Word: camus
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Dates: during 1960-1969
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Some omissions or inclusions may be debated, the author concedes willingly. He leaves out Aristophanes, for instance, because of translation difficulties (although the Eugene O'Neill Jr. translation is delightful), and includes Aldous Huxley while snubbing both Camus and Sartre. No Eastern literature makes Fadiman's All-Academe list because, he confesses, it does not appeal to him. But he includes a volume (No. 100 of the great books) that does appeal to him: An American Anthology, by Clifton Fadiman...
...Hollywood producer has reportedly offered him twelve times the modest annual income (about $22,000) he realizes from all four of his careers if he will make a picture with a big Hollywood star. Bergman has "indicated interest" in making a screen version of The Fall, by Albert Camus...
...Camus's effort to hold a monster up to nature and draw a sane moral from a mad career produces a startlingly simple...
...Camus himself phrased it: "One cannot be free at the expense of others." To extract from such sick, vast-scaled cruelty and violence such mere copybook wisdom seems at the same time elaborate and insufficient. In any case, what turns Caligula into a pathologically fascinating figure keeps him from being in any fundamental sense an interesting one. In much the same way, Caligula has its brilliant bursts of theater, its explosive moments of action, its lightning flashes of revelation, but no sustained drama and almost no inner development...
...most time-dishonored custom on Broadway is the advertising trick of lifting words and phrases out of context from critical reviews, thereby changing negatives to positives, pans to raves. Last week a half-page splash in the New York Times heralded Albert Camus' early (1938) play, Caligula, which had just opened for the first time on Broadway (see THEATER...