Word: sean
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Dates: during 1950-1959
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...priceless treasure buried among the ruins. In practically no time, he finds himself mixed up with such shady characters as a fat invalid (Francis Sullivan), a raven-haired Latin beauty (Patricia Medina), an alcoholic blonde (Diana Lynn), a mysterious fellow with a crew cut and smoked glasses (Sean McGlory). The feverish chasing is punctuated with slugging and shooting. This sort of thing has been done better a number of times, but the scenery, shot on the spot in Mexico, is almost striking enough to divert the moviegoer's attention from the foolish events going on in the foreground...
Dublin. As he went ashore on a naval launch from the liner America, he was greeted by pealing church bells and flocks of flag-waving moppets. Ambassador Taft picked up Sean, his own Dublin-born, three-year-old boy, for the crowd to see and said, "You're home again...
...Valera's government. She wrote her memoirs, and was outraged when Communist organizers came to Ireland in 1930 and "one young puppy had the cheek to tell me they had come to teach us how to fight." Bedridden but still a political force, she backed her son, Sean MacBride, and his Republican Party in a successful campaign against De Valera in 1948, but when she went to the polls, one who saw her cried: "That woman is exactly like a ruined cathedral." All those who had known her in her great days were gone...
Theme of the weekend will be "Unified Ireland," according to parade marshall D. Woodbury Cudhea, present King of the Irish Free State in Cambridge. Secondary marshalls will be Edward J. Coughlin, Phillip M. Cronin, and John R. Murphy, while assisting marshalls are Muldoon S. Gwirtzman, D. Levy Halberstam, Sean D. Rivkin, and Michael O'Finkelstein. CRIMSON LAMPOON Aprons, c. Updike, c Cowlick, 1f. Updike, 1f Fatling, 1b Updike, 1b Cuddly, rf Updike, rf Gris, 2b Updike, 2b Basso, ss Updike, ss Gwirtzy, 3b Updike, 3b Hum II, cf Updike, cf Magpic, p Schwartz...
...fault. Mr. Halberstam makes the attempt in his discussion (sic) of the Hoagland story, but he does not try again. Rather, he asserts that the Cumming story cannot structurally stand by itself; and proves his point by mentioning imagery in one of Cumming's sentences (!) He furthermore groups Sean Sweeney's stories with the poetry, says he "plays with words" (nothing could be further from Sweeney's technique, as even a quick glance at the stories would show), and implies that these stories rely upon alliteration for their effect. He provides no evidence for any assertion. Having placed Sweeney among...