Dun Give Up Quotes

One evening after work, he had found himself walking in the diplomatic quarter of the city and passed the British embassy. He’d been oddly gripped by the urge to walk in and give himself up. It would be so easy, and would solve so many problems. ‘My name is Paul Dark.’ And then it would all be out of his hands. A secret trial, a long sentence . . . well, so? He could cope. And it would be just: he’d be repaying his debt to society, as they said.

To attempt to write about Dun Aengus and bring some sort of freshness to it is rather like trying to perform a similar service for Stonehenge: so many people have attempted it before that one is tempted to give up what one is looking at is not only one of the wonders of Ireland, but of the entire Western world.

Ruthledge himself was the guiding light, the good Samaritan. He had a daughter, Mary, who grew up without a mother. Helping him raise the child was a kindly housekeeper, Ellen. Then there was Ned Holden, abandoned by his mother, who just turned up one night; being about Mary’s age, he forged a friendship with the little girl that inevitably, as they grew up, turned to love. They were to marry, but just before the wedding Ned learned that his mother was convicted murderess Fredrika Lang. What was worse, Ruthledge had known this and had not told him. Feeling betrayed, Ned disappeared. He would finally return, crushing Mary with the news that he now had a wife, the vibrant actress Torchy Reynolds. Also prominent in the early shows was the Kransky family. Abe Kransky was an orthodox Jew who owned a pawnshop. Much of the action centered on his daughter Rose and her struggle to rise above the squalor of Five Points. Rose had a scandalous affair with publishing magnate Charles Cunningham (whose company would bring out Ned Holden’s first book when Ned took a fling at authorship), only to discover that Cunningham was merely cheating on his wife, Celeste. In her grief, Rose turned to Ellis Smith, the eccentric young artist who had come to Five Points as “Mr. Nobody from Nowhere.” Smith (also not his real name) took Rose in to “give her a name.” The Kransky link with the Ruthledges came about in the friendship of the girls, Rose and Mary. In 1939, in one of her celebrated experiments, Phillips shifted the Kranskys into a new serial, The Right to Happiness. The Ruthledge-Kransky era began to fade in 1944, when actor Arthur Peterson went into the service. Rather than recast, Phillips sent Ruthledge away as well, to the Army as a chaplain. By the time Peterson-Ruthledge returned, two years later, the focus had moved. For a time the strong male figure was Dr. Richard Gaylord. By 1947 a character named Dr. Charles Matthews had taken over. Though still a preacher, and still holding forth at Good Samaritan, Ruthledge had moved out of center stage. The main characters were Charlotte

Koch visited his family on Monday, his day off. Driving back through New Jersey, he picked up a road map at a gas station. In his New York apartment, he opened the map, closed his eyes, and dropped his pencil point. This was where the Martians would land, a village called Grovers Mill, surrounded by farmland. Koch liked the sound of it: it had “an authentic ring” to it, he would remember, and this play would need all the authenticity he could give it.

Rex Stout, creator of orchid-loving detective Nero Wolfe, achieved a new wave of popularity on this amusing series. Axis shortwave broadcasts were monitored by a staff of linguists at the CBS listening station; what were considered the most outrageous lies were then typed into a weekly log of about 30,000 words. Stout would read this, select up to 150 items he found most interesting, and give them to Sue Taylor White (who had given up a job writing soap operas to do war work) for researching. The most entertaining lies, as well as those lending themselves to what Time called Stout’s “lunch-counter sarcasm,” were used on the air. The lies were read rapid-fire by an announcer, often in mock German or Japanese accents, and were just as quickly countered by Stout. When it was claimed that all the best American baseball players were German, Stout’s reply was typical: “They’ve got the facts, no getting away from it. Take the six leading batters in the major leagues—Williams, Gordon, Wright, Reiser, Lombardi, Medwick. Some bunch of Germans. Also the great German prizefighter, Joe Louis.

The opening signature was vivid and long-remembered, with a thrilling theme and a gusty “Voice of the Law” giving the hero’s credo: Mister District Attorney! Champion of the people! Defender of truth! Guardian of our fundamental rights to life, liberty, and the pursuit of happiness! ORCHESTRA: Theme, up full. VOICE OF THE LAW (from echo chamber): … and it shall be my duty as district attorney not only to prosecute to the limit of the law all persons accused of crimes perpetrated within this county but to defend with equal vigor the rights and privileges of all its citizens

Microphones were set up for the 1928 political conventions, announcers giving running accounts of floor action. Even more impressive was the inauguration of Hoover, descriptions of the automobile trip for the swearing-in, and the inaugural ball. Radio captured all this with an immediacy that no newspaper could equal. It was clear that news was a vital part of the industry’s future.

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