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In September 2007, I posted “The Remarkable ‘Recusal’ of Leura Canary” reviewing one of the many strange aspects of the Siegelman case. The prosecutor who brought this case is the wife of the most important Republican political consultant in Alabama, Karl Rove’s long-time protege William Canary. As Leura Canary revved up the Siegelman case, William Canary was advising the campaign of Siegelman’s Republican rival. Maybe this is why Alabamans referred to them as the state’s ultimate “power couple.”
Called out on this conflict, Leura Canary recused herself from the case. Or did she? In September 2007, I reviewed the evidence suggesting that the recusal was a sham. And today in a piece by Adam Zagorin TIME magazine raises troubling accusations from one of Canary’s own staffers, who documents in a series of emails that after her “recusal,” Canary continued to manage the prosecution of her husband’s rival. The erstwhile member of the Siegelman prosecution team also documents improper communications by the prosecutors with jurors. All of this is information the Justice Department has known for at least a year and has kept tightly under wraps, suggesting certain questions of obstruction of justice. I offer a look deep inside the Justice Department here.
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.”