Word: lear
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Dates: during 1960-1969
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...doubtful, however, that anyone had any ideas to begin with. Marion Lear, one of the four girls who had organized the lynching, said it aimed at "ending political apathy and unawareness at Wheaton." Miss Lear admitted that she herself couldn't name the President of Cuba because she "never read newspapers...
Social Chance. Brecht begins where Lear ends: the world is a rack on which mankind is tortured. A character in one of the plays is asked to recite what is called the short catechism-"it'll get worse, it'll get worse, it'll get worse." Starting thus, Brecht might have developed a tragic sense, but he apparently balked at three basic elements of tragedy-the idea of inevitability, human guilt, and the tragic hero. In Brecht's plays, G.O.D. is indeed just a word, and Fate becomes the blind workings of social chance...
Region of the Mind. This being the kind of novel that can no more be spoiled by the reader's knowing the plot than can King Lear or Goldilocks, it may be stated that Querry is killed by Marie's husband in vengeance for an imagined sexual wrong, and the journalistic saint becomes a fallen angel. As an ironic footnote, he is buried under a misattributed quote. Parkinson sends a wreath inscribed with a line supposedly from Robert Browning ("Nature I loved, and, next to Nature, Art"). It is really from Walter Savage Landor, but Querry, ambiguous martyr...
...Saturday Review, the magazine has ventured into almost any area that has stirred Cousins' rather grab-bag curiosity: music, travel, science, education, business and communications. Sometimes these trails lead to pay dirt: Science Editor John Lear's 1959 exposé of the antibiotic drug industry ultimately forced the resignation of a divisional director of the U.S. Food and Drug Administration. Sometimes they lead only into murky corners, such as last month's warning to U.S. space-program planners of the dangers of pushing into the unknown. Spain and Portugal tried exploring the unknown five and a half...
...Parody obviously demands that the original parodied should be well known to the reader, and this calls for a firmly held common culture. It persists today among the British as a form of "upper-class folk art," but its great age was the late Victorian period (C. S. Calverley, Lear and J. K. Stephen), based on a common Oxbridge education. In this century Macdonald loyally finds U.S. parodists better than Britain's best (Belloc, Chesterton, Beerbohm, Connolly notwithstanding), and the best of these in The New Yorker school (E. B. White, Wolcott Gibbs, Peter De Vries). The reason: that...