A
44144fr
to regain a full life with his dearly
beloved wife and two young boys.
Here is where this tale of personal
triumph is most inspiring. What Gel-
ernter discovers in tragedy, besides the
ability to adapt, is the freedom to pur-
sue dreams he previously left on hold.
While an accomplished computer sci-
entist, he has always set his heart on
the arts: painting, writing, music.
After the bombing, he reclaims his
Gelernter attacks
liberal elitists
in his new book.
dreams. He writes that book (1939:
The Lost World of the Fair) he's always
wanted to. He paints and paints.
He has also become a leading pub-
lished voice of the right, leveling
broadsides against liberals (and per-
ceived liberals and leftists, whom he
has somehow concluded run America)
in Commentary magazine.
He regularly explores broader issues
connected with technology in the New
York Times. He is resident art critic of
the new voice of the national right,
Rupert Murdoch's lively Weekly Stan-
>
--
dard.
Especially in his art reviews, Gel-
ernter is a joy to read, mixing a con-
stant stream of natural metaphor with
knowledgeable art criticism and anti-
liberal political jabs. Best of all, no
matter how obscure or specialized his
topic, you can understand him, even if
you can't tell a Manet from a Monet.
Naturally, Gelernter uses his per-
sonal experience with the Unabomber
to score larger political points in his
new book. He attacks liberal journal-
ists and academics more harshly than
he seems to focus anger on the
Unabomber himself His book is a call
for the nation to overcome the liberal
elite's supposed campaign to turn us
all into helpless victims who depend
on government institutions or affirma-
tive action or just plain sloppy think-
ing/groupthink to function in the
world.
Sorry, Oprah. Gelernter isn't play-
ing for tears. He won't make a good
daytime guest. But Oprah still might_
want to recommend Drawing Life to
her book club. Gelernter tells a power-
ful story -- and makes an excellent
point. Li
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