| the history of wake forest
been seldom used for other occasions that its size and quality might
have suggested, was converted into classroom space for business
and accountancy. Beginning in the fall of 1979 Efird Hall, a small
dormitory on the west side of Wait Chapel, was scheduled to become
a residence hall for women students, and men students would be
assigned rooms on the first floor, A side, of the still unnamed “New
Dormitory” on the south side of the campus. A German House, with
places for eight men and three or four women, would be located,
also the following fall, in an “apartment” in the manor house of
Graylyn. And, thanks to the generosity of the D.A. Rawley family
of High Point, a Journalism Laboratory, featuring new automated
electronic equipment, would be available for classes taught by jour-
nalism teacher Bynum Shaw, who had earlier been assigned a leave
of absence from his teaching duties in order to travel to some of the
major cities and study changes in newspaper production.
A librarian who had served on the old campus from 1911 to
1914 reentered the life of Wake Forest this year. Her name was
Louise Helms. After leaving Wake Forest she had married Martin
Beck, a prominent theatrical producer in New
York. In her will she left the University a collec-
tion of more than five hundred volumes, mostly
about the theatre and including books auto-
graphed by such playwrights as Eugene O’Neill
and Arthur Miller.
Another collection received by the library was
strikingly different in importance and use: forty
brass rubbings, facsimiles of monumental Eng-
lish brasses made in such a way as to duplicate
faithfully the original church memorials. They
were the best examples to be found in Great Brit-
ain of such church art. They came to Wake For-
est as a gift from Dover R. Fouts (B.A., 1955) and
his wife Amparo.
The Rockefeller Foundation announced a sec-
ond grant—this time in the amount of $200,000—to Wake Forest, in
collaboration with SECCA (the Southeastern Center for Contempo-
rary Art) and the North Carolina School of the Arts, for the pur-
pose of appointing artists in residence on the three campuses, two
each year for a period of three years. The first artist to be so named
A scene from Tom Stoppard’s Jumpers:
John Short and Joe Santi
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