Word: passions
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Dates: during 1960-1969
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...testing is proceeding at a pace never before felt in the history of American literature. Two generations ago, many poets were at work in the U.S.-probably a greater number of major poets than at present -but their world seemed narrower. The literary quarterlies spent more space and passion discussing poetry, but their audience was limited. Slowly, poetry moved out of the parlors of overstuffed gentility into the academy. Now it is moving out of the academy-out of college lit courses and esoteric coteries-back to where it was when minstrels sang their verses in the marketplace. It exists...
...most part, Watkins plays his horror story straight and as close to reality as possible: scenes showing the collapse of order, for instance, are based on the record of civilian be havior at Hiroshima, Dresden and other cities devastated during World War II. Sometimes, though, Watkins' passion for peace leads him into moments of maudlin melodramatics. At film's end, the sound track unconvincingly takes the press and television to task for supposedly refusing to discuss the possibilities of nuclear war, and asks: "Is there a real hope to be found in this silence?" And one scene...
ACCIDENT. Harold Pinter wrote the screenplay, and Joseph Losey directed this glacial dissection of human passion against the background of an Oxonian summer...
Keating and Hinckle had been at loggerheads for a long time. There were no ideological differences: both are doctrinaire leftists with a passion for disparaging U.S. policies and institutions. The disagreements were largely over money and approach. Keating, the magazine's financial archangel, charged his opponents with "fiscal irresponsibility" and an "inability to practice budgetary controls." Circulation of the last issue was 228,730, more than half newsstand, but the magazine is still losing money at the rate of $350,000 a year. Hinckle believes he can break even by raising another $250,000-and without Keating...
Devoid of sexual passion, a corporate creature whose work is his life, "he" becomes the Oriental equivalent of the passive Antonioni villain. In the end, "she" and "he" lie side by side in bed, untouching, distant relatives by marriage; their bleak lives infinitely poorer than those of their impoverished neighbors...