Word: witness
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Dates: during 1980-1989
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...friend revealed that his most trying experience as a graduate student in the Arts and Sciences has been the department's annual Christmas party. "It's like a fencing match with words as sabres. People foil merely to score points on wit and erudition. While many attacks can be quite cutting. It's even worse if you don't compete because you're seen as incompetent at best, and even stupid...
...casual and then unconventional method of simply spreading a dozen or more books in front of me, saying. "Take them along, read any that interest you and ignore the rest. "From Francis learned to love oddities like Tristram Shandy's My Uncle Toby and to enjoy the wit and wisdom of Henry Fowler's Modern English Usage...
...After a stint as executive editor of Playboy (1970-74), Demarest returned to TIME, where he wrote Living and contributed to several other sections of the magazine. Over the years he wrote about subjects as diverse as military history, urban planning, gardening and gourmet food, always bringing wit, intellectual rigor and urbanity to his work...
...view, Herbert George Wells (1866-1946) was a genius with a powerful physical presence. His foresight, combined with a generous, romantic spirit, made him irresistible to women and children and, indeed, to much of the reading public. Rebecca West, by contrast, was a woman of sharp beauty, "wit, acute observation . . . and a wild paranoia." Through the ten years of their romance, she tells friends of various humiliations: Wells ignores her, he suffers from fits of maniacal rage, he becomes childishly dependent. But the author says, "I cannot believe a word . . . they are inventions," and then goes on to document "what...
...dialogues in a Harold Pinter play are pitched battles between speech and silence. The speaker marshals all the resources of colloquial language-wit, wheedling, anecdote, abuse-while the listener waits out his opponent and, often as not, wins the battle by withholding approval, by being as silent as God. Such, too, is the uneasy symbiosis of Playwright Pinter and his audience. In these three short plays that Alan Schneider has mounted off-Broadway (two of them first performed at London's National Theater in 1982, the third earlier this year), Pinter dramatizes this relationship through three memorable audience surrogates...