Word: canonized
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Dates: during 1970-1979
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BOUTON does make an effort to place the game of baseball in a larger social context. According to the owner's canon, baseball is the place where racism, class inequality and other forms of discrimination do not exist. "You're all ball-players and you all put you're pants on one leg at a time." Branch Rickey told the Brooklyn Dodgers before Jackie Robinson broke the color barrier, and of course the ball-players responded with warmth and affection to their new "colored brother." Or so say the sportswriters and owners. Bouton, on the other hand, tells of Elston...
...splendid blend of pomposity and curiosity. But Director Truffaut is lethargic and clinical. The Wild Child is never touched by his characteristic warmth; its ironies are all predictable, save the final one: this is Truffaut's crudest work, as if it were the first film in the canon and not the latest...
...Singer's view, absurdity, chaos, the irrational, all the fashionable preoccupations of contemporary life, are at best apocrypha, not canon. In a world of prose experiment and cool media, Singer, virtually alone, works in the metaphysical tradition. Behind him are the contiguous works of Kafka, Chekhov -and Gogol, with whom the reader of A Friend of Kafka must agree: "Say what you like, but such things do happen -not often, but they do happen." These 21 miraculous creations are, in the highest artistic tradition, true stories. · Stefan Kanfer
...Dallas Cowboys' Tom Landry or Los Angeles Rams' George Allen. His play books were slim: his orthodoxy stressed basics. "Football is two things, blocking and tackling," Lombardi liked to say. "You block and tackle better than the team you're playing, you win." In the Lombardi canon, malingering was a capital crime and injuries did not exist. "Lombardi time" ran ten minutes ahead of the rest of the world; whoever did not readily grasp this temporal anomaly learned at the cost of $10 per minute. Above all, Lombardi preached pride and mutual esteem, though he never permitted...
...story-and no film-better reveals Lawrence's moral absolutism than The Virgin and the Gypsy. Between its narrow boundaries is sown the seed of the Lawrentian canon-the familial conventions, the social hypocrisies, the annealing force of sex. The time is the '20s and the maiden is Yvette (Joanna Shimkus), who steps backward from French finishing school to her father's claustrophobic vicarage in northern England. The old authorities are reasserted, and Yvette is briefly cowed by her hectoring, rectoring father (Maurice Denham) and his priggish relatives. But there is a new spirit...