The Cost of Seriousness (1978) sees him grappling with the idea – or rather the immutable fact – of death in poems that are direct and unsentimental, while the poet himself is unable to find refuge in his art: "It is all rhetoric rich as wedding cake / and promising the same bleak tears... Real pain / it aims for, but can only make gestures, / the waste of selling-short, the 'glittering'".
All these couples (and many more like them) belonged to families of strong cultural and faith traditions, rich in wedding rituals, ancient and sacred.
But the music was substantial: a riotous shotgun wedding of rich orchestrations and complex arrangements with the rock-oriented pleasures of flamboyant posturing and excessive volume, Mr. Coale's fuzz-pedal bass lines and the bombastic precision of Ted Poor's drumming.
Would a lesbian wedding between a rich Chelsea art dealer and a Connecticut housewife-turned-gay-artist fit your criteria?
Ms. Dunn, who has short curly brown hair (straightened for the wedding) and a rich, almost gravely voice, grew up in Eastchester, N.Y., and recently completed a documentary.
Eager to refute the report, her lawyer and spokesman furnished details yesterday: Ms. Rich not only attended the wedding but even performed one of her songs, "We Only Go Around Once".
On Wednesday the feature is "A Woman of Affairs" (1928), a silent version of "The Green Hat," Michael Arlen's novel about a reckless rich girl widowed on her wedding night.
But this is still wonderful entertainment about a beautiful ice-queen (Grace Kelly) whose imminent wedding to a rich dullard is endangered by the arrival of Crosby, the ex-husband and Sinatra, the gossip reporter.
Marcos, a rich engineer, discovers on his wedding night that his bride was not a virgin and murders her in the bridal chamber.
