Word: plot
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Dates: during 1950-1959
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...same as always-to set up a universal Communist dictatorship run from Moscow. She thinks she can make better progress by concealing her bloodstained bludgeon under a pile of olive branches and trying the more subtle art of poison. By lulling the West she can revert to her early plot to gain control of the world by infiltration, through her fifth columns and similar subversive agents trained in Moscow...
...basic dilemma remains unresolved, and in this first novel. Briton Isabel Quigly maintains it for so long that the plot caves in on her characters. With Neddy's return only days away, Celia is belatedly asking her lover: "What do people do, Arcangelo, in a situation like ours? What do they do? ... Catholics, I mean." The distinct suggestion is that the best the star-crossed lovers can hope for is some sort of intercontinental ménage-á-trois. Author Quigly's story ranges from romantic intensity to limp sentimentality but in her evocation of the sensuousness...
...couple of seasons ago into an unexpected Broadway hit. Incident is about a married woman, incapable of having children, who pours her maternal affection on a 19-year-old boy, causes a painful scandal, finally realizes that she ought to adopt a child. The writing was aimless, the plot pointless, and Actress Stapleton had the ungrateful chore of playing a woman of monumental stupidity...
Kusumasumantri taught history in Moscow during the 1920s, and his family still lives there. Once exiled from Indonesia by the Dutch for Communist agitation, he was implicated in 1946 in a Red-led plot against Soekarno's young independent government. As Defense Minister, he has been busily spotting his own men in key army posts, against strong opposition from Indonesia's top army commanders, whose control in the provinces has been all that saved the country from anarchy at times. Fortnight ago, Kusumasumantri reached far down the army's hierarchy for his new Chief of Staff. Colonel...
...opera is a daring work from many points of view: it has no plot, but consists of a series of gloom-ridden episodes, recollections, even a bleak little prison play in pantomime; 16 of its 17 singing roles are men; it contains a minimum of tunes and some very strange harmonic goings-on indeed. And yet it is a strong work from overture to the final hymn to freedom, and is even gripping in three long narratives by the prisoners against a background of unnerving orchestral fantasy. Over all hangs an eerie, Kafka-like haze that results partly from...