Word: 30s
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Ginny and Rose, in their 30s, make a wonderful double portrait of sisters who love and understand each other. A reader could sit around their kitchen table for hours. They are not plotters but increasingly angry victims, and their rage makes them blind. Ginny has had five miscarriages, with no surviving children. Rose has had a mastectomy. Both fall in love with Jess Clark, a local boy who arrives back in town after 13 years well informed about environmental woes. Not only the sisters but also the father and his friend Harold fall victim to the poisoned land. Blinded...
...trick of Doctorow's novel -- a meditation on '30s Mob boss Dutch Schultz -- was in its narrative voice. Young Billy, from Bathgate Avenue in the Bronx, was the ideal observer: a talisman for the gang, a kind of underworld groupie who is appreciative of their style and implicated in their actions but still one ironic step outside their souls, and who is ready to analyze every movement and moment in 484 pages of headlong streetwise orotundity and subordinate clauses even longer than this one. Tom Stoppard's script daringly dumps that voice (there is no voice-over narration) and puts...
...volunteering to be such tabulae rasae. "Yes, that was a bad spell." "Yes, we suffered much." "No, let us not talk about it." The responses are the same, whether the period involved is the civil war between the Communists and the Nationalists that embroiled the country in the '30s and '40s, or the epic struggle against Japanese invaders, or the chaotic Cultural Revolution. Notions of the past exist, but when tales are told they are often without context. Exotic ancestresses mince through the background on bound feet; pig-tailed great-grandfathers take to ship for lands of greater promise. What...
...moving the focus of the play to gender. No weapons literally appear on stage...I am interpreting Lysistrata as a romantic comedy, like 30s and 40s screw ball sex comedies, with banter, husbands and wives...
...machine men of Dadaism, whose poetic meaning (like hers) was anguish in the face of inhuman technology. No phase of modern art showed such profound doubts about the present, or threw off such febrile dreams about new social orders. The millenarian hope that eventually spawned the totalitarianism of the '30s was felt by artists, architects and designers, and was released as an obsession with social protest in the here- and-now as well as in vast Laputan schemes for the future...