Word: criticism
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Dates: during 1980-1989
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...when he wrote Cyrano; he seasoned this tale of a 17th century cavalier with the dash, sweep, idealism and tireless eloquence of youth. In 1898, when the original French production played London, it arrived like a gust of rose-scented air in the stolid cathedral of naturalism. Proclaimed Critic Max Beerbohm: "Even if Cyrano be not a classic, it is at least a wonderfully ingenious counterfeit of one." And even if, in this century, the counterfeit has become more evident than the ingenuity, Rostand's rhapsody has attracted new generations of star actors, from Walter Hampden to Ralph Richardson...
That may be because not much actually happens. Gilbert and Johanna mope around Germany while her aristocratic Prussian parents try to persuade them both of their un conscionable folly. Dead ends are followed by standoffs. In the interims, Lawrence chats: "How a Times critic dropped on me for using the word toney! I'm sure I never knew it wasn't toney any more to say toney." And he preaches, "Let us confess our belief: our deep, our religious belief. The great eternity of creation does not lie in the spirit, in the ideal. It lies...
Vinnie once had a husband but has adjusted to living alone. A frequent companion is an imaginary mutt that she conjures up in glum moments. This shaggy symbol of self-pity recently appeared after a critic dismissed her work with the question, "Do we really need a scholarly study of playground doggerel?" The author of the offending article, L.D. Zimmern, turns out to be the father of Fred's estranged wife. The coincidence seems to have been extended as an ironic gratuity signaling solemn readers that Foreign Affairs is, despite pathos, sudden death and madness, an adroitly bundled comedy...
...people have yet to be convinced. As Myra Mayman, director of the Office of the Arts, explains, there is a strong bias against performers as academics. "The typical comment of the critic is. 'Talk to an artist? Why? They don't know what they're doing. Mayman says...
...prolong the sense of contest. Sons of famous men find the scorekeeping particularly onerous: whatever the offspring's achievements, both generations are likely to suspect that the father's glory enhanced them. That psychic battleground is toured by Michael J. Arlen, 53, a journalist, memoirist and television critic of The New Yorker, yet seemingly fated to be known always as the son of the celebrated '20s novelist Michael Arlen (The Green Hat). Say Goodbye to Sam is told in the first person, and much of its detail is so close to Arlen's life that...