Word: alienated
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Dates: during 1990-1999
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...Giardi (2), Tedrow, BPs Harvard 2, BU 1. Len Harvard 10, BU 11, 20s Hill, Giardi, Madden, Donato. 3B: None. HR: Morgan, SSt Hill, Morgan, Donste, Auflero OSt None. Harvard IP N BR BS SO Alien, W (2-0) 9 10 1 1 2 8 BU IP N BR BS SO Goldstein, L (1-5) 0.2 6 8 5 0 0 Anselmo 3.1 5 2 2 1 1 Brown 3 4 3 3 1 0 Cohen 0 0 0 0 1 0 Millstein...
...largely locked in the ideologies of their time. Emily considers herself a liberal even as she casually spews racist rhetoric; the proud slave Cambridge despises his African birthplace and views his own unconverted wife as a degenerate. Phillips' almost brutal insistence on historical accuracy renders these characters at once alien and sympathetic. It is this combination which makes Cambridge so disturbing and powerful...
Klingon? That's right, Klingon -- the alien tongue spoken in Star Trek movies and TV shows by bellicose fellows with the permanently furrowed brows. It sounds a bit like Japanese, a bit like Yiddish, with a lot of choking sounds and rough, saliva-spraying sibilants. (A handkerchief is recommended for novice speakers.) The idiom of a warrior culture, Klingon doesn't have words for "nice" or "pretty" or even "hello" -- the standard greeting is "What do you want?" (nuqneH?). But if you want to say "Surrender or die!" and sound like you mean it, Klingon...
Abohalima seemed to fit that profile. Having come to the United States via Germany and attained permanent alien status as a "farmworker" under a 1986 immigration law, the 6-ft. 4-in., 240-lb. redhead had in reality toiled as a cabbie -- a crooked one, his former boss suggested. He journeyed to Afghanistan in the late '80s to fight as a member of the Islamic, antigovernment mujahedin. More to the point, he was close to Sheik Omar Abdel Rahman, the fiery blind Muslim preacher whose fundamentalist sermons may have inspired the alleged bombers. Abohalima acted as the sheik's driver...
...about the underclass almost always entrap both creators and audiences in moral ambiguity. No matter how determined not to condescend, artists and spectators all but inevitably feel an anthropological distance from their subjects. This holds especially true in the theater, a medium the underclass is apt to avoid as alien and unaffordable. Certainly, few playgoers at Aven'U Boys, a violent and vivid series of vignettes set in Brooklyn, New York, that debuted off-Broadway last week, appear to share the despondent, nihilistic subliteracy of the title trio of Italian Americans in their late teens (played, with terrifying conviction...