The Thing About Condi

She’s a jerk. On the smallest, most immediate level, the sort I can appreciate, she’s a fake and a bully. At Harper’s, Scott Horton posts about her torture-heavy Q&A session with students at a Stamford doom. Horton addresses the mismatch between her remarks and publicly known facts. But what gets me is the cheap way she tried to muscle one of the kids asking her questions. It’s not enough that she cherrypicked an isolated finding in a report about Guantanamo (where it called the prison’s physical facilities “a model medium security prison”) and ignored the damning stuff in the same report (treatment of prisoners was “mental torture.” She had to pretend the kid hadn’t done his/her homework.  After trotting out the “model medium” finding: “if you didn’t know that, maybe before you make allegations about Guantanamo you should read.” When she, in effect, blames the Supreme Court for keeping Guantanamo’s inmate indefinitely detained — because the court wouldn’t allow Bush’s people to put the inmates before kangaroo tribunals — she tries to make the student into a stooge by quizzing him:


RICE: Those trials were stayed by whom? Who kept us from holding the trials?

STUDENT: I can’t answer that question.

RICE: Do your homework first.

Oh, thank you, ma’am. She’s playing “look over there,” trying to make the student’s alleged ignorance into the topic of the moment.

The Bush people weren’t just jerks in a grand, world-historical sense. They were jerks at the molecular level too. Cheap bullies and flim-flam artists, whether they were political hustlers or the provost of Stamford.

Transcript of Q&A is here.

Oh Christ. Just Fuck God in the Ass and Leave Him Bleeding

… a conscious effort to inscribe this “Trek” in the storytelling traditions popularized by Joseph Campbell, in which heroes must suffer loss and abandonment before they rise to the occasion. The filmmakers admit that this is a deliberate homage to their favorite films, like “Superman,” “Star Wars” and “The Godfather Part II.”


From the New York Times via The New Republic’s Plank blog. The article in question discusses what J.J. Abrams has in mind for his reboot of the Star Trek franchise.

The quote is stupid because, as the Plank item points out, Godfather II ends with Michael Corleone’s soul and family in ruins: he is corrupted and he is alone. The Godfather films aren’t about someone being tested and rising to the occasion; they’re about someone getting pulled in, just like it says in that goofy line from Godfather III  (you know, “they keep pulling me back in!”). Michael Corleone isn’t young Luke Skywalker or Clark. He isn’t callow and in need of challenge. From the start, he is a born leader, a paragon of competence and nerve, a decorated war hero and cool-headed tactician. He is the dream self-image of Mario Puzo, that poor shambling yutz who wanted to pretend he was hard, compact and capable. Corleone starts as a hero and always has the gifts of a hero, but he loses his way morally. This process begins, for all reasons, because he loves his father, who happens to be a Mafia chieftain. And that tragedy is the whole point of the Corleone story.

Doesn’t this matter? Can’t J.J. Abrams and the New York Times demonstrate some understanding of one of the most famous movies of our time? The story has nothing to do with Joseph Campbell. Nothing! If you want to feel important while talking about the Godfather films, just say “Shakespearean.” Go ahead, it feels good. You won’t be adding anything, but neither will you be demonstrating your ignorance.

UPDATE:  Another point.  Godfather II begins with Michael Corleone already in his father’s place, a man with wife, kids, and responsibilities. It’s in the first Godfather film that he’s a young man whose life is taking form. Mr. Abrams and the New York Times couldn’t even pick the right film to get confused about.

Mysteries of Young Women

I live in the section of Montreal near McGill University. There are lots of college kids around. Right now it’s finals and the 2nd Cup is jammed full of kids studying. I’m parked at my little table in a row of other little tables, all of them full except for the one to my left. It has a textbook placed on its far edge and a slim sheaf of papers placed atop the textbook. During the past hour four different people have tried to park themselves at the table. Each time the girl sitting one table over has told them no, “somebody’s sitting there.” But there isn’t. Her friend, who had been there, took off to print something at home and so far has not returned. As mentioned, the coffee shop is jammed and, like the missing girl, the people who want to sit down are students frantic to get ready for big tests.

It amazes me how young women feel entitled to pull stunts like this. I’ve seen them try it at the gym too: “I’ll just wrap my sweater around the handles of this elliptical machine and come back in 20 minutes, and meanwhile Monica will tell all comers ‘somebody’s using the machine.'” My theory is that men don’t go in for such wanton abuses of “saving” because they’re afraid someone will hit them. 
UPDATE:  A fifth character just got turned away. Agitated, I leaned over to the friend and said, “I’ve got to say, this is getting to be a bit unfair.”
The friend: “I know, I know. I agree. I’ll call her.” She gets out her cell phone. So maybe western civilization is safe after all.
UPDATE:  The girl is back. To her friend: “Sorrryyy. Oh, sorrryyyy.” She has one of those lockjaw drawls.

Zzzzzzzzzzzzzzzzzzzzzzzz

In a much talked-about essay, Peggy Orenstein has speculated that Facebook denies to young people “an opportunity for insight, for growth through loneliness”; it makes it harder for them “to establish distance from their former selves, to clear space for introspection and transformation.” Maybe it also eases — or hides from us — our displacements, and creates, etc., etc., etc.,

 


Oh, shut up.

Via Sullivan.

David Denby

Nobody can stand the guy. And it’s not like he’s mean and slashing; he’s just a drag. You can imagine him in conversation with his pompous beard wagging from side to side and the long uhhhhhh‘s between sentences as he dredges up his points.

When I say “nobody,” I mean this: 20 years ago a coworker read Denby’s review of Gorillas in the Mist and said, “He’s always so overblown,” and she hadn’t even seen the movie — it was just his voice, the way he wrote. Eight years ago, trying to define “douchebag” for another coworker, I said, “Like David Denby” and he said, “Oh God, yeah.” Three days ago my mother said, “That David Denby is such a jerk.” And whenever I look at The New Yorker and see his name I think, “Too bad,” whereas when I see Anthony Lane’s byline I think, “Well, there might be some good jokes.” Of course there might not, but the sight of Lane’s name doesn’t in itself make me turn the page.

Via Andrew Sullivan, Reason Online reviews Denby’s new book, Snark. Apparently Denby is trying to shame “douchebag” out of the national discourse. I would too, if I were him. The review says Denby downgrades Tom Wolfe — disturbing if true — and that he doesn’t have much use for Maureen Dowd. The second point is also disturbing, because it means Denby can’t be entirely bad. Of course, Reason may disagree: “the reader comes close to simply telling him to lighten up, rather than explaining that Dowd is a satirist, not a sexist political scientist.” Hah, no. Maureen Dowd is a twit.

The big problem with snark isn’t that it’s mean or shallow, it’s that the people who want to be snarky are inferior. The word sprang up when trying to be snotty and clever became a national passtime. Everyone swarmed in and only a very few had any sort of gift for the assignment.

Oh! Pipsy the Elf Is Dead

… the novel’s delicate tone, which is poised between whimsy and heartbreak.

A. O. Scott, reviewing The Mysteries of Pittsburgh in the NY Times today. Headline: “A Stockbroker in Training Has Turns in His Journey.” Headlines in the paper’s Arts and Leisure section are often entertainingly gnomic (another: “At the Way Station of Life, Departing to Anywhere”). But they can also be overambitious and top-heavy: “Satyajit Ray’s World of Restless Watchfulness and Nuance.” Expanded into a paragraph, the thoughts in question might make sense. As a headline, they make you imagine a tense scene in the Ray living room: “Will you stop looking at me? And don’t fidget! And what do you mean, what do I mean by ‘fidget’?”

I suppose the problem isn’t the headline writers, it’s the situation. The A&L has to cover a lot of movies and shows. Page after page of straightforward headlines (“Chabon’s Mysteries Poorly Adapted,” “Satyajit Ray Retrospective Displays Director’s Eye for Behavior, Emotion”) would quickly become excruciating. Trying to be jokey and clever in the British style would result in the same puns being recycled over and over (the Ray headline would involve Apu and “Come Again”). The only solution is not to read the NY Times unless you’re at your mother’s place and want to put off writing.

Creative Types

I find this so stupid. Miles Davis and Donald Barthleme were involved with the same woman, a children’s writer named Karen Kennerly. Kennerly didn’t want them to meet, though not for the obvious reason. “I thought Miles would outcool Don, and Don had a very big investment in being cool,” she says. But the meeting happened, and it was at Elaine’s, of course.

When we got there — it was very early, about 6:30 — Miles was sitting at a table by himself, already halfway thru dinner. It wouldn’t have occurred to him to wait on anyone.

Well, sure.

He had on these big sunglasses. Finally, Don said, “Hey, man, why don’t you take off your shades?” Miles said, “Why? It’s all black.” After that the conversation was very stiff.

Yeah, I guess it would be.

Then Miles got up and said, “Bye. Gotta go. Good to meet you.” Don and I barely got thru dinner. It was very painful. We asked for the check and the waiter said Miles had covered it. Don said, “No, he has not. I am paying for this meal. Put his money on his tab.” The waiter didn’t know what to do, because Miles only came in about twice a year. Finally I took the boy aside and said, “Just consider yourself lucky that you got a big tip tonight.” He kept Miles’s money and let Don pay for the dinner.

Barthelme also had a really douchey beard. Miles, as noted, had those sunglasses.

Text quoted from Hidden Man: A Biography of Donald Barthelme by Tracy Daugherty