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Belarussian President Aleksandr Lukashenko’s PR machine kicked into overdrive yesterday during a meeting with Pope Benedict. RFE/RL’s Luke Allnut notes that the Belarussian strongman’s adorable son Nikola stole the show at the event: “Resplendent in a white cardigan among the papal grays and purples… playing with a football and presenting the pope with his ABC’s book.” It certainly sounds like Lukashenko is getting his money’s worth from his top-shelf British spin-doctors…
On this site last week, David Kramer and Irina Krasovskaya (whose husband was “disappeared” by the Lukashenko regime) argued that the E.U.’s efforts to reach out to Belarus were ill-advised and would only lead Lukashenko to crack down more on political dissent.
What is Benedict thinking? There are certainly times when talking with human rights abusers can be productive. But the Pope isn’t a realist, nor should he be. Unlike national leaders he’s in a position to act as a voice of conscience without worrying about political expediency. Considering the bad press he’s gotten over the last few months, it couldn’t have hurt the pope to say a few words in public about Lukashenko’s stifling of free speech and dissent in Belarus. Instead, he gave the dictator a photo-op to die for without a critical word.
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.”