Word: weed
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Dates: during 1970-1979
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...play that is so weak a link in O'Neill's ouevre that it would be better off missing. The truth is that Eugene O'Neill was afflicted with a love of novelty in the same way that many students are afflicted by a taste for the killer weed and the result is the theatrical equivalent of dead brain cells...
...Juan Matus. Don Juan was an exceptionally powerful "man of knowledge": a brujo, or sorcerer. Over the next ten years, Castaneda became his apprentice, as Don Juan initiated him into increasingly mysterious and alarming states of "non-ordinary reality" through the systematic use of three hallucinogenic plants: peyote, Jimson weed and psilocybe mushrooms. Thus far the outcome sounds predictable: student meets guru, blows mind, drops out and fries his brain cells with the Flesh of the Gods beneath a cactus. Not so: the young anthropologist turns out to be a man of tenacious curiosity. His meeting with Don Juan...
...danger is falling masonry. Since March, more than 30 pieces of stone -most weighing around 40 Ibs.-have tumbled, dislodged by weed roots or weakened by the vibrations from the 200,000 vehicles that thunder round the Colosseum each day and the subway trains that pass under its foundations at ten-minute intervals. "The Colosseum is not falling down," insisted one custodian last week. "It's just an old, old man who needs medical treatment...
Giles Goat-Boy and The Sot-Weed Factor were investigations into the novel in all its massiveness and variety, storytelling released to its infinite possibilities. By the end of the sixties, though. Barth was looking in a new direction, and Lost in the Funhouse (1969) was a radical departure from everything that had preceded it in Barth's career. A collection of highly experimental stories, the volume was subtitled "Fiction for Print. Tape, Live Voice," and was originally scheduled for publication accompanied by tapes. Packaging prohibited it, and this certainly kept Barth's effort from full realization. In any case...
...create new narrative forms, to engage in political satire and to tell stories. But the form is not yet ready, the satire is shrill, and the stories suffer. Chimera is an attempt to join the mythic experiments of Lost in the Funhouse with the storytelling--extravagance of The Sot-Weed Factor, and Barth himself seems not to have realized how monumental a task that...