Word: mirrors
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...this woman was not entirely derelict. In her vanity case she had: 1) a mutilated passport picture of herself, with some notes scribbled on its back, 2) some British pounds and shillings, 3) a small silver mirror marked with the initials "V. L." Reporters were somewhat skeptical of the woman. One of the notes on the passport picture was the name of Elinor Glyn. A telegram to the famed novelist in California elicited the reply that she knew no woman of this description. One of the pressmen, the representative of The New York Herald-Tribune, thereupon refused to have anything...
What was this name which she could not remember? The public soon found it out. Her name was Fraud, Charlatanism, Trickery, Guile, Deceit. She, one Alma Sioux Scarberry, employee of the New York Daily Mirror (Hearst), had been "planted" to play her role as a publicity stunt. The Daily Mirror was about to publish a serial novel by Elinor Glyn relating the adventures of the vanished British woman, Miss Levy. Hence the carefully arranged passport pictures, the initials, the English money, in the fraud's vanity-case. Hence the dastardly clever reference to Elinor Glyn. Next day the Mirror publicly...
Little boats with long arms and needle bodies leaped like water-spiders along the glassy Schuylkill at Philadelphia. Some were grandfather spiders, with eight arms and a monotonous chirrup-" 'Roak, 'Roak, 'Roak"; others, tiny creatures whose two arms seemed scarcely to impinge upon the mirror of that dreaming river, so swiftly, so skilfully did they compete in the Annual Regatta of the National Association of Amateur Oarsmen...
Midway between the two portraits glimmers a mirror over whose forgetful surface have played the intervening years, as reflected in Ann's face and figure?Peter Smith's pioneering in steel; the "partnership" they were to have had in this as man and wife; his reticence and absorption in the business; their first quarrels, his prosperity, their children; the great fire and his phoenix-like rise therefrom...
Half Time by Bohuslav Martinu seems to mirror in sound the delirium of a football game-bass-drum drop-kicks cannonading, harmonies lining stiffly against each other, breaking, at a signal, into isolated, screaming units. Critics, adopting this theory, compared it favorably to Honegger's Pacific 231 (TIME, Oct. 27). Said Martinu: "As the composer, I beg to state that Half Time is not a sport composition . . . it registers no football game, no whistle of umpire or protests of the crowd. . . . The problem is one of rhythm and construction . . . a reaction against impressionism...