Word: squatness
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AYME'S novel strikes one immediately as an altogether different sort of thesis. The Empty Canvas presented a figure too weary to be consistently ironic, like a Jamesian European sick of looking at the Catskills; The Conscience of Love throws a squat, unprepossessing narrator into a preposterous muddle of satire, false pathos, and genuine evil. One senses the irony stretching nearly to parody from the first paragraph...
...their way of dealing simple concern with which most writers are stuck whether want it or not: what can be from the century and its though wars. Moravia has escaped by Dino, who is beyond being by the problem; Ayme his trust in the squat, stolid Martin. We should have had from Ayme if he had made fabulous and more human, but after all very likely impossible. only immediate conclusion one at is that love can be a often cloying study, boredom...
...utilitarian func tions from human functions," i.e., truck and service traffic are separated from other traffic by use of the underground truck roads and the underground garage. Second, "the ideal city should fulfill the needs of variety and diversity." Midtown intermingles old and new buildings, tall ones and squat ones, and there is space for a post office, playground and a new auditorium. Third, there must be "improved environmental quality," by which he means the air-conditioned 20th century town square, complete with its fountain and sculptures...
...Morlands of Grosvenor Street. For breakfast: "The single egg in the dark blue egg cup with a gold ring round the top was boiled for three and a third minutes . . . Then there were two slices of wholewheat toast, a large pat of deep yellow Jersey butter and three squat glass jars containing Tiptree 'Little Scarlet' strawberry jam; Cooper's Vintage Oxford marmalade and Norwegian Heather Honey from Fortnum's. The coffeepot and the silver on the tray were Queen Anne and the china was Minton." One memorable meal, in Moonraker, takes 6½ pages for Bond...
Soviet Russia's ambassadors to the U.S. have a fine talent for adapting to the Kremlin's mood of the moment. Alexander Troyanovsky, the first (1934-39), was squat and jolly, symbolizing an era when the two nations resumed relations after a 16-year lapse.* But as suspicions and ill-feeling grew between the U.S. and the U.S.S.R. and Communist intriguing spread throughout the hemisphere, Constantine Oumansky, a schemer and conniver, took over. Then, in the critical years of World War II, when Russia desperately needed U.S. help, grandfatherly Maxim Litvinov became ambassador. He was pro-Western, cooperative...