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National Public Radio reported yesterday on the Department of Homeland Security’s use of drugs in connection with deportation. It cites the case of Rev. Raymond Soeoth, a Christian minister who fled to the United States from Indonesia in 1999 seeking asylum and claiming persecution because of his religious convictions and Senegalese émigré Amadou Diouf.
Soeoth says that an agent asked him if he needed medication to relax him for the trip. He replied that he did not. But a few hours later, says Soeoth, several agents came into his cell. One of them, he says, was a medic. He was holding a syringe.”Two officers grabbed my legs, two officers grabbed my hands. Then they opened my pants. And then I said, ‘Why are you guys doing this to me?’ and I was crying and crying, and I said ‘Why? I’m not animal.’”
Soeoth says the medic injected him in the buttocks. He says he lost consciousness on the way to the airport. The deportation was eventually cancelled because agents failed to notify airline security. According to U.S. Immigration and Customs Enforcement medical records, Soeth was injected with Haldol, a very powerful sedative.
Diouf’s account is nearly identical.
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.”