PRIM AND PROPER

The Divine Miss S -- a friend's not altogether admiring nom de plume for Susan Sontag -- told us: "It is probable that the 'torture' word will continue to be banned" by the W. gang. Tim Rutten, the Los Angeles Times media columnist, writing a week before her piece appeared in The New York Times Magazine on Sunday, told us:

The mainstream media's insistence on primly referring to what occurred in what was once Saddam Hussein's most infamous prison as "abuse" is part and parcel of their deep avoidance of this story's implications. Abuse is what happens when you fail to feed your parakeet or speak intemperately to a sensitive child. When you starve or drown or beat or sexually humiliate another human being, it is called torture. It's what occurred in Hitler's concentration camps, Stalin's Gulag, Pol Pot's Cambodia, Pinochet's Chile, Hussein's Iraq and -- now -- in the secret prison system the United States has constructed in defiance of its international obligations and our own laws and traditions.

That about covers that subject. But writers keep nibbling at the why's and wherefore's. Today Eliot A. Cohen does it in The Washington Post with a piece about "Our Soldiers and Us." He tells us:

If a society has no norm of chief executives accepting responsibility for their corporations' moral and financial failures, do not expect generals to line up to say: "It happened on my watch, and I therefore offer the secretary of defense my resignation." In some measure, societies get the militaries they deserve.

To which we say: "Yes sir!"

To the presidential speech last night at the U.S. War College, all we can say is: "Huh?" William Saletin refers to it as The Little Fucker's "Magical History Tour," an airbrushed version of reality: "Is Bush embarrassed that a year of occupation has failed to substantiate his claims about Iraqi weapons of mass destruction and links to global terrorism? No. He hasn't even noticed."

May 25, 2004 1:36 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.
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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