Word: bitches
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Dates: during 1980-1989
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...time the reader reaches "The Real Son of The Bitch," the text has settled into a more conventional mode as it fairly faithfully follows the thoughts and desperation of a prostitute. The words settle into calmer sequences and the characters hold onto their initial identities. This narrative that has finally found its own internal logic grows stronger in the fourth and last tales, "The Tower of Glass" and "Lost and Found." The text reasserts its power, but uses the power to defy and oppress the reader rather than to transmit the author's ideas...
...OTHER CHARACTERS fall just a little short. As the daughter-in-law, Glynn is trapped in a one-dimensional role, handicapped by the shallowness of the script. We are constantly alerted to the fact that she is a heartless, tacky bitch, but the character is so overwrought that, despite some hints of depth, we never see enough complexity really to identify with her. Ditto for Thelma (Rebecca De Mornay), a young woman whom Page befriends in a bus station on the way to Bountiful. De Mornay's character is so unflinchingly sweet that when she suddenly and inexplicably disappears from...
...hurt because of listening to you, you'll get hurt too. Don't come saying things you think is right. My father is different. If you talk back to my father he gets dangerous . . . I f-----g have you and my stupid mother. My mother is acting like a bitch. I feel like punching her out . . . It's your fault. I see you every week and you never do nothing for me. My mother right now is close to my father, listening to him . . . I hope she dies. I hope they both die and I don't know about...
...words. I told my friend to tell the girl that I wanted to fight her, because I don't like her and she don't, doesn't, like me. Right? Then the girl, she pushed me. She hit me first. She called me a bitch. We started. I kept telling myself, Fight like an animal, like an animal, and don't stop, don't stop...
...stomach. In the best of the season's segments to date, Season Hubley played a convicted murderer who attempts a prison escape by hiding in a coffin about to be buried. Director Thomas Carter toyed masterfully with the audience's emotions, turning the protagonist from tearful victim to scheming bitch and back again in seconds. The half-hour story moved like a rifle shot (the inferior original was a full hour), and the grisly ending packed a wallop...