complete story<\/FONT><\/EM><\/B><\/A> and weep (subscription
\nrequired);<\/I> or if you have a taste for gallows humor, laugh yourself silly. The commission
\noperates on a $110,000 annual budget (give or take $2) and has “no permanent staff, facilities or
\nequipment” to investigate the boundless atrocities of a world seemingly in a state of permanent
\nwar. <\/P>
\nHans Blix, the U.N. weapons inspector, tells the Journal: “My heart is full of sympathy for
\nKen Keith.” As well it should be. The U.N. will not cooperate with the commission, and Blix,
\nwho attended the conference that created it, says he’d forgot it still existed.
Saddest of
\nall, “a 1998 training exercise for the commissioners, sponsored by the Swedish government at a
\nmilitary base near Stockholm … was the closest they have gotten to a war zone.” They
\ninvestigated “mock atrocities by Swedish separatists. The scenario imagined rebels establishing
\nthe breakaway republic of Greater Dalecarlia, prompting a Swedish reaction.”<\/P>
\n
Apparently “Swedish forces bombed civilians” and the would-be Greater Dalecarlians
\n“tortured farmers and schoolchildren.” But that was because it was a mock exercise. I hesitate to
\nthink of what the Swedish welfare state’s atrocious reaction might have been in reality. My guess
\nis saunas without massages.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"
It’s no fun to start the day with computer troubles, which I’ve had all morning. Now that Tech Support has solved my problem, I’m hoping it can rescue a troubled world’s war-crime panel called the International Humanitarian Fact-Finding Commission. Its problems are much greater than mine, according to a front-page story in today’s Wall Street Journal. […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-449","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-7f","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=449"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/449\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}