Word: subjection
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Dates: during 1990-1999
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From the outset of Armand, it becomes evident just how fascinated Rice is by her subject. Rice bestows upon her novel one of the most complimentary gifts any writer can give--an image-rich setting. Couched in the velvet, vibrance and vixens of medieval Constantinople and Venice, Armand continues the vampire exposition that began with Interview with the Vampire. Figuring to a small degree in Interview (whose later film spawned my eighth-grade obsession with Brad Pitt) was Armand, the head of the Paris coven of vampires. How was it that Armand rose to such otherworldly prominence? Armand relates...
...obstreperous" and "obviate," lingeringon tangents that are more educational than theyare relevant. Nothing makes criticism of Imarried a Communist more of a dilemma than thehalf tangential/half-conclusive speeches Murraymakes throughout. In a novel that doesn't revolvearound a climax that estranges its main characterfrom the reader by making him the subject of twoother people's conversation, Murray'sphilosophical effervescence is a rare source ofenergy. Yet, it cloys. For example, after a longdiscussion of how Ira's Estonian nurse used topoke fun at his dainty wife by daintily giving Irablow jobs, Murray mildly pontificates:"Revenge...nothing so big in people and nothing...
...Harvard be a place more deeply committed to free expression? First, the Faculty should consider clarifying the principle that students professing unpopular views will not be subject to informal persuasion by administrators that may have an inhibiting effect on student expression...
Keeping on the subject of "larger than life" singers, Hoelterhoff manages to continually weave in the story of everyone's favorite tenor, Lucianno Pavarotti. Told with a tinge of sympathy and pity, she traces the last moments of a tenor past his prime, who has constant memory lapses and has to transpose all of his arias down to avoid the dreaded high Cs, yet desperately does not want to leave the public spotlight. Like Bartoli, even Mr. P (as Hoelteroff affectionately calls the Italian tenor) is overshadowed by the more provocative characters surrounding him. Herbert Breslin, Pavarotti's "motor-mouthed...
...unusual in that both aspects were changed--not only was it produced backwards, it was produced backwards in an insane asylum. While the viability of both changes is suggested by the text itself, their simultaneous implementation is a very bold move. The historical Richard III was the deserving subject of horror stories for a good century prior to Shakespeare's dramatization, and undoubtedly, this is the same story, with all the murder, intrigue and back-stabbing that suggests...