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I grasp that to many times, becomes it feasts, yells, and then knows not me, exceptional is his play on words, and the game I so often play to control them.
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Although it sounds patently implausible, Kazin has interesting things to say about Hannah Arendt, Saul Bellow, John Cheever, Hart Crane, Theodore Dreiser, William Faulkner, Allen Ginsberg, Robert Lowell, Czeslaw Milosz, Edwin Muir, Flannery O'Connor, George Orwell, Katherine Anne Porter, Henry Roth, Delmore Schwartz, Allen Tate, Simone Weil, Edmund Wilson, Richard Wright and/or their writings in this short space (originally, short time), along with apposite quotations from Flaubert and Proust, and reflections on Mark Rothko.
The vignettes and condensed analyses are pithy, but I don't really understand how Kazin supposed they cohered, or what their cumulative point is. I think that the past tense of the title contrasts with more recent worship of theory and political correctness instead of contemplating the universes written in what was the canon of the 1950s (with Eliot expelled, Wright and Milosz added). Kazin was an engaging mandarin, judging by his performance here, as well as from his longer books.
If you love books, and especially if you dislike the elitism of the academic establishment, you will love Kazin. "Writing Was Everything" is also a great introduction to Kazin. It is very slim--I read it in one sitting--and is very readable, as it is as much autobiography as academic cri de coeur. Even this short work is peppered with pithy insights, and is helpful in understanding a number of the important novelists and poets of our time. "Writing Was Everything" is well worth the few hours it takes to read, and will likely be your invitation to reading others of Kazin's works.
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The first of the one-hour shows is The Screen Director's Playhouse version of "Lifeboat" (11/16/50) with Tallulah Bankhead recreating her original role. "Spellbound" (1/25/51) on the same series offers Joseph Cotten and Mercedes McCambridge in the Peck and Bergman roles; while Studio One's "The Thirty Nine Steps" (3-23-48) stars Glenn Ford and Kathleen Cordell in the leads. Academy Award's "Strangers on a Train" (12/2/51) gives us Ray Milland and Frank Lovejoy in the roles created by Farley Granger and Robert Walker. All of these are extremely well done, forced (of course) by time considerations to leave out certain events shown in the film (such as the actual murder of the wife by psychopath Bruno in "Strangers").
The half-hour shows are not nearly as satisfying, being forced to rush the plots almost to the point of mere outlines of the originals. There is the very first airing of a Suspense show, "The Lodger" (7/22/40) with Herbert Marshall, Academy Award's "Foreign Correspondent" (7/24/46) with Joseph Cotten, The Screen Guild Players "Rebecca" (11/18/48) with John Lund and Loretta Young in the Olivier and Fontaine roles, and Academy Award's "Shadow of a Doubt" with Cotten in his original role.
The acting is mostly very good in all eight of these broadcasts; but as I said, you will find the longer versions more satisfactory. Still they are all part of the best of old-time radio's golden history.
The first of the one-hour shows is The Screen Director's Playhouse version of "Lifeboat" (11/16/50) with Tallulah Bankhead recreating her original role. "Spellbound" (1/25/51) on the same series offers Joseph Cotten and Mercedes McCambridge in the Peck and Bergman roles; while Studio One's "The Thirty Nine Steps" (3-23-48) stars Glenn Ford and Kathleen Cordell in the leads. Academy Award's "Strangers on a Train" (12/2/51) gives us Ray Milland and Frank Lovejoy in the roles created by Farley Granger and Robert Walker. All of these are extremely well done, forced (of course) by time considerations to leave out certain events shown in the film (such as the actual murder of the wife by psychopath Bruno in "Strangers").
The half-hour shows are not nearly as satisfying, being forced to rush the plots almost to the point of mere outlines of the originals. There is the very first airing of a Suspense show, "The Lodger" (7/22/40) with Herbert Marshall, Academy Award's "Foreign Correspondent" (7/24/46) with Joseph Cotten, The Screen Guild Players "Rebecca" (11/18/48) with John Lund and Loretta Young in the Olivier and Fontaine roles, and Academy Award's "Shadow of a Doubt" with Cotten in his original role.
The acting is mostly very good in all eight of these broadcasts; but as I said, you will find the longer versions more satisfactory. Still they are all part of the best of old-time radio's golden history.
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That is the title that I think this book should be because there is another mystery going on at the same time that eventually involves the Three Investigators with the mystery of the moaning cave. The plot is trying to see how or what is making the cave moan only at night and not in the morning. I really liked this book because it kept me reading, even when I wasn't supposed to be reading the book.
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Enjoy! I know that I already did :-)