Word: portraited
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...selection of these stories reveals a continuity and cohesion in Taylor's art that were less visible before. The settings are similar: the U.S. South during the 1930s and '40s, not the bogs or backwaters but growing cities like Memphis and Nashville. There, in the author's composite portrait, a well-ordered world is losing both energy and its faith in itself...
...Uncle Tom's Cabin, arousing the public just as Harriet Beecher Stowe's 1852 antislavery novel ignited the abolitionist movement. Declared Reagan: "It's been said that if every member of Congress could see that film, they would move quickly to end the tragedy of abortion." The producer, American Portrait Films of Anaheim, Calif., plans to mail the movie to all 535 lawmakers and the nine Justices of the Supreme Court...
Picker's Keys to the City, his second piano concerto, is a sometimes freewheeling portrait of the great bridge, most effective when brimming with the high spirits of Brooklynites George Gershwin and Aaron Copland. Unfortunately, though, the bonhomie is only intermittent. Despite delightful incongruities, like a six-note boogie-woogie that unexpectedly breaks out of some dense noodling, too often the piece is aimless and unfocused when it should be straightforwardly celebratory. At 30, Picker has compiled an impressive list of awards and commissions and has written other large-scale works, including a symphony and a violin concerto. What...
...passes, up rock cliffs and over slopes of ice. "He felt the need," Levi says, "to prepare himself (and to prepare me) for an iron future, drawing closer month by month." In 1944 Sandro was executed by the Fascists, who left his body in the road. Levi's superb portrait of him in the chapter titled "Iron" remains his indestructible monument...
...exploits of Boyce and Lee, who were arrested and convicted in 1977, inspired a bestselling book by Robert Lindsey and now John Schlesinger's movie version. In An Englishman Abroad, the 1983 BBC-TV film he directed from Alan Bennett's script, Schlesinger painted a wry, rueful portrait of the British spy--Guy Burgess, retired to Moscow--as a displaced person, isolated from his best friends and instincts. Chris Boyce (Timothy Hutton) feels isolated too, trapped in America; but here Schlesinger dares not flirt with political or visual subtlety. Everyone is an oaf but our lad. Mom (Joyce Van Patten...