The Braindead Megaphone Read Free

extensively; they are complex and baffling and ambiguous; they tend to make us slower to act, rather than quicker. They make us more humble, cause us to empathize with people we don’t know, because they help us imagine these people, and when we imagine them—if the storytelling is good enough—we imagine them as being, essentially, like us. If the story is poor, or has an agenda, if it comes out of a paucity of imagination or is rushed, we imagine those other people as essentially unlike us: unknowable, inscrutable, inconvertible.
    Our venture in Iraq was a literary failure, by which I mean a failure of imagination. A culture better at imagining richly, three-dimensionally, would have had a greater respect for war than we did, more awareness of the law of unintended consequences, more familiarity with the world’s tendency to throw aggressive energy back at the aggressor in ways he did not expect. A culture capable of imagining complexly is a humble culture. It acts, when it has to act, as late in the game as possible, and as cautiously, because it knows its own girth and the tight confines of the china shop it’s blundering into. And it knows that no matter how well-prepared it is—no matter how ruthlessly it has held its projections up to intelligent scrutiny—the place it is headed for is going to be very different from the place it imagined. The shortfall between the imagined and the real, multiplied by the violence of one’s intent, equals the evil one will do.
    7.
    So how did we get here? I think it went something like this: Elements on the right (Fox News, Rush Limbaugh, etc.) resuscitated an old American streak of simplistic, jingoistic, fear-based rhetoric that, in that post-9/11 climate of fear, infected, to a greater or lesser extent, the rest of the media. Remember Bill O’Reilly interrupting/ chastising/misrepresenting Jeremy Glick, whose father died on 9/11, finally telling Glick to shut up, cutting off his microphone? And a few months later, Diane Sawyer’s strange Mother Confessor interview/interrogation of the Dixie Chicks?
    Ah, those were the days.
    But also, those are the days, and the days yet to come. The basic illness in our media is not cured; it’s only that our fear has subsided somewhat. When the next attack comes, the subsequent swing to the Stalinesque will be even more extreme, having, as it will, the additional oomph of retrospective repentance of what will then be perceived as a period (i.e., now ) of relapse to softness and terror-encouraging open discourse.
    Have we gone entirely to hell? No: the media, like life, is complex and stratified, filled with heroes holding the line. (All hail Bill Moyers; all hail Soledad O’Brien, post-Katrina, losing her temper with FEMA Director Michael Brown.) But if we define the Megaphone as the composite of the hundreds of voices we hear each day that come to us from people we don’t know, via high-tech sources, it’s clear that a significant and ascendant component of that voice has become bottom-dwelling, shrill, incurious, ranting, and agenda-driven. It strives to antagonize us, make us feel anxious, ineffective, and alone; convince us that the world is full of enemies and of people stupider and less agreeable than ourselves; is dedicated to the idea that, outside the sphere of our immediate experience, the world works in a different, more hostile, less knowable manner. This braindead tendency is viral and manifests intermittently; while it is the blood in the veins of some of our media figures, it flickers on and off in others. It frequently sheds its political skin for a stroll through Entertainment Park, where it leers and smirks and celebrates when someone is brought low by, say, an absence of underwear or a drunken evening.
    But why should this tendency be ascendant? Fear, yes, fear is part of it. In a time of danger, the person sounding the paranoid continual alarm will eventually be right. A voice arguing for our complete rightness and