Word: yorkers
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Dates: during 1970-1979
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Jane Kramer, who originally wrote The Last Cowboy for serialization in The New Yorker, sets Henry and Betsy Blanton in a determinist context of history, geography and economics. Her sympathetic sketches of modern cowboy life are framed by facts - about beef consumption (Americans ate 27 billion lbs. of it in one year), ranching technology, federal meat-grading standards and the quirks in Texas law. Cattlemen, for example, don't have to fence their animals in. Farmers who want to protect their crops have to fence cattle out. Kramer achieves the intended effect: to show the American cowboy riding...
...Doolittle of do-it-yourself is a 35-year-old New Yorker named Spiros Zakas. A highly successful commercial designer and author who recently revamped Chicago's venerable Pump Room, Zakas also teaches at Manhattan's famed Parsons School of Design (wherefrom, nearly 50 years ago, issued the Parsons table). Zakas' book, Furniture in 24 Hours (Macmillan; $10.95), a collection of his own designs and those of his most inventive pupils, has gone through six printings in little over a year. Its 128 pages are a potpourri of practical pieces that range from ad hoc aphrodisiac...
...line between reviewing and criticism is a smudged one, but Arlene Croce's dance column in The New Yorker falls into the latter category as easily as Randall Jarrell's poetry chronicle or James Agee's film commentary in the '40s. The dance world can very well use her learning and passionate commitment-and even her occasional irritability...
Ballet has exploded in popularity during the past ten or 15 years. There are more challenges for choreographers and performers than ever, and some big money. Even Hollywood is paying attention. Taken together, the pieces collected in Afterimages from The New Yorker and other magazines raise the voice of a dedicated but exacting lover of the art who is worried about its function...
Croce began watching the New York City Ballet when she was a student at Barnard. In addition to writing the New Yorker column, she is editor of the quarterly Ballet Review. Her standards can be formidably high. What does she like? Certain words recur: clarity (for Gelsey Kirkland), purity (for Baryshnikov), amplitude (for Farrell and Peter Martins). If Croce's criticism has a godfather, it is George Balanchine, who, after all, reinvented classical ballet and made it American. If she has an idol among dancers, it is Baryshnikov, though she thinks that A.B.T. misuses his genius...