Word: fates
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Dates: during 1960-1969
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...bets." The odds on the big boards in the infield flash rapidly with the changing whims of the crowd. Tension mounts as the hounds poise, leap, speed. The rumbling mob roars and fragments as the end approaches. The winning number lights up on the board and the favored of fate make their way to the "Collect" windows...
...Continental Congress that if the colonies had "formed a permanent army in the beginning, which, by the continuance of the same men in service, had been capable of discipline, we never should have had to retreat with a handful of men across the Delaware in 1776, trembling for the fate of America." Throughout history, in victory or defeat, the citizen-soldier has suffered the curses of his generals. The criticism has not always been fair. True, units of militiamen failed on the field of battle time after time in the War of 1812; and in the Civil War, the militia...
...CHIMNEYS, by Nelly Sachs. The 75-year-old Nelly Sachs, who lives in Sweden, writes in German and was rescued from almost total obscurity by 1966's Nobel Prize, appears as a powerful singer of the fate of the Jewish people...
What is Stanley's crime? Are Goldberg and McCann agents of a murder ring, symbols of organized society, or instruments of fate? What torture do the pair inflict on Stanley? Rarely has Pinter left more to the playgoer's imagination. The American cast keeps its English accents tidy but not its performances, and Director Alan Schneider lets the first act drowse. Basically, the play lacks the athletic snap and resonance of The Caretaker's dialogue and the musky animal magnetism of The Homecoming family. But whether or not he baffles playgoers, Harold Pinter exerts a modish appeal...
...Benito Cereno, a tale of a Negro slave rebellion at sea. Like Melville, Styron is fascinated by the evil of slavery and its inevitable connection with violence and corruption. The novels of the Puritanical giants of the 19th century were propelled by the driving force of implacable fate; so is Nat Turner. But here Styron makes his own departure. In Melville, Hawthorne and Twain, there is always at least a memory of innocence. Not for Nat: for him there is no innocence, no redemption. From the corruptions of childhood, he acts out his damnation. His bloodbath is a black Mass...