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Alain Robbe-Grillet’s The Voyeur
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A JOURNEY THROUGH CANADA'S FORGOTTEN, NEGLECTED AND SUPPRESSED WRITING
Stylistically, Two Solitudes is pure Hollywood, Old Hollywood. It is not enough that we make exploitation films for the Americans: now we are copying their ponderous historical dramatizations, employing composer Maurice Jarre, the once-favored treacly symphonizer of those lumpen ethics. It is a characteristically Canadian irony that the dramatizations being Xeroxed no longer exist in their original form. Two Solitudes does not resemble any contemporary American film of quality as much as it resembles made-for-TV novels like Washington: Behind Closed Doors and Rich Man, Poor Man; it's a passionless political soap opera.
Then she had had her equal consciousness that within five minutes something between them had – well, she couldn't call it anything but come.
"Oh, I can't explain," cried Roderick impatiently, returning to his work. "I've only one way of expressing my deepest feelings – it's this." And he swung his tool.
Mrs Goddard was the mistress of a school – not of a seminary, or an establishment, or any thing which professed, in long sentences of refined nonsense, to combine liberal acquirements with elegant morality upon new principles and new systems – and where young ladies for enormous pay might be screwed out of health and into vanity...
At a few miles' distance from our farm, we had some intelligent English neighbours, of a higher class; but they were always so busily occupied with their farming operations that they had little leisure or inclination for that sort of easy intercourse to which we had been accustomed.
Most of these tents exhibited some extraordinary scene of fanaticism and religious enthusiasm; the noise and confusion were deafening. Men were preaching at the very top of their voice; women were shrieking and groaning, beating their breasts and tearing their hair, while others were uttering the most frantic outcries, which they called ejaculatory prayers.