Word: terrorism
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Dates: during 1930-1939
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...machine. The core of Wright's stories is the conflict between the Negro's instinct for self-preservation and an impersonal, unpredictable lynch machine. The sadistic, melodramatic physical details of his lynchings occur within an almost off-stage irrelevance. Their reality is the "white fog" of lynch terror which hangs over the Negro community, impenetrable to the brightest Southern sunlight. It is this central psychological core of Negro life in the Deep South, communicated in clear, unemotional prose, which gives Wright's stories their intensity, and a kind of impersonal eloquence in voicing the tragedy...
...issue (on a page with Hemingway's story about Italian battalions in Spain) that Ernest Hemingway was a contributor, not an editor. By last week Ken's direction had largely devolved on Messrs. Smart & Gingrich with the assistance of Messrs. Hemingway, Seldes, John Spivak (Europe Under the Terror), Raymond Gram Swing (Forerunner of American Fascism), Critic Burton Rascoe, Manuel Komroff, Sportswriter Herb Graffis...
School figures count two-thirds in the championship. With the terror and tension of school figures behind them, the five little pretenders were more relaxed the next night when they competed in the free-skating competition, a spirited five-minute exhibition of varied steps skated to music. Free skating is Audrey Peppe's forte. To the tune of the Hungarian Rhapsody, she delighted the crowd with flaring spins, jumps, dance steps. But Joan Tozzer so impressed the solemn judges with the simplicity and smoothness of her free-skating repertory that they gave her performance almost as many points...
...role as the femme fatale. She is hown consorting with sinister Orientals, attempting to shoot Mr. Sanders down in cold blood, driving about Shanghai in a Buick cabriolet, which does credit to Director Eugene Forde and in an excellent sequence she is shown fighting her way through a terror-stricken mob during an air-raid. Perhaps the most enjoyable scene, however, is that in which she renders a blues song in a languid, husky monotone, and then proceeds to "bury the torch" in the approved Kay Thompson manner. The song is mediocre, but Miss Del Rio makes the very most...
...play itself has been little altered. The familiar rabble-rousing harangue of Mark Antony is still the potent climax. The terror of the situation and the violence of the passions released by the demagogue are starkly symbolized by the casting of a gigantic shadow of the orator high up on the white brick wall in back. The events of the civil war following the assassination of Caesar are barely touched upon, and Caesar's ghost does not appear at all. Brutus dies almost immediately after Cassias. The play ends suddenly with its apology for its conscientious here, Brutus, and with...