CAROLE T. O'CONNELL WHITEHALL, PA. ⬥ To the Editor: Rebarbative.
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She might help salve the rebarbative xenophobia of the Republican primary.
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It is something else entirely to give such rebarbative instructions to ten-year-olds.
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When Richard Tice, an anti-EU campaigner, delivers his speech students bob up and down, machine-gunning him rebarbative questions.
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"Many of the apparently rebarbative aspects of Sontag's personality are clarified in light of the alcoholic family system," he writes.
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In her long career of public service, Mrs Clinton said, "the service part has always come easier than the public part", an acknowledgement that she still seems, to many Americans, opaque, unsympathetic or downright rebarbative.
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Some of Wells's ideas and personal traits were certainly rebarbative, but he emerges from this wide-ranging account as a passionate and persistent advocate of social change, and of literature's capacity to shape it—driven as he was by the belief that modern life is a "race between education and catastrophe". ■
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This masterly director of 22 films, pioneer of the complex crane maneuver, of tracking shots to give any in "Taxi Driver" a breathtaking run for its money: her epic, rebarbative, wildly chaotic, furious, visionary films have earned her a revered place in the international — intergalactic — canon for her work of five decades.
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"Indeed, many of the apparently rebarbative aspects of Sontag's personality are clarified in light of the alcoholic family system, as it was later understood," Moser writes, and he goes on: Her enemies, for example, accused her of taking herself too seriously, of being rigid and humorless, of possessing a baffling inability to relinquish control of even the most trivial matters. . . .
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" The poems' mashing together of tormented syntax and overwrought emotionalism with strict formality in the handling of the sonnet form (which, wisely, Skoggard has not tried to emulate) has led to results that are often rebarbative, sometimes ridiculous: "But for my lips slow to confess a master / Waited who should better mark them / The hand which hesitates itself to give / / To friend is by him seized a crueler guide / So that the heart which loved in secret / Must now be spilled for all to see in rhymes.
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Jonathan Street (9 February 1943 – 1 November 2012) was a British novelist. He won the Somerset Maugham Award for his novel Prudence Dictates (1972). Among his other books are Yours (1970) and Rebarbative! (1969). Street was also a respected public relations executive specialising in the field of healthcare.
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She conceded that La clemenza di Tito had a rebarbative reputation, but suggested that Davis's recording could win some converts to its cause. She judged Janet Baker's Vitellia to be good with reservations. Vocally, Baker showed signs of her advancing years in both her higher notes and her lower. Dramatically, she offered more sternness and less glitter than some people might wish.
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His unhurried reading was "wonderfully well shaped and articulated, full of childish nightmares, with the two Trios beautifully poised and expansive". The passage following the second Trio was perhaps a little hesitant, but this was a minor failing. It was especially pleasant to hear a movement that could sound abrasive played without anything rebarbative about it. Levine's performance of the Scherzo was just as good, although the string section of his Chicago Symphony Orchestra and RCA's engineering were both inferior to what Abbado's disc provided.
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"Like Waugh", says Stannard, "Cruttwell played up his eccentricities and had an uncharitable sense of humour". Ellis's 2004 biographical sketch suggests that much of Cruttwell's rebarbative manner may have been the result of simple shyness. There was clearly mutual animosity between Cruttwell and Waugh, and Hastings points out that Cruttwell would have been justified in suspending Waugh from the college on numerous occasions but did not do so. Ellis acknowledges a "forceful, forthright and eccentric character" but stresses Cruttwell's generous hospitality to close friends and his concern for his undergraduates' welfare.
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Ursula Le Guin, The Language of the Night, "From Elfland to Poughkeepsie". Tolkien generally approved Eddison's literary style, but found the underlying philosophy rebarbative; while Eddison in turn thought Tolkien's views "soft". Other admirers of Eddison's work included James Stephens, who wrote the introduction to the 1922 edition; James Branch Cabell, who provided a foreword for the 1926 American edition; Robert Silverberg, who described The Worm Ouroboros as "the greatest high fantasy of them all";Quoted in The Worm Ouroboros, Millenium Fantasy Masterworks Series, 2000 (pg. 1). and Clive Barker.
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On the rhythmic front, 'Kelly Ground' is derived from the polyrhythmic superimposition of pulses in simple ratios, an image evoking the tolling of bells, which also comes into clearest focus in the final sections of the work. Whether or not the listener is aware of any of these technical concerns, the work makes a startlingly direct and expressive impact in performance. The piano writing is resourcefully varied, from the lyrically evocative 'aria for Kelly' (section 4) to the ferociously rebarbative 'aubade' which precedes it. The haunting final section is daringly simple and affecting in its naked harmonic focus, being perhaps equalled only by the similarly bold conclusion of Copland's Piano Sonata in this regard.
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Over the course of his stay it gradually becomes apparent that other house guests are ascribing healing powers to one of Logan's children, David (Ted's other godchild), and indeed it is in the hope that he might bestow his 'talent' upon them that they have descended upon Swafford Hall. Amongst the assembled guests are a witty and hugely camp, but rebarbative defrocked minister and TV producer, a businessman and his wife and rather gawky teenage daughter, a friend of Jane's, and Jane's mother, a woman Ted has crossed paths with disastrously many years earlier. The life stories of the tycoon Logan and his family, as well as Ted's own, are intertwined to provide a colourful and credible back story. The story is run through with a stream of sexual practices, some more unusual than others, as Ted uncovers the meansIndependent.co.
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Further he has argued that a poet can discuss emotions like sorrow without having to lose form, and specifically that the goal of his style contrasts a lot of modern poetry which he states tends to be "quite difficult, jagged and rebarbative; a lot of modern poetry deliberately eschews form or beauty, and is almost deliberately trying to put the reader off." Citing these difficulties, Guite recounted that his entry into poetry was aided by engaging the lyrics of singer-songwriters Bob Dylan and Leonard Cohen. Houston Baptist University professor Holly Ordway writes that "Guite helps us see clearly and deeply how poetry allows us to know truth in a different but complementary way to propositional, rational argument" in her review of Faith, Hope, and Poetry: Theology and the Poetic Imagination.Holly Ordway, "Faith, Hope and Poetry by Malcolm Guite: Book Review" , heiropraxis.com, 1 July 2011.
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