Word: tone
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Dates: during 1950-1959
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...managed to fashion a book whose style owes nothing to other writers, whose substance is the stuff of a faraway East Indies setting both languorous and violent. In translation, Maria Dermout's The Ten Thousand Things is an uncommon reading experience, an offbeat narrative that has the timeless tone of legend. Sybille Bedford, another late-starting, first-rate first novelist (TIME, Feb. n, 1957), has put it well: "Someone who knows something worth knowing has written this book...
Dulles pointed out that the President's letter to Bulganin did not explicitly call for a foreign ministers' "meeting." But measured against that letter's tone and spirit, Dulles' outright "No, it isn't essential" seemed a step toward the summit, a step dictated by the haunting need to avoid seeming "rigid" in the eyes of neutrals, allies and the soft-line camp at home. Since the Russians had already conceded that the U.S. insistence on advance preparations is "correct," Dulles' concession seemed to leave no barrier to ambassador-level discussions of an agenda...
...play is fitted out with much such modern plumbing. Yet in inventiveness and impact alike, it somehow falls short. It falls short for one thing because it is so unmercifully long; for another, because it achieves no pervasive tone or attitude. It reupholsters the Oedipus story rather than reshapes it; it is too close to a stunt at the outset, too close to Sophocles at the end. And for all its merits, an intelligent production has actors who are rather at odds with their roles or at odds with each other. But perhaps The Infernal Machine suffers most...
...vignettes shocked readers in 1919 with insights into the neurotic crochets of lonely, frustrated Winesburghers. No longer shocking, it has been smoothed by the years into a piece of rural nostalgia, but it is still a plotless set of fragments unified by little more than the author's tone of voice and a mood of isolated lives. For dramatic focus, Adapter Sergel forfeited the rich multiplicity of characters, fastened upon the struggle of ailing Elizabeth Willard (Dorothy McGuire) to free her sensitive if needed son George (Ben Piazza) from the cramp of Winesburg and his crass hotelkeeper-father (James...
...have since written for the saxophone, serious Saxophonist Mule, 56, still feels like a man without a musical country. It pains him to hear of abuses such as those practiced by the rock 'n' roll players who put chewing gum in the sax to dull its glorious tone. Mule notes sadly that even at the Paris Conservatory, where he is professor of saxophone, most of his students graduate into jazz or military music. "I have one mission in life," he says. "That is to make people take the saxophone seriously. It's time they discovered the nobility...