by Barry Goldman

Everybody knows the scene in Casablanca when Captain Renault is “shocked, shocked” to find that gambling is going on in Rick’s Café. The phrase has become shorthand for all kinds of official hypocrisy. But I want to go back a few lines. Here is the clip.
Major Strasser says, “This café is to be closed at once.” Captain Renault says, “But I have no excuse to close it.” And Strasser says, “Find one.” The boss wants some official action taken, and he directs a subordinate to come up with a legal justification for it. He doesn’t say, “Would you please conduct a review of the statutes and judicial precedents in this area and determine whether or not I have the authority to take this action.” He says, “Find one.”
An exchange like that is likely to have taken place, directly or indirectly, between Secretary of Defense Pete Hegseth and Assistant Attorney General for the Office of Legal Counsel T. Elliot Gaiser. Hegseth said, “I want to blow up what the president has ‘determined’ are drug boats in the Caribbean and kill all the people aboard.” Gaiser said, “But you have no excuse for doing that.” And Hegseth said, “Find one.”
The outcome of that conversation was what I previously called The Murder Memos. As I write this, the murder memos have still not been made public, but they have been disclosed to select congress members, and there has been a fair amount of reporting about what they contain. One argument in the document, reported in the Wall Street Journal and elsewhere, follows a line of reasoning that goes like this: Armed attacks have been legally justified in the past when they were ordered in response to the use of chemical weapons by an adversary. Fentanyl is a chemical. And it kills a lot of Americans. So you could think of it as a weapon. Therefore, um, national security, protect our citizens. Something, something. Kill them all. Yeah, that’s the ticket!
I wish I were exaggerating. Read more »







The Paradox
Three weeks later and I’m almost fully healed. My ribs still hurt when I lie down to sleep and when I rise in the morning, but sitting and walking are fine. In another week I’ll be able to return to the gym and attempt some light weightlifting, a welcome resumption of my weekly routine. There was, however, a silver lining to my accident. In the days immediately following it, I could do little else but read. Sitting down in a chair, I was stuck there. So it was that I took A River Runs Through It (1976) by Norman Maclean off the bookshelf in my father’s office and began to turn its pages.
Allan Rohan Crite. Sometimes I’m Up, Sometimes I’m Down. Illustration for Three Spirituals from Earth to Heaven (Cambridge, Mass., 1948),” 1937. 




Did you ever read Ambrose Bierce’s short story “An Occurrence at Owl Creek Bridge”? If not, it starts as the story of a man who is going to be hanged. As the trap door opens under him, he falls, the rope tightens around his neck but snaps instead of bearing his weight, and he is able to escape from under the gallows. For several pages he wanders through a forest truly sensing the fullness of life in himself and around himself for the first time.
Most fiction tells the story of an outsider—that’s what makes the novel the genre of modernity. But Dracula stands out by giving us a displaced, maladjusted title character with whom it’s impossible to empathize. Think Anna Karenina, Madame Bovary, or Jane Eyre but with Anna, Emma, or Jane spending most of her time offstage, her inner world out of reach, her motivations opaque. Stoker pieces his plot together from diary entries, letters, telegrams, newspaper clippings, even excerpts from a ship’s log. Everyone involved in hunting down the vampire, regardless of how minor or peripheral, has their say. But the voice of the vampire himself is almost absent. 