Her apocalyptic worldview often translates on the page to comedy, albeit of a brutal and comfortless sort.
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The "apocalyptic worldview often translates on the page to comedy, albeit of a brutal and comfortless sort."
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Critic's Pick Alice Birch's cleareyed and comfortless play follows three generations of women tethered to life by the thinnest possible filament.
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Cleareyed, comfortless, often dazzling, like sun on ice, "Anatomy of a Suicide" follows three generations of women tethered to life by the thinnest possible filament.
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Ms. Brunschwig's resolute, comfortless art is a critical component of that history, and it is through the very absence of images that she bears witness to the unspeakable.
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In a comfortless, filthy house, ill-furnished, often neither raintight nor warm, no domestic comfort is possible.
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Even when they were not verminous, the beds offered to their weary limbs were comfortless and unalluring.
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Walpole considered her "indispensable to his happiness", and her loss plunged him into a "deplorable and comfortless condition", which ended in a severe illness.
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In or near this bay two English ships, the 150-ton ship Mary Margaret, and the 60-ton bark Elizabeth, were wrecked in 1611. This event led the English to call the bay Cove Comfortless for the next five decades.
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Comfortless Cove The main island has an area of approximately 88 km. A volcanic peak rising from west of the Mid-Atlantic Ridge, much of the island is a wasteland of lava flows and cinder cones; forty-four distinct dormant craters have been identified.
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He hunted walrus, or "sea morses" (as they were called). In July, Marmaduke met with two shallops of the Mary Margaret, a ship sent by the Muscovy Company to hunt whales, in Horn Sound. Their ship had been crushed by ice in or near Cove Comfortless (Engelskbukta), north of Horn Sound.
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In 1844, Johnny Jones of Waikouaiti briefly revived whaling on the island where Tommy Chaseland (who was of Australian aboriginal descent), with his wife Puna, Te Matenga Taiaroa's sister, presided over the gang. According to the visiting Frederick Tuckett, "nowhere, perhaps, do twenty Englishmen reside on a spot so comfortless as this naked inaccessible isle".
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The high mortality rate and comfortless lives of hard work on the island soon made it nigh impossible to get volunteers for the colony,Dookhan, Isaac. A History of the Virgin Islands of the United States. Canoe Press, 1974. . and the company started using convicted prisoners, lured with the promise of freedom, to a high degree.
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Balancing the present time is Frankie's less disordered, though comfortless, memory of 20 years before. Then he had become a part of a community on the island. He had tried to help his poor friends by giving away the ample U.S. Army supplies he had. Not everyone was happy about receiving help and not everyone benefited.
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The anonymous reviewer in The Times dismissed the libretto as "cold, dull and comfortless", but praised some of the music as "evinc[ing] no inconsiderable share of taste and skill"."The St James's Theatre", The Times, 15 December 1835, p. 5 The composer turned down the suggestion that she should conduct the performances herself, declining to make public appearances,à Beckett, p.
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Examples of supercritical venting are found at several sites. Sister Peak (Comfortless Cove Hydrothermal Field, , depth ) vents low salinity phase-separated, vapor- type fluids. Sustained venting was not found to be supercritical but a brief injection of was well above supercritical conditions. A nearby site, Turtle Pits, was found to vent low salinity fluid at , which is above the critical point of the fluid at that salinity.
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The main character is an American named "Frankie" who affects the mannerisms of Frank Sinatra. Frankie has links to the island from having served there during World War II. He revisits reluctantly when his ship anchors there during a hurricane. Naipaul wilfully makes the pace of the book feverish, the narrative haphazard, the characters loud, the protagonist fickle or deceptive, and the dialogue confusing. Balancing the present time is Frankie's less disordered, though comfortless, memory of 20 years before.
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108 Initially, living-out privileges were only given to male employees; Bondfield campaigned for equivalent rights for women shop workers, arguing that if they were to become "useful, healthy ... wives and mothers", they needed to live "rational lives".Cox and Hobley, p. 109 As part of her campaign, Bondfield advised the playwright Cicely Hamilton, whose shop-based drama Diana of Dobsons appeared that year. Bondfield described the opening scene, set in a dreary, comfortless women's dormitory over a shop, as very like the real thing.
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On Sunday 9 July (Whit Sunday) the local Anglican priest Henry Sherlock, having spent the previous day visiting the bereaved families, was visibly distressed as he preached at St James the Great Church, using as his text John 14:18 ("I will not leave you comfortless. I will come to you.") By 10 July it was tentatively reported that there had been 182 deaths with 16 seriously injured survivors. Many families suffered multiple bereavements: the Boon family lost eight members including Nathan Boon and his four sons.
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However the increase in salinity at this depth pushes the water closer to its critical point. Thus, water emerging from the hottest parts of some hydrothermal vents, black smokers and submarine volcanoes can be a supercritical fluid, possessing physical properties between those of a gas and those of a liquid. Sister Peak (Comfortless Cove Hydrothermal Field, , elevation −2996 m), Shrimp Farm and Mephisto (Red Lion Hydrothermal Field, , elevation −3047 m), are three hydrothermal vents of the black smoker category, on the Mid-Atlantic Ridge near Ascension Island. They are presumed to have been active since an earthquake shook the region in 2002.
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Agnes Sorel is an 1836 opera composed by Mary Anne à Beckett with the libretto by the composer's husband, Gilbert A. à Beckett. Described as "an operatic farce", the work was loosely based on the life of Agnès Sorel, mistress of Charles VII of France. The piece, with words by the composer's husband, was the first production at John Braham's St James's Theatre in London in 1835. The anonymous reviewer in The Times dismissed the libretto as "cold, dull and comfortless", but praised some of the music as "evinc[ing] no inconsiderable share of taste and skill".
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Thwaite, p. 64 Motion describes the Coleman poems as "a world of comfortless jealousies, breathless bike-rides and deathless crushes", mixing elements from writers and poets such as Angela Brazil, Richmal Crompton, John Betjeman and W.H. Auden. Larkin's own attitude to these poems appears equivocal. He expresses pleasure that his friend Bruce Montgomery liked them, especially "The School in August".Thwaite, p. 69 However, to Amis he writes: "I think all wrong-thinking people ought to like them. I used to write them whenever I'd seen any particularly ripe schoolgirl ... Writing about grown women is less perverse and therefore less satisfying".Thwaite, p.
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Senac, 2000, pp. 453–454. In Portuguese While Brazil at this time remained formally and juridically a Portuguese colony, in the words of Caio Prado, Jr. King John Listening to Father José Maurício But first it was necessary to provide accommodations for the newcomers, a difficult problem to resolve given the cramped proportions of the city of Rio at that time. In particular, there were few homes suitable for the nobility, especially in the case of the royal family, who were installed in the viceregal palace, known today as the Paço Imperial (Imperial Palace). Though large, it was comfortless and nothing like Portuguese palaces.
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87 This title was disliked by Harpers; an alternative, Fourth Decade, was also considered and rejected. Finally, the story was serialised under the title A Flat in London, and the chosen book title was A Handful of Dust—taken from a line in T. S. Eliot's poem The Waste Land: "I will show you fear in a handful of dust." The line is within the section of the poem entitled "The Burial of the Dead", which depicts a comfortless, lifeless land of desert and rubble, reflecting the empty moral ambience of the novel. The title phrase had been used earlier by Joseph Conrad in the story "Youth"; by Tennyson in Maud; and by John Donne in his Meditations.
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Unlike the other two opus 59 quartets, this one does not have an explicit "Theme Russe" in any of its movements. Nevertheless, it can be argued that this second movement with its sparse texture and comfortless melodies, evokes a Russian feel by bringing to mind the vast, barren and desolate landscape of the Siberian tundra. The quartet's third movement is a lighter menuetto which provides the motif that is subsequently turned upside down for the last movement, a fugal allegro molto that begins with the viola and adds the second violin, cello and first violin in that order. The movement is in alla breve time and is almost a perpetuum mobile in quavers.
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Between 1787-1800, one of the wings of the inn was leased by Henry Thornton (1750-1818), a Georgian actor and theatre promoter, as a playhouse, staging up to 60 performances per year. Thornton had established a circuit of venues at coaching stops, each approximately 30 miles distant from each other—"a convenient length for a journey by coach on a winter's day." Paul Ranger describes these makeshift theatres as "comfortless", with boxes constructed from bales of hay and wagons "slung from the rafters" as galleries. Thornton's permanent company was made up of a core of family members—his wife and her brother and sisters, his two sons and two sons-in-law—but was also regularly augmented by London-based performers employed for short seasons ranging from a few days to several months.
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The building was of a plain Italianate palazzo-front design, with a projecting tin cornice, but its sober exterior contained richly appointed public rooms: Harper's Weekly reviewed its "heavy masses of gilt wood, rich crimson or green curtains, extremely handsome rose- wood and brocatelle suits,Suites of rosewood furniture with brocatelle marble tops are intended. rich carpets... the whole presenting about as handsome and as comfortless an appearance as any one need wish for."Quoted in Miller, 2001:47 A correspondent for The Times of London, in New York to cover the visit of the Prince of Wales in 1860, called the hotel "a larger and more handsome building than Buckingham Palace." The hotel employed 400 servants to serve its guests, offered private bathrooms (an unprecedented amenity at the time) and ran advertisements featuring a fireplace in every room.
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