MAILER HITS A VEIN

In the florid words of my good friend Repulski: "A great and testy old fart steps up to the plate in those worn and dusty spiked shoes before the indifferent crowd. He knocks the spikes against the bat, just to clean the bullshit of old games away, the ugly hard toil of yesteryear, remembering when he was a confident extra-base hitter. Some called him a slugger. Things are different now. He loosens up his arthritic shoulders and swings -- and It's Out of the Fucking Ballpark! Praise the Blood-Soaked Lord!"

In other words, if you haven't seen it yet, take a look at Norman Mailer's commentary in the Nov. 4 issue of the New York Review of Books. (Scroll way down). It begins:

A victory for Bush may yet be seen as one of our nation's unforgettable ironies. No need to speak again of the mendacities, manipulations, and spiritual mediocrity of the post–9/11 years; the time has come to recover from the shock that so abysmal a record (and so complete a refusal to look at the record) looks nonetheless likely to prevail. Who, then, are we? In just what kind of condition are the American people?

It goes after Ahnold:

A quick look at our movie stars gives a hint. The liberal left has been attached to actors like Warren Beatty and Jack Nicholson. They spoke to our cynicism and to our baffled idealism. But the American center moved their loyalties from the decency of Gary Cooper to the grit and self-approval of John Wayne. Now, we have the apotheosis of Arnold Schwarzenegger. He captured convention honors at the Garden in the course of informing America, via the physicality of his presence, that should the nation ever come to such a dire pass as to need a dictator, why, bless us all, he, Arnold, can offer the best chin to come along since Benito Mussolini. Chin is now prepared to replace spin.

"Bush's appeal is, after all, to the stupid," Mailer continues. "They, too, are inflexible -- they also know that maintaining one's stupidity can become a kind of strength, provided you never change your mind."

Then comes the topper, hitting a vein that nobody has dared to use before. It's deeply personal, more revealing about the character and religiosity of the Ignoramus in Chief than anything anyone else has said in public, and it spurts real blood:

It is cruel but true that he has the vulnerability of an ex-alcoholic.

People in Alcoholics Anonymous speak of themselves as dry drunks. As they see it, they may no longer drink, yet a sense of imbalance at having to do without liquor does not go away. Rather the impulse is sequestered behind the faith that God is supporting one's efforts to remain sober.

Giving up booze may have been the most heroic act of George W.'s life, but America could now be paying the price. George W.'s piety has become a pomade to cover all the tamped-down dry-drunk craziness that still stirs in his livid inner air.

Mailer knows from boozers (ex- and otherwise). His words have the ring of truth, and those are just the highlights. Go read, while keeping your fingers crossed the irony will not come to pass.

October 17, 2004 9:35 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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This page contains a single entry by CriticalMASS published on October 17, 2004 9:35 AM.

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