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The New Criterion
A monthly review edited by and (exec ed). Arts, politics, culture, poetry, literature.
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The New Criterion 5h
Tocqueville was appalled by the tendency of almost every current of French society to imitate the actors from the original French Revolution, as if the Revolution itself was an exercise in theatrical display.
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The New Criterion 7h
Reagan called Buckley his “tutor,” and Buckley did not demur. Save for occasional dalliances at the United Nations and other offices, Buckley favored the role of “éminence grise,” which he preferred to call presidential ventriloquist.
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The New Criterion 9h
The exhibition asks the viewer to compare one hand of an angel to the other, to contemplate the perspectival fidelity of wholly fictional interiors, to contrast a smear of paint in one part of an image with an unlike smudge a few inches away. 🔒
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The New Criterion 11h
needles, brittle bones, paralyzed beneath the pines petitioning wind clustered pea-green globes traveling incognito the first hyacinth
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The New Criterion 13h
Tocqueville was appalled by the tendency of almost every current of French society to imitate the actors from the original French Revolution, as if the Revolution itself was an exercise in theatrical display.
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The New Criterion 15h
Reagan called Buckley his “tutor,” and Buckley did not demur. Save for occasional dalliances at the United Nations and other offices, Buckley favored the role of “éminence grise,” which he preferred to call presidential ventriloquist.
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The New Criterion 17h
The exhibition asks the viewer to compare one hand of an angel to the other, to contemplate the perspectival fidelity of wholly fictional interiors, to contrast a smear of paint in one part of an image with an unlike smudge a few inches away. 🔒
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The New Criterion 18h
Appenzell is a small mountain canton in eastern Switzerland; in fact, there are two Appenzells—two half-cantons—a Catholic and a Protestant one, that had separated from one another.
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The New Criterion 18h
It seems to me that the Van Cliburn is a smaller deal than it once was in our national life, or national cultural life. Maybe that’s because culture—high culture—is a smaller deal.
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The New Criterion retweeted
Caine Bird Sep 23
Anticipating reading this over a morning cup of coffee and looking out over the rain-dribbled countryside
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The New Criterion 19h
It is only with this exhibition that I have come to understand what an awkward fit were Giacometti and Cubism.
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The New Criterion 19h
“The Eye” is Costamagna’s most recent publication, and it is sure to baffle and even infuriate many of his colleagues in the academic and museum communities.
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The New Criterion 20h
To focus on Candela’s exteriors is perhaps to overlook the architect’s primary talent in designing layouts.
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The New Criterion 20h
The smooth, bald duomo of Saint Matthew’s head suggests the simple life, as does the stunned and disbelieving look that pulls his face. . .
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The New Criterion 21h
Generations that were raised to believe in the sanctity of the constellation of freedoms that constitute free expression regularly find themselves asking the perennial question “What’s the matter with kids today?”
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The New Criterion 21h
In a typical season, zero to two new entries manage to stay on the boards for more than a year. There are forty-one Broadway theaters. Hence: revivals.
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The New Criterion 22h
Muriel Spark had a poet’s instinct for the right form and a colloquial style all her own that allowed her to range the whole way from the comedy of manners up to the great unanswerable questions of the human condition.
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The New Criterion 22h
Now it appears that Salvator spent much of the twentieth century in the most unlikely of places: the home of a sheet-metal manufacturer in Louisiana.
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The New Criterion Sep 24
Today the work of Hiram Powers is largely forgotten, but, in the second half of the nineteenth century, his Greek Slave was one of the world’s most celebrated, and controversial, sculptures.
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The New Criterion Sep 24
If you’re not intrigued by a sportswriter so good that his timely work could be judged worth printing between hard covers on nice paper half a century on, well . . . you can take a horse to water. Move along.
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