Word: 1920s
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This is a tale of two houses and four sisters. The time is the early 1920s, and the place is Midwestern America. The houses, with their gables and gingerbread curlicues, are hopscotch close. In their backyards unfolds a human comedy that is warm, antic, wise and utterly endearing...
After tracing the growing tension between the research and professional training functions of the infant school, the author methodically presents a half century of programmatic jousting. Highlights include Henry W. Holmes's failure to nurture an elite corps of super-educators in the 1920s, followed by Frank E. Spaulding's crusade for a scholarly research revival. Francis Keppel replaced Spaulding and led a charge back in the other direction. Programs that trained teachers and administrators again tool their place next to faculty research projects, a compromise Powell says "caused substantial friction and unhappiness." Despite its inherent instability, the Keppel combination...
...feudalism. The members of the du Pont family would have a horse-laugh at the expense of that thesis. The du Ponts were a self-proclaimed aristocracy, a family that preferred its sons and daughters to marry cousins so as not to sully the family blood. By the 1920s they were the wealthiest and most powerful family in the country. They controlled General Motors and U.S. Rubber, as well as their own corporation. People said they owned the state of Delaware--and, in a way, they did. Individual du Ponts owned most of the state's prime real estate, both...
...whatever reason, public interest in incest as a subject seems to have increased. Hollywood provides a good index; one survey shows there were six movies about incest in the 1920s, 79 in the '60s. The numbers are still growing. Recent films on the subject include Chinatown, Luna and the made-for-TV Flesh and Blood. But probing a sensitive subject for better understanding is one thing, and justifying incest is quite another...
...illness; in Tunbridge Wells, England. The Venetian-born, British-educated son of a Covent Garden concertmaster began his own career at 16 as a classical violinist. Though he conducted London's Hotel Metropole Orchestra and his own Tipica Orchestra in concerts, BBC broadcasts and on records in the 1920s, '30s and '40s, and later became music director for Playwright Noel Coward, Mantovani was little known outside of Britain until 1951, when he created his silken "shimmering strings" effects and recorded the waltz Charmaine. The recording, monomaniacally promoted by a Cleveland disc jockey, triggered a Mantovani craze that...