Word: depthless
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...drama of Wallace's era was often ugly. In full cry during the 1960s and early '70s, George Wallace set violent passions loose. But then, violent passions raged all over the American landscape in those days. The wildfire on the left set the right to smoldering. Defiant, depthless and charismatic, bristling with an animal vitality, Wallace knew the political uses of resentment, of powerlessness. He began by playing upon the psychology of race in the South, then, going national, assembled a constituency of the aggrieved, of Americans fed up with antiwar protest and long hair and Big Government interference...
MUCH OF the beauty of the book comes from Updike's evocation of growth, metamorphosis, and decay. The most vivid moments portray the possibilities of an apparently depthless sadness; one sometimes feels that Updike, shorn of his religious convictions, would be capable of an analysis of or depiction of true hysteria. Analysis has connected hysteria to femininity and to certain forms of religious conviction; one wishes that Updike would explore such connections, rather than spending his time describing the details of sexual intercourse. In the manner of a writer of farce, he shuns depth to go for laughs instead...
...become a way we punctuate our time. History unfolds as a sequence of detonations, a portion of the nightly news given over to psychosis. The scenes define a distinct style of politics in the world today, politics in a ski mask, violence dramatizing an unappeasable rage. Faceless, and morally depthless, the zealots crash truck bombs into their targets in Beirut or Tyre, go night riding with the Salvadoran death squads, or set the timers for the I.R.A. One sees their work-the almost daily deposits of bodies in the roads of Central America, for example. Or, in London, the innocent...
...particular, on his use of flat (or at least shallow) pictorial space. Lone figures like The Fifer and Matador Saluting were posed against a background too flat to be a room, too brown to be outdoors; it was no more than a neutral backdrop, an exaggerated version of the depthless space behind Velásquez's portraits and some of Goya's. This concern for silhouette and two-dimensional compression could be seen as the progressive missing link between illusion and the flatness of classical modernism. Thus it tended to monopolize discussions of Manet and, on the side...
...simplists see Japan as a society that is vivid, vibrant and depthless. The Japanese, say the simplists, are a skitteringly nervous, suggestible and insecure people, quick (too quick) to change, given to adopting fads from abroad and Japanizing them. A facile people, living in the present and the immediate future, a sharp trading race. The truth, almost surely, is an amalgamation of the two perceptions. That is only fitting. Japan is a masterpiece of contradictions, of East and West, of exquisite politesse and oafish rudeness, of a certain lacquered arrogance combined with a strange insecurity in the presence of things...