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...Weed Factor ushered in a new vein of American fiction in the early and middle sixties including Pynchon's V. Heller's Catch-22, and Coover's The Origin of the Brunists. What these works all share is an abiding contempt for the boundaries of traditional realism and traditional notions of seriousness. The example of the early moderns, Joyce in particular, had been terrifying. In a novel like Ulysses, the most incidental details were somehow necessary. Instead of trying to compete on these terms, the novelists of the sixties rejected such lofty ambitions and produced fiction where everything was superfluous...

Author: By Michael Levenson, | Title: Beyond the End of the End of the Road | 10/6/1972 | See Source »

...suggested. In the case of Viet Nam, most critics of the U.S. war policy insist that it is precisely the continuation of American involvement-especially the bombing-that threatens the national honor. But beyond that, one occasion's honor tends often to dissolve in next year's realism. In his own terms of a few years ago, for example, it surely would have been "dishonorable" for a U.S. President to bid farewell to Chiang Kai-shek and cultivate Mao. It is always risky to construct a cathedral of patriotism around the nation's necessities...

Author: /time Magazine | Title: The Nation: Rhetoric Rampant | 9/4/1972 | See Source »

...fact, recent seasons have brought little to cause either boos or bravos in Bayreuth. The "new Bayreuth style," fostered by Wolfgang's elder brother Wieland, substituted psychodrama for realism. Since Wieland's death in 1966, the style has remained but the spark has gone. Friedrich has changed all that. "A genius like Richard Wagner," he says, "inevitably provides room for a whole complex of often contradictory interpretations." There was nothing contradictory about the box office results after the news of his scandalous Tannhäuser. Gossip about Bayreuth's impending demise stopped, the Bavarian ministry denied...

Author: /time Magazine | Title: Music: Left-Wing Wagner | 8/14/1972 | See Source »

Nowhere is felt the heavy hand of alist realism". Rather there is careful attention to realistic detail, as in the first long shot of the old country house--with its peeling paint, creaking doors and evanescent charm. Even the interjection of pictures of denuded forest lands and starving children are in context. They portray the stark contrasts between the idle gentry and the destitute peasantry which underly Chekhov's sense of a passing...

Author: By Barbara A. Slavin, | Title: A Surprising Soviet Chekhov | 8/4/1972 | See Source »

...Oklahoma City on the sixth anniversary of Pearl Harbor Day, but raised in the town of Binger (pop. 730), which he describes as lying "two miles beyond Resume Speed." Binger is also near the heart of Last Picture Show country (Johnny guffawed appreciatively at the movie's realism). The third son of Ted and Katie Bench (there is also a daughter Marilyn), Johnny prospered in the kind of aggressively athletic household that can send a young man to the big leagues or the psychiatrist's couch. His father, a onetime truckdriver and furniture salesman, had been a semipro...

Author: /time Magazine | Title: The Swinger from Binger | 7/10/1972 | See Source »

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