Writing in the Sunday, March 25 Outlook section of the Washington Post, Zbigniew Brzezinski claims that “The ‘war on terror’ has created a culture of fear in America.” Moreover, he says, “the vagueness of the phrase was deliberately (or instinctively) calculated by its sponsors [to] stimulate . . . the emergence of a culture of fear. Fear obscures reason, intensifies emotions, and makes it easier for demagogic politicians to mobilize the public on behalf of the policies they want to pursue.” The “fear-mongering” of President Bush has been reinforced, says Brzezinski, “by security entrepreneurs, the mass media, and the entertainment industry.” As a result, the American people have been subjected to “five years of almost continuous national brainwashing on the subject of terror.”
This, Brzezinski continues, has “stimulate[d] Islamophobia.” In particular, the “Arab facial stereotypes, particularly in [American] newspaper cartoons,” remind Brzezinski of the “Nazi anti-Semitic campaigns.” The people who do such things are “apparently oblivious to the menacing connection between the stimulation of racial and religious hatreds and the unleashing of the unprecedented crimes of the Holocaust.”
• Thornton Wilder has become a man of two books. Our Town continues to be revived and The Bridge of San Luis Rey read, but I’ve yet to see a professional production of The Skin of Our Teeth or The Matchmaker (which is now known mainly as the source of Hello, Dolly!) or heard anyone mention any of his other novels in conversation (though I read Heaven’s My Destination many years ago). Hence it is with no small interest that I’ve spent the past week reading Thornton Wilder: Collected Plays and Writings on Theater (Library of America, 871 pp., $40). I haven’t always been impressed with the Library of America’s editorial decisions, but Wilder was an obvious call, and J.D. McClatchy, who recently turned Our Town into an opera libretto for Ned Rorem, was exactly the right man to edit this extremely well-chosen collection of Wilder’s theater-related output. McClatchy’s annotations are copious and exemplary—I’d like to see him write a Wilder biography—and it was shrewd of him to include the screenplay of Alfred Hitchcock’s Shadow of a Doubt, for which Wilder, it appears, was mainly responsible.
The sorry spectacle of Israel’s political system going through one financial scandal after another—the latest involves finance minister Abraham Hirchson, accused of embezzling large sums of money when he headed an HMO in the 1990’s—is more than just an embarrassment. Coupled with the growth of organized crime and frightening rumors of its inroads into politics and law enforcement, these scandals are making Israelis feel these days as if they were living in a Jewish Sicily.
Is it that bad? Probably not, although it’s hard to say. Corruption in Israel is something that, even today, you’re far more likely to read about in the newspapers than to experience personally. Israel is still a country whose citizens assume, when dealing with government officials, the police, or business contacts, that they are facing someone honest. It’s not some third-world state or banana republic where you routinely slip money into your car registration papers when you’re asked for them by a traffic cop, leave a gift on the desk of the official you’ve applied to for a building permit, or promise a kickback to the executive you’re negotiating a contract with. But then again, I don’t suppose that routinely happens in Sicily, either.