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...VERY BASE of American society, underlying both its problems and its achievements, is the urge to move. The spirit of restlessness pervades our literatire, from Melville's Ishmael to Pynchon's search for V. It's what animates us all, even if sometimes against our will--an instinct for the new, the wish to leave behind old codes and traverse charted boundaries, to look for a better life, or, at any rate, a fresh...

Author: By Joseph Dalton, | Title: Them Ol' Walking Blues | 10/31/1977 | See Source »

...this instinct for movement is an essential part of the American psyche, so too is its antithesis--the idea that it is bad, even wrong, to run. Running, our elders always tell us, never solved anything. It horrified most Americans to think that young men who opposed the war in Vietnam would escape to Canada. Yet as some of us read and thought about the hundreds who did just that, we say that they were right, that they were heroes for running. The lesson was brought home by the fate of the thousands who, either out of ignorance or sense...

Author: By Joseph Dalton, | Title: Them Ol' Walking Blues | 10/31/1977 | See Source »

...personally will miss the experience of watching Henry in action and seeing his extraordinary instinct for putting together, issue after issue, the rich editorial mixture that TIME'S readers have come to expect...

Author: /time Magazine | Title: A Letter From The Publisher, Oct. 10, 1977 | 10/10/1977 | See Source »

...surroundings and situations, Le Carré's worlds may not be precise, but they carry the air of verisimilitude?and that is enough. The author is, after all, not a master spy but a master spy novelist. His success at simulation comes as much from research as from instinct. For The Honourable Schoolboy, for example, Cornwell made five trips to Southeast Asia. Pinned down by automatic weapons fire in Cambodia, he dived under a car and coolly noted his impressions on file cards...

Author: /time Magazine | Title: The Spy Who Came In for the Gold | 10/3/1977 | See Source »

WHATEVER PETTY financial conflicts, unpleasant personality traits or questionable musical taste were associated with him, Stokowski's positive progressive instinct surfaced steadily and surely. To Stokowski the sound an orchestra produced and the reaction it drew from an audience were more important than anything else in a concert. If this necessitated a breach in propriety or break from formal performance practice, he sanctioned it. Stokowski conducted without a baton, and partly because of that was considered one of the most difficult conductors to follow. He relied in its stead upon subtle gestures and facial expressions to produce the desired results...

Author: By Judy Kogan, | Title: The Baton Also Rises | 9/20/1977 | See Source »

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