European countries are currently examining a range of options to counter the reimposition of harsh U.S. sanctions on Iran in a bid to continue doing business with the Islamic Republic, a move that is being met with chilly reception on Capitol Hill, where lawmakers are already putting in place measures to ensure that any European nation caught skirting U.S. sanctions faces harsh repercussions, according to new plans being examined by lawmakers and viewed by the Washington Free Beacon.
Criticizing the underpinnings of liberal democratic government is in vogue again. Populism is shaking some people’s faith in the wisdom of voters, and others, such as Patrick Deneen, argue outright that liberalism has failed. Some consider Evangelical Christians the big winners of 2016, but the ongoing debate about supporting President Donald Trump betrays their unease about the American system. From a reformed Protestant prospective, pastor and author Jonathan Leeman brings his own criticism to bear on the liberal order and ultimately concludes there’s something there worth conserving.
Sherman McCoy wore leather boating moccasins with a checked shirt and khakis. Nestor Camancho wore a too-small cop uniform to accent his muscular physique. And Roger White, wooah-boy, Roger White wore a navy pinstripe suit, a contrast-collared shirt with a white collar and pale-blue stripes down the front, a crêpe de chine silk tie from Charvet in Paris, and polished black cap-toed shoes. The particular outfits these men wore, and the men themselves, sprang from the fertile mind of Tom Wolfe, who sadly passed away earlier this week. Much has been written about Wolfe, about his unique prose, his reporting-style approach to fiction and his literary-style approach to nonfiction, and, of course, his white suits—Entertainment Weekly even put together a rundown of his best ones. But just as his own fashion is memorable, so too is that of those he wrote about. Clothing is mentioned so often in his works, that it seems a Wolfe character introduction is not complete without a thorough account of the subject’s ensemble.
In 1965 Tom Wolfe visited Princeton University for a panel discussion of “the style of the Sixties.” The author of The Kandy-Kolored Tangerine-Flake Streamline Baby, published that year, was scheduled to appear alongside Günter Grass, Allen Ginsberg, and Paul Krassner. Grass spoke first. The German novelist’s remarks, Wolfe wrote later, “were grave and passionate. They were about the responsibility of the artist in a time of struggle and crisis.” And they were crudely dismissed by Krassner. “The next thing I knew,” Wolfe wrote, “the discussion was onto the subject of fascism in America.”