Word: reader
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...book's structure. It begins and ends in 1981 when Polish farmers attempt to organize a union. The fictional organizers meet with stiff opposition from Polish communist leaders and more obliquely from Soviet officials. Sandwiched between these opening and closing chapters are flashbacks to earlier Polish history. The reader is supposed to reach the concluding chapter with an even greater sympathy for the David of the situation, but Michener forces the sentiment...
...seems to be dying out. Characters rarely worry any more about finding God or their next meal. They are likely instead to be well educated, sensitive to a fault, politically liberal, and affluent enough to feel pleasurable guilt in their possessions. They tend, in short, to resemble the stereotypical reader of The New Yorker, which is where the luckiest of these fictional people are chosen to appear. The rejected ones must troop off to the quarterlies and go through their paces (at greatly reduced rates) for smaller audiences composed of people with whom they can feel equally at home. These...
...Beirut refugee camps. Despite that omission, his standing within Israel remains unshakable. Says a U.S. official who knows him well: "He's a tough son of a gun." Adds an admiring aide: "Shamir does not shoot from the hip. He is a good listener and a good reader." That useful blend of tenacity and watchfulness will now be put to the test...
...prerequisite for a modeling career. At one point, though. I had to ask myself if I really had the right to feel indignant about being treated like a dumb model, because there was a growing ring of truth to it. I had left high school at 16, a voracious reader Now, at 23, I hadn't read through a book in years. The realization that a transitory stage had turned into a way of life brought on a panic and depression which my grandparents could never have induced, and which kept me indoors for several weeks, with little incentive even...
...alarming growth and extent of personal violence, especially within families and among people who know each other, was another such opportunity. Says Deputy Art Director Irene Ramp: "We wanted to convey the sense of violence and violation, the shame and helplessness of being a victim, without horrifying the reader or sensationalizing the victims. Art work had the advantage of being able to distill the emotional impact and move it from the too realistic to the abstract...