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Ursprüngliche Aufgabe der Polizei war der Schutz der Gesellschaft vor Verkehrsunfällen und vor Verbrechen. Längst aber ist sie darüber hinaus zu einer Waffe geworden, angewendet wider alle, die aufzumucken wagen gegen Willkür des Unternehmers, gegen Dünkel des Bürokraten und gegen Mißbrauch der Gesetze. . .
Es gibt keine ethische Rechtfertigung für die Mittel, deren sie sich bedient.
Auch die willfährigsten Staatsphilosophen könnten keine Entschuldigung dafür finden, daß ein Land seine Ordnung aufrechterhält durch eine Armee von Lockspitzeln.
In the beginning the mission of the police was to protect society from traffic accidents and crimes. But over time it came to be a weapon deployed against all who dare to raise questions about the arbitrary conduct of entrepreneurs, who probe into the conceits of bureaucrats and who question the misuse of the law. . .
There is no ethical justification for the tools which it uses. Even the most compliant political philosopher could offer up no excuse for a state that seeks to maintain order with an army of snoops.
–Egon Erwin Kisch, Wagnisse in aller Welt, ch. 27, “Die Polizei und ihre Beute” (1927) in Gesammelte Werke, vol. 5, p. 592 (B. Uhse & G. Kisch eds. 1983)(S.H. transl.)
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.”