Word: metaphors
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Dates: during 1970-1979
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...hearkens back to an earlier age of the novel (and this must be a good thing) by working with the intensity of dramatic scenes--a throwback to Dostoyevsky. By taking diverse experience and building situations wherein he can forge these loose elements into a crystallized, jewelled point of metaphor, Rhodes is externalizing in a very sophisticated way. Episode after episode with the Sledges operates in this way; so does the whole trip through The City...
...Loman's, but Zindel writes as if he were too cool to identify the cultural forces Miller unveiled. Zindel's tottering steps toward social analysis stop at a symbolism laid on so thick that it is embarassing. Take, for instance, Mathilde's fascination with radioactive half-life, the dominant metaphor for Beatrice's disintegration; or Beatrice's boarder, a vegetable corpse of a woman, with palsied hands, lips curled in like a death grip, and big blind eyes that lear a reminder of isolation. These are the tools of Williams's memory mood plays, a manipulative sentimentalism masquerading as moral...
Nixon is so absorbed by this combative mood, and feels so pridefully at home in it, that he carried the athletic metaphor to excess. "You can't be relaxed," he said. "The Redskins were relaxed in their last game of the regular season, and they were flat, and they got clobbered. You must be up for the great events. Up but not uptight. Having done it so often, I perhaps have a finer-honed sense of this. But you can overdo it, overtrain and leave your fight in the dressing room...
...horn plugged into his typewriter. The novel bounces, gyrates and bucks like another coaster car along the precarious edge of the reader's tolerance, never quite falling off. For whenever the author leans too far in the direction of obscenity-which is frequently--he bounces right back with a metaphor or reference to feed any appetite Jackie Kennedy and James Joyce. Cyrano de Bergerac and the Berrigan Brothers. While Mays and Richard Wagner all raise their heads at one point of another in the parenthetical Who's Who that attends this narrative...
...because the cameras needed to pan all 360 degrees of perimeter, and it was emential to give a sense of the central couple's positions on the floor. Pollack won an Academy Award nomination, not just for his technical solution, which helped to turn the contest into a convincing metaphor for the world which has tricked and beaten the heroine--but for helping bring out Jane Fenda's bitter performance and turning Gig Young into a genial but finally heartless...