A Troubling Pattern in America’s Obama Story

curtain1 300x202 A Troubling Pattern in Americas Obama StoryGeorge W. Bush lost the popular vote in 2000 and was appointed president by the conservative U.S. Supreme Court. A sanctimonious pundit class tells us it is crabby, unpatriotic and uncivil to dwell upon that bit of history. But questions of legitimacy (“does he really belong here?”) have dogged Barack Obama since he won the Iowa caucuses. Where have the “get over it” arguments gone? Long time passing.

There is an ugly pattern in coverage and conversation about Obama. The media’s immediate recourse to dubious language like “the Gulf oil spill is Obama’s Katrina” is just the most recent example.

Juxtaposed against the overt “get over it” arguments about Bush’s appointment, this presents us with some unpleasant suspicions about the national character. About Bush the media asked, “When will he succeed?” About Obama they ask, “When will he fail?” Obama’s the show that doesn’t belong on Broadway, and the critics clamor: when will the curtain come down?

Obama’s reflections at a San Francisco 2008 fundraiser about the source and symptoms of white, working class frustration would prove his undoing, we were told. Okay, then, surely the Rev. Jeremiah Wright’s “God damn America” preaching would take Obama out. A poor debate performance against Hilary Clinton? Disqualifying, said many.

Obama’s handling of the health care debate? The economy? Jobs? Too often the questions turned not on healthy, objective, rational critique, but on when this guy’s Broadway show would close. It’s not a quite a birther rant, but it’s of the same family.

Part of this is just the media’s attempted fulfillment of the clichéd American celebrity narrative: the star that rises from nowhere must crash and burn. I think unrestrained and unthinking Obama worship fed the “star” part of this storyline. I’m anti-authoritarian by nature, and I read too much history and covered politicians far too long to imagine superhero exploits from any of them, ever.

I’m for radical democracy because I believe in the wisdom of the public, not distant proclamations from an unapproachable elite or single political celebrity. In my view, the president is a hired hand. I don’t even like it that there is a song called “Hail to the Chief.”

When the depressive Maureen Dowd asks that Obama show some melodramatic anger, it says more about our addiction to melodrama and our celebrity obsessed culture than it does Obama.

There’s a big difference between critique or heartfelt, courageous advocacy – pressuring Obama on health care or financial reform, for instance – and leaping to conclusions about his character or fitness for office.

The latter, I’m afraid, is connected to his undeniably historic achievement as the first African-American president of the United States. This wasn’t supposed to happen so soon, we’re told. It sent America’s unquiet racists into fits. It has led the media intelligentsia to frequent, hysterical predictions of presidential doom.

And it’s not just the media or the right wing that fall into this questionable pattern. Many Democrats do, too. Once again, I’m not talking about legitimate criticism or advocacy. That’s necessary in a democracy. It’s healthy. Unconditional loyalty and hero worship are not. Neither is hyper-sensitivity based in old prejudices we pretend to have outgrown.

Democracy requires honest introspection from its citizens. We shouldn’t let our hopes for the post-racial era confuse our thinking about the national psyche, race, and the cultural impact of Obama’s presidency.

Why, we should ask ourselves, is America so willing so often to predict the end for Obama?

A couple of quick points. No one should misread these thoughts as a reduction of Obama criticism to issues of race. Our circumstance is, of course, more complex than that. But race matters, as Cornel West says. We can’t throw out a question involving race and the Obama presidency under the false premise that such a question reduces all questions about the Obama presidency to race. That’s a transparently phony dodge.

Also, this piece isn’t a review of Obama, a defense of Obama, or a critique of Obama. My only intention is to raise a question about a pattern in the Obama media story. I think that pattern is worth examining, because I think the examination will tell us something about ourselves.

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About Glenn W. Smith

Glenn W. Smith has spent the past 30 years in journalism and politics, where he’s made a name for himself as a writer, campaign manager, activist, think tank analyst and, as Daily Kos founder Markos Moulitsas says, a “legendary political consultant and all-around good guy.” “There’s no one like him,” says author George Lakoff. CNN commentator Paul Begala says, “He has unmatched experience, a graceful pen (or pixel nowadays) and deep insight into the best and worst of us.” Novelist Sarah Bird speaks of his “lucid and lyrical” prose. And, she says, he’s fun. Huffington Post founder Arianna Huffington says Glenn writes with “grace and abundant humor” and “uses his colorful experiences in Texas to enlighten us all.”

Smith led Ann Richards’ successful 1990 campaign for Governor of Texas. He worked for former Texas Lt. Gov. Bill Hobby and U.S. Senator Lloyd Bentsen. Earlier, Smith was a political reporter for the Houston Chronicle and the Houston Post. He’s coordinated national campaigns for groups such as MoveOn.org. In 2004, he authored the highly acclaimed book, The Politics of Deceit: Saving Freedom and Democracy from Extinction. He also wrote Unfit Commander, a book that detailed George W. Bush’s mysterious disappearance from military service.

In 2004, Smith was featured in the film, Bush’s Brain, a documentary about Karl Rove. Smith provided commentary on Rove’s role as then-President Bush’s senior advisor. He has made numerous media appearances with Chris Mathews on Hardball, Joe Scarborough, Brit Hume, and many others. He writes a regularly for top national web sites, including FireDogLake and Huffington Post.

As a senior fellow at George Lakoff’s prestigious Rockridge Institute in Berkeley he studied, wrote and taught on the power of metaphor and narrative in political communications. He also lectured on religion and politics at the Starr King School for Ministry in Berkeley. As a sponsor and organizer, he has pulled together numerous national events with progressive religious leaders. He also organized a celebration of Dr. Martin Luther King at Riverside Church in New York City as well as “Freedom and Faith” bus tours, which was a nationwide campaign for social justice and progressive values.

Smith’s play, Double Play, which explored American Western myths and legends, was held over to sold-out audiences. He’s even written and performed songs in the Americana tradition, such as his best-known song, “Helping Marty Robbins,” a tribute to his hometown, Houston.

Most recently, Smith is the creator of DogCanyon, a political and cultural web site covering state, national and global issues from a Texas perspective. DogCanyon is an exhilarating and unique site that gets the connections between politics and culture and explores both the personal side of politics and the ups, down, craziness and beauty of “life its ownself,” as humorist Dan Jenkins would say. DogCanyon offers heartfelt personal essays, hard-hitting political analysis, and, most importantly, laughs.

As Paul Begala said, Smith writes in “the finest, firmest, fearless tradition of Texas essayists like Molly Ivins.”