War Is a Force that Gives Us Meaningby Chris Hedges
As a veteran war correspondent, Chris Hedges has survived ambushes in Central America, imprisonment in Sudan, and a beating by Saudi military police. He has seen children murdered for sport in Gaza and petty thugs elevated into war heroes in the Balkans. Hedges, who is also a former divinity student, has seen war at its worst and knows too well that to those who pass… See more details below
As a veteran war correspondent, Chris Hedges has survived ambushes in Central America, imprisonment in Sudan, and a beating by Saudi military police. He has seen children murdered for sport in Gaza and petty thugs elevated into war heroes in the Balkans. Hedges, who is also a former divinity student, has seen war at its worst and knows too well that to those who pass through it, war can be exhilarating and even addictive: It gives us purpose, meaning, a reason for living.”
Drawing on his own experience and on the literature of combat from Homer to Michael Herr, Hedges shows how war seduces not just those on the front lines but entire societiescorrupting politics, destroying culture, and perverting basic human desires. Mixing hard-nosed realism with profound moral and philosophical insight, War Is a Force that Gives Us Meaning is a work of terrible power and redemptive clarity whose truths have never been more necessary.
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WAR IS A FORCE THAT GIVES US MEANING
By CHRIS HEDGES
PublicAffairsCopyright © 2002 Chris Hedges
All right reserved.
Chapter OneTHE MYTH OF WAR
When our own nation is at war with any other, we detest them under the character of cruel, perfidious, unjust and violent: But always esteem ourselves and allies equitable, moderate, and merciful. If the general of our enemies be successful, 'tis with difficulty we allow him the figure and character of a man. He is a sorcerer: He has a communication with daemons; as is reported of Oliver Cromwell, and the Duke of Luxembourg: He is bloody-minded, and takes a pleasure in death and destruction. But if the success be on our side, our commander has all the opposite good qualifies, and is a pattern of virtue, as well as of courage and conduct. His treachery we call policy: His cruelty is an evil inseparable from war. In short, every one of his faults we either endeavour to extenuate, or dignify it with the name of that virtue, which approaches it. It is evident the same method of thinking runs thro' common life.
* * *
A Treatise on Human Nature, 1740
The ethnic conflicts and insurgencies of our time, whether between Serbs and Muslims or Hutus and Tutsis, are not religious wars. They are not clashes between cultures or civilizations, nor are they the result of ancient ethnic hatreds. They are manufactured wars, born out of the collapse ofcivil societies, perpetuated by fear, greed, and paranoia, and they are run by gangsters, who rise up from the bottom of their own societies and terrorize all, including those they purport to protect.
Often, none of this is apparent from the outside. We are quick to accept the facile and mendacious ideological veneer that is wrapped like a mantle around the shoulders of those who prosecute the war. In part we do this to avoid intervention, to give this kind of slaughter an historical inevitability it does not have, but also because the media and most of the politicians often lack the perspective and analysis to debunk the myths served up by the opposing sides.
The United States and the West based our responses in Bosnia, or perhaps it is better to say our arguments not to respond, on such myths: the myth of the Serbian warrior who would fight to the death against overwhelming odds; the myth that the Croats, Muslims, and Serbs, who speak the same language and are nearly indistinguishable, were different people; the myth that Yugoslavia, a country that Josip Broz Tito made an important player in international affairs, had failed to give its citizens a national identity. These myths, swallowed whole, permitted us to stand by as 250,000 human beings were killed and Sarajevo spent three and a half years under siege. Although the United States finally intervened, we did so because the United Nations mission collapsed in the summer of 1995, not because of any foresight or courage on the part of the administration of President Bill Clinton.
Look not to religion and mythology and warped versions of history to find the roots of these conflicts, but to the warlords who dominated the Balkans. It took Miloševic four years of hate propaganda and lies, pumped forth daily over the airways from Belgrade, before he got one Serb to cross the border into Bosnia and begin the murderous rampage that triggered the war. And although the war was painted from afar as a clash of rival civilizations, the primary task of Miloševic in Serbia, Franjo Tudjman in Croatia, and the other ethnic leaderships was to dismantle and silence their own intellectuals and writers of stature and replace them with second-rate, mediocre pawns willing to turn every intellectual and artistic endeavor into a piece of ethnic triumphalism and myth.
Lawrence LeShan in The Psychology of War differentiates between "mythic reality" and "sensory reality" in wartime. In sensory reality we see events for what they are. Most of those who are thrust into combat soon find it impossible to maintain the mythic perception of war. They would not survive if they did. Wars that lose their mythic stature for the public, such as Korea or Vietnam, are doomed to failure, for war is exposed for what it is-organized murder.
But in mythic war we imbue events with meanings they do not have. We see defeats as signposts on the road to ultimate victory. We demonize the enemy so that our opponent is no longer human. We view ourselves, our people, as the embodiment of absolute goodness. Our enemies invert our view of the world to justify their own cruelty. In most mythic wars this is the case. Each side reduces the other to objects-eventually in the form of corpses.
"Force," Simone Weil wrote, "is as pitiless to the man who possesses it, or thinks he does, as it is to its victims; the second it crushes, the first it intoxicates."
When we allow mythic reality to rule, as it almost always does in war, then there is only one solution-force. In mythic war we fight absolutes. We must vanquish darkness. It is imperative and inevitable for civilization, for the free world, that good triumph, just as Islamic militants see us as infidels whose existence corrupts the pure Islamic society they hope to build.
But the goal we seek when we embrace myth is impossible to achieve. War never creates the security or the harmony we desire, especially the harmony we briefly attain during wartime. And campaigns, such as the one in Afghanistan, become starting points for further conflicts, especially as we find that we are unable to root out terrorism or maintain the kind of solidarity that comes in the days just after a terrorist attack.
The chief institutions that disseminate the myth are the press and the state. The press has been culpable since the telegraph made possible the modern war correspondent. And starting with the Crimean War, when the first dispatches were fed by newly minted war correspondents in real time, nearly every reporter has seen his or her mission as sustaining civilian and army morale. The advent of photography and film did little to alter the incentive to boost morale, for the lie in war is almost always the lie of omission. The blunders and senseless slaughter by our generals, the execution of prisoners and innocents, and the horror of wounds are rarely disclosed, at least during a mythic war, to the public. Only when the myth is punctured, as it eventually was in Vietnam, does the press begin to report in a sensory rather than a mythic manner. But even then it is it reacting to a public that has changed its perception of war. The press usually does not lead.
Mythic war reporting sells papers and boosts ratings. Real reporting, sensory reporting, does not, at least not in comparison with the boosterism we witnessed during the Persian Gulf War and the war in Afghanistan. The coverage in the Persian Gulf War was typical. The international press willingly administered a restrictive pool system on behalf of the military under which carefully controlled groups of reporters were guided around the front lines by officers. It could have never functioned without the cooperation of the press. The press was as eager to be of service to the state during the war as most everyone else.
Such docility on the part of the press made it easier to do what governments do in wartime, indeed what governments do much of the time, and that is lie. When Iraqi troops seized the Saudi border town of Khafji, sending Saudi troops fleeing in panic, the headlong retreat was never mentioned. Two French photographers and I watched as frantic Saudi soldiers raced away from the fighting, dozens crowded on a fire truck that tore down the road. U.S. Marines were called in to push the Iraqis back. We stood on rooftops with young Marine radio operators who called in air strikes as Marine units battled Iraqi troops in the streets.
Yet back in Riyadh and Dhahran military press officers spoke about our Saudi allies defending their homeland.
The potency of myth is that it allows us to make sense of mayhem and violent death. It gives a justification to what is often nothing more than gross human cruelty and stupidity. It allows us to believe we have achieved our place in human society because of a long chain of heroic endeavors, rather than accept the sad reality that we stumble along a dimly lit corridor of disasters. It disguises our powerlessness. It hides from view our own impotence and the ordinariness of our own leaders. By turning history into myth we transform random events into a chain of events directed by a will greater than our own, one that is determined and preordained. We are elevated above the multitude. We march toward nobility. And no society is immune.
Most national myths, at their core, are racist. They are fed by ignorance. Those individuals who understand other cultures, speak other languages, and find richness in diversity are shunted aside. Science, history, and psychology are often twisted to serve myth. And many intellectuals are willing to champion and defend absurd theories for nationalist ends.
By finding our identity and meaning in separateness the myth serves another important function: It makes communication with our opponents impossible. When the Palestinian leader Yasir Arafat makes statements that call for moderation and peace he is accused by the Israelis of using words to conceal his intention to wipe out Israel. The Palestinians react in the same manner to statements by most Israeli leaders. It does not matter what they say, just as it did not matter what the Serb or Croat nationalists said to each other; the intentions of the other were predetermined by nationalist myth.
We often become as deaf and dumb as those we condemn. We too have our terrorists. The Contras in Nicaragua carried out, with funding from Washington, some of the most egregious human rights violations in Central America, yet were lauded as "freedom fighters." Jonas Savimbi, the rebel leader the United States backed in Angola's civil war, murdered and tortured with a barbarity that far outstripped the Taliban. The rebellion Savimbi began in 1975 resulted in more than 500,000 dead. President Ronald Reagan called Savimbi the Abraham Lincoln of Angola, although he littered the country with land mines, once bombed a Red Cross-run factory making artificial legs for victims of those mines, and pummeled a rival's wife and children to death. The mayhem and blood-letting we backed in Angola were copied in many parts of Africa, including Zaire and Liberia.
The myth of war sells and legitimizes the drug of war. Once we begin to take war's heady narcotic, it creates an addiction that slowly lowers us to the moral depravity of all addicts. War's utter depravity was captured in Shakespeare's play Troilus and Cressida, a work that as far as is known was never performed in Shakespeare's lifetime, perhaps due to its savage indictment of war and human society. Nearly every figure in the play, including Ulysses, lies to and tries to manipulate those around him: that is the trait of most leaders, no matter what political agenda they espouse. Here, unlike Henry V, Shakespeare excoriates the established order; the play is one that debunks national myth. There are only three characters who speak about war with any sanity or truth: Pandarus, who is a lecher and a coward; Cassandra, who is deranged; and Thersites, as described by Shakespeare, "a deformed and scurrilous Greek." Yet Thersites' bleak view of human nature and human folly is borne out by the play's end. We are left with the realization that characters who are, by the standards of civil society, the most retrograde stand above the baseness of those who prosecute war, if only because they speak the truth.
"Lechery, lechery, still wars and lechery, nothing else holds fashion," Thersites rails.
War can be the natural outcome of brutal repression; witness Kosovo or El Salvador. Or it can be manufactured by warlords intent on enrichment, as in Bosnia. It can also, although less and less, be the result of vying interests between nation-states, such as the Gulf War, fought over control of the oil fields in Kuwait. War, at times inevitable and unavoidable, is part of human society. It has been since the dawn of time-and probably will be until we are snuffed out by our own foolishness.
"We believed we were there for a high moral purpose," wrote Philip Caputo in his book on Vietnam, Rumor of War. "But somehow our idealism was lost, our morals corrupted, and the purpose forgotten."
The employment of organized violence means one must, in fact, abandon fixed and established values. This is a truth made apparent in Troilus and Cressida. It is a truth Henry V ignores. Once war, and especially the total war that marked both the ancient and the modern way of battle, erupts, all is sacrificed before it. The myth of war is essential to justify the horrible sacrifices required in war, the destruction and the death of innocents. It can be formed only by denying the reality of war, by turning the lies, the manipulation, the inhumanness of war into the heroic ideal. Homer did this for the Greeks, Virgil for the Augustan age, and Shakespeare for the English in his history plays. But these great writers also understood what they were doing, and thus in the canon of their works come moments when war is laid bare.
Troilus, at the start of the play, states that he will not fight for Helen, a woman portrayed by Shakespeare as a mindless paramour. "It is," he says, "too starved a subject for my sword." Dying for this Helen, who has neither morals nor wit, is absurd. Yet I have seen men fight for even more ridiculous reasons. There was no reason for the war in Bosnia. The warring sides invented national myths and histories designed to mask the fact that Croats, Muslims, and Serbs are nearly indistinguishable. It was absurd nuances that propelled the war, invented historical wrongs, which, as in the Middle East, stretched back to dubious accounts of ancient history. I have heard Israeli settlers on the West Bank, for example, argue that Palestinian towns, towns that have been Muslim since the seventh century, belong to them because it says so in the Bible, a reminder that this sophistry extends beyond the Balkans.
The competing nationalist propaganda in Yugoslavia created a conflict in the country best equipped of all the Eastern European states to integrate with the West after the collapse of communism. Because there was no real reason to fight, there was an urgent need to swiftly turn a senseless fratricide, one organized by criminals and third-rate political leaders for power and wealth, into an orgy of killing, torture, and mass execution. This indiscriminate murder, these campaigns of ethnic cleansing, were used to create facts, as it were. The slaughter was carried out to give to these wars the justifications they lacked when they began, to fuel mutual hatred and paranoia, as well as to enrich the militias and paramilitary groups that stole and looted from their victims. Ethnic warfare is a business, and the Mercedes and mansions of the warlords in Belgrade prove it. Fighting for a Helen who is a strumpet, or Don Quixote's Dulcinea, looks noble by comparison.
The cast of warlords in the former Yugoslavia was made up of the dregs of Yugoslav society. These thieves, embezzlers, petty thugs, and even professional killers swiftly became war heroes. They were, at least, colorful, with Captain Dragan, a Serbian soldier of fortune who was allegedly an ex-convict from Australia; the fascist demagogue Vojislav Šešelj; and Zeljko Raznjatovic, known as Arkan, who had a criminal record in several Western European countries. The Croats had their own collection of gangsters, including Branimir Glavaš, who stormed into Serbian villages with his militias and executed the Serbian civilians and the Croatian policemen who had tried to keep the nationalist mobs from killing them. The gangsters who took over Sarajevo at the start of the war to battle the Serbs were no different. Loot and power were always their primary objectives.
Excerpted from WAR IS A FORCE THAT GIVES US MEANING by CHRIS HEDGES Copyright © 2002 by Chris Hedges
Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Meet the Author
Chris Hedges is a Pulitzer Prizewinning journalist. He spent nearly two decades as a correspondent in Central America, the Middle East, Africa, and the Balkans, with fifteen years at the New York Times. A former fellow at The Nation Institute, he is the author of numerous bestselling books, including Empire of Illusion; Death of the Liberal Class; War is a Force that Gives Us Meaning; and Days of Destruction, Days of Revolt, which he co-wrote with Joe Sacco. He writes a weekly column for the online magazine Truthdig. He lives in Princeton, New Jersey.
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Chris Hedges, in this book, reveals exactly what compels people to support the slaughter of their fellow humans. He takes us down a dark road of hypnotic, narcotic addiction to violence, the self-worship of the 'noble cause of war,' the necrophilia that is the 'culture of death' that surrounds war and the military, the cataclysmic destruction brought about by war, and the emptiness in the hearts of people that creates the need for violence and cruelty in the name of justice. At a time when the media predictably supports every war and every violent action, and depicts anybody who opposes the desires of the Bush administration as bloodthirsty terrorists and fanatics, Hedges aptly points out that the bloodthirstiness is in fact here, in America, and not out there in the desert of the Middle East. Moreover, I promise this is true: I saw Dick Cheney himself declare this as he lectured a live audience on C-SPAN: 'The war in Iraq is about America's economic interests, which need to be considered first so we remain a superpower.' That sums up what the Iraq war is really about, and Chris Hedges does a perfect job in proving it.
Chris Hedges articulates that which is difficult to articulate: the brutal reality of war and of human nature. Referring to such people as Hannah Arendt, Simone Weil, and Shakespeare, Hedges looks at war from many different angles ¿ from theology to literature, from history to philosophy. In war morality is turned upside down, and the struggle is for life, not for a cause. Altruism and courage rarely exist in war, except as hypnotic rhetoric. Fear, the fight for survival, and visceral pleasure in sex, drink, and violence take over in war. He meditates on the chaos and insanity of war. The author exposes a dichotomy between the superficial pedestal on which war is often placed, such as in movies and stories like the Iliad, and the reality of war, which many of us fail to see or choose not to see. He contends that nations and the media build up the ¿myth of war¿; nations often build a national identity by creating an ¿us¿ and a ¿they,¿ a process which separates our humanity on a global scale. Love, or recognizing yourself in another, is an important step in dismantling the cycle of war. Hedges maintains that for reconciliation to occur, nations, such as Turkey, should not deny past atrocities they have committed (i.e. the Armenian genocide). Rather, a common language ¿ the truth of history and the humanity of love ¿ must be established if we are to coexist in the world. Or else destruction is imminent. Hedges concludes by saying that love, not war, provides real meaning in our lives. Overall, a worthwhile read.
CHRIS HEDGES GIVES THE READER A FULL ACCOUNT OF THE FUTILITY OF WAR.MR. HEDGES HAS BEEN A EYEWITNESS TO THE CARNAGE.THIS BOOK WILL OPEN THE READERS EYES.
Chris Hedges, a veteran correspondent, has reported on the front lines in the Balkans, the Middle East and Central America. In this book of the seductive and corrupting power of war for individuals and societies, Hedges draws upon his own experiences and events he has witnessed as a correspondent in far-off lands. Chris shows how war seduces not just those on the front lines but the entire societies, destroying culture and perverting basic human desires. A relentless litany of war's physicality, "War is a Force That Gives Us Meaning" looks hard at the non-physical engines of conflict and war's psychological detritus. Schooled in the literature of war, his journalism is studded with allusions to classical texts. War myths are created to provide the nation with illusion of clear chain of events that prove nobility of the cause and aggression of others. Moreover, war myths are necessary for making people follow leaders, fight and die for them. Culture is seen as the victim of war as war applies cultural peculiarities to its own purposes. Finally, the author assumes that religion is the only ultimate power that can resist war. Fear, the fight for survival, and visceral pleasure in sex, drink, and violence take over in war. He meditates on the chaos and insanity of war. The author exposes a dichotomy between the superficial pedestals on which war is often placed, such as in movies and stories like the Iliad, and the reality of war, which many of us fail to see or choose not to see. Hedges is not anti-war, he just exposes war for what it is. He shows how patriotism and nationalism are exaggerated to hide reality in the time of war and the myth takes over.
This book is one of the most interesting and fact filled books that i have ever read. It tells you more than you would ever dream about what realy happens during a war and how people feel and act. The stories he tells are so heart lifting and sad. It gives you so much detail on what war is all about and how it corrupts or changes peoples lives forever. This book will make you think about war and what its really all about.
This is a very good book that is filled with a lot of wisdom. It exposes the 'myth of war' and shows how we humans use war to satisfy a natural urge for meaning. There is a lot of refernces in this book to recent conflicts in the world. Hedges has covered many conflicts around the world such as the first Persian Gulf War and the war in Falklands. Hedges is not anti-war, he just exposes war for what it is. He shows how patriotism and nationalism are exagerrated to hide reality in the time of war and the myth takes over. A must read for every human being.
This book changed the way I thought about war. It isn't glory or even manly. It's terrible and Hedges spelled it out for me. If we don't start to become more realistic about war and stop buying into the myth of it all, we are sowing the seeds of our own destruction.
Fascinating. Goes beyond a simple critique of war to delve into what it is about humans that makes them thrive on violence.