Answer the question at the end by quoting:

Carroll Baker was born and raised in Johnstown, Pennsylvania, in a Roman Catholic family, the daughter of Edith Gertrude (nee Duffy) and William Watson Baker, a traveling salesman. She is of Polish descent, which has given rise to a rumor that her birth name was Karolina Piekarski. However, this currently cannot be substantiated by known records. Baker's parents separated when she was eight years old, and she moved with her mother and younger sister, Virginia, to Turtle Creek, Pennsylvania.
Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine.  Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress."  Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation).  In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

What was The Carpetbaggers about?

sex-loaded widow.



Answer the question at the end by quoting:

Giannina Braschi (born February 5, 1953) is a Puerto Rican writer. She is credited with writing the first Spanglish novel Yo-Yo Boing! (1998), the post-modern poetry trilogy Empire of Dreams (Yale, 1994) and the philosophical fiction United States of Banana (AmazonCrossing, 2011), which chronicles the Latin American immigrants' experiences in the United States. "
In the 1980s, Giannina Braschi burst onto the downtown Nuyorican poetry scene with spoken word performances of rhythmic intensity, humorous gusto, and anti-imperialistic politics. Her prose poems were written, recited, and published entirely in Spanish during this period. Her first collection of Spanish prose poetry, Asalto al tiempo, debuted in Barcelona in 1980 and was followed by La Comedia profana in 1985 and El imperio de los suenos in 1988. New York is the site and subject of much of her work. In a climatic episode of "Pastoral or the Inquisition of Memories", shepherds invade 5th Avenue on the Puerto Rican Day Parade and take over the City of New York; the shepherds ring the bells of St. Patrick's Cathedral and seize the observation deck of the Empire State Building.  Poet and feminist scholar Alicia Ostriker has praised Braschi's Empire of Dreams, which features gender role-playing and transvestism, for having "sheer erotic energy that defies definition and dogma." "Those three award winning books were published together as the inaugural volume of the Yale Library of Literature in Translation." (Braschi 1998: Yo-Yo Boing!: 13)  In the 1990s, Giannina Braschi began writing dramatic dialogues in English, Spanish, and Spanglish. Her bilingual novel Yo-Yo Boing! (AmazonCrossing) is experimental in format and radical in its defiance of English-only laws, ethnic cleansing campaigns, and the corporate censorship.  In 2011, Giannina Braschi debuted "United States of Banana," her first work written entirely in English; it is a postmodern dramatic novel about the powers of the world shifting after September 11. The work is a poetic critique of 21st century capitalism and corporate censorship. In 2012, "The Economist cited "United States of Banana" among the best sources for bold statements on the economy: "Banks are the temples of America. This is a holy war. Our economy is our religion". "United States of Banana," takes as a springboard the collapse of the World Trade Center, the event which displaced her from the Battery Park neighborhood that became known as the Ground Zero vicinity. Braschi writes about the death of the businessman, the end of democracy, and the delusion that all men are created equal. "Revolutionary in subject and form, "United States of Banana" is a beautifully written declaration of personal independence," declared the late publisher Barney Rosset former owner of Grove Press of "Evergreen Review." The main characters are Zarathustra, Segismundo, Hamlet, Giannina and the Statue of Liberty; cameos are made by Latin American left wing leaders Fidel Castro, Raul Castro, Hugo Chavez, Cristina Kirchner, and Evo Morales.

How did the critics react to La Comedia?
" "Those three award winning books were published together as the inaugural volume of the Yale Library of Literature in Translation." (Braschi 1998: Yo-Yo Boing!: 13)