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1965 / August | View All Issues |

August 1965

illustration

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Untitled·

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Letters

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The editor’s easy chair

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James Bond, Mr. Johnson, and the intellectuals·

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After hours

28, 30 PDF

Auction by Early Bird·

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After hours

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Happenings on upper Broadway·

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A comparative dig

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The American nun·

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Poor, chaste, and restive

Poetry

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The whelks·

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Article

62-63 PDF

Think big·

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An open letter to the secretary of the Interior

Fiction

64-68, 73-75 PDF

The chicken-god·

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Poetry

75 PDF

Petulant thoughts toward the end of August·

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Collection

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A doctor prescribes for the AMA·

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Article

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A doctor prescribes for the AMA·

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Article

80 PDF

High cost of losing·

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Article

87-90 PDF

How I got into show business·

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Article

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Footnote from Hemingway’s Paris, 1964·

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Article

96-99 PDF

What computers can’t do·

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Washington insight

100, 102-105 PDF

America the middle-aged·

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Notice

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Starting in September . . .·

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The new books

106, 108-110 PDF

New books of poems·

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From last August to this

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110-112 PDF

Hamlet without the prince·

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112-113 PDF

Miss Jewett to Miss McCarthy·

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113-114 PDF

Landmark work on contraception·

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114-115 PDF

Exquisite insultress·

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[Coming in Harper’s]

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Coming in Harper’s·

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116 PDF

Maine, in three tenses·

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Cathedrals of the cut-rate·

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Music in the round

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And also . . .·

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Music in the round

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Tapes·

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Vogue or revolution?

Jazz notes

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Pianism·

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I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:

The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.

leadership
service
integrity
creativity

Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.

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“It is disappointing that parts of Purity read as though Franzen urgently wanted to telegraph a message to anyone who would defend his fiction from charges of chauvinism: ‘No, you’ve got me wrong. I really am sexist.’”
Illustration by Shonagh Rae
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“In Karachi, sometimes only the thinnest of polite fictions separates the politicians from the men who kill and extort on their behalf.”
Photograph © Asim Rafiqui/NOOR Images
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“Defining 'native' and 'invasive' in an ever-shifting natural world poses some problems. The camel, after all, is native to North America, though it went extinct here 8,000 years ago, while the sacrosanct redwood tree is invasive, having snuck in at some point in the past 65 million years.”
Photograph by Chad Ress
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“College is seldom about thinking or learning anymore. Everyone is running around trying to figure out what it is about. So far, they have come up with buzzwords, mainly those three.”
Artwork by Julie Cockburn

Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:

65

An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.

A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.

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