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Russia

Why Russia Won't Back Down On The Standoff In Syria

Analysis: Longstanding diplomatic and business ties with Damascus, and memories of the West's about-face on Libya are among the key reasons Russia won't give in on a UN resolution on Syria. But from Moscow, there's also Vladimir

Russian President Medvedev introducing Bashar al-Assad to Foreign Minister Lavrov in Damascus in May 2010 (www.kremlin.ru)
Russian President Medvedev introducing Bashar al-Assad to Foreign Minister Lavrov in Damascus in May 2010 (www.kremlin.ru)
Maksim Yusin

MOSCOW - Even before Morocco officially proposed a UN Security Council resolution condemning the regime of Syrian President Bashar al-Assad, it was clear that Russia, which has veto power in the Security Council, would stand in the way.

Moscow had already expressed its disagreement with language in the resolution that places the blame for recent violence squarely on al-Assad's shoulders, and calls for his removal from power. Moscow is also worried that if the resolution against Syria, a major Russian ally, is adopted by the Security Council, the West will see it as a green light for international forces to intervene, just as happened last year in Libya. Russia had compromised with the West on Libya by agreeing to abstain from the vote on Libya, but it was not happy about the NATO bombing that followed.

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Ideas

García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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