Word: darkeness
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Dates: during 1980-1989
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...addition, Hirschorn argues that Reverend Jackson's indictment of the racism of liberal whites smacks of opportunism and hypocrisy. We note, however, that his nearly atrophied method of analysis is unable to address the fact that many liberal white voters, for some dark and secret reason, are indeed unable to support the presidential candidate who is most in tune with their own philosophy. We would simply ask Hirschorn this: Can Reverend Jackson be called an opportunist and a hypocrite for merely diagnosing yet another dynamic in white Americans that refines and widens the very schism Hirschorn supposedly deplores...
Most Americans have sooner or later encountered an image of the geisha. She is dressed in a traditional kimono, dark hair piled into a stylized coiffure and face painted ivory white. Despite the familiarity of the symbol most Americans are either unknowledgeable about what a geisha is or believe her to be a prostitute...
...come off well as Doctor and Lenya Zubritsky, Sophia's parents. Indeed, Zabusky and Valerie Gilbert (Yencha the Vendor) stand out astonishingly for their stage presence and ineffable grace of motion. But the best efforts of acting, directing, and music adaptation cannot save this play from Neil Simon's dark and cynically elitist outlook...
...position, as usual, is hopeless. Middle America is all Philistine hostesses and barbarous hotels. At the theater, he bemoans the "limited talents, New World phonemes and intonations and slangy lapses, cecity towards the past, Pyrrhonism and so on of this weak cry of players." His only consolation is his Dark Lady, a savvy black soul singer named April Elgar, who rekindles his lechery (but not his performance) and stuns him by sprinkling her jive talk with quotations from Kant...
...Enderby's previous incarnations, his buffoonery is a form of martyrdom to art. What gives it weight here is a pair of short stories he writes about Shakespeare. They form the opening and closing chapters of Dark Lady. The first, Will and Testament, is a bawdy historical pastiche in which Shakespeare, with Ben Jonson's connivance, manages to insert his name in the King James translation of the 46th Psalm ("Though the mountains shake . . . He cutteth the spear . . ."). The other, The Muse, tells of a scholar from an alternative universe who time-travels to Elizabethan England to verify...