Word: seem
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Dates: during 1980-1989
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Officials on both sides agree that the volume of trade along the border has always been inversely proportional to the degree of military tension. Recently "both sides have been trying to improve conditions," says Zhao Zhonghuan, deputy chief of staff for the Heilongjiang Provincial Command. "The Soviets seem to have withdrawn their forces somewhat. They've also cut back on the amount of time that their helicopters are operating along the border. In the past, their aircraft have violated our airspace, and we've lodged formal protests, but there have been no penetrations this year." One of his Soviet counterparts...
Cheng Feng, a strategic-affairs expert at BIISS, offers similar reassurances. "You Americans seem to think that Sino-Soviet normalization would be a kind of hell for you, that it's a terrible beast lurking out there in the future," he says. "You shouldn't worry. We've had several hundred years' experience with the Russians. You can rest assured that we will be realistic in our dealing with them...
...find his danger somewhere, however, and he finds some of it on the delicate border between life and art. In "Put Yourself in My Shoes," Carver tells the story of a young writer named Myers who gets together with his wife on Christmas eve. He and his wife seem to be separated. For a lark, they visit their old landlords, the Morgans. The Morgans are a stodgy and selfish couple, who try to spin a few yarns for Myers, sententiously advising him to recycle the yarns as "material...
...hobbyist road-named the "Gentle Giant" defines this moment. "You face nature, and the train is your friend," he says. "All your senses are alive. You'll love your wife, your children and your home better." Three weary faces framed in a sunrise breaking behind the westbound freight seem to agree...
...leading Hispanic writers are joined by a diversity of other developing talents, including Jose Rivera (The Promise), Lynne Alvarez (The Wonderful Tower of Humbert Lavoignet), Reuben Gonzalez (The Boiler Room) and Romolo Arellano (Tito). Like the black writers of a generation ago, the Hispanics seem to be moving beyond an initial preoccupation with anger, self-pity and reductionist politics toward a stage literature that communicates rather than confronts, that reaches for universality and yet portrays people individually. Enriching the American dramatic vocabulary with Latin techniques and traditions, these new playwrights also emulate their U.S. forebears: as in the heritage stretching...