Word: fictionalizes
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Dates: during 1950-1959
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...ghost surgeon in this case was the hero of Erich Maria Remarque's bestseller about prewar Paris, Arch of Triumph, but medical ghosts walk not only in fiction. They perform operations in U.S. hospitals every day. It works this way: the family doctor tells a patient that an operation is necessary and either says flatly, or strongly implies, that he will do it himself. But after the patient is under the anesthetic, in comes a more skilled specialist in surgery. He may know nothing of the patient's history and never see his face. Before the anesthetic wears...
...Gordon was avenged in the British manner," and Khartoum became the capital of that "pleasant fiction" entitled "the Anglo-Egyptian Sudan." Few of Gordon's works have survived like his legend-and few Britons are likely to swap this for the brave man of flesh & blood who used humbly to say: "I've been very low, old fellow. Don't be hard on me. This is a terrible country...
...businessman in the fiction of the '20s and '30s not merely seemed a boor and a menace: he was scarcely a real human being. He was a full-time symbol, unable to buy a new necktie without illustrating "conspicuous consumption,'' or to fall in love without serving as a comment on "bourgeois morality." But in recent years, the businessman has been emerging as a human and something of a hero. The trend seems transatlantic. In the past year Britain's Nigel Balchin published Private Interests and in 1952 the U.S.'s Cameron Hawley contributed...
...play also dragged a good deal out of 19th-century fiction after it. Neurotic young Kostya Triplev wears the musty mantle of European Weltschmerz and Wertherism, and the sea gull, Nina, seems a period heroine who breaks romantically with conventional life, is "ruined" by an interesting older man and exhibits emotions not so much false as several sizes too large for her. Having imported romantic melancholy, Chekhov-being Chekhov-could only in some degree mock its posturings; The Sea Gull remains an uneasy mixture of satire and sentiment rather than a true fusion of the comic and tragic...
Home turns out to be a heap of rubble. Readers of conventional war fiction scarcely need to be told what comes next. Ernst stumbles across Elisabeth, a twenty-year-old with "high-arched brows, dark eyes, and mahogany-colored hair that flowed in a restless wave...