Word: gardens
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Dates: during 1960-1969
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...trivial?then or now?about Ethel's devotion to her religion. At one point, she thought seriously of becoming a nun (to which Bobby quipped: "I'll compete with anyone, but how can I compete with God?"). Her sisters recall her sitting on a horse backstage at Madison Square Garden, waiting to go on, frowning intently at a book. In accordance with her sodality pledges, she was finishing up her half-hour's spiritual reading...
...Sirk's films. Objects define people's character and actions (for example, a Cupid statue Count Volski admires in his gazebo betrays the childishness of his lecherous tendencies). They also cramp people in space; echo people's forms (often to savegely ironic effect--the statue in Volski's garden next to which Fyodor stands looking up at Olga); and in these ways subtly influence and define people's appearances and actions. Here, however, the influence is one-way. People cannot change objects as they can change other people; objects resemble in order to mirror, to comment. Sirk's characters react...
...managed to survive for some time now, catch as catch can, the fat and the lean, and if the dinosaurs don't trample us to death, and if the grasshoppers don't eat up our garden, we'll all live to see better days, knock on wood...
...column then marched past Sever, out the Widener Gate, down Massachusetts Avenue, through the Square and towards the Loeb. By that point the initial number of marchers, approximately 500, had been reduced to 350 to 400. Still chanting, they marched around the Loeb and back to the Yard via Garden Street. After passing through the north doors of University Hall one more time, the march disbanded on the Mem Church steps, with some of the marchers sitting down to listen to the broadcast of the Faculty meeting and the rest going back to whatever it was they were doing before...
Natural Rhythm. If anyone can do it, Solti (pronounced Shol-tee) is the man. Currently music director of London's Covent Garden, and a frequent guest conductor at the Metropolitan Opera and the New York Philharmonic, Solti last week concluded a three-week guest engagement with the Chicago Symphony prior to the formal takeover in September. His final concert-devoted entirely to Mahler's Second Symphony-demonstrated the kind of technical brilliance and interpretive sagacity that have made him one of the world's half-dozen best conductors. The audience gave Solti one of the biggest ovations...