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The failure of the House last week to override President Bush’s veto of an Iraq spending bill that included a timetable for withdrawal made that certain. The Democratic leadership already has signaled its readiness to drop the timetable, and further concessions are likely as negotiations continue with the White House.
—David Broder, “A War the Public Will End,” Washington Post, May 6, 2007, p. B07
Correction to This Article
A May 3 Page One article about negotiations between President Bush and congressional Democrats over a war spending bill said the Democrats offered the first major concession by dropping their demand that the bill it [sic] include a deadline to bring troops home from Iraq. While Democrats are no longer pushing a firm date for troop withdrawals, party leaders did not specifically make that concession during a Wednesday meeting with Bush at the White House.
—Washington Post, Correction Notice added to “Democrats Back Down on Iraq Timetable,” May 5, 2007
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
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.
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.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
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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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”