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Steel intersperses narrative with Lippmann's articles and opinions through the onset of the Depression and Roosevelt's rise. Sometimes the journalist remained on the sidelines and patiently observed. But, more often--as in the late '20s when Lippmann and Ambassador Dwight Morrow mediated a dispute between American oil companies, the Catholic Church and a hostile Mexican government--Steel finds the journalist in the thick of the action...
...privilege of completing Edwin Drood; he declines, but later writes a similar story of duality and the changing tales of good and evil; he calls it Miss or Mrs.? Other attempts are made by lesser authors-and next to the Master what author is not diminished? In the '20s, a silent movie is produced, and in 1935, Claude Rains stars in a film that seems to have been made in gothic twilight...
Good news, though, comes in the form of Kirsten Giroux as Lady Macbeth. With legerity and a crystalline voice, she appears at first like a sweet '20s flapper and turns savage with frightening speed, manipulating her husband with thinly disguised sexuality. But the unmitigated passion which drives her can go just as easily the other way, into fear and insanity, and she crumbles beautifully, back into the flapper and beyond into girlhood. Searing her hand on a candle flame, she tragically reminds us of an inner power that once tried to unsex her but never succeeded...
...fantasy and science fiction. But he is also a sprinter; his poignant and ironic short stories have been anthologized for more than 30 years. Bradbury's latest book is a highly personal selection of those works: Martian adventures, nostalgic reminiscences about small-town Midwestern life in the '20s and '30s, and several evocative anecdotes about Ireland. But its best pieces remain the tales that made the author's reputation: chillingly understated stories about a familiar world where it is always a few minutes before midnight on Halloween, and where the unspeakable and unthinkable become commonplace...
...poetic consistency of Hopper's vision now seems far more interesting than the unadventurous vanguardism of most "advanced" American painting in the '20s and '30s, that is partly because it was grounded in 19th century France: especially in Manet, whose work Hopper studied and copied. The sober painterliness of Hopper's style, its reliance on the single brush mark to enunciate form, came ultimately from Manet; so did his passion for meticulous truth of tone; and so, especially, did the "emptiness" of his compositions, with their emphatic blocks of shadow, their wide, flat planes of wall...