As the cover image of our September issue suggests, The American Conservative does indeed have a new design. The changes don’t end with the cover: inside we have more interior art, an expanded “Front Lines” department, and a two-column layout for major articles that makes them all the more readable. The latter two changes help to match the design, our monthly pace, and our content — since we now often have longer pieces than in the past, a format that’s easy on the eyes is essential, and by extending Front Lines subjects can now be covered in more depth rather than merely as squibs. (Not that the Front Lines items are that long — most are 600 to 1200 words).
The content is conservatism’s finest: the September cover story by Andrew Bacevich looks at where America stands ten years after 9/11 and 20 since the fall of the Soviet Union. Philip Jenkins examines what terrorism means beyond (and after) al-Qaeda. Eamonn Fingleton explains why East Asia keeps buying our bonds, despite their negative return on investment, while Jim Antle explores whether budget constraints are turning deficit hawks into peace doves. Anthony Gregory looks at the classical-liberal roots of class analysis, and John Rodden provides a poignant appreciation of Orwell’s “A Hanging.” Plus: why a conservative protests AIPAC with Code Pink; columns by Buchanan, Giraldi, Lind, Kauffman, and Taki (an excerpt from Evelyn Waugh, too); and reviews by Daniel Flynn, Scott Galupo, Kevin Gutzman, Mark Nugent, and Peter Wood.