Word: affaires
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Dates: during 1980-1989
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...Bush is a lawyer, so he knows I'm innocent until proven guilty," Wall replies. He is wrong, of course: Bush is not a lawyer, and Wall, although he seems to lack the venality of other players in the Keating affair, is not innocent. Like a number of other legislators and Government officials, Wall paid more attention to cosseting the people he regulated than to safeguarding the depositors and taxpayers who depended on his vigilance. Although Wall says | he now sees Keating's "half-truths and obfuscations," more than a billion was lost while he dithered over closing the vault...
...highly detailed realism based on reporting, a realism . . . that would portray the individual in intimate and inextricable relation to the society around him." This realism, argues Wolfe, was what characterized the success of writers as varied as Zola, Dostoyevsky, Dickens and Lewis, whose Elmer Gantry prefigured the Jim Bakker affair by more than half a century. Nor is Wolfe too modest to add that such realism is what "created the 'absorbing' or 'gripping' quality" peculiar to his own novel...
...amorous campaign -- to bed a virtuous young wife, Madame de Tourvel (Meg Tilly) -- is not presented as idle and amoral womanizing but as proof of his capacity for authentic emotion. Too bad he has what we now are fond of calling "an intimacy problem," and, as a result, this affair and ultimately his life come to a bad and premature...
Lovers' quarrels provide the root of the bedlam backstage in Act II. Lejune is madly in love with Otley and is angry, suspecting that she and the bumbling Frederick Fellowes (Steve Petersen) are having an affair. Barton's Lejune storms around backstage begging Gunn's Otley to take him back, yelling at her for having an affair and plotting to kill Steve Petersen, who wonderfully portrays the innocent Fellowes...
...suicide, half attempting murder. In earlier versions of the play, the bloody pathos of opera found a parallel: the abandoned man stabbed his lover, then held him in a last embrace. That ending felt arch. This one feels anticlimactic, void of release. So does the end of an affair, an event McNally chronicles with specific detail and authentic, universal pain...