Word: core
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Dates: during 1960-1969
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Farmer implicated Harvard in a press conference last week at the University of Chicago, where CORE has been staging a two-week marathon demonstration to protect segregation in off-campus apartment houses. The University of Chicago had purchased the apartments as part of an urban renewal program to upgrade the adjoining community...
Columbia and New York Universities will be the next targets of CORE demonstrations. Farmer told the press conference that he saw a pattern of racial discrimination at many of the large metropolitan universities. Both Columbia and New York Universities are two of the largest real estate owners in New York city. Farmer claimed that at both universities "there are still apartment houses from which Negroes appear to have been systematically excluded...
...demonstrations at the University of Chicago marked what Farmer termed the start of a great struggle to root out housing segregation in the North." As a result of its protests, CORE claimed a temporary victory by obtaining from University of Chicago President George W. Beadle a statement that the university would "never discriminate in its apartment houses against any student, staff or faculty member...
...attack on adult illiteracy. "Functional illiterates" in the U.S.-those adults with fewer than five years of schooling-numbered 7.8 million in 1959, and form the hard core of the unemployed. A fiveyear, $50 million program would help colleges train teachers to deal with the problem, give aid to states for the school districts where the illiterates are clustered...
...cover the whole troubled literary landscape of the time; it is a largely sympathetic study of a few whose temporary literary power exceeded their permanent influence: Malcolm Cowley, editor of the New Republic, Granville Hicks, editor of the New Masses, Mike Gold and Lincoln Steffens at the hard core, Edmund Wilson and Dos Passos hovering on the periphery. They formed what Gold envisioned in the late '20s as "Communism's literary shock troops," and their motives, Aaron observes, were "by no means reprehensible.'' But within these limitations, he has sketched the choreography of a great troupe...