Word: metaphorical
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Dates: during 1960-1969
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Opening nights of CRIMSON competitions are rather like Mad Hatter tea parties, except, of course, that yards and yards of AP ticker substitute for tea and goodies. Actually, that's a bad metaphor, because it doesn't really describe the comforting and comfortable kind of beery chaos which reigns in the newsroom...
...probably the longest, certainly the most intensely sustained metaphor in modern fiction, Greene has made the leper a symbol of modern man, and of the "long disease" of modern life. It is the leper's fate to die piecemeal: limbs, members, features deaden and fall from the still living body. But it is not on these horrors of pathology that Greene's imagination centers. It is the quiet, and some would say merciful, side effect of leprosy-the disappearance of sensation, of the power to feel even pain-which haunts Greene, and which he makes the basis...
Among the offerings which might (with some in accuracy) be termed entirely serious, John C. Holden's Memento Mori is the most substantial. Despite a not entirely satisfactory central metaphor ("My life's a sheet of paber filled with holes./People, punched away by antic death...") and some few rough spots, Memento Mori, which won the Hatch Prize this year, is a fine piece. Mr. Holden succeeds in encasing a particularly unwieldly sentiment in a tight and carefully plotted structure. The skillful shifting of the rhyme scheme, and its complete abandonment at one point, reinforce the progression of Mr. Holden...
...undertaking could not but be hazardous: beyond the tact that Agee's novel was not quite finished and not quite a novel, what made it memorable was the highly personal charge of the writing- fine special sharpness of detail and as uncanny a gift of memory as of metaphor. And what the book had. in the absence of all unity of form, was marked unity of feeling. Considering how much A Death lacked that the theater finds important and how much of importance it had that the theater cannot convey. Mosel's adaptation-greatly helped by Arthur Penn...
...conflict between Illusion and Reality most consistently referred to. Bergman seems especially fond of dropping hints that the real danger lies deeper than surface appearance. He emphasizes the unreal disguises of the magician and his wife as one of the reflections of this metaphysical concept--a crude and uninventive metaphor, I find. These admirable, is unoriginal, sentiments appear in a morass of conflicting counter-theories. Accident and the completely gratuitous introduction of the bizarre for mere effect add to the confusion--though they contribute immeasurably to the melodramatic effectiveness of the film. The theme is never handled...