FIRST DENIAL, THEN WHAT?

When I first read CIA director Porter Goss's recent Congressional testimony that "Islamic extremists are exploiting the Iraqi conflict to recruit new anti-U.S. jihadists" and "these jihadists who survive will leave Iraq experienced and focus on acts of urban terrorism," I intended to post an item about Dear Leader's Big Lie that the invasion of Iraq would quell terrorism. But I never got around to it. And now I don't have to, because Bob Herbert has done it for me in his column this morning, "Iraq, Then And Now."

Herbert writes: "So tell me again. What was this war about? In terms of the fight against terror,the war in Iraq has been a big loss. We've energized the enemy." And as anyone with sense would be, he's dismayed by the sheer hypocrisy of Dear Leader's regime:

[T]he administration has taken every opportunity since since Sept. 11, 2001, to utilize the lofty language of freedom, democracy and the rule of law while secretly pursuing policies that are both unjust and profoundly inhumane. ...

It may be that most Americans would prefer not to know about these practices, which are nothing less than malignant cells that are already spreading in the nation's soul. Denial is often the first response to the most painful realities."

If you don't believe that, think of what the Germans who came after the Holocaust have experienced with collective guilt. Germany's first response was denial. Among some Germans it still is. But among many more it is not. Now think of us Americans, who have yet to accept the idea of collective guilt for black slavery and the decimation of Native American peoples.

I'm willing to bet the majority of Americans by far still have not come to grips with America's own genocidal history. Even the horrific atrocities of Vietnam have receded in memory, as if they are part of someone else's remote past -- to the point where this nation has allowed itself to be misled into a war in which new crimes against humanity again bear witness against its ideals.

February 21, 2005 12:29 PM |

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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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