Word: reader
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Dates: during 1920-1929
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Author-Artist Lynd Ward has woodcut an effective book. His pictures may not please artists, but they will hold the novel-reader, eager for a story. In parts the treatment is strongly reminiscent of German cinema-e.g.. The Cabinet of Dr. Caligari. But the book is a tour de force; novelists will have little competition from such "novels...
...entire cast follows. The Rt. Hon. R. Selby Mannock, M.P. R. R. Wallstein '32 Lady Jane Mannock Betty Jean Crocker '30 Arthur Mannock Brinckerhoff Jackson '32 Freda Mannock Elizabeth Johnson Digby W. A. Richardson '32 Edward Eversley J. F. Joyce '32 Bertie Capp A. R. Goodman '32 John Reader R. H. Jones '30 Lord Carchester H. G. Meyer '30 Sally Jessica Hill...
...idea and he will develop it. Put him in the middle of a problem and he will begin to solve it. The doors of his mind swing easily ajar. That is why he left Exeter (1888) and Harvard (1892), to become a good reporter (and later, a good copy reader) on the New York Tribune. And why in 1902, he could bring order out of the chaos of an importing and exporting house which became Lamont, Corliss & Co. (agents for Cream of Wheat, Rainbow Dye, Pond's Extract, O'Sullivan's, Peter's Chocolate), of which he is now chairman...
...into two parts, a condemnation of the Victorians, especially for their sexual obscurantism, and a condemnation of the War. They are not well linked, except that both contribute to the catastrophe, and the second is far stronger. The Victorians are satirized with a savagery that defeats itself, for the reader begins to protest that it must be overdone. The tone of these chapters is like one of George's own remarks, thus reported: " 'Now, look at these simian bipeds,' George pursued, pointing to an inoffensive pair of lovers . . . 'more foul, more deadly, more incestuously blood-lustful . . .!' " Throughout the early chapters...
...Ginger Cat" is an outstanding example of a certain type of mystery and melodrama writing that is very popular at the present time. It ignores one of the principles of good melodrama--that the reader's attention should never be distracted from the main story and the main characters, unless for some point essential to the development of the story. Of the actual writing, the reader should be always unconscious. The English language should not be slaughtered to such a degree that it becomes irritating, nor should the style be toned up to such a degree that it becomes noticeable...