I think the first thing is better linguistic training. For example, when I listen to the broadcasts from the media people who are in Iraq at the present time, they almost always mispronounce the names of Iraqi towns. One town which has been very much in the news is spelled in Latin letters N-a-j-a-f, and I hear one announcer or newsreader after another, even those who are calling from over there, say Na-jaf' (emphasis on the second syllable). Well it isn't Na-jaf', it's Na'jaf (emphasis on the first syllable). Anyone who's ever heard an Iraqi pronounce the name will know that. The fact that this sort of name is systematically mispronounced is really alarming. One wonders who they've been talking to.

The most melancholy of human reflections, perhaps, is that, on the whole, it is a question whether the benevolence of mankind does most good or harm. Great good, no doubt, philanthropy does, but then it also does great evil. It augments so much vice, it multiplies so much suffering, it brings to life such great populations to suffer and to be vicious, that it is open to argument whether it be or be not an evil to the world, and this is entirely because excellent people fancy they can do much by rapid action--that they will most benefit the world when they most relieve their own feelings.

His anti-diversity rhetoric targets students of color on this campus, but his malice also threatens the gains of white women in the faculty and student body.

Affirmative action creates opportunity; bigots contribute scorn.

Perhaps, he seeks to profit from mischief without being accused of malfeasance. Perhaps, he realizes his need for moral cover.

The cinema is now one of the main objects on which efforts should be concentrated in order to conduct the revolution in art and literature. The cinema occupies an important place in the overall development of art and literature. As such it is a powerful ideological weapon for the revolution and construction. Therefore, concentrating efforts on the cinema, making breakthroughs and following up success in all areas of art and literature is the basic principle that we must adhere to in revolutionizing art and literature.

I debate with the opponents of the Iraq intervention almost every day. I always have the same questions for them, which never seem to get answered. Do you believe that a confrontation with Saddam Hussein's regime was inevitable or not? Do you believe that a confrontation with an Uday/Qusay regime would have been better? Do you know that Saddam's envoys were trying to buy a weapons production line off the shelf from North Korea (vide the Kay report) as late as last March? Why do you think Saddam offered "succor" (Mr. Clarke's word) to the man most wanted in the 1993 bombings in New York? Would you have been in favor of lifting the "no fly zones" over northern and southern Iraq; a 10-year prolongation of the original "Gulf War"? Were you content to have Kurdish and Shiite resistance fighters do all the fighting for us? Do you think that the timing of a confrontation should have been left, as it was in the past, for Baghdad to choose?