For North Korea to end its war on the South, and accept the South as a legitimate, coequal government on the peninsula, would mean abandoning the quest that has legitimized the Kim family’s rule for three generations. The decision would call into question why, exactly, North Korea should hold power at all. It would be system-threatening — a mistake on the scale of the string of blunders by President Mikhail S. Gorbachev that doomed the Soviet Union.
And so the North, rather than committing to a legally binding (and potentially destabilizing) peace treaty, is likely to do again what it has gotten away with in previous meetings with the South: dangle aspirational goals in jointly signed, but totally unenforceable, official statements.
The representation of Africans in [Soviet] posters suggests also the ambivalence of the Soviets towards their African "brothers": many contain stereotypically racist imagery, with more than a hint of objectification. And as the collection's curator, Yevgeniy Fiks, admits, propaganda like this—celebrating the fraternal love of Africans and Soviets—was often motivated by a desire for moral one-upmanship over America. The extent to which they serve as evidence of genuine affection and warmth on the part of Soviet artists is unclear.
My grandfather's opinion was this: If pupils peep into their teacher's private life frequently, they lose their awe of him; the teacher must give his pupils the firm belief that their teacher neither eats nor urinates; only then can he maintain his authority at school; so a teacher should set up a screen and live behind it.
The book is like a big, old building. Each day I sit down to write, I enter a room in that building and live in it.
We’ve gotten so used to that format being thrust upon us from journalists or from society that we’ve now become stuck on the idea that you—as a black woman, especially—can only win if you start where you look like you belong and then branch out.
Each of us has his own pet moment in printing and no one can quite escape the temptation to work out his designs in the style of his favorite time.
But if we are to design our books -- our trade editions of today -- on a basis of function -- if the text is presented to read now, in this year, we have to put those old loves aside. Our design is contemporary. It can't help being so. You can't copy and repeat successfully even the most beautiful typography of another time -- because you did not live in that time.