Word: sharing
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Dates: during 1960-1969
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...trying to determine fair board fees, Mrs. Bunting has one constant to deal with: the cost of maintaining dining-hall facilities for both dormitory and off-campus residents. Though the off-campus girls eat only one meal in the dorms, they should still share the cost of kitchen labor and other expenses, which comprise about 60% of the board overhead...
...campus compose about 25% of Radcliffe's population. Their board fee should therefore be 25% of this "non-food" kitchen overhead plus the cost of one meal per day. At present, however, the off campus residents pay about of the total board costs--obviously nowhere near a fair share. Moreover, they get better rooms than the dormitory residents for the same standard fee. No wonder Mrs. Bunting can't make ends meet...
...amassed documentation derives from the compelling personality of the central figure, Perry Smith, and his belief in fate. By the time we have come to know Perry and his fated family, for whom the "solution" to life has frequently been violent suicide, we do not scorn this belief. We share Perry's fantasies, his superstitions, his sense of "destiny" (especially for his victims), and learn a real sympathy for the "fate" of the outsider in this society. If this fate is to have any meaning, our sympathy and interest must be distributed widely among the outsiders and insiders, and this...
...Cold Blood is a minor national epic, illuminating many affecting portraits--allowing to share young Nancy Clutter's poignant diary: "Summer here. Forever I hope"; to witness the shock of her boyfriend's agony, by which an adolescent learns adult numbness; to be harassed by the posturing gruffness of Holcomb's postmistress: ". . . the sane thing to do is to shut up. You live until you die and it doesn't matter how you go--dead's dead": to appreciate Mr. Clutter's Midwest-pastoral dream: "an apple-scented Eden"; to wince before the senior Hickock's A History...
...relationship and the story of the murder, at the same time conscious of the ambivalence inspired by Capote's structural framework and tonal detachment, the reader finds himself stripped of objectivity. He is forced to participate intensely, not vicariously, in the public phenomenon of impersonal terror; and allowed to share in the private world of personal fantasy--where a childhood symbol such as Perry Smith's avenging parrot "flying overhead, red and green/green and tangerine" becomes a vision that enobles a headline terrorist...