Word: veils
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Dates: during 1980-1989
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...their lives so vitally suggests that we adults have entered into a kind of compact with ourselves not to know. We suspect that the implications of what we are doing to the emotional development of our young are so horrifying that we would prefer to remain ignorant, for the veil of denial is easy enough to tear away once...
...smoking in school--all in the face of a world controlled by white males--Edna evolves from the once timid wife to a woman fully aware of the limitations and prejudices of her world. With the help of Moses, she struggles against and ultimately overcomes the veil of ignorance which her community uses to keep women and all minorities in their place...
...effectively in life as in fiction is likely to have trouble writing anything honest, especially memoirs. For the last 15 years of her life, Herbst vainly attempted to compose hers. But as Langer notes, to be straight with herself and others, the writer "would have had to remove the veil over some very sorrowful private and political moments." Langer has gingerly removed that veil. In the process, she has exposed more than she wanted to and more than Herbst's loving friends could ever have supposed. -By Patricia Blake
Sallow and sharp-featured, his unkempt hair a veil that flops down to hide the anguished confusion that haunts his eyes, Lynch's Cal is superficially a Belfast archetype. He is an unemployed adolescent from a broken home, trying to draw a curtain of rock music between himself and the terror-ridden streets, where glibly impassioned rhetoric is punctuated by the sound of explosions. Still, there is time on his hands and an emotional need to fill, so he drifts, convictionless, into the I.R.A.'s orbit, driving getaway cars for their "revolutionary" crimes. One of these forays results...
...suave Svengali of British and Hollywood films for a half-century; of a heart attack; in Lausanne, Switzerland. Mason took a Cambridge architecture degree but was soon displaying his haunted good looks and claret baritone on the London stage and screen. In scores of romantic melodramas, from The Seventh Veil (1945) to The Deadly Affair (1967), he polished his image as the ruthless lover. Behind his sophisticated sadism there was often the suggestion of a dark past and a doomed future, shrouding such troubled protagonists as the Irish fugitive in Odd Man Out (1946), Rommel in The Desert...