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...that shifty goddess, is an ignoble fear, and can become ridiculous, as in the pronouncements of those who revolt against the age by reversing its values. We are doubtless a contemptible generation, but it is not true that whatever succeeds with us must be bad. Frost and Eliot and Faulkner and Joyce and Brecht and O'Neill are and were enormous successes--far more successful than the great of other generations have been in their lifetimes. And it is not inconceivable at all that the big stage at the Loeb, by dedicating itself to "plays for audiences," may some...

Author: By Archibald Macleish, BOYLSTON PROFESSOR OF RHETORIC AND AND MEMBER OF THE FACULTY COMMITTE | Title: Loeb's Function, 'Plays for Audiences,' Not Inconsistent with Artistic Integrity | 10/14/1960 | See Source »

...burning into the top of the ridge like a match burning into the edge of a sheet of paper). There are still signs of roughness, however, and a profusion of commas and semi-colons in paragraphs where Kelly jams together various clauses in a weak imitation of Faulkner. In one place, near the beginning of the story, Kelly pictures the imagination of the little boy wandering from his father's bed to the various associations it suggests. There is nothing intrinsically wrong with this excursion, except that Kelly has put it all into one very long, half-page sentence. Faulkner...

Author: By Peter E. Quint, | Title: The Advocate | 9/30/1960 | See Source »

...20th Century-Fox's film version of William Faulkner's Sanctuary, not yet completed, might have been shot two ways almost from beginning to end. since a literal version of the novel would be impossible on the American screen, particularly the notorious "rape" of Temple Drake by the impotent Popeye. Instead, the moviemakers have opted to masculate Popeye and remove the more unorthodox elements of the rape scene, leaving little to be double-filmed but an active bedroom encounter between Yves Montand and Lee Remick. "The European version I like best," says Montand with a half-bored Gallic...

Author: /time Magazine | Title: HOLLYWOOD: Sexports | 9/19/1960 | See Source »

...case of William Faulkner is more baffling, since those involuted, parenthesis-clogged sentences at times make the greatest tragedian of modern U.S. letters seem barely literate. For an artist of Faulkner's high purpose, the canebrake confusion of manner can only be deliberate-an esthetic and philosophic ruse to exclude reason from the genetic and historical workings of man's fate. Peter De Vries's brilliant parody takes account of this and gives fair warning to those who attempt to write Sartoris Resartus; it may be easy to fake the Spanish moss but not the tree...

Author: /time Magazine | Title: Books: The Duelists | 7/25/1960 | See Source »

...Styron is an unevenly talented member. Characteristically, most Southern writers equate the post-bellum fate of their region with the universal fate of man, and identify decline with tragedy. Amid romanticized passivity, violence erupts in Gothic melodramas of rape, murder and madness. Among the few exceptions: some of William Faulkner's Negroes, who achieve the dignity of stoic endurance. Unfortunately, the passion seems to be draining out of this school; the magnolias are all too frequently stained with tired blood...

Author: /time Magazine | Title: Books: Empty Soul Blues | 6/6/1960 | See Source »

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