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>The United States has turned to the cheapest labor possible. About two-thirds of the 200,000 civilians working under federal contracts in the war zones are foreigners. Many come from poor, Third World countries. Others are local hires.
> These low-paid foreign workers face many of the same risks soldiers do. Mortars have killed Filipinos who served meals in mess halls. Assassins have targeted Iraqis translating for soldiers. Roadside bombs have ripped into trucks driven by Turkish nationals. These workers have been wounded like soldiers. They have died like soldiers.
> The United States has a system to provide care for such civilian casualties. Developed in the 1940s, it is an obscure type of workers’ compensation insurance, funded by taxpayers and overseen by the Labor Department. Mandated by a law called the Defense Base Act, the system requires almost every federal contractor working abroad to purchase insurance to cover injuries arising from work or war, for all employees, American or foreign.
> American civilian workers have had trouble enough getting payment for their injuries. AIG, the primary provider of such insurance, has battled them over everything from prosthetic legs to treatment for post-traumatic stress disorder, according to court records and interviews. But at least the Americans have a fighting chance.
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.”