Word: hubertism
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...DIED. HUBERT SELBY, 75, whose 1964 debut novel Last Exit to Brooklyn was met equally with shock and praise and was made into a 1989 film; of pulmonary disease; in Los Angeles. The book brutally depicted the seedy underbelly of 1950s Brooklyn as a wasteland prowled by gangs, prostitutes and transvestites...
...DIED. HUBERT SELBY JR., 75, former merchant marine who wrote novels thick with drugs, violence and human failings, including Last Exit to Brooklyn and Requiem for a Dream; in Los Angeles. While working on a freighter at the age of 18, Selby contracted a nearly fatal case of tuberculosis, and during his convalescence he developed a taste for literature and addictions?later kicked?to alcohol and morphine. His 1964 novel Last Exit drew critical praise for its realistic portrayal of doomed prostitutes, dejected transvestites and predatory ex-cons, and was also scorned for its graphic depictions of rape, beatings...
...show business and politics, of exhibitionistic self-dedication and a seemingly sincere passion to change the world. The best of the New Comedians, he is also the first notable American political satirist since Will Rogers. "Whenever there is a political bloat, Mort sticks a pin in it," says Hubert Humphrey ... Says Sahl mockingly: "I'm the intellectual voice of the era--which is a good measure of the era." --TIME...
Pauline Kael, at one time arguably the best film critic in operation, has turned into the Hubert Humphrey of film criticism. She comes on chatty and playful when talking about film techniques, valuing good stars above acting and sensual excess over rigor, all the time letting us know that under that tigress bite of hers beats a heart which overflows with sympathy. She makes sufficient noises in the vague directions of liberalism to insure our recognition that she cares in the correct way about moral and political issues which the films she sees might raise. She is overwhelmingly ebullient...
Pauline Kael, at one time arguably the best film critic in operation, has turned into the Hubert Humphrey of film criticism. She comes on chatty and playful when talking about film techniques, valuing good stars above acting and sensual excess over rigor, all the time letting us know that under that tigress bite of hers beats a heart which overflows with sympathy. She makes sufficient noises in the vague directions of liberalism to insure our recognition that she cares in the correct way about moral and political issues which the films she sees might raise. She is overwhelmingly ebullient...