Word: criticism
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Dates: during 1960-1969
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Despite his eccentricities, Sinclair was a quiet, gentle man who claimed an unexceptionable pantheon of heroes: Jesus, Hamlet and Shelley. Critic Alfred Kazin called his special quality "combative innocence." Sinclair, wrote Kazin, represented "one of the last ties we have with that halcyon day when Marxists still sounded like Methodists...
...greatest paintings in the Western world," wrote Critic Pierre Schneider. "After the great Christ paintings of the Renaissance, this is the first nonreligious painting of an expiatory personage, a self-sacrifice figure." Adds Critic Andre Chastel, "Gilles has a poetic charm akin to Shakespeare. In fact, every time I look at it, I am reminded of Bottom in A Midsummer Night's Dream...
...science or both. This was not always the case. For a millennium and a half the worst horrors were theological. The fear of hell and the hope of heaven gave shape to some of the greatest achievements of the pictorial art of Europe. On this eschatological basis, Australian-born Critic Robert Hughes has compiled a catalogue of terrors and delights, drawn mainly from Italian, French, Spanish and Dutch masterworks. Man, it is clear, has found it considerably harder to envisage felicity than its opposite, and so the infernal regions have been illustrated in a highly spirited fashion. The delineators...
...first issue contains ingredients that should appeal to both races. One story tells about a Harlem group that is trying to bypass the city and organize a separate school district that will report directly to the state. Literary Critic Alfred Kazin contributes a whimsical appreciation of the Upper West Side: "Nowhere else I have ever lived is there such excess of money to comfort, of comfort to taste, of taste to safety." Above all, the Tribune plans to be a paper of investigation. For the first issue, a team of reporters did some comparison shopping and concluded that Harlem residents...
...Supplement, plus four illustrations photographed from the text. Of 57 sheets in the original Waste Land, 42 were unused; it is impossible at this stage to assess how much Ole Ez (as Pound liked to sign himself to friends) cut out, and to what extent Eliot was his own critic. But it is clear that a unique collaboration was involved in the birth of a masterpiece, and the honorary midwife deserves all credit for so splendid an outcome of a long and difficult labor...