Word: ghosts
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
ATLANTIC CITY IN THE FALL is like a whore house on Sunday morning, the denuded neon playgrounds of merchandising America. It is the ghost town of the Penthouse pleasure seekers stinking with the excrements of honky-tonk commercialism. The King of Marvin Gardens, written by Jacob Brackman and directed by Bob Rafelson, tortures Atlantic City's dying glory into a monopoly game of cultural dimensions, the bankrupt dead-end of the American dream...
...friends and both are in love with a girl named Margaret. Anthony wins the girl but messes up his life while Brown becomes an intensely driven and successful architect. Not only do they share the same mistress, Cybel, but when Anthony falls on hard times Brown gives him work ghost-designing important assignments. Anthony's impossibly sensitive nature drives him to drink and death. Brown has what he's waited a lifetime for, the chance to assume Anthony's role as husband, father and creative designer--but wish fulfillment drives him insane...
...Neill seems like the Ancient Mariner of drama. He holds us with his glittering eye. He harangues us with his banal tongue and his repetitive nightmare about the cursed albatross that haunts his fevered imagination: his family, the restive dead. His soap-opera prose alone ought to chloroform any ghost. But somehow O'Neill slings the albatross round our necks and makes us grieve and attend to his tale of fearful...
...biographer of James Thurber is almost certain to put himself inexplicably in the wrong, because whatever approach he takes-jocular, solemn, literary, psychological-he is likely to provoke satirical muttering from Thurber's ghost. The tone of the present biography, an examination of Thurber's literary career by a Pomona College English professor, is clonking and scholarly, and sure enough, muttering seems distinctly audible...
...blindness and reassessment," and a "later manner." He announces and then proves beyond doubt that he has discerned three levels of language in The Secret Life of Walter Mitty. Confronted by Holmes, the reader's mind wanders to The Unicorn in the Garden, to The Night the Ghost Got In. He imagines that he is writing Walter Mitty: ta-pocketa, ta-pocketa, go the typewriter keys. He remembers Thurber's unsettling word games-mice in chimes, lips in pistol-and plays a game of his own that he has played before: her, hurt, rue, brute in Thurber...