UNFINISHED BUSINESS

The independent 9/11 commission, which had me worried me, just lost so much of its independence you have to wonder whether American democracy has become a charade. The commission's job -- to find out what the Bush administration knew about the 9/11 Al Qaeda attacks and whether they could have been prevented -- has turned into the equivalent of asking the Saudis to show us their bank records.

Track the progression from last week's headlines: "9/11 Panel May Reject Offer of Limited Access to Briefings" (Nov. 7), "Panel Reaches Deal on Access to 9/11 Papers" (Nov. 11), "Deal on 9/11 Briefings Lets White House Edit Papers" (Nov. 13).

Although the headlines tell the story in broad outline, they don't give the devilish details. The "deal" means that Bush and his cronies will not only have the right to edit sensitive Oval Office documents (chiefly Bush's daily intelligence reports) before letting the commission see them, but will also have the right to choose what reports to show the commission.

That's terrific. After all, according to The New York Times, "administration officials acknowledge that they fear that information in the reports might be construed to suggest that the White House had clues before Sept. 11, 2001, that Al Qaeda was planning a catastrophic attack." Why shouldn't the maximum leader of a developing banana republic be entitled to sanitize the records?

Here's why. (Isn't it about time Ron Rosenbaum apologized to Gore Vidal?)

Meantime, Bruce Fierstein gets my vote for funniest take on Der Gropenfuhrer's plan to investigate himself. Fierstein thinks it's a trend to watch -- Martha Stewart, Karl Rove and Kobe Bryant might latch onto it. We've already seen how it's caught on at the White House.

November 17, 2003 7:48 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
HERMAN WOUK'S LATEST 
It's hard to say which comes off worse in Herman Wouk's latest novel, his first in a decade: the U.S. Congress or the American press. "A Hole in Texas" offers the choice between two emblematic stereotypes: a red-faced opportunist who heads the House Armed Services Committee and a mustachioed investigative reporter for the Washington Post.
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