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...Dawn Bailey Boynton Beach...

Author: /time Magazine | Title: Letters: Jan. 26, 1981 | 1/26/1981 | See Source »

Iranian process servers demanded that Panama deport the gaunt and wasted Shah, who flew to Egypt at the invitation of President Anwar Sadat. In the U.S. at the beginning of April, President Carter called a dawn press conference to say that he saw progress in the hostage crisis-undetected by anyone else-and won the Kansas and Wisconsin primaries that day with a boost from his TV announcement. A week later, Carter ordered the remaining Iranian diplomats out of Washington and five other U.S. cities, imposed an economic embargo on Iran, and said that claims of U.S. firms against Iran...

Author: /time Magazine | Title: The Long Ordeal of the Hostages | 1/26/1981 | See Source »

...there appeared to be few classical music lovers in San Salvador's barrios. The guerrilla attacks were beaten off by withering rifle fire and grenade attacks by the army. The government declared martial law and a dusk-to-dawn curfew. Less than 24 hours after the start of the offensive, Junta President José Napoleón Duarte called a press conference to deride the leftist efforts as "an absolute failure." Stores and businesses opened as usual the next day, and workers generally stayed on their jobs...

Author: /time Magazine | Title: El Salvador,Killing That Will Not Stop: Killing That Will Not Stop | 1/26/1981 | See Source »

...aarrgh! or sploooosh! in the night. With They Came from Within, Rabid, The Brood and now Scanners, Cronenberg, 37, has joined the estimable company of John Carpenter and George Romero as a low-budget mahatma of the macabre. Like Carpenter's The Fog and Romero's Dawn of the Dead, Cronenberg's movies are hip parables of contemporary moral malaise, in which ordinary people are infected by a malignancy as invisible and pervasive as the most swinish flu virus. As his vision aged, like rancid fruit, the malignancy crept closer to home. In They Came from Within...

Author: /time Magazine | Title: Cinema: This Is the Way the World Ends | 1/26/1981 | See Source »

...sculptural fact but at a dark reef of nuances: form laid beside and over form, shadow vanishing into deeper shadow, leading the eye inward to a profusion of veiled detail that demanded the most strenuous attention. In an environment she showed at the Museum of Modern Art in 1959, Dawn's Wedding Feast (reassembled in her 1980 show at the Whitney), Nevelson turned this effect inside out by painting the whole array white, not black. The chalky surface now produced an effect of mummification, not atmospheric distance; the calcined forms, visually explicit, retreated from the eye in a startling...

Author: /time Magazine | Title: Art: Sculpture's Queen Bee | 1/12/1981 | See Source »

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