Word: fabric
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Dates: during 1970-1979
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...three volumes of prose, Lillian Hellman has been telling the story of the anger of her life, which she describes as "an uncomfortable, dangerous, and often useful gift." Through An Unfinished Woman and Pentimento, Hellman patched together the fabric of her life, revealing stories in the latter book she had not been able to bring herself to tell in the former. In both books she only touched on the period of the early 1950's. In Scoundrel Time, however, she concentrates on that era, exploring the wide range of her memories of times now remembered as the McCarthy...
Berlinguer shows his "true," Stalinist colors at the end of the book: "You see," he says, announcing the coup to the Professor, "any truly revolutionary uprising . . . requires a brutal and painful rendering of the social fabric . . . Stalin, whom we no longer honor but have never forgotten . . . was merely a surgeon of history...
...land known only too well for its diversity of life. Its crowded millions comprise a social fabric that seems to be held together by its numerous divisions and sub-divisions into categories of ethnic type, caste, religion and income. The elaborateness and complexity of the social hierarchy is also reflected in the physical environment by an incredible variety of textures, colors, sensations and gestures that are generated in the process of daily living. Naturally, all attempts at conceptually simplifying, let alone resolving the profusion of currents and conflicts in Indian life seem destined for failure. And yet, occasionally...
...whites in a country of some 6.1 million blacks. But Washington wants a peaceful transition to majority rule in Rhodesia, and it is anxious to head off a possibility of Soviet-Cuban intervention there. For one thing, an intervention of that kind would further tear the already badly shredded fabric of détente. More directly, it would leave the Administration uncomfortably facing a choice between two painful policy alternatives...
...lead you more deeply into the piece, only let you take in more of its shell. Simply-structured choreography underlies Nikolais's dazzling surfaces. In Sanctum the eye is stunned by a painter's palette of light flickering over living massed forms--dancers bound in giant loops of fabric. Here Nikolais uses group unison, one of the most basic patterns in choreography. He matches simple movement phrases with blocks of time. Each dancer executes a phrase at the moment he senses is right, then proceeds to the next planned action...