Word: mistressed
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Dates: during 1970-1979
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...musical's promise was that it could conjure up the madcap mayhem of the Keystone Kops, the antic nostalgic appeal of Mack Sennett's Bathing Beauties, and Mabel Normand, his mistress and the star of his two-reelers. Despite formidable talents working with will and wile, the promise is not kept...
...specially installed infra-red lighting and glass sides. Thus observed, the symbols of timidity are revealed as citizens in a complex social structure, full of dominant and submissive roles, populated with kings, queens and knaves. The butt of ceaseless fertility jokes turns out to be the master-or rather mistress-of birth control; when overcrowded or undernourished, the rabbit "resorbs" its embryos in utero. Adams' industrious Hazel, Fiver and Bigwig are pelt-deep fictions; in the real world, male rabbits are lallygagging drones. The does, contrary to those powder puffs in Watership Down, dig the burrows, run the homes...
...Born Yesterday remains remarkably, if depressingly, up to date in its two main themes--corruption and sexism. Harry Brock (Lorenzo Mariani), a nouveau riche junkyard magnate, comes to Washington to "buy himself a senator," bringing in tow his empty-headed mistress, an ex-showgirl named Billie Dawn (Sarah McClusky). Deciding that Billie needs a little polishing up in order to "fit in" with the Washington social scene, Brock hires Paul Verrall (Jerry Colker), an earnest young writer for The New Republic, to be her tutor...
Blaise is pompous, and a bit of a charlatan. His personal life is grotesque as the novel begins and rapidly grows more so. His trustful, loving wife Harriet, by whom he has a teen-age son, at first knows nothing of foul-tempered Emily, his mistress of nine years, nor of Luca, Emily's eight-year-old son by Blaise. He swindles time to visit Emily by saying that he is visiting a difficult nocturnal patient named Magnus Bowles...
...purse at him and flees. Opening the purse, Gimpei finds a minor fortune in yen that the woman has just drawn from the bank; he steals it and flees himself. The woman never reports the loss to the police, for it is money she collected in shame as the mistress of an aged industrialist. Kawabata possessed a delicate sense of the tie between victim and criminal, the kinship of guilt. And of the kinship of sex and death, which the artist, in whatever deformed guises, labors to transcend through art itself...