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...Blankets. Author Kirst. tries doggedly to depict the mentality, talk and folkways of Americans, but except for an occasional phrase like "in the bag," the Americans sound totally Teutonic. But readers will find grim, retroactive amusement in Author Kirst's account of the hasty changes made in a German town as U.S. tanks approach: an old Nazi triumphantly reveals that his housekeeper is half Jewish; panicky Gauleiter and Kreis-leiter are sheltered in hospitals; a satisfactory "antifascist" working man is thrust into jail ("Wouldn't you like another blanket, Herr Freitag? Two more perhaps?") in the hope that...

Author: /time Magazine | Title: Books: The Survivor | 7/8/1957 | See Source »

Love & Death. In his early days everything that Munch did only served to reinforce the opinion that he was a madman, a Bohemian, a dangerous freethinker. He was obsessed by two great themes, love and death, and chose to depict them in terms of man's paralysis and anxiety when faced with them as raw forces in nature. Much of his anxiety had its roots in his early semi-invalid youth. His mother died when he was five; his father, a military surgeon, gave way to morbid religiosity and insane outbursts at his children. Recalled Painter Munch bitterly...

Author: /time Magazine | Title: Art: Madman Munch | 6/17/1957 | See Source »

...murmuring streams. Then, having identified himself with the scene, he took his brush, dashed off One Hundred Miles of the Kialing River Valley in a single day. Artist Li Ssu-hsun, who was also a general in the Emperor's army, labored for long months to depict the same scene. Presented to the Emperor, both paintings were judged "excellent in the extreme...

Author: /time Magazine | Title: Art: MASTERPIECES OF CHINESE ART | 5/6/1957 | See Source »

...depict the bloody events of history was an affront to Confucian principles of restraint and propriety. When Painter...

Author: /time Magazine | Title: Art: MASTERPIECES OF CHINESE ART | 5/6/1957 | See Source »

...vapid, inessential. There are those who believe that "the world of words," rather than a tissue of shadows and reflected passions," is the only source of intensity, vitality, truth. If, indeed, as Mr. Jencks says, the world is irrational, of what use is the constructive mind, save perhaps to depict it, to "breed one work that wakes." Mr. Jencks' fundamental error, I believe, was in allowing an aesthetic criticism of the proundity of Mr. Levin's method of literary analysis to develop into a moral issue denouncing withdrawl into the world of words as a sin of deprivation against mankind...

Author: NO WRITER ATTRIBUTED | Title: CRITICISM | 4/30/1957 | See Source »

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