Word: died
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Dates: during 1980-1989
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...less than a minute, plain-speaking Barbknecht ticked off all the dirty linen. Then he moved over to the positive side of the ledger. Havana, it turns out, is a town that just won't die. Farmers are in terrible straits, as everyone knows, but Havana's farmers keep on plugging. This week they were sowing barley and wheat. More important, every other ounce of energy was directed toward keeping Havana on its feet. They had formed a development corporation that had, among other things, brought in a grocery store by providing attractive incentives, like free space. "You want...
...vaudeville The Comedy of Errors that opened last week at New York City's Lincoln Center after playing at Chicago's Goodman Theater in 1983 and the Los Angeles Olympic Arts Festival in 1984. In this madcap vision of ancient Ephesus, everyone must learn to juggle or die...
Saul Bellow' s More Die of Heartbreak finds comedy in the torments of the hypereducated man. -- Bill Buckley sets sail again...
Despite its cheerless title, More Die of Heartbreak is a consistently funny variation on the theme of intellectual haplessness. Its narrator, Kenneth Trachtenberg, 35, is an assistant professor of Russian literature at a university in an unnamed "Rustbelt metropolis" in the Midwest. Raised in Paris by expatriate American parents, Kenneth has come back to the U.S. to be near his maternal uncle Benn Crader, a man in his 50s and an eminent botanist, revered by fellow specialists for his work on Arctic lichens. Kenneth's obsession with Benn stems from a conviction that "you have no reason to exist unless...
...Kenneth's huffing and puffing amount to an engrossing spectacle: a mind, albeit weird, attempting to make sense out of the overwhelming flood of data that most people dismiss as daily life. Despite, or perhaps because of, what the narrator calls "my divagations and aberrations, my absurdities," More Die of Heartbreak crackles with intelligence and wit. The novel is not only proof that Bellow, 72, can live up to his own standards; it is also a reminder of how diminished a thing postwar American fiction would have been without...