Word: whose
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Dates: during 1970-1979
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...print, but his message has often been muted or ignored. Until now. In America he is a part of the curriculum on almost every campus; even in France, where he was almost pathologically rejected by Sartre's followers, he is being rehabilitated. Says Historian Christian Jambet, 29, whose analysis of revolution, L'Ange, has become a modern classic...
Frank's is an art of subject matter. And its basic subject ? the sensation of inhabiting a body whose surface is enveloped by air, water or earth ? is put before us allusively. In the exhibition of some 140 works that runs through the summer at the Neuberger Museum in Purchase, N.Y., most of the pieces are figures or heads. But they are complex, swathed in images of metamorphosis. One of Frank's recurrent themes from classical mythology is that of Daphne, the daughter of a river god; pursued by an amorous Apollo, she turned into a laurel tree...
...ability to convey great sweeps of time. His weakness is an insistence on covering murals with so much background and foreground that he has learned only a few ways of doing faces. One expression represents nobility, and another fills in the crowd scenes. Pentaquod, the Susquehanna Indian whose migration to the Chesapeake Bay's eastern shore in 1583 begins the new novel, is later seen as Cudjo the rebellious slave. He reappears as George Washington, who visits the bay area after the Revolution, and then as Onkor, the wise and valiant old Canada goose. There is nothing wrong with...
There is a prince charming of sorts whose actions free the girl, but there is no conventional happy ending. Erendira and her supporting cast belong to the world of legend that Garcia Marquez Yoknapatawphaized out of the Colombian landscape in his lengthy masterpiece One Hundred Years of Solitude (1970). But the short story is not a form that can adequately contain his distinctive magic which requires proliferations of exotic plots, flowering images and familia' tangles...
...trouble them, since with an avoidance of judgment that they call being open-minded, editors now seek for their pages a "broad spectrum" of attitudes. But they are wary of prejudicial opinions in the guise of reporting and most often cite Evans and Novak. The Los Angeles Times (whose own Washington bureau is highly regarded by the Washington press corps) dropped Evans and Novak because, in Editor Day's words, "we want to be responsible for the authenticity of things presented as fact." In Carter country, Editor Hal Gulliver of the Atlanta Constitution dropped William Safire for ignoring fact...