Word: disgustful
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Dates: during 1960-1969
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...Daunsers presented one form of religiosity, that of intellectual pretentiousness; Pelagia displays a quite different one, the Christianity of Main Street. But while the Daunsers had real dramatic power, Pelagia had no such compensation. An intelligent listener will bolt from it in disgust and, if he is a Christian, with near anger...
...wedding night Puglee (Aparna das Gupta) escapes from Amulya's flower-decked bedroom to play with her pet squirrel; then she throws all of Amulya's precious books on the floor. In disgust he sends her back home saying: "If you write to me as a wife to her husband, I'll be truly happy." But Puglee cannot write. At first she sulks, then she pines, finally she fasts. But while she is fasting, she learns to write. One night Amulya comes to his room and finds a note on his bed. It reads: "Please come back...
Much as Dulles and Nixon and Charlie Wilson bored and irritated Eisenhower, Hughes says he was provoked to real anger and disgust only by the clowns and rogues who populated Congress: Knowland, Bricker, Dirksen, Milliken, McCarthy. On the subject of Mr. Bricker and his Amendment, Eisenhower waxed especially splenetic: at a Cabinet meeting in early April, 1953, "the President, listening to the latest accounts of trying to appease Bricker, cried in anguish, 'I'm so sick of this I could scream. The whole damn thing is senseless and plain damaging to the prestige of the United States. We talk about...
...surrendering the card, the omnivorous machine snaps at Danny's black knit tie and starts dragging him into its transistorized innards. Like a hooked tarpon, Danny runs with the line, is reeled back in, leaps, dives, tail-walks, snaps free just as he is coming to gaff. In disgust, the Master File starts spitting application cards at him until the room is ankle deep in a paper blizzard, with drifts backing up against the chilly air-conditioning ducts...
...satirist, Lillian Hellman can still be cuttingly observant despite the familiarity of her targets, but she lacks the moral suasion of satire that comes from being half in love with what one loathes, cherishing the sinner while hating the sin. Her transparent disgust with her characters and all their works is contagious. Technically, she borrows from Edward Albee and the theater of the absurd, but the wobbly tone of her play shows that craft will not close a gap between generations. Lillian Hellman is still an arrested child of the '30s, and of its idée fixe that...