WAR AND THE GLORY OF AN OLD LIE

Adam Cohen reminds us today that Wilfred Owen, the great British poet, died in battle 85 years ago this week. You can disagree with his claim that Owen is wrongly portrayed as antiwar -- "[H]e was not," Cohen writes. "What he stood for was seeing war clearly" -- but Cohen's larger point that George W. Bush has dishonored the dead and wounded of his administration's Iraq war is incontrovertible.

The headline on today's piece puts the issue in literary terms: "What World War I's Greatest Poet Would Say About Hiding Our War Dead." But make no mistake: It's an indictment. To spin the news and obscure reality, "President Bush is not attending soldier funerals, as previous presidents have," Cohen writes, "avoiding a television image that could sow doubts in viewers' minds. He avoids mentioning the American dead -- and the injured, who are seven times as numerous."

This is the same gung-ho president, of course, who was only too willing to burnish his TV image by dressing up in pilot's gear and landing by jet on an aircraft carrier returning from war duty in the Gulf. Meantime, the Pentagon prohibits photos and TV shots of coffins returning from the Iraqi war zone.

Last December in the runup to the invasion of Iraq, I wrote: "People who argue for going to war -- any war -- ought to read the poetry of Wilfred Owen. Let them read war reporter Chris Hedges' just-published "War Is a Force That Gives Us Meaning," an antiwar cry from the heart that invokes these lines from Owen's World War I poem, 'Dulce et Decorum est,' on the death of a soldier in a gas attack":

If in smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues, --
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro Patria mori.

It's a side issue, but can anyone still believe that Owen was not antiwar after reading this rebuttal of the poet Horace's lines: "Dulce et decorum est, pro patria mori" (It is sweet and right to die for one's country)?

November 9, 2003 1:39 AM |

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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.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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