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During the turbulent days after Hurricane Katrina made landfall, New Orleans police shot 10 civilians, at least four of whom died, according to interviews and internal police documents. Some incidents involving police were widely publicized and have prompted a U.S. Justice Department inquiry into the conduct of the New Orleans Police Department that has brought dozens of officers before federal grand juries to testify.
But a fresh examination of the post-storm period — a joint effort by ProPublica, The New Orleans Times-Picayune, and PBS “Frontline” — raises additional questions about the actions of police who shot civilians. It also reveals deep flaws in the department’s efforts to investigate its officers’ use of deadly force in the chaos after the storm.
The story also has a link where people with more information can send it along, anonymously if necessary.
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.”