Word: bathroom
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Dates: during 1950-1959
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...husband, a railroad brakeman (played by Painter Larry Rivers), comes home. He has invited a High Church bishop for tea. The bishop is like 20 years old, and he brings his mother. Not all the Beats are pleased. Ginsberg: "I'll go in the bathroom and watch television." Corso wonders if the bishop knows about "beer bottles that come in magic candlesticks. Is alligators holy, Bishop? Is everything holy? Are we all in heaven now and don't know about it? Jamambi, jamambi, jamambi, jamac." After that, the plot thins, but it is the flavor that matters...
...every new day is a welcome event, a chance to measure new success. At 5:45 one morning, on a typical day, Kubitschek rolled over in bed, buzzed for the papers. Fifteen minutes later he was ambling from telephone to telephone (four beside the bed, four in the bathroom, three in an adjoining study); in one hour he called three Cabinet ministers, one admiral, two generals, two secretaries, the chief of Cabinet, the food supply coordinator, and the administrator of the nearly finished new capital of Brasilia...
...title that means next to nothing in a picture that means nothing at all. With a pretense of social protest, the film tries for realism as it pans in on Spanish Harlem and enters slums where children sleep on pallets and adults line up nine-deep to use the bathroom. But what the cameras actually record is little more than a Puerto Ricochet from the smallest-bore gangster plot in the film maker's gun cabinet...
...publishers hope for with his slim, 1934 story The Last Summer (see below); similarly, Vladimir Nabokov's literary handlers hope that The Real Life of Sebastian Knight (1941) will acquire Lolita's gilt by association. The first book Nabokov wrote in English (his workshop was the bathroom of his one-room Paris flat), Sebastian Knight has a low sex quotient and no nymphets. Instead, it is devoted to themes that novelists seem to be born with: the question of identity, the nature of reality, the task of the writer. Nabokov's treatment of these themes is idiomorphic...
...Lifetime, there started a gentle comedy of errors almost as funny as the play itself. If Kaufman hated anything, it was cigar smoke and emotion; throughout their working sessions Hart puffed huge cigars and kept insisting on thanking his benefactor, not understanding why Kaufman kept rushing to the bathroom for refuge. On the other hand, Hart was a compulsive eater (success has since cured him of the affliction), but was too shy to admit his ravenous hunger; while Kaufman operated on their scripts with innumerable scalpel-sharp pencils, Hart would nearly faint on dainty watercress sandwiches or sickening fudge cooked...