Word: motheral
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Dates: during 1980-1989
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...George's and Martha's form of verbal warfare/lovemaking through a series of parlor games: Humiliate the Host, Get the Guests, Hump the Hostess, and, finally and most deadly, Bringing Up Baby. None of the characters is spared by the scalpel of these not-so-playful plays. Father-killing, mother-killing, baby-killing--all are dredged up for common consumption...
...persistent efforts of his domicile to annihilate him are only a few of the many problems plaguing our young hero. His mother died when he was young. He was traumatized by the Vietnam War. His only son mysteriously disappeared while he was clipping the hedges one afternoon. And his wife divorced him. "Life's a bitch, eh?" remarks his neighbor Harold (George Wendt) while nodding his head and stuffing his face with pizza and Schlitz beer...
...SECOND PLAY of the set, Footfalls, is of a completely different nature than Rough I. The set is minimalist, and the lighting harsh, low, and unidirectional. In Footfalls, Beckett explores the absurdity of the human situation through a dialogue between a daughter and mother. The problem--if it really is a problem--with Footfalls is that it is impossible to determine who is the mother and who is the daughter. The play thus becomes very impressionistic, with no evidence of a climax or resolution--but then again, this is Beckett's fundamental opinion about life...
...nonsense manner. Frazier's method reaches an apotheosis of sorts in the title story. Things begin innocently enough: "In today's fast-moving, transient, rootless society, where people meet and make love and part without ever really touching, the relationship every guy already has with his own mother is too valuable to ignore." In arguing that men should start taking a sexual interest in their moms, Frazier, like any responsible essayist, raises possible objections to his plan: "One problem is that lots of people get hung up on feelings of guilt about their dad. They think, Oh, here's this...
...Irish electrician and an Italian mother, Hill entered the crime business at age eleven, when he took a part-time job at a Brooklyn taxi stand run by the brother of a local mob boss. Under the capo's tutelage, Hill slowly learned how to run crap games, pass off counterfeit money, torch buildings for a fee and, finally, how to take over businesses and squeeze them dry. Along the crooked way, he married a nice middle-class girl from Long Island, who realized rather late that her husband was not just another up-and- coming businessman...