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We were not only innocent a half century ago with the innocency of irresponsibility; but we had a religious version of our national destiny which interpreted the meaning of our nationhood as God’s effort to make a new beginning in the history of mankind. Now we are immersed in world-wide responsibilities; and our weakness has grown into strength. Our culture knows little of the use and the abuse of power; but we have to use power in global terms. Our idealists are divided between those who would renounce the responsibilities of power for the sake of preserving the purity of our soul and those who are ready to cover every ambiguity of good and evil in out actions by the frantic insistence that any measure taken in a good cause must be unequivocally virtuous. We take, and must continue to take, morally hazardous actions to preserve our civilization. We must exercise our power. But we ought neither to believe that a nation is capable of perfect disinterestedness in its exercise, nor become complacent about particular degrees of interest and passion which corrupt the justice by which the exercise of power is legitimatized. Communism is a vivid object lesson in the monstrous consequences of moral complacency about the relation of dubious means to supposedly good ends.
–Reinhold Niebuhr, The Irony of American History ch. 1, pp. 4-5 (1952)
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.”