Greenwald to Krugman to Orwell to Osborne

Here's Joe "Good Guy" Biden contradicting himself about Wikileaks. Sickening isn't it.
Thank you, Glenn Greenwald. (Update: Dec. 19 -- Really sickening, to say nothing of U.S. officials calling European standards for human rights an "irritant.") Which brings me to Paul Krugman's blogpost "Decade of the Living Dead." Krugman's blog, The Conscience of a Liberal, even more than his NYT column, is necessary reading. It's necessary for those who understand his number-crunching charts and for the rest of us.

The "living dead" blogpost is typical of Krugman but has the added beauty of a link
to an Orwell essay that elaborates on the persistence of what Krugman has dubbed
UPDATE: Krugman's Dec. 20 column continues the theme. "zombie lies" and the whitewashing of truth, which have been recurring themes of his blog.

The Orwell essay, published in 1943, is entitled "Looking back on the Spanish War," although Orwell goes much further than that, as usual uncannily seeing into the future. Orwell is so quotable it's almost ridiculous to single out any one of his remarks. But what the hell, let's be really ridiculous, beginning with this: "believe nothing, or next to nothing, of what you read about internal affairs on the Government side. It is all, from whatever source, party propaganda -- that is to say, lies." Have Wikileaks and Julian Assange been channeling him?

Of course they have.

Early in life I have noticed that no event is ever correctly reported in a newspaper, but in Spain, for the first time, I saw newspaper reports which did not bear any relation to the facts, not even the relationship which is implied in an ordinary lie. I saw great battles reported where there had been no fighting, and complete silence where hundreds of men had been killed. I saw troops who had fought bravely denounced as cowards and traitors, and others who had never seen a shot fired hailed as the heroes of imaginary victories; and I saw newspapers in London retailing these lies and eager intellectuals building emotional superstructures over events that had never happened. I saw, in fact, history being written not in terms of what happened but of what ought to have happened according to various 'party lines'. Yet in a way, horrible as all this was, it was unimportant. It concerned secondary issues -- namely, the struggle for power between the Comintern and the Spanish left-wing parties, and the efforts of the Russian Government to prevent revolution in Spain. But the broad picture of the war which the Spanish Government presented to the world was not untruthful. The main issues were what it said they were. But as for the Fascists and their backers, how could they come even as near to the truth as that? How could they possibly mention their real aims? Their version of the war was pure fantasy, and in the circumstances it could not have been otherwise.

Orwell says he has the "feeling that the very concept of objective truth is fading out of the world. After all, the chances are that those lies, or at any rate similar lies, will pass into history." Which is exactly what Krugman was getting at.

And dig this comment pointing to a revolt against postmodernism long before postmodernism ever made its appearance:

I know it is the fashion to say that most of recorded history is lies anyway. I am willing to believe that history is for the most part inaccurate and biased, but what is peculiar to our own age is the abandonment of the idea that history could be truthfully written. In the past people deliberately lied, or they unconsciously coloured what they wrote, or they struggled after the truth, well knowing that they must make many mistakes; but in each case they believed that 'facts' existed and were more or less discoverable. And in practice there was always a considerable body of fact which would have been agreed to by almost everyone. If you look up the history of the last war [WWI] in, for instance, the Encyclopaedia Britannica, you will find that a respectable amount of the material is drawn from German sources. A British and a German historian would disagree deeply on many things, even on fundamentals, but there would still be that body of, as it were, neutral fact on which neither would seriously challenge the other. It is just this common basis of agreement, with its implication that human beings are all one species of animal, that totalitarianism destroys. Nazi theory indeed specifically denies that such a thing as 'the truth' exists. There is, for instance, no such thing as 'Science'. There is only 'German Science', 'Jewish Science', etc. The implied objective of this line of thought is a nightmare world in which the Leader, or some ruling clique, controls not only the future but the past. If the Leader says of such and such an event, 'It never happened' -- well, it never happened. If he says that two and two are five -- well, two and two are five. This prospect frightens me much more than bombs -- and after our experiences of the last few years that is not a frivolous statement.

Now for some fitting musical accompaniment -- a taste of "The White Beast."

"The White Beast" is an excerpt from William Osborne's 50-minute music video, "Music for the End of Time." It features his music, digital stills by Norbert Bach, and the trombone playing of Abbie Conant.

(Crossposted at HuffPo)

December 18, 2010 12:31 PM | | Comments (0)

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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 Straight Up | published on December 18, 2010 12:31 PM.

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