Word: amelia
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Dates: during 1950-1959
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...finds it in an impoverished and degenerate state. His wife, Luisa, is a spiritualist; Amelia, his young daughter, is a Catholic bigot; his elder son, Pedro, is a black marketeer, pimp, and Falangist; and his younger son, Juan, is a Communist. Don Antolin is a socialist and a liberal, which makes it difficult for him to fit into the surly, squabbling family which has resented his absence for the past dozen years. All four feel that things would have gene much better had he not fled. Each sees his return only as a means to exploit him for a selfish...
...disgust. Señora Luisa, his wife, has become a stranger, ugly, shrewish, and a convert to the rage for spiritualism in which many of the poor seek a solace they cannot find in the church. Juan, the younger son, is an underpaid factory worker and a Communist. Daughter Amelia, frightened, hypocritical and ill, wants only enough money to buy her way into a convent and escape from the terrors of life. Only Pedro, the elder son, has learned to cope with life in Spain. A pimp, a Falangist and a black-marketeer, he keeps the family alive even...
...Refugee's Answer. Before Antolin's visit is over, Juan has been killed by Falangists, Señora Luisa is on the verge of insanity, and Pedro deeper than ever in criminality. Overwhelmed by what he has seen in so short a time, Antolin buys Amelia into her convent and prepares to return to England. Perplexed and saddened, he is sure of one thing: he cannot live in Spain...
...miscarried when the second car got to the finish line before the first even started. Several boys whose cars had smashed apart crossed the finish line on foot, running with car wheels and bodies tucked under their arms. To the chagrin of the boys, a girl won. She was Amelia Aparicio, 13, who had averaged 19 miles an hour in a car designed by her mechanic father. Exclaimed Amelia: "I came determined to win for the Bolivian woman...
...apparent interest whatever in working his way from Broadway to the U.S.'s opera citadel, the Metropolitan. For one thing he had his fling at the Met before Broadway. His first opera, Amelia Goes to the Ball, composed when he was 25, was played for two seasons (seven performances) by the Met, and his third, The Island God, a flop, had four performances. He recalls the Met's productions with distaste: "For The Island God they dragged on some rocks that looked like the third act of Die Walkure." The Met's huge stage, ceremonial trappings...