Word: sinuously
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...around an extraordinary tangle of ideas: the nature of artifice, the Darwinian crisis of faith, the courtship of History and Romance. Invoking his ancestor Sir Walter Raleigh, and setting much of the action in the New Elizabethan Age of the 1950s, he fashions a narrative as fiendishly witty and sinuous and fluent as an Elizabethan sonnet. But at its heart is a simple, all but unanswerable question: "What is the difference between belief and make-belief?" Some readers may be exhausted by the pinwheeling frenzy of paradoxes and parallels; others, though, will be exhilarated by Swift's ability to make...
Derain demonstrates his love for contour in his watercolors. Whether the contours are angular, as in "Personnages," or sinuous, as in "Nude, 1935," the use of line is Derain's primary tool of manipulation...
Restorationists make use of the annual floods that stimulate the growth of riverine forests, flush out wetlands and rejuvenate them with fertile silt. Deprived of high-water surges, wetlands quickly die. In the 1960s, for example, flood-control canals transformed South Florida's wild Kissimmee River from a sinuous network of oxbows and tributaries into a stagnant ditch. The disastrous result: nearly 18,200 hectares (45,000 acres) of prime wetlands disappeared. Waterfowl and fish populations plummeted. Last year, in a startling about-face, the U.S. Army Corps of Engineers and the South Florida Water Management District proposed to unleash...
...This sinuous story begins near its conclusion, in June 1985. Jan O'Deigh, an employee at a Brooklyn branch of the New York Public Library, receives a note from her former lover Franklin Todd: Stuart Ressler is dead. Grieving, Jan remembers the day some three years earlier when Todd first appeared at her desk and requested information about Ressler. "What was the man's line of work?" she had asked. "Don't know for sure," came the reply. "Something hard. Something objective, I mean." And why did he want to know about Ressler? "I work with...
...most flexible score to date, Adams has erected huge choral pillars to frame the action and provide context. In between, he spins out long, shimmering arias whose sinuous lines deny the listener the security of a conventional verse-chorus-verse structure. Once a card carrying minimalist, the composer now weds a sturdy rhythmic pulse with a freer melodic and harmonic idiom that can evoke with equal aplomb a Monteverdi arioso, a Mendelssohn scherzo or Duke of Earl...