Word: fooled
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Ghiselin has used some of the funds to travel to coral reefs in the Pacific, and to "fool around" in the Darwin archives at Cambridge University. In fact, Ghiselin decided to give Cambridge $5,000 to help preserve the archives, and he also donated $10,000 to the University of Utah, where he was a visiting scholar, for a series of lectures on evolution. Says Ghiselin: "I've become sort of a philanthropist myself. It allows me to share the wealth...
Strife be unto him who in enlightened times is fool enough to suggest that women are getting too big for their britches, but evidence abounds. There has now appeared on television The Sins of Dorian Gray, a modernized perversion of Oscar Wilde's Picture of Dorian Gray, in which the famous senescent canvas became a filmed screen test, and Dorian was played by a woman. A remake of the 1946 movie It's a Wonderful Life cast Mario Thomas in the role established by Jimmy Stewart and Cloris Leachman as the once male angel. Mary Tyler Moore made...
...with a checkout-counter razor." After caricatures of versifiers like Shakespeare ("To be or not to be; that is the bare bodkin") and novelists like Jane Austen ("Are you not happy in Hertfordshire, Mr. Raskolnikov?"), Editor William Zaranka confesses, "The avowed purpose of both volumes is the same: to fool the sophomores." School's out, and the books are now free to entertain and bamboozle everyone else, in and out of the academy...
...flirtations, the names and costumes of history failing to conceal the mediocrity of this entertainment. As Casanova admits at one stage: "The old man didn't take your breath away, but his name, his reputation, his past," Restif's entertaining and informing role as the film's guide-the Fool who lives by his wits--offers an irony typical of the treatment as he describes a foray into a Paris brothel, only to be interrupted repeatedly by queries about the latest news. But the real highlight is Mastroianni, as the decaying Casanova combines, a grotesquely made-up decaying body with...
...defects that mar Fool for Love -slapdash structuring, spongy logic -are not unique to Sam Shepard, now nearing 40, but weaken the works of oft-called "promising" U.S. playwrights in the same generation. To transform experience into consciousness is what differ entiates art from reportage. It is not enough to leave a theater knowing what we have seen. We ought to leave it knowing more than we knew. Shepard does not really provide that illumination, nor do Lanford Wilson, David Mamet, Albert Innaurato, David Rabe, Thomas Babe, Israel Horovitz, Terrence McNally and Christopher Durang...