Word: waded
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...here, just a skeleton unearthed from a shallow grave after a 30-year rest. Sam Deeds (Chris Cooper), sheriff in a Texas border town where even corruption proceeds at a somnolent pace, has reason to believe these to be the earthly remains of a sadistic and crooked predecessor, Charley Wade (Kris Kristofferson). He also guesses that his late father Buddy, who succeeded Charley as sheriff but is widely regarded as a saint, may have been Charley1s murderer. That would be all right with Sam, who's tired of swallowing invidious comparisons between his performance in office and his dad1s. Solving...
WASHINGTON, D.C.: In a divided ruling that may stir up more dust than it was meant to, the Supreme Court has upheld Utah's 1991 anti-abortion law, considered the most restrictive in the country. The Utah law in question directly challenged the 1973 Roe vs. Wade decision and made any abortions illegal after 20 weeks of pregnancy except for in three cases: if required to save the woman's life, to prevent "grave damage" to a woman's health and prevent the birth of a child with "grave defects." In a 5-4 vote Monday, the court said parts...
...turning sour. Thus it was with considerable excitement that McDougal told Bill and Hillary of the project's first sale, one of the lots bordering the river, in September 1979. Within six months, they'd sold five more lots. But the down payments on the lot sales barely covered Wade's real estate commissions and the closing costs. At the end of May 1980, with the Citizens Bank loan up for renewal and the next quarterly interest payment of $4,352 due, Whitewater Development Co. had less than $2,000 in cash. By this point, the McDougals had invested nearly...
...reserved for the Clintons' eventual use. It was unlikely that the Clintons ever seriously intended to use the parcel, which they'd never seen. Eager to raise cash by the date of the next payment to Citizens Bank, he agreed to sell the land to Chris Wade, the broker for the development...
Confronted with the task of reviewing The End of Alice (Scribner; 270 pages; $22), the third novel by A.M. Homes, a critic certainly feels the impulse to pull a Croce. Why actually wade through the book when we know from the publicity what we're in for: a story that demands to disturb and repulse, a portrait of a sick mind filled with sexual imagery repellent enough to make Robert Mapplethorpe photos look like Tommy Hilfiger ads by comparison...