Word: reign
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Voices in Congress and around Washington denounced an ethics reign of terror that is destroying reputations and perhaps driving good people from government. "It's genuinely frightening -- worrisome," says Thomas Mann, a congressional observer for the Brookings Institution. "The intensive moralizing has painted the House as utterly corrupt. It damages the institution and the environment of the Washington community...
...wrong with it." Stead's celebrated book was indeed lengthy and imperfect. But it had at its center an unforgettable father figure whose weakness and tyrannical urges were disguised by forced jollity. Francis Clemmons, the dear old dad of Joan Chase's lyric second novel (her first, During the Reign of the Queen of Persia, won PEN's Ernest Hemingway Foundation Award in 1984), also has an unnerving gift of gab. " 'We're walking farther into this rotting grave and shall we ne'er get out?' " is the sort of banter his children would hear while riding piggyback...
PYOTR BELOV, Tverskoi Boulevard 11, Moscow. Twenty-two allegorical works about Stalin's reign of terror, by the theater artist Pyotr Belov (1929-88). Among the most damning: one portraying antlike columns of Gulag prisoners emerging from a pack of Belomor cigarettes -- a reference to the forced labor that built the Belomor canal -- and another showing Stalin up to his boots in a sea of dandelions imprinted with the faces of his victims...
...plainclothes militia and bulldozers to break up and bury an outdoor show of unofficial art in Sokolniki, a park on the outskirts of Moscow. This goons' picnic would not be repeated today. The socialist realist line, imposed by Stalin after 1929 and kept to the end of Brezhnev's reign, held that a work of art should fulfill the criteria of partinost (party spirit), ideinost (firm commitment to prescribed ideology) and narodnost (true portrayal of the life, soul and spirit of the people). It has now been undone. "Dissident" modernism became a talisman only because it was repressed; once tolerated...
Many of the pieces on display portray the splendor and glory of the reign of Suleyman I (1520-1566). The collection presents portraits of the emperor as he was perceived by resident European artists in the Turkish court. An anonymous Italian woodcutting shows the ruler's strong profile, adorned by an incredibly ornate hat. Next to the Italian woodcutting are several engravings by the German artist Melchior Lorichs, who lived in the Ottoman court. Like the Italian piece, Lorichs' works show the monarch surrounded by temporal and religious glory. He appears to be grim and strong-willed; in "Suleyman...