Word: amoralist
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...Crime to me, dark social history, ebb andflow of dark events, the near psychopathic,semi-psychopathic, the leg-breakers of history area voice for me to express my moral concernsbecause these are men who paid morally for theirdark deeds. I am first and last and always amoralist. They are the means for me to recreatehistory to my own specifications, but I am notthem.There is a definite distinction betweenmost writers and their work. Because the work is,in the end, as it is in my case, a work ofimagination, with the exception of thenon-fiction...
...winner is . . . Walter Hill (once a Peckinpah writer) for Extreme Prejudice, which stars Nick Nolte as a modern-day Texas Ranger; Powers Boothe as his old buddy, now a master dope smuggler and chatty amoralist; Maria Conchita Alonso as the woman they both love; and a wild bunch from the CIA or somewhere. Their task is to supply the movie with a little mystery and a lot of obscurantist firepower, enough to drown out conventional logic's objections to a vast silliness...
...Juan is a great seducer, charmer, liar and baneful curse to his father (Bill Moor), but he is something of more disturbing grandeur than that. He is a rebel on the scale of Lucifer. He defies God by challenging the order of things, by being as great an amoralist as one presumes God to be a moralist. He scoffs at fidelity, truth and honor as the manacles of a slave mentality. In his brain, even more than in bed, this great libertine is the precursor of Nietzsche's imagined Superman. Since Bernard Shaw was enamored of the same theme...
...only war we have-is a brutally mechanistic game which feeds upon its own data and upon the bodies of the data-collectors. Within the game's gaunt stupidity individuals play only peripheral roles, stepping quietly here and there so as not to disturb the data. Sloan the amoralist believes himself only "an actor whose inhumanities are necessary to the plot. Whose victims are straw people. The point of a drama is not its carnage but how the hero turns...
This pitfall has trapped J. P. Donleavy in adapting his novel The Ginger Man, although he has fashioned an arresting amoralist as his antihero. Sebastian Dangerfield (Patrick O'Neal), an American studying law in Dublin, is life-prone and dead beat. His head is more often in his cups than his books. He is one of Nature's seductive heels, and in the most brilliant scene in the play, he seduces a mid-thirtyish spinster whose tempestuous flesh mocks her primly parochial morality...