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On Wednesday, President Barack Obama, acting on the advice of the Department of Defense, asked Congress to restore the rank and benefits of John Daniel Lavelle, an Air Force general. In 1971, while he was commanding the Seventh Air Force, General Lavelle authorized the bombing of North Vietnamese targets outside the scope of the then disclosed rules of engagement. He was removed from his position and demoted to lieutenant general by Defense Secretary Melvin R. Laird. A congressional uproar ensued, with demands for Lavelle’s courtmartial, and he was demoted further and pressed to resign as a major general. Now, newly declassified and released documents reveal that Lavelle was acting on the direct orders of the White House when he did what he did—a fact of which Laird was aware. The public representations made by President Nixon and Secretary of Defense Laird to the public and to Congress were lies designed to disguise White House orders to step up the bombing of the north while avoiding any negative repercussions to Nixon. General Lavelle died thirty-one years ago, after having been driven from the military in disgrace, his long career trashed in the interests of Republican electoral politics.
Rachel Maddow does a marvelous job of working this material up, blending in archived footage from the Nixon tapes to carry the story from beginning to end. This is one of the most effective Vietnam-era history lessons in recent memory:
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
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.”