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...LUCIEN BODARD...

Author: /time Magazine | Title: Books: Man Eat Man | 1/31/1972 | See Source »

...guests from nowhere. English poetry has fallen on hard times; blame it on the century, on education, on lack of discipline, on lack of interest, but the fact remains that not much good poetry is being written, and not much of the Advocate's wide-ranging selection is good. Lucien Styrk's "The Unknown Neighbor" is only one example of verse that gets by only by not trying very hard. When a poem looks only like a carefully written sentence chopped up into verses, it's clearly written with a misunderstanding of what makes poetry. "The Unknown Neighbor...

Author: By Bill Beckett, | Title: Opening Up the Advocate | 10/2/1971 | See Source »

...size of the British Empire at its zenith-was an epic achievement. But Mao Tse-tung's ambitions did not stop there. A few months after his conversation with Malraux, Mao launched the cataclysmic Cultural Revolution. It was the climax, perhaps the final one, in what M.I.T. Sinologist Lucien Pye describes as an effort to remake completely "the thoughts and sentiments of a people who have already been molded by the oldest civilization on earth." Mao wanted to do nothing less than transform the traditional Chinese peasant-passive, materialistic, instinctively dependent on a ruling elite -into a new Maoist...

Author: /time Magazine | Title: The World: Mao's Attempt to Remake Man | 7/12/1971 | See Source »

...Australian father takes his two children for a picnic in the country. Minutes later he commits a lurid and unmotivated suicide. The teen-age girl (Jenny Agutter) and her little brother (Lucien John) abruptly find themselves at the mercy of the outback, their only companion a sputtering portable radio. Ironies thereupon crowd the air like static: the instrument crackles with irrelevant news of the world while the two urbanized refugees fight elemental dread...

Author: /time Magazine | Title: Cinema: Natural Mannerisms | 6/28/1971 | See Source »

...some indefinable way I am not quite serious. And that's because I have a job." The job is as editorial director of Conde Nast; he has been there in one position or another since 1941, when he escaped from Paris to New York and was hired by Lucien Vogel, on whose illustrated magazine Vu he had worked in the '30s. Some Liberman critics claim that his art exists mainly on a level of Parnassian chic, that he is "uncommitted," a designer of objects rather than a maker of acts and images. Indeed, Liberman is the antitype...

Author: /time Magazine | Title: Art: Sprezzatura in Steel | 4/26/1971 | See Source »

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