Word: girls
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Dates: during 1960-1969
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...wearing sneakers just like the other kids, so white, and a pretty school frock. But she is mocked. The children who should be her friends stick out their tongues. The beauty of the painting hurts. One al most expects the mothering earth to open and receive the girl, to save her from the hell of that schoolyard...
...over the Smothers' time slot last week. Now, at 26, she has emerged with a sweet, sassy authority that is just right for a variety-hour headlmer. She sang Those Were the Days with a panache that made the Mary Hopkin original seem lifeless. She played willing straight girl to Impressionist David Frye's show-stealing rendition of William F. Buckley Jr. She starred in "Sugar Hill," a slice-of-life sketch that will be a feature of the series; the opener was more pungent than The Goldbergs, if not in a class with The Honeymooners...
...finds lodgings in the Chelsea flat of Roddy (Robin Phillips), the son of "decayed gentle folk." Roddy's own insecurities lead him to identify more and more with Mackenzie's black friends and to lure him into a dead-end love affair with a white girl (Judy Geeson...
...second child, Jane takes as lover her cousin's husband James. Malcolm is a successful musician. James is an unsuccessful garage owner and sportscar buff. But James, with his potency-symbol Maserati, can do one thing Malcolm never could: give Jane sexual satisfaction. (The problem of the modern girl who dares to is that, all too often, she is also the girl...
...puritans are not got rid of that easily. Miss Drabble has composed her dazzling and anguished novel as a "schizoid third-person dialogue," with alternating sections written as "I" and as "she." "She" is mostly the girl who dares to. "I" is Freud's good old superego, self-recriminating, doing society's work even when society itself has lost its enthusiasm to play enforcer. It is the "I" that has the last word. The closing sentence of the novel reads significantly: "I prefer to suffer, I think...