Word: creationism
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Dates: during 1980-1989
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Among many other things. Edward Hoagland '54 knows juneberries. Moreover, he writes about them and about others of the curios of creation, whether of the natural world or of the more inorganic human one in that hard to define genre of the personal essay. His field of vision is broad. Most adept at chronicling the my read delicate changes and processes of the wilderness. Hoagland is also prescient in his observations of the doings of his own species. With equal amounts of aplomb, he explores topics as varied as the mating habits of the porcupine and the divorce customs...
...WHOLE PROCESS of writing is rewriting," contends John Gregory Dunne. Working simultaneously on a new novel. The Red White and Blue and the screenplay for a movie based on his earlier work. Vegas. Dunne views the creation of fiction as organic. People and plot grow together: "The situations is worthless without a character, and the character is worthless without a situation: asking which came first is the chicken or the egg question...
...deference to the Legislative Branch. "Congress is not an administrative agency that is required to state the grounds upon which it acts," wrote Judge George MacKinnon, himself a one-term Congressman. Moreover, he argued, veterans' groups are distinctive. Said MacKinnon: "War veterans have made unparalleled contributions to the creation and preservation of this nation...
...lapsed-Catholic Mafia. They have responded to their shared history in tones ranging from reverence to rage, and no divine law ordains that they must continue to wrestle with the cassocked and habited specters of their youth. Instead, these veterans of Catholic schooling are following the first law of creation: write what you know. The nuns and priests of a generation ago impressed their small charges more than they realized. The steel-edged rulers with which they whacked so many knuckles are being raised against them. The mystery of faith has become a frightening conundrum, and the Baltimore Catechism...
...works use a man's voice to tell a tale through his letters, with almost no interjections from the poet herself. Harris's interpretations of the man and his letters lie in how she strings together the images, what images she chooses to have him describe, and in the creation of this male character. The end result is a near-complete adoption of another voice which threatens to imprison the poet, who is reduced to reading and retelling letters. Nevertheless, the experiment works when Harris allows the letter-writer to stretch the limits of the poem to include banter...