Word: malraux
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...ultimate depredations in the destruction of conscience ("The very nature of right and wrong has changed"). Considering Author Fast's onetime reputation, the book will take its minor place in the long shelf of disillusion, alongside the works of such better writers as Koestler, Silone, Orwell, Malraux. The fact remains that Big Brother's U.S. pen pal has a conscience that seems to work slower than most. In accounting terms, he might be described as LILO-last in, last...
...André Malraux...
...chain-smoked cigarettes, embraced old Resistance buddies and held gracious court for Paris literati at his publisher's reception, Albert Camus admitted generously that he thought the award should have gone to André Malraux, "my early mentor." Even as he chatted, he inadvertently revealed the major qualities that won him the award−an unflagging humanism coupled with an unremitting skepticism. Pressed to make "one wish in the name of humanity," Camus unhesitatingly answered, "Freedom." Asked about his enemies, he replied with a shrewd Gallic twinkle: "One has to know how to make people forgive success...
André Malraux once defined the task of modern man as filling the void left by the 19th century's loss of faith. He himself has recently retreated to the religion of art, embracing the Nietzschean view that "we have art in order not to die of the truth." At a fellow-traveling distance, Jean-Paul Sartre consoles himself with the shifting certitudes of Communism. Albert Camus has too lucid a mind and too scrupulous a moral conscience to opt for such relatively easy solutions. With each successive book, he seems to be sweeping closer to a Niagara...
...Kollwitz is, after all, an "Expressionist," a wielder of emotions who prefers impulsive, intuitive reactions to intellectualized or classic ones. No answer speaks more eloquently than the suffering "expressionist" figures of Rouault, whose silent anguish mirrors not only torment and martyrdom but that essential dignity of art defined by Malraux as "the voice of silence." The difference, again, is aesthetic, not literary. Kollwitz cries out against war; Rouault affirms the artistry war destroys. One is advocacy and the other...