Word: invention
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Dates: during 1960-1969
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MACDONALD claimed Wolfe's style was all a sham. He called it "parajournalism--a bastard form, having it both ways, exploiting the factual authority of journalism and the atmospheric license of fiction." He could not accept Wolfe as PR man extraordinary, whose technique is to exaggerate--sometimes even to invent--fact in an effort to get at the truth. And, in certain cases, Wolfe has made notable gaffs--where the New Yorker study demanded the cruel precision of an Evelyn Waugh, Wolfe stuffed in the vitality of a Rabelais. As they have developed, however, Wolfe's essays have taken...
...strongly held opinions confirmed about all the records and groups in the rock universe. So the rock writer is always under a heavy obligation to explain exactly why he himself likes or dislikes a particular album or group. And the only way he can do so is to invent a theoretical framework within whose terms all of rock music can be better understood. Unless he puts his discussion of value in terms which are supposed to be universally true the skeptics in the audience will not even pause to consider his opinions...
...origin of the pates, we might serve up a gaggle (though, more strictly, geese are a gaggle only when on water; they are a skein when in flight, I don't know what they are on a plate, minced). More likely, it would have been wise to invent a term--a mouthwatering of pates when they're good, a sclerosis when they're not. As for sopranos, Lipton suggests a quaver of coluraturas and, behind them, a schrei of heldentenoren...
Dickens was congenitally unable to invent villains less interesting than his heroes. As Fagin, Ron Moody makes the beaky, sneaky old vulture a tragicomic creature whose greatest thievery is that of the film. If he has lost most of the Semitism, Moody also has dropped all of the anti. Harry Secombe is the endomorphic Mr. Bumble to the burble, and Oliver Reed is appropriately thick and menacing as Bill Sikes...
...submitted his passionately theatrical piece for soprano and orchestra, Cléopâtre, to the Prix de Rome committee. It was rejected with a scolding from one of the judges, who said, "You refuse to write like everybody else. Even your rhythms are new. You would invent new modulations if such a thing were possible." The story goes that when Gioachino Rossini was shown Berlioz' score for the Symphonic Fantastique, he examined it for five minutes and said, "Thank goodness, this isn't music!" Recently Pierre Boulez complained, only half in jest, that Berlioz "has only...