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Tuchman's view of history is gravely classical. She is a tragedian who mounts the past against the fixed backdrop of human nature. Reason and goodwill exist but are like the stars in the heavens: flashes of enlightenment separated by vast expanses of darkness. "Halfway 'between truth and endless error,' " she concludes, "the mold of the species is permanent...

Author: /time Magazine | Title: Books: The American Dream, and Where It All Started | 10/3/1988 | See Source »

When the Olympic birdbath was finally lighted, there were still a few birds in it, the laziest of the doves just released. A couple may have been fricasseed. The risk that attends glory, especially the danger to peace, was already a backdrop of the Games and a theme of the entertainment. Alternately across the infield, children spun pinwheels or broke boards with their feet. Devil masks were brandished in a pantomime of chaos. Like East and West, or North and South, yin slammed yang in a breathtaking display of ropework and philosophy. But the exquisite counterpoint to all the violent...

Author: /time Magazine | Title: Olympics Special Section: Fantastic Flight of Fancy | 9/26/1988 | See Source »

...Richard Dreyfuss worked together in Beverly Hills, while Parador's other stars, Raul Julia and Sonia Braga, appeared together in Spider Woman. Also, Parador, like Beverly Hills, means to be a comedy of social and cultural clashes, while using the political instability of a Latin American dictatorship as a backdrop, like Spider Woman...

Author: By Gary L. Susman, | Title: Parador Uber Alles | 9/23/1988 | See Source »

Against a backdrop of pro-unification student rallies in Seoul, South and North Korean parliamentary representatives met at Panmunjom last week. For once there was no name-calling. In fact, the delegates used the official names of their respective countries -- the Republic of Korea and the Democratic People's Republic of Korea...

Author: /time Magazine | Title: The Koreas: For Once, No Name-Calling | 8/29/1988 | See Source »

...city attuned to architectural splendors and niceties, the squat, graceless Chicago Sun-Times Building, resembling an aluminum-and-marble houseboat run aground, has long struck its beholders as an eyesore. Suddenly it has become the visual star of the Windy Cityscape. Deciding that the structure would be a good backdrop for his latest creation, titled Bess' Sunrise, Textile Artist Maya Romanoff adorned the building with 28 brightly colored canvas strips, each 6 ft. wide and 120 ft. long. Suspended from the seventh-floor terrace and hanging down to the edge of the Chicago River, the work offers a billowing spectacle...

Author: /time Magazine | Title: Chicago: Draping an Old Eyesore | 7/18/1988 | See Source »

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