Sunday, June 24, 2012
Mark Steyn on the fiction that is the present US president. The new book analyzing Bo's lies about Bo is a nyt best seller inspite of the nyt trying to suppress it. Courtesy of David Maraniss' new book, we now know that yet another key prop of Barack Obama's identity is false: His Kenyan grandfather was not brutally tortured or even non-brutally detained by his British colonial masters. The composite gram'pa joins an ever-swelling cast of characters from Barack's "memoir" who, to put it discreetly, differ somewhat in reality from their bit parts in the grand Obama narrative. The best friend at school portrayed in Obama's autobiography as "a symbol of young blackness" was, in fact, half Japanese, and not a close friend. The white girlfriend he took to an off-Broadway play that prompted an angry post-show exchange about race never saw the play, dated Obama in an entirely different time zone, and had no such world-historically significant conversation with him. His Indonesian step-grandfather, supposedly killed by Dutch soldiers during his people's valiant struggle against colonialism, met his actual demise when he "fell off a chair at his home while trying to hang drapes." David Maraniss is no right-winger, and can't understand why boorish nonliterary types have seized on his book as evidence that the president of the United States is a Grade A phony. "It is a legitimate question about where the line is in memoir," he told Soledad O'Brien on CNN. My Oxford dictionary defines "memoir" as "an historical account or biography written from personal knowledge." And if Obama doesn't have "personal knowledge" of his tortured grandfather, war-hero step-grandfather and racially obsessed theater-buff girlfriend, who does? But in recent years, the Left has turned the fake memoir into one of the most prestigious literary genres: Oprah's Book Club recommended James Frey's "A Million Little Pieces," hailed by Bret Easton Ellis as a "heartbreaking memoir" of "poetic honesty," but subsequently revealed to be heavy on the "poetic" and rather light on the "honesty." The "heartbreaking memoir" of a drug-addled street punk who got tossed in the slammer after brawling with cops while high on crack with his narco-hooker girlfriend proved to be the work of some suburban Pat Boone type with a couple of parking tickets. (I exaggerate, but not as much as he did.