Word: brutalities
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Dates: during 1930-1939
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...referring to your brief but brutal description of Ted Malone (TIME, Oct. 30). I admit his hair is thinning in front, but you scarcely notice it because of his gray-blue eyes that twinkle one minute, go dreamy the next. I admit, too, that if he could shorten his belt a couple of inches he'd look as young as he is instead of older. But personality plus and a million-dollar-smile make the belt line unimportant...
Last week no Democrat, high or low, New or Old Deal, cared to take his political life in his hands, suggest brutal tax increases. The shadow of 1940 lay heavy on the grey Capitol, the gleaming White House. Ancient, ham-handed "Old Muley" Bob Doughton of North Carolina, chairman of the House Ways and Means Committee, celebrated his 76th birthday, optimistically remarked that the war boom in business might obviate the need of new taxes...
Twists. Like most wits, Kaufman cracks his jokes with a dead pan, goes through life with a mournful one. Rangy and restless, hard to know, harder to understand, always blunt, often brusque, occasionally brutal, he is completely free from affectations but bulging with quirks. He is frightened of growing old, or being considered rich, or losing his hair. He forms friendships slowly, feels he has few friends. He talks to himself, makes strange faces, nods his head -a woman who sat opposite his desk at the Times for a long time wondered why he was always graciously bowing...
...made the blatts at Hoover sound like cheers. The fury of Canada and England reflected the Senate cloakroom bitterness; finally Nevada's Key Pittman exploded: "Colonel Lindbergh's statement . . . encourages the ideology of the totalitarian governments and is subject to the construction that he approves of their brutal conquest of democratic countries through war. . . ." Messrs. Hoover & Lindbergh retired to their corner, without seconds...
...crawled out of the precarious position it occupied during the nineteenth century, a position between the pit of conservative morality and the pendulum of progressive realism, certain fundamental questions are still unanswered. We find ourselves still confronted with the time-worn, but nevertheless basic, problems. Shall we accept brutal, brazen phases of the world as art on a par with the more pleasant and morally pure aspects of our existence? Is there any difference between the moral and the immoral, the good and the evil, in the realm of art? in short, is an ugly truth, well-expressed...