Word: et
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Dates: during 1940-1949
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...elderly French women writers who award the Prix Femina found their task too grisly, seemed about ready to leave prize-giving to the menfolk. "Life in today's novel," said one of the judges in an interview, "is twisted to eroticism. For instance, in Le Jeu et I'Enjeu [a recent French literary success] there is a revolting story. Two rats-you heard me -two rats fall upon a bed where two people are preparing to make bought love. I find that most symbolic of current literature...
Then Editor Seymour, whose two papers overflow with columnists (e.g., Drew Pearson, Winchell, Walter Lippmann, Mrs. Roosevelt et al.), got down to cases on Pearson-"vindictive, vicious, a soapboxer. But I'd say that he's a good policeman and digger." Of Westbrook Pegler: "[He] is not in the same class [as Pearson]. Pegler is not performing a service now, though I suppose in the early days of his union muckraking...
...newsman asked: "Do you consider that the American Government has lost face in China because of recent developments?" The question was broad enough to touch another sore point: U.S. helplessness over the shabby treatment of Consul General Angus Ward (TIME, Nov. 21 et seq.). Acheson flushed with anger. He replied, with heavy irony, that "face" was a particularly foolish Oriental conception which suddenly seems to have seized the American mind, that you can lose wars, you can lose honor and lose everything else, but to lose face seems to be terrible. It was a particular form of Orientalism of which...
Manhattan's bustling little City Opera Co. (TIME, Nov. 3, 1947 et seq.) proved it knew how to give the classics a new shine. Last week it was the turn of City Opera's bright young sister outfit, the City Ballet Co., to show it could do the same with the dance...
...comic who specializes in gag-stealing and belligerent self-interest, and stops at nothing to keep an audience laughing. The movie includes an endless parade of vaudeville turns with Berle running through his television repertory, throwing in some slapdash imitations of Ted Lewis, Al Jolson, Bert Lahr, et al. Though most of the skits are single-set affairs shot by a rigid camera, there is nothing static about the movie. Berle's heavy cavortings energize the screen like a buffalo stampede. The fact that his comedy is so desperately anxious to please and so hit-or-miss...