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At a moment of serious challenge, battered by two wars, ballooning debt, and a faltering economy, the United States appears to have lost its capacity to think clearly. Consider what passes for national discussion on the matter of Iran. The open question is whether the United States should or will attack Iran if it continues to reject American demands to give up uranium enrichment. Ignore for the moment whether the United States has any legal or moral justification for attacking Iran. Set aside the question whether Iran, as Secretary of Defense Robert Gates recently claimed in a speech at West Point, “is hellbent on acquiring nuclear weapons.” Focus instead on purely practical questions. By any standards Iran is a tough nut to crack: it is nearly three times the size of Texas, with a population of 70 million and a big income from oil which the world cannot afford to lose. Iran is believed to have the ability to block the Straits of Hormuz in the Persian Gulf through which much of the world’s oil must pass on its way to market.
More from Ken Silverstein:
Perspective — October 23, 2013, 8:00 am
How pro-oil Louisiana politicians have shaped American environmental policy
Postcard — October 16, 2013, 8:00 am
A trip to one of the properties at issue in Louisiana’s oil-pollution lawsuits
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.”