816
pages, Twelve, ISBN-13: 978-0771041419
We
should all be grateful that, when Christopher Hitchens was told that he didn’t
much time to live, he chose to leave us with Arguably, a book of essays, for what became his final effort (and
if by chance you haven’t ever read Mr. Hitchens and would like one book to
stand as a proxy for his life’s work, let it be this). Arguably is a compendium of short brilliant gems, intended for
either the lay or the professional reader, that comes together to form a thesis
about the variations on human activity put together by a literary descendent of
Emerson, H.L. Mencken, and Paul Goodman. No human activity on any subject is
too small to warrant his attention.
Hitchens
has the ability to present the past in such a way as to leave the general
reader exclaiming “shouldn’t this be the way we handle the present?” For
example, in the essay Jefferson Versus
The Muslim Pirates, there is not a single mention of 21st Century
pirates operating out of mother ships, and yet every reader will make a
connection between the Barbary pirates and our current circumstances. His
ability to explain the past happens just outside the mother ship of current
events and he leaves it to the reader to connect the two. Other essays reduce
to a simplicity that have the reader wondering, in the case of a nation
trafficking, Hitchens believes, in human bondage like North Korea, why
immediate international pressure of the kind that ended apartheid in South
Africa isn't brought to bear to end the regime of Kim Jung-Il. On the other
hand, if you thought The Big Sleep
had a complicated plot (4 viewings to resolve what Eddie Mars had on Lauren
Bacall) you may be dazed and confused by his review of the film The Baader Meinhof Complex, although
even that sorts out understandably: Nazi Fascism versus Stalinist Communism.
There
are some essays, like Vietnam Syndrome,
where Hitchens abandons all mental and literary gymnastics in favor of the E.M.
Forester axiom: only connect. He
believes the legacy of environmental poisoning there is so dire a story that he
begs for the reader’s attention and is willing to make presentations as graphic
as they are disturbing to get it. In literary matters, he can lift the veil of
contemporary hype, and with a few deft strokes penetrate an entire phenomena
(Stieg Larsson) or he can debunk the courtly mannerisms of one of the world’s
greatest authors (John Updike). The
Swastika And The Cedar has an action angle that is cinemagraphic (this is a
voice not content to write about events and not above participating in them).
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