Word: likes
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Dates: during 1950-1959
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...determination of Powers to put Boston on a solid business-like basis, and the co-operation of all the people of the city in helping to see a job through together, represents one of the most potent and dynamic combinations Boston could possess...
...leafed through the Fulbright; he needed a study project, recommendations, and four copies of a Curriculum Vitae. He paused over the study project: "I would like," he wrote finally, "to study the effect of the fear of Asian immigration on Australian poetry of the twentieth century. There has been no satisfactory work yet done in this field." He wrote his project twice, each time with a carbon copy and then spent an hour composing a Curriculum Vitae. The Curriculum Vitae, he told himself, I can use on the Fulbright and the French Government Grant Application and the Fulbright Travel Grant...
...decided to cross the channel; he looked at the Rhodes: three copies of a thousand-word statement on general interest. "Don't forget the House volleyball," he told himself, "the Rhodes people like jocks." The Marshall needed six thousand-word statements. Same as the Rhoes, he calculated; less sportsy and more on intellectual interests. He would write those in a minute, now back to the outside of the Fulbright forms. Then to the white Foreign Government Grants. St. Paul's rang eleven. Back to the Australian study projects... four Travel Grants; back to the Marshall essays...
...often not easy: I am reminded of the man in Nazi Germany who went to a psychiatrist because his right arm was paralyzed--his arm wouldn't let him give the Nazi salute that the situation demanded of him. I think the disclaimer affidavit is an important symbol for (like Dean John Monro and many others) I don't want to see students made even more cautious by such reminders of potential danger in political involvement; and I believe such an involvement to be one of the essential qualities of education. And, as for the defeatist group of students...
...disturbing to realize, during scenes like this, that the supposedly sensitive and intelligent men who make films such as The Last Angry Man feel that they must somehow explain to the audience every literate speech or subtle technical effect they use. And when it turns what might have been a thoroughly commendable effort into a slightly better than run-of-the-mill film, this kind of condescension is disastrous...