Word: knifings
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Dates: during 1960-1969
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...other is exceeded only by their common terror of dying alone. The Bouins married in their 60s, and now, in their 70s, their communication is limited to nasty little notes to each other. Simenon car ries their story along less by turns of plot than by twists of the knife. Venom becomes the sole remaining source of vitality. And when Marguerite Bouin dies, her husband, who hated her so, collapses. He has little hope of ever leaving the hospital...
Offsetting that fraternal knife job was the performance of Chuck's sister, Marguerite Trenham Robb, 19, a gabby gamine who failed to nab Lynda's bouquet but caught the fancy of every member of the wedding ("Trenny, you're cute," sighed L.B.I.). An aspiring fashion designer and model, Trenny set the White House asparkle during the wedding week with her five rings, her silver miniskirts, her flowing brown tresses and her Twiggy eyelashes. "You know," she suggested out of nowhere one day, "I ought to start a romance with George-wouldn't that...
...changed the world by changing people's attitudes," says Polish Director Roman Polanski (Knife in the Water). "When they are born with a TV set in their room-well-you can't fool them any more." Or at least, it might be added, not in the same way. Director Richard Lester, who got his start on TV, believes that television's abrupt leap from news about Viet Nam to Corner Pyle to toothpaste ads expands people's vision. "TV is best at those sudden shifts of reality. TV, not Last Year at Marienbad, made the audience...
...Chomsky, who reflect the opinions of the Review's principal founder, Jason Epstein, and its editor, Robert Silvers. "I wanted to write critical reviews," says Coser, a professor of sociology at Brandeis, "not the kind of demolition jobs they asked for. They kept telling me to sharpen the knife more." Like the Review, Coser opposes the war in Viet Nam and considers him self a member in good standing of the left." But in becoming more extremist in its politics," he says, "the Review has taken a very narrow, destructive line...
Despite plenty of recent evidence to the contrary (The Lockwood Concern, Waiting for Winter), O'Hara knows the difference between sex and love, while Yank doesn't. In fact, O'Hara shows the tension between sex and love, between lechery and devotion, operating like a knife on his characters. But by instinct or insight, O'Hara cannot glorify heterosexual love and its institutionalization in monogamy. Gamy as ever, cruelly vital, the anti-intellectual O'Hara has written an intellectual novel in disguise, about what love...