Word: poetics
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Dates: during 1950-1959
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...more, for Atlantic, the "poetic license" that has given the weather bureau fits for years; not even any female forecasters. "Atlantic is in the service business, and in our service stations the customers deal with men," said Ad Director Dick Borden. "Naturally," he argued, in a massive non sequitur, "they would prefer to see men weathercasters on television." So Atlantic proposes to plug a new style: accurate, unadorned reporting. From now on, the company's meteorological M.C.s will show fog on their charts as = , drizzle will be , rain ∙, snow ∙, showers ∇, hail ∆, lightning ∠, thunderstorms...
Expatriate Beckett (he lives in France) has found a near poetic way of expressing his terrible vision, a style that is by turns irritatingly dense and craftily simple. And he states and restates his nightmare with a relentlessness that makes most writers seem uncertain of their way. Yet the vision is too ghastly to be borne in the long run, and with Watt, Author Beckett has conjured it up about as many times as most readers will be able to stand. If Godot was really Beckett's way of saying God, perhaps the only solution...
Author Panova shares Boris Pasternak's poetic affection for the Russian land. Serioja races across "black velvet ploughland" or watches the white-snow cling like "fat white caterpillars on the branches of the trees." Toward novel's end, the boy tastes bitter desolation when his stepfather is assigned a new post, and it appears that Serioja's health may force the family to leave him behind. At the last moment, seeing that parting will destroy the child, the stepfather scoops him up in a happy ending that is movingly true to the essential spirit of the book...
Millie Perkins, a newcomer, lacks the necessary depth for the title role. Despite her poetic prettiness and exaggerated emaciation, she looks like an Ivory Soap ad instead of a tortured adolescent. The other actors do considerbly better; Shelley Winters, as Mrs. Van Daam, dispenses with glamour in favor of convincing frumpishness, while Ed Wynn, as Mr. Dussel, adds a fine touch of ridiculous humanity...
...There's no reason why realism shouldn't be poetic in its effect... But now that Kazan is beginning to impose on realistic plays like Sweet Bird and Cat [on a Hot Tin Roof] an operatic style, I think it's dangerous and forced." The mainstream of American drama ("I hate to use phrases like 'mainstream,'" says Tynan) has to do with "observable reality. I think--let's be frank--that Kazan has moved too far away from that without the moral or social realities that are necessary to sustain it. Even in a play like Our Town ... the performances...