Word: na
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...Sometimes a naïve person will wish, 'I would like to be dead and see how everyone mourns me.' Such a writer is continually staging such a scene: He dies (or rather he does not live) and continually mourns himself. From this springs a terrible fear of death ... he has a terrible fear of dying because he has not yet lived. .. In reply to this, one might say that this is a matter of fate and is not given into anyone's hand. But then why this sense of repining, this repining that never ceases...
...joined the civil service as a young fellow and retired 18 years later with a small pension and a sharp tongue. Before he was 30, Flann O'Brien had published a novel (At Swim-Two-Birds) that won praise from no less a boyo than Jimmy Joyce. Myles na Gopaleen took up writing the odd play now and then but spent close to 25 years doing funny pieces for the newspapers. Now here's a strange thing. All three of these lads died at the same instant on April Fools...
This gift sustained him through all his diverse careers. Nothing fades faster than newspaper humor, and some of the Myles na Gopaleen columns that Editor Jones resurrects should have stayed in the morgue. Many pieces, though, seem remarkably fresh. Humbug and absurdity have not gone out of fashion, and Myles was keenly aware of both. When a local judge levied a stiff jail term on a woman who had been caught shoplifting, the journalist commented: "I suppose he was right when he said there was far too much shoplifting in Dublin but I am not clear how one calculates what...
...shrewd running back with a gift for putting on people who think they're smarter than he is because they don't talk in a Southwest Conference drawl. His roommate and lifelong good buddy, Shake Tiller (Kris Kristofferson), is still a sticky-fingered end and an earnest naïf. They are still involved, more as pals than as lovers (though that, in time, develops) with Barbara Jane Bookman (Jill Clayburgh). She is a version of that most delicious of Hemingway's conceits-the intelligent and entirely feminine woman who is capable of being...
Movable Scar. At a guess, it is fa miliarity with the social usages of his na tive England and the accumulated non sense of the medium in which he works that generate the affectionate, and effective, contempt animating the first portion of Feldman's film. Even when he and it move further afield, following the disgraced Beau into his North Af rican exile as a legionnaire, there's some amusing game afoot. Peter Ustinov, as a sadistic sergeant, is equipped with a movable scar - not unlike Feldman's shifty hump in Frankenstein - and the director has given...