Word: lovelies
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Dates: during 1960-1969
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...fire and most of his hair. He speaks deeply and slowly, in tones that Everett Dirksen might envy, confident of his audience, very much at ease with them. He is a man used to power. He likes to share a story, and there is in him a politician's love for the trivia of American history...
...white men. Says Charles E. Silberman, author of Crisis in Black and White: "Justice is an act, not a state of mind. Our obligation in no way hinges on the merits of the person or the people to whom justice is owed." To expect or solicit the love of the black, he says, is both pathological and pathetic...
...survive, they must all deal with Mr. Rich (Ted Thurston). Old Rich has the classic ailments of age and wealth: he is impotent and bored. On New Year's Eve, Potemkin arranges for a love scene to be played between the Orphan and the Angel with the hope of restoring Rich to youthful virility, after which the old man is supposed to get the girl. Naturally, it does not turn out that...
Grandma trots about in tennis sneakers and a red baseball cap. Papa is a fat slob in unbuttoned pajamas, who has spent a lifetime dabbling in experimental theater. Mama reminisces over an early tussle for bohemian freedom in which she and Papa made love in the front row of the orchestra during a performance of Tannhäuser. Currently, she sleeps with a grinning Neanderthal manservant named Eddie, while Papa affects not to notice...
Nicholas Mosley, whose work has been adapted for films by Harold Pinter, is a case in point. His novels (Accident, Assassins) are explicitly cinematic. In Impossible Object, he begins with the appropriately open-ended notion that "society used to provide the difficulties that made love exciting and romantic. But in today's world, men and women must now create the difficulties in order to perpetuate love at the level of ecstasy." The trouble is that Mosley's characters, a nameless man and woman who are married to others at the opening, create the dreariest and most passive...