In 1960, Norman Mailer wrote that Seymour Krim is “a child of our time. I think, sometimes, as a matter of style, he is the child of our time, he is New York in the middle of the 20th Century, a city man, his prose as brilliant upon occasion as the electronic beauty of our lights, his shifts and shatterings of mood as screeching and true as the grinding of wheels in a subway train.”
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