Word: porches
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Dates: during 1980-1989
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...toward the Salvadoran government and skeptical about a U.S. policy that would polarize the region into extreme leftists and rightists. But Didion is no pundit. Her strength is in conveying atmosphere and her own sense of horror, although this is not always completely convincing. Seated one night on the porch of a restaurant with her writer husband, John Gregory Dunne, Didion notices a shadowy figure in a truck and a man with a rifle at a gas station. "Nothing came of this," she says anticlimactically, "but I did not forget the sensation of having been in a single instant demoralized...
...short weeks, Didion herself felt the terror that every Salvadoran must live. Eating on the porch of a restaurant one evening, she noticed two armed men across the street observing her and her husband...
...seemed to me unencouraging that my husband and I were the only people seated on the porch...The candle on our table provided the only light, and I fought the impulse to blow it our. We continued talking carefully. Nothing came of this, but I did not forget the sensation of having been in a single instant demoralized undone humiliated by fear, which is what I meant when I said I came to understand in EI Salvador the mechanism of terror...
...successful play several years ago, staged by Joseph Papp. To its credit, the movie avoids the temptation to stray from the play's focal points. For the most part, the film takes place in the coach's large, wooden house, whose dark paneling, airy rooms and surrounding porch recall O'Neill's description of the Tyrones' house in Journey. And while O'Neill's Mary suffers partly because she has never had a real home, the men in That Championship Season suffer because they realize they have lost their home: the basketball court where everything was understandable and visible...
...laid back. Mudd's long poems progress mainly by dialogue and plot rather than by relying on lofty themes. The varied indentations give the works an easy visual appearance. And the images slip easily from small, concrete objects to abstractions. Describing a seagull kept in a carton on his porch, Mudd writes...