(Prefatory Note: This post is a much modified piece published a few days ago in AlJazeera English, and republished elsewhere on line. As many have now done it tries to enlarge the context in which the Charlie Hebdo events are understood beyond a highlight film clip in ‘the war on terror.’ The alleged link between the Chouachi brothers and Al Qaeda of the Arabian Peninsula (AQAP) allows the attack on Charlie Hebdo to be experienced as the French 9/11, and with this a return of France to a status of post-colonial geopolitical relevance. Without grasping the relevance of how the dominant treat the dominated within our societies and throughout the world, we are consigning ourselves to many repetitions of the private and public horrors experienced in France on January 7, 2015.)
There is some common ground, but not much. The killings in Paris last week were horrifying crimes that expose the vulnerability of democratic societies to lethal vigilante violence, whether facilitated from outside or as a spontaneous expression of homegrown psychopathic alienation. Beyond this naked, morbid reality associated with the murder of the Charlie Hebdo cartoonists, police officers, and the supermarket hostages there is nothing but darkness, and in that darkness some dangerous monsters lurk.
We can be again thankful for the moral clarity of Pope Francis who a few days ago in the impromptu setting of a plane taking him from Sri Lanka to Manila shined a light upon the darkness. Unlike those who so ardently wielded the slogan “Je suis Charlie” the pope understood that free speech without limits is an invitation to indulge the worst negative impulses that will then operate as viruses destroying the vital organs of the body politic.
What Pope Francis underscored was the impossibility of reconciling dignity with hurtful insults, especially as directed toward the already marginalize and socially vulnerable. He illustrated his view by saying that if one of his companions on the plane, Dr. Alberto Gazparri a Vatican official, hurled obscene insults at his mother Gazparri could expect to receive a punch. The pope called such a physical response normal: “It’s normal. It’s normal. You cannot provoke. You cannot insult the faith of others. You cannot make fun of the faith of others.” Perhaps, this is too strong an expression of limits, but it does indirectly raise the Derrida urgent question of how and whether we can ever learn to ‘live together’ in peace, with respect within globalizing social space, while swallowing differences of race, class, religion, ethnicity, gender.
Francis went on to say the obvious, that to kill in response to any provocation, however severe, hurtful, and lewd, is not compatible with religion properly understood. If it claims a religious motivation, such behavior is an expression of “deviant forms of religion.” He goes on to say “To kill in the name of God is an aberration.” At the same time, how lines are drawn with respect to acceptable and unacceptable forms of provocation is highly political, changeable, and culturally influenced and even constructed.
In one respect France and other governments understand both sides of this argument, but twist it for political purposes. The popular African comedian Dieudonné has been repeatedly charged with criminal offenses because his humoraous routines deeply offend Jews, Zionists, and Israel. He is being currently prosecuted in France for ‘defending terrorism’ It turns out that there are no less than 54 pending cases in the country associated with ‘condoning terrorism’ by way of speech. The Associated Press reports that despite present tensions and the public celebration of free speech the government in Paris has “ordered prosecutors around the country to crack down on hate speech, anti-Semitism, and glorifying terrorism.” But note no message by the French government is sent mentioning ‘hate cartooning’ or addressing the surge of ‘Islamophobia’ in the country in the days following the January 7th attack on the Charlie Hebdo editorial offices. A large number of mosques in France and elsewhere in Europe have been desecrated in the last week. There are numerous reports of harassment of Muslims as they walk the streets of the country, and indeed throughout Europe. It is understandable that the Muslim community as a whole feels on edge given the ambiguity of the ‘je suis Charlie’ fervor that includes a new press run of 5 million, compared to the former figure of 60,000, that features a cover demeaning the prophet Mohamed. The ambiguity arises because there is a merger of solidarity with the victims and their families after such a shocking attack and an endorsement of their depiction of the Muslim religion as depraved and degrading.
This kind of double standards toward these two kinds of hate speech performs a variety of insidious functions for the French state. It uses the language of ‘terrorism’ or ‘anti-Semitism’ to demonize its political enemies and ‘freedom of expression’ to insulate its political allies from any adverse consequences. It blends the criminalization of terrorist advocacy and anti-Semitism with public action taken in the face of strong criticisms of Israel, especially if proposes concrete nonviolent action as is the case for the boycott, divestment, and sanctions (BDS) campaign. And it makes it even clearer to Muslims that they are fair game for Islamophobes and xenophobes. In effect, a French political community is being upheld that seeks to include Jews as valued and protected members while reinforcing the Muslim understanding that their residences and social standing can be fully understood by reference to the negatively imaged banilieus of the country depicted by the corrupted custodians of public virtue as virtual no-go zones for ordinary Frenchmen, and hazardous neighborhoods even for public officials and the police.
In the wake of these events, there is in the West the mainstream media has given a renewed prominence and sympathetic look back at the ordeals that Salman Rushdie endured after the publication of his satirical novel The Satanic Verses in 1988. Rushdie, appearing as a guest on Bill Maher’s talk show and delivering a lecture at the University of Vermont, understandably defended freedom of expression as an absolute right. His words, deeply felt, are worth heeding as the counterpoint to the views expressed by Pope Francis: “And so artists who to that edge and push outwards often find very powerful forces pushing back. They find the forces of silence opposing the forces of speech. The forces of censorship against the forces of utterance..At that boundary is that push-and-pull between more and less. And that push and pull can be very dangerous to the artist. And many artists have suffered terribly for that.” To speak as an ‘artist’ is not a warrant for hate speech that is directed at a group where there needs to be a balance struck between opposed societal values.
The context of Rushdie’s recent remarks was the Charlie Hebdo incident, but his outlook was intended to be sweeping in its generality as applicable to Islam in general. And yet he did not, nor did Bill Maher, pause to take note of those powerful forces in the West that have tried to shut down critics of Israel by shouting ‘anti-Semite’ at the top of their lungs. Some sensitivity to Jews is certainly appropriate as a social value in our post-Holocaust world, but such sensitivity should not be coupled with insensitivity to the victimization of the Palestinian people by the state of Israel. Without some degree of consistency it is difficult to consider clearly how societal balance should be struck in a given situation. The intermingling of East and West has given rise to deep grievances among many Muslims throughout the world, and calls attention to exploitative structures of political, economic, and cultural life within our world that link the domineering to the dominated, giving rise to desperate forms of resistance in response to despicable forms of domination by the powerful and rich.
It should not be surprising that the killers in Paris were moved to action by Abu Ghraib pictures portraying the torture and humiliations of Muslims held in American run Iraqi jails. In 2007 Chérif Kouachi said these words in a French court: “I was ready to go and die in battle. I got this idea when I saw injustices shown by television on what was going on over there. I am speaking about the torture that the Americans were inflicting on the Iraqi.” Was it wrong for Kouachi to be appalled? Was it wrong for him to want to act in support of his beliefs? What were his real life options? Of course, it was wrong to do what he did. As W.H. Auden wrote in a famous poem: “Those to whom evil is done do evil in return.” This is essence of blowback, a kind of warning to the rich and powerful to act justly. Yet we find the rich and powerful in denial, and so the vicious cycles of blowback persist in their fury.
What makes this confrontation so difficult to resolve is that it engages at least two truths, not the single one that has dominated public space. The essential beginning of ethical credibility is an insistence upon consistency. Either Rushdie and France have to uphold the freedoms of Dieudonné whose humor they find abhorrent as well as safeguard the publication of Charlie Hebd discriminating as between various ethnicities and religions in its midst when it comes to drawing lines between protecting the freedom of expression and punishing hate speech.
The U.S. Supreme Court long ago decided that free speech does not entitle someone to yell ‘fire’ in a crowded theater. This is what courts are for, to draw these lines in specific cases, balancing opposing truths in the light of practicality and the evolving values of the community. What a judicial body had to say about race or homosexuality a century ago is different than what is says today. And as we in American know too well, the prevailing ideology among the justices is often of greater relevance in determining how such lines are drawn than are the legislative, constitutional enactment, and cultural norms being interpreted. In some respects, then, such determinations are more part of the problem than of the solution.
I find myself siding with the abstract sentiments of Pope Francis, but in sympathy with Rushdie’s view of minimizing the role of law and the state. In this respect, if we impose limits by way of government we are entering the domain of censorship. At the same time, we need to protect individuals and groups against malicious forms of defamation and hateful attacks on identities without confusing such protection with efforts to channel public awareness in certain prescribed directions. My own experience suggests that ‘freedom’ of this sort has been used by some pro-Zionist and pro-Israeli organizations to discredit and deter and criticism of Israel, and especially of Israeli state crimes victimizing the Palestinian people. In Rushdie’s case we need to protect his right to publish The Satanic Verses, while condemning the fatwa imposing a death sentence for blasphemy and apostasy, yet respecting the right, and possibly the duty, of non-Western political communities to prohibit distribution of such a book due to its provocative nature in certain civilizational settings.
Obviously, there are no cookie cutter answers. The proper limits are a matter of history, ethics, cultural priorities, political leadership, societal circumstances, and most of all, spiritual sensitivity. I feel that the central question is raised by Derrida’s inquiry into how we can learn to live together as well as possible, or at least better. For me living together, given the originality of our historical moment, involves the construction of overlapping communities of destiny—from family to world, with a major focus on national and sub-national political communities without forgetting the wholeness of humanity, our too often suppressed or distorted species identity. Such an undertaking needs to be combined with a greater effort to establish a global political community so that challenges posed by climate change, nuclear weaponry, infectious disease, religious and ethnic intolerance, world poverty, and societal marginalization can be addressed more effectively and humanely.
Viewing American Sniper
26 JanViewing American Sniper
[American Sniper was released on Christmas Day, 2014. It is a movie version of Chris Kyle’s memoir, American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History, with 255 kills, 160 officially confirmed by the Department of Defense. The movie set in Iraq is directed by Clint Eastwood, Bradley Cooper plays the part of Chris Kyle, and Sienna Miller is brilliantly cast in the role of his wife, Taya]
American Sniper is a fictionalized movie version of the war stories associated with Chris Kyle’s experience as a Navy SEAL in the Iraq War as recounted in his best-selling memoir. The film can be viewed from a variety of angles, including even as one more indictment of war as hell. A second line of interpretation focuses on the intense psychological tensions experienced by this single American soldier and his comrades caught up in the horrors of urban warfare in Iraq. A connected theme are the adverse impacts of Kyle’s war service on his family that is made to cope with the complex and contradictory traumas of his absence (confronting his potential death on a distant battlefield) and his alienated presence whenever he returns, a scarred individual who longs to go back to Iraq to resume his assigned role as ‘legendary sniper.’ Multiple scenes in the movie portray Kyle as haunted by his service. In his book, Kyle consistently treats his victims as “savage, despicable.” At one point he makes such statements as “I only wish I had killed more,” “I loved what I did. I still do. If circumstances were different – if my family didn’t need me – I’d be back in a heartbeat. I’m not lying or exaggerating to say it was fun. I had the time of my life being a SEAL.” The film avoids giving emphasis such to extreme statements, but it does portray this sniper as convinced he was cut out for the combat role given to him, and that he seems more alive and content when active in the killing fields of Iraq than when back home.
Kyle’s own violent death is also metaphorically significant—actual events disclosed by text in the film but not depicted, Kyle was killed by an American soldier wounded in Iraq whom he had helped at a nearby veterans’ hospital where he worked at the advice of a psychiatrist to overcome his own version of PTSD. Such an ending of his life conveys the irony that for Kyle the more dangerous battlefield turned out to be in the neighborhood of his family residence, his assailant not the evil ‘savages’ he mowed down in Iraq but a fellow American veteran who had experienced those very same encounters. Kyle had survived four tours of duty as a sniper in the midst of the most bloody military operations in Iraq, but these survival skills proved irrelevant to the minefields of innocence that now made the American countryside a dangerous war zone.
From box office success and right-wing praise, American Sniper, is obviously most commonly regarded as a celebration of Chris Kyle as war hero who deserves the thankful praise of the country. From this outlook, Kyle killed enemies of America at great risk and cost to himself, and spared the country a repetition of the 9/11 attacks. It is this self-serving and essentially distorted vindication of the Iraq War that the film presupposes, even to the extent of having Kyle watch on TV as the plane strikes the World Trade Center, with a quick scene shift in the movie to waging war against those presupposed to be the foot soldiers of Al Qaeda in Iraq. Embedded in this view was a double false narrative that the American mission in Iraq was to carry out a necessary counter-terrorism operation linked to the 9/11 attacks and that the Iraqis being killed in Falluja and elsewhere should be perceived as ‘terrorists’ rather than as fighters against an invasion and occupation of their country by a foreign power that disrespects their religion, culture, and sovereignty.
These narratives dominated my perception of the movie, although those associated with its production deny such lines of interpretation. Clint Eastwood (the director and producer) and Bradley Cooper (who plays Kyle in the film) have publicly questioned employing a political optic in commentary on the film. They insist, in contrast, that the movie was ‘a character study’ of Kyle and ‘apolitical’ in the sense of not taking a position pro or con the Iraq War. Eastwood has tried to lend credibility to his claim by pointing out that he opposed the Iraq War, and was even skeptical about Afghanistan. Yet whatever he privately feels this not how most viewers most viewers would experience the film, either being enthralled by Kyle’s exploits or appalled by them. Eastwood may have aspired to tell an apolitical story, but if so, he has failed badly.
The Iraq War was a war of aggression undertaken in 2003 despite the rejection of a well-orchestrated (and misleading) American plea to the UN Security Council for authorization. Against such a background, the attack on Iraq and subsequent occupation were widely regarded as international crimes bearing resemblance to the category of aggressive warfare for which German and Japanese leaders were punished for waging after World War II. In this light, the Iraqi violence associated with the hostile American occupation needs to be portrayed as a unilateral repudiation of the limits set by international law and the UN Charter on recourse to war by the world’s most powerful country. Additionally, American Sniper depicts the doomed efforts of an outgunned society to resist a militarily dominant foreign invader that is imposing its will on the country’s future by force of arms. Such a viewing is not meant to imply that we need to endorse some of the horrific Iraqi tactics relied upon, but it should remind us that presenting the Iraqis as ‘evil’ and as ‘savages’ functions in the film as an unchallenged display of Islamophobic propaganda, and cannot be credibly explained away as a realistic exploration of a war hero’s temperament and struggle for sanity and survival. American Sniper also presents Kyle’s story in such a way as to avoid any self-criticism directed at the American mission in Iraq.
The movie also lacks redeeming artistic merit. It is relentless and repetitive in portraying battle scenes of intensity intertwined with Kyle’s tormented relationship with his wife and efforts to become a father to their two children during his brief interludes of home leave between military assignments. We learn nothing about the realities of our world beyond a tired rendering of the embedded post-9/11 polemic on the necessity of foreign wars to keep America safe from evil forces lurking in the Islamic world. This orthodoxy is not even interrogated, much less rejected. And no where in the film is there any acknowledgement that the United States in Iraq was acting in defiance of international law and causing great devastation and suffering to a totally vulnerable foreign country, as well as producing a massive displacement of the civilian population. Leaving behind a devastated country and widespread chaos. The Iraqi experience of such carnage in their own country is treated as irrelevant, and is reminiscent of Vietnam War films that were mostly devoted to explorations of the victimization of the young Americans caught up in an experience of war that they could neither understand nor win, while overlooking almost altogether the massive suffering being inflicted on a foreign people in a distant land. That is, even most anti-war portrayals of these American wars accept the dehumanization of the foreign others.
For me the most significant impressions resulting from American Sniper’s narrative of the Iraq War are as follows:
–the striking imbalance between the sophisticated military technology at the disposal of the United States versus the primitive weaponry in the possession of the Iraqi adversaries, creating an overwhelming impression that the Iraq War was more ‘a hunt’ than ‘a war;’ such an impression is somehow deepened by a scene in the film in which Kyle is teaching his very young son to hunt for deer;
–the failure to make any effort at all to understand the experience of this war from the perspective of the Iraqis, creating the absurd impression that the only victims deserving empathy were Americans like Kyle who had endured the torments of warfare and suffered its admittedly disorienting consequences; the emotions of remorse as associated with the harm done to Iraq and Iraqis is no where to be found in the film.
What may be disturbing is the radical subjectivity of likely audience responses. In America, great popularity of mostly uncritical commentary on American Sniper, reinforcing the regressive national mood of glamorizing bloody military exploits as the most admirable expression of true patriotism. Elsewhere in the world the perception is likely to be quite opposite: American Sniper inducing anti-American attitudes either out of fear or resentment or both, solidifying the global image of the United States as a cruel geopolitical bully. That is, American Sniper is wildly pro-American for most domestic viewers, and severely anti-American for most foreign viewers. This gap in subjectivities exhibits the degree to which Americans are living in a bubble of their own devising.
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It is highly unlikely that many Americans will appreciate this disparity of perception, and even fewer will pause long enough to assess its significance. If more of us could see ourselves as we are seen in the mirror of foreign reactions it might help end this unhealthy national romance with permanent war that started after World War II with the Cold War and continues now in the form of the ‘War on Terror.’ Such a pattern of delusional geopolitics will never produce peace and security in the 21st century, and will fatally divert attention from meeting the challenges of humanity associated with climate change, nuclear weapons, poverty, and extremism. To question this American domination project is to antagonize the entrenched bureaucratic, media, and neoliberal forces that benefit from endless war making and its associated expenditures of trillions. In the end it is this grand project of late capitalism that American Sniper indirectly vindicates, thereby burdening the nation and the world, perhaps fatally.
Tags: American Sniper, Chris Kyle, delusional geopolitics, international law, Iraq War, Iraqi people