The caricature-in-chief

With its hysteria over Obama and the courts, the right continues to attack a president who doesn’t actually exist

Topics: Opening Shot,

The caricature-in-chief In this March 10, 2006, file photo, U.S. Sen. Barack Obama, D-Illinois, listens during a Democratic rally in Burlington, Vt. (Credit: AP Photo/Toby Talbot, File)

The talking point has taken hold on the right: President Obama has radically overstepped the bounds of the presidency by challenging the legitimacy of the federal judiciary. This is not what Obama has actually done, of course. The president, in very calm and subdued remarks at a Rose Garden event on Sunday, expressed confidence that the Supreme Court will uphold his healthcare law and won’t

take what would be an unprecedented, extraordinary step of overturning a law that was passed by a strong majority of a democratically elected Congress. And I’d just remind conservative commentators that for years what we’ve heard is, the biggest problem on the bench was judicial activism or a lack of judicial restraint — that an unelected group of people would somehow overturn a duly constituted and passed law. Well, this is a good example. And I’m pretty confident that this Court will recognize that and not take that step.

A day later, as the conservative uproar took root, Obama acknowledged that it wouldn’t be entirely “unprecedented” for the court to throw out the healthcare law and stressed that he wasn’t questioning the court’s authority:

The point I was making is that the Supreme Court is the final say on our Constitution and our laws, and all of us have to respect it, but it’s precisely because of that extraordinary power that the court has traditionally exercised significant restraint and deference to our duly elected legislature, our Congress. And so the burden is on those who would overturn a law like this.

But that didn’t stop Karl Rove from saying earlier this week that Obama is “acting like some sort of political thug at the White House, threatening the Supreme Court.” It didn’t stop Mitch McConnell from declaring that “the president crossed a dangerous line this week. And anyone who cares about liberty needs to call him out on it.” And it didn’t stop Mitt Romney from saying that Obama’s actions prove that he “will say anything, will attack any institution, will distort the truth with reckless abandon, and in this case in a way that I think is terribly disrespectful of one of the branches of our government.”



It also didn’t stop a Republican-appointed federal appeals court judge, Jerry Smith of the 5th Circuit, from demanding that the Justice Department provide him with a three-page, single-spaced letter stating whether the administration believes in judicial review. The requested letter, signed by Attorney General Eric Holder and affirming that “the power of the courts to review the constitutionality of legislation is beyond dispute,” was delivered on Thursday.

The right’s outrage is revealing for a few reasons. First, as many have already pointed out, there’s no shortage of hypocrisy at work. Hysteria over unaccountable “activist” federal judges has been a staple of conservative messaging for decades. It was just a few months ago that Newt Gingrich was railing against the “extreme behavior” of the federal court and claiming that the president and Congress have the power to ignore the judiciary. Attacks on “judicial lawlessness” were also one of George W. Bush’s favorite campaign tools.

Then there’s Judge Smith’s willingness to join and amplify the conservative pile-on. The idea that members of the federal judiciary aren’t immune to partisanship probably isn’t jarring to most people anymore. But Smith’s odd, demeaning homework assignment to the administration had a whiff of something worse: partisan hackery. It felt, as Jonathan Bernstein wrote, like a textbook demonstration of the “conservative information feedback loop, in which Republican party actors get all their information from conservative media and from talking to each other, leading them to give credence and even legitimacy to the wildest of false claims.”

But beyond this, what we’ve really seen this week is another demonstration of the right’s dedication to fighting a president who doesn’t actually exist. This has been the story from the start of Obama’s presidency. His policy decisions and rhetoric have been marked by pragmatism and incrementalism, often to the frustration of his own party’s base, but the conservative response has invariably been to treat him like a crude caricature of unhinged leftism.

Among other things, Obama met the demands of centrists on his stimulus package, put together a public option-free healthcare plan that employed Republican principles and strengthened private insurers, held on to many Bush-era national security policies, oversaw mass deportations of illegal immigrants, and routinely invoked “American exceptionalism.”

But the dominant conservative line doesn’t grapple with any of this; in the right’s telling, the president is a far-left ideologue who is ashamed of America and apologizes for it to other countries, hates free enterprise, wants to guarantee equal outcomes for all Americans, executed a “government takeover” of healthcare, and has some kind of black radical past. The response to his Supreme Court comments is a perfect example of the invented hysteria that defines much of the opposition to Obama.

It should go without saying that Obama’s record as president deserves and demands scrutiny and criticism. But to the right, dealing with this record is too tedious. It’s easier to run against a straw man.

Steve Kornacki

Steve Kornacki writes about politics for Salon. Reach him by email at SKornacki@salon.com and follow him on Twitter @SteveKornacki

More Related Stories

Featured Slide Shows

  • Share on Twitter
  • Share on Facebook
  • 1 of 11
  • Close
  • Fullscreen
  • Thumbnails

    Ten spectacular graphic novels from 2014

    Beautiful Darkness by Fabien Vehlmann & Kerascoët
    Kerascoët's lovely, delicate pen-and-watercolor art -- all intricate botanicals, big eyes and flowing hair -- gives this fairy story a deceptively pretty finish. You find out quickly, however, that these are the heartless and heedless fairies of folk legend, not the sentimental sprites beloved by the Victorians and Disney fans. A host of tiny hominid creatures must learn to survive in the forest after fleeing their former home -- a little girl who lies dead in the woods. The main character, Aurora, tries to organize the group into a community, but most of her cohort is too capricious, lazy and selfish to participate for long. There's no real moral to this story, which is refreshing in itself, beyond the perpetual lessons that life is hard and you have to be careful whom you trust. Never has ugly truth been given a prettier face.

    Ten spectacular graphic novels from 2014

    Climate Changed: A Personal Journey Through the Science by Philippe Squarzoni
    Squarzoni is a French cartoonist who makes nonfiction graphic novels about contemporary issues and politics. While finishing up a book about France under Jacques Chirac, he realized that when it came to environmental policy, he didn't know what he was talking about. "Climate Changed" is the result of his efforts to understand what has been happening to the planet, a striking combination of memoir and data that ruminates on a notoriously elusive, difficult and even imponderable subject. Panels of talking heads dispensing information (or Squarzoni discussing the issues with his partner) are juxtaposed with detailed and meticulous yet lyrical scenes from the author's childhood, the countryside where he takes a holiday and a visit to New York. He uses his own unreachable past as a way to grasp the imminent transformation of the Earth. The result is both enlightening and unexpectedly moving.

    Ten spectacular graphic novels from 2014

    Here by Richard McGuire
    A six-page version of this innovative work by a regular contributor to the New Yorker first appeared in RAW magazine 25 years ago. Each two-page spread depicts a single place, sometimes occupied by a corner of a room, over the course of 4 billion years. The oldest image is a blur of pink and purple gases; others depict hazmat-suited explorers from 300 years in the future. Inset images show the changing decor and inhabitants of the house throughout its existence: family photos, quarrels, kids in Halloween costumes, a woman reading a book, a cat walking across the floor. The cumulative effect is serene and ravishing, an intimation of the immensity of time and the wonder embodied in the humblest things.

    Ten spectacular graphic novels from 2014

    Kill My Mother by Jules Feiffer
    The legendary Pulitzer Prize-winning cartoonist delivers his debut graphic novel at 85, a deliriously over-the-top blend of classic movie noir and melodrama that roams from chiaroscuro Bay City to Hollywood to a USO gig in the Pacific theater of World War II. There's a burnt-out drunk of a private eye, but the story is soon commandeered by a multigenerational collection of ferocious women, including a mysterious chanteuse who never speaks, a radio comedy writer who makes a childhood friend the butt of a hit series and a ruthless dame intent on making her whiny coward of a husband into a star. There are disguises, musical numbers and plenty of gunfights, but the drawing is the main attraction. Nobody convey's bodies in motion more thrillingly than Feiffer, whether they're dancing, running or duking it out. The kid has promise.

    Ten spectacular graphic novels from 2014

    The Motherless Oven by Rob Davis
    This is a weird one, but in the nervy surreal way that word-playful novels like "A Clockwork Orange" or "Ulysses" are weird. The main character, a teenage schoolboy named Scarper Lee, lives in a world where it rains knives and people make their own parents, contraptions that can be anything from a tiny figurine stashable in a pocket to biomorphic boiler-like entities that seem to have escaped from Dr. Seuss' nightmares. Their homes are crammed with gadgets they call gods and instead of TV they watch a hulu-hoop-size wheel of repeating images that changes with the day of the week. They also know their own "death day," and Scarper's is coming up fast. Maybe that's why he runs off with the new girl at school, a real troublemaker, and the obscurely dysfunctional Castro, whose mother is a cageful of talking parakeets. A solid towline of teenage angst holds this manically inventive vision together, and proves that some graphic novels can rival the text-only kind at their own game.

    Ten spectacular graphic novels from 2014

    NOBROW 9: It's Oh So Quiet
    For each issue, the anthology magazine put out by this adventurous U.K.-based publisher of independent graphic design, illustration and comics gives 45 artists a four-color palette and a theme. In the ninth issue, the theme is silence, and the results are magnificent and full of surprises. The comics, each told in images only, range from atmospheric to trippy to jokey to melancholy to epic to creepy. But the two-page illustrations are even more powerful, even if it's not always easy to see how they pertain to the overall concept of silence. Well, except perhaps for the fact that so many of them left me utterly dumbstruck with visual delight.

    Ten spectacular graphic novels from 2014

    Over Easy by Mimi Pond
    When Pond was a broke art student in the 1970s, she took a job at a neighborhood breakfast spot in Oakland, a place with good food, splendid coffee and an endlessly entertaining crew of short-order cooks, waitresses, dishwashers and regular customers. This graphic memoir, influenced by the work of Pond's friend, Alison Bechdel, captures the funky ethos of the time, when hippies, punks and disco aficionados mingled in a Bay Area at the height of its eccentricity. The staff of the Imperial Cafe were forever swapping wisecracks and hopping in and out of each other's beds, which makes them more or less like every restaurant team in history. There's an intoxicating esprit de corps to a well-run everyday joint like the Imperial Cafe, and never has the delight in being part of it been more winningly portrayed.

    Ten spectacular graphic novels from 2014

    The Shadow Hero by Gene Luen Yang and Sonny Liew
    You don't have to be a superhero fan to be utterly charmed by Yang and Liew's revival of a little-known character created in the 1940s by the cartoonist Chu Hing. This version of the Green Turtle, however, is rich in characterization, comedy and luscious period detail from the Chinatown of "San Incendio" (a ringer for San Francisco). Hank, son of a mild-mannered grocer, would like to follow in his father's footsteps, but his restless mother (the book's best character and drawn with masterful nuance by Liew) has other ideas after her thrilling encounter with a superhero. Yang's story effortlessly folds pathos into humor without stooping to either slapstick or cheap "darkness." This is that rare tribute that far surpasses the thing it celebrates.

    Ten spectacular graphic novels from 2014

    Shoplifter by Michael Cho
    Corinna Park, former English major, works, unhappily, in a Toronto advertising agency. When the dissatisfaction of the past five years begins to oppress her, she lets off steam by pilfering magazines from a local convenience store. Cho's moody character study is as much about city life as it is about Corinna. He depicts her falling asleep in front of the TV in her condo, brooding on the subway, roaming the crowded streets after a budding romance goes awry. Like a great short story, this is a simple tale of a young woman figuring out how to get her life back, but if feels as if it contains so much of contemporary existence -- its comforts, its loneliness, its self-deceptions -- suspended in wintery amber.

    Ten spectacular graphic novels from 2014

    Through the Woods by Emily Carroll
    This collection of archetypal horror, fairy and ghost stories, all about young girls, comes lushly decked in Carroll's inky black, snowy white and blood-scarlet art. A young bride hears her predecessor's bones singing from under the floorboards, two friends make the mistake of pretending to summon the spirits of the dead, a family of orphaned siblings disappears one by one into the winter nights. Carroll's color-saturated images can be jagged, ornate and gruesome, but she also knows how to chill with absence, shadows and a single staring eye. Literary readers who cherish the work of Kelly Link or the late Angela Carter's collection, "The Bloody Chamber," will adore the violent beauty on these pages.

  • Recent Slide Shows

Comments

0 Comments

Comment Preview

Your name will appear as username ( settings | log out )

You may use these HTML tags and attributes: <a href=""> <b> <em> <strong> <i> <blockquote>