While this process moved along, diplomacy continued its rounds. Direct pressure on the Taliban had proved unsuccessful. As one NSC staff note put it, "Under the Taliban, Afghanistan is not so much a state sponsor of terrorism as it is a state sponsored by terrorists." In early 2000, the United States began a high-level effort to persuade Pakistan to use its influence over the Taliban. In January 2000, Assistant Secretary of State Karl Inderfurth and the State Department's counterterrorism coordinator, Michael Sheehan, met with General Musharraf in Islamabad, dangling before him the possibility of a presidential visit in March as a reward for Pakistani cooperation. Such a visit was coveted by Musharraf, partly as a sign of his government's legitimacy. He told the two envoys that he would meet with Mullah Omar and press him on Bin Laden. They left, however, reporting to Washington that Pakistan was unlikely in fact to do anything," given what it sees as the benefits of Taliban control of Afghanistan." President Clinton was scheduled to travel to India. The State Department felt that he should not visit India without also visiting Pakistan. The Secret Service and the CIA, however, warned in the strongest terms that visiting Pakistan would risk the President's life. Counterterrorism officials also argued that Pakistan had not done enough to merit a presidential visit. But President Clinton insisted on including Pakistan in the itinerary for his trip to South Asia. His one-day stopover on March 25, 2000, was the first time a U.S. president had been there since 1969. At his meeting with Musharraf and others, President Clinton concentrated on tensions between Pakistan and India and the dangers of nuclear proliferation, but also discussed Bin Laden. President Clinton told us that when he pulled Musharraf aside for a brief, one-on-one meeting, he pleaded with the general for help regarding Bin Laden." I offered him the moon when I went to see him, in terms of better relations with the United States, if he'd help us get Bin Laden and deal with another issue or two." The U.S. effort continued.
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QUESTION: Who were the U. S. envoys General Musharraf told that he would meet with Mullah Omar and press him on Bin Laden?

Literary career During the war Camus joined the French Resistance cell Combat, which published an underground newspaper of the same name. This group worked against the Nazis, and in it Camus assumed the nom de guerre Beauchard. Camus became the paper's editor in 1943. He first met Sartre at the dress rehearsal of Sartre's play, The Flies, in June 1943. When the Ailies liberated Paris in August 1944, Camus witnessed and reported the last of the fighting. Soon after the event on 6 August 1945, he was one of the few French editors to publicly express opposition and disgust to the United States' dropping the atomic bomb in Hiroshima. He resigned from Combat in 1947 when it became a commercial paper. After the war, Camus began frequenting the Cafe de Flore on the Boulevard Saint-Germain in Paris with Sartre and others. He also toured the United States to lecture about French thought. Although he leaned left, politically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually alienated Sartre. In 1949, his tuberculosis returned, whereupon he lived in seclusion for two years. In 1951, he published The Rebel, a philosophical analysis of rebellion and revolution which expressed his rejection of communism. Upsetting many of his colleagues and contemporaries in France, the book brought about the final split with Sartre. The dour reception depressed Camus; he began to translate plays. Camus's first significant contribution to philosophy was his idea of the absurd. He saw it as the result of our desire for clarity and meaning within a world and condition that offers neither, which he expressed in The Myth of Sisyphus and incorporated into many of his other works, such as The Stranger and The Plague. Despite his split from his "study partner", Sartre, Camus was still categorized as an Existentialist. He specifically rejected that label in his essay "Enigma" and elsewhere.
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QUESTION: What label does Camus reject?

Mr. Neville ( ( ( Anthony Higgins , a young and arrogant artist and something of a Byronic hero , is contracted to produce a series of 12 landscape drawings of an estate by Mrs. Virginia Herbert for her absent and estranged husband . Part of the contract is that Mrs. Herbert agrees '' to meet Mr. Neville in private and to comply with his requests concerning his pleasure with me . '' Several sexual encounters between them follow , each of them acted in such a way as to emphasise reluctance or distress on the part of Mrs Herbert and sexual aggression or insensitivity on the part of Mr Neville . Meanwhile , whilst living on the estate , Mr. Neville gains quite a reputation with its dwellers , especially with Mrs. Herbert's son-in-law , Mr. Talmann . Mrs. Herbert , wearied of meeting Mr. Neville for his pleasure , tries to terminate the contract before all of the drawings are completed and orders Mr. Neville to stop . But he refuses to void the contract and continues as before . Then Mrs. Herbert's married , but as yet childless , daughter , Mrs. Talmann , who has apparently become attracted to Mr. Neville , seems to blackmail him into making a second contract in Which he agrees to comply with what is described as her pleasure , rather than his a reversal of the position in regard to her mother . A number of curious objects appear in Neville's drawings , Which point ultimately to the murder of Mr. Herbert , whose body is discovered in the moat of the house . Mr. Neville completes his twelve drawings and leaves the house .
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QUESTION: Why did Mrs. Herbert want to cancel the contract between her and Mr. Neville?

On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.
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QUESTION:
How long after opening his shop did Durer's father die?