Word: rootlessness
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...concentrate on California teenagers is to distort the true picture. Southern California is, as everyone knows, the catchall for the rejects, materialists and rootless pleasure seekers. Naturally our faults would be grossly magnified there. Most teen-agers are interested in much more. True, we have little respect for authority, but that is because authority has failed to earn our respect. Since the adult world, in its headlong worship of money, has failed to give us worthwhile goals, we have to establish...
...quarter-century, French Existentialist Jean-Paul Sartre has been the symbol of what is best (implacable honesty) and worst (rootless pessimism) about the modern European intellectual. He has been the pre-eminent philosopher of despair. Simultaneously, with his novels and plays he has cast himself as a propagandist on the barricades of social justice-in fact on both sides of the barricades, since despite a markedly Red-leaning political line, he has never joined the Communist Party and has periodically quarreled with it. Living his preachments in private as well as in politics, he has maintained with Simone de Beauvoir...
Both mother and son are lonely, rootless people. Lizzie "was utterly separated from the whole race of mankind save when she was concupiscent." Quests for love and pleasure bring her only an unfaithful if swaggering lover and a dottering if well-meaning suitor...
Flem Snopes and his rootless clan are a Faulkner creation that rose up and walked off the page. Throughout the South today, "Snopes" is a derisive epithet for men ranging from leading demagogic politicians down to the Klansman next door. Snopeses pop up early in Yoknapatawpha County, but unlike most other Faulkner characters they seem to have no ancestors-at least not from Mississippi. Flem's father, the vicious Ab Snopes, wore neither blue uniform nor grey, but was a carrion crow on Civil War battlefields...
...done nothing else, Erich Remarque has given to modern fiction a new sort of nonhero-the nameless and rootless refugee who is forever on the run. In Remarque's new novel, the refugee goes by the name of Schwarz-but Schwarz, of course, is not his real name. He has taken the name and the identification papers of a dead man named Schwarz (who in turn had taken them from another dead man named Schwarz). The obvious implication of this hall-of-mirrors symbolism is that loss of identity is the chronic condition of modern man and that...