Word: tenants
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...American Dream, for instance, is a masterly parody of cliche phrases designed to point up the absence of any of the real feelings the words originally conveyed. Eugene (Rhinoceros) lonesco uses chairs and furniture that proliferate with Marx Bros, zaniness in The Chairs and The New Tenant to dramatize major 20th century concerns -the tyranny of matter over spirit, the degradation of values, the confusion of ends and means...
Ionesco builds to a simple, visual metaphor. Sometimes he becomes too involved in his blueprint and loses sight of the overall structure (as in The New Tenant). The same is true of Rhinoceros, but the brilliance of the plan itself is staggering. In The Chairs, finally, production outline, technique, and final product are equally brilliant...
Obsessed with statistics and blueprints, city planners and rebuilders forget to find out what the people whom they transplant by the blockful really want. Author Jacobs quotes a tenant from a Manhattan housing project set in the customary grassed areas dear to all rebuilders: "They threw our homes down and pushed us here and pushed our friends somewhere else. We don't have a place to get a cup of coffee or a paper even, or borrow 50? . . . But the big men come and look at that grass and say, 'Isn't that wonderful! Now the poor...
...sense, the Hearst merger did indeed represent a "step forward." It eliminated a tenant from "the poor farm of American journalism"-as the late Oswald Garrison Villard described Boston's dismal and undistinguished newspaper scene (which, besides the two Hearst tabs, includes the Globe, the Herald and the Traveler). But Hearst's motive was less progress than pure economy. Both tabloids have been losing ground for years. Record circulation has dropped 59,000, to 352,842, since 1957; over the same period, the American has slipped from 176,318 to 163,169. After the merger was announced, dismissal...
Claudelle Inglish (Warners) is a common Dixie doxy. She starts out poor but honest, the daughter (Diane McBain) of a tenant farmer (Arthur Kennedy) in the Deep (read shallow) South. Jilted by the boy she loves, the girl decides to get even. She paints her lips, she flips her hips. For miles around, the gay young devils (and some not so young) answer this summons from one of hell's belles. They bring her presents. She pays off. Her mother (Constance Ford), fearing that the poor child will come a-sharecropper, advises her to marry a rich man (Claude...