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Newsweek’s new poll has Bush at 26%, but now we’ve reached something new: the average of all major polls (including the perennial Republican outliers that give Bush a 10-point bump) now have Bush in the twenties. What does that mean? Bush has no support among Democrats. He has no support among Independents. And now, for the last half year, his support among Republicans shows week-on-week steady erosion. We’re now eating well into “the base.” Why? Well, isn’t the real question: who are these 26%? Are they people who don’t read newspapers, and watch the news? Or, more likely, people who take their news from hysterical rightwing talk radio and Fox News.
Bush’s war stewardship is demonstrated to be incompetent. His cabinet is shown to be full of knaves and scoundrels. He has feverishly corrupted all the core institutions of the country. A year ago, the Beltway punditry was telling us that he had “bottomed out” around 40%, and it was impossible for him to drop any lower. As usual, they were completely wrong. And now that his numbers have reached lower-than-the-worst-days-of-Watergate levels, notice how the vacuous chattering class has suddenly stopped talking about polls?
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.”