OH, PLEASE

James Atlas writes "The Fear This Time" in the current New York magazine. I suppose the title is intended to bring to mind James Baldwin's "The Fire Next Time," which is already a sign of overreaching and totally inappropriate. The piece itself reads likes an overwritten essay by an overwrought hysteric. Atlas leaves no doubt of that with his hand-wringing.

Living in New York is like a terminal disease: You start awake in panic every morning, your stomach knotted, your heart plunging in your chest. But as the day wears on, you're not even aware that you're going about your life. An event that will surely qualify as one of the most astounding in the whole of recorded history has occurred not a mile from you. It's as if you just happened to be a shepherd tending your flock near Pompeii when Mount Vesuvius erupted, or a seventeenth-century London publican glancing out the window of his establishment in the Strand to glimpse the flames consuming London. That two hijacked, passenger-loaded commercial jetliners should plunge into the World Trade Center and topple it to the ground, reducing almost 3,000 innocent civilians to ash, was beyond imagination -- but I still have to drop off the dry cleaning and go to the bank.

Compare that with Baldwin. The difference in the quality of the writing, to say nothing of the sentiment, is like night and day.

I do not mean to be sentimental about suffering -- enough is certainly as good as a feast -- but people who cannot suffer can never grow up, can never discover who they are. That man who is forced each day to snatch his manhood, his identity, out of the fire of human cruelty that rages to destroy it knows, if he survives his effort, and even if he does not survive it, something about himself and human life that no school on earth -- and, indeed, no church -- can teach. He achieves his own authority, and that is unshakeable.

At least the magazine also offers John Leonard on two documentaries about reality -- "Death in Gaza" and "The President Versus David Hicks" -- without the Upper West Side seepage.

August 10, 2004 9:55 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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