Word: prize
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Dates: during 1960-1969
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...King's was the symbolic presence and voice of the black, of Ralph Ellison's Invisible Man, his inchoate rage distilled into visionary phrases: "I have a dream." There were other components in King's leadership: his unusual stature among whites (culminating in the Nobel Prize), the combination of his Southern rural style with Gandhian ideals, and an almost unassailable dignity respected by both blacks and whites. Negroes kiddingly called him "De Lawd," but it was particularly important that King was a kind of black father in a Negro society of matriarchal orientation. He was an example...
...measured words were those of onetime Greek Diplomat Georgos S. Seferiades, 69, who under the pen name George Seferis won the 1963 Nobel Prize for literature for his lyrical poetry and his "deep feeling for the Hellenic world of culture." Seferiades has lived in seclusion in Athens since retiring as ambassador to London in 1962. For the past two years he has published nothing in Greece as a political protest against the military regime running the country...
Waiting in the Wings. The Bruins were even luckier to land Orr, who is the roughest, most reckless and best all-around hockey player to emerge in years. At age 12 he was considered the prize of the Canadian little leagues, and was already being wooed by Montreal. The Bruins moved in by subsidizing all minor-league play in Orr's home town of Parry Sound, Ont.-and refurbishing the Orr homestead to boot. By the time he was 18, Bobby was in the Boston training camp with a two-year contract for $65,000 in his pocket...
...tongue-in-cheek pedantry. He was drama critic for the New York Evening Post from 1929 until 1941; after that, his Saturday Review column, "Seeing Things," became a forum for broad commentary. But the theater was always his passion, and in 1963 he quit the Pulitzer jury when the prize was not awarded to Who's Afraid of Virginia Woolf...
...Great White Hope -- James Earl Jones' performance as black prize-fighter Jack Johnson is awe-inspiring--and makes a visit to this production worthwhile. But the play (by Howard Sackler) is generally awful and sometimes offensive -- unfocused, full of wretched excesses, and sociologically more pertinent to the forties than the sixties. Edwin Sherin's direction isn't much either, nor is the supporting cast--with the exception of Lou Gilbert as a much-tormented manager. At the ALVIN, W. 52nd...