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In his just-released cover story on Paul Krugman’s status as Obama critic, Newsweek’s Evan Thomas includes these observations: “By definition, establishments believe in propping up the existing order. Members of the ruling class have a vested interest in keeping things pretty much the way they are. Safeguarding the status quo, protecting traditional institutions, can be healthy and useful, stabilizing and reassuring.”
Thomas then acknowledges what is glaringly obvious not only about himself but also most of his media-star colleagues: “If you are of the establishment persuasion (and I am)…”
One day in the near future, Thomas should have a luncheon or perhaps a nice Sunday brunch at his home, invite over all of his journalist friends who work in the media divisions of our largest corporations, and they should spend 15 minutes or so assembling these sentences together, and then examine what these facts mean for the actual role played by establishment journalists, the functions they fulfill, whose interests they serve, and the vast, vast disparities between (a) those answers and (b) the pretenses about their profession and themselves which they continue, ludicrously, to maintain.
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.”