Word: tragic
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Dates: during 1990-1999
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Alternative rockers are notoriously mopey, but Love's husband Kurt Cobain took the attitude to a tragic extreme and killed himself with a shotgun. Months later, Love revealed the couple's horrifying original plan: to commit a double suicide following the birth of their daughter...
...January 1993, economic and personal desperation reached a tragic and nearly fatal crescendo within my Little Brother's family. What followed was an urban social services nightmare even people like Bob Coles would find difficult to narrate. I will never forget my Little Brother's small, trembling body as he lost himself in the temporary safety of my embrace in the cold, dark corridor of his apartment building that awful day. As I walked back to Quincy House, by way of Harvard street, I paused between snowflakes, tears frozen to my cheeks, enraged that I couldn't save him from...
...bottom line is that the U.N. is failing in Bosnia because the member states are acting like a bunch of ninnies. It was their decision to send a lightly-armed U.N. force to the war zone. Their vague mandates opened the way for the tragic confusion on the ground. It is their abdication of responsibility that is to blame...
Poussin wanted to reconstitute antiquity in his paintings by grasping its root: energy. Always in his best work there are the signs of overflowing vitality, constrained by form's superego, the mode -- tragic, idyllic, epic, sacred. The Destruction of the Temple of Jerusalem, 1638, is such a painting. % Poussin based it on a classical source -- Flavius Josephus' account of the sack of Jerusalem by the Emperor Titus and his army. Its obvious formal prototype is the Roman battle sarcophagus, with figures arrayed in a frieze; its pictorial roots, expressed in the nobly articulated figures of enslaved Jews and conquering centurions...
...Beans of Egypt, Maine, adapted by Bill Phillips from the novel by Carolyn Chute, has this advantage over just about any other movie one is likely to encounter these days: it takes marginal American lives seriously. It does not patronize them. It does not invest them with tragic significance. It does not turn them into case studies. The film has a style that might be called sympathetic objectivity. Under Jennifer Warren's clear-eyed direction, it simply, almost uninflectedly recounts what happens to Earlene when she finally crosses the road to share Beal with Roberta. This new life takes...