Critic Should Say What He Means

Having foolishly decided to delve into Martin Bernheimer’s critique of “Paul McCartney’s Liverpool Oratorio,” I found myself deep in a morass of platitudes,fatuities and logorrheic diarrhea (“ ‘Cute’ Beatle’s Cute Oratorio Is Cloaked in Banality,” Oct. 26).

The senselessly repetitious contradictory phraseology was the height--or rather, the depth--of idiocy. The plethora of adjectival expressions left more than understandability to be desired.

His writing brought to mind an analogical phrase: You are mentally incapable of recognizing the line of demarcation between legitimate persiflage and objectionable familiarity; Bernheimer should confine his repartee to restrained affirmation or the negative monosyllable.

So, Buddy, say, “Yes, it’s good” or “No, it ain’t!”

EDWARD POLA

Redlands

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