Word: sort
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Dates: during 1950-1959
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...stage, at least) who finds the wordly threats to her integrity so great she must mask herself as a loud-mouthed male. Thus better equipped to operate amid the avarice and lecheries of people, she can more effectively promote the interests of her goodness. Of course this sort of schizophrenia involves evil itself, but the gods don't much care. The world spins on, inexplicably, relentlessly...
Today, with that sort of wholesale terror past but still a vivid memory, China is ruled by a weapon sometimes called "brute reason"-the knowledge that each man has no alternative. On trains, in city squares and village centers, loudspeakers blare away from dawn till midnight, urging China's millions not to spit in the street, and to "work hard for a few years, live happily for a thousand." In schools, factories and offices the walls are plastered layers deep with painstakingly handwritten posters of exhortation and criticism: "Professor Chen's teaching methods are strictly reactionary...
...propose that, hereafter, the Council's expenses be paid by its members. This solution would have several good results. It would give a more solid base to the Council's aloofness. It would limit candidates to the right sort of people. It would eliminate radicals such as those who ran on an Abolition ticket last year. Perhaps the most beneficial result of my solution is that it would restrict the number of those unwanted, unappreciated--but worthy--projects that the Council undertakes for the edification and improvement of its constituents. Charles Hosmer...
...make up in cogency. In the middle of the middle act, a white-wigged actress comes before the curtain to say that the author told her to say that reality and illusion is the theme of his play. This explains why the characters keep dressing up in all sorts of funny costumes and superimposing various new identities on the one with which they started; why real characters keep getting mistaken for ghosts, and vice-versa; and why it is sometimes hard to determine where anybody is at. Evidently Mr. Moss has an eye toward being some sort of mellow Pirandello...
Considering what he was up against, it is no reflection on director Otto Ashermann that he was unable to create the paradoxical air of consistent and genuine artificiality that this sort of comedy demands. Dee French as the richest woman in the world and Judy O'Keeffe as her ward, Felicity, comes close to catching the requisite style. The rest of the actors make it clear that in its casting, as in its choice of plays, the Poets' Theatre must perforce be content to do what it can and not what it might wish...