Summer in the City Journal

Biran Anderson is the managing editor of the Manhattan Institute’s outstanding quarterly, City Journal. Last week we linked to the summer issue’s “cover package” of articles on immigration including Heather Mac Donald’s “Seeing today’s immigrants straight.” Today Brian writes with news regarding the rest of the issue:

Our new issue has posted. In addition to our cover package on immigration that you noted last week, we’ve got:

Theodore Dalrymple on the “Terrorists Among Us,” explaining how it’s not just Islam, but the tension between Islam and Western modernity, that makes them tick.

Sol Stern on the growing movement to teach for “social justice” in public schools and ed schools. Sol shows how it perpetuates a cruel hoax on disadvantaged kids.

Kay S. Hymowitz in the hilarious “Desperate Grandmas” describes how narcissistic feminists, now sexagenarians, are still seeking the Best Sex Ever!

Steven Malanga’s moving “The Last Full Measure” pays tribute to the monuments honoring the 9/11 dead that have sprung up throughout New York commuter towns–Steve’s photos are included.

Heather Mac Donald explains why the NYPD–now fighting terror as well as crime–is still America’s best police force.

And former Hollywood screenwriter Gerry Garibaldi, now teaching in a public school in Connecticut, tells what he’s learned about how the schools shortchange boys.

Plus lots more interesting stuff.

In the words of the Lovin’ Spoonful song, the issue is (as usual) hotter than a match head.

JOHN adds: “Hotter than a match head”? I’ve listened to that song 1,000 times without understanding that lyric. Next you need to explicate “Blinded by the Light.” “Wrapped up like a…” what?

SCOTT adds: In the Manfred Mann version of Bruce Springsteen’s song, each of the ladies and gentlemen discussed in the song’s verses is “revved up like a Deuce” (Harley-Davidson motorcycle). In Springsteen’s version of the song, however, they “cut loose like a Deuce…” Reader Gordon Daughrety argues for another interpretation, writing that the “Deuce” refers to “a hot-rod 1932 Ford with a flat-head V8, as in the Beach Boys’ ‘Little Deuce Coupe’ (‘with a flathead mill’).” I don’t think so, but such are the interpretive uncertainties to which great art tends to give rise.

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