Word: starke
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Dates: during 1960-1969
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When the U.S.S. General Pendleton sails from San Francisco in 1944, Raditzer is aboard. So is Charlie Stark, and the two men could hardly be more different. Charlie's family is sound, conventional, well to do. He has been turned down for combat duty and has in turn rejected his chance at a commission; instead, he was drafted for service on a troop transport. On the Pendleton, Raditzer spots him at once as a decent man who is above abuse, a man to tie to for protection. Raditzer glories in his whining autobiography-born illegitimate, raised in an orphanage...
...Hawaii. But this time the Pendleton is carrying combat veterans as well as the scraped-barrel group of the outward voyage. When Raditzer is caught cheating in a below-decks poker game, they decide to pitch him overboard. In a scene that is brutal and powerfully true, Charlie Stark as his protector is tried as Raditzer has not tried him before. And from there to the powerful ending, Stark suffers the agonies of a man who has tied himself unwillingly, irrevocably, to a wretched fellow human whose claim is based subtly on weakness. Author Matthiessen has successfully brought off something...
...everything from a battle-dressed Leif Ericson, which the U.S. gave to Iceland, to George Washington on the arch in Manhattan's Washington Square. But the warm talent of the man is best seen in a statue of a chubby little boy that he called Man Cub. The stark-naked cub: the future mobilist...
...Dump City Council President Abe Stark, a kindly but ineffectual Brooklyn haberdasher whose main claims to fame are that he 1) sold suits to De Sapio ($75 to $90), and 2) gave a free set of duds to every ballplayer who hit his advertising billboard in the old Ebbets Field. To replace Stark, nominate the clean-up-minded deputy mayor-Felt...
...instruments employed: Chinese gongs, temple blocks, tom-toms, marimbas, vibraphones, Pyrex mixing bowls, a xylophone, a celesta, a glockenspiel. For all its fearsome instrumentation, the concerto proved to be one of Cowell's more immediately appealing works - alternately delicate and boisterous, crosshatched with curiously shifting rhythms. Less stark than the works of Cowell's youth (when he liked to roll the piano keys with his fore arms to achieve "tone clusters"), the concerto was also less melodic than the works of what Cowell thinks of as his middle period. "No composer worth his salt these days would...