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...geniuses who made Boston's James T. Fields the most influential American publisher during the middle years of the 19th century were not abnormally fragile. Yet of Fields's list, Holmes, Emerson and Hawthorne are honored but widely unread; Harriet Beecher Stowe is a historical curiosity; the realist William Dean Howells is read chiefly by thesis writers; Longfellow and Whittier are snickered at; and Edwin P. Whipple, Henry Giles, John G. Saxe and a shelfful of others are wholly forgotten. Only Thoreau's reputation is still alive, and Thoreau is more often revered than read...

Author: /time Magazine | Title: Books: The Morn Was Shining Clear | 10/11/1963 | See Source »

...sees no contradiction between these two roles, and insists, in fact there is little inherent difference between a professor and a government official. "If a scholar isn't enough of a realist to be able to serve the government, he isn't much of a scholar. And if an official doesn't have enough perspective, he won't be much of an official...

Author: By Richard Cotton, | Title: Reischauer: A Scholar-Ambassador in Japan | 10/3/1963 | See Source »

Registrar Sargent Kennedy '28 agreed that scheduling conflicts among large, populous courses is an urgent problem and one that "we are certainly going to try to work on." He called a departmental quota system "a definite start to ward solving the problem," but said "I'm enough of a realist to think you're still going to get logjams...

Author: By Efrem Sigel, | Title: College Seeks End to Long Chow Lines | 9/27/1963 | See Source »

Best known among the other winners were Sam Francis, who lofts petals of color on huge expanses of canvas, and Ivan Albright, painter of meticulous magic-realist works. Kenzo Okada won with his serenely pale abstract, Posterity, which blends European and Oriental idioms. Least appealing of the prizewinners were Ennio Morlotti's garishly colored, gouged abstract called Cactus and Paolo Vallorz' standing nude, a throwback to the Art Students League life class...

Author: /time Magazine | Title: Religion: The Lively Answer | 9/20/1963 | See Source »

...suck up all the action in sight and then spew it violently into the viewer's face. But Kurosawa is far more than a master of movement. He is an ironist who knows how to pity. He is a moralist with a sense of humor. He is a realist who curses the darkness-and then lights a blowtorch...

Author: /time Magazine | Title: Cinema: A Religion of Film | 9/20/1963 | See Source »

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