Problem: Background: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
Context: Takemitsu was born in Tokyo on October 8, 1930; a month later his family moved to Dalian in the Chinese province of Liaoning. In 1938 he returned to Japan to attend elementary school, but his education was cut short by military conscription in 1944. Takemitsu described his experience of military service at such a young age, under the Japanese Nationalist government, as "... extremely bitter". Takemitsu first became really conscious of Western classical music during his term of military service, in the form of a popular French Song ("Parlez-moi d'amour") which he listened to with colleagues in secret, played on a gramophone with a makeshift needle fashioned from bamboo.  During the post-war U.S. occupation of Japan, Takemitsu worked for the U.S. Armed Forces, but was ill for a long period. Hospitalised and bed-ridden, he took the opportunity to listen to as much Western music as he could on the U.S. Armed Forces network. While deeply affected by these experiences of Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained much later, in a lecture at the New York International Festival of the Arts, that for him Japanese traditional music "always recalled the bitter memories of war".  Despite his almost complete lack of musical training, and taking inspiration from what little Western music he had heard, Takemitsu began to compose in earnest at the age of 16: "... I began [writing] music attracted to music itself as one human being. Being in music I found my raison d'etre as a man. After the war, music was the only thing. Choosing to be in music clarified my identity." Though he studied briefly with Yasuji Kiyose beginning in 1948, Takemitsu remained largely self-taught throughout his musical career.
Question: What years was his military service?
Answer: his education was cut short by military conscription in 1944.

IN: The North American fur trade was the industry and activities related to the acquisition, trade, exchange, and sale of animal furs in North America. Aboriginal peoples in Canada and Native Americans in the United States of different regions traded among themselves in the Pre-Columbian Era, but Europeans participated in the trade beginning from the time of their arrival in the New World and extended its reach to Europe. The French started trading in the 16th century, the English established trading posts on Hudson Bay in present-day Canada in the 17th century, and the Dutch had trade by the same time in New Netherland. The 19th-century North American fur trade, when the industry was at its peak of economic importance, involved the development of elaborate trade networks.

Deerskin trade was at its most profitable in the mid-18th century. The Creeks rose up as the largest deerskin supplier, and the increase in supply only intensified European demand for deerskins. Native Americans continued to negotiate the most lucrative trade deals by forcing England, France, and Spain to compete for their supply of deerskins. In the 1750s and 1760s, the Seven Years' War disrupted France's ability to provide manufactures goods to its allies, the Choctaws and Chickasaw. The French and Indian War further disrupted trade, as the British blockaded French goods. The Cherokees allied themselves with France, who were driven out from the southeast in accordance with the Treaty of Paris in 1763. The British were now the dominant trading power in the southeast.  While both the Cherokee and the Creek were the main trading partners of the British, their relationships with the British were different. The Creeks adapted to the new economic trade system, and managed to hold onto their old social structures. Originally Cherokee land was divided into five districts; however, the number soon grew to thirteen districts with 200 hunters assigned per district due to deerskin demand.  Charleston and Savannah were the main trading ports for the export of deerskins. Deerskins became the most popular export, and monetarily supported the colonies with the revenue produced by taxes on deerskins. Charleston's trade was regulated by the Indian Trade Commission, composed of traders who monopolized the market and profited off the sale of deerskins. From the beginning of the 18th century to mid-century, the deerskin exports of Charleston more than doubled in exports. Charleston received tobacco and sugar from the West Indies and rum from the North in exchange for deerskins. In return for deerskins, Great Britain sent woolens, guns, ammunition, iron tools, clothing, and other manufactured goods that were traded to the Native Americans.

How did this effect the relationship between the traders?

OUT: 

Background: Michael John Harrison (born 26 July 1945), known for publication purposes primarily as M. John Harrison, is an English author and literary critic. His work includes the Viriconium sequence of novels and short stories (1971-1984), Climbers (1989), and the Kefahuchi Tract trilogy, which consists of Light (2002), Nova Swing (2006) and Empty Space (2012). He is widely considered one of the major stylists of modern fantasy and science fiction, and a "genre contrarian". The Times Literary Supplement described him as 'a singular stylist' and the Literary Review called him 'a witty and truly imaginative writer'.
Context: Harrison's enduring fantasy sequence concerning the fictitious city of Viriconium consists of three novels and various short stories and novels written between 1971 and 1984. Viriconium is known as the Pastel City. Both universal and particular, the city has a shifting topography and history, and is sometimes known by names such as 'Uroconium'.  The first book, The Pastel City (1971), presents a civilization in decline where medieval social patterns clash with the advanced technology and superscience energy weapons that the citizens of the city know how to use but have forgotten how to engineer. The more complex second novel is A Storm of Wings (1982). It is set eighty years later than The Pastel City. and stylistically it is far denser and more elaborate. A race of intelligent insects is invading Earth as human interest in survival wanes. Harrison brilliantly depicts the workings of civilization on the verge of collapse and the heroic efforts of individuals to help it sustain itself a little longer.  The third novel, In Viriconium (1982) (US title: The Floating Gods), was nominated for the Guardian Fiction Prize during 1982. It is a moody portrait of artistic subcultures in a city beset by a mysterious plague. Where the previous books in the series held some sword and sorcery elements, In Viriconium goes beyond black humour into a coma of despair.  The short story "A Young Man's Journey to Viriconium" (1985; later retitled "A Young Man's Journey to London") is set in our world. It explains that Viriconium can be visited via a mirror in a bathroom in a cafe in England.
Question: what is storm of wings about?
Answer:
A race of intelligent insects is invading Earth as human interest in survival wanes.