{"id":1466,"date":"2006-06-26T09:31:30","date_gmt":"2006-06-26T16:31:30","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2006\/06\/portable_green_zone\/"},"modified":"2006-06-26T09:31:30","modified_gmt":"2006-06-26T16:31:30","slug":"portable_green_zone","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2006\/06\/portable_green_zone.html","title":{"rendered":"PORTABLE GREEN ZONE"},"content":{"rendered":"

It’s not just a fortress in Baghdad: The Green Zone is a metaphor for America itself. Our Bullshitter-in-Chief<\/strong><\/font><\/a> takes it with him wherever he goes. So do the rest of his thugs, from Mr. Fat Backside<\/strong><\/font><\/a> on down. We needed no reminding. You probably don’t either. But Tom Engelhardt’s “Green Zoning It All the Way”<\/strong><\/font><\/a> does a good job of that. (Thanks to the indefatiguable Doug Ireland<\/strong><\/font><\/a> for pointing the way to it on his necessary blog<\/strong><\/font><\/a>.)<\/p>\n


\n

\"The<\/a><\/center>
\nWe’re seriously considering a new moniker for the Bullshitter: Mr. Green Zone.
\nPostscript:<\/strong> New necessary reading, “The Hidden Power” by Jane Mayer, appears in this week’s New Yorker. It’s a profile of David Addington, “a secret architect of the war on terror,” but it’s not online. A Q&A with Mayer, “Cheney’s Cheney,”<\/strong><\/font><\/a> is.<\/p>\n","protected":false},"excerpt":{"rendered":"

It’s not just a fortress in Baghdad: The Green Zone is a metaphor for America itself. Our Mr. Fat Backside on down. We needed no reminding. You probably don’t either. But Tom Engelhardt’s Doug Ireland for pointing the way to it on<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1466","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-nE","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1466","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1466"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1466\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}