Word: pasts
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Dates: during 1970-1979
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...great difficulty getting at the root causes of such behavior. Says Straus: "The reasons are mixed-psychological, sociological, situational." The head of the household, for example, may feel under particular stress because he has been out of work too long. Violence may also be an echo of the past. Explains Straus: "When Mommy gives her two-year-old a slap for putting something dirty in his mouth, he is learning from infancy that those who love you hit you." Another trigger may be war or inflation. Says Gelles gloomily: "If heating goes up to a buck a gallon...
...tangle of jumped claims and abandoned shafts, patrolled by trigger-happy art historians. Trade follows the flag. The original inhabitants, of course, are long gone. A few survivors get a job in the mines. So it has been with the big "rediscoveries" of the art market in the past 20 years, such as art nouveau, art deco, 19th century American art-and now Soviet vanguard art of the period...
...afterward all advanced or difficult-looking art tended to be lumped, by officials, under the general title of "futurism"; and when Octobrist painters shouted the slogan, "In the name of our tomorrow, let us burn Raphael!" they were adopting Marinetti's febrile rhetoric against the art of the past. In those years, even Marc Chagall was the painter he would never be again: the delight in form rather than nostalgia as the stuff of poetry that pervades a work like Self-Portrait with Seven Fingers, 1913, is very far removed from the flossy kitsch-Judaica of his past...
Peter Wyden is one of those veteran journalists who scoff at the notion that historians can gain insights into past events by poking around in faded documents. To be sure, Wyden fought for release of every official paper that might illuminate America's most humiliating pre-Viet Nam military fiasco: the 1961 invasion at Cuba's Bay of Pigs. But he also spent several years assaulting the still sensitive memories of the CIA's chastened plotters; interviewing the bitter Cuban exiles who had watched their comrades die on the beach; quizzing Fidel Castro and dozens...
Novelist Flanagan, 56, is a longtime English professor (University of California, State University of New York) who has spent much of his spare time over the past two decades in Ireland. He is an unabashed Mayo chauvinist, and his lyric affection for the land and the people animates his characters. Even the Rev. Mr. Broome drops his scholarly tone to write how Irish music "would come to us with the sadness of a lost world, each note a messenger sent wandering among the Waterford goblets." Yet the author is too honest a historian to let sympathy alter circumstances. The first...