Word: main
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Dates: during 1960-1969
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...committee was formed last week and plans to coordinate its activity with similar groups at Radcliffe and in the GSAS. "The main design is to keep tactics flexible," Keysser said, "in order to allow for a variety of alternative plans." The committee's statement proposed five possible actions...
...that he had never played before coming to Harvard, and this winter competed at number four and number six on the best collegiate team in the nation. Some of the explanation has to be natural ability and the excellent coaching of Corey Wynn and Jack Barnaby. But probably the main reason for his squash success is determination, trite as it may seem. Ince really works at trying to improve. One of his teammates said that he didn't really have great finesse or a soft touch, but that he more than made up for it by running all over...
Nabokov's literary province is a bizarre, aristocratic, occasionally maddening amusement park in part devoted to literary instruction. It has many sideshows but only one magician. The general public, which chose to read Lolita as a prurient tale of pedophilia, enters through the main gate, hoping to meet the creator of that doomed and delectable child. A more sophisticated clientele moves beyond the midway to seek out and applaud Dr. Nabokov, the butterfly chaser, dealer in anagrammatical gimcracks, triple-tongued punster, animator of Doppelgänger, shuffler of similes. Prolonged exposure to Nabokov reveals much more. What he calls his "ever...
Richard Wellington McLaren likes to tell a story that says a great deal about his main concern as Nixon's chief trustbuster. There was an executive whose firm had been taken over by a con glomerate. Wrote the executive to a friend: "You ask me what it's like to work for a conglomerate? Well, it's just like being a mushroom. First, they keep you in the dark for months. Then they throw dung all over you. Then they...
Perhaps from disdain, perhaps from a remove of age and philosophy, Jancso never ties his story or his sympathies to any main character. To him, all the high cheekbones and fierce mustaches, all the tired, tragic faces are one. The viewer must be content (or disturbed) with a vision trained on people but not on persons. Though Jancso is sometimes eclectic, he borrows only from the best, from the wintry compositions of Ingmar Bergman or from Goya's acid Disasters of War. At his most original, the director resembles neither film maker nor painter. In his own deep-dimensioned...