Word: coline
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...party is being thrown for Colin (Eli Wallach), out of sympathy. His fiancee of 14 months has just drowned. Diana (Anne Jackson) gets the group together. She feels that Colin's "friends" ought to cheer him up, even though none of them has seen him for three years. When Colin arrives, it is clear that he is past cheering. He is a human cork, with matching brain, who could bob merrily on a tidal wave of disaster. Grief is all Greek...
Paul Dietz, a slender youth in wire-rimmed glasses, loves war games of all kinds-from World War II platoon fights to dungeons and dragons. Says he: "I like to look at the mistakes commanders made in the past, as an intellectual exercise." Colin Camerer has a more direct interest in combat, since he lists as his main concerns "business and power." He adds: "Someone's going to be making decisions, and frankly I want to be there." Eugene Stark, by contrast, has a more modest policy: "I try to appear as normal as possible. If you go around...
Dvorak: Symphony No. 7 in D-Minor. (London Philharmonic Orchestra, Carlo Maria Giulini conductor, Angel; Concertgebouw Orchestra, Amsterdam, Colin Davis conductor, Philips.) No other of Dvorak's nine symphonies equals the nobility and deep melancholy of this landscape of rich melody and subtly changing orchestral color. The warm, spacious performance by Giulini would be a winner at almost any time. Right now, however, it comes up against Davis and the Concertgebouw in one of their most electrifying collaborations. The lilting Czech dance rhythms in the Scherzo, for example, have the kind of freedom and spontaneity one would expect from...
Stafford's facility finds its parallel in Storey's own gift for creating character and scene. Storey's style is unobtrusive; but the sense of reality which eludes Colin is all about him, in Storey's precise depiction of the fictional world he inhabits. The effects in Saville are rarely obvious; our passport into Colin's dilemma is understatement and the slow accumulation of detail. Storey uses strings of adjectives almost lovingly. Writing of Colin's mother, he says: "It was as if her life had flooded out, secretly, without their knowledge, and she some helpless agent, watching this dissolution...
OFTEN, in contemporary novels, the protagonist sees his identity as bound up in the past, in the acknowledgement of his roots. Colin too suspects that his identity derives from the world he has left behind, and he is constantly looking back, hoping it will overtake him. But when he turns toward Saxton, his home, he finds it empty of meaning, as insensible as the coal to which his father has mortgaged his existence. "It's no good hanging on," Colin finally tells the older woman he deserts, with sudden insight. The alternative, beautifully inevitable in Saville, is to walk fearlessly...