Word: widowers
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Dates: during 1920-1929
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...coincidence that the three outstanding new women office-seekers in the campaign were all named Ruth. All ran for Congress. All were widows, two were grandmothers. Two were able daughters of famed politicos. All three campaigned without emphasis on their sex. They were two Republicans and one Democrat, but all represented the new type of political woman. They were all ladies of greater wealth than previous women Congressmen have been. One's husband had been a Senator and his seat in the Senate was her ultimate goal. But none was a Representative's widow, as has usually been...
...Ruth Baker Pratt of New York, widow of a Republican financier, campaigned with the experience of a society clubwoman who had come through the rough-and-tumble of big-city politics. Even Manhattan's "silk stocking" district has its seamy side. Mrs. Pratt encountered Tammany methods within her own party before securing her nomination. A somewhat amateurish city alderman, she was opposed for nomination by a highly professional State Assemblyman, Phelps Phelps. Her primary victory seemed due to her astute counsellors more than to her social appeal. The seat in Congress which she sought was held by one Tammanyite...
...Ruth Hanna McCormick of Illinois, widow of Senator Medill McCormick, daughter of the late great Senator Marcus Alonzo Hanna of Ohio, was, although not yet a grandmother, much further advanced in the political art than Bryan's and Manhattan's Ruths. She was to be the first woman Congressman-at-large, the nearest thing to being elected Senator, which no woman has ever been. Her statewide string of women's clubs is the largest political machine ever built up by a woman in the U. S. It causes no end of worry to Senator Deneen, whom...
Additions to Hooverism were: Mrs. Samuel Gompers, widow of the late great President of the American Federation of Labor. Reason: "The right man for such a high office...
Kriemhild's Revenge, sequel to Siegfried, shown in the U. S. in 1925, tells how Siegfried's widow goes looking through a world of half-gods for someone who will avenge the murder of her husband. In settings like the metaphors of an epic poet the story moves to its climax in the hall of Attila, king of the earth, where the last of the Niebelungs sing their death-song under the burning roof. With a sound accompaniment this picture, the last made in the UFA studios before Hollywood companies bought up their talent, would be a novel...