Word: relationship
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Dates: during 1960-1969
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...subject that Miss Hellman treats with particular humor and good sense is the uneasy relationship between post-ghetto Jews and Negroes. The play opens with Berney singin' on his guitar "De life of a nigger ain't much good..." a point to which the Halpern maid, who overhears him, speaks with some feeling. In a later scene, Berney urges social action on a Negro who mugs him, more or less to shut him up. As these two episodes perhaps suggest, there is considerable overlap in the construction. Since a scene or two might be cut in the process of tightening...
During his sabbatical, Poirier has been writing a book on the relationship of English and American literature...
...Miller puts in quotation marks as if it were otherwise unprintable)-for a while as British press officer in Belgrade, later in Cairo. "Don't buy any more shoes for baby," Miller pleads. But Durrell's own working contact with the world and reality subtly changes his relationship with Miller so that before long he seems the elder. Silence from Miller is all that Durrell gets when he criticizes left-wing intellectuals who turn up in Yugoslavia and tell their Communist hosts about the decadence of their own countries and cannot see that they are sympathizing with...
...Centaur were a terribly serious attempt to explain the nature of man or to elucidate the father-son relationship by means of a classic myth, it would be a silly book. Fortunately, the book is not so serious. Updike treats the myth lightheartedly, operating on three levels: First, the corresponding characters of Chiron and Caldwell; next, parallel nomenclature (for those who like to play such games, it has been suggested that Olinger is Olympus; Zimmerman, principal of Olinger High, is Zeus; and third, the subtle penetration of mythical allusions into what appears the most straightforward Pennsylvania prose...
...disgruntled fictional crafts man of obscure worst-sellers, at 60 (Dennis King) a rich, popular hack novelist and flagging voluptuary. Old Sam is still trying to learn the lesson of his life as the four Sams discuss marriage, mistresses, goals and the gulf between father and son, a relationship vividly accented by Paul Rogers' portrayal of a paternal Victorian martinet. Ustinov's conclusions are not startling: that young radicals become old conservatives, that sons understand and forgive their fathers too late; that marriage is more a football, than an Elysian field. The comedy's chief impression...