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...High on the list of accolades was "able." All were masculine terms of approbation: the news in Homeric mode, demigods or villains on tiptoe. TIME's writers loved Homer's narrative techniques. Compound adjectives: Mexico's President Francisco Madero was "wild-eyed." The World War I German Admiral Alfred von Tirpitz was "long-whiskered." Public figures were tagged with mock-heroic identifying phrases. Minnesota's Senator Henrik Shipstead was invariably "the duck-hunting dentist...
...impasto of alliterative adjectives got slathered onto public men. George Bernard Shaw was "mocking, mordant, misanthropic." General Erich von Ludendorff was "flagitious, inscrutable, unrelenting." The intent was novelistic. As Luce explained it, "No idea exists outside a human skull--and no human skull exists without hair and a face and a voice--in fact the flesh and blood attributes of a human personality. TIME journalism began by being deeply interested in people, as individuals who were making history, or a small part of it, from week to week. We tried to make our readers see and hear and even smell...
Director Richard Kwietniowski, adapting Gilbert Adair's novel, uses Priestley's fretful blankness to handsome comic effect. But Hurt is the big news here. Dignified and dithery, he makes Giles one of the most charming predators in ages. Like Von Aschenbach in Death in Venice, like Lolita's Humbert Humbert, he is a man of culture finding beauty in youth, in coarseness--in "all that I myself have never been." To Giles, ecstasy comes in small packages. For viewers, this film is one of them...
...Von Clausewitz craved the decisive battle, Grove hungers for the decisive risk, the bet that will guarantee Intel's future. "Are we missing something?" Grove mused one day this spring over a lunch of tofu and ketchup, settling his silverware into a moment of quiet. "Sometimes," he says in a rolling baritone, "the risk of omission is greater than the risk of commission...
...Anne Sofie von Otter Schubert: Lieder (Deutsche Grammophon) The cool radiance of Von Otter's mezzo-soprano voice lights up this cannily chosen, passionately sung program of 18 Schubert songs, stylishly accompanied by pianist Bengt Forsberg. Some are obscure, some ultrafamiliar, but either way they are irresistible; even the age-old Ave Maria sounds brand...