Following the model of NPR’s Pop Culture Happy Hour and its final topic, I am using some of these posts as a reminder to myself that there are things that bring me joy and as a means of posting recommendations of things–usually artistic or cultural, sometimes culinary–that are worth consuming. This week: The United States of Amnesia, a documentary about Gore Vidal and Gore Vidal’s America.
I’ve been a Gore Vidal fan going on ten years at this point. Once, while working in the library in college, I successfully persuaded one of the library directors that she should read his novel Creation and she liked it well enough that she pitched the idea of a library-staff-led book club where we would take turns suggesting books and leading discussion. The idea fell through (for which I was relieved), but it felt good that she liked my suggestion.
G.V. is a polarizing, divisive, and compelling character. This documentary, which came out in 2013, the year after G.V. died, marries the large number of T.V. pieces V. did in his lengthy public career, with interviews that he did with the producers in the last years of his life. The result isn’t as restricted a scope as Errol Morris’ work on Donald Rumsfeld, but, at the same time, the outside interviews about G.V. (including with Christopher Hitchens) take a backseat to V.’s outsized, yet reclusive personality.
As any good biographical documentary would, it begins with G.V. as a young man and the relationship with his parents and their relationship to the American Elite–his father, Eugene Luther Vidal, was one of Roosevelt’s aviation advisors (and may have had an affair with Amelia Earhart) and his mother, Nina Gore, was married from 1935-41 to Hugh D. Auchincloss, whose third wife was Janet Lee Bouvier, the mother of Jacqueline Kennedy. This was very much high society. G.V. liked to say that he was desperately trying to escape it.
But other than noting with some regularity, because how could one not, the strata of society that G.V. occupied, the documentary didn’t dwell on these relationships. Nor does it dwell on issues of sexuality and censorship that plagued him. Instead it worked to reconcile G.V.’s intellectualism and aloofness with his charismatic and aristocratic mien and his acerbic wit in the frequent appearances as one of the country’s most prominent public intellectuals. The United States of Amenesia touches on all of the prominent controversies (including one where the BBC called G.V. and William Buckley “Controvertialists” rather than commentators) so that it can cover the broad scope of G.V.’s work and appearances, but (at 83 minutes) it doesn’t drag.
I don’t agree with G.V. entirely, but find him to be fascinating. Ultimately, The United States of Amnesia provides one final rostrum for an exceptionally insightful and utterly unabashed public intellectual to speak from. Love him or hate him, Gore Vidal remains worth thinking about.