Word: vividly
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...force about urban turmoil in the years before London had police (his detective, named George Man, is a sort of civic night watchman with an awesome sense of duty). Heller's second novel, Man's Storm (Scribner's; 196 pages; $13.95), is in the same vein and invokes in vivid detail the consequences of an actual hurricane recorded by the writer Daniel Defoe, who appears as an ancillary character...
...frantic competition and luxuriant dissipation in an era when reporters worried about the price of a shot and a beer, not the tax consequences of a vacation home and an individual retirement account. In the mind's eye, the rowdy tabloid reportage of Chicago in the Roaring Twenties seems vivid, creative and a whole lot more fun than today's sober pursuit of facts and reasoned analysis. But 58 years of interpretation, including three film versions, may have been wrongheaded: a crackling revival at Manhattan's Lincoln Center persuasively makes the case that The Front Page is less a lark...
...watch him shifting gears in the portrait of the elderly head attendant of the asylum, Charles-Elzeard Trabuc, is to receive a vivid lesson in the adjustment of manner to motif. Trabuc's cotton jacket, with its emphatic parallel stripes of blackish-blue, is as explicitly stylized as anything produced within the next quarter-century by Klimt or, for that matter, Miro. But in the head, this graphic energy is subordinated to volume, to the immobile self-containment of a man who, Van Gogh realized, "has seen an enormous amount of suffering and death." The chin and mouth are compressed...
...Body" King lays out his most precious, secret feelings; in other stories he hits the vulgar, grotesque surreality inside us right on the head, and still pays his bills. He is vivid, rambunctious, sloppy, true-to-life, occasionally peurile, but always striking. If he's slipped a few times, he still hasn't fallen. There is truth in what he writes, not a lofty truth, but gut-grabbing honesty...
...Mexico with his lover Tina Modotti and one of his sons. He spent the next three years rubbing shoulders with the muralist Diego Rivera, dodging the postrevolutionary turmoil and making pictures under the Mexican sun that specifies every object it falls upon. Among them were a series of vivid head shots, like his startling portrait of Manuel Hernandez Galvan, 1924, that use the subjects' plain vitality to confound the impassivity one expects from monumental figures. The Mexican portraits show that Weston had absorbed the principles delivered to him by Alfred Stieglitz, words that Weston later summarized as a "maximum...