One Moment in the Eighties

David Foster writes of the “reset” button. I wanted to thank him in a comment, but it lengthened. And as he begins with the mistranslation, I should begin with an apology: I still know no Czech. But a memory from the eighties came so powerfully, I wanted to share it.

In those years, we hosted various musical and academic visitors. My language incompetence was a difficulty: fluent English wasn’t always an aid in getting those visas. Often a scholar or musical group was substituted for the requested one; visa granting was erratic and subject to bureaucratic whims.

But I remember vividly a group sent to a conference, around 1983 or so. One of the local Czechs, a family dedicated to the language (the father had taught Czech at A&M, his brother at UT), invited them to visit their farm. The folk singers were given tea and cake; sitting in the farm’s front yard, with grasshopper pumps near the house and broad land and skies behind that, they chatted. But then, they stood and began singing acapella with deep and strong voices an old hymn one they knew well, but never sang at concerts, they said. The resonance came from their hearts. I didn’t know the language and decades have come between. Perhaps it was this one (or this) . If not, the simplicity and clarity were similar. It was a breathtaking moment.

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Haiti – Then and Now

In freshman composition, I often devoted part of a class to short essays. The arguments I chose for focus interested me – probably more than my students. One was to write an essay prompted by an axiom or song lyric. Generally it may not have worked in terms of academic writing, but writing is writing. and a few years ago, one student responded to this Proverb:

“A man without self-control is like a city broken into and left without walls.” Proverbs 25:28

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Herman on Scooter Libby

Arthur Herman, often referred to here, describes in Commentary the context of the pursuit of Scooter Libby. I am curious about how those more knowledgeable than I see the article.

But, aside from his central argument, I was struck by the remarkable picture with which he closes.

On October 11, 2003, when the media witch hunt in the Plame case was at its height, there was a Cabinet meeting at the White House. When reporters were invited in to ask Bush a question about the investigation, Bush said he wanted anyone in his government who knew who had leaked Plame’s name to speak up. Sitting a couple of chairs away was Richard Armitage, the man who had done it. Sitting beside the president was Colin Powell, to whom Armitage had confessed days earlier.
 
They said nothing—and kept silent for three long years. By the time Armitage admitted publicly that he had been the leaker in September 2006, Patrick Fitzgerald’s monstrously successful and spectacularly dishonest war on Scooter Libby’s job, reputation, finances, and legal innocence was well on its way to its morally depraved triumph.

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The New Criterion’s Crankiness is Well Founded

Two (almost) dead horses at once: the humanities establishment and Obama’s mis- and un-educated view of his responsibilities from The New Criterion,, which can get cranky but isn’t wrong: Instapundit links Mark Bauerlain’s “Humanities”. Flog away he does, but that’s because dead or not establishment academics still educate the next generation and even now some see Obama as a defender of art and light.

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