By Randy Wayne White
Document Ford’s previous good friend, normal Juan Garcia, has long past into the profitable enterprise of smuggling Cuban baseball gamers into the U.S. he's additionally feasting on earnings made through paying for historic treasures for pennies at the greenback. He prefers what purchasers name HPC items—high-profile collectibles—but whilst he manages to procure a set of letters written by way of Fidel Castro among 1960–62 to a mystery female friend, it’s no longer a question of cash anymore. Garcia has stumbled manner out of his depth.
First Garcia disappears, after which the guy to whom he offered the letters. while document Ford starts to enquire, he quickly turns into confident that these letters include a mystery that somebody, or a few robust company, can't permit to be made public.
A lot occurred among Cuba and the USA from 1960–62. Many males died. a couple of extra will not often be spotted.
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Extra resources for Cuba Straits (Doc Ford, Book 22)
Within the context of the undemocratic German states of his day, Schiller sees the first and most direct political effect of the theatre to be upon the rulers themselves and particularly that of influencing them in the direction of humanity and toleration. Die Wandlung 37 Humanity and toleration are beginning to become the ruling spirit of our time; their beams have penetrated into the halls of justice, and even further, — into the hearts of our princes. How much share in this divine work belongs to our theatres?
Drama must never weary of repeat ing the eternal truth that life, as a process of individuation which knows no limit, does not produce guilt by chance but necessarily and essentially includes it and causes it. Christian guilt arises from the way the human Will is directed, whereas dramatic 'guilt' arises directly from the Will itself, from the expansion of the Ego, which occurs intransigently and without any outer authority. It is therefore a matter of complete indifference whether the hero comes to grief through a splendid endeavour or a reprehensible one (112).
He pro ceeds, like Landauer, from the renewal of the individual, not from the victory of the working-class. Mamette says truly of the play: The working-class is not given any form at all (92). He knows that his Marxist readers will draw the immediate conclusion that this cannot be a revolutionary play. Die Wandlung 35 The generalised and emotive criticism of the war is also taken to task: The criticism of war remains abstract and slips into irration ality (93). The 'renewal of the person' is merely an 'idealist Utopia' — where 'idealist' as opposed to 'materialist' is chosen to evoke an automati cally hostile response.