Word: paola
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Dates: during 1970-1979
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Burgess begins simply enough, but we are rapidly sidetracked on a series of unconnected and nightmarish tangents. Beard, shaken by his wife Leonora's grisly and easily forestalled death, enters into an affair with Paola, a young, trendy Italian photographer who astonishingly remembers Beard's name after having seen it in movie credits. (The dust jacket informs us that Paola's photographs "adorn the book," quite a feat for a fictional character and no doubt a surprise to photographer David Robinson.) All is fine and dandy between the two, as uncovered in some badly written bedroom scenes, until Paola must...
Complications arise in Paola's absence he wants to employ: he careens between badly Beard's deceased wife Leonora starts telephoning him from England. She complains that he has forsaken her, that he has been duped by the doctors and that she, very much alive, is now coming to Rome. Beard is forced to cope with his guilt; he wonders if, like many widowers he is secretly happy to exchange an old wife for a young lover. After all, he asks, how much great literature has been created by widowers bemoaning the loss of their wife? (Burgess...
While waiting for Leonora, Beard encounters Paola's jealous husband and quarrels over aesthetic theory and race relations, is raped by a group of feminist women (hence the title?) and in the midst of all this chaos, manages to complete a screenplay for a Hollywood musical on Lord Byron, the Shelleys and Frankenstein...
...interrupted (or shut off) gas to industry rather than deprive homeowners. Nor is rationing possible; because pressure in the pipeline has to be maintained or shut off, the consumer either gets to use what he wishes or gets nothing. That makes for hard choices in allocating dwindling supplies. In Paola, Kans., last month, the local gas company chose to stop servicing the town's elementary school for three weeks. On the last day of school before Christmas vacation, classroom temperatures plummeted...
...pity, and our disgust. In porn, and in "advanced" movies of the sixties such as "La Dolce Vita," say, or "L'Avventura," decadence and dissipation are chic, inviting; the houseparty in "The Grande Bouffe" is entirely without glamour. You'll remember in "La Dolce Vita" the character of Paola the Innocent who represents the possibility of a higher and finer life than the one Marcello slips into. Here, Marcello has no options--he's sunk, irretrievably, in a swamp of self-indulgence...