Word: charming
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Dates: during 1960-1969
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...production was extremely successful musically, and somewhat less successful visually. The purpose of the production was to present the opera as a naturalistic drama. The mood of the vague kingdom of Allemonde is lugubrious, haunting, tenuous. Pelleas is pale and feeble, overcome by destiny; Melisande is fragile with elusive charm, silly yet ruled by fears; Golaud, the main character, is the visible agent of impulsive rages and unanswered atonement. The general atmosphere is one of sombre death and the expectation of death, illuminated only briefly by an abortive infatuation. The problem with scenic representation of Pelleas et Melisande is that...
Wages of Sin. The Thug modus operandi was to assume the guise of peaceful travelers. Joining parties with their victims, they would charm them right up to the moment at which one designated Thug would seize a doomed man's wrists while another Thug would strangle him from behind with a noose of white or yellow silk-Kali's favorite colors. Sometimes talented Thugs would play the sitar and coax their victims into singing, the better to expose their throats for throttling...
Robson's novel begins as a chatty account of village life that has charm reminiscent of J. D. Salinger. It soon becomes a vivid nightmare world of putrefying animal corpses and menacing gangs of anonymous attackers. In the end, Backward to the Front of the Day is unsatisfying. In his rage against God, Robson stacks so much against his human characters that they topple toward death before they fully come to life...
...CANT fight the media. James Lipton wanted to enrich the language. He was disappointed by the failure of slang to make English more exciting. "No sweat and out of sight begin to lose their charm on the fiftieth hearing, and groovy, Ricky, wiggy, unreal, and wild, by pushing out nearly every other adjective in a generation's speech, don't expand the language, they diminish it," he says...
Anne Ryan, a New Jersey collagist who died in 1954, at the age of 65, sometimes framed-or rather, mounted-her tiny, exquisite collages of fabrics and colored papers upon other bits of paper. Like visual haiku, they proclaim their sureness and their charm with an absolute economy of means. A sometime poetess and six times a grandmother, Ryan took to collage in 1948 after seeing an exhibition of the collages of the Dadaist Kurt Schwitters. Her own instincts led her toward ladylike materials: failles, polka-dot ginghams and tulles. Betty Parsons, the pioneering dealer whose gallery introduced abstract expressionism...