{"id":2287,"date":"2011-01-12T01:05:00","date_gmt":"2011-01-12T09:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=2287"},"modified":"2011-01-12T01:05:00","modified_gmt":"2011-01-12T09:05:00","slug":"other_matters_the_unicorn_in_t","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2011\/01\/other_matters_the_unicorn_in_t\/","title":{"rendered":"Other Matters: <i>The Unicorn In The Garden<\/i>"},"content":{"rendered":"<p>Partially blind, totally brilliant, for decades James Thurber (1894-1961) entertained readers with the incisiveness and wit of his stories and drawings. His most famous story i<a href=\"http:\/\/www.artsjournal.com\/rifftides\/Thurber.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"Thurber.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/assets_c\/2011\/01\/Thurber-thumb-150x155-18692.jpg\" width=\"150\" height=\"155\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" \/><\/a>s probably &#8220;The Secret Life of Walter Mitty,&#8221; which was distorted into a film that Thurber detested. Almost everything he did was for print, most of it in <i>The New Yorker<\/i>. There were exceptions. He wrote the hit play <i>The Male Animal<\/i>, appeared on stage in an adaptation of his stories called <i>A Thurber Carnival<\/i>, and collaborated with the composer David Raksin on an animated version of <em>The Unicorn in the Garden<\/em>, the most famous of more than 75 fables Thurber wrote. The fables inevitably ended with punch lines that served as morals.<br \/>\nThis is not the anniversary of Thurber&#8217;s birth, his death or of any special occasion connected with him. It is simply a good day to watch <i>The Unicorn in the Garden<\/i> and listen to Raksin&#8217;s lovely score.<\/p>\n<div style=\"text-align: center;\"><object width=\"440\" height=\"355\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/1teJjX-smdE?fs=1&amp;hl=en_US&amp;rel=0\"><\/param><param name=\"allowFullScreen\" value=\"true\"><\/param><param name=\"allowscriptaccess\" value=\"always\"><\/param><embed src=\"http:\/\/www.youtube.com\/v\/1teJjX-smdE?fs=1&amp;hl=en_US&amp;rel=0\" type=\"application\/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"440\" height=\"355\"><\/embed><\/object><\/div>\n<p>This is a <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FThurber-Carnival-Perennial-Classics%2Fdp%2F0060932872&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">classic collection<\/a> of Thurber stories.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Partially blind, totally brilliant, for decades James Thurber (1894-1961) entertained readers with the incisiveness and wit of his stories and drawings. His most famous story is probably &#8220;The Secret Life of Walter Mitty,&#8221; which was distorted into a film that Thurber detested. Almost everything he did was for print, most of it in The New [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2287","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2287","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=2287"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2287\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2287"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2287"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}