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...argument, his characters are simply not to be relied upon. For one thing, he often kills them off highhandedly. For another, they change sides right in the middle of the symbolic drama, or behave with maddening inconsistency in other ways. Mercurial and emancipated, Dr. Aziz in A Pas sage to India at first seems to come on as a stereotyped native victim of senseless prejudice. He is a victim. But he also proves to be arrogant: an Indian Moslem, he is as indifferent to the concerns of Hindus as they...

Author: /time Magazine | Title: Books: Aspects ofjhe Novelist | 6/22/1970 | See Source »

...seems as if, nobody gives a damn if black people are killed," said Judith G. Friedlaender '71 of PAS...

Author: NO WRITER ATTRIBUTED | Title: Pusey Condemns Jackson Killings, Notes National Need for Restraint | 5/18/1970 | See Source »

Though he committed numerous diplomatic and social faux pas during his early days as U.S. Ambassador to the Court of St. James's, Walter H. Annenberg has lately displayed greater sensitivity to British traditions of pomp and formality. Perhaps that is why a select group of Londoners recently received his invitation to an embassy party in honor of "Mr. Francis Sinatra." At the gathering, Francis himself was informal as ever. Responding to a toast, he held his glass high, looked warmly at the guests and said: "Bless your distinguished little hearts...

Author: /time Magazine | Title: People: May 18, 1970 | 5/18/1970 | See Source »

Cavanagh committed the atrocious faux-pas of wearing madras shorts instead of whites and carying one racket instead of two, but the members recovered from their shock and he taught all summer. They never realized that their children were taking lessons from someone who had no idea how to properly stroke a tennis ball...

Author: NO WRITER ATTRIBUTED | Title: Hackey, Net Star Joe Cavanagh Is American Dream Come True | 4/24/1970 | See Source »

...other hands, Who Cares? could have been nothing but return to camp. Balanchine has too much pride in his own past and too much love for the American stage for that. In structure, the solos, pas de deux and dances for the corps are almost chastely classical; yet Broadway keeps breaking in. After a serene, supple lift, two dancers will suddenly embrace in a highly stylized foxtrot. A sequence of pirouettes will lead into a flashy split or a sensual side step. The incongruities somehow blend into a consistent display of Balanchine's mastery of forms. Who Cares...

Author: /time Magazine | Title: Dance: Manhattan, Wry and Sweet | 2/16/1970 | See Source »

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