Word: vagrant
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Davies, a vagrant, rather self-righteous old man, is taken in by a mentally impaired man, Aston, and his sly and hostile older brother, Mick. The men continually talk at one another but never connect because they are unable to understand themselves. Each has a dream which he cannot act upon. The characters' constant repetition of their stories and of each other's words in absurdly circular dialogue provides both the play's humor and its tragic core...
Reiter devotes almost half of her editorial to an analogy: that of a family head deciding whether or not to take in a vagrant seeking shelter. After establishing that the family head does indeed have the prerogative to turn the vagrant away because of the intended or unintended harm he may cause the family, Reiter admonishes the Clinton Administration for reducing the list of medical conditions restricting immigration. Like the family head, the Administration should instead be turning away people with AIDS, syphilis, leprosy, and other diseases to protect the nation's citizenry...
Imagine you were the head of a family and a sick vagrant knocked on your door one night asking to be taken in. Though you would feel sorry for him and might try to direct him to a professional health care facility, you would probably consider yourself justified in refusing him shelter in your home, especially if he wanted to move in for a long time. You would be motivated by a sense of responsibility towards your family, whom the infectious guest could involuntarily endanger...
...Three vagrant takes on the same tale: this isn't Rashomon, it's Trashomon. NBC, first with the most, painted Fisher's version in bold strokes, with no whitewash, and Noelle Parker was a fine Amy. ABC had the hottest sex, courtesy of a sulky, smoldering Drew Barrymore. Poor CBS had to hatch a Fatal Attraction plot without the sex, since Joey has never admitted to doing anything interesting. But the real subject of the Amy-thon was the Long Island accent and attitude -- Brooklyn with flashier threads. Try this at school, kids: "Din I awrea'y tell...
Much is made of Basquiat's use of sources -- vagrant code-symbols, quotes from Leonardo or African bushman art or Egyptian murals. But these are so scattered, so lacking in plastic force or conceptual interest, that they seem merely the result of browsing and doodling rather than looking -- homeless representation. For polemical purposes, any rough sketch of a cartoon African carrying a crate next to a white with a topee and a gun can be turned into a "devastating" indictment of colonialism -- but this doesn't make Basquiat into an artist with an articulate social vision. As for his poetic...