Word: ingly
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Dates: during 1980-1989
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...playing games. They were going to ruin the country; they didn't know how to run things," she says. "Our history books would say a person was great one day, and suddenly change the next." For example, Lynn notes, books suddenly began to laud the country's King Ch'ing, an ancient monarch, because "the Gang of Four wanted to set up a ruler just like a king. People didn't know what was going...
Considering the outrages it suffered during the Cultural Revolution, the fact that the Peking company exists at all is a kind of miracle. Mao Tse-tung's wife, the arrogant and mischievous Jiang Qing (Chiang Ch'ing), barred all classical productions as antirevolutionary, and a major artist like the enchanting Zhao Yanxia had to spend five years planting wheat in the provinces. Thankfully, Jiang herself has now fallen out of favor, and Zhao and her colleagues can now delight Americans, as they and their predecessors have been thrilling the Chinese for generations...
Gordeyev is an immaculate classical dancer. When he leaps, he seems suspended in air, an illusion that never fails to thrill audiences. He is also fiery enough to fill up a role like Spartacus. Pavlova is soft and romantic next to his virility, more an ingénue than a dramatic performer. But she cuts the air with quicksilver leaps and pirouettes, and her precision and control, especially in adagio movements, can be breathtaking...
...accompanying piece about the president's Republican rivals catches Ronald Reagan and Gerald Ford "stroll(ing) out of their meeting near the 13th hole of the Thunderbird Country Club in Palm Springs..." Ford, always a clothes horse, was "smiling and relaxed in a blue blazer and beige slacks," A story on ghetto problems discusses a "black former newpaper publisher in a gray pinstripe suit." The "People" section of this weekly reveals that when Idi Amin walks down the strets of Saudi Arabia "he wears the shapeless white thobe gown and ghutra headcloth...
...past the end of the picture into a series of weeping women's heads, which show, even more clearly than Guernica, how Picasso could saturate a motif with meaning, to the point where it could hold no more truth. This free passage from feeling into meaning was the ing into meaning was the essence of his genius. Even when he was painting below form, he could always find significance in commonplace sensations, however distorted the actual form: the death in a goat's skull or the spikiness of a sea urchin, the feather softness of a dove, the looming stupid...