Word: shelleys
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Dates: during 1970-1979
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...fiercely ethnic Little Italy section of Newark, in a neighborhood so rough that he recalls shootings in the streets. Rodino wrote an unpublished novel about his upbringing entitled Drift Street. At one time, Rodino had hopes of becoming a poet-he still loves to recite Shakespeare, Byron, Shelley and Keats-but he diligently worked his way through the University of Newark Law School...
...novelist is not shy about invoking the names of such famous poetic asses (as he sees them) as Rimbaud, Keats, Shelley and Victor Hugo. In wicked parody of their legends, he kills Jaromil off at 20. The young poet attends a party one cold night and insults another writer, who locks him out of the apartment on a balcony. Jaromil pridefully refuses to beg to be let back in, catches pneumonia and dies of asininity...
Aldiss's hero is Texan Joe Bodenland, who, in a variation on H.G. Wells' Time Machine, adventurously drives his car smack into the flux and arrives in 1816 at the edge of Lake Geneva. Joe stumbles upon a villa containing Byron, Shelley and Mary Shelley, who is writing Frankenstein. His subsequent relationship with Mary is dominated by the presence of Dr. Frankenstein and friends, who are quite as "real" as Mary, their creator. Joe comes to see Frankenstein's pursuit of pure scientific truth without social responsibility as the root of modern technological society, where "the head...
...Juliet's mother--who, it should be remembered, is herself only 28 years old--Carole Shelley is not yet entirely at ease in her lines; but she looks fine in her red-and-black gown, and her straight back speaks a thousand words. Juliet's father, Lord Capulet, is a man in his sixties. William Larsen, sporting a white beard, makes this well-meaning crank fully human; he does admirably with the blustering scene in which he sputters torrents of monosyllables at his headstrong daughter...
...CAROLE Shelley is here an admirable Viola--sprightly, intelligent, and a model of sanity in a world of absurdity. Her diction is clean, and her handling of the "Fortune forbid" soliloquy is particularly distinguished. But there is more beauty in the "damask cheek" speech than she is yet able to convey. (Siobhan McKenna's portrayal remains the yardstick for this part, as for Shaw's Saint Joan and others.) The plausibility of confusion between Viola-Cesario and Sebastian is helped here through Donald Warfield's soft, rather womanly portrayal of the brother (a role once played by a 19-year...