Word: thingness
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Dates: during 1960-1969
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Beyond Thieu and his government, the situation depends on other factors: the military performance by both the U.S. and the South Vietnamese army, the pace of pacification, the strength and morale of the enemy. "Progress" in Viet Nam is a relative and fragile thing at best. But within limits, a prognosis of progress seems more valid than at any time since the U.S. arrived...
...notion that the war will decline gradually by degrees of voluntary and informal pullout, is viewed by many U.S. experts as the most probable ending. Provided that the withdrawals were both steady and large enough, this solution would possibly satisfy the largest number of involved parties. For one thing, it would require each side to demonstrate its good faith in a succession of moves, rather than asking it to risk its position on a single bold stroke. For another, it would give U.S. fighting men time to initiate their ARVN replacements with firsthand experience?and keep providing, until the last...
...attention this year to the matter of land reform-and in a revolutionary manner. If the government works for a better life for the people, they are ready to cooperate. The population likes progress. I do not think that the population believes that the Communists can do the same thing for them. That is our ideal...
...thing, successful revolutions are typically linked to severe economic dislocations. Despite continuing ugly poverty, particularly among blacks, the American economy is so robust that talk of a revolution based on economic discontent verges on fantasy. Military disaster is another spur for revolution. If sufficiently prolonged, the Viet Nam war might make trouble for the democratic process; more than any other issue, it has already brought moderates to the side of the would-be revolutionaries. Yet no matter how bitter the physical or psychic wounds caused by Viet Nam, the war is still a long way from destroying the normal life...
...chaos of raw emotion. Still, any really good abstract painting, Helen argues, "plays on your emotional gut. It gets to you, and many people would just as soon leave that dimension alone. I think, in a way, a painting is a flat head-on confrontation, the same kind of thing that happens when you go to a concert and either you fall asleep or else you're moved to tears. But then you put on your coat and go home." A painting, unlike a symphony, exists permanently in time, and so perhaps "there is something about a head...