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The original Spanish version of The General in His Labyrinth was published simultaneously in Argentina , Colombia , Mexico , and Spain in 1989 . The first American edition was listed as a best seller in The New York Times the following year .
The novel has been translated into many languages since its first publication in Spanish , as detailed by Sfeir de González in 2003 .
= Copia ( museum ) =
Copia : The American Center for Wine , Food & the Arts was a non @-@ profit museum and educational center in downtown Napa , California , dedicated to wine , food and the arts of American culture . The center , planned and largely funded by vintners Robert and Margrit Mondavi , was open from 2001 to 2008 . The museum had galleries , two theaters , classrooms , a demonstration kitchen , a restaurant , a rare book library , and a 3 @.@ 5 @-@ acre ( 1 @.@ 4 ha ) vegetable and herb garden ; there it hosted wine and food tasting programs , exhibitions , films , and concerts . The main and permanent exhibition of the museum , " Forks in the Road " , explained the origins of cooking through to modern advances . The museum 's establishment benefited the city of Napa and the development and gentrification of its downtown .
Copia hosted its opening celebration on November 18 , 2001 . Among other notable people , Julia Child helped fund the venture , which established a restaurant named Julia 's Kitchen . Copia struggled to achieve its anticipated admissions , and had difficulty in repaying its debts . Proceeds from ticket sales , membership and donations attempted to support Copia 's payoff of debt , educational programs and exhibitions , but eventually were not sufficient . After numerous changes to the museum to increase revenue , Copia closed on November 21 , 2008 . Its library was donated to Napa Valley College and its Julia Child cookware was sent to the National Museum of American History . The 12 @-@ acre ( 4 @.@ 9 ha ) property had been for sale since its closure ; the Culinary Institute of America purchased the northern portion of the property in October 2015 . The college intends to open a campus , the Culinary Institute of America at Copia , which will house the CIA 's new Food Business School .
= = History = =
= = = Name = = =
The museum was named after Copia , the Roman goddess of wealth and plenty . According to Joseph Spence in Polymetis ( 1755 ) , Copia is a name used to describe the goddess Abundantia in poetry , and was referred to as Bona Copia in Ovid 's Metamorphoses .
= = = Background = = =
The city of Napa has historically not received as many wine country tourists as the cities north of it . A $ 300 million flood management project around the turn of the 21st century to widen the Napa River and raise bridges prompted building developments . In the early 2000s , a large development was completed in the downtown area , as well as several hotels . Copia and the nearby Oxbow Public Market were two large developments also constructed around that time to increase tourist and media focus on the city of Napa .
The museum opened in 2001 , two months after the September 11 attacks . The museum 's visitor attendance was much lower than what was projected ; the museum partially attributed that to the depressed tourist economy stemming from the attacks .
= = = Conception and construction = = =
In 1988 , vintner Robert Mondavi , his wife Margrit Mondavi , and other members of the wine industry began to look into establishing an institution in Napa County to educate , promote , and celebrate American excellence and achievements in the culinary arts , visual arts , and winemaking . Three organizations supported the museum : the University of California at Davis , the Cornell University School of Hotel Administration , and the American Institute of Wine & Food . In 1993 , Robert Mondavi bought and donated the land for Copia for $ 1 @.@ 2 million ( $ 1 @.@ 97 million today ) , followed by a lead gift of $ 20 million ( $ 32 @.@ 8 million today ) . Mondavi chose the downtown Napa location with urging from his wife , who raised her children there . James Polshek was hired by the foundation as the architect for the building in October 1994 . Subsequently , the " Founding Seventy " , supporters from Napa Valley and the surrounding Bay Area , made substantial donations . Initial financing for Copia was $ 55 million ( $ 66 @.@ 8 million today ) , along with a $ 78 million ( $ 104 million today ) bond prior to opening in 2001 .
When the organization purchased the property , it was an empty lot next to a tire store . Steve Carlin , founder of the Oxbow Public Market , believed that Copia 's establishment helped expand Napa , its downtown area , and the Oxbow District . Construction of the facility triggered a significant growth in development of a gourmet marketplace , hotels and restaurants in downtown Napa . The museum began construction in 1999 and hosted opening celebrations on November 18 , 2001 . In 2005 , Copia sold 3 @.@ 5 acres ( 1 @.@ 4 ha ) to Intrawest for construction of a Westin hotel .
= = = Decline and bankruptcy = = =
Although the facility did attract visitors , local residents ' support failed to reach the numbers expected by the founders . Original projections of 300 @,@ 000 admissions per year were never met . In October 2006 , the museum announced plans to turn galleries into conference rooms , remove most of the museum 's focus on art , and lay off 28 of its 85 employees ( most of whom were security guards for the art gallery ) . At the time , Copia had $ 68 million ( $ 74 @.@ 7 million today ) in debt . That year the museum also lowered its original adult admission fee of $ 12 @.@ 50 to $ 5 . For three months in 2006 , the museum admitted guests free of charge , and attendance and revenue increased . The museum also began hosting weddings and renting its space more frequently in order to raise revenue . In 2007 , the museum altered its theme significantly by removing its focus on food and art , and instead focusing solely on wine . It replaced some of its gardens with vineyards , changed its displays to focus more on the history and aspects of wine and viticulture , and decreased the restaurant 's and programs ' focus on food .
In September 2008 , Garry McGuire announced that 24 of 80 employees were being laid off and the days of operation would be reduced from 7 to 3 per week . Attendance figures had never reached either original or updated projections , causing the facility to operate annually in the red since its opening . In November , he announced that the property would be sold due to unsustainable debt . The museum closed on Friday , November 21 , 2008 . The closure was without warning ; visitors who had arrived for scheduled events found a paper notice at the entrance that the center was temporarily closed . The next days ' events involving chef Andrew Carmellini and singer Joni Morris were also abruptly cancelled ; the museum later stated that it would reopen on December 1 . On that day , the organization ( with $ 80 million ( $ 87 @.@ 9 million today ) in debt ) filed for Chapter 11 bankruptcy protection . The federal bankruptcy court blocked a $ 2 million ( $ 2 @.@ 2 million today ) emergency loan with priority in security , leaving Copia with no funds to resume operations .
Writing about the failure of the project , The New York Times and other newspapers suggested that Copia had failed to clearly define its focus . Potential tourists were left feeling unsure whether they were visiting a museum , a cooking school , or a promotional center for wine .
= = = Aftermath = = =
Following the 2008 closing of Copia , a group of investors , developers , advocates , and vintners named the Coalition to Preserve Copia was formed to explore a plan to preserve the building and grounds . Part of the group 's plan included forming a Mello @-@ Roos district with participation of local hotel properties to finance bonds to purchase the property , but their effort failed . In May 2009 local developer George Altamura spoke about his interest in purchasing the property . Other developers including the Culinary Institute of America also expressed an interest in acquiring the property . Copia 's bond holder , ACA Financial Guaranty Corporation , listed the property for sale in October 2009 . Napa Valley College 's upper valley campus became the home of the center 's library of around 1 @,@ 000 cookbooks . By late 2010 , local chefs had revived the center 's garden and the parking lot had become the location of a weekly farmer 's market . In 2011 , the museum was reported to still maintain its original furnishings , with the gift store fully stocked and the restaurant still furnished . In an April 2012 auction , most of the center 's fixtures , furniture , equipment , wine collection ( around 3 @,@ 500 bottles ) , dinnerware , displays , artistic items , and antiquities were sold .
Since Copia 's closure , the building has been used for a few meetings and events , including the Napa Valley Film Festival and BottleRock Napa Valley . Triad Development arranged to buy the entire site in 2015 and planned mixed use with housing and retail . The company planned to build up to 187 housing units , 30 @,@ 000 square feet of retail space , and underground parking for 500 cars . The plan had later altered to only include purchase of the southern portion of the property . In 2015 , the Culinary Institute of America ( CIA ) put in motion plans to purchase a separate portion of Copia . The college intends to open a campus , the Culinary Institute of America at Copia , which will house the CIA 's new Food Business School . The school , which was outgrowing its St. Helena campus , purchased the northern portion of the property for $ 12 @.@ 5 million in October 2015 ( it was assessed for $ 21 @.@ 3 million around 2013 ) . Among the CIA 's first events there was 2016 's Flavor ! Napa Valley , a food and wine festival sponsored by local organizations . The campus is expected to open in late 2016 , with its Chuck Williams Culinary Arts Museum opening in 2017 . The museum will house about 4 @,@ 000 items of Chuck Williams , including cookbooks , cookware , and appliances .
= = Facilities = =
Copia is located on First Street in downtown Napa , adjacent to the Oxbow Public Market . The 12 @-@ acre ( 4 @.@ 9 ha ) property is surrounded by an oxbow of the Napa River . The two @-@ story building is 78 @,@ 632 square feet ( 7 @,@ 305 @.@ 2 m2 ) in size , and is primarily built from polished concrete , metal , and glass . The city 's farmers ' market has been located in Copia 's parking lot since 2004 .
It had a 13 @,@ 000 @-@ square @-@ foot ( 1 @,@ 200 m2 ) gallery for art , history , and science exhibits . It also had a 280 @-@ seat indoor theater , a 500 @-@ seat outdoor theater , classrooms , an 80 @-@ seat demonstration kitchen , a rare book library , a wine @-@ tasting area , a café ( named American Market Cafe ) , gift shop ( named Cornucopia ) , and 3 @.@ 5 acres ( 1 @.@ 4 ha ) of landscaped edible gardens . The building 's architect was Polshek Partnership Architects . Julia 's Kitchen was a restaurant inside the Copia building that focused on seasonal dishes and was named for honorary trustee Julia Child , who loaned part of her kitchen to the restaurant , a wall of 49 pans , pots , fish molds , and other tools and objects . Within a year of the center 's closing , the items were sent to the Smithsonian Institution 's National Museum of American History , where they are included in the Julia Child 's kitchen exhibit , which up until that point was only missing that portion . The restaurant had a 1 @,@ 700 @-@ square @-@ foot ( 160 m2 ) dining room ( for 180 seats ) , an outdoor seating area ( 4 @,@ 300 square feet ( 400 m2 ) ) and a 2 @,@ 500 @-@ square @-@ foot ( 230 m2 ) kitchen . The gardens had fruit orchards , a pavilion with a kitchen and large dining table , and a small vineyard with 60 vines and 30 different grape varieties . The restaurant and café were both operated by local caterer Seasoned Elements , and later Patina Restaurant Group .
The main and permanent exhibition of the museum , called " Forks in the Road : Food , Wine and the American Table " , had displays explaining the origins of cooking through to modern advances , and included a significant portion about the history of American winemaking . The museum 's opening art exhibition was called " Active Ingredients " , and had new works related to food by eight notable artists . Copia also had an annual exhibit and event called " Canstruction " , which began in 2005 . The event involved teams of architects , students , and designers creating sculptures from cans of food , which would later be donated to the Napa Valley Food Bank . The first year 's donation consisted of 42 @,@ 000 pounds of canned food .
= = Employees and visitor admissions = =
The founding director , Peggy Loar , left Copia in March 2005 , and was replaced by Arthur Jacobus that July ; in 2008 Jacobus was replaced by Chairman Garry McGuire Jr . , who resigned on December 5 , 2008 . The wine curator , Peter Marks , left around 2008 and was replaced with dean of wine studies Andrea Robinson . Around 2008 , McGuire hired celebrity chef Tyler Florence as dean of culinary studies . Florence oversaw the museum 's food programs and Julia 's Kitchen .
Museum attendance was initially forecast at 300 @,@ 000 ; to compare , the county had 4 @.@ 5 million tourists in 2001 . 205 @,@ 000 visitors attended in 2001 , 220 @,@ 000 visitors attended in 2002 , and 160 @,@ 000 attended in 2003 . 150 @,@ 000 visitors attended in 2007 .
= Youth on the Prow , and Pleasure at the Helm =
Youth on the Prow , and Pleasure at the Helm ( also known as Fair Laughs the Morn and Youth and Pleasure ) is an oil painting on canvas by English artist William Etty , first exhibited in 1832 and currently in Tate Britain . Etty had been planning the painting since 1818 – 19 , and an early version was exhibited in 1822 . The piece was inspired by a metaphor in Thomas Gray 's poem The Bard in which the apparently bright start to the notorious misrule of Richard II of England was compared to a gilded ship whose occupants are unaware of an approaching storm . Etty chose to illustrate Gray 's lines literally , depicting a golden boat filled with and surrounded by nude and near @-@ nude figures .
Etty felt that his approach to the work illustrated a moral warning about the pursuit of pleasure , but his approach was not entirely successful . The Bard was about a supposed curse on the House of Plantagenet placed by a Welsh bard following Edward I of England 's attempts to eradicate Welsh culture , and critics felt that Etty had somewhat misunderstood the point of Gray 's poem . Some reviewers greatly praised the piece , and in particular Etty 's technical abilities , but audiences of the time found it hard to understand the purpose of Etty 's painting , and his use of nude figures led some critics to consider the work tasteless and offensive .
The painting was bought in 1832 by Robert Vernon to form part of his collection of British art . Vernon donated his collection , including Youth on the Prow , and Pleasure at the Helm , to the National Gallery in 1847 , which , in turn , transferred it to the Tate Gallery in 1949 . It remains one of Etty 's best @-@ known works , and formed part of major exhibitions at Tate Britain in 2001 – 02 and at the York Art Gallery in 2011 – 12 .
= = Background = =
William Etty , the seventh son of a York baker and miller , had been an apprentice printer in Hull . On completing his seven @-@ year apprenticeship at the age of 18 he moved to London " with a few pieces of chalk crayons " , and the intention of becoming a history painter in the tradition of the Old Masters . He enrolled in the Schools of the Royal Academy of Arts , studying under renowned portrait painter Thomas Lawrence . He submitted numerous paintings to the Royal Academy over the following decade , all of which were either rejected or received little attention when exhibited .
In 1821 Etty 's The Arrival of Cleopatra in Cilicia ( also known as The Triumph of Cleopatra ) was a critical success . The painting featured nude figures , and over the following years Etty painted further nudes in biblical , literary and mythological settings . All but one of the 15 paintings Etty exhibited in the 1820s included at least one nude figure .
While some nudes existed in private collections , England had no tradition of nude painting and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice . Etty was the first British artist to specialise in the nude , and the reaction of the lower classes to these paintings caused concern throughout the 19th century . Although his portraits of male nudes were generally well received , many critics condemned his repeated depictions of female nudity as indecent .
= = Composition = =
Youth on the Prow , and Pleasure at the Helm was inspired by a passage in Thomas Gray 's poem The Bard . The theme of The Bard was the English king Edward I 's conquest of Wales , and a curse placed by a Welsh bard upon Edward 's descendants after he ordered the execution of all bards and the eradication of Welsh culture . Etty used a passage Gray intended to symbolise the seemingly bright start to the disastrous reign of Edward 's great @-@ great @-@ grandson Richard II .
Etty chose to illustrate Gray 's words literally , creating what has been described as " a poetic romance " . Youth and Pleasure depicts a small gilded boat . Above the boat , a nude figure representing Zephyr blows on the sails . Another nude representing Pleasure lies on a large bouquet of flowers , loosely holding the helm of the boat and allowing Zephyr 's breeze to guide it . A nude child blows bubbles , which another nude on the prow of the ship , representing Youth , reaches to catch . Naiads , again nude , swim around and clamber on the boat . Although the seas are calm , a " sweeping whirlwind " is forming on the horizon , with a demonic figure within the storm clouds . ( Deterioration and restoration means this demonic figure is now barely visible . ) The intertwined limbs of the participants were intended to evoke the sensation of transient and passing pleasure , and to express the themes of female sexual appetites entrapping innocent youth , and the sexual power women hold over men .
Etty said of his approach to the text that he was hoping to create " a general allegory of Human Life , its empty vain pleasures — if not founded on the laws of Him who is the Rock of Ages . " While Etty felt that the work conveyed a clear moral warning about the pursuit of pleasure , this lesson was largely lost upon its audiences .
When Etty exhibited the completed painting at the Royal Academy Summer Exhibition in 1832 , it was shown untitled , with the relevant six lines from The Bard attached ; writers at the time sometimes referred to it by its incipit of Fair Laughs the Morn . By the time of Etty 's death in 1849 , it had acquired its present title of Youth on the Prow , and Pleasure at the Helm .
= = Versions = =
The final version of Youth and Pleasure was painted between 1830 and 1832 , but Etty had been contemplating a painting on the theme since 1818 – 19 . In 1822 he had exhibited an early version at the British Institution titled A Sketch from One of Gray 's Odes ( Youth on the Prow ) ; in this version the group of figures on the prow is reversed , and the swimmers around the boat are absent . Another rough version of the painting also survives , similar to the 1832 version but again with the figures on the prow reversed . This version was exhibited at a retrospective of Etty 's work at the Society of Arts in 1849 ; it is dated 1848 but this is likely to be a misprint of 1828 , making it a preliminary study for the 1832 painting .
Although it received little notice when first exhibited , the 1822 version provoked a strong reaction from The Times :
We take this opportunity of advising Mr. Etty , who got some reputation for painting " Cleopatra 's Galley " , not to be seduced into a style which can gratify only the most vicious taste . Naked figures , when painted with the purity of Raphael , may be endured : but nakedness without purity is offensive and indecent , and on Mr. Etty 's canvass is mere dirty flesh . Mr. Howard , whose poetical subjects sometimes require naked figures , never disgusts the eye or mind . Let Mr. Etty strive to acquire a taste equally pure : he should know , that just delicate taste and pure moral sense are synonymous terms .
An oil sketch attributed to Etty , given to York Art Gallery in 1952 by Judith Hare , Countess of Listowel and entitled Three Female Nudes , is possibly a preliminary study by Etty for Youth and Pleasure , or a copy by a student of the three central figures . Art historian Sarah Burnage considers both possibilities unlikely , as neither the arrangement of figures , the subject matter or the sea serpent approaching the group appear to relate to the completed Youth and Pleasure , and considers it more likely to be a preliminary sketch for a now @-@ unknown work .
= = Reception = =
Youth on the Prow , and Pleasure at the Helm met with a mixed reception on exhibition , and while critics generally praised Etty 's technical ability , there was a certain confusion as to what the painting was actually intended to represent and a general feeling that he had seriously misunderstood what The Bard was actually about . The Library of the Fine Arts felt " in classical design , anatomical drawing , elegance of attitude , fineness of form , and gracefulness of grouping , no doubt Mr. Etty has no superior " , and while " the representation of the ideas in the lines quoted [ from The Bard ] are beautifully and accurately expressed upon the canvas " they considered " the ulterior reference of the poet [ to the destruction of Welsh culture and the decline of the House of Plantagenet ] was entirely lost sight of , and that , if this be the nearest that Art can approach in conveying to the eye the happy exemplification of the subject which Gray intended , we fear we must give up the contest upon the merits of poetry and painting . " Similar concerns were raised in The Times , which observed that it was " Full of beauty , rich in colouring , boldly and accurately drawn , and composed with a most graceful fancy ; but the meaning of it , if it has any meaning , no man can tell " , pointing out that although it was intended to illustrate Gray it " would represent almost as well any other poet 's fancies . " The Examiner , meanwhile , took issue with the cramped and overladen boat , pointing out that the characters " if not exactly jammed together like figs in a basket , are sadly constrained for want of room " , and also complained that the boat would not in reality " float half the weight which is made to press upon it . "
Other reviewers were kinder ; The Gentleman 's Magazine praised Etty 's ability to capture " the beauty of the proportion of the antique " , noting that in the central figures " there is far more of classicality than is to be seen in almost any modern picture " , and considered the overall composition " a most fortunate combination of the ideality of Poetry and the reality of Nature " . The Athenæum considered it " a poetic picture from a very poetic passage " , praising Etty for " telling a story which is very difficult to tell with the pencil " .
The greatest criticism of Youth and Pleasure came from The Morning Chronicle , a newspaper which had long disliked Etty 's female nudes . It complained " no decent family can hang such sights against their wall " , and condemned the painting as an " indulgence of what we once hoped a classical , but which are now convinced , is a lascivious mind " , commenting " the course of [ Etty 's ] studies should run in a purer channel , and that he should not persist , with an unhallowed fancy , to pursue Nature to her holy recesses . He is a laborious draughtsman , and a beautiful colourist ; but he has not taste or chastity of mind enough to venture on the naked truth . " The reviewer added " we fear that Mr. E will never turn from his wicked ways , and make himself fit for decent company . "
= = Legacy = =
Youth on the Prow , and Pleasure at the Helm was purchased at the time of its exhibition by Robert Vernon for his important collection of British art . ( The price Vernon paid for Youth and Pleasure is not recorded , although Etty 's cashbook records a partial payment of £ 250 — about £ 21 @,@ 000 in 2016 terms — so it is likely to have been a substantial sum . ) Vernon later purchased John Constable 's The Valley Farm , planning to hang it in the place then occupied by Youth and Pleasure . This decision caused Constable to comment " My picture is to go into the place — where Etty 's " Bumboat " is at present — his picture with its precious freight is to be brought down nearer to the nose . " Vernon presented his collection to the nation in 1847 , and his 157 paintings , including Youth and Pleasure , entered the National Gallery .
When Samuel Carter Hall was choosing works to illustrate his newly launched The Art Journal , he considered it important to promote new British artists , even if it meant illustrations which some readers considered pornographic or offensive . In 1849 Hall secured reproduction rights to the paintings Vernon had given to the nation and soon published and widely distributed an engraving of the painting under the title Youth and Pleasure , describing it as " of the very highest class " .
Needled by repeated attacks from the press on his supposed indecency , poor taste and lack of creativity , Etty changed his approach after the response to Youth on the Prow , and Pleasure at the Helm . He exhibited over 80 further paintings at the Royal Academy alone , and remained a prominent painter of nudes , but from this time made conscious efforts to reflect moral lessons . He died in November 1849 and , while his work enjoyed a brief boom in popularity , interest in him declined over time , and by the end of the 19th century all of his paintings had fallen below their original prices .
In 1949 the painting was transferred from the National Gallery to the Tate Gallery , where as of 2015 it remains . Although Youth and Pleasure is one of Etty 's best @-@ known paintings , it remains controversial , and Dennis Farr 's 1958 biography of Etty describes it as " singularly inept " . It was one of four works by Etty chosen for Tate Britain 's landmark Exposed : The Victorian Nude exhibition in 2001 – 02 , and also formed part of a major retrospective of Etty 's work at the York Art Gallery in 2011 – 12 .
= Mozambican War of Independence =
The Mozambican War of Independence was an armed conflict between the guerrilla forces of the Mozambique Liberation Front or FRELIMO ( Frente de Libertação de Moçambique ) , and Portugal . The war officially started on September 25 , 1964 , and ended with a ceasefire on September 8 , 1974 , resulting in a negotiated independence in 1975 .
Portugal 's wars against independence guerrilla fighters in its 400 @-@ year @-@ old African territories began in 1961 with Angola . In Mozambique , the conflict erupted in 1964 as a result of unrest and frustration amongst many indigenous Mozambican populations , who perceived foreign rule to be a form of exploitation and mistreatment , which served only to further Portuguese economic interests in the region . Many Mozambicans also resented Portugal 's policies towards indigenous people , which resulted in discrimination , traditional lifestyle turning difficult for many Africans , and limited access to Portuguese @-@ style education and skilled employment .
As successful self @-@ determination movements spread throughout Africa after World War II , many Mozambicans became progressively nationalistic in outlook , and increasingly frustrated by the nation 's continued subservience to foreign rule . For the other side , many enculturated indigenous Africans who were fully integrated into the Portugal @-@ ruled social organization of Portuguese Mozambique , in particular those from the urban centres , reacted to the independentist claims with a mixture of discomfort and suspicion . The ethnic Portuguese of the territory , which included most of the ruling authorities , responded with increased military presence and fast @-@ paced development projects .
A mass exile of Mozambique 's political intelligentsia to neighbouring countries provided havens from which radical Mozambicans could plan actions and foment political unrest in their homeland . The formation of the Mozambican guerrilla organisation FRELIMO and the support of the Soviet Union , China , Cuba , Yugoslavia , Bulgaria , Tanzania , Zambia , Egypt , Algeria and Gaddafi regime in Libya through arms and advisers , led to the outbreak of violence that was to last over a decade .
From a military standpoint , the Portuguese regular army held the upper hand during the conflict against the independentist guerrilla forces . Nonetheless , Mozambique succeeded in achieving independence on June 25 , 1975 , after a civil resistance movement known as the Carnation Revolution backed by portions of the military in Portugal overthrow the military dictatorship sponsored by US , thus ending 470 years of Portuguese colonial rule in the East African region . According to historians of the Revolution , the military coup in Portugal was in part fuelled by protests concerning the conduct of Portuguese troops in their treatment of some local Mozambican populace . The role of the growing communist influence over the group of Portuguese military insurgents who led the Lisbon 's military coup , and , on the other hand , the pressure of the international community over the direction of the Portuguese Colonial War in general , were main causes for the final outcome .
= = Background = =