THE NEW YORKER GETS TOUGH

In a 4,523-word commentary this morning, the editors of The New Yorker have endorsed John Kerry for president. Their summary of all the many reasons underscores the need to reclaim American democracy from the coup four years ago that turned the United States into a right-wing banana republic.

After being installed as president by the U.S. Supreme Court following his loss in the popular vote nationwide, George W. Bush took office with his minions and proceeded to rule like the boss of an imperious junta. Instead of governing from the center, which would have acknowleged their lack of a true mandate, they chose to exploit their power without regard to the nation's electorate and with no intention to heal its bitter division.

"From the very day we walked in the building," Vice President Cheney told Bob Woodward in "Plan of Attack," which the editors cite, "a notion of sort of a restrained presidency because it was such a close election, that lasted maybe thirty seconds. It was not contemplated for any length of time. We had an agenda, we ran on that agenda, we won the election -- full speed ahead."

Won the election? Not by a long shot. Not even by a wolfish hair of his chinny-chin-chin.

The Supreme Court decision that halted the vote recount in Florida -- where Bush's slimmest and most questionable of margins if overturned would have given Al Gore the presidency -- was "so shoddily reasoned and transparently partisan," the New Yorker editors write, "that the five justices who endorsed the decision declined to put their names on it, while the four dissenters did not bother to conceal their disgust."

The court ignored the usual "rules for settling electoral disputes of this kind, in federal and state law and in the Constitution itself," and thus installed Bush "by fiat," which "made a mockery not only of popular democracy but also of constitutional republicanism."

It's time to throw the junta bums out.

October 25, 2004 1:12 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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This page contains a single entry by CriticalMASS published on October 25, 2004 1:12 AM.

FRANCIS BIDDLE GIVES IT A TRY was the previous entry in this blog.

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