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Michelle Singletary couldn’t quite bring herself to say the word — she used the term “” — but her column otherwise nailed the real story.
Instead of focusing on the politics behind the firing and subsequent redemption of Agriculture Department employee Shirley Sherrod, we should consider what she was trying to tell us when she addressed the NAACP…There is a disturbing and widening gulf between the rich and the poor in America. And it would be even wider except for the fact that so many middle-income families have borrowed their way to a comfortable lifestyle. They are just a paycheck, a divorce or a heath crisis away from financial ruin.
Sherrod said that while working with the white farmer, she realized that the social war we’ve been having isn’t about race but economic inequity.
“Y’all, it’s about poor versus those who have,” Sherrod said in her speech. “It’s really about those who have versus those who don’t, you know. And they could be black; and they could be white; they could be Hispanic. And it made me realize then that I needed to work to help poor people — those who don’t have access the way others have.”
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.”