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We at Harper’s Magazine deeply regret, on a personal and professional level, the death of Christopher Hitchens. Christopher was a friend to me and to the magazine for many years, especially during his time as Washington Editor from 1987 to 1992.
Lewis Lapham and I would surely concur that some of Christopher’s best work was written for Harper’s. Among our proudest collaborations were “The Case against Henry Kissinger,” which ran in two parts in 2001 and was published as a book later that year, and his brilliant analysis of President George H.W. Bush’s intervention in Iraq and Kuwait in 1991.
Journalism and politics aside, Christopher’s sense of humor was perhaps his greatest weapon, and I will personally miss his irony, generosity, and resilience of spirit.
We extend our condolences to his family and friends.
More from John R. MacArthur:
Publisher's Note — July 16, 2015, 6:02 pm
“The fix was in from the beginning, despite the revolt. Fast-track authority was never in danger.”
Publisher's Note — June 12, 2015, 10:53 am
“Rep. Kathleen Rice last week reversed her opposition to fast-track the TPP. If history repeats itself she won’t be the only member of Congress to betray her working class and labor-union supporters.”
Publisher's Note — April 16, 2015, 3:51 pm
“Attributing white-on-black violence entirely to racism misses the larger problems that poorer people face in this country. They suffer a thousand cuts that never get talked about, except when the victims bleed to death.”
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.”