Word: selfing
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Dates: during 1960-1969
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SLAUGHTERHOUSE-FIVE, by Kurt Vonnegut Jr. Through flashbacks to the fire bombing of Dresden in World War II, this agonizing, outrageous, funny, profoundly rueful fable tries to say something about the timeless nature of human cruelty and self-protective indifference...
...hundred days Franklin Roosevelt led a foundering society back to self-confidence, and no President since 1933 has been allowed to forget it. John Kennedy complained shortly before assuming power: "I'm sick of hearing about a hundred days. I'm not Roosevelt, and these aren't the '30s." But the legend persisted. Lyndon Johnson, in fact, encouraged comparisons, and with pockets stuffed full of legislative box scores he could show by certain singular mathematics a better record than that of his old mentor, F.D.R...
Darting about on her chrome-festooned motorcycle in her self-designed uniform-white crash helmet and boots, tight black pants and leather jacket-she might be taken for a Hell's Angel auxiliary. Up close, Esther Winders gives no such false impression. The badge on her breast, the pearl-handled pistol and the can of Chemical Mace that hang from her hips, clearly label Mrs. Winders what she is and always wanted to be: a lady...
George Skakel was a self-made former railway clerk who never forgot his humble origins, and used to caution the family, "We could all be thrown out on the street tomorrow." He usually appeared on the estate in old clothes, and got a great kick out of being mistaken for the gardener. Mother was Ann Brannack, a huge (200 Ibs. plus), cheery, moonfaced Irishwoman who relished a joke even more than her husband did?except perhaps when Joey the ram, the family's pet goat, butted her through a glass door. Mrs. Skakel was in dead earnest about only...
Both the contrary pulls and the limitations on self realization are the consequences of society. For Sirk, all characters exist only in relation to other characters and to objects. The relation is one of influence, expressed visually by resemblance. In a scene with another character, any character will take on the other's appearance. Thus Fyodor, at the end of a sequence with Count Volski, leaves the room bent over, dimniished in stature. The influence is never one-sided; no character is able to exercise total control over another. Instead, each scene is built on this multiple influence and resemblance...