Word: shorthanders
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Once the eye gets used to the quirks and secrecies of his inimitable shorthand, it discovers how deeply regional an artist he was. His leanest years were in Paris in the early '20s when, he claimed later, he was obliged to live on dried figs and use the hallucinations caused by hunger to loosen up his imagery. Even then Miró managed to raise the money to journey back to his family village of Montroig, a community of farmers and peasant craftsmen, where he spent six months of every year...
...cold, off-season months as a security guard. His wife earns $9,400 as a secretary to David Robinson III, a black lawyer who is regional counsel to Xerox. She started in secretarial work by enrolling in a three-month program in which IBM paid people to study shorthand, typing and English. Now she is learning to be a legal secretary so that she can earn still more...
...laconic and somewhat one-eyed observation focuses on a writing style oriented towards "authenticity." No doubt the journalists of the period and the "documentary movement" as a whole swelled the ranks of ersatz "roughs" in Kempton's recollection. If he ignored its virtues, Kempton still managed to define in shorthand the characteristic shortcoming of an abundant and protean genre. The typical documentary article or book was rich with feeling and immediacy but usually short-changed thought and discounted analysis...
...SECOND half of his book the author adopts a variety of personae, from Orpheus to Luther to Satan himself, to demonstrate both the range and limitations of dialectical argument. In a mock soliloquy titled "Shorthand Transcript of a Metaphysical Press Conference Given by the Demon in Warsaw, on 20th December 1963," Kolakowski impersonates Satan in a remarkable exhibition of incontestable sophistry; he argues for his own existence in a discredulous age along the lines that his very strength lies in the fact that he does not exist. In other soliloquies, notably in one given by Abelard's Heloise in defense...
Looping and chopping its way through the repertory of shorthand for the human face and figure that he himself had developed decades before, Picasso's brush encountered no resistances. The twisting and displacement of a torso or an ear, the mock-cubist overlapping and profiling related to nothing except earlier paintings that he had made but seemed to have half forgot ten. The drama of assimilation, of that prehensile eye clawing at the world's very guts, dissolved. He ran out of subjects and fell back as never before on stock dummies - troglodytic clowns and kidney-profiled women...