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...Here are most of my paintings, Morandi said to a reporter in the mid '50s, pointing to a thick dried crust of waste pigment that had accumulated through years of wiping on the crossbar of his easel. Morandi erased more paintings than he finished; his self-editing was relentless, a fact which should give pause to anyone who supposes there might not have been much difference between one still life and the next. But the differences, like the nature of his work itself, are hard to catch in words. One can easily say what the paintings are not. They...

Author: /time Magazine | Title: Art: Master of Unfussed Clarity | 12/21/1981 | See Source »

...recipes inevitably show up in other books, but usually in different forms. Callen's version of pounti, the prune-and-ham pie from France's Auvergne, for example, differs in important respects from Anne Willan's formulation, and both are worth trying. The pie crust, filled and adorned to suit the native palate, is almost universal. The pissaladière of southern France and Switzerland's zwiebelwähe are sisters under the skin to the Italian pizza-of which, Callen notes, there are many more than 100 variations. Russia has its kulebiaka, Morocco...

Author: /time Magazine | Title: Books: Born to Eat Their Words | 11/23/1981 | See Source »

...cookie play is about three vendors on the corner of 28th and Bank, and the latest arrival, a punk who dreams of opening a restaurant in an abandoned firehouse, wants to join forces on the project with the middle-aged cookie lady. "What a crust! What a crunch!" he cries, wooing her. The pipe dream is shattered by the pompous detergent vendor, and in a "cathartic" climax the cookie lady smushes pies into his and the punk's face. Throwing food really means something in the bourgeois theatre with all these half-eaten cookie characters...

Author: NO WRITER ATTRIBUTED | Title: Broken Cookies and Bourgeois Mediocrity | 11/14/1981 | See Source »

...Gielgud as a biased Cambridge don who rather tiresomely and foolishly repeats that young Abrahams represents "a different God and a different mountain." As Cross plays the stereotypical Jew, so Gielgud plays the stereotypical Cambridge/Oxford master: stiff collar, talk of good sportsmanship, supercilious expression, after-dinner liqueur. His upper-crust old-schoolishness lacks a human spark; consequently the character appears a flat cardboard mockup of the real thing...

Author: By Deborah K. Holmes, | Title: Running on Empty | 10/29/1981 | See Source »

...Hubel and Wiesel's knowledge of the way the brain processes information from the eye advances the study of the full cortex--10 billion neurons folded together at the brain's crust that may be the key to man's development over other animals...

Author: By Charles D. Bloche, | Title: Why They Won Nobel Prizes | 10/29/1981 | See Source »

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