Nora Rosen takes a charitable view, seeing Sagan as a He: "Life goes on, I'm still here, you're still here. sort of modern-day Gautier "who has refined her We're dancing." material down to its essence." The trouble is that be-She: "We'll dance for the rest of our lives. We're neath the brilliantly hard, crystalline surface there is the sort of people who dance nothing worth concealing. There are only the usual love-triangles enacted in fashionable apartments and Then later, in bed: five-star hotels and beach houses, the Ferraris and the Chanel suits and the Creed jackets, the father-figures, "You know," she said in a calm voice, "it's a the generation-gap, and throughout it all, apt and funny thing, life, all that . . ." epigrammatic observations about people in love. "What?" he said. There is throughout Sagan's work a certain ex-"I don't know,"—and turning toward him, she quisite quality one ordinarily associates with the craft fell asleep on her side. of the miniaturist. The language of the critics is re-vealing here: she is "a player of boudoir chess" (Stanley Kaufmann); her stories are "fragile sand dollars—el-

DOI link for Nora Rosen takes a charitable view, seeing Sagan as a He: "Life goes on, I'm still here, you're still here. sort of modern-day Gautier "who has refined her We're dancing." material down to its essence." The trouble is that be-She: "We'll dance for the rest of our lives. We're neath the brilliantly hard, crystalline surface there is the sort of people who dance nothing worth concealing. There are only the usual love-triangles enacted in fashionable apartments and Then later, in bed: five-star hotels and beach houses, the Ferraris and the Chanel suits and the Creed jackets, the father-figures, "You know," she said in a calm voice, "it's a the generation-gap, and throughout it all, apt and funny thing, life, all that . . ." epigrammatic observations about people in love. "What?" he said. There is throughout Sagan's work a certain ex-"I don't know,"—and turning toward him, she quisite quality one ordinarily associates with the craft fell asleep on her side. of the miniaturist. The language of the critics is re-vealing here: she is "a player of boudoir chess" (Stanley Kaufmann); her stories are "fragile sand dollars—el-

Nora Rosen takes a charitable view, seeing Sagan as a He: "Life goes on, I'm still here, you're still here. sort of modern-day Gautier "who has refined her We're dancing." material down to its essence." The trouble is that be-She: "We'll dance for the rest of our lives. We're neath the brilliantly hard, crystalline surface there is the sort of people who dance nothing worth concealing. There are only the usual love-triangles enacted in fashionable apartments and Then later, in bed: five-star hotels and beach houses, the Ferraris and the Chanel suits and the Creed jackets, the father-figures, "You know," she said in a calm voice, "it's a the generation-gap, and throughout it all, apt and funny thing, life, all that . . ." epigrammatic observations about people in love. "What?" he said. There is throughout Sagan's work a certain ex-"I don't know,"—and turning toward him, she quisite quality one ordinarily associates with the craft fell asleep on her side. of the miniaturist. The language of the critics is re-vealing here: she is "a player of boudoir chess" (Stanley Kaufmann); her stories are "fragile sand dollars—el-