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"Frank Doesn't Want To Tell Ellie Her Husband Is A Liar, Dude"
By Ed Driscoll · August 21, 2007 12:29 PM
· Oh, That Liberal Media! · The Memory Hole · The New, New Journalism
Sippican Cottage says: The New York Times et al., like to tell people that the internet is killing their business. Please. I can't be the only one that noticed that the front page is the editorial section now, and the editorial page has the quality and usefulness of unhinged rants. I'm not really in the market for either. And I'm too young to read the obituaries.Meanwhile, Ace runs roughshod over the L.A. Times' latest anti-blog screed by Michael Skube. (Just add it to this pile and light the bonfire.) Ace adds that it "Seems an odd time for the MSM to lecture bloggers about the need for 'the patient fact-finding of reporters'": No one -- no one -- ever got into the media to report on local car collisions or new and exciting federal farm subsidies.The above headline is a quote from Ace, but Jeff Goldstein, as usual, places it into added additional ironic context: In his New Republic book review of Lucy Riall’s Garibaldi: Invention of a Hero, Alexander Stille writes:Speaking of which, Randall Hoven of the American Thinker (it was great to meet Thomas Lifson, his publisher, on Saturday at BFW, BTW, to discuss key TLAs) updates his list of media fabulists to include over 80 prominent members: "It's Not Just Scott Beauchamp (II)".Riall does not overemphasize the modernity of Garibaldi; she recognizes that he is not quite our contemporary. One of the interesting cultural differences that separates us from the culture of the Garibaldi cult is the almost willful use of wholly invented stories and details in the vast majority of Garibaldi biographies that circulated at the time. Even though there was plenty of dramatic and novelistic material from the real life of Garibaldi to draw on, writers seemed to go out of their way to fabricate stories and details. As Riall observes, conforming to the canons of contemporary romance and melodrama was much more important than any notion of journalistic accuracy and historical verisimilitude. “One of the most striking features of this script,” she writes, “was the apparently seamless blend of fact and fiction, of novelistic fantasy and political truth, and this blend…seems to have been at the heart of Garibaldi’s public success.”
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