Word: mode
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Dates: during 1980-1989
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Kangaroo, which Farrar, Straus & Giroux will publish in June, is a masterly example of the Russian mode of skaz, or first-person narrative in the vernacular rather than in literary language. Aleshkovsky, who tells his manic tale in the voice of the crook, displays a phenomenal command of police, prison and underworld slang, as well as Russian obscenity. The writer is currently at work on a novel about a Soviet exile in the U.S. Its hero is a small-time Soviet Casanova who ceaselessly roams the country in a rented car in search of love and lust. He finds both...
...join forces in running away; Jim hopes to escape slavery, while Huck is running away from folk who want to "civilize" him. Ironically, the production falters precisely because Huck is too civilized. Huck's dual role as both narrator and protagonist is, at times, problematic. While in the "active" mode, he is scrambling about to keep the action going. Then, stopping dead in his tracks, he turns to the audience to tell what is happening, what is to follow, and how he/we feel about it. At times, the sentiment and explanations come across as a little too facile; the action...
...could help in the process of change. This parallels the change in Blacks' struggle for human and civil rights in this country, shown most noticeably in the Rainbow coalition theme of the Rev. Jesse L. Jackson's and Mel King's campaigns. Blacks have moved from a protest-oriented mode to action through the judicial and political systems. But inequalities persist and the call for unification Malcolm X began seems to fall on deaf ears...
...fantasies. If he had, unlikely adjectives like Felliniesque might now be accreting to The Lonely Guy. But half the film is merely joky in a flat, familiar way, and Steve Martin in the title role and Charles Grodin as his best friend too consistently play in the depressed-repressed mode. There needs to be some open frenzy in their madness. Still, there is more off-the-wall originality in the film than audiences can find in a dozen typical commercial comedies. It is a one-night stand one might actually remember in years to come...
Lured back to Harvard in 1981, Suleiman taught literary theory and a year-long course on 20th century French fiction. The latter, French 132a, "The Realist Mode," and French 132b. "The Experimental Mode," are highly praised by students. According to class members. Suleiman graded and wrote comments on all 60 students' papers, and took the trouble to learn everyone's name. "She is extremely friendly--very approachable," says one student, Elizabeth E. Porter...