Word: yorkerized
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Dates: during 1940-1949
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According to her publisher's blurb, Shirley Jackson, whose recent New Yorker stories have been grouped in "The Lottery," is a practicing amateur witch. This is surprisingly easy to believe. For some of her stories manage to conjure up black magic that would have been extremely self-satisfying to any of Miss Jackson's late Salem forerunners...
Most of the stories fit what people like to call the New Yorker pattern: sharp photographic action--glaringly-lit scenes into which the reader is lowered like a sound-stage camera on its boom, allowed to look on for a few minutes, and then abruptly lifted out again--terse dialogue and quick images. The people in the stories are finely brushed-in, and Miss Jackson knows how to use children to mirror the inadequacies of her adults. But these features are neither necessarily good in themselves nor Miss Jackson's particular property (though she works very well with them...
...mixed with composition, and he has been writing music steadily since he composed the score for a Dunster House musical not long after his return from Paris. He has done a good deal of choral composition, and his works include the Alice in Wonderland Suite and The Choral 'New Yorker.' Koussevitzky has heaped praise on his Toccata Concertante. It has had several performances this year by the Boston Symphony and was played under the composer's direction at Sanders Theater this winter. His new Partita for Woodwind Quintet was performed last month at M.I.T...
Porgy & Bess. After hearing New Yorker Samuel Barber's Stravinskyesque Capricorn Concerto, American week finally got around to its triumph. Maurice Ravel had once told George Gershwin, "Don't you ever try to imitate the Europeans . . . It's better to write good Gershwin than bad Ravel." And after hearing some piano preludes, songs from Porgy and Bess and An American in Paris, topped off by a rousing Rhapsody in Blue, Cannes connoisseurs found good Gershwin good enough for them. They let Conductor Horenstein & Co. know it with six noisy curtain calls. Concluded old Cannes Critic Edouard Berthier...
...Critic Clifton Fadiman read Novelist James Farrell's No Star Is Lost and wrote (in The New Yorker): "If his editors will only strap him down tight, shoot him full of morphine, and, while he is helpless, perform some major operations not on him but on his prose, Mr. Farrell's effectiveness will increase, and so will the number of his readers." Either the publishers let Fadiman's prayer go unheeded or Farrell refused to submit to the operation. More than ten years and twelve books later, the Farrell prose is still a better cure for insomnia...