Word: gazing
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Dates: during 1970-1979
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...loved "the Coast." It was kinko-pop in Technicolor, with Carol Doda for dessert. Why trek to states out back when legions of braless grandmothers, hirsute cultists and banner-waving Chicanos could be filmed within an hour's commute of Los Angeles or San Francisco? Under the unblinking gaze of TV, California's every permutation assumed cosmic significance...
...that they don't have enough gallery space to accommodate their ever-growing collection of acquisitions and their plight is illustrated in this slightly cluttered exhibition. But too much of a good thing hasn't proved fatal to any Fogg-goers lately, so pause on Quincy St. and gaze for a while at the Fogg's proudest possessions. Summer hours are 9 a.m. to 5 p.m. weekdays, closed weekends...
...Their Knees. It has not. Since that prayer meeting on the Wednesday after Easter, busloads of people from as far away as Texas and California have flocked to the humble coal town of 12,000 to gaze at the Christ of the tabernacle cloth. One day a band of bejeweled gypsies roared up in a red Rolls-Royce, crawled on their knees to the altar, and left 13 dozen red roses as they departed. By last week the number of visitors had passed 60,000 (including repeaters), even though news accounts of the "miracle" cloth have been spotty. On weekends...
...intrusion: "That might be how you did things on a Mississippi plantation, but not in Nashville." After he has found himself unsuited for a government job, Tolliver lapses into alcoholism together with his wife. Meanwhile his wife's family concentrates on protecting the embarassing couple "from the public gaze of Nashville." The Campbells move back to Memphis, where they finally consummate their marriage and have a son, bringing the story back to its beginning. Despite his childish attempts to "marry" a Nashville home, the captain's son is merely a product of his family. And the family in turn...
...died was only a fragment of a novel, a draft of a story still halfway from completion. Fitzgerald's narrator is Cecilia Brady, the daughter of Stahr's business partner, who views Hollywood "with the resignation of a ghost assigned to a haunted house." It is through Cecilia, whose gaze is at first glazed by infatuation and later embittered by cynicism, that we meet and experience Monroe Stahr. In a series of loosely-written scenes, Fitzgerald outlines Stahr's relations with members of his studio empire and his brief romance with yet another ghost, a haunting Irish woman who reminds...