Word: commitments
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...indignant. I am ashamed of my country. Mr. Agnew will say I ought to criticize the North Vietnamese for atrocities, etc. Certainly I don't condone them, but Mr. Agnew misses the point: they are not my people. I don't want my men to commit My Lai massacres, my generals to conduct unauthorized bombing raids, my pilots to bomb dikes against orders. I don't want my President to let his people wiretap, sabotage the opposition and misinform the public on his behalf. I don't want the traditional warm human values of the American...
...girls are also a considerable bother to London police, who have had difficulty in spotting the gangs before they commit a crime and communicating with the relatively few who are caught. "It's like talking to someone of another race," says one officer. "We don't really know when to yell at them, threaten or go gently. We just don't know much, that's all." The fear among some policemen is that the bovver birds, more adept at disguise than male street gangs, and appearing less threatening, will eventually become more proficient than...
...took photographs. It has been proved that neither the Phantom nor the American-made missiles can reach the altitude of the MIG-23." If Egypt had got such a plane, Sadat intimated, the Middle East would be hotter now than it is. "I would not have allowed Israel to commit its aggression in southern Lebanon as it did recently...
...subject of incipient schizophrenia with grim understanding. The focus of this clinical dramatization is Janice (Sandy Ratcliff), young daughter of a lower-middle-class British family, who has been more than usually bruised by the trials of adolescence. Her parents, their marriage long a stalemate of uneasily repressed hostility, commit her to the care of a therapist whose attempts to reach Janice are thwarted by his dismissal from the hospital. Wednesday's Child strains credulity here. The doctor's reasonable, low-key therapy sessions hardly seem radical enough to get him dismissed even from Bedlam. Janice, submitted...
...what fiction could be to be satisfied with what his fiction way. The construction of the realistic novel embarrassed him--the naming of characters, the filling in of backgrounds, the painstaking drawing up of climax and resolution. Why call his hero Lodd Andrews? And why have him resolve to commit suicide and why then change his mind? With an infinity of possibilities, choice implies reasons, and reasons and good reasons. But Barth had no good reasons. What so bothered him was that one story telling decision looked quite as good as another, so how could one go about deciding...