Word: southeasterly
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Dates: during 1930-1939
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Postern. If forced back into her Triangle, Poland can expect direct aid only through her southeast postern, the valley of the Dniester down to Rumania and the Black Sea. Clearly seen last week was the reason why Poland, when Hitler carved Czecho-Slovakia, stood watchful guard over those Carpathian peaks which frown down on the Dniester Valley. When Hungarians rushed in and seized the Carpatho-Ukraine (eastern tip of Czecho-Slovakia), Poles embraced them at their new common border, for Hungary is traditionally Poland's friend. Much depends for Poland on Hungary's continued neutrality, for only by marching around...
...heard in Western Europe on Black Sunday, but soon after midnight, The Netherlands listened to wave after wave of thrumming, high-flying airplanes speeding southeast-by-east along the coast. (The neutral Netherlands next day duly "protested.") Monday brought word that some of these planes had "bombarded" Germany with 6,000,000 leaflets in German, telling A. Hitler's people...
...Beatty, Lieut. Burke asked a nearby rifle range to lend him its No. 1 marksman, a marine sergeant named Michael Peskin. Few minutes later Marksman Peskin and six guardsmen armed with submachine guns and 30-calibre rifles piled into a picket boat, shoved off for the Amazone, hove to southeast of Cape May, and their first lion hunt...
...wide circle, the great offensive in the war of nerves was launched simultaneously on two fronts: Poland was attacked by the main army while in the Balkans assaults, feints, raids, tested the strength of the defenders. Thus it appeared that if Poland did not give way, Germany could move southeast; if Poland gave way there could be a general advance on all fronts. And like the advance forces of an army feeling out the strength of enemy positions, the purpose of the offensive was clear: it partially masked a surprise move that its directing genius had on hand; it tested...
...fact has been Manhattan's American Art Association-Anderson Galleries. For years most U. S. art fanciers who were creating new collections, and sometimes their lawyers and agents who were dispersing old collections, have been seen in the Galleries' staid brick building on Madison Avenue at the southeast corner of Manhattan's esthetic 57th Street...