by Eric Alterman ‧ RELEASE DATE: Oct. 1, 2004
Throws bones worth chewing on long and hard.
Crack political journalist Alterman (What Liberal Media?, 2003, etc.) examines the culture of deceit that has marred the American presidency, footnoting every word.
Here, he traces four instances of presidential lying that have returned to haunt the republic, undercutting not only the policies they were intended to support, but the integrity of the presidency. He’s not interested in transgressions of a private nature, targeting instead “presidential lying about matters of state that is alleged to be undertaken for the public good.” In other words, bad statecraft based on the premise that the people are too ignorant or emotionally immature to see all the cards. Public trust, the bond between government and the rabble, gets a screwing. Alterman zooms in on four instances of deceit that had unintended systemic consequences as old as the Greek hubris-nemesis sequence; each created self-destructive blowback wherein not only the nation was deceived, but the deceivers fooled themselves. The first is the painful irony of the 1945 Yalta conference: Stalin, “vicious killer atop the Soviet evil empire,” honored the deal struck there, while Roosevelt and Churchill, “perhaps the twentieth century’s two greatest champions of freedom and democracy,” reneged, with the subsequent disavowal of their concessions leading to the Cold War. Then came Kennedy’s fibbing about the Cuban Missile Crisis, the undisclosed trade for Turkish missile sites that made the US stance look terrifically tough. The secret American aggressions that brought the US to the Gulf of Tonkin, and the unparalleled war-making powers granted to the presidency, crushed the work of Lyndon Johnson, who had “begun to build a domestic legacy that might even have surpassed that of FDR.” And perhaps the most appalling fallout of the Iran-Contra imbroglio was the collapse of the press as an investigative agency: lying was mundane and not worth the bother of reporting. As for Bush II, “the virtue of truth . . . for all practical purposes, became entirely operational.”
Throws bones worth chewing on long and hard.Pub Date: Oct. 1, 2004
ISBN: 0-670-03209-3
Page Count: 384
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2004
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by Eric Alterman and Kevin Mattson
by Howard Zinn ‧ RELEASE DATE: Jan. 1, 1979
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
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by Howard Zinn ; adapted by Rebecca Stefoff with by Ed Morales
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by Maya Angelou ‧ RELEASE DATE: Feb. 1, 1969
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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by Maya Angelou and illustrated by Steve Johnson and Lou Fancher
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