Word: fact
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Dates: during 1970-1979
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...city off-limits. The public does not support clean-up efforts, apparently feeling that a patrolman's time might be better spent tracking down muggers than peddlers. Moreover, peddling is part of the city's tradition. At least one prominent Manhattan department store family, in fact, can trace its lineage back to a pushcart peddler...
...work is well but incompletely known. For Americans, in fact, a full-scale retrospective show has long been needed to set in view the osmotic Nicholson exchange between the worlds of natural and abstract form. Now, for the first time, one has been mounted. Organized last fall by Chief Curator Steven Nash at the Albright-Knox Art Gallery in Buffalo, it will be at Washington's Hirshhorn Museum until...
...haphazard pile beside every mattress on the floor, next to the roach clips and Earth Shoes. The American counterculture claimed the Swabian mystic as a guru of its own discovery, its subterranean priest. That was perhaps an instructive case of self-absorbed audience imitating self-obsessed author. In fact, Hesse during his astonishingly long career had been appropriated by three other generations (in Germany, anyway) as their own secret voice. Hesse possessed a strange, lifelong affinity for adolescents, for their intense spiritual questing and abused sense of exclusion. The affinity was natural. The novelist remained something of an adolescent himself...
...matter of fact, the Resolution on Rights and Responsibility gives students the right to protest, to demonstrate and to hold whatever opinions they wish. And incidentally, abolishing the CRR does not abolish the Resolution, it just eliminates the students' voice in the process of discipline. The CRR is the only disciplinary body on campus that has student participation--and an equal voice at that. The students have no other voice; advocating the CRR's abolition hurts the students. The AD board, for example, has no student representatives. By advocating the abolition of the CRR, students are embarrassing themselves by implying...
WEIR SEEMS TO THINK that this quick view of the apocalypse is enough to have an impact. But aside from the fact that one never sees the wave hit Sydney, the reasons given for its appearance aren't too terribly plausible. There is a magnificent scene which sets up the wave, the highpoint of the film: Chamberlain is in his car and daydreams that the wave has hit and as he looks outside he sees well-dressed pedestrians floating beneath the blue-gray water, groceries floating slowly upwards. But this scene occurs three-quarters of the way through the movie...