Word: codas
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Cheever, 69, has sensibly not tried to top himself. Oh What a Paradise It Seems stakes out neutral territory. Too long to be a story and too short to be a novel, it seems instead a coda to other works, a spontaneous riff on some people, places and things that have appeared elsewhere in Cheever's fiction. The hero could be (but is not) one of those stubborn old Yankee Wapshots. The settings range from New York City to a declining country village, with the hint of suburban Bullet Parks and Shady Hills sprawling in between. And the plot...
...escalator rides from one floor to another through a dramatically high-ceilinged central space provide the release, or B elements. The building begins with a low-key introduction to water-large, blue bubble-tubes at the entrance-and after a long, steadily mounting crescendo ends on a sort of coda of quiet contemplation: a globe, 8 ft. in diameter and cut in half, frames the exit, graphically demonstrating the fragility of the oceans in relation to the earth's huge mass. Observes Chermayeff: "Museum fatigue is a serious problem, and I did not want that to happen here...
...Country) to a lilting yet regal new anthem by Welsh Composer William Mathias, 46. The ceremony ended with God Save the Queen, newly arranged by Sir David Willcocks, director of the Royal College of Music, who worked the oceanic swell of that great melody into a kind of coda of moral grandeur. As the anthem died, cheers penetrated the thick cathedral walls as if the world outside had got a celebratory jump on the congregation...
...album's coda emerges on the seven-inch e.p., containing more experimental material. It has two excellent, straightforward reggae songs recorded in London with reggae musicians, attacking hypocrisies and race riots, and a long, less happy-go-lucky, more personal, powerful version of the album's "Christine," as well as a throwaway song composed in the studio, "Lovers' Walk." There are similar superfluities on the album, like "Ghost of a Chance," but the extended length project accurately reflects Jeffreys' creative energy and vision. Daring to confront and reinterpret his own work, to create music with players of different nationalities...
...murderers, but we're Americans, Joe!"), before the first act we have movie credits ("Starring Robert Redford as George Washington, Sir Laurence Olivier as General Burgoyne," etc., all to the strains of Aaron Copland's "Fanfare for the Common Man"), and we have a delightful second-act coda with Thomas Derrah delivering a voice-over of a soldier's death for a sequence of the movie. This helps to lessen the play's claim to seriousness and lets it stand as glorified burlesque. Kustow's direction throughout is faithful to Wood's music-hall style, with an unending series...