Word: deathe
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Dates: during 1960-1969
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...himself with his secretary's scarf. At an office tea party, Sisson's wife and secretary delightedly lie down on Sisson's desk while the brother touches them with gentle intimacy. The unseeing Sisson stiffens catatonically in his chair and may just possibly be in his death throes...
...central story situation is the same: actors pretend to be Air Force bombardiers who flirt with the mimicry of death only to find that, one by one, they are really being killed on their outlandish make-believe bombing missions over Constantinople and Minnesota. The plot might well have been retrieved from Pirandello's wastebasket. Broadway these days is full of preachers who thunder that war is evil and that racial prejudice is hateful, but who seem not to have the slightest compunction about discrimination against good drama...
...Paris, Daniel Hugon was being tried for strangling to death a 61-year-old prostitute. His lawyers cited medical evidence that the 32-year-old drifter had required psychiatric care at 17, attempted suicide five times, and suffered from chromosome abnormality as well. His genetic allotment was XYY rather than XY, and the defense sought acquittal. The prosecution asked for five to ten years. Despite Hugon's genetic imbalance, the jury decided to give him seven...
...Melbourne, Australia, Lawrence Edward Hannell, a 21-year-old laborer on trial for the fatal stabbing of a 77-year-old widow, faced a maximum sentence of death. Hannell had earlier pleaded not guilty by reason of insanity. Dr. Allen A. Bartholomew, Psychiatric Superintendent of Melbourne's Pentridge Prison, testified that he had examined Hannell, found him to be an XYY. The imbalance, coupled with mental retardation, an aberrant brainwave pattern and evidence of neurological disorder, led Bartholomew to conclude that when Hannell killed the widow, "he did not know that what he was doing was wrong." After deliberating...
...some observers, the chilly, crystalline expanses seem to echo the eternal stillness and emptiness of death. To Architect Kahn, however, quite the contrary is true: "The glass makes the monument sensitive to everything around it and gives it a sense of life and hope rather than of death. One is conscious of light. Light is what we come from; we are born out of light. Light is the maker of all things, of all presences." Furthermore, he feels, the monument "is not accusing. One Pier-the chapel-speaks; the other six are silent...