Word: guevaras
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Dates: during 1960-1969
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...importer of foreign cultures. Lowell the poet has not only the chameleon's ability to change the color of his verse to fit the subject but that wizard lizard's faculty of independently focusing each eye. The left Lowell eye may be modishly on the topical-Che Guevara, police, R.F.K., student riots, Dr. Spock. But the right eye glints backwards to Agamemnon, Sir Thomas More, Napoleon, King David, Adam. "I am learning to live in history," Lowell writes and adds, as his chameleon's tongue flicks out to ingest another aphorism: "What is history? What you cannot...
...take exception to your qualification of Bolivia's army as "ineffectual." If effectiveness is the capacity to perform specific tasks, it is well to remember that the Bolivian army successfully and speedily dealt with the guerrillas organized by the infamous Che Guevara, who was considered, together with Chairman Mao and General Giap, the supreme specialist in that kind of warfare. If the U.S. Army, with its fantastically superior might, had been proportionately as successful in dealing with the Communist threat in Southeast Asia, I am sure you wouldn't have thought of calling it ineffectual...
Feuer refers to Camus as the philosopher of "alienation" and a generational hero. Feuer does not cover the cult of Che Guevara and Regis DeBray, though one passage recognizes the role of Fidelism in radical student culture. The spirit of Che synthesized all the ingredients of the New Left: an anti-American intellectual who galvanized the masses in one country and suffered glorious martyrdom in another. This vision of the radical's mission to redirect history made a somewhat turgid book called Revolution in the Revolution? a best seller. Feuer lists C. Wright Mills and Paul Goodman...
...Liberated Area . . . Che Guevara Hall . . . Fight Racism . . . Get out of Vietnam . . . Power to the People . . . Lieutenant Fraud . . . Smash Imperialism . . ROTC Must Go . . . Amen...
Since Che (Larry Bercowitz) is supposed to be Che Guevara, the play poses as a kind of genital love-hate profile of U.S. relations with revolutionary regimes. In terms of Playwright Lennox Raphael's limited dramatic imagination, it is rather like Jean Genet rewritten by an inept Noel Coward...