Word: ephron
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...trial of Writer Richard Stratton and the 1984 trial of Literary Agent Bernard ("Buzz") Farbar, but denies having been an accomplice. "I made no Fifth Amendment claim then, and I didn't need to," he says. Mailer spoke up after nine prominent writers, including William Styron and Nora Ephron, published a letter in the New York Review of Books charging that Farbar was denied early parole because of his refusal to finger Mailer...
...drama of this 4,000-year story springs from what Johnson identifies as "Jewish obstinacy," the ability to persevere through centuries of persecution and assimilation. He recounts the history of Hebron, where Abraham bought land from Ephron the Hittite. He describes how the first piece of Jewish real estate has been fought over and occupied countless times, most recently by Israel after the Six-Day War, and asks, "Where are all those peoples which once held the place?" His answer: "They have vanished into time, irrevocably. But the Jews are still in Hebron...
...convenience and discomfort of a subway, the "cattle car." Anybody who is anybody in New York and Washington takes it at least twice a week. Senators, football players, lobbyists, lawyers and bankers scuttle between their spheres of influence, elbowing one another at the gate for favored seats. In Nora Ephron's Heartburn, the shuttle serves as a leitmotiv of power. Complaining about the shuttle is the next best thing to flying it. "New York begins the moment you board the shuttle," sniffs Washington Lawyer Travis Brown. "It's dirty, noisy, rude and expensive...
...Card, a thriller loosely based on the China policy of his former boss President Nixon. Particularly since Watergate, journalists have attained star quality, becoming part of the panoply of fictional heroes and villains. Indeed, Regrets Only hit Washington at the same time as the movie version of Heartburn, Nora Ephron's fictionalized account of the breakup of her marriage to Watergate Sleuth Carl Bernstein...
...novel relied on Ephron's cauterizing prose to anchor the reader; the movie's commentary is the dialogue that Streep's fine, suggestive face carries on with the viewer. Stranded in rage, this Rachel has only the camera as her therapist, and Streep will turn to it as to a friend, confiding a querulous eyebrow or subtle grimace, simultaneously inhabiting and commenting on her role. Nicholson has a tougher assignment. He is, here, only half a man, all surface and no substance, and finally he distances himself from Mark, his face going slack in a kind of moral torpor...