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Politics : Stockman Scott's Political Debate Porch -- Ignore unavailable to you. Want to Upgrade?

To: Karen Lawrence who wrote (64752)	10/31/2004 5:45:18 PM
From: T L Comiskey	Read Replies (1) \| Respond to of 89467

The NY Times... FRANK RICH Decision 2004: Fear Fatigue vs. Sheer Fatigue Published: October 31, 2004 JOHN KERRY is a flip-flopper. He's "French." Whether he's asserting his non-girlie-boy bona fides by riding a Harley onto Jay Leno's set, "reporting for duty" at the Democratic convention or hunting geese in Ohio, he comes off like a second-rung James Brolin auditioning for a Levitra ad. And let's not forget the words - all those words. When Mr. Kerry starts a sentence, you know you're embarking on a long journey with no interesting scenery along the way and little likelihood that you'll get wherever you're going on time. "Vote for Him Before You Vote Against Him" is one of the more winning slogans at the hilarious Web site Kerry-Haters for Kerry. If the cliché of 2000 remains true, that entertainment-addicted Americans will never let a tedious president into their living rooms for four long years, then Mr. Kerry, like Al Gore, is toast. But now that Mr. Kerry enters the final stretch of 2004 with a serious chance of unseating an incumbent in wartime, a competing theory also rises: it's possible for America to overdose on entertainment. No president has worked harder than George W. Bush to tell his story as a spectacle, much of it fictional, to rivet his constituents while casting himself in an unfailingly heroic light. Yet this particular movie may have gone on too long and have too many plot holes. It may have been too clever by half. It may have given Mr. Kerry just the opening he needs to win. As George Will has pointed out, our war in Iraq has now lasted longer than America's involvement in World War I. The span from 9/11 to Election Day 2004 is only three months shy of the 41 months separating the attack on Pearl Harbor from V-E day. And still the storyline doesn't compute. Mr. Bush, having not brought back his original bad guy dead or alive, is now fond of saying that "three-quarters of Al Qaeda leaders have been brought to justice." Even if true, is he telling us the war on terror is three-quarters over? Al Qaeda is, by our government's own account, in 60 countries. Last time I looked we're only at war in two. The administration tries to finesse such narrative disconnects by creating a noir mood of "perpetual fear" - to borrow Philip Roth's totemic phrase from "The Plot Against America" - in line with what it sees as a perpetual war. But is perpetual war any more coherent a plot line? Mr. Bush calls himself "a war president" any chance he gets, yet he must be the first war president in history to respond to every setback with a call for new tax cuts. There isn't a person in the world, including our enemies, who doesn't know that we have fewer troops than we need, now or in perpetuity, and that we're too broke to spring for more. As Mr. Bush said of the war to Matt Lauer in a rare moment of candor, quickly rescinded, "I don't think you can win it." Especially if you've so bought into the myth of your own invulnerable star power that you failed to secure nearly 380 tons of explosives destined to blow up American troops. So Karl Rove does what any director does to bolster a weak script - pump up the ominous chords on the soundtrack. He sends out Dick Cheney to keep telling us that it's only a matter of when, not if, a nuke will go off in the middle of one of our cities. But fear-mongering of this intensity and repetition can produce fear fatigue just like NBC's waning "Fear Factor." A long attention span has never been part of the American character. We like fast-paced narratives with beginnings, middles and ends. We like an upbeat final curtain. "What the American public always wants is a tragedy with a happy ending," said William Dean Howells to Edith Wharton in 1906, by way of explaining why her refusal to let her heroine, Lily Bart, survive ensured that the stage version of "The House of Mirth" would flop. The president hoped to give the tragedy of 9/11 a speedy happy ending by laying out a simple war pitting God's anointed against the evildoers, then by portraying Iraq as the "central front" in that war, then by staging a stirring victory celebration weeks after that central battle began. But when our major combat operations turned out not to be "over," this purported final reel was seen as the one thing the American public hates even more than an unhappy ending - a false one. The triumphalist cinema that had led up to it, culminating in the toppling of the Saddam statue, was, like "Mission Accomplished" itself, too slick. It whetted our appetite for sequels. But what came instead were pictures by upstart independent filmmakers hawking an alternative scenario to "Shock and Awe": the charred corpses of civilian contractors strung up in Fallujah, the beheading of Nick Berg, the tableaux vivants of Abu Ghraib, the neat rows of 49 slaughtered Iraqi recruits decomposing in the sun. The scenes the administration created to counter them all backfired. A surprise Thanksgiving visit by the president to the troops turned out to feature a "show" turkey supplied by Halliburton. An elaborately staged presidential D-Day address in Normandy was upended by the death of the war-winning president Mr. Bush's handlers hoped to clone, Ronald Reagan. The handover of sovereignty was marred by the shot of Paul Bremer re-enacting the fall of Saigon by dashing to a helicopter to flee. There hasn't been an unalloyed feel-good video out of Iraq since the capture of Saddam. That was before last Christmas.