Word: lust
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Dates: during 1950-1959
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Eddie never paid the slightest attention to critics. He would talk to artists, find out whom they admired, then drop around for a look. One of his prizes was a haunted, bug-eyed self-portrait by Stanley Spencer that Eddie found in a smelly cow-stable studio. "The lust of possession surged up in me," Eddie recalled, "and I asked the price." It was ?18, and Eddie marched out with it under his arm, the paint scarcely dry. Eddie helped young artists in other ways, too. "Usually," says a friend, "he would go out of the studio with a painting...
...produced.* For one thing, Julius Caesar is a play that lends itself fairly easily to filming. Melodramatic rather than introspective, it is a sort of gangster picture with an ancient (44 B.C.) Roman setting. Its political-thriller plot-a bloody conspiracy, and the tyranny that is bred by lust for power-has obvious modern parallels...
...Stalin's lust for more power, and the praises from the people he had fooled, are meaningless to him now. We read of his mother's tender care for him, her teachings and desires that he should be good for humanity and himself . . . What is there left to say but to quote the Bible: "For what shall it profit a man, if he shall gain the whole world, and lose his own soul? Or what shall a man give in exchange for his soul?" MRS. W. A. EDLUND Denver...
...first scene will be most appallingly morbid. It almost frightens me. The story opens in London. Murder hovers around, and there will be an absolutely superb scene in the hospital for leprous virgins." What about censorship? "Not necessary," beamed Dame Edith. "The patients will be dressed as nuns. The lust of the era I manage beautifully." Her working plans include doing most of her writing in bed ("I hardly ever get up, unless there is some party which I think I will enjoy wildly"), and perhaps suggesting an idea or two on color schemes ("I know of a wonderful Elizabethan...
...much as or more than James Joyce's Molly Bloom) but very much herself as well: a maddeningly complaisant, maddeningly wise, maddeningly female creature. The second volume is the record of Tom Wilcher, one of Sara's employers and lovers, an uncomfortable, comfortably off lawyer with a lust for life and an itch for salvation. The last word, The Horse's Mouth, is Gulley Jimson's, a rascally painter, an immoral man of character. Jimson is the only one who has ever been a real match for Sara: at times, in his roaring picaresque progress downhill...