To have the ability to destroy all and not to do it was one of the hard tests humanity passed – but only just – in the middle of the twentieth century.
The trouble with us is that the ghetto of the Middle Ages and the children of the twentieth century have to live under one roof.
At the turn of the twentieth century, board games were becoming increasingly commonplace in middle-class homes. In addition, more and more inventors were discovering that the games were not just a pastime but also a means of communication.
As I grew up, I was continually to suffer hardships in different realms of life – in my family, in my relationship to Japanese society and in my way of living at large in the latter half of the twentieth century.
I got good notice from that show, and on the last day of filming Townies, Twentieth Century Fox called wanting to meet with me about a development deal.
The problem of the twentieth century is the problem of the color line: the relation of the darker to the lighter races of men in Asia and Africa, in America and the islands of the sea.
In the twentieth century one of the most personal relationships to have developed is that of the person and the state. It’s become a fact of life that governments have become very intimate with people, most always to their detriment.
The twentieth century may well find historical status as the epoch in which man began to study himself as a scientific phenomenon.
Since the middle of the twentieth century, our understanding of the American past has been revolutionized, in no small part because of our altered conceptions of the place of race in the nation’s history.
On September twentieth every year, I got to choose my menu – meatloaf, corn niblets, and rice were followed by candles on chocolate cake with vanilla icing and a scoop of Brock-Hall ice cream.
In my opinion, the most significant works of the twentieth century are those that rise beyond the conceptual tyranny of genre; they are, at the same time, poetry, criticism, narrative, drama, etc.
No group of people has been more unjustly maligned in the twentieth century than the Puritans. As a result, we approach the Puritans with an enormous baggage of culturally ingrained prejudice.
The second half of the twentieth century is a complete flop.
Manhattan was the capital of the twentieth century for black writers, artists, and intellectuals as much as it was for their white counterparts.
Contrary to what we learn from progressives in education and the media, the history of the Democratic Party well into the twentieth century is a virtually uninterrupted history of thievery, corruption, and bigotry.
It’s been an obsession with me from childhood, the horrors of the twentieth century.
Surely one of the most visible lessons taught by the twentieth century has been the existence, not so much of a number of different realities, but of a number of different lenses with which to see the same reality.
When Oscar Niemeyer died on December 5, 2012, ten days before his 105th birthday, he was universally regarded as the very last of the twentieth century’s major architectural masters, an astonishing survivor whose most famous accomplishment, Brasilia, was the climactic episode of utopian High Modern urbanism.
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