Word: reviews
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Dates: during 1940-1949
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...opinion on the Maxwell Anderson-Truckline Café fracas seems a bit cavalier on the surface, since Mr. Gibbs's published New Yorker version is worded quite differently from TIME'S. Realizing, however that TIME had no chance for a gander at the forthcoming New Yorker review, I hazard the following free translation of the probable situation...
Ezra Pound got into a Random House poetry anthology that had excluded him as a traitor, but Publisher Bennett Cerf took pains to be understood. He had finally decided, said Cerf in his Saturday Review of Literature column, to reinstate the poet, chiefly because: "Once begun, where can you draw the line in this sort of thing? . . . This does not mean," Cerf hastened to say, "that my abhorrence for Ezra Pound the man has abated one iota. . . ." To make assurance doubly, sure, Cerf would run a footnote characterizing Pound as "a contemptible betrayer of his country...
...examples: Partisan Review, Politics, Kenyon Review, the late Southern Review...
...CRITICS: "There is a constant pull exerted . . . to write a bad review of a play. Critics in New York are made by their dislikes, not by their enthusiasms. Their bons mots, which are quoted and remembered, are always capsule damnations, cutting and sour. Their reputations, and I suppose their pay, depend, then, upon disliking plays . . . In no other art is there anything vaguely resembling this. . . . [Critics] become Shakespeare's peer. "It was better in France. There the critics were perceptive and corrupt. The managers paid them off and bought good reviews and the plays were left to the honest...
...CRITICS: "There is a constant pull exerted . . . to write a bad review of a play. Critics in New York are made by their dislikes, not by their enthusiasms. Their bons mots, which are quoted and remembered, are always capsule damnations, cutting and sour. Their reputations, and I suppose their pay, depend, then, upon disliking plays . . . In no other art is there anything vaguely resembling this. . . . [Critics] become Shakespeare's peer. "It was better in France. There the critics were perceptive and corrupt. The managers paid them off and bought good reviews and the plays were left to the honest...