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Features the play "Of Thee I Sing." Cast of characters; Plot of the drama; William Gaxton's musical interludes; Pulitzer Prize won by Morrie Ryskind; Biography of Ryskind.

Presents the script of the theatrical production "Something New," by George S. Kaufman and Morrie Ryskind.

The article focuses on two nonsense plays. One of them is "Something New" by George S. Kaufman and Morrie Ryskind, and the other is "The Gelska Cup" by Ring Lardner. Many of the nonsense plays and absurdist parodies that came out of the 1920s were infused not only with an appreciation of the ridiculous but with a critical attitude as well. "Something New" is an amalgam of scenes that must have been modeled on similar moments in conventional Broadway dramas of the 1920s, only here by means of some comic tampering and an arrangement that is to a sequence of individual scenes what the non sequitur is to dialogue, their potential absurdity is fully realized. Whereas Kaufman exposes the current deficiencies and excesses of theater practices, Lardner obliterates not only traditions and conventions of the stage but also the absurdity of the form itself.

Presents several letters to the editor referencing articles and topics published in earlier issues of the journal. Discussion on the book "Lament for a Generation"; Comment on an article written by Morrie Ryskind; Demonstration by Senator Barry Goldwater that a determined conservative can be elected by no more bewildering maneuver than determined conservatism; Criticism of Francis Russell's review of the book "The Kennedy Family."

The article presents information about contributors to the journal. The names of some of them are Morrie Ryskind who is coauthor with George S. Kaufman of the Pulitzer prize play "Of Thee I Sing," Karl Frederick Geiser, professor of political science at Oberlin College, spent last summer travelling in Germany, William Biletvitz was for a time associate editor of the American Observer in Washington, D.C., and is now a free-lance writer, Isidor Schneider is the author of "The Temptation of Anthony," James Truslow Adams is the author of "The Epic of America."

The article presents information on the authors who have contributed their articles to the May 25 issue of the journal "The Nation." Max Winkler is associate professor of economics at the College of the City of New York, and president of the American Council of Foreign Bond Holders, Inc. Walton H. Hamilton is professor of law at Yale University, and is coauthor with H. R. Wright of "A Way of Order for Bituminous Coal." Morrie Ryskind is coauthor with George S. Kaufman of the Pulitzer prize play, "Of Thee I Sing?' Paul Y. Anderson is the national correspondent of the St. Louis Post-Dispatch.

Reviews several motion pictures. "Penny Serenade," directed by George Stevens and screenplay by Morrie Ryskind; "Man Hunt," directed by Fritz Lang; "Before the Law," directed by Alfred Hitchcock.

Presents a tribute to Morrie Ryskind, political writer of the "National Review" magazine.

Highlights the outlook of economist Morrie Ryskind towards the U.S. economy. Comment of Ryskind on the national debt; Fear of Ryskind for inflation in the country; View of Ryskind that inflation is no reason to cut government spending; Argument of Ryskind budget deficit of the country; Information about the government expenditure on agriculture.

The article reports that Groucho Marx, a petitioner for the film "The Hollywood Ten" has claimed that the film has not derived its inspiration from the 1947 HUAC hearings into Communist influence in the American film industry. Marx Brothers claim that their film contains international comedy. Morrie Ryskind, the co-writer of Marx Brother's appeared as a witness for the prosecution but was labeled a fascist by the witnesses.

Several letters to the editor in response to article in previous issues commenting on topics including death of conservative John P. Roche, biography titled "Shot an Elephant in My Pajamas," by Morrie Ryskind and comic writer Morrie Ryskind are presented.

Presents the poem "A Visit From St. Nik," by Morrie Ryskind. First Line: The undertaker's come to take our measure: Last Line: You might get a box that wouldn't fit your bones.

Presents the poem "July 3, 1984 1959," by Morrie Ryskind. First Line: Ring out, ring out, Security Bell! Last Line: Proclaim the truths that we know so well!

Presents three poems by Morrie Ryskind. "Brother, Can You Spare a Dime?" First Line: Who'd ever think the Whitneys; Last Line: Would have to ride in jitneys? "Call for Mr. Keynes." First Line: Depression? Recession? Last Line: Start priming that pump! "Caste." First Line: The Lowells talked only to Cabots, Last Line: The Whitneys can get it from Ford!

Presents the poem "Obiter Dicta," by Morrie Ryskind. First Line: Our neighbors have manifold charms and graces; Last Line: That I'm anti-Semite.

Presents the poem "Ultimatum," by Morrie Ryskind. First Line: Proud are the men of Lebanon, Last Line: Or--heavens to Betsy!--they might refuse it.

Features several contributors to the periodical "National Review." Medford Evans; Morrie Ryskind; Frederick D. Wilhelmsen.

Presents the poem "Mercy Is Its Own Record," by Morrie Ryskind. First line: Though John McClellan is apt to use the lash; Last line: But, baby, will they stuff the box for McNamara.

Presents the poem "Open Letter to Santa," by Morrie Ryskind. First Line: Dear Santa Claus: Last Line: I'll take your arms again this year!

Presents the poem "Rhymes Under the Influence of Miltown," by Morrie Ryskind. First Line: Keats heard a nightingale and Shelley heard a lark; Last Line: And put off hearing Murrow till tomorrow.

The article reviews the motion pictures "My Man Godrey," directed by Morrie Ryskind and Eric Hatch, "Deadlier Than the Male," directed by Julien Duvivier, and "Sins of Casanova," starring Gabriele Ferzetti.

The article describes the theatre set design and props used in the Broadway musical titled "Animal Crackers," by George S. Kaufman and Morrie Ryskind. An overview of the story, cast, and stage designers is offered. According to the author, the stage was set as circa 1929 giving it the high society look of the pre-Great Depression era. Set designer Robin Vest noted that details of the set were more painted rather than dimensional. He adds that some playground elements were added to the set since a lot of physical comedy is involved.