Word: fictioners
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Dates: during 1950-1959
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...includes as engaging a collection of eccentrics as have walked the pages of recent fiction: wealthy old Dowager Horniman, who cuts her gowns from old muslin curtains and passes her time collecting pet jellyfish "cast up on the beach by the insensate cruelty of the Spanish tide"; Seumas Cullen, the Dublin painter who established his reputation on one painting, which he exhibits year after year; a poison-pen writer named Peadar, who vents his spleen on a local landlady by addressing a note to "The Biggest Old Bitch in Ballyknock." In a classic display of Gaelic futility, an Irish museum...
Brave New World Revisited, by Aldous Huxley. One of the 20th century's brightest gloomologers decides that fact has already caught up with his 1932 horror fiction, what with subliminal commercials, wholesale tranquilization, and the threat of much too well-bred man crowding himself off his own planet...
...addition, he understandably knew far more about the magazine. Now a grey-haired 53, Wiese was just 22 when he became editor of struggling McCall's in 1927. With a free hand, he built his magazine into a slickly edited blend of women's fiction and womanly fact that is second in circulation only to Curtis' high-heeled Ladies' Home Journal (5,695,399 v. 5,350,140). Wiese even thought up Togetherness-the celebration of the joys of cloyingly close family living-once called it "our greatest natural resource...
...Republic contracted the most visible case of split personality. Critic Conrad Brenner extolled the book for four pages, ended: "Vladimir Nabokov is an artist of the first rank, a writer in the great tradition . . . Lolita is probably the best fiction to come out of this country . . . since Faulkner's burst in the '30s. [Nabokov] may be the most important writer now going in this country." But later, the New Republic used a lead editorial to call Lolita an "obscene chronicle of murder and a child's destruction," somberly explained "what obliges us to differ with...
Author Keyes could not. Fiction, as she suggests in her preface, must not be completely fictitious, and murders are "not rampant or even frequent" in Louisiana rice fields. So, instead, Author Keyes has made her tale turn on a murder in a rice bin. The victim is a fictional cabaret singer named Titine Dargereux ("very good to look at, and the closer she came, the more alluring"). Cajun Titine titillates Rice Prince Prosper Villac, who "had her to himself beside a bayou" in return for a pair of gold slippers. So when Titine is found suffocated in the Villac rice...