Word: daughters
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Dates: during 1960-1969
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ONLY A YEAR before this, I had gone with my father to visit him at his home and found him suffering from a severe asthma attack. His daughter came to the door in hysterics. We found him lying flat on his back in bed, wheezing and gasping for breath. He could only talk in spurts when the attack eased momentarily. My father grabbed the phone and called a hospital, and I was left alone in the room with George. He gasped for breath, stared at me. "You the one now, Tommy," he said suddenly. He thought he was dying...
...Benedetta Barzini, the daughter of Luigi. (The Italians) Barzini, divides her time between modeling and acting in Italy...
Addicted to Dashes. But on his return home, Mannix arrives at the precise instant when his twelve-year-old daughter shoots and kills her mother, whom she has found in bed with a lover. From this point, the story starts to eddy in sluggish circles. Judge Mannix, who had seemed to be the novel's main character, drops from the author's primary notice. He is not really replaced; instead, his crippled family is endlessly viewed and reviewed by its remaining members and a succession of friends. This inward turning is less absorbing than Novelist Calisher believes...
...starker psychology of expressionism began to lose their distinctiveness and prove permeable and complementary. The last magnificent statements of the musical expressionistic esthetic were Alban Berg's operas Wozzeck (1921) and Lulu (1935), and his Violin Concerto (1935), an elegy written upon the death on Mahler's daughter Manon. The neurasthenic romanticism of Mahler was transmuted in these works to a testament and a valedictory. The plasticity of musical idioms was clearly responding to a mellower comprehension of what had happened to man as a result of the conflagration. Composers were succeeding in speaking in the distorted world of Kafka...
...figure of arguably divine characteristics (Terence Stamp) visits an industrialist's home in Milan. His stay is brief, but during it he manages to make love to the maid, the wife, the industrialist, the daughter and the son of the household. The passion is so indiscriminate and the acting so undisciplined that one half-expects to see the milkman, and perhaps his horse, included in the rutting. But Pasolini has other excesses in mind. When the visitor departs, he leaves behind a shrilling choir of victims. The daughter (Anne Wiazemsky) becomes catatonic; the son, an artist, urinates...