Word: booked
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Dates: during 1950-1959
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Just a year ago, the work of Jules Feiffer, 29, a slight, introspective New York cartoonist, was appearing only (and without pay) in the Village Voice, a furrowed-brow Greenwich Village weekly. Now Cartoonist Feiffer is up to his clean, button-down collar in offers from publishers. One book of his cartoons is a bestseller (5,000 copies a week). He appears in the London Observer, dashes off magazine ads and features (Playboy, SPORTS ILLUSTRATED), is discussing a screenplay for Director Stanley (Paths of Glory) Kubrick. His income tax for 1958 will be more than his entire income...
...Serious Humorist." A mild-mannered intellectual who prudently wears a sweater beneath his suit coat, Jules Feiffer (rhymes with knifer) got well on Sick, Sick, Sick. This was not only the title of his book but also the wry tone of his work on such topics as frustrated love in Greenwich Village, the H-bomb tests, and psychosomatic illness. Many of Feiffer's best cartoons are not funny at all, instead sting with bitterness and poignancy, e.g., the numbing isolation of a small boy whose braying mother prefers his brother. "I'm against the misuse of power...
...assembled pictures could give the dimensions of Orozco's power, bitterness and weight, or of the clumsiness, coarseness and obviousness that make him so controversial. One perceptive critic recently returned from looking at the frescoes has joined Orozco's most fervent disciples. In his new book, Mexican Journal (Devin-Adair; $6), Selden Rodman writes that "if there was any doubt in my mind that Orozco was the great artist of our age, it has vanished." But Rodman quotes a number of the master's countrymen to prove that the winds of fame blow cold as well...
Said Dostoevsky: "If there is no everlasting God, there is no such thing as virtue." The Possessed was partly written to illuminate that point. The book swept from Russia's liberals, who reveled in sentimental idealism, straight to the awful result: the young nihilists of the 1870s, who believed that terrorism was justified as a means to political reform. Camus read the book at 20 ("A soul-shaking experience"). Like Dostoevsky, Camus broods about the ailment of freedom without God, about political mass murder in the name of life and the future. Although he has been unable to accept...
...streamlines the transition between scenes (some take only eight seconds). The play roils with the deluded intrigues of nihilists, whom Camus makes strongly reminiscent of modern Marxists. Perhaps the play's chief quality is Camus' adroit emphasis of Nikolay Stavrogin (ably played by Pierre Vaneck), the book's most memorably monstrous character. An empty-souled aristocrat, Stavrogin longs to be a sort of Nietzschean superman. He instigates a band of young revolutionaries to murder, rapes his landlady's little daughter, finally commits suicide. In the hands of Camus, Stavrogin emerges as a modern man, a desperate...