• The Wind-Up Bird Chronicle, by Haruki Murakami {A Japanese detective story/war novel/Kafka rip-off. It's great.}
• Love, Poverty, and War: Journeys and Essays, by Christopher Hitchens {First drafts of history, second thoughts on received wisdom, versatile meditations on great works of literature -- all by a man who can write about anything.}
• The Code of the Woosters, by P.G. Wodehouse {The Rise and Fall of the "Black Shorts," and the best of Bertie and Jeeves. You'll need Wodehouse in your life eventually. Start here; you've 89 or so more to go.}
• The Prophet Armed: Trotsky 1879-1921, by Isaac Deutscher {Magnificient biography finally back in print, along with Volumes II and III. But better start before the revolution -- and Deutscher's conscience -- was betrayed.}
• Colossus, by Niall Ferguson {Why the U.S. can't hack neo-imperialism, much to Niall's chagrin.}
• Reflections on a Ravaged Century, by Robert Conquest {Don't even try to have an opinion about the twentieth century without reading him.}
• Scoop, by Evelyn Waugh {One of the funniest books, ever. Shrinks the remainder of the "innocent abroad" genre to the vanishing point.}
• Put Out More Flags, by Evelyn Waugh {Lapidary prose on the frisson between the wars. Basil Seal riding low before he rides again; Auden and Isherwood lampooned as "Parnsip and Pimpernell."}
• The Origins of Postmodernity, by Perry Anderson {Terrific writer from the London Review of Books and New Left Review, who ought to be more famous than he is, tackles lucidly the abstruse bloodhound gang -- from Habermas to Jameson -- of Theory.}
• The Counterlife, by Philip Roth {How Portnoy learned to stop complaining and write a brilliant postmodern novel.}
• Rise of the Vulcans, by James Mann {Probably the only low-blood pressure source on Bush's brain trust. Valuable for charting the progression of neo-neo-conservatism, and how Cheney and Rumsfeld and Wolfowitz contravened, and then dismantled, the Kissinger realpolitik foreign policy machine.}
• Money, by Martin Amis {Forget Bonfire and Psycho. It took the English author of The Moronic Inferno: And Other Visits to America to effectively chew up the Reagan era -- largely by reminding us that it was also the Thatcher era. A fine lesson in history repeating, too: Di and Charles were TV's original Ben and J. Lo; the Self-on-Massi sex tape is where Paris (if she can read) might have learned her stuff; and the cavalier cash flow in this soft-boiled checkbook who-dun-it tale rivals that of any West Coast dotcom monkey a decade later.}
• The War Against Cliche and Experience, by Martin Amis {If Amis kept on doing what he did in his award-winning collection of critical essays, James Wood would lose more hair. It's saying quite a lot that his non-fiction exceeds his fiction. Experience is by far the best memoir to appear in the last decade: a more muscular Speak, Memory, it's a midlife nostalgia trip pureed out of chronology, though somehow more cohesive than a stream-of-consciousness hodgepodge. Guaranteed to pluck at the coronary sinews for anyone dealing with the loss of a father.}
• Lucky Jim, by Kingsley Amis {A comic genius on academia, Amis is the pitch-perfect representative of postwar male rage. None of that Angry Young Man, stuff, though. His apoplexy is hilarious at any age. The faces: "crazy peasant," "sex life in ancient Rome," "shot-in-the-back." Moo, by Jane Smiley, The Straight Man, by Richard Russo and everything by David Lodge seem impossible without this Platonic key ring to rule them all, and on the campus, bind them.}
• The Letters of Kingsley Amis, edited by Zachary Leader {Pay close attention to the letters to Philip Larkin -- together with Larkin's Collected Letters (try eBay, sorry), these constitute the documentation of one of the most rewarding and hilarious literary friendships to date. Amuse yourself by guessing the exact page number where Kingsley abandons Communism.}
• The Stories of Vladimir Nabokov, by V. Nabokov {I'm way underqualified, with my mean years on the planet, to state critical opinion. Still in larval adulation, which I understand is a longterm afflication. Read Anthony Lane's review in Nobody's Perfect. And M. Amis on Nabokov in toto in the prenominate War Against Cliche. And get a dictionary.}
• The Moral Obligation to Be Intelligent, edited by Leon Wieseltier {The style is dated and stilted, but the insights are not. Especially worthwhile: the Orwell essay, the Mansfield Park burn, and "The Situation of the American Intellectual at the Present Time" (i.e. "What Do They Know of America, Who Only the Upper West Side Know?"}
• A Supposedly Fun Thing I'll Never Do Again, by David Foster Wallace {Self-indulgence and the consequences of a missing-in-action editor never had it so good. The state fair, cruise ship and TV pieces are the best. But also read the Lynch essay: it'll make you want to re-watch Blue Velvet, which you can conveniently buy below.}
• Collected Poems, by Philip Larkin (edited by Anthony Thwaite) {Poetus mirabilis and, after Auden, the occupant of a near empty Hall of Metrical Wonders in the Postwar Anglophone wing of the museum. Master ironist and curmudgeon you least want to bludgeon.}
• Paris 1919: Six Months That Changed the World, by Margaret Macmillan {A dryly told account of global dust-settling after what was then myopically known as "the Great War." Explores the follies of Wilson, Lloyd George and Clemenceau, which helped bring about WWII.}
• Doomed, Bourgeois, In Love: Essays on the Films of Whit Stillman, edited by Mark Henrie {Discreet charms of the bourgeoisie given the scholarly treatment by the kinds of New Criterion-y people who liked Grosse Pointe Blank because John Cusack's assassin refused to unionize. Don't let the pedantry taint your judgment of Stillmania, though.}
• Reading Lolita in Tehran: A Memoir in Books, by Azar Nafisi {A beautiful paean to Western literature from an Eastern scholar living under Islamic statism; the Gatsby trial and Jane Austen dance chapters are particularly enjoyable.}
• Nobody's Perfect: Writings from The New Yorker, by Anthony Lane {He needs to stop it with the creepy drooling over Natalie Portman, but Lane is still the best around for losing it at the movies.}
• The Collected Short Stories of Roald Dahl {Adult stories, less like his children�s stuff than what O. Henry would have been like if his ironic plot twists had involved wife-swapping, cannibalism, or turning infants into superhuman bee-monsters. Might be fun for the kid who never reads, actually.}
• The Brothers Karamazov, by F. Dostoevsky, translated by Pevear and Volokhonsky {Incest! Murder! Theodicy!}
• Collected Non-Fictions, by Jorge Luis Borges {A prose impresario short-winded enough to keep beside the toilet -- especially if your john is in a labrynith that transcends spacetime.}
• Love and Hydrogen: New and Selected Stories, by John Shepard {Stories narrated by John Ashcroft, John Entwistle, Nazi rocket riders, the creature from the black lagoon, and others.}
• My Life and Hard Times, by James Thurber {Think of David Sedaris, in turn of the century Columbus, Ohio. And without the gay schtick, or even a pretense at respect for his family.}
ALBUMS:
• You Are the Quarry, by Morrissey {He's back! And almost paid off the deficit incurred by Maladjusted. A few gripes: "America Is Not the World" never fulfills the promise of its title. It's an unwieldy blunderbuss, not a rapier -- and the use of "hamburger" as synecdoche for our national obesity problem is a new hackneyed low for the Oscar Wilde of the microphone. "I Have Forgiven Jesus" ultimately works, but I can't help but feel that that one was just too easy.}
• Weightlifting, by The Trashcan Sinatras {Remember them from your college radio daze? A brisk homecoming track, appositely named "Welcome Back" ("Everyone survived / Everyone's alive!" -- well, thank goodness) kicks off this highly accomplished return to musicmaking for an alt-pop band that shouldn't have stayed away so long.}
• Strange Bird, by Augie March {With a name like Augie, it has to be good. It is. Analogs fail me.}
• Evergreen, by Echo and the Bunnymen {Best 80's Band Comeback Album. No contest.}
• Mermaid Avenue, by Billy Bragg and Wilco {A fucking classic. Ukanian bloke Billy Bragg manages to capture the rhythms of dustbowl Americana better than Dylan -- the obvious disciple/witch doctor to perform a Woody Guthrie resurrection -- ever could do. All lyrics by Guthrie, music by Bragg and Wilco.}
• Don't Try This at Home, by Billy Bragg {Most people who hear Mermaid Avenue invariably want more of the man who brought it to them. This is Bragg's most "accessible" solo album, though not without the politics that's defined his career. "Accident Waiting to Happen" is a punk snarl against cultural fascism.}
• Galore, by Kirsty MacColl {May this earth angel charm the knickers off the winged principalities. MacColl died a few years ago in a boating accident, but I can only imagine how well-attended her funeral must have been by the panoply of musicians guilty of "sampling" her Celtic nightingale voice. This album consists mainly of covers, but that's more than all right for someone generous enough to never ask for top billing, despite consistently stealing the show.}
• These Are the Vistas, by the Bad Plus {"Smells Like Teen Spirit," the jazz standard. No kidding. Comes off not just better than you'd expect, but brilliantly.}
• SMiLE, by Brian Wilson {Reviewed here. Check to the right.}
• The Soft Bulletin, by the Flaming Lips {And the hard singing voice to take, but worth it anyway.}
• It Takes a Nation of Millions to Hold Us Back, by Public Enemy {More complicated rhymes and denser loops than have been on the radio before or sense, plus the guy with the big clock.}
• Loaded: Fully Loaded Edition, by the Velvet Underground {Funny, Lou Reed doesn't usually look this happy. Must be Laurie Anderson's doing.}
• Traitor In Our Midst, by the Country Gazette {What you always thought bluegrass was supposed to sound like.}
• The Modern Lovers, by the Modern Lovers {Speaking of Lou Reed, remember the guy with the guitar who gets shot in Something About Mary? Imagine that guy redoing "White Light/White Heat," but with lyrics about aging with dignity and eschewing drugs. That sounds like a snark, but it�s actually the SAM guy, and John Cale produced.}
• The Queen Is Dead, by The Smiths {I can't believe you don't own this already. The summa of the Moz/Marr collaboration.}
• The Boatman's Call, by Nick Cave {The Prince of Darkness may have been afraid to board a plane after 9/11, but this "New Testament" sound is proof of moisture's sustainability in Hell. "Into My Arms" is sweet enough to play your girlfriend on Valentine's Day, leaving the oldie-but-dreary "Deanna" to blast at her when she dumps you.}
• No Cities Left, by The Dears {The lead singer cried when Morrissey asked the band to open on the "You Are the Quarry" tour. That kind of gone-to-pieces sentimentalism can only lead one place: straight down. Get 'em while they're new and good.}
• The Boy With the Arab Strap, by Belle and Sebastian {Might as well order that black V-neck sweater, Rimbaud's Collected Poems, while you're at it. "Theoretical" bisexuality not a requisite, despite what angry twee detractors say.}
FILMS & TV:
• Cannibal! The Musical. {Trey Parker's college thesis, a feature-length movie musical about the only American ever convicted of cannibalism. Not for all markets, but better than most of his later stuff.}
• Before Sunset, directed by Richard Linklater {The sequel that doesn't feel like one. Why thirtysomethings who chat are more interesting than twentysomethings who do likewise. Some sluggish moments, but all made up for by a luminous final scene that made me fall in love with Julie Delpy once more. Bet it made Anthony Lane "spill [his] Sprite" again, too.}
• Collateral, directed by Michael Mann {Tom Cruise has always been a hard-working, as opposed to naturally gifted, actor. This part was his pension come early. Michael Mann is the Richard Avedon of the moving Los Angeles image. And Jamie Foxx ain't too shabby, either.}
• The Unbelievable Truth, directed by Hal Hartley {Surreal-ish debut from a master indy filmmaker and satirist. Yes, that is Edie Falco as the diner waitress.}
• Henry Fool, directed by Hal Hartley {Hartley's masterpiece. Probably the only movie about writers that's ever worked. Barton Fink, anyone?}
• Metropolitan, directed by Whit Stillman {Downwardly mobile 60's college jet set. Making a film about this demographic is like trying to play matchmaker to a Republican leper in Northampton, Mass. That the dialogue (and it's all dialogue) stays liquid-tongued is a monument to Stillman's talent... dare I say, genius?}
• Barcelona, directed by Whit Stillman {Anti-Americanism when it was more funny than scary. The "subtext" speech belongs in Bartlett's. The DVD commentary is, as someone from the earlier film might say, "priceless."}
• The Last Days of Disco, directed by Whit Stillman {An assault on 70's cliche in the best possible way -- the anti-54. Also known as Yuppies: A Defense. Chloe Sevigny gives grace to the one night stand, instead of head to Vincent Gallo.}
• Mr. Jealousy, directed by Noah Baumbach {Who wouldn't hunt down the ex-boyfriends of Annabella Sciorra? Eric Stoltz had fewer difficulties with girls in Mask. Chris Eigeman from the Stillman flicks swaps Mayflower pedigree for facial hair (modeled on David Foster Wallace's Infinite Jest jacket photo), to varying degrees of success. An underrated romantic comedy, but don't say I didn't warn you: this film may engender awkward relationship conversation. It may also plant supersleuth-stalker seeds in frail men's heads. Or so I've heard.}
• Blue Velvet, directed by David Lynch {So many epigones, so far from this mark.}
• Father Ted: The Holy Trinity {BBC TV series about three priests on an island. No, not that kind of series, you sick fuck.}
Rachael Ray May Be Awful, But She Probably Isn't a Terrorist
One of the minor problems with being a reconstructed neocon weenie such as myself is the company I'm forced to keep. I don't much like the right-wing personality because it seems a funhouse distortion of the left-wing personality, only with better clothes. This is not an accident. How easy it was to renounce the core substance of communism and yet retain the dire style. A friend of mine, who has undergone every permutation of ideology imaginable, phrases it like this: All ex-radicals take something away with them from the 'movement,' whether it's the atheism, the loyalty to trade unionism, the love of god-awful folk music, or being a fucking asshole.
A good sign of membership in that last contingent is an obsession with the non-issue, a conspiratorial mindset that has the more even-tempered comrades rolling their eyes behind your back, or, since you're likely to suffer from an almost autistic lack of self-awareness and shame, right in front of your face. Worse still than the late-in-life-winger is the cradle-to-the-grave variety. Will someone please inform Michelle Malkin that Rachael Ray is not a jihadist? The insufferable Food Network hostess must want you to eat on $40 a day because the rest of your income should go to Osama bin Laden. Ray was caught on national television hawking ice lattes for Dunkin' Donuts while wearing a kaffiyeh, and the rest of this story some poor fool at the BBC must have written in crayon:
In a statement, Dunkin' Donuts said the silk scarf had been "selected by Rachael Ray's stylist and that no symbolism was intended.
"But given the possibility of misperception the commercial was no longer being used."
This has caused a fair amount of consternation in some quarters but the conservative blogger at the centre of the row has praised the decision.
"Fashion statements may seem insignificant, but when they lead to the mainstreaming of violence - unintentionally or not - they matter," Ms Malkin has written.
Now let us at once concede that Yasser Arafat wore this Arab headdress and had one of his strapping male Aryan lieutenants daily shape it to resemble the lost Palestine he would spare no drop of Jewish or Muslim blood to reclaim. Many beheaders and suicide bombers and illiterate adherents of a single book have been known to don the kaffiyeh as a symbol of their militant struggle, as have quite a number of secular followers of pan-Arab nationalism.
None of which eliminates the historical fact that centuries of harmless Bedouin traders, stifled not by irrendentism so much as by the unremitting heat of the desert, also wore kaffiyehs the way my fashion-backward Jewish father would his Panama Jack hat at the beach. It's the fanny-pack of the Orient.
T.E. Lawrence famously donned one while leading a popular revolt against Ottoman imperialism. Many of our Kurdish allies in northern Iraq wear the checkered garment and not out of solidarity with politically null hipsters in Williamsburg, who must think the mountain people's billowy pants intend ironic commentary of the career of M.C. Hammer.
This is the problem with iconography in general. There are only so many icons to go around. Many are bound to be hijacked and recycled, and thus their symbolism is bound to be muddled to the point of negation.
Before black became synonymous with Italian Fascism, or Ann Coulter's morning wear on the Today Show, it was the honorable hue of Russian anarchists who fought alongside the infant Red Army in the Russian Civil War. (The rather pure-seeming color white was reserved for the proto-fascist armies of czarist dead-enders.) Indeed, that the valiant liberators of the Crimea were later killed during the Stalinist terror for not being Bolsheviks only underscores the necessity of "taking back" certain banners.
More notoriously, the swastika was not just an ancient Jain glyph for fertility, it also furnished the name of Meyer Wolfsheim's dubious bond company in The Great Gatsby, a book published in 1925, when Hitler was still a reactionary house painter in the Weimar Republic. Anyway, we knew Wolfsheim was no good because he wore cufflinks made of human teeth.
But for those who presume to read clothes as manifestos, they should at least be well acquainted with the histories of both before holding forth on so-and-so's revolutionary aims.
America may run on Dunkin', but the conservative blogosphere runs on paranoia.
John McCain and Barack Obama are now engaged in a long-distance dispute over whether talking to America's enemies is integral to America's security (with neither one wishing to talk to poor Hillary Clinton any longer).
McCain has not so subtly assailed Obama as an "appeaser" for his stated willingness to sit down with the Iranian leadership about its nuclear weapons program and sponsorship of jihadism in Iraq -- and never mind for now if that leadership consists of Mahmoud Ahmadinejad or Ali Khamenei. Meanwhile, Obama has repeatedly labeled McCain a kind of hyper-Bush militarist of the shoot first, sign treaties later school of foreign policy. McCain has hinted at Chamberlain and Munich, always a histrionic conversation-ender in matters of these sort, and Obama has sheepishly downplayed the Iranian threat by contrasting it against the Soviet one, and, without any hint of irony, indicating Kennedy's talks with Khrushchev in Vienna, and Reagan's momentous mini-summit with Gorbachev in Reykjavik as proof that toughness and diplomacy are not mutually exclusive concepts. (One witty editorial in The New York Times reminded Obama that Camelot's finest hour was not its Austrian kibitz with the Russian premier, an event that laid all the psychological bricks, so to speak, for the erection of the Berlin Wall and the Cuban missile crisis.)
Oddly though, in their rush to analogize by way of chivvying each other, neither candidate has actually pulled an example relevant to the region of the globe now under discussion. The Middle East, a term coined by Alfred Thayer Mahan, one of McCain's boyhood idols, is where both American warfare and American diplomacy began in the late 18th century, as our infant republic faced its first post-Revolutionary struggle against the evocatively named Barbary States of the Ottoman Empire.
In 1959, Alfred Kazin wrote 'The Alone Generation,' an incisive and brilliant essay about the failures of modern literature. The critic who would later describe himself as a 'cultural conservative' and, semi-seriously, a 'literary reactionary' uttered this cri de coeur:
I am tired of reading for compassion instead of pleasure. In novel after novel, I am presented with people who are so soft, so wheedling, so importunate, that the actions in which they are involved are too indecisive to be interesting or to develop those implications which are the life-blood of narrative. The age of 'psychological man,' of the herd of aloners, has finally proved the truth of Tocqueville's observation that in modern times the average man is absorbed in a very puny object, himself, to the point of satiety.
Not many people write like this anymore, with daring subjectivity. Rare today is the freelance reviewer who sees compassion as an insufficient measure of aptitude in fiction. Kazin avoided the Marxian gloss or the close reading of the New Critics, preferring instead a full-blooded, fist-pounding approach to telling good books from bad. He was demanding, irritable and shrewd; and for almost half a century, he was well sought after for his opinions.
In fact, it would be hard to mistake the author of the above passage for a man of any other generation or milieu. 'Herd of aloners' sounds suspiciously like Harold Rosenberg's famous epithet for the detractors and unwitting apologists of mass culture - the 'herd of independent minds' - which Rosenberg applied as cuttingly to the highbrow Partisan Review crowd as he did to the purveyors of passive entertainment, for whom the common denominator could never be low enough. Also, 'psychological man' had been around a while before Jack Kerouac and Herbert Gold laid their unsure pens to paper, so we glimpse at once the longing of a recovering radical for the literature of size and social engagement; the literature of the 1930's, in other words. Finally, alone - it is a word that stalks like a golem through his entire oeuvre, from his first, career-making work, On Native Grounds, to his mature series of sensitive and meditative memoirs. If Kazin deploys it here to underscore the undesirable aspects of the novel - solipsism, or the puny object of the self, is denigrated because it ignores an engagement with the way we live now - then we should applaud him for self-criticism, too. Alienation was a sentiment he mistrusted most in literature because he mistrusted it most in himself.
A major achievement of Richard Cook's fine biography is the reconciliation of two contradictions in Kazin's life. How did one of the most temperamentally and spiritually isolated writers of his time become such an astute chronicler of it? And how did a man who hated tidy schools of thought, artistic or ideological, maintain an abiding belief in the liberating social possibilities of literature? The answer to both lay in Kazin's Jewishness, a lodestone to which his intellectual pursuits and personal torments kept returning.
Gallons of ink have been spilled trying to capture the peculiar blend of anxiety, optimism and self-doubt that defined the New York Intellectuals, those sons of Eastern European immigrants who discovered Marx and Shelley in their outer borough tenement kitchens in the thirties, waited for a revolution that never came, then went on to become grand old men of the cultural landscape - or at least a ten-block radius of the Upper West Side. 'Most were literary men with no experience in any political movement,' reminisced Irving Howe, a near contemporary with whom Kazin was inevitably compared, much to his chagrin. '[T]hey had come to radical politics through the pressures of conscience and a flair for the dramatic; and even in later years, when they abandoned any direct political involvement, they would in some sense remain 'political.' They would respond with eagerness to historical changes, even if these promised renewed favor for the very ideas they had largely discarded.' Most significantly, they would try to escape their humble working-class origins, whether by way of City College, agitational street theatre, or a gentlemanly assimilation into the Gentile mainstream--usually all three in due course. But see how well Kazin stakes a claim for himself and this whole milieu of comers in A Walker in the City, his first and best volume of autobiography, dealing with his perpetual flight from his hometown of 'darkest' Brownsville:
We had all of us lived together so long that we would not have known how to separate even if we had wanted to. The most terrible word was aleyn, alone. I always had the same picture of a man desolately walking down a dark street, newspapers and cigarette butts contemptuously flying in his face as he tasted in the dusty grit the full measure of his strangeness. Aleyn! Aleyn! Did immigrant Jews, then, marry only out of loneliness? Was even Socialism just a happier way of keeping us together?
Unbounded optimism enabled the brightest of this bunch to break free of the confines of their New World ghetto, not to say their neighborhood faction, and earn admittance into that reified idea of beyond. They started out and they made it. Without 'New York,' Kazin affirmed in 'The Jew as Modern Writer,' a 1966 essay for Commentary, 'there would have bee no immigrant epic, no America.' Fans of Bellow's The Adventures of Augie March will, allowing for the substitute of Chicago for New York, recognize the familiar cadences, as they probably will the perspicuity of this judgment: 'My quarrel with [Henderson the Rain King] has to do with my feeling, suggested to me even in so good a work of its kind as Seize the Day, that these Jacobs give up to life a little too eloquently, that they do not struggle enough with the angel before crying out in reverence and submission, "I will not let thee go, except thou bless me."'
Kazin's own experiences in this early line of endeavor were both typical and unique: He had a 'raging life-force' of an Orthodox mother who sewed homemade dresses during the Depression and kept the austere nuclear family intact; a silent and largely absentee father who read The Forward in Yiddish and bonded with his precocious son only in occasional discussion of Red politics. That covers the typical. But Kazin stood apart from the Trotskyist demimonde as well. Like Howe, Nathan Glazer, Irving Kristol, and Kazin's future brother-in-law Daniel Bell, Alfred attended City College but refused to participate in the high-calorie debates of the celebrated Alcove 1, which made ironical sport of chivvying its leaden Stalinist counterparts in Alcove 2 and was subsequently fingered as the incubator of neoconservatism.
Oliver Kamm directed my attention to this Economistitem, proving what had long been suspected of the great renewer of Latin American "socialism":
Batches of the documents have been seen by The Economist and several other publications. They appear to show that Mr Chávez offered the FARC up to $300m, and talked of allocating the guerrillas an oil ration which they could sell for profit. They also suggest that Venezuelan army officers helped the FARC to obtain small arms, such as rocket-propelled grenades, and to set up meetings with arms dealers.
I don't know what else to call this but blood for oil.
It used to take decades to unearth documents like these. Had computers been around during the early years of Soviet espionage, I doubt Walter Krivitsky would have stepped off the ocean liner docked at New York Harbor before being collared. Whittaker Chambers might have only been remembered as the able translator of "Bambi."
Perhaps Steven Soderbergh's sprawling biopic of Che Guevara, said to clock in at about 5 and a half hours (or only a quarter of the length of the average Castro speech), can help revive a flagging fondness for commandante-style Red bravado.
Manda Zand-Ervin and Banafsheh Zand-Bonazzi, a mother and daughter team behind the Alliance of Iranian Women, have penned an excellent open letter to the Democratic nominee at Pajamas Media:
America led the world in supporting the Eastern European Solidarity Movement, by which ultimately the Eastern bloc was able to free itself from communist domination and dictatorships. The international community weakened the South African regime by supporting and empowering Mr. Mandela against South Africa's racial apartheid regime, which was eventually forced to step aside peacefully and allow change for the better to begin.
The Iranian government is, by all definitions and international laws and United Nation's resolutions, a gender apartheid regime. What would happen if you declare Iran a Gender Apartheid country and not the representative of the oppressed women of Iran? Support the millions of laid-off and destitute Iranian workers, students, and teachers, as well as the estimated 23,000 innocent political prisoners who are being tortured in prisons for speaking out against these tyrants. Support the average Iranian and not the Islamic regime. Put America's power behind what is right -- and watch the people of Iran usher out the Mullahs and democratically elect a government that truly represents the people of Iran.
Also, Haleh Esfandiari has just been awarded an international prize named after her. I quote from the Wilson Center's press release:
AMMAN, JORDAN--Dr. Haleh Esfandiari of the Woodrow Wilson International Center for Scholars, a non-partisan institution based in Washington, D.C., was honored on May 21, 2008 as the first recipient of an award established in her name. The Haleh Esfandiari Award was presented to Dr. Esfandiari by a group of businesswomen and activists from countries across the Middle East and North Africa region, on the occasion of a conference sponsored by the Wilson Center, Women Entrepreneurs: Business and Legal Reform in the MENA Region, held in Amman, Jordan, May 20-May 22.
The award depicts two outstretched arms, with palms facing in different directions, symbolizing Dr. Esfandiari's work in building bridges and encouraging outreach between countries and cultures. The award was designed by Nour Saab, an artist living in England.
Dr. Esfandiari, director of the Wilson Center's Middle East Program, was honored for her work and dedication in promoting dialogue and understanding between cultures in the United States and Middle Eastern countries, and for her efforts on women's rights issues in the region.
Haleh Esfandiari has directed the Middle East Program at the Wilson Center for the past decade. In 2007, she was held in solitary confinement in Evin Prison in Tehran, Iran for more than one hundred days, accused of working to destabilize the Islamic Republic. (For further details surrounding her situation and confinement, please visit www.wilsoncenter/middleeast.)
"During and after her confinement, Haleh continued to exhibit compassion, strength, and dedication in her efforts to promote equality, peace and dialogue," said the award initiator Hanan Saab, President and CEO of Pharmamed, a pharmaceutical company in Beirut, Lebanon. "She truly is a role model, not only for women, but for all people who are interested in ultimately working towards world peace. Determinedly non-partisan, she has sought to understand and bring together all sides of complex issues."
"We plan to present this award annually to women who exemplify Haleh's strength, resilience, and dedication," said Fatima Sbaity-Kassem, visiting scholar at the Institute for Research on Women and Gender, Columbia University, and former director of the ESCWA Centre for Women at the UN Economic and Social Commission for Western Asia. "Her leadership, humanity and solidarity with women across the globe are exceptional and unique, and her concern and efforts in bridging gender equality gaps are instrumental and necessary to improving diplomatic relations between countries and worldwide."
Scanning the daily press, an American voter is likely to come away with the following characterization of Barack Obama: he opposed the Iraq war from the start, he conscientiously opposed it even when public opinion was against him, and if elected president, he would withdraw U.S. forces from there immediately. There is every reason to assume that Obama's antiwar credentials have enabled his all-but-certain victory in the Democratic primary, and yet few have attempted scrutiny of those credentials (the New Republic and Commentary are the rare exceptions), let alone analyzed Obama's policy prescriptions for how to resolve a smoldering crisis in Mesopotamia. As with much of his electoral appeal, the stump catechisms of "hope" and "change" have eclipsed Obama's more wavering rhetoric about Iraq over the past five years. And as for what he plans to do going forward, his ideas are not just frighteningly ill informed and out of date, they're not even on nodding terms with the realities in a part of the world that, since 9/11, has held a monopoly on our attention.
In October 2002, the then-Illinois state senator addressed an antiwar rally in Chicago, where, describing himself as no pacifist, he affirmed, "I... know Saddam poses no imminent and direct threat to the United States, or to his neighbors... and that in concert with the international community he can be contained until, in the way of all petty dictators, he falls away into the dustbin of history."
Obama went on to campaign for a seat in the U.S. House of Representatives as having been against regime change, ab initio. He lost that contest to Chicago favorite Bobby Rush, but has congratulated himself ever since for, as he put it in a debate at Dartmouth College in 2007, "telling the truth to the American people even when [it was] tough...standing up against this war at a time where [sic] it was very unpopular. And I was risking my political career, because I was in the middle of a U.S. Senate race." Left out of this courageous resume is the fact that it was in his proximate political interest to take the position he did. He was trying to appeal, after all, to what the New Republic's Michael Crowley called a "coalition of lakefront liberals and African Americans," and he was running in solidly Democratic state from a district - Hyde Park - that was heavily antiwar. Obama's own campaign manager at the time, Dan Shomon, admitted, "He knew, and I knew, that the liberal progressives were key in any Democratic primary." Obama may very well have been sincere in his opposition to the war, but he could not have adopted any other position and still have had a shot at winning a contentious primary. Also, his courage in telling harsh truths to the American people cannot account for why he twice removed his Chicago speech from his presidential campaign website - a curious elision for a man who claims to have had greater prescience and "purity" on Iraq than any of his opponents on either side of the aisle did.
One is unlikely to find a criticism of Barack Obama jotted in the pages of Jewcy magazine, my old digital shtetl up until a few months ago. But at the risk of interrupting the lovefest for a flawed national politician, allow me to add to what has already been said about Obama's interview on the Jewish Question with The Atlantic's Jeffrey Goldberg. From a terse Q&A, Jewcy's Politics Editor Daniel Koffler has found a "deeper and richer understanding of the American Jewish and Israeli experience [sic] than any previous presidential aspirant" has hitherto embodied -- a statement that would be too silly to countenance were it not for the presumptuousness behind it. Koffler of Tea Neck, NJ might know something about the American Jewish experience, but how much? And what of the Israeli?
I've long thought that Obama needed rescuing from some of his more lock-step supporters, particularly those who credited him with moral maturity for not renouncing Jeremiah Wright in Philadelphia, then subtracted none of the credit after he did just that weeks later in North Carolina (and after nothing new was disclosed about the nasty pastor except the audacity of his booking schedule). This is a willingness, if not an eagerness, to be easily pleased and to have one's bias confirmed almost effortlessly.
But let's see now, Obama can namedrop Leon Uris and Philip Roth to a humorous American-Israeli journalist and suddenly he's an honorary member of Team Chosen! I can't wait until he compliments the continental breakfast at the King David Hotel and becomes the man to grab fate by the foreskin in Judea and Samaria...
I was rather struck by Obama's laughable assertion that a Jewish camp counselor gave him his short course in Altneuland utopia, and that the work of Roth and Uris filled in the rest of the blanks on Diaspora and Zionism. However, left out of Koffler's post is the fact that Goldberg cited both of those writers in his thoughtful Atlantic cover piece on the future of Israel, which Obama was good enough to admit he had read prior to sitting down for the interview. And even if he had come up with these allusions unbidden, what would that prove besides an ability to seize upon any proffered conversational trope for the sake of impressing his audience? Obama may well be the candidate to beat on ensuring Israel's security and keeping up antipathy toward Hamas, but the foregoing demonstrates his charisma and nothing more.
Though in saying so, I'm reminded of how dangerous that charisma can be when intellectuals who ought to know better find themselves in thrall to it.
John F. Kennedy's cultural tastes plumped in an easy-bake oven built for him by Arthur Schlesinger, Jr., and he famously collected artists and novelists and mandarins in order to strengthen his candlepower vicariously. Nothing like having a genuine brain in the White House with a real guest list. (One ingathering of Nobel winners gave posterity the not-bad line that the executive mansion hadn't seen such an assembly of intellects since Thomas Jefferson dined alone.) For the most part, though, the valets du pouvoir required little convincing to come running to the Round Table, which is why the whispers about "Camelot" took so long to expire after its knight errant did. The two honorable exceptions to this ignoble rule were the two finest literary critics then working in America: Edmund Wilson and Alfred Kazin.
Thus a 1962 dinner at the White House featured Kennedy inquiring of Wilson what his new book on the Civil War was about. Wilson referred him to the Introduction. Strike two came when the president then asked about another volume Wilson had authored on the Iroquois. Faced with an author's unlikely resistance to gibber on about his own work, particularly to someone who clearly hadn't read it, Kennedy added: "I suppose I'll have to buy it?" "I'm afraid so" came the cold reply from the owlish man of letters in what I would term the finest instance of Wilsonian idealism. (Wilson also joked, upon hearing Kennedy refer to Robert Frost as America's Virgil, that this made the meretricious president a modern Octavius. A real "knee-slapper.")
Similarly, in an effort to buck Kazin's forthcoming critical piece on him and his claque of dittoing eggheads, Kennedy and Schlesinger, who knew the number two critic, invited him over for state niceties. Offer accepted. But upon reading the only mildly toned-down result of their intervention -- Kazin's brilliant political essay, "Kennedy and the Other Intellectuals," which chided the cognoscenti's herd-like worship of a seeming bright young thing who nevertheless unintelligently invaded Cuba and brought the country to the brink of nuclear holocaust -- Jack joked to Schlesinger: "We wined him and dined him and talked about Hemingway and Dreiser with him, and later I told Jackie what a good time she missed, and then he went off and wrote that piece!" Some aren't so easily charmed by superficial learning or the throwaway reference, yet the temptation in intellectuals to abase themselves before executive power is strong and persistent.
The Goldberg interview might indeed have taken a more interesting turn had Obama furnished us with a few clues as to what, exactly, in Roth he found edifying about the Jewish American experience. Self-hatred? The transcendent nature of the handjob? Prostate cancer? (I'd seriously considering supporting him if he dilated at length on any of these promising topics.) As for Uris, how many discriminating yes-we-canners just threw in the towel in Hyde Park upon hearing the author of Exodus mentioned as a literary mentor? Elitist, heal thyself.
She knows that if Obama wins this year, her hopes of ever becoming president will vanish. She will be 69-years-old in 2016 and, unlike John McCain, who retained a special place in the popular consciousness thanks to Karl Rove's grand larceny of his initial run for high office, she won't be able to claim she was robbed the first time around. Her best bet would be to see Obama lose, thus vindicating her unheeded plaint that he was general election poison, and then run against the incumbent McCain in 2012, vowing to "take back the White House" after twelve years of Republican misrule.
Since (late) 2004, satisfying your jones for political and cultural commentary, day-old scoops and late-breaking marginalia, and whatever else finagles its way into the cyber-planetary potluck...
• Civil Disobedience on the Web By Michael Weiss {British bloggers stand up to threats of libel lawsuits., originally published in Slate.}
• Spray-Fire Atonement By Michael Weiss {How cognitive behavioral psychology can help High Holy Day Jews who repent too much., originally published in Slate.}
• Mutiny on the Manifesto By Michael Weiss {Spineless scalawags are sabotaging the most promising leftist doctrine in decades. Don't let them., originally published in Jewcy.}
• Rise of the Faux-cialists By Michael Weiss {Three poseurs who would have Marx spinning in his grave (plus their real-deal counterparts), originally published in Jewcy.}
• Stepson of the Time By Michael Weiss {A reconsideration of Vasily Grossman's Life and Fate, originally published in The New Criterion.}
• The Surge Can Work By Michael Weiss {Everyone's wrong about the president's new war plan, originally published in Jewcy.}
• A Kibitz on Pure Reason By Michael Weiss {The author of Betraying Spinoza on rationalism, passion, and great 17th-century hair, originally published in Jewcy.}
• Brainwashing's Nemesis By Michael Weiss {How Rick Ross became a cult buster extraordinaire, originally published in Jewcy.}
• The Whiz Kid of Warfare By Michael Weiss {How Noah Shachtman has revolutionized military reporting, originally published in Jewcy.}
• A Blacklist The Left Could Use By Michael Weiss {Meet the Christopher Hitchens of postpunk, originally published in Jewcy.}
• Is Marriage the New Dating? By Michael Weiss {A divorcee, a young married, and a singleton debate wedded bliss, originally published in Jewcy.}
• The Jewish Jihad for Jesus By Michael Weiss {Why converts are leading the evangelical movement, originally published in Jewcy.}
• Tribal Threads By Michael Weiss {The designer of Gytha Mander on the holy land, holsters, and honeys, originally published in Jewcy.}
• Some Kind of Republican By Michael Weiss {The real legacy of John Hughes, published in Slate.}