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...rarely notice the obituary section of The New York Times, but this past January, I could not ignore the headlines: J.D. Salinger, Howard Zinn, Abraham Sutzkever, and Louis Auchincloss all died within the span of a week. All of these men were writers who, in recently leaving the world, have left behind on culture a mark that we, unfortunately, cannot fully identify...

Author: By Alina Voronov | Title: The Dead Writer's Society | 2/24/2010 | See Source »

Though I only read the first section of Roth’s novel, I was immediately overwhelmed by its heavy fog of exhausted and demoralized irony. “American Pastoral” is replete with characters who lack consequential or connected outer lives, and who also lead hollow and phlegmatic inner lives. These characters are trapped in listless, “nether lives,” in which neither their exterior jobs nor their interior fantasies and dreams inspire them...

Author: By Theodore J. Gioia, CONTRIBUTING WRITER | Title: Studying 'American Pastoral' to Understand 'The Road' | 2/23/2010 | See Source »

...Could You,” meanwhile, has a chorus that references “My Girl,” but its bluesy guitar work and “doo-bee” falsetto bridge separate it from The Temptations’ original. The success of this bridge section is characteristic of an album whose best lyrical moments are impassioned, wordless cries...

Author: By Adam T. Horn, CONTRIBUTING WRITER | Title: Daniel Merriweather | 2/23/2010 | See Source »

...novel’s final section takes place on September 4. A woman arrives on this day, stands beside the man to watch the film. “She said, ‘What would it be like, living in slow motion?’ If we were living in slow motion, the movie would be just another movie. But he didn’t say this.’” By this day, the movie’s slowness no longer lends him clarity; he can’t be certain of the details he?...

Author: By Beryl C.D. Lipton, CRIMSON STAFF WRITER | Title: 'Point Omega' Explores Complexity and Consciousness | 2/23/2010 | See Source »

...gamut spanned by the “Eroica” gave it the flavor of a show piece, but that never cheapened it—in fact, the extra swagger affected by the BSO is really something missing from other interpretations. Sterling solo and ensemble work in the wind section stood out in the third movement, as in the symphony as a whole. Even in the dolorous intensity of the second movement, the emphasis on the starkness of the horns turned Beethoven’s exploration of grief into more of a public ritual of loss than an introverted sorrow?...

Author: By Spencer B.L. Lenfield, CONTRIBUTING WRITER | Title: BSO Plays Third and Fourth, Comes Out First | 2/23/2010 | See Source »

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