Word: goat
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Dates: during 1970-1979
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...make good use of your two bits you take it to the end of the line. Few Harvard students ever will, since the Dudley stops smacks in the middle of Roxbury, but if they did they would find the Silver Slipper Restaurant, "Home of Limbo Patties, Curry Goat and Empanadas," and the nest egg of Leonard and Daphne Matthews. Their tiny eatery is hard to find--with the tracks from the Orange Line blocking much of the light over the sign, and the heavy window grating taking care of the rest--but harder still to avoid, since everyone in Dudley...
...security of a franchise restaurant for the autonomy of owning his own place. He was offered the managership of a Pewter Pot restaurant in Central Square, but "I don't want anybody to tell me how to run my place. If I feel like I should sell curry goat or short rib, they going to tell me no. I don't want to be a Pewter Pot." He doesn't want to accept orders from the manager of a chain, and he doesn't want the government to take charge of his business, either. "You work hard-hard...
...weeks offer Jimmy Carter's bi-partisan legion of opponents an almost irresistible target for sniping. All a skillful stump speaker has to do is lament "the decline of American power and prestige," and his listeners will grit their teeth at the memory of Uncle Sam, a goat's skull for a head, burning in effigy in Tehran while the perpetrators, in a dramatic gesture of their discipline and outrageousness, collect trash in Old Glory...
...still want to assay the bulk of Letters--out of a sentimental attachment to Barth's brilliant earlier epic-length efforts, Giles Goat-Boy and The Sot-Weed Factor, or out of sheer quixotic nerve--you could take the advice of Jacob Horner, formerly the protagonist of The End of the Road and now a pawn wandering Barth's checkerboard...
...tell is finite and dwindling; print has been rendered passe by film and electronics; realism is an irrational goal for the writer (What is real? Whose reality is it?); art rehashes art. Barth's response was to exalt artifice and make telling the subject of the tale. Giles Goat-Boy (1966) was less a novel than a treatise on the archetypes of heroism; some of the stories in Lost in the Funhouse (1968) suggested antiphonal readings between printed page and tape recorder, or struggled gamely just to get themselves started; the three novellas in Chimera (1972) portrayed classical myths...