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...what is necessary, we'll come out of this stronger and much more viable. And that's what my hope is - and my belief is - that we can do this. Sometimes crises are catalysts for change. I do believe in a few years, we'll be proud to say that we went through this very difficult time, and we've come out a Greece that is a different type of Greece - a new model of development, a green Greece, with green energy and tourism and so on, but also with greater capacity, more competitive, more transparent...
...laptop on his desk, the Prius in the driveway and the bold modern art next to the leather-bound books are small but telling signs of how he is shaking up the fusty world of Greek politics. "I do believe in a few years we'll be proud to say we went through this very difficult time, and we've come out a Greece that is a different type of Greece," he says. (See pictures of immigration in Europe...
Papandreou says he wants Greece to become the Sweden of the Mediterranean - powered by green energy and boutique tourism - and says it is possible to have both a generous welfare system and a competitive economy. Despite the bumps of the past few months, he remains optimistic about the European project. "I think Europe is in a transition," he says. "I'd say it's gone from being a peace project to being a ... prototype for a globalized society." He would like to lead the way. But first, there's a crisis to deal with...
Anne Lamott is digging around in the hatch of her VW Bug, which means the bumper sticker that reads "Who Would Jesus Bomb?" is, appropriately enough, pointed heavenward. "Does anyone need a water for church?" she asks. "Say yes," her friend urges. "It'll make her happy." Lamott looks up, grinning...
...Matisse relocated to Nice, in the south of France, and in much of his work over the next three decades he would return - you might say retreat - to more conventional renderings of space and form. Decades passed before other artists began to draw out the full implications of his fertile experiments. Color-field paintings, for example - the big monochrome wafers of Ellsworth Kelly, the gossamer pools of pigment in Helen Frankenthaler - would emerge directly from Matisse, but not until the 1950s. Maybe we didn't understand him too quickly after...