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The New York Times new ombudsman is Craig Hoyt. His column this week is extremely impressive and merits close examination.
Why Bush and the military are emphasizing Al Qaeda to the virtual exclusion of other sources of violence in Iraq is an important story. So is the question of how well their version of events squares with the facts of a murky and rapidly changing situation on the ground.
But these are stories you haven’t been reading in The Times in recent weeks as the newspaper has slipped into a routine of quoting the president and the military uncritically about Al Qaeda’s role in Iraq — and sometimes citing the group itself without attribution.
And in using the language of the administration, the newspaper has also failed at times to distinguish between Al Qaeda, the group that attacked the United States on Sept. 11, and Al Qaeda in Mesopotamia, an Iraqi group that didn’t even exist until after the American invasion.
One of the key functions of good war reporting is distinguishing between objective facts and spin. Every military engages in heavy news spin for obvious reasons. The difference between a good war correspondent and a stenographer lies in many things, but one of the most important is the courage to challenge accounts that are misleading or that serve a psy-ops objective rather than providing reliable information. Hoyt has engaged this issue on a critical point and at a critical time. He deserves to be commended for performing his job just as it was envisioned.
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.”