Doing Homework: Negotiations of the Domestic in Twentieth-Century Novels of Teaching Margaret M

Total Page:16

File Type:pdf, Size:1020Kb

Doing Homework: Negotiations of the Domestic in Twentieth-Century Novels of Teaching Margaret M Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Doing homework: negotiations of the domestic in twentieth-century novels of teaching Margaret M. Watson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Watson, Margaret M., "Doing homework: negotiations of the domestic in twentieth-century novels of teaching" (2002). LSU Doctoral Dissertations. 756. https://digitalcommons.lsu.edu/gradschool_dissertations/756 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DOING HOMEWORK: NEGOTIATIONS OF THE DOMESTIC IN TWENTIETH-CENTURY NOVELS OF TEACHING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Margaret Meredith Watson B.A., Wofford College, 1996 May 2002 ©Copyright 2002 Margaret Meredith Watson All rights reserved ii ACKNOWLEDGEMENTS This dissertation is about teachers, and I owe its existence to a great number of teachers of various kinds. A huge thank you must go to my own formal teachers, those wonderfully gifted individuals who gave generously of their time and talents in order that I might be able to develop a few of my own. This dissertation would never have been written without the tremendous guidance of my director, Michelle Massé. Were it not for the patience with which she waited for my ideas to evolve, the care with which she read and critiqued my writing, and the encouragement with which she surrounded me during every phase of my graduate career, I would have long ago abandoned the idea of completing this project. A big enough thank you to her cannot be expressed. I am also indebted to my other committee members: Rick Moreland’s class on education in literature, as well as his feedback during the early stages of my writing, were enormously useful in helping me focus my ideas; the feedback of Pat McGee in the later stages of writing has helped me identify how I might further refine those ideas in later revisions; and consultations with Petra Munro, as well as her class on curriculum theory, provided me with countless resources that augmented my understanding of the history and practice of education. Family members are of course the earliest and most influential of teachers, and I have been blessed to be surrounded by a family who has loved and nurtured me both intellectually and emotionally. Dad, Kay, Mark, Susan, and Beth, I thank you for your interest in my work, your words of encouragement during those times when I thought I’d never finish, and most importantly the loving example you set through your own teaching and mentoring. iii Peers and friends are also valuable teachers. The CC’s Coffee gang, though it disbanded after only one year, still lives on in fond memories of balmy weekend nights and discussions of feminism over café au lait. Beth, Stefanie, Ellen, and Meredith: you are truly inspirational women, and your friendship is precious to me. I thank you for what you have taught me about strength, passion, generosity, and humor. Judi and Ted, I can’t thank you enough for your support throughout this process. You graciously listened to revision after revision (after revision) of my thinking on the project, and perhaps even more importantly, you kept me laughing through three years of dissertation writing. The first four years of my graduate work were funded through a fellowship from the Graduate School at Louisiana State University. I thank LSU for this financial support. The final year of my dissertation writing was supported through a fellowship from the Spencer Foundation. I am, of course, thankful for its monetary support of my work, but I also appreciate the connections it has allowed me to forge with other scholars interested in the improvement of education. These people have served as inspiration and motivation for me, for they have renewed my hope that the practice of education in this country can be made more productive, more just, and more humane. I marvel at my good fortune in becoming associated with this exceptional Foundation. Finally, many, many thanks go to Dan Barrett, my closest partner in exploring the world, and also my most cherished friend. I am grateful to live in a world so full of wonderful places, people, and ideas, yet without your companionship, discovering them wouldn’t be nearly as much fun as it’s been. Thank you for all of your efforts to support me over the last three years; your patience and encouragement have been especially invaluable. I love you, and I look forward to enjoying a lifetime of learning with you. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS .……………………………………………………………..iii ABSTRACT ....……………………………………………………………………….….vi INTRODUCTION GETTING SITUATED (OR, ESTABLISHING A HOME BASE) ...………..……1 SECTION I PRESERVING DOMESTIC TRANQUILITY (OR, KEEPING THE “ANGEL IN THE SCHOOL”) .....………………….…….26 The Blackboard Jungle…………………………………………………..27 Good Morning, Miss Dove …….………………………………………...59 To Sir, With Love ……………….……………………………………….95 SECTION II CONFRONTING DOMESTIC VIOLENCE (OR, WHERE’S THE “ROOM” IN “HOMEROOM”?)………………………...113 Spinster …………………………..…………………………………….114 The Prime of Miss Jean Brodie …..…………………………………….148 SECTION III REDEFINING THE DOMESTIC INTERIOR (OR, DOING SOME HOME RENOVATIONS) …………………………….......162 Up the Down Staircase ………………………………………………...164 Election.……...…………………………………………………………196 EPILOGUE LOOKING BACKWARD, THINKING FORWARD (OR, YOU CAN GO HOME AGAIN) …….……………………………………..221 REFERENCES…………………………………………………………………….…...224 VITA ..………………………………………………………………………………….232 v ABSTRACT In this project, I analyze seven twentieth-century novels of teaching in order to investigate how notions of “home” and “school” are constructed, connected, and perpetuated in popular teaching narratives. Images of teachers in much of this century’s fiction often rest on views of the school as home that are derived from stereotypes of gender, race, and nationality—stereotypes that can be both inaccurate and repressive. For this reason, I examine these texts in light of how they negotiate school space with domestic space (“domestic” both as personal or familial, and as public or national). I contend that many of these narratives offer little more than simplistic, nostalgic views of what “home/school” space can be, and even fewer question the very equation of “school as home.” In those narratives that do probe the school/home connection, the teacher- protagonists often fail to emerge as the sentimental heroes that the teachers of the more conventional novels prove to be. Nevertheless, I argue that the most promising depictions of teachers and their work are those that acknowledge and engage the rich complexities of “home” and its (sometimes problematic) relation to the classroom, for the very tensions and conflicts that problematize the school’s classification as a domestic “safe haven” are the very tools that can facilitate growth, learning, and self-discovery. The approach for my analysis draws from feminist and cultural studies, as well as educational history. The works I discuss include the following: The Blackboard Jungle; Good Morning, Miss Dove; To Sir, With Love; Spinster; The Prime of Miss Jean Brodie; Up the Down Staircase; and Election. vi INTRODUCTION GETTING SITUATED (OR, ESTABLISHING A HOME BASE) Home and school, school and home. The answer lies in that relation. —From Jane Tompkins’ A Life in School: What the Teacher Learned In early December, 1999, just as I was beginning to work on this project, a story about a schoolteacher from Fayetteville, North Carolina was occupying the attention of the American news media. Jane Smith had announced that she would be donating one of her kidneys to14-year-old Michael Carter, a student of hers at R. Max Abbott Middle School. Just days after her announcement, CNN, CBS, ABC, and NBC’s morning shows, as well as Fox News, Inside Edition and Extra, had all contacted Smith in hopes of telling her story. More interesting than the sheer volume of the coverage, however, was the spin that the story received from most news writers and producers. Virtually all of the reports went beyond acknowledging the generosity of Smith’s act to sentimentalizing her role as Carter’s teacher and holding up the story as an exemplar of the lengths to which teachers will go to serve their students. Typical of such sentimentality is the following passage from a December 15 article in the online edition of the Fayetteville newspaper: [Smith] has always gone the extra mile for her students, buying them supplies if they needed them, giving them rides and going to events if it was important to them. But that makes her no different from most teachers, she said. “I think a lot of people don’t understand how far teachers go for their students,” she said. She hopes what she’s doing will persuade others to donate their body parts to people in need of them. (Jones) 1 Although Smith’s advocation of organ donation in the last paragraph is not targeted at teachers alone, it seems more than coincidental that this call for bodily sacrifice immediately follows her observation about the degree to which teachers serve their students. The juxtaposition of the two quotations, in fact, suggests that “teaching” and “donating body parts” must bear some logical connection. This connection is made explicit in an online December 26 letter to the editor, written by a local member of the Board of Commissioners: “If Cumberland County has such an award as ‘Citizen of the Year,’ I could think of no one who would be any more deserving than Jane Smith.
Recommended publications
  • ED Mcbain M Ranso S King'
    KING'S RANSOM Douglas King is rich. A nice house in the best part of the city, servants, big cars, fashionable clothes for his attractive wife, Diane. He's worked hard all his life to get where he is today, and now he's planning a big business deal. It's a very expensive deal, and there are enemies working against King, but if he wins, he'll get to be company president. If he doesn't win, he'll be out on the street. Sy Barnard and Eddie Folsom are not rich. They're small- time crooks, not very successful, but they want all the good things that money can buy. So they plan the perfect kidnapping. 'Five hundred thousand dollars by tomorrow morning, or we kill the boy,' they tell Douglas King. It's a beautiful plan. But Eddie's wife, Kathy, doesn't like it, and neither does Detective Steve Carella of the 87th Precinct. And Sy and Eddie have taken the wrong boy — not King's son, but the Reynolds boy, the son of King's chauffeur. And the chauffeur doesn't have five hundred thousand dollars. So who's going to pay the ransom? Y LIBRAR S BOOKWORM D OXFOR Mystery & Crime King's Ransom ) headwords 0 (180 5 e Stag Series Editor: Jennifer Bassett e Hedg a Trici : Editor r Founde r Baxte n Aliso d an t Basset r Jennife : Editors s Activitie ED McBAIN m Ranso s King' by novel original the from Retold Rosalie Kerr OXFORD UNIVERSITY PRESS OXFORD CONTENTS UNIVERSITY PRESS STORY INTRODUCTION i 1 'We want your voting stock, Doug' 1 2 'Why would anyone want to steal radio parts?' 8 ' surprise! y b m hi e Tak ! attack d an n dow p 'Jum 3 12 4 'We've got your
    [Show full text]
  • OBSCENE, INDECENT, IMMORAL, and OFFENSIVE 100+ Years Of
    ch00_5212.qxd 11/24/08 10:17 AM Page iii OBSCENE, INDECENT, IMMORAL, AND OFFENSIVE 100+ Years of Censored, Banned, and Controversial Films STEPHEN TROPIANO ELIG IM HT L E DITIONS LIMELIGHT EDITIONS An Imprint of Hal Leonard Corporation New York ch00_5212.qxd 11/24/08 10:17 AM Page iv Copyright © 2009 by Stephen Tropiano All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2009 by Limelight Editions An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 19 West 21st Street, New York, NY 10010 Printed in the United States of America Book design by Publishers’ Design and Production Services, Inc. Library of Congress Cataloging-in-Publication Data is available upon request. ISBN: 978-0-87910-359-0 www.limelighteditions.com ch04_5212.qxd 11/21/08 9:19 AM Page 143 CHAPTER 4 Guns, Gangs, and Random Acts of Ultra-Violence n the silent era, the cinematic treatment of crime and criminals was a major point of contention for those who believed there was a Idirect cause-and-effect link between the depiction of murder, rape, and violence and real crimes committed by real people in the real world. They were particularly concerned about the negative effects of screen violence on impressionable youth, who were supposedly prone to imitate the bad behavior they might witness in a dark movie theatre one sunny Saturday afternoon.
    [Show full text]
  • Rethinking the Intersection of Cinema, Genre, and Youth James Hay, University of Illinois at Urbana-Champaign, USA
    Rethinking the Intersection of Cinema, Genre, and Youth James Hay, University of Illinois at Urbana-Champaign, USA The "Teen Film," Genre Theory, and the Moral Universe ofPlanetariums In most accounts of the "teen film," particularly those accounts tracing its origins, films such as Blackboard Jungle (1955) and Rebel Without a Cause (1956) have served as crucial references, not only for assembling and defining a corpus of films as a genre but also for describing the genre's relation to a socio-historical formation/context. I begin this essay not with an elaborate reading of these films, nor with a deep commitment to reading films or charting homologies between them, nor with an abiding interest in defining teen films (though I do want to discuss how teen films and film genres have been defined), nor with a sense that these are adequate ways of understanding the relation of cinema or youth to social and cultural formation. There are in fact many good reasons to begin from other starting points than these films in order to discuss the relation of youth and cinema during the 1950s or thereafter. Because these films regularly have figured into accounts of the teen film, however, two particular scenes in these films offer a useful way to think about the objectives of film genre theory and criticism, particularly as they have informed accounts of the teen film, and to suggest an alternative way of thinking about genre, youth, and cinema. Both of these scenes occur at sites where the films' young characters become the subjects of screenings conducted by adult figures who explain to the students the significance of what they are viewing.
    [Show full text]
  • Film & Faith in Dialogue Also Inside
    May 2020 Issue No. 296 Visual Parables Film & Faith in Dialogue From Upper left, clockwise: I, the Worst of All; Clown of Freedom; American Factory; Laundromat Also Inside: Atlantics; Tigertail; & more Beginning new feature on INSIGHT Series Visual Contents May 2020 Issue No. 296 Parables Streaming Video I, the Worst of All ............................................................ 3 Editor, Reviewer Alone in Berlin ................................................................ 6 Dr. Edward McNulty The Laundromat ............................................................. 10 Publisher Atlantics ............................................................................ 13 David Crumm, ReadtheSpirit Tigertail ............................................................................. 16 Web Consultants Selah and the Spades .................................................... 19 Becky Hile Finding Grace .................................................................. 21 Michael Thompson Dads ................................................................................... 22 Columnist American Factory .......................................................... 24 Rev. Doug Sweet Reel Redemption ........................................................... 26 ISSN: 1064-6485 J.E.S.U.S.A. ........................................................................ 30 VISUAL PARABLES is published monthly as an Jump Shot ........................................................................ 32 on-line journal, and reviews are posted
    [Show full text]
  • To Keep Your Mind Active During the Summer to Introduce You to the Rigor of Work in High School English to Give You the Opportun
    English I Summer Reading Assignment Ms. Claudia Middleton Ms. Anna Russell Thornton [email protected] [email protected] Purpose & Overview HOMEWORK?! Over the SUMMER?! It’s true that doing homework during your break can be frustrating. However, it is important to do something over the summer so that we can be well prepared in the fall. Here are some reasons why we are completing this summer reading project: To give you the To introduce you to the To keep your mind active opportunity to read rigor of work in high during the summer well-known and popular school English writers To give your teacher an To preview the idea of your reading and stories that we will be writing abilities at the studying during the beginning of the school school year year For this assignment, you are required to: Step 3: Engage Step 1: Read Step 2: Annotate Choose three tasks from Pick the 5 stories you Be sure each story is the Choice Menu to will read this summer. thoroughly annotated. complete (one must be writing an OER!). Where do I get the stories? Available to you for free are all of the short stories in this packet. If you would like to print out the entire packet, feel free to do so. If you would prefer to first look through the packet online, select the stories you want to read, and ONLY print those, that is another great option. Page 1 Required Summer Reading Assignment (checklist) Access this summer reading packet online and print, if possible.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • There Is an Iconic Scene in the 1955 Film the Blackboard Jungle
    UC Santa Barbara Journal of Transnational American Studies Title A Transnational Tale of Teenage Terror: The Blackboard Jungle in Global Perspective Permalink https://escholarship.org/uc/item/2bf4k8zq Journal Journal of Transnational American Studies, 6(1) Author Golub, Adam Publication Date 2015 DOI 10.5070/T861025868 eScholarship.org Powered by the California Digital Library University of California A Transnational Tale of Teenage Terror: The Blackboard Jungle in Global Perspective by Adam Golub The Blackboard Jungle remains one of Hollywood’s most iconic depictions of deviant American youth. Based on the bestselling novel by Evan Hunter, the 1955 film shocked and thrilled audiences with its story of a novice teacher and his class of juvenile delinquents in an urban vocational school. Among scholars, the motion picture has been much studied as a cultural artifact of the postwar era that opens a window onto the nation’s juvenile delinquency panic, burgeoning youth culture, and education crisis.1 What is less present in our scholarly discussion and teaching of The Blackboard Jungle is the way in which its cultural meaning was transnationally mediated in the 1950s. In the midst of the Cold War, contemporaries viewed The Blackboard Jungle not just as a sensational teenpic, but as a dangerous portrayal of U.S. public schooling and youth that, if exported, could greatly damage America’s reputation abroad. When the film did arrive in theaters across the globe, foreign critics often read this celluloid image of delinquent youth into broader
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Blackboard Bodhisattvas
    ! ! BLACKBOARD BODHISATTVAS: ! NARRATIVES OF NEW YORK CITY TEACHING FELLOWS ! ! ! ! ! ! ! ! A DISSERTATION ! SUBMITTED TO THE GRADUATE SCHOOL OF EDUCATION ! AND THE COMMITTEE ON GRADUATE STUDIES ! OF STANFORD UNIVERSITY ! IN PARTIAL REQUIREMENTS FOR THE DEGREE OF ! DOCTOR OF PHILOSOPHY ! ! ! ! ! ! ! ! ! ! ! ! Brian D. Edgar June, !2014 © 2014 by Brian Douglas Edgar. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/kw411by1694 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. John Willinsky, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. David Labaree, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ari Kelman I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Raymond McDermott Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • The Inventory of the Evan Hunter Collection #377
    The Inventory of the Evan Hunter Collection #377 Howard Gotlieb Archival Research Center "'•\; RESTRICTION: Letters of ... ~. -..:::.~~- / / 12/20/67 & 1/11/68 HlJN'.J.lER, EVAN ( 112 items (mags. ) ) (167 items (short stories)) I. IV:ag-a.zines with E .H. stories ( arranged according to magazine and with dates of issues.) 11 Box 1 1. Ten Sports Stories, Hunt Collins ( pseua.~ "let the Gods Decide , '7 /52 2. Supe:c Sports, Hunt Collins (pseud.) "Fury on First" 12/51 3. Gunsmoke, "Snowblind''; 8/53 "The Killing at Triple Tree" 6/53 oi'l31 nal nllrnt:,, l1.. Famous viestej:n, S .A. Lambino ~tltt.7 11 The Little Nan' 10/52; 11 Smell the Blood of an J:!!nglishman" 5. War Stories, Hunt Collins (pseud.) 11 P-A-~~-R-O-L 11 11/52 1 ' Tempest in a Tin Can" 9/52 6. Universe, "Terwilliger and the War Ivi3,chine" 9 / 9+ 7. Fantastic J\dvantures Ted •raine (1,seud,) "Woman's World" 3/53 8. '.l'hrilling Wonder Stories, "Robert 11 ~-/53 "End as a Robot", Richard M,trsten ( pseud. ) Surrrrner /54 9, Vortex, S ,A. Lambino "Dea.le rs Choice 11 '53 .10. Cosmos, unic1entified story 9/53 "Outside in the Sand 11 11/53 11 11. If, "Welcome 1'/artians , S. A. J..Dmb ino w-1 5/ 52; unidentified story 11/ 52 "The Guinea Pigs", :3 .A. Lomb ino V,) '7 / 53; tmic1entified story ll/53 "rv,:alice in Wonderland", E.H. 1/54 -12. Imagination, "First Captive" 12/53; "The Plagiarist from Rigel IV, 3/5l1.; "The Miracle of Dan O I Shaugnessy" 12/5l~.
    [Show full text]
  • 1 This Tournament Goes to Eleven III: Smell the Glove
    1 " This Tournament Goes To Eleven III: Smell The Glove Hosted by the University of Iowa, October 12-13, 2001 The AN Club Packet (by Matt Larson[Iowa]) Rules: Welcome to the AN Club packet - audio SOWlds for a video age. Each toss-up will consist of a clip from a movie, followed by a giveaway clue. Your job is to, at the very least, identifY the movie. Ifyou do this correctly, you will earn 5 points and a bonus for your team Furthennore, if you ring in during the audio clip, you may earn 5 bonus points for naming the actor or actress and another 5 for naming the character. You are not required to give this information. You may also give just one piece of bonus information, ifyou wish. However, if you attempt to give more than just the title of the move, and any answer ofthe group is wrong, it's a neg 5. Bonus questions will be filirly conventional. Unless stated otherwise ...on tossups, in the case of more than one character speaking, you must identifY the actor or character who speaks first for the bonus points. Also, in most cases, either the first or last name of a character is acceptable. Last, and probably least - you won't receive points for supplying the name of a title character on a toss-up. 1. [TRACK 01] F5P, identifY this 1998 film starring Cameron Diaz as the titular female obsession. [There's SomethingAboul Mary. Cameron Diaz) 2. [TRACK 03] F5P, identifY this 1990 film featuring Joe Pesci as mobster Tonnny DeVito.
    [Show full text]
  • Transcript of Book Beat Radio Feature on Evan Hunter
    Transcript of Book Beat radio feature on Evan Hunter Don Swaim Collection (MSS #117), Mahn Center for Archives & Special Collections, Ohio University Libraries Broadcast circa June 26, 1984 Book Beat Reel 12, May-June 1984. Track #27 (Transcribed Track #27) swaim_broadcast_bookbeat_12_27_27.txt - With Book Beat, I'm Don Swaim. Evan Hunter is the prolific author of scores of books. His first bestseller was The Blackboard Jungle in 1954. His latest is Lizzie about the Lizzie Bordon murder case in Fall River, Massachusetts. And, writing under the name of Ed McBain, he also has a new mystery in the bookshops, Jack and the Beanstalk. Evan Hunter was born in what was then New York's Italian Harlem. At first, he wanted to be a comic strip artist. - When you're going to art school, you tend to see everything with a frame around it, you know? 'Cause that's what you're taught, to fill the rectangle, whatever it is, and to divide the space that way. And, I found that writing gave me a much larger canvas to fill. - It was in the Navy in 1944 that Hunter began to write. After his discharge, he went to Hunter College, a girls' school which had opened its doors to veterans. You might recall this scene in the movie version of The Blackboard Jungle. - Mr., uh, Dadier? - Yes, sir. - What college did you go attend? - I believe it's right there on the form, isn't it, sir? - But, that was an all-girls school. - Yes, well, they took in veterans after the war, you see.
    [Show full text]