Word: reader
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Dates: during 1980-1980
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Naked Lunch exploded like a lanced boil on the American literary scene in 1959. The novel, a farrago of discontinuous fragments, takes the reader on a graphic tour of the hellish interstices of a junkie's mind, the fantasies of castration and necrophilia and technology gone amok. The updated Gothicism, hip drugginess and black humor of Naked Lunch established Burroughs' audience, composed mostly of young people. Norman Mailer compared reading Burroughs to "being in a room where three radios, two television sets, stereo hi-fi, a pornographic movie, and two automatic dishwashers are working at once." John Clellon Holmes called...
...Burroughs shifted uneasily in his orange leatherette chair. "I don't know what you mean by that...Art is certainly concerned with the creation of values. I mean if it doesn't affect people, it hasn't accomplished anything. Naturally you're trying to produce an effect on the reader...
...turned out to be the Campaign Issue That Will Not go Away. The Senator himself revived interest in the tragedy with his hesitant answers to questions about it posed by Roger Mudd during the now celebrated CBS interview in November. Last week separate stories in the Washington Star, Reader's Digest and New York Post fanned a new controversy at a critical time: just before the Jan. 21 Democratic caucuses in Iowa that began the process of selecting delegates to the presidential nominating convention in August...
...save Kopechne. Then they drove to the opposite end of Chappaquiddick, where, Kennedy said, he jumped into the water and battled a ferocious northward-flowing current to reach Edgartown, on the other side of a 500-ft. channel from Chappaquiddick (see map). For different reasons, the Star and Reader's Digest concluded that the tide had actually been flowing in the opposite direction and would have helped rather than endangered the Senator during his swim. The Digest flatly said that Kennedy's story "is false...
...reader may agree wholeheartedly with such statements and still have an uneasy feeling. Greenberg displays little of the sympathy she expended on the mentally ill in I Never Promised You a Rose Garden (1964) and on the deaf in In This Sign (1972). People in these stories are self-maimed, and get treated accordingly. The artistic regimen is ascetic. "Talmudic Law," one of her characters explains, "forbids the overdecorated letter, a letter for art's sake and not for the formation of legible words." Nothing is overdecorated here; Greenberg spends little time telling where her characters live or what...