Word: ramiro
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What he failed to see was that only slaves could live inside the authoritarian superstate. To Hulme, as Biographer Jones rightly notes, must go some of the ideological responsibility for the fact that his friend, the Spanish diplomat Ramiro de Maetzu, died fighting for Franco, that Pound embraced Mussolini, that Wyndham Lewis touted Hitler, and that Eliot's Idea of a Christian Society is a rigidly hierarchical blueprint for what his mentor called "the constant society." On the plus side, Hulme helped make neo-orthodoxy respectable, modern art approachable, and cyclical philosophies of history acceptable...
...President Manuel Prado y Ugarteche, 69, told TIME Correspondent George de Carvalho in elegant French: "Be tranquil, mon cher. There will be no collapse." Quite possibly he was right. In a strange alliance, this dandified scion of the rich class that Peru calls "the oligarchs" has teamed up with Ramiro Prialé, 55, the revolutionary who bosses Latin America's greatest mass political movement, the Apra, to put Peruvian democracy on a working, paying basis...
Fast Switch. Surviving underground, APRA still controlled at least one-third of the vote. Party Chief Ramiro Prialé two months ago tried to persuade the government to restore APRA's legal status in exchange for a pledge to support the government candidate. Odría liked the idea, but his military Cabinet refused to go along with the deal. For his part, Candidate Belaunde angered Prialé by appealing for the votes of rank-and-file Apristas over Prialé's head. When he heard Prado's timely promise of amnesty, Prialé sent...
...months ago we stood with our backs to the wall; now we hold the trump cards in the political game." With these proud words, Underground Leader Ramiro Prialé last week hailed the astonishing comeback of APRA, the left-wing party outlawed by Peru's government...
After three months with the 45 entries (all sent in anonymously), the judges picked Sinfonia Sacra, by Ramiro Cortés.* Last week, in Manhattan's Carnegie Hall, Conductor Mitropoulos played Cortés' work with the Philharmonic-Symphony. Its first movement (Kyrie) was a slightly stolid development of an oId Mexican tune in slow tempo; its second (Sanctus) was as reedy and antique sounding as a drafty baroque organ; its finale (Dies Irae), driven by busy motoric rhythms, included some fine furious flights of imagination and a paraphrase of an ancient Gregorian Dies Irae...