In the late 1960s, George Bush Jr was at Yale, branding the asses of pledges to the Delta Kappa Epsilon fraternity with a hot coathanger. Michel Foucault was at the Societé française de philosophie, considering the question, ‘What is an author?’
The two, needless to say, never met. Foucault may have visited Texas on one of his lecture tours, but Junior, as far as it is known, never took his S&M revelry beyond the Ivy League – novelists will have to invent a chance encounter in a basement club in Austin. Moreover, Junior’s general ignorance of all things, except for professional sports, naturally extended to the nation known as France. On his first trip to Paris in 2002, Junior, now president of the United States, stood beside Jacques Chirac at a press conference and said: ‘He’s always saying that the food here is fantastic and I’m going to give him a chance to show me tonight.’
Foucault found his theories embodied, sometimes unconvincingly, in writers such as Proust or Flaubert. He died in 1984, while Junior was still an ageing frat boy, and didn’t live to see this far more applicable text. For the questions that he, even then, declared hopelessly obsolete are the very ones that should not be asked about Decision Points ‘by’ George W. Bush (or by ‘George W. Bush’): ‘Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse?’
Decision Points holds the same relation to George W. Bush as a line of fashion accessories or a perfume does to the movie star that bears its name; he no doubt served in some advisory capacity. The words themselves have been assembled by Chris Michel (the young speechwriter and devoted acolyte who went to Yale with Bush’s daughter Barbara); a freelance editor, Sean Desmond; the staff at Crown Publishing (who reportedly paid $7 million for the book); a team of a dozen researchers; and scores of ‘trusted friends’. Foucault: ‘What difference does it make who is speaking?’ ‘The mark of the writer is … nothing more than the singularity of his absence.’
If you’ve ever had a fleeting interest in postmodernism, read this essay on why George W. Bush’s memoir represents the epitome of postmodern storytelling.