Word: confrontive
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Eugene O'Neill was, supremely, a vernacular poet who found his most haunting rhythms in the profoundly mixed emotions of his characters, his most memorably dissonant sonorities in the muddled motives with which they confront memory, fate and each other. A Moon for the Misbegotten, his last completed play, is structurally the simplest of the late great work. It is also perhaps the most anguished, because O'Neill was searching so hard for a ray of hope in the dawn that completes this long night's journey into...
...strong a word to describe why people treat sex crimes with distaste or disbelief, but it is actually too narrow a term, because it implies something that is done to others only. We conspire against our own health and safety whenever we refuse to acknowledge and confront the monstrous depravity which is exercised on others. Our blindfolds do not protect us: they only leave us uninformed, unprepared, and defenseless once we ourselves become targets...
...virtual tie, although a crucial 10% are undecided. The polls also show that 36% of the state's Democrats, who outnumber Republicans 3 to 1, say they may vote for Helms. "Helms caught Hunt off guard," contends University of North Carolina Political Scientist Merle Black. "Hunt needs to confront Helms on these misrepresentations, which are a modern version of the old whisper campaigns...
...unidentified police state, offers the horrific spectacle of the torturer as business executive, bantering with his victims as he sends them off to be flogged, raped or killed. In A Kind of Alaska, a middle-aged woman (Dianne Wiest) awakes from a 29-year siege of sleeping sickness to confront a reality at pathetic odds with her memories and hallucinations. Dispatcher, torture victim, woman, all struggle valiantly to understand a new world of menacing mystery...
...stubbornly remaining at home, and by using drama as a form of Gandhian nonviolent resistance. That commitment has inevitably entangled him in a series of controversies. When leading British dramatists persist in boycotting South Africa with their plays, Fugard vehemently contends in 1968 that it is better to confront the regime with its sins than to remain silent. When ideology beckons, he recoils, resolving at last that he would rather reveal inhumanity poetically than revile it politically. "Tell the human story," he says, "and the propaganda will take care of itself." And when the Serpent Players, his all-black troupe...