Word: chapter
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Dates: during 1980-1989
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...When Yale finds out. I have a feeling they're going to go like gangbusters to catch up," said Melissa L. Croteau, spokesperson for the Northeast chapter of the American Red Cross Blood services...
...Osborne Group, which is still going strong, with 15,000 members, a year and a half after Osborne Computer Corp. went bankrupt. The company, back in business under new management, once had 90 people answering help calls from users. Now it routinely refers these calls to the proper FOG chapter. Admits James Schwabe, Osborne's marketing vice president: "They probably do a better...
...pinched a thing or two from Nabokov, like the brazenness and wit of Pale Fire. Barnes concocts wonderful lists, full of unnerving distinctions: animals, for instance, an enumeration of Flaubert's many parrot references, along with the fact that there are no parrots in Madame Bovary. A chapter contains contrasting chronologies, one of the author's public career and honors, the other of his failures and the early deaths of many of his family and close friends. By the adroit use of such detail, Barnes builds a warmer personality for the novelist than his glacial public image. Flaubert's stiff...
...most ferocious scorn is reserved not for novelists but for scholars. A brilliant set-piece chapter called "Emma Bovary's Eyes" takes on the late Enid Starkie, Oxford don and Flaubert biographer, who disparaged the novelist for coloring his heroine's eyes in three different hues. When the relevant passages are cited, there is no real contradiction; what Flaubert was describing was the effect of emotions on the face. Scholarly critics, fumes Braithwaite, regard the most sublime creative geniuses as "some tedious old aunt in a rocking chair who . . . was only interested in the past, and hadn't said anything...
...quest for authenticity, Schwab is uncompromising in his attack on shallow Oriental exoticism. He reveals his anti-aesthetic bias against the French Romantics, toward whom his brilliant criticism is considerably less kind. He denounces their tendency toward "formal creation." The chapter, "An Extended Orient: Exoticism" criticizes at length the borrowing of imagery by the French as sheer indulgence. Gautier's Avatar is dismissed as the work of an exploitive dilettante with a "strikingly apparent gift for painting generalized pictures." Similarly, Hugo's Orientales is dismissed as "meager picturesque Orient imposed upon Montparnasse landscape...