Word: commenting
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Dates: during 1920-1929
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...Your comment on the letter of Mary B. Pryor in the issue of Nov. 5 fills me with disgust. The lady administered to you one of the most merited rebukes you or any other publication ever received, and you weren't honest enough to admit it. There was no excuse for the first printing of the cheap anti-Catholic verses by which the Sister was offended; your inclusion of them only served to give them wider circulation. When you reprinted them under the Sister's letter of protest, you marked yourselves as either boors or sympathizers with those...
...chair next him. He had never seen her before, did not know her name (Edna Ryder) but he talked with her from time to time. He looked thoughtful, years older than when he voted in the morning. He heard the encouraging early bulletins and the later, foreboding ones, without comment...
...admiration for Wilson's genius, even after their close friendship had waned. Above all, the papers are invaluable as historical source material, ranking with Ambassador Page's Letters, and the Wilson papers Ray Stannard Baker is editing. Selected, arranged, and linked by Professor Seymour's lucid comment, the Intimate Papers are intensely interesting, indispensable to any adequate understanding of War burdens, post-War intrigues...
...lease in the Salt Creek field, Wyoming, by National G. O. P. Chairman Hubert Work when he was Secretary of the Interior last winter (TIME, Oct. 22). He requoted Dr. Work's famed remark: "People are tired of hearing of these oil leases." He quoted Nominee Hoover's one comment: "I will not discuss that matter." The textile depression in New England was a fair target for the critic of Coolidge Prosperity. Nominee Smith cited the average wage of textile workers, $17.30 per week, and contrasted it with an advertisement published in Boston by the G. O. P. The advertisement...
...fruits; the sardonic humor of the piece was queer but clear. He displayed also a serene Breton landscape, a lovely canvas which could cause no retching among the most conservative. Forain's aphrodisiac The Charleston showed two vibrant white dancers, several paunchy satyr-spectators, was a triumph of contemporary comment. Picasso's The Mother, a suggestion of haggard peasantry, was as successful in another field. There were gusty, sulphurous landscapes by de Vlaminck, fanciful figures in delicately modulated colors by Eugene Zak. The net effect was one of diversified, eclectic appeal. There was much to please, in many manners...