Word: goodchilds
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Dates: during 1950-1959
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Kerr's episodic plot, eclipsing American history, is strung together by Barna-by Goodchild, a delightfully Dionysian scamp who, condemned to the stocks for frolicking while a Puritan, is liberated by Charity and wanders through the next three hundred years of American history. Goodchild's continuous reincarnation as a succession of American myth-men symbolizes the dynamic forces behind the building of America and his wanderings parallel the geographic expansion of the U.S.A...
Gardner Tillson was excellent; as Barnaby Goodchild, the embodiment of changing America, he shoulders a Sisyphian role which is continually taxing and demands a variety of talents, all of which he gives it. With ease and flexibility, he imbues the role with its dynamic symbolism, as limbs akimbo, he burgeons the ever-expanding American frontier...
Fred Blais, on his toes at last, portrays admirably the spirit of repressive convention lurking through the ages. Whereas Tillson Ariels the Dionysic Goodchild, Blais Calabans the Apollonic and parsimonious Parson Killjoy...
Constance Walch portrays imaginatively a succession of American women tempting or guiding Goodchild. Fred Norris, Robert Alukonis, Henry Franck, Jane Hanley, Betty Black, Susan Woodruff are also commendable...
...Kerr's conception is more than American; it is universal, and without beginning or end. Kerr's Goodchild, while an American Odysseus and Natty Bumpo, is also a race-memory of the desire for freedom inherent in man's soul from the dimly-remembered dawn of pre-recorded history. Goodchild's successful conquering of his own soul and youthful vigor symbolize the constant reincarnation of man's unquenchable spirit; the white dove of his lofty aspirations columns heavenward, linking Classic and American aspirations, and those of all eternity