I wish I could say that Michael Moore was original, but mostly he brings to mind Lillian Hellman, the Stalinist playright of whom Mary McCarty once said: “Every word [Hellman] writes is a lie, including ‘and’ and ‘the.'”
Yep, sounds like our boy.
Watching mainstream media coverage of Moore, one reflects how fortunate the man is to have so much kissing space on his ass. Nonetheless, his hard-earned reputation for being less than truthful is beginning to catch up with him – and not just on the right. Reader Mike Daley points to a devastating review by Armond White of The NY Press, who is not exactly a member of the Vast Right-Wing Conspiracy. White’s points about Moore’s class vice and the link between the Entertainment Industrial Complex and the Military Industrial Complex are worth reading. His description of Moore’s work as amounting to “Liberalism with a fascist face” is a pithy summary of a literate and sophisticated aesthetic argument.
Meanwhile, leftist enfant terrible Chris Hitchens (no friend of Stalinists either) annihilates Farenheit 9/11 right to its foundations in “Unfairenheit 9/11: The lies of Michael Moore.” Some choice excerpts:Powered by Sidelines