Word: displays
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Dates: during 1980-1989
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...Bide-A-Wee home for semiretired movie stars of the '50s is that, all things considered, most of the folks are as lively as crickets. Liz and Rock, Kim and Tony and, of course, dear Angela, all seem enthusiastic about putting their slightly thickened selves on public display so that older members of the audience can check their memories of what once was with what now is, and youngsters can peer quizzically at their parents and speculate on the basis for such odd enthusiasms...
...Verse, twelve out of 77. This anthology redresses the balance. Say the editors: "The one art in which women have always excelled is poetry." The question of whether there exists a common female culture and sensibility, as postulated by Poet Adrienne Rich and other feminists, awaits just such a display of talents and ideas provided by the Barnstones...
...reason for the convoluted accounting is the networks' refusal to pay full production costs of the shows they buy. A program like Charlie's Angels, which is really a display case for three beautiful detectives wearing as little as possible, costs $623,000 a segment. But ABC pays Spelling-Goldberg Productions only $583,000, leaving a deficit of between $800,000 and $900,000 a season. It is generally not until a series is sold for syndication that the deficit is erased and the big profits begin. Until then, producers borrow, worry about cost overruns...
Besides vindicating non-table manners, Rudofsky-assisted by Cooper-Hewitt's Lucy Fellowes-assembles a widely (some would say wildly) eclectic domestic history. In one display he indicts chairs as uncomfortable and unhealthy, particularly the infant high chair ("a vicious, sado-pedagogic trap, as humiliating to a child as a leash is to a dog"). Elsewhere, he charts the sly history of the swing, which he describes in his book as "a pale copy of a onetime bold device for generating violent motion and emotion" of a sexual nature, mostly in women. He suggests that all forms of "bobbing...
Earthly Powers attempts to do both on a large scale. The book is a high entertainment. It is, at 600 pages, also long enough to display Burgess at his best and second best: the penetrating dramatist of culture clash and the clever animater of received wisdom. His new novel stretches from the Edwardian Age through the 1970s. At the halfway mark, the reader has already had brushes with Freud, T.S. Eliot, Ford Madox Ford, Ezra Pound, Ernest Hemingway, Havelock Ellis, Mussolini and Heinrich Himmler...