air.
The conference then began to investigate the financial situation
of the H 44 Society. Chancellor of the Exchequer Bailey proudly

14
announced that at last he had found a way to keep the printing
presses tossing out money without causing an inflation in the long
run. Being a good chancellor, naturally he did not reveal the process.
Glasgow turned away and whispered that that inflation was old
stuff-but please how long was a long run? Bailey told me "off the
record" that the process was associated with the new non-expanding
gases (he knew a good thing). Glasgow, meanwhile, beckoned toward
an extremely handsome 1I 44 who trotted amiably over and asked us
to say "Ah". We said Ah and admired his curly mane. "What is
more," continued Dr. Brown, "Wong over there has after two years
of research discovered a new cushion-action horseshoe guaranteed
to last from Brandon to Winnipeg at a good gallop."
I asked Dr. Brown to show me the H 44 stables and we took
.reluctant leave of Glasgo·w, who said she would see me properly
bedded down and fed later.
Inside the first luxurious stable I saw Hughes-nodding over a
huge yellow autographed banner. It seemed it had haunted her
across the years. ~umeston cantered in shortly after I had settled
myself. The serene Humeston, familiar face in Chem. text bi)oks,
entertained me with many anecdotes of college residence life and
overdue fodder fees.
Outside the stable I heard the sound of ·hoofs and the roar of
many voices. I looked out and saw More and my dear Alice conducting the prancing but willing McKenzie, McPherson and Longphee
in an intricate folk song beginning "From thy gates, oh Alma Mater."
I understood that More and Graham were testing out their music
teaching abilities on the three H 44's since they insisted on improving
their former residence serenading (2000 years and still?). I was
about to inquire further into their amazing pasts as the mystery men
of the twentieth centl.lry, when Dr. Braithwaite, former sociological
and psychological advisor to Major Kitson, galloped over She told
me to go quickly~old Epton had just died of Stringent Skepticism.
This beh~g a very infectious disease, I left the peaceful meadow
at high speed, firm in my resolve to follow in the footsteps of the
gallant fellows of my Alma .Mater.

1.5
Iva Delamater

Oak River, Man.

Science; Lady Stick, Honor Society, Secretary
B.C.S.A. '43, Secretary Science Club '43, Lit Board
'43, Dramatics, Chapel Choir.
Our co ll ege bl o nde-would like to go on to study
med ical t echno logy-rendered one of B.C.'s most
da ng ero us wolves harmless this year-one of the two
" Dead End Kids" -clever and gay .

George Longphee

Brandon, Man.

Science; Senior Stick, Honor Society, Senior
Men ' s Athletic Rep '43, Board of Publications '42,
Dramatics, Baseball, Hocke~, Bowling, Science Club.
Lots of energy and enthus iasm-the corny gag
man- effi cient leader-frequen tly see n in Doi ly's
co mpany-never seems to study, but always comes
out on top-accepted as potent ial technical off icer
in the Ordnance Mechanical Engineers div ision of
th e a rmy . ·

Mary Ann English

Brandon, Man

Arts; Literary Board '44, Grad Banquet Committee '43, Women's Athletic Rep '43, First Te.rm
Formal '44, English Scholarship '42, Dramatics,
Contemporary. Club.
Soph isticated, inte lligen t Ma ry An n is des t ined
to se rve in the C.W.A.C. ~r e no wn as a philosophy
st uden t-has litera ry ability with a st yle of he r own
-prominent in Dramatics, especi a lly thi s yea r in
" Th e Grea t Dark."

·J ames S. Brown

Brandon, Man.

Science; Arts Banquet C'ommittee '41, '42, War
Committee '43, Physics Lab Assistant '44, Hockey,
Science Club.
Perm anentl y curl ed ha ir-Jim m 1;1s t a lways "ta lk
t hin gs over intell ectua ll y" to hi s adva ntage- one of
t he ma insta ys of ou r hockey t ~a m s- th e oth er ha lf
of W ong and Brown.

~ arah Gwen Glasgow

Regina, Sask.

Arts; Pres ident, Class '44, Arts Banquet Committee '43, Assistant Advertis ing Manager '43,
Chapel Committee '44, Dramatics.
Expects to do soc ial wo rk ·beca use what she wou ld
like to do will ha ve to wai t uhtil th e wa r is ove r-an
e nthusiast ic economics student-starred in " The Grea t
Dark " in whi ch she made a neve r- t o- be-fo rgott en
entrance .

16
Joyce Braithwaite

Brandon, Man.

Arts; Head of Lit Board '44, Co-ed Executive '43,
French Club '42, Sickle Editor '43, General Proficiency '42 '43, Contemporary Club Executive '43.
Quiet and reserved, Joyce is an enigma to her
classmates-clever and capable she leads h~r classes
in academic work-literary ability-a clickety-click
girl (a knitter) -fluctuating plans for the future.

Cliff Kitson

Brandon, Man.

Arts; Honor Society, Senior Strek '43, Literary
Board '42, Finance Board '42, '44, Class Executive
'42, Quartette '42, Trio '44, Red Cross Tours,
Hockey, Chapel Choir, C.O.T.C.
Our "one pip wonder"-has shown singleness of
mind in his private as well as academic life-haunter
of the library-often seen in the Clark Hall Reception
Room perusing records with Marj .

Marion Epton

Rivers, Man.

Economics; Honor Society, Co-editor of Sickle.' 42,
Lit Board '43, President Contemporary Club '43, '44,
Class Executive '43, '44, Manager Board of Publications '44, Activities Committee '44, Co-ed Execuitve
'44, Quartette '43, Quill Editor '43, International
Relations Club '42, Scholarships '42, '43.
Her activities show her interest in her Alma
Mater-also her capability and versatility-reserved
but agreeable and pleasant-interested in all that's
new or different-our one and only Honors Ee student
-Marion has done much good work on the Pub Board.

Murray McPherson

RR 4, Brandon, Man

Science; Finance Board '43, Board of Publications
'44, Chem Lab Assistant '42, Hockey, Soccer, Science
Club.
One of our star hockey players-affable and
friendly-his room is the scene of many an "intellectual" discuss ion-takes an interest in the smaller
things of life.

Ruth Humeston

Brandon, Man. -

Science; S.C.M. Executive '43, Science Club,
Chapel Choir, Glee Club, Librarian.
"Rufus" is often accused by her fellow-students
of working too hard-quiet and unassuming-regarding her future work, Ruth says, " Well , that is up
to the Selective Service just now ."

17

Roy McKenzie ("Stupie")

Portage, Man.

Science; Treasurer · of Main Executive '43, President of Sigma Mu '44, Head of Residence Council
'44, Curling, Science Club.
One of our star curlers-possesses long rolling
laugh, easily provqked-in most of the loca l battl es
-natu rally wavy hair.

Leslie Bowman

Isabella, Man.

Arts; Honor Society, Co-Ed Association Executive
'44, Class Executive '44, Chairman of War Committee '44, Head o·f Clark Hall Council '44, S.C.M.,
Debating, Choir, Quill Reporter.
Leslie has been one of the busiest girls in the
college during the past year-whenever something
had to be done Les was sure to be conscripted-one
half of the notorious team of Bowman and Delamater,
the "Dead End Kids"-sweet is the word for herhopes to go into social work.

Westley Wong

Brandon, Man.

Science; Pres. of Science Club '44, Advisory
Committee of Science Club '44, Chapel Committee
'44.
The man who gave the little moron stories their
impetus-the other half of Brown and Wong-more
commonly referred to as Winnipeg Wong-also
possesses a ca r with gas.

Anna Hughes

Brandon, Man.

Arts; War Committee '43, French Club '42,
Class Executive '42.
A girl with a mind of her own-hard-working
Anna has responded to the call of many a busy
comm ittee-frequently seen dilige ntly knitting for
men in the services-no definite pl ans for the futur e.

Missing: Ray Bailey, science; Sheila More, music ; Alice Graham, music

~

00

CLASS OF '45 BACK ROW: Pat Frith, Marian ne Kite , Zen Koester, Lenore Gusdal, Kay Hoemsen, Margaret Tait; CENTRE
•
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ROW: Nettie Weselowski, Irma Kitson, Gwen Pechet, Mr . Birkinshaw ( Honorary President ), Marion Jackson,
Ruby Thomson, Genevieve Fulosk i; FRONT ROW : Glen Tillotson, Andy Judson, Bill Baynton, Martin Brown, L. Lou is de Groot , Allen
Thompson, Allan Kn ight.

CLASS OF '48 BACK ROW : Lloyd Sulymka, Frank Humphries, Roland McCurdy, Mr. Martin (Honorary President),
•
Arthur McMurdo, Rodney Wright, Don Derenosky ; CENTRE ROW: Bernice Doughty, Mary McPherson, Nora
English, Christine Co ltart, Marjorie Elliott, Elaine Campbell, Doreen Clyde, Margaret Doupe, Betty Northcott, Doreene Fleming; FRONT
ROW: Gordon Daly, Erle Stinson, Bob Macintosh , Bob Mills, Harley Potter, Sam Johnston , Bill Chefurka, Gordon Lindsay.

......

~

~

CLASS OF '4 7 BACK ROW : George Ol iver, Helen McDuffe, He len Mi n ions, Willa Thompson, Pat Smell ie , Dr. Joi-ins

•
( Honorary President ), Eunice Hunter, Gladys Campbe l I, Laverna Kasuirak, Lo is Hunter, Raymond Poole ;
CENTRE ROW : Doreen Lewis, Anne Fedoruk, Orma McGuinness, Emily Smelts, Doreen Rowse, Eve lyn Kitson, Yvonne McMil la n,
Nadia Chernec, A nge la Thompson, Jean Brandt; FRONT ROW : Allan Fahrig, Peter Ga jers ki , J er ry Sil ver, Walter Fahrig, Geo rge Durn in,
Victor W illiamson , Lawrence Hargreaves, Alec Robson .

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Phone 3411

819 Ros er Ave., Brandon, Man.

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