This is the Way the World Ends

Koizumi's gone to South Asia.
On first blush I agree with Talat Masood's, a retired Pakistani general, appraisal of Koizumi's visit to India and Pakistan. An AFP article quoted Masood as saying, "Koizumi is visiting the region because Japan wishes to play an important role in Asia and compete with China."
More now than ever I'm reminded that the majority of the major wars of the twentieth century involved Asia, in particular the Pacific Rim countries. Not to sound hawkish, but should the tensions between China and Japan continue to grow, we may be witness to some very volatile and emotional carnage. That said, I hope it doesn't come to pass, but I fear it may. Next to Southwest Asia, East Asia poses the largest threat to large-scale political stability in the world. Combine the increasing tensions between China and Japan, Lien Chan's visit to China, (a trip that seems intent on driving the wedge between unification and cessation of Taiwan ever deeper) and the still unresolved issues in North Korea, and you're left with a rather tenuous situation. None of this bodes well for Japan and India's joint bid for permanent seats on the U.N. Security Council.
I'm very interested to follow this particular story. Never before has the U.N. suffered such a major change to their infrastructure. I think, if successful, this bid for reform will set an important precedent that could very well save the U.N. from itself.
Enough doomsaying.
As to the title of this entry, I watched the first episode of Stephen King's The Stand, earlier this evening. The show begins with a superscript from T.S. Eliot. I thought I would therefore take this opportunity to break out of a politico-centric blog and discuss a little in the way of the arts.
Last night I broke ground, in a major way, on a play. I'm not sure yet if it will stretch into a full two act adventure, but what I managed to put on paper presents an interesting venue for societal commentary. The question that will determine the play's length is one of plot.
Right now the play centers on two people's emotional journey, a plot of decision and of reflection, but not enough plot to fill a hundred pages of script. I can add some subplots and other situations, but I can't help but wonder if those additions will help or hurt the emotional impact of the piece. I guess the answer is to develop crisis that tax my main characters, that put them through the wringer, throw an anvil at their heads and watch what happens. I'll keep you posted.
And with that, "Be seeing you."