Word: taciturnly
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...most satisfied man at the track, though, was undoubtedly Jolley. A look-alike but not act-alike for Comedian Bob Newhart, the taciturn Jolley, 37, was bred for the Derby. Born in Hot Springs, Ark., while his father, Trainer Moody Jolley, was racing there, LeRoy was a stable veteran at 19, when he received a trainer's license in New York and dropped out of the University of Miami to race full time. Foolish Pleasure was only his second Derby entry in an otherwise solid but unspectacular career. One of the hardest workers in the business, Jolley says: "Most...
Died. Clyde Tolson, 74, J. Edgar Hoover's almost inseparable No. 2 man at the FBI for 42 years; of heart disease; in Washington, D.C. A taciturn lifelong bachelor, Tolson joined the fledgling bureau in 1928 and soon became what Hoover called "my strong right arm." Though his title was associate director (he was responsible for administration and investigation activities), Tolson handled a pistol convincingly in many of the spectacular arrests that built the FBI's G-man image in the 1930s. But mainly he was the director's loyal alter ego: he shared J. Edgar...
...cajole attention from the Boston press, the one week when reporters do not want little nuggets from Matthews as much as two other things: seats in the press box (because it is always jammed for the Yale game) and quotes for their Yale week preview stories from the coach, taciturn Joe Restic...
Turner, despite his taciturn and obstinate gruffness, could be pricked to tears by a stupid notice. "Soapsuds and whitewash!" he complained to Ruskin. "I wonder what they think the sea's like? I wish they'd been in it!" Turner's most Leonardesque aspect was the deep pessimism that went with his long investigation of nature. In the works of his maturity, human life is merely an eddy in elemental time. His love of full-bore catastrophe is indicated by the most Turneresque of all his titles, an Alpine scene: Snowstorm, Avalanche and Inundation...
...sullen, taciturn central character entails a dramatic hazard which Friel sidesteps entirely: he divides his hero in two--accompanying the "public" Gar on stage is another one, representing his inner voice, and apparent only to his counterpart and to the audience. Friel handles this gimmick with wit and versatility. The inner Gar expresses what the other cannot, in a sardonic running commentary on Gar's quiet interaction with the other characters. When the Gars are alone, the inner self serves both as conscience and provocateur...