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...rest of the University's racquet wielders, a mere 17 windswept, lineless courts are available for what enjoyment one can extract after the near-hour wait...

Author: By Richard J. Doherty, | Title: Rags to Riches | 4/17/1976 | See Source »

...close-to-the-bone conflict that is stolen shamelessly from his own life. "I've always used material right out of my own life," he boasts. "Nowadays, if we're stuck in a scene, I just reach into my gut and extract something." Archie is based on Lear's Russian-Jewish father Herman, who really did tell his wife to "stifle." When Mary Hartman went to a psychiatrist, says the writer, "she told the same story I told my shrink." His daughter Maggie, 16, had problems with her boy friend; so they became an episode...

Author: /time Magazine | Title: Show Business: King Lear | 4/5/1976 | See Source »

...present social enemy--become the protagonists. The verbal bouts in which you both engage are conducted in two dialects: "pukka", to which you, the sporting aristocrat, are sometimes entitled; and "non-pukka", or common vernacular, to which your "bootless and unhorsed" social opponent is restricted. Fake, for example, an extract from "At the Massage Parlor...

Author: By Christopher Agee, | Title: Making It | 3/18/1976 | See Source »

...companies extract half of the coal by surface mining, using gigantic 20-story shovels that can crunch 120 cu. yds. of earth in one bite, exposing the coal veins for an army of other machines to attack. Mechanization has come to underground mines, too. In the big ones, miners no longer loosen the coal with explosives and pry it from the seam with pickaxes; they work continuous mining machines that cost $200,000 apiece and look like a cross between a chain saw and a lobster. The machines nose up to the coal vein and rip out ten tons...

Author: /time Magazine | Title: ENERGY: King Coal's Return: Wealth and Worry | 3/1/1976 | See Source »

Frye's whole concept of literature, since the 1950s, tries to extract literary criticism from the kind of scholarly biases that determine what's "good" and what's "bad" on some kind of stock market of literature. He parodies the idea in Anatomy of Criticism by talking about how T.S. Eliot used to say Milton was bearish and Spenser bullish one year, and vice-versa the next. He also warns against attaching certain cultural values to particular works and therefore making them important, or parts of the "myth" of a particular society. This, anyway, is his ideal for criticism...

Author: By Greg Lawless, | Title: Rescuing Romance | 2/11/1976 | See Source »

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