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...Slive becomes moody, thumbing through racks of paintings in one of the Fogg's storage depots. Over twenty gun-metal grey, ceiling-high, metal-mesh racks line this long, narrow hall on the museum's second floor. They are hung with a "big slice of the cultural history of mankind," as Rosenfield says. And though resonant with a strenuous, discordant mixture of competing styles and periods, none of them can escape a certain loneliness, a quiet desperation when shoved back into their dark recess. Pulling out one rack then another, Slive runs through the depot, lingering over one canvas then...

Author: By Edmond P.V. Horsey, | Title: Emerging From The Fogg | 5/21/1975 | See Source »

...Clara, however, this stereotype is her whole life. Ordinarily, resigned self-abnegation directs all her energies towards her family: she even brings home to her husband the lone slice of meat she receives for lunch at the factory. But when the strain of exhaustion and isolation becomes too powerful. Clara explodes into directionless rage and paroxysms of tears, set off by such poignant frustrations as her family's failure to set her alarm clock, making her late for work. No trace of individuality graces this stark portrait of women's oppression, so that while the helplessness and despair of Clara...

Author: By Jonathan Zeitlin, | Title: Cinderella and the Welfare State | 5/6/1975 | See Source »

LANGSTON HUGHES created Jess B. Simple in his newspaper column in the Chicago Defender in the 1940's. Posing behind a mantle of slow-witted stubbornness. Simple talks his way through barrooms and street corners, can of beer in hand, fashioning a glittering slice of Harlem life with his words. Hughes was fascinated with Harlem, and in Simple's tales he highlights his dreamy view of Harlem, a city-within-a-city where black culture reigns and black people share their trouble with laughter. Fiercely proud of blackness, Simple mixes an innocent wonder at the strange cruelty of the segregated...

Author: By Beth Stephens, | Title: Harlem at Nighttime | 4/26/1975 | See Source »

...Among his projects: a sequel to Chinatown and a remake of the 1946 classic, Notorious. Evans' decision to quit as production chief may be due in part to a falling out with Charles Bluhdorn, autocratic chairman of Paramount's parent company, Gulf & Western. Paramount cut Evans' slice of Chinatown's profits from 25% to 12½%, and the two men have not spoken for months. "Charlie has been like a father to me," says Evans. "But you don't necessarily have to love your father...

Author: /time Magazine | Title: People, Apr. 21, 1975 | 4/21/1975 | See Source »

...World is seeking a bigger slice of the U.S. commercial-air-travel market-and trying to start a fare war with the nation's big trunk airlines to win it. While Daly was off packing a .38 in Saigon last week, the line petitioned the Civil Aeronautics Board for authority to operate regularly scheduled coast-to-coast flights. Its proposed one-way fare between New York or Washington and Los Angeles or San Francisco: $89 plus tax, or about 25% less than the lowest transcontinental fares on United, American and TWA. Predictably, other airlines announced plans to fight...

Author: /time Magazine | Title: AIRLINES: Daly's Refugee Airlift | 4/14/1975 | See Source »

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