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Constant Lambert

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The average English critic is a don manqué, hopelessly parochial when not exaggeratedly teutonophile, over whose desk must surely hang the motto (presumably in Gothic lettering) "Above all no enthusiasm".
--
Opera magazine, December 1950.

 
Constant Lambert

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So we beat the Croations at football and I was there yelling "Ah, you Crotes!" and this guy says "It's cro-at; learn to speak English." So I was about to retort when he said "Hang on, you're Omid Djalili! You're good! I said "Aww thanks." He says "What are you going to do next?" I said "I'm in a pantomime of Wind in the Willows. I play the TO-AD, OF TO-AD HALL! I get in my BO-AT! And it sinks because it can't FLO-AT! And when I get out of the river, I'm wet and cold so I put on my CO-AT! And I can't get in my house because it's full of ferrets and STO-ATS!" Amusing wordplay but ultimately leads nowhere. The Telegraph.

 
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In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talents, new creations. The new needs friends. Last night, I experienced something new; an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking, is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook". But I realize — only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

 
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After Olympia Press, in Paris, published the book, an American critic suggested that Lolita was the record of my love affair with the romantic novel. The substitution "English language" for "romantic novel" would make this elegant formula more correct.

 
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