Word: irishwoman
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Dates: during 1940-1949
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...Wood, O'Connor enters the shadow-world of painfully solemn, almost preternatural children who suffer from their elders' illicit affairs. O'Connor's bitterest stories are implicit denunciations of the sexual attitudes-or lack of them-of the prim, provincial and pious sort of Irishwoman. When a husband, desperately annoyed with his wife's unwifely reliance on the parish priest, is tempted to tell her "it was Father Ring she should have married," he refrains because he knows that "in time she'd be bound to confess it. There is nothing a good-living...
Olivia Robertson is a well-bred young Irishwoman who has done social work in an improved Dublin slum. Like many other social workers who make copy of their experiences, Author Robertson sometimes commits to print anecdotes and adventures that probably sounded fine at the time but, in type, only seem strained and amateurish, like a genteel effort to make a smutty-faced child blow its nose. The savor of the subject, however, often rises above her polite intentions...
...fall of 1941, a shrewd Irishwoman named Mrs. Eileen J. Garrett surrounded herself with eager young literary men and started a magazine in Manhattan. She gave showy cocktail parties in her penthouse to introduce herself to the trade. The trade learned that Mrs. Garrett was a "celebrated international medium," who claimed powers of clairvoyance, telepathy and prevision.* The people she picked to run her magazine obviously lacked prevision. Last week Eileen Garrett's Tomorrow had its third editor in 60 days...
...first jobs after Vassar ('15) was as a policewoman in the tough Navy Yard section of Brooklyn. Tall, heavy and gusty, Charlotte Carr calls herself "a fat Irishwoman" and is a female counterpart of John L. Lewis-more a labor leader than a social worker. Last week she had been offered a job with the Rosenwald Fund (race relations...
...seven: two Mediterranean servants who rut in the garden, two highly civilized Americans who platonize in the house, an ill-matched Irish couple who come for the afternoon, and their Cockney chauffeur. The true centre is inhuman : it is Lucy, a falcon with "maniacal eyes," who rides the Irishwoman's wrist and devours, from her bloody glove, a new-slain pigeon. While the chauffeur and the servants go backstairs to evolve the cruel jealousies of simple blood, and the Americans maintain their delicately sterile balance, the Irish pair talk. Most of their talk is of the falcon, whom...